# Star Wars main theme, harmony question



## Nils Neumann (Dec 29, 2016)

Here is a simplified version of the Star Wars main theme (this is transposed, not in the original key): http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0127456

But how can you explain the F major and Bb major chord in this G-major context?
G-> I; C->IV; D->V is clear, and together they build the Ionian mode, so there is no use of the other modes right?
the F and Bb are not used in any dominant function neither I can see a modulation.
And I started to be confident about my music theory ... 
Can anyone explain that to me?


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## Paul T McGraw (Dec 29, 2016)

I have not pulled out the sheet music to analyze the harmony myself, but the short answer is "mode mixture." Mode mixture is using a harmony borrowed from another mode to add color or emotion. John Williams loved using mode mixture and you will find it in all of his scores. Mode mixture was popular with most of the late romantic classical composers, and Williams followed in their footsteps, and is just as accomplished with harmony as any of the masters.

The F major is a b7 (bVII) chord, which is borrowed from mixolydian mode. The Bb major (bIII) chord is even more common, it is borrowed from aeolian mode. Typical college harmony texts touch very lightly on late romantic harmonic usage, and frequently the theory instructor doesn't understand it himself, so he doesn't cover it well.


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## amordechai (Dec 29, 2016)

bVII - V or bIII - V chords are very common in film music.

For example, bVII - V ia a "cowboy cadence". I love this paper, read paragraph 4.4 http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.lehman.html#article-4

Basically you borrow chords from other modes. The basic procedure is to use notes from the same key you are in, but mayor if you are in minor and minor if you are in mayor. Instead of using a Bmin chord (iii of GMayor), Williams uses a bB (III of Gmin).

I'm terrible at explaining myself, sorry!

A.


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## Rob (Dec 29, 2016)

another way of looking at it... take the roots out of a pentatonic scale, in this case Gm pent. G-Bb-C-D-F and build a major chord on each of them.
That's also a common rock guitar device...


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## ed buller (Dec 29, 2016)

JW is a jazzer. Used to play piano for Hank Mancini.....he goes with what ever sounds good. One of the hardest concepts to grasp when you study harmony is..."yes there are rules but...if it sounds good then do it" . As others have described this is commonly called mode mixture but this is anaylsis after the fact. One of the joys I had as a record producer was watching "Unskilled (sic)" guitar players in bands just FIND the next chord by ear and desire.....look to the "B"'s...Bowie, The Beatles....Beethoven !!

e


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## karelpsota (Dec 29, 2016)

JW uses a lot of *chromatic mediance*.
He basically barrows chords by moving his triads by thirds (minor or major intervals).
Its a really cool trick because it always sounds good.

You can see it in your example
F to D
Bb to D

Its also present in his Rebel theme:
I VI I V IIIb


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## Nils Neumann (Dec 30, 2016)

Thank you so much for all your replies! I definitely have to get more familiar with this topic


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## Living Fossil (Dec 30, 2016)

Nils Neumann said:


> And I started to be confident about my music theory ...



As long as your music theory tells you why you *have* to do something, it's at least an uncomplete theory.
There are absolutely no laws in music telling that you have to stick to a specific key or mode etc.
And usually there are different ways to explain something.

F in G major usually is a mixolydian influence. It's a commonplace in baroque musique, but also in Beatles songs, among many others.

For Bb-major, as written above, the term "mediant" is often used. However, that's a name and not an explanation.
The reason why it's stringent in this place is that (beside the fact that it adds an interesting color) it has two notes that build a chromatic approach to the upcoming dominant: Bb->A, and F->F#. In the latter case, if you integrate the previous C-major chord, you even get the chromatic line E-F-F#.


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## Dietz (Dec 30, 2016)

ed buller said:


> [...] look to the "B"'s...Bowie, The Beatles....Beethoven !!



+ Bach, + Bruckner, + Beach Boys, + Beastie Boys, + deBussy (... errr ... well, you know. ...)


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## ed buller (Dec 30, 2016)

Living Fossil said:


> For Bb-major, as written above, the term "mediant" is often used. However, that's a name and not an explanation.
> The reason why it's stringent in this place is that (beside the fact that it adds an interesting color) it has two notes that build a chromatic approach to the upcoming dominant: Bb->A, and F->F#. In the latter case, if you integrate the previous C-major chord, you even get the chromatic line E-F-F#.



very important. JW is a master at chromatic touches to his lines. Adds heaps of drama and gravitas.

e


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## agarner32 (Dec 30, 2016)

Living Fossil said:


> For Bb-major, as written above, the term "mediant" is often used. However, that's a name and not an explanation.


Very good point about chromatic mediants. Theory explanations are almost always after the fact. We observe what composers are doing and come up with a name and try to figure out why or how it works. Having said that, it is great to study these concepts such as chromatic mediants, borrowed chords, common-tone diminished sevenths etc., because it gives you as the composer many avenues to experiment with - more musical language.


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## novaburst (Jan 6, 2017)

I Believe this is another form of substitution but not from the key as to change harmony but from another key to introduce chromatic motion, its the only thing that makes sense when looking at the music sheet.

When the chords are played in certain combinations away from the music sheet they actually sound quite nice mixed into the key sig

I would just like to add this would never have been questioned if we just sat down and listened to the piece majestic march.

This goes with out saying if it feels right or sounds good do it quoting from @ed buller


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## NoamL (Jan 6, 2017)

Guys, please! :( that transcription is all wrong!

This the real transcription (I've put it in the key of G so we have a common frame of reference with everything discussed previously):







Never trust those online sheet music sites for takedowns of JW's music, they are always bad.

You can see here the F has been introduced _long before_ the actual F major chord in measure 7. The chord he's using could be analyzed a few different ways. I'm inclined to Fsus/D ... 

actually before the theme even begins, the brass fanfare with the trumpet triplets is based on the same suspended chord.


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