How to Write Like John Williams - EP2: E.T.

To get in touch with me for Zoom composition or piano lessons, commissions, collaborations, or just a friendly chat, you can use the email [e-mail]

[@JimCullen]

So many times you went off on a side tangent and ended it by saying "but anyway, I'm rambling" or "I don't want to get too much in detail". Please don't stop doing that! These side tangents are some of the best bits! The thing about overtones with an interval of a sixth in the lower registers was especially enlightening. "it's usually marked as l period v period; I can't remember what that stands for - probably some Italian term - but it just means let ring". Let vibrate, maybe? :P Seriously though, I Googled it. It's apparently _French_, but it does indeed _mean_ let vibrate. Laissez vibrer. Anyway, another great video. Loving this series. Thanks!

[@aarons1972]

For real! Learning so much from all that is said!

[@KiteFlyingRobot]

I thought the same thing. I really enjoy the side tangents, a wealth of knowledge worth hearing, and anyway they're concise, so you're definitely not straying too far for too long. keep it up!

[@timbodemi]

L.V. is commonly used in handbell music.

[@yosijimusic6311]

Hi J, I am 55 by now. I wished I had had a teacher like you ... many years ago. Your approach is absolutely compatible with my experience and approach of music. You have the gift to make things really easy and comprehensible AND without decontructing the "magic" of the music !!! (My teacher was quite good at the latter; not so good at the former (--: ...) Thanx, Jos

[@alexandrodiova8386]

Hey J. Jay! I think everyone is very happy because you are uploading so often! Thanks very much for shering your knowledge!

[@paulenright9888]

Fantastic video. This kind of harmonic, melodic, rhythmic, dynamics & notation explanation of a score / arrangement using the piano and the score itself is wonderful and highly valuable - and quite rare I think (esp on piano) - and it is just a brilliant way to do it. I was overjoyed with your explanation of why the same intervals like the minor sixth played lower sound more dissonant - I never understood the reason why and now I do - super stuff. You clearly have tremendous knowledge and passion for this but not only that, you have a great ability to teach as well. Thank you very much and keep it up if you like it!

[@JJBerthume]

Paul Enright Thanks so much Paul, I'm so glad you enjoyed it!

[@HickoryHickory220]

A professional string player turned orchestrator would certainly have the intelligence to notate portamento bowing in the score especially if the sound produced was the best choice. John Williams would have approved because of his confidence in the orchestrator. True, a personal understanding of John Williams' preferences would certainly make that an easy decision. As for dynamics, John Williams marked clearly on the sketch scores what dynamic was needed. Thanks!

[@nandoflorestan]

I am so glad someome else (and with such credibility) has also noticed that many contemporary film composers don't have the chops to use inverted chords when they are obviously called for!

[@dennismurphy6116]

Hey! Do you think you could do an analysis of the Lord of the Rings score? I know it's not John Williams, but still, it'd be fun to watch.

[@JJBerthume]

Dennis Murphy I absolutely adore those scores, so I'd love to do an analysis in the future.

[@dennismurphy6116]

JJay Berthume Looking forward to it, thanks!

[@edelcorrallira]

15:38 thinking about strings as multiple instruments .... Interesting, as a guitarist, I've thought about that. But, I never expected someone else to say so .. In that regard, any solo piece can be considered a delicate balance between orchestration and execution. Because of this reason I find MIDI guitar a very interesting ocean of possibilities, as you basically have 6 keyboards sandwiched together. And while you can and may voice them identically, I find the idea of providing each string different voices fertile ground for exploration... And let's not even factor mechanically unfeasible tunings. Part of what motivates me to learn is just peering into these vast unexplored possibilities. Anyway, back to the lecture. Just needed to pause here and think about this for a second and share.

[@DanielCiurlizza]

Can't believe these insights are free. Love this!!

[@rgallitan]

Amateur composer here. So many people on KZbin seem to have something to say about Williams, but your videos have been by far the most interesting and instructive, both regarding Williams and orchestration generally. So glad I found your channel!

