Darth_Vader05
Many times, it has been described how Episode III bridges the saga, and most of those descriptions tend to focus on connections to the original trilogy. But the starting point of that bridge shouldn't be forgotten. When it comes to the Revenge of the Sith score, melodies and phrases from the last two films make memorable return appearances.
One unexpected quotation was the fortissimo finale of Episode I's Coruscant scenes, the swell of trumpets that announced Queen Amidala's departure from the capital to return to Naboo. In this case, the music reveals a massive clone staging area, where Jedi Master Yoda will be joining troops on a mission to Kashyyyk. Immense turbo-tanks and walker units file into the waiting cruiser, while other troops and Wookiee allies help control the flow of traffic.
But this wasn't the standout Phantom Menace reprise from today's scoring. With the London Voices choir joining the London Symphony Orchestra for recording today, the haunting and sorrowful incantations of Qui-Gon Jinn's Funeral reappeared. It is but one of the sad moments that dominate the later moments of the movie. Chorus Director Terry Edwards confers with Composer John Williams, discussing the sound and emphasis desired from the choir. It's not a direct copy of the Episode I cue -- there are variations both subtle and noticeable, including the soft emergence of the Imperial March within the gaps of the dirge and perhaps, to my ear, slightly more prominent tublar bells.
Today -- Monday, February 7 -- is the first of two days that the London Voices will record for Episode III. Today, they accompany the orchestra. In a later session, they will record their choral contributions separately, to add to musical tracks already gathered.
The day began darkly, with a cue fittingly named "Lament." It's a morose choral accompaniment that tracks a darkness that spreads across worlds, across the galaxy. Unlike the more explosive choir pieces from the prequels -- like the warrior chants of "Duel of the Fates" -- "Lament" consists of wordless vocals. It's more of a sweep than an attack delineated with accented downbeats. It's more evocative of the Episode VI choral accompaniments, such as the Emperor's theme or the chilling music heard when Luke finally attacks his father without restraint.
John Williams listens carefully at the balance between the women's voices and the violins that play the same melody. On the screen is a montage of worlds, a veritable galactic travelogue with tragic overtones -- the bridge-slung cities of Cato Niemoidia, the ash-covered ruins of Mygeeto, the sun-drenched fungal valleys of Felucia, the chaotic shoreline battlefields of Kashyyyk.
"I wasn't hearing that nice a blend. I was hearing a lot of individual voices, but not like we heard it in rehearsal," points out Scoring Engineer Shawn Murphy. I am continually amazed by his ear's ability to scrutinize the music for any blemish. He and Williams have an extremely trusting relationship. In the isolation of the control room, Murphy can hear the music as it is recorded by the strategically placed microphones, and advises Williams where there is room for improvements in subsequent takes.
"I'm going to work on the clarity... I think the emotion is there," says Williams. And it begins again.
But it's not all doom and gloom. Without a doubt, Episode III is dark, but there is room for the classic adventure romps -- and accompanying music -- that have become Star Wars staples. These moments happen early in the film, as the explosive space battle rockets the audience straight into the action.
I'm a sucker for combat music. The complexity, adrenaline, and flurry of movements are the hallmark of my favorite John Williams compositions. I'm always partial to the busy strings that add the urgency to the music. In this case, they're portraying Obi-Wan's urgency, his decidedly unJedi-like panic at the maliciously manic buzz droids crawling over his vessel. When Anakin improvises a solution -- and Artoo-Detoo has a moment to shine -- the iconic "Rebel starship fanfare" plays on the brass.
"Don't worry about playing too loudly, people, let's just worry about getting everything properly placed." says Williams. "It sounds very tight and brilliant."
The end result is pure fun. As the two Jedi emerge from their starfighters to continue the battle on enemy turf, there are smiles from the musicians watching the action on the screen for the first time. It's a rousing start to a film with a sobering finale.
In John Williams' leitmotif structure, where key characters are assigned themes and musical phrases, it's often easy to forget that the main title cue of Star Wars is actually Luke Skywalker's theme. It's usually best exemplified when performed playfully, lightly, like the various landspeeder jaunts in Episode IV.
For Episode III, the music appears for the baby Skywalker, played tenderly, fittingly for an early moment in Luke's life. And not far behind is the warm and inspirational sound of the Force theme, the music most associated with the guiding influence of Obi-Wan Kenobi.
This was heard in a cue that will no doubt evoke tears from those prone to such displays ... as it did today in the recording studio.
