Contents Copyright © Susan K Dailey 2005
NOT to be used/copied in part or in whole without permission of the writer

Advanced Higher Commentary - '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.


Bibliography

'Stargate Overture'

The David Arnold Shrine - http://www.msu.edu/user/perrinet/arnold/main.html

Scorerealm.ca - http://www.scorerealm.ca/stargate.htm

'Stargate SG1'

Jerry Goldsmith Online - http://www.jerrygoldsmithonline.com/spotli..._goldsmith.html

Miscellany

Liberton high School Music website - http://www.liberton.edin.sch.uk/Music/index.htm

Discography

Disk

Track 1 - 'Stargate Overture'
Track 2 - 'Stargate SG1'

that is amazing analysis SueKay...I am not much for desribing music is such terms but the way you did it, I could actually visualize the music as you had described it.