That woodwinds and strings sound at the beginning is the best musical representation of bike pedaling I can imagine. How Williams was able to acknowledge elements of the film in the music and still make it an integral composition is amazing to me.

Hats off to the LA studio musicians that performed this. The best of the best of the best, and it shows. Honestly the score and the playing to me overshadows the movie.

I've always held my ground John Williams' score to the original Star Wars film is his crowning achievement, his masterpiece, for my entire 43 years. But I'm not so sure anymore. This piece of the score to ET MAY be the greatest thing he's ever written and composed as well as one of the finest pieces of music in movie history. This is just an all out assault on the senses, an orgasm of sound. And that build up and climax as they come in for a landing on the bikes......it's so exciting and adrenaline filled that you feel like YOU'VE just been on the adventure too.....you have to take a breath and relax yourself after this incredible ride.......and then listen to it one more time just to hear this brilliance again

A fabulous example of the genius of the great John Williams. Everything is in there: superb pacing, energy, excitement, pathos and orchestral brilliance at its very best. Nice one!

What a fantastic breakdown. I was raised by the former president of the oldest music publishing company in the U.S. & an accomplished soprano opera singer. I was raised on classical/film/opera music, and this is one of the best breakdowns I have ever seen, and of one of the best chases John Williams ever wrote.

This channel really helps me to understand the genius process of orchestration and film music! Kudos to you!

The chord the bar before the 3/2 where the D major "flying" theme arrives is a standard 20th-century harmony: two perfect fourths separated by a half step. It can be derived from an octatonic scale. Bartok was fond of the sound..

The opening in the winds, violins sounds ALOT like Howard Hanson's Symphony No 2. I remember noting the similarity when I heard Hanson's Symphony a few decades ago. Spielberg likely placed the opening of Hanson's 2nd movement, (Or was it the third movement), as a temporary track until Williams could write the score. The ending chord is absolutely gorgeous; warm and regal and for some reason extremely comforting. Obsessed with JTW ever since I sneaked into a theater at 13 to see this.

fantastic, as usual, thanks a lot for your hard work and for the sharing!

I think that there is actually a LOT OF SCIENCE to the chord before bar 3/2 where flying theme arrives. I am almost sure that this chord with G in bass is actually G#11 it is the dominant chord found on the 4th mode of the "d melodic minor scale". This #11 is the "c sharp" that adds the tension to resolving the chord to "D" . BUT!!! because Johny Williams is a clever guy, he knows from his Jazz years, that he can add Flat 9th ( this "Gsharp is actually A flat, written harmonically correctly - i dont say Williams doesn´t write correctly - his art is actually far beyond the borders of my intelect, BUT due to rapid changes in tonality and the music is full of chromatics and modern harmonies, its more practical to write the music simply as it comes to mind ). This A flat ( or G sharp as you wish ) adds even more tension to the chord. Because there is also a lot of tension in the moment right before the bike with Eliot and E.T. leaves the ground full of the bad guys. If he would need even more tension, he may add also sharp 9th to a chord ( A sharp ) or he can continue to alter D tone to D sharp :D. Thanks John Williams

Are you going to put up the score where E.T. gets on his space ship for the movie ends soon? My mother would love to see that.

Absolutely can’t thank you enough for this!!!! 😩❤❤❤❤🙏

Thank you so much for your fantastic work of transcription, analysis and synchronisation which completely tributes to the work of these great composers. I also have a music channel of film score analysis, more oral, and not necessarely with the score (it is in french, on the other hand ^^), and this will help me a lot, considering how it could be difficult to find complete orchestral scores from living composers. Thank you a lot, and have a good continuation ! Adrien from SillaBO

Such a great piece. One of my favorites.

Wow, the violins go really high here! Sixth upper ledger line, that's a D: wow! Is there any space left between the pinky and the bridge LOL! J.W. scores are usually very demanding regarding the players. Fast staccato figures in voices for the french horns are also quite demanding (his 1984 olympic fanfare as well - holy cow!). I wouldn't dare writing anything like this, besides from not having 10% of J.W.'s skills of course. Thanks for making these. It's humbling yet inspiring following the notation.

This is why, even though I played in a marching band, music is a language I will never understand ....love it!

I had this video on loop whole biking today

This particular composition seems to be chock-full of the Lydian mode. Williams seems to have used the Lydian mode to great effect in this.

GENIUS film music!

I would absolutely love it if you could do the entirety of the adventures on Earth suite! Great video yet again, thanks man!

Thanks so much for doing these!

INCREDIBLES COMING SOON WOO

The incredible!!!😨😨 sooo excited!!

Great work! I always interpreted the chords at :52 to be Em9 and Dm9, respectively.

Could you do "Aunt Marge's Waltz" or "Buckbeak's Flight" From HPatPoA by John Williams

David, is there some audio distortion around the 2:04 - 2:05 mark? There's something about that climbing scale that sounds off.

Hi. Great channel. Only a tiny question: should not bars 3 and 4 be one bar 3/4 instead of these two 2/4? Um abraço.

Tempo is insane

Could you do James Horner's The Rocketeer.

The intro theme is almost the same to the intro of the cartoon ''The Jetsons''.

Does the composer write the music as if it were a piece of music without taking into account the sounds of the film and the actors, as I saw, and then when editing, the director lowers the volume of the music, or must the composer take into account the sounds of the film in the dynamics he writes?

Where can I get the score for that? Any score book recommendations?

But I wanted it until the end when he says goodbye :'( ( Thanks anyway, it's great)

Still doesn't explain the "why". For example, at 3:00, why from D9 to Bb7. Or why at 3:06, from Bbmaj7 to Ab/C, versus the different progression in the forest bike scene. Those are the things I'm trying to learn from those videos, and there's never any answer.

Ted Grossman nearly getting knocked over.

There is no link for Howard Hanson's second symphony in the description.