Special Guest Today: Anthony Daniels stopped by at the scoring session today. He pointed out to me a worthy point of trivia: the character with the last line of dialogue in Episode III is the very same that has the first line of dialogue in Episode IV. Yes, it's C-3PO... in the same set, nonetheless. How's that for bridging?
One unexpected quotation was the fortissimo finale of Episode I's Coruscant scenes, the swell of trumpets that announced Queen Amidala's departure from the capital to return to Naboo. In this case, the music reveals a massive clone staging area, where Jedi Master Yoda will be joining troops on a mission to Kashyyyk. Immense turbo-tanks and walker units file into the waiting cruiser, while other troops and Wookiee allies help control the flow of traffic.
But this wasn't the standout Phantom Menace reprise from today's scoring. With the London Voices choir joining the London Symphony Orchestra for recording today, the haunting and sorrowful incantations of Qui-Gon Jinn's Funeral reappeared. It is but one of the sad moments that dominate the later moments of the movie. Chorus Director Terry Edwards confers with Composer John Williams, discussing the sound and emphasis desired from the choir. It's not a direct copy of the Episode I cue -- there are variations both subtle and noticeable, including the soft emergence of the Imperial March within the gaps of the dirge and perhaps, to my ear, slightly more prominent tublar bells.
Today -- Monday, February 7 -- is the first of two days that the London Voices will record for Episode III. Today, they accompany the orchestra. In a later session, they will record their choral contributions separately, to add to musical tracks already gathered.
The day began darkly, with a cue fittingly named "Lament." It's a morose choral accompaniment that tracks a darkness that spreads across worlds, across the galaxy. Unlike the more explosive choir pieces from the prequels -- like the warrior chants of "Duel of the Fates" -- "Lament" consists of wordless vocals. It's more of a sweep than an attack delineated with accented downbeats. It's more evocative of the Episode VI choral accompaniments, such as the Emperor's theme or the chilling music heard when Luke finally attacks his father without restraint.
John Williams listens carefully at the balance between the women's voices and the violins that play the same melody. On the screen is a montage of worlds, a veritable galactic travelogue with tragic overtones -- the bridge-slung cities of Cato Niemoidia, the ash-covered ruins of Mygeeto, the sun-drenched fungal valleys of Felucia, the chaotic shoreline battlefields of Kashyyyk.
"I wasn't hearing that nice a blend. I was hearing a lot of individual voices, but not like we heard it in rehearsal," points out Scoring Engineer Shawn Murphy. I am continually amazed by his ear's ability to scrutinize the music for any blemish. He and Williams have an extremely trusting relationship. In the isolation of the control room, Murphy can hear the music as it is recorded by the strategically placed microphones, and advises Williams where there is room for improvements in subsequent takes.
"I'm going to work on the clarity... I think the emotion is there," says Williams. And it begins again.
But it's not all doom and gloom. Without a doubt, Episode III is dark, but there is room for the classic adventure romps -- and accompanying music -- that have become Star Wars staples. These moments happen early in the film, as the explosive space battle rockets the audience straight into the action.
I'm a sucker for combat music. The complexity, adrenaline, and flurry of movements are the hallmark of my favorite John Williams compositions. I'm always partial to the busy strings that add the urgency to the music. In this case, they're portraying Obi-Wan's urgency, his decidedly unJedi-like panic at the maliciously manic buzz droids crawling over his vessel. When Anakin improvises a solution -- and Artoo-Detoo has a moment to shine -- the iconic "Rebel starship fanfare" plays on the brass.
"Don't worry about playing too loudly, people, let's just worry about getting everything properly placed." says Williams. "It sounds very tight and brilliant."
The end result is pure fun. As the two Jedi emerge from their starfighters to continue the battle on enemy turf, there are smiles from the musicians watching the action on the screen for the first time. It's a rousing start to a film with a sobering finale.
In John Williams' leitmotif structure, where key characters are assigned themes and musical phrases, it's often easy to forget that the main title cue of Star Wars is actually Luke Skywalker's theme. It's usually best exemplified when performed playfully, lightly, like the various landspeeder jaunts in Episode IV.
For Episode III, the music appears for the baby Skywalker, played tenderly, fittingly for an early moment in Luke's life. And not far behind is the warm and inspirational sound of the Force theme, the music most associated with the guiding influence of Obi-Wan Kenobi.
This was heard in a cue that will no doubt evoke tears from those prone to such displays ... as it did today in the recording studio.
Special Guest Today: Anthony Daniels stopped by at the scoring session today. He pointed out to me a worthy point of trivia: the character with the last line of dialogue in Episode III is the very same that has the first line of dialogue in Episode IV. Yes, it's C-3PO... in the same set, nonetheless. How's that for bridging?