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At present, there
is only one special article on the site - 'A Commentary on
the music of Stargate' by sueKay.
| A
Commentary on the Music of
Stargate |
NOT to be used/copied in part
or in whole without permission of the writer. This commentary was
written as part of my Advanced Higher Music qualification. Feel free
to link back to the article, but understand, this took a LOT of work
and stealing WILL be dealt with. Thank
you.
I recommend you listen to
both pieces of music along with the commentary, as well...that's
what a commentary's actually for!
I apologise for any
misinterpretations in this
commentary.
| Advanced
Higher Commentary - The Music of
Stargate |
Stargate Overture -
David Arnold - 2.40
Stargate SG1 - Joel Goldsmith, David Arnold -
0.59
For my Commentary, I've
decided to study two pieces. One is by the film composer David
Arnold. It is entitled 'Stargate overture' after the film it was
featured in. The second piece is based directly on 'Stargate' but is
by the television composer Joel Goldsmith. It is titled 'Stargate
SG1' after the television show it is used for. I've chosen to study
both of these pieces, as I am familiar with the work of both
composers, and I am a big fan of film music, in particular, science
fiction films. I will be comparing the two pieces to each other.
Contrasting things like timbre and structure as well as ideas
throughout both pieces. Joel Goldsmith's piece is based directly on
'Stargate Overture' by David Arnold, so I will pay particular
attention to which parts of the overture he has developed and which
he has removed. I will also look at how Goldsmith manages to
condense the three-minute 'Stargate Overture' into the one-minute
'Stargate SG1'.
Stargate Overture' by David
Arnold was written in 1994 to accompany the feature film of the same
name. The film was Arnold's first mainstream movie score. The piece
had to reflect the themes of the movie. Namely Science Fiction and
Egyptology. 'Stargate' has three distinct sections; The beginning,
which has a dark, ominous sound; A strong middle section with a
brass fanfare and a menacing ending with an Egyptian choir singing
in unison.
The first section starts with a low, ominous
pedal, followed by flutes coming in with a countermelody and violins
shortly thereafter with trills. The beginning has a very eerie feel,
as there is little happening, besides changes in the simplistic
chord sequence. Then the violins start with the main melody in
staccato*(0.10), which sounds very light and flitting in contrast to
the deep pedal of the bass. More woodwind instruments join in giving
the music a feeling of foreboding; a build-up to what is to come
(0.17), mirroring the events at the beginning of the film. It is
also at this point that the violins change to legato (0.24), as the
melody becomes a lot smoother. All of the instruments then sound in
harmony as the build up continues into the next section with the
string section leading, and a horn playing the faint
countermelody.(0.28)
The key changes right away at the beginning of the
next section, and we are treated to a fanfare of sorts, with
trombones playing the melody and woodwind instruments playing a
manipulation of the simple chord sequence heard throughout the piece
(0.34). There are several accented notes in this section, heard in
the melody. Both the woodwind and strings sections play the melody
in unison with the brass section imitating (0.52). A Celeste can be
heard playing softly in the background (1.00). Soon the mood changes
and the violins play an inverted pedal (1.03) while Cellos and
Violas play a soft melody, then the trombone returns with a
countermelody. The Violins once again play a strong legato melody
while the woodwind section imitates the trombones heard at the
beginning of the section. The melody is basically a short,
ascending, repeating pattern. There is a short linking section
(1.35), and then on the sounding of a tubular bell (1.38), the key
changes and we enter the final section.
Immediately, we hear a mixed chorus singing in
unison and the tone is homophonic. The bass plays a simple, yet
seemingly relentless pattern, and an ostinato is present. This gives
the music an archaic feeling, as it is very simple and unison
singing is associated with old styles of choral music. The string
section plays a descending chromatic scale (1.41), which is imitated
by the woodwind section. The chorus begin whispering, which sounds
secretive, adding to the now menacing tone. A trumpet sounds with
dissonant notes (1.44), and clashes between the chords and the
woodwind section create a sense of unease and tension. These
elements once again build up with the chorus becoming louder, their
whispering turning to chanting(2.05). The violins begin to
ascend(2.08), until the orchestra and chorus reach a crescendo
(2.16). The chorus takes over, chanting louder than the sound of the
orchestra. This part of the section is known as 'Ra's theme'. Their
chanting quickly becomes a pedal (2.17) and due to the syncopated
rhythms present in the orchestra, the chords sound sforzando. As
swiftly as this happens, the chanting stops, replaced by a held note
while the violins take over, playing a descending sequence (2.30).