[@Jurazgar1]

I found your videos and i am eating them since then. Thanks for your work! It really helps :) Cheers from Argentina.

[@AlekVila]

You have shared some profound insights in this video. Now I am hooked.

[@w12337]

Hey love your channel, I know this video is 3 years old now so you might already know what I’m about to say, but from the perspective of an audio engineer, the overtone explanation for low dissonance is spot on however it’s only half of the story. If you play harmonised perfect sine waves (no overtones), you still get the same ugly dissonance the lower you go, this is because of the actual physical bandwidth that lower frequencies (longer wavelengths) demand as compared to high frequencies per octave. Two elephants being crammed into the same size elevator would clash much harder than two cats being put in the same elevator, the same goes for large and small wavelengths of sound if that makes sense :) just thought you’d like to know because it really helps hammer the point home that what goes on in the bass is so very important. Keep the videos up love this channel❤️

[@JJBerthume]

That's fascinating!!! I was not aware of that, thank you!

[@ccsccsccsccs]

I really like how JW makes the tiny detailed variation to the rhythmic background(trumpet trumbone EnHorn) over time while the main melody maintains the same status. This is why JW's music is never boring, cuz the attention he gives to the less noticible textures. If only the pop music spend some time making their crap less boring this way ;D

[@JJBerthume]

I know this comment is from four years ago but check out AJR's album OK Orchestra, it's an absolutely amazing pop album, with brilliant creative textures throughout!

[@nandoflorestan]

This class is GENIUS. Yes, in caps. Thank you, we want more. I think "E. T. and Me" would make for a great class too.

[@philmoore71]

i love this analysis. @29 you're still on the first few bars - so involved and interesting. There is so much in so little. Tkssssss

[@marcel_schweder-composer]

Brillant video and analysis! Kudos! I would really like if you could one or more videos of James Horners "STAR TREK II" score. Harmonically, orchestration wise... :)

[@aarons1972]

This is so great. Thank you so much for doing this! One of my all-time favorite cues, and in my opinion, one of the most amazing love themes of all time is "Han Solo and the Princess"...if you're still taking requests.

[@MattRoche23]

Hi JJay, I would love some Jurassic Park!! Specifically I think it's called Journey to the Island? Love these videos!!!

[@wolfgangtheil4158]

Man, your vids are packed with so many insights that were previously available only to a select few composition students. It's f***in invaluable, thx for sharing. Amazing how you mastered all these different aspects at such a young age, but these days, the opportunities are there. I'm learning a lot, thx again for sharing your skills and love for film music.

[@thoret.1368]

Thank you! This is really interesting.

[@Wouter10123]

41:00 "... they're gonna pick up the bow and start again on a down bow" If you look at the live recording you played a minute earlier (39:20), it looks like they don't actually do that, they start the second phrase on an upbow. Interesting tidbit.

[@JJBerthume]

Good spot! Often the concertmaster deviates from the score or convention for inflective reasons.

[@sirderpsalot7005]

So glad you're free from all your busy uni stuff again! Owe everything i know about about composing to you Jjay keep it up :)

[@GeorgeStreicherMusic]

I'd love to see an analyzation of the "Raiders March" score!

[@videogameremixes6519]

I really love this series and it really helps. When you get to Star Wars, I think a really interesting and underrated song that would be great to analyze is the "Battle of Hoth" theme. It sets a really good tone and the music shows a veru effective level of disarray that is very rare in music.

[@Evli10]

Nice viceo! Jurassic Park is beautifully orchestrated, could you do a video on "Journey To The Island"? Amazing texture for both themes... Star Wars is always a great choice, but the main theme has been analyzed many times before on youtube. Maybe a chase/fight scene would be a good choice to analyze? For example "General Grievous" or "Jango's Escape"? Williams makes so many interesting choices in his action scoring. :)

[@JJBerthume]

When I do Star Wars I'm definitely doing lesser known cues! :)

[@Evli10]

JJay Berthume Looking forward to it!

