The Star Wars mythos is also the basis of many toys and games of varying types. The films and novels employ common science-fiction motifs. Whereas Gene Roddenberry's Star Treka science fantasy franchise that has enjoyed long-lasting popularity in American popular cultureis portrayed by its makers to appear as a rational and progressive approach to storytelling, Star Wars has a strong mythic quality alongside its political and scientific elements. College literature professors have remarked that the Star Wars saga, with its struggle between good and evil, democracy and empirecan be considered a national epic for the United States.
John Williams Themes, Part 2 of 6: Ever since its debut in Episode IV: Star wars paper models cue, which functions both as main title music and as a theme for Luke Skywalker, retains this mythic feel throughout its entirety and yet is surprisingly diverse in its musical material.
Yet somehow it all hangs together incredibly well, drawing us through from start to finish in an engaging and remarkably cohesive way. So besides the superficial consistencies in its loud brassy scoring, major key, and largely consonant chords, how is it that such different sections can sound so unified and keep up the mythic feel of the music?
Melody Naturally, the overlapping fanfare at the start of the cue builds up our the excitement before the big tune comes in, but more than that, it provides much of the material for the music to come.
In terms of musical intervals, there is a predominance of fourths in its melody: Especially when used in the brass, fourths tend to suggest strength and heroism.
So a liberal use of them here already lets us know that this mythic tale involves some kind of hero. But a closer look reveals that the fanfare combines two fourths and a resulting seventh into a three-note motive that is Star wars paper models several times: This motive then becomes a part of the big tune: If the opening fifth signals a hero, this second larger leap signals a superhero.
The middle section of the main title begins with a melody that may seem quite different from all that has come before. But even here, we are treated to a reordering of the three-note motive: This time, however, the heavy brass instruments are absent and the melody is made more lyrical by being scored for strings and continuing mainly in stepwise motion.
And yet, the three-note motive underpins all of this, suggesting that what we are hearing is the gentler, more compassionate side of our superhero.
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This more compassionate setting carries over into the return of the heroic big tune, which is now likewise scored for strings but also combined with French horns, a softer version of the more aggressive trumpets we heard before.
It would seem that even during his most heroic exploits, our superhero manages to have a heart. The harmony of the rapid brass lines that follow is not sounded as a block chord but rather by sounding the notes of a chord one at a time. The fanfare then sounds its last three notes on the chord of the dominant fifth note of the scale in B-flat major.
It begins with a blast of B-flat tonic harmony, which then alternates with the same quartal chord on F before coming to a close on the dominant chord. This dominant chord gives the music a sense of forward drive since what we really want to hear after it is a tonic to close out the phrase.
When a phrase is deprived of this tonic closure, we feel that the music must press on in order to attain it. And in fact every phrase in this main title ends on a dominant—we never get to a tonic conclusion. In mythic terms, this could be viewed as a fitting musical reflection of the superhero whose job is never entirely finished.
In addition to the blasting tonic chord, the quartal chord, and the final dominant chord, both sections also have a prominent A-flat just before the dominant, further strengthening the similarity.
Compare the harmonic outline of the two below: Even the middle section, which follows a different outline, contains broken quartal chords in a line given to the winds and piano: It consists almost entirely of moderately fast triplets.
Although the subsequent big tune slows the rhythm down with longer notes at its opening, the triplets do not disappear. So what we hear turns out to be the same rhythm as in the fanfare. Even the lyrical middle section retains the triplets in the wind and piano accompaniment I mentioned above.
Compare all these below triplet eighth notes in the fanfare are equal in speed to triplet quarter notes in the big tune and middle section: In the context of a four- or two-beat time like these, triplet rhythms give the music a march-like character.
In any case, the implication is of a powerful military aspect to our mythic superhero. Conclusion The main title music of the Star Wars films has had a lasting impression on audiences ever since it burst onto the silver screen in Some of the best Scale Models you can build.
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Blue Milk Special - To compliment their online parody Star Wars comic book they offer paper model milk cartons of Star Wars characters. They have four categories: Rebel, Imperial, Fringe and Other with many paper models in each category. Go to BMS Milk Cartons. Star Wars is a science-fiction franchise comprising movies, books, comics, video games, toys, and animated shows.
It is a fictional universe created by George Lucas. The Star Wars story employs archetypal motifs common to science fiction, political climax and classical mythology, as well as. Some time ago I gathered a list of Exceptional Free Paper Models and Toys that was quite well received by the readers of this blog.
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