Rather, to write a well-structured piece, composers have to think about more than just something basic like ABABA. So while it’s cool that Powell does something that’s ABABA, that structure alone doesn’t make him a genius. But you can imagine that it’s pretty simple for a composer to write two melodies, toggle between the two, and finish up a song that way.
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Sadly, lots of movie scores fail to do even this level of rudimentary structure. Now in and of itself, it’s not too hard to write a song in ABABA structure. He didn’t just write random music, but chose a well-known structure by which to accompany the events on screen. Thus we see in “Flying With Mother” the following basic road map:Īs you can see, Powell built an ABABA form with an opening and closing section. It’s a good structure exactly because it contains both a sense of uniformity through repeating themes, but also interest through variation. So the music switches back and forth between two melodies, which provides simultaneously piqued listener interest when a theme is switched, but also a sense familiarity because it’s a tune that’s been heard before. That means “B” is the “B Theme,” or the second melody that plays. The form is, essentially, ABABA, with a brief introduction and brief conclusion.įor people who might not be familiar with this “ABABA” that I’m talking about, what I simply mean is this: there are two alternating melodies that play in “Flying With Mother.” What I am calling “A” is the “A Theme,” or the first melody. “Flying With Mother” contains a common musical form that has been used for centuries in a variety of styles, genres, and folk musics around the world.
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John Powell, however, understands how to integrate form into video, creating music that stands just as well on its own as it does accompanying movie events. It means it’s not very good music on its own. A lot of movie music simply plays sounds that work well with the visuals on screen, but lacks structure and form when played apart from the visuals. One of the first turn-offs for me is that much soundtrack music lacks strong form, a key element in well-composed pieces from pop tunes to Renaissance music and everywhere in between. There is a lot of beautiful alignment between music and movie, and with the melodies symbolizing important themes within HTTYD 2.Ī lot of soundtrack music falls flat to me for various reasons. In the second half of this analysis, I’ll relate to how the sound interacts with the events on screen. I’ll explain it in such a way that anyone, regardless of music background, should understand it. This analysis begins with theoretical music composition principles. On top of this, John Powell creates an engaging score that interacts perfectly with what has been done on screen.
I absolutely adore “Flying With Mother.” This piece is a gorgeous work of art from start to finish, a glorious musical composition resplendent in color, orchestration, movement, form, and more.
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