[@Caio0_057]

Maybe Into the trap from the Return of the Jedi? Williams does so many interesting melodic and harmonic things that makes that cue so frantic and full of panic.

[@kordianlewandowski]

I love all of your movies and for this analysis of Williams I waited my whole life. You teach me a lot of things. Thank you!

[@jettjaguar8150]

outstanding content , brilliant work m8 , thank you very much

[@JureJerebic]

My favorite JW piece. Brilliant video, learned a lot. You should do an online orchestration course!

[@KiteFlyingRobot]

Another excellent video, thank you Jay. E.T. is probably my favorite JW score as well, though it's hard to pick, but I love listening to this score through my studio monitors at high volume, pretty regularly.

[@kilioakenshield1164]

You're on a roll dawg!!

[@lesmizzle]

Excellent video JJay!!!

[@TheLibrarianUU]

OoK! [41:07 - you might think they would (and me as a violinist would as well perhaps) - but if you look the the recording - they are inverting the bow stroke and start on an upbow instead. The second phrase is played differently. Possibly only to preserve the legato. Or to make the second phrase a little softer. There are only a few reasons to make it more difficult for us to play it with the same intonation on a different bowing.]

[@jonathanflores2302]

I've never learned so much from one video. Great job.

[@declansaint-onge7305]

Thank you so much for making this. I got to see ET live a few weeks back with David Newman. I've been obsessed with the score since then. This is fantastic!

[@charliemcgrain]

This content is gold. Well done sir, very impressed with your knowledge, passion and clarity. Thank you so much.

[@HaliPuppeh]

I'm loving your orchestration analyses! Thank you for sharing this! Just an FYI, "l.v." stands for the French "laissez vibrer" and also the English translation "let vibrate".

[@JJBerthume]

Thanks! I knew it stood for a French term, it's been a while since I've browsed an orchestration manual!

[@matthewforsee5092]

Thanks so much for your work. I've learned so many useful things from you to help with my own orchestrations, from major concepts to very particular techniques.

[@JJBerthume]

Matthew Forsee Cheers Matthew, glad you've gotten something out of these! :D

[@JSMallard]

Loving every video! I learn so much and leave wanting to learn even more. I would love to see a take down of a cue with the flying theme or maybe even Leia's theme or Yoda's theme, if you go with star wars.

[@polkmusic]

This was a really great episode. I would love to see a video on Flight to Neverland. I know it is one of your favorites.

[@GharunLacyMusic]

JJay, I'm working on a reduction and analysis of JW's "The Astroid Field" from Empire. I'm doing bars 69 - 84 (the majestic fanfare part). The part is masterful on it's own but when you take in how it contrasts with the rest of the piece, it elevates to genius. Any part of "The Astroid Field" you could do (except 69-84) would be great. Keep up the good work!

[@nRGmusicproduction]

Pure gold. Thank you so much!

[@alfonsomaribona]

Just wonderful. Thank you!!!

[@SharmaYelverton]

Nice one man. Was an interesting watch. Great bit of analysis.

[@Warlowisnumberone]

Another amazing video!! I live for your teachings. Thank you!!

[@zachariahwright9732]

You should try doing something from Superman or Star Wars. I'm particularly fond of The Planet Krypton and The Throne Room from those films, respectively. Thanks for the videos!

[@jjaammee11]

Pure gold. Thank you so much.

[@richardkilroy3010]

I loved this. Thanks so much.

[@boyisun]

Fantastic video. Thank you JJay!

Excellent and detailed analysis, with many insightful tips for composers! Thank you! I'd want to say that there is an small error in your transcription. I found it strange that the English Horn was not present in the last measure, so I went to my copy of Adventures on Earth and, alas, it plays there in that measure, repeating the grace note idea of the former phrase.

[@JJBerthume]

Thank you! And good catch!!!

[@ptmcgraw328]

Nice work. Your analysis and comments are very helpful. You should think about doing some videos with Patreon backing so you can get paid.