The piece then ends on a swift diminuendo.
Joel Goldsmith's 'Stargate SG1' is based directly
on the Stargate Overture. In fact, so much of the original theme is
evident that Arnold even gets a credit for it! Joel Goldsmith is the
son of the late Jerry Goldsmith.
The piece starts off in a different key to that of
'Stargate Overture', with flutes playing a soft melody and strings
playing a countermelody (0.01), before a fresh, sparkling sound
effect (0.06). This is all that remains of the first section. The
key then changes and launches into a simplistic section of brass
instruments and snare drums meant to imitate the military feel of
the show(0.08). The brass section plays only two notes, while the
snare drums play an ostinato. Now piccolos play a strong
countermelody (0.11). They are soon joined by a trombone playing a
retrograde version of the motif featured in section two of 'Stargate
Overture' (0.13) before the piece enters it's second section
(0.19).
Again, the familiar main theme is heard, but in a
different key and different time signature from that heard in
'Stargate Overture'. This time, the fanfare is in a Major key, the
brass section play the melody, while piccolos play a counter melody
and trombones play the bass (0.24). The snare drums continue
throughout. The fanfare is now repeated (0.33), but has moved up a
semitone and strings now play the melody while brass plays a
descending counter-melody. The whole section is polyphonic in
texture and fast-paced, especially compared to the relentless, but
lengthy march of the 'Stargate overture'.
The piece then enters a very short and again,
simple section. The brass section plays a strong repeating melody
while the woodwind section plays a succinct pizzicato bass (0.44).
Then the piece ends in an uptempo build up, with trombones once
again playing the motif from 'Stargate Overture' and the woodwind
section playing a single repeated note (0.51). The last section
accelerandos before ending on a perfect Cadence and crescendo.
While both pieces are clearly related, they are
both completely unique. Goldsmith extends on the Egyptian motifs of
'Stargate Overture' while removing the feeling of 'impending doom'
and adding a sound associated with military bands, with the both
brass instruments and snare drums present. 'Stargate SG1' is uptempo
and bolder than it's predecessor, adding a new element to the piece.
It reflects well on the Sci Fi/ Adventure show it represents.
'Stargate overture' is a masterful piece of music,
and Arnold sticks to the themes needed. The menacing sound and
cautious whispers of the choir give the piece of conspiratory edge.
The Dissonance at the end, known as Ra's theme is very atmospheric
and also very sinister. The fact that this motif is not repeated
only strengthens it. As Overtures go, 'Stargate Overture' is a
lengthy piece at over two and a half minutes in length. In this
amount of time, Arnold clearly establishes the themes of the movie -
Egypt, science fiction, mythology, fear and adventure. Each of these
themes has clear motifs and the actual physical Stargate is well
represented by the main fanfare.
Goldsmith successfully reduces the main ideas of
Stargate Overture, as well as incorporating ideas of his own in a
time of just one-minute. This is no mean feat, yet Goldsmith
achieves it, by placing emphasis on the main Stargate theme and by
making the military feeling a 'constant companion' through the
introduction of the snare drums.
I have learnt a lot through the study of these
pieces. I had heard both of them previously, but had never though to
do a comparison. I though that they were both very similar, but on
close examination, they are very different, both provoking different
feelings and ideas. In future I think I will stop and actually
listen to film music. I thoroughly enjoyed my study of 'Stargate
Overture' and 'Stargate SG1'.
*Note: Numbers in brackets
represent times in the piece in which features occur.
'Stargate Overture'
The
David Arnold Shrine
Scorerealm.ca
'Stargate SG1'
Jerry
Goldsmith Online
Miscellany
Liberton
high School Music website
Discography
Disk
Track 1
- 'Stargate Overture'
Track 2 - 'Stargate SG1
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Stargate Intel »