1. By: Paul Brassard, Nate Korous, George Chahua, & Kathyrn Roberts
John Williams
By: Paul Brassard, Nate Korous, George Chahua, & Kathyrn Roberts

2. Biography Beginnings Film Scoring Born February 8, 1932
Notable schools attended
Family
Film Scoring
Neoromanticism
Composers worked with
Television
Acadamy Awards
Movie Director

3. Biography Preforming and Conducting Pianist Boston Pops Orchestra
New York Philharmonic
Boston Symphony Orchestra
National Symphony Orchestra
Grand Marshal for the Rose Parade

4. History Training Career: Composer, Conductor, Pianist
As a child he studied the piano, trumpet, trombone, and clarinet.
UCLA – Composition
Mario Castelnuovo-Tedesco
Julliard – Piano
Additional experience working as an orchestrator and arranger
Career: Composer, Conductor, Pianist
Genres: Film Score, contemporary classical music, post-romanticism, jazz

5. History – Film Scores Fiddler on the Roof Home Alone The Patriot
Tom Sawyer
Hook
Harry Potter
Jaws
JFK
Catch Me If You Can
Star Wars
Far & Away
The Terminal
Close Encounters of the Third Kind
Jurassic Park
Memoirs of a Geisha
Schindler’s List
The Adventures of Tintin
E.T. the Extra-Terrestrial
Sabrina
War Horse
The Witches of Eastwick
Amistad
Lincoln
The Accidental Tourist
Saving Private Ryan
Indiana Jones
Always
Step Mom
Presumed Innocent

6. History - Compositions
Other Compositions Include:
Music for four Olympic Games
NBC Sunday Night Football
NBC Nightly News
The Statue of Liberty Rededication
Television programs
Boston Pops Orchestra’s Principal Conductor ( )
Williams is an accomplished pianist.

7. History – Awards Awards: Nominated for 49 Academy Awards, winning 6
Nominated for 6 Emmy Awards, winning 3
Nominated for 25 Golden Globe Awards, winning 4
Nominated for 63 Grammy awards, winning 21
Received 7 British Academy Film Awards
Inducted into the American classical Music Hall of Fame
Inducted into the Hollywood Bowl Hall of Fame
Received the Kennedy Center Honors

8. The Raiders March Steven Speilberg and other directors
Inspired by Tchaikovsky and Wagner
Leitmotif
Musical techniques used to portray traits of the character

9. Listening Guide for "March": From Raiders of the Lost Arc by John Williams from Indiana Jones and the Raiders of the Lost Arc
0:00 - March starts with brass being the prominent instruments.
1:26 - Theme hits its high point. Symphony starts to wind down to a sort of "call and response" between the strings, brass, and percussion sections.
0:08 - Main theme with brass starts. Recurring through out the piece. This is the phrase of the March that people tend to recognize as the "Indiana Jones Theme"
1:48 - Bridge to next movement in the March. Timpani and other percussion are coming into the foreground to offset the brass.
0:22 - Theme gets stronger and crash cymbals start to accent the brass.
1:59 - Strings take over with a long sort of sweeping feel. Sounds like you are seeing a sweeping desert terrain or Indy and Marion in some sort of characteristic embrace. John Williams does this drastic change in quite a number of his movie pieces.
0:36 - Strings start to take over. Theme is still the same, but with slight variation being brought on by the strings.
0:51 - Brass comes back into the foregrounds, reiterating the main theme. Snare rolls start to accent with the brass.
2:02 - Brass has pulled back quite a bit but is still leading the "sweeping" theme. The strings lend to this with the "star like" playing.
1:14 - Main theme starts reprise, giving way back to brass for the attention.
2:18 - Notice the flute and higher woodwinds start to weave in and out from the brass and the strings.
1:16 - Bells start to play the main melody.

10. 2:33 - Symphony starts to crescendo, gradually continuing the same "pretty" theme as before.
4:04 - Main theme of the March comes back full strength with the strings and higher woodwinds running up the scale between the 'bum, bum' of the brass, snare drums accenting the brass as well.
4:18 - "Call and response" between the brass sections continuing on the main theme.
3:01 - Strings sweep back to the second theme of the March, still that "sweeping" picturesque scene. Strings are still in control with the higher woodwinds sweeping in and out.
4:30 - Crashes, brass, strings, and snare hit home as the March transitions into the outro.
3:21 - While the second theme is coming down, you can hear the brass start to play the main theme, quietly at first but building as they go.
4:36 – Listen for the "twinkling" from the strings and higher woodwinds, accompanied by the bells and other percussion.
3:35 - Notice the "fleeting" higher instruments sort of battling with the main theme.
4:43 - Whole symphony crescendos to the highest point in the march, ending in the iconic John Williams "Bump ba da bum".
3:47 - Everything becomes much louder, the brass become the dominant section again as the main theme comes back into the picture.
 4:50 - The main theme transitions out quietly as an underlying sound. Brass no longer in the foreground, mainly flute, clarinet, and strings.
4:00 - A bit of a vamp from the snares and brass before the start of the prominent theme comes back to fruition (lasts about 4 seconds)
5:18 - With a crash the march comes to an end on a quit plucking (pizzicato like) on the strings.

11. The End

12. Citations
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