[@JJBerthume]

Paul McGraw Thanks Paul! I do have a Patreon, link in the description! :)

[@aidanmcbride3780]

Please do flight to neverland for this series

[@lambarridaniel]

hi! nice videos! it is great to share this passion for jw!,,, can you talk something about the encounters of the third kind suite?? is something else!

[@cukcek]

Great videos !!! Very helpful! Could you analyse any Hans Zimmer's or Danny Elfman's music? What about scores with vocal? Did you analase any Disney productions? There are many interesting position with orchestra and vocal. It's could be great lesson to learn balance between vocal and orchestra. Greetings!

[@jackpock1882]

Whoa

[@JureJerebic]

Awesome video! Also, if I drop the speed to 0,75 it works better for me haha

[@JFrameMan]

Any plans to do Schindler's list? I've been trying to analyze how he wrote it to go with the key scene in the movie for the last couple of days and it still blows my mind.

[@JJBerthume]

JFrame It's on the list!

[@moonrockinmynose5689]

Thank you so much for this series! I hope you will continue it :-) The piece of music that I think would work very well for the series is "Witches, Wands and Wizards" from Prisoner of Azkaban, which contains part of the Quidditch cue for that movie. It's such a great piece of action music by John Williams, with so many things going on in there. I hope you like it as well :) I'm just in awe of your knowledge of music. Did you study music or are you self-taught? If it's the former, do you think it's even possible to learn music theory and composition on one's own?

[@JJBerthume]

moonrockinmynose Glad you like it! Self taught! I'm currently two years into university, but if I'm going to be completely honest the biggest thing I've gotten out of it is experience writing for live musicians. The concepts I teach in this videos I learned from writing tons of music for years, devouring as many books and scores as I can get my hands on, watching other instructional videos like Orchestration Online and composer interviews, as well as sharing my music on forums and getting their feedback. Hard work and passion is all it takes!

[@tatemcilwain1775]

I can't actually read music because I only compose stuff on GarageBand on my iPad. I'm 15 and my dad used to be a music teacher and he says that only 4 of his 20 year old students in his entire career have ever been as good as me. I don't believe him. Composing is easy. Cmon. I have know clue with half of the things you're talking. I think I understand it all I just don't know what it's called. But your videos are really helpful cheers

[@dancegod1691]

My dude that's awesome! You have a natural sense of melody like I do. Imagine being able to write a whole composition improvisationally. That's what learning piano can do for someone like you.

[@Mister_Man]

Looking good! Any rough ETA on when we can expect to hear about the melody competition?

[@gkgyver]

You say Williams uses chord inversions, which is lacking in film music today, but when showing the score, it shows violas playing root position.

[@JJBerthume]

Check out the lowest pitches in the score! :)

[@gkgyver]

@@JJBerthume I would love an in depth look at the musical language of Howard Shore's Lord Of The Rings. In my opinion one of the most misunderstood film scores. When people say they want "the Lord of the Rings sound" they usually mean something entirely superficial that neglects the music's unique language.

[@BarrettLewis]

Thank you for this JJay! Enjoying your score analyses! You mentioned a relative dynamic/volume chart that might have. Do you mind sharing that?

[@JJBerthume]

Barrett Lewis Cheers, glad you got something out of it! Email me about the chart.

[@henrychandra2064]

Great stuff! Just FYI, towards the end you mentioned long bows to get the fortissimo is incorrect. Long bows are for molto legato and richness of tone. It coincides with sul G.

[@JJBerthume]

Thanks! It increases tone richness and volume, although pressure has a greater impact on sheer volume in terms of decibels. I've taken two years of basic violin to help my string writing, so that comment comes from visceral experience. The comment about there being two ways to achieve volume/richness came directly from my violin teacher, Dr. Deirdre Hutton who teaches at Furman University. Playing louder requires more bow, that is taught unanimously across various orchestration manuals, I can cite the pages if you want.

[@JJBerthume]

I've also, while reviewing bowings for my symphony to be performed this fall, received a comment from Dr. Tim Joiner, who teaches violin and conducts the FSO, that a certain passage I had written needed to have shorter bowings for the loud dynamic level.

