How to Sound Like Film Composer John Williams

John Williams needs no introduction. Known for soundtracking classics like Superman, E.T., Jurassic Park, Indiana Jones and Star Wars, the distinguished film composer has his own chapter in the Hollywood history book. Want to mimic the master? Allow me to divulge some classic John Williams hallmarks.

But First: a Bit of Music Theory

The notes in every key can be written down as actual notes (so C, C#, D, etc) or using their functional name. The function that each note has is relative depending on the key. For example, the G in the C-major scale is called the dominant note, but in the key of A-minor, it’s the E that’s the dominant note. At the same time, the F# note is the supertonic in the E scale, while the E note is the supertonic in the key of D.

The Raised Subdominant

This is one of John Williams’ most recognisable features in his more hero-focussed compositions. Using raised subdominants, the F in the C-major scale turns into an F#. Or, in the key of F-major, the B-flat turns into a B. Functionally, these notes are both subdominants. It’s like playing in F-major without the black keys, which is essentially the same as the Lydian church mode.

Focus on the Leading Note

The leading note is also relative and depends on the key. It’s the B in the key of C, and the G-sharp in the key of A. The leading note sounds like home and has a relaxed feel to it. Williams likes to use leading notes to make his compositions sound laid-back and, while you don’t want to overdo it, if you want to sound like John Williams, then it makes sense to give your leading notes more prominence.

Williams’ Go-To Chords

The leading note and raised subdominant (and sometimes the subtonic) are important when you want to sound like John Williams, but it might be that these notes are in the accompaniment rather than being featured more explicitly in the melody. Classic Williams chords (with a C in the bass) include D, G and B-flat, which isn’t surprising since they can give you a raised subdominant, subtonic and leading note.

Broad Strokes

Broad strokes are perhaps Williams’ most characteristic speciality so, to sound like him, you’ll want your melody lines to go every which way and be focussed at the same time. Whatever you do, don’t improvise using a metronome. Williams has always used pen, paper and his piano to write his music. Focus on the melody, the bass and the supporting chords. There’s definitely room for frivolous orchestration and 30 parts here, but unless you know exactly what you’re doing, don’t push every part to the fore.

The Whole Nine Yards

Williams knows how to conjure magical soundtracks using rich timbres that sparkle, intrigue and astonish. He also likes to go all out and incorporate everything from strings, percussion, choirs and keyboards to brass and woodwind instruments. The woodwind instruments in particular add a lot of colour to Williams’ work, but brass also plays a leading role in his iconic adventure film score. While the woodwind instruments, the flutes especially, take care of the higher registers, it’s the brass that brings that larger-than-life feel — even in the more Americana-heavy, Williams-composed score of films like Far and Away, JFK, Nixon and The Patriot.

Looking for more concrete footholds or actual score? Check out our John Willams and Star Wars-themed songbooks.

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