[@henrychandra2064]

Absolutely agreed with regard to long bows can produce loudness. My comment weren't to say that long bows doesn't produce loudness, it was just to clarify that, as you know already pure brute fortissimo is produced closer to the frog, thus, if you are a conductor and inform the violins to play really loud, they won't automatically use long bow. On the contrary. In the passage you mentioned, Williams wanted very rich, broad, and lush sound, hence the long bow, and the Sul G on the score. The violins could be playing the same passage pp and still use long bows. What would be even richer is to div. the violas and cellos and add them to the melody. But I'm supposing Williams didn't want it too romantic. I had a chance to talk to him on a couple of occassions. The 2nd time I was interviewing him. Felt like I had met God!

[@JJBerthume]

Henry Chandra Right, we're on the same page - you're just misunderstanding (perhaps I wasn't clear) what I was saying in the video: the dynamic level came first, which requires more bow, so therefore he used shorter bow strokes when marking his slurs.

[@brettjames4245]

I'd love to see Victors Theme from The Terminal.

[@Sillu129]

Can someone tell me where on the internet i can find the golden ranges for the instruments where their harmonics sound good in? Its easy to find the full ranges of the instruments but i cannot find the ranges instruments actually work with other instruments.

[@JJBerthume]

Sillu129 Email me and I'll send you some charts and resources! And that goes for anybody.

[@timbodemi]

Great videos! Any thoughts on why the accent is on different notes between the horns and the violins in measures 3 & 4?

[@JJBerthume]

Good spot! That was a transcription error on my part.

[@timbodemi]

@@JJBerthume, I assume the violin part is correct.

[@Jamesivansongwriting]

Hello, do you happen to have the link to the instrument dynamic range you were talking about? Great work!

[@JJBerthume]

Jamesivansongwriting Send me an email about it!

[@davidheymann7741]

Isn't the "sul G" mark redundant here? How else are the players supposed to play the first couple notes other than on the G string?

[@JJBerthume]

Yes but many pitches in the melody go up to the D string - to instruct Sul G means you want the player to restrict themselves to the lower string, so that you get a richer, more consistent timbre as well as a portamento effect from not being able to switch strings. See Scheherezade by Korsakov, movement 3 first page as an example of classical rep using this technique (in the case of that piece it's Sul D).

[@AlvaroALorite]

Can you let us know where to find that chert you talked about around min 27 about the relative volume of different instruments? :D

[@JJBerthume]

Álvaro A. Lorite Email me and I'll send it to you.

[@ishagshafeeg]

Genius. Keep doing these... Will you be starting online courses for teaching these compositional skills of scores? Thanks

[@JJBerthume]

Ishag Shafeeg I definitely have those planned in the future, although I can't say how long it will take me to develop a systematized curriculum and such as I currently have so many things on my plate!

[@ishagshafeeg]

Wonderful news! Looking forward for it. Take care.

[@Gospelplaya1000]

maybe you can do classes on Udemy

[@gwenaelmariogrisi9632]

Hi JJay, Thank you for your analysis. Just wondering about the horns 1&2. Are you sure that their accent is on their third measure, last beat, instead of first beat/fourth measure? This would be interesting to see that the emphasis comes earlier on the horns because of the fact this is an absolutely hard and expressive effect... But I guess it's just an error from your sibelius file ;) All the best,

[@JJBerthume]

Thank you for pointing that out - can't believe I missed that, yes that was a mis-transcription.

[@jshughes79]

l.v. = laissez vibrer

[@JohnMassari]

L.V. Musical term let vibrate

[@perpetualmotion319]

Hey JJay, could you explain how you hid the 3s of the triplets?

[@JJBerthume]

Perpetual Motion Shift-Command (or control on windows)-H

[@perpetualmotion319]

thank´s very much.

[@nakeddancer2000]

Where might I get the score?

[@carstenaltena]

Great JJay, thanks so much. I was wondering, how much of this orchestration is really by John Williams himself? I know he works with orchestrators like Alexander Courage, would they add stuff to his sketches? Any idea?

[@JJBerthume]

Cheers Carsten! He started his career as an orchestrator, and when he later got into composition and had to hire orchestrators to meet deadlines (especially in the hectic studio days), pretty much all of them (Herbert Spencer especially) said in later interviews that working for John was more of a copyist job than anything else. His sketches contain all musical lines, information about doubling, and he conducts and makes changes to the score during its recording which means he must be intimately familiar with all of the orchestral decisions. His orchestrators just extrapolate these lines onto a proper score, and are in close contact with him throughout the process. He also has written many concert works (which he has orchestrated completely himself) which sound very similar in style and textural brilliance to his film works, further confirming that his hiring of orchestrators is only a necessity of labor born from the fact that he works pencil-and-paper; he still makes virtually all creative decisions. Check out this interview: www.finalemusic.com/blog/may-the-fourth-spotlight-on-joann-kane-music/

[@carstenaltena]

Thanks, very informative :) Now that you mentioned it, I never realised that he probably took the time to orchestrate his own concert work, makes sense. And interesting that a sketch can be very complete.

[@Wouter10123]

I can't wait for more of these, no matter which movie. But since you asked for suggestions, how about the theme from Hook? kzbin.info/www/bejne/q2arYaZ5mduNZ5Y One question about this one tough: do you know why he wrote the second trumpet in such a low register? Why not use the trombone there, or at least the third trumpet instead? (measures 5 and 6).

[@rswar]

i have a question what is the opposite of sul g? (return to play on all strings)

[@brandtbecker1810]

Dear rswar: No, it actually means to play exclusively on the G string. It gives the violin a very dark and rich sound - almost like a viola. Hope that helps. Brandt

[@rswar]

What i mean is how to tel the player to go from only playing on the g string, to go back using all strings

[@alexandrodiova8386]

"Sul" is an Italian word that means "on the". You can use "Normale" witch means normal. Because there is no predetermined way to do it.

[@alexandrodiova8386]

Or use "Tutte le stringhe" Witch means "All strings"

[@JJBerthume]

In all the instances I can think of of this being used (about 11 off the top of my head), the composer/orchestrator doesn't mark when it stops, because it's usually quite obvious when a new section begins and they should return to normal. If there is some ambiguity and you specifically want them to stop within a phrase, using norm. is always a safe bet, as Alexandro said. I personally wouldn't use "tutti le stringhe," as that might cause ambiguity amongst musicians who may not be fluent in Italian. Rimsky Korsakov, for example, at the beginning of movement 3 of Scheherazade, marks Sul D and then later Sul G, without ever marking norm. or something of the like, because it's fairly obvious when the strings play in a higher register on a new phrase that they shouldn't keep playing on the G string. Seeing as Korsakov is widely considered to be one of the best orchestrators of all time, I'd follow his example. The problem with norm. is that it doesn't clarify what specific aspect of the playing should return to normal; for example, if you wrote marcato, they might stop playing marcato if you mark norm. rather than understanding as a cancellation of Sul G. It's a good question, I'm going to see if I can find other score examples that may have different approaches.

[@johnne9866]

Now I don't know what orchestrations/ music to trust when I don't know if real instruments are playing them :(

[@JJBerthume]

John Andersson Not sure what you mean!

[@yosijimusic6311]

It strikes me that he writes f# in the 2 Bb-trumpet. I learnt that this note is rather difficult to intonate purely. Of course these players are excellent, but...

[@JJBerthume]

www.finalemusic.com/blog/may-the-fourth-spotlight-on-joann-kane-music/

[@heathjelovic961]

Can you please link the relative dynamics chart?

[@fernandodantas7852]

What's this soundfont? Vienna Library?

[@JJBerthume]

I’m using NotePerformer 1.3.

[@fernandodantas7852]

Thanks! What a great video. Awesome.

[@JJBerthume]

I’m so glad you’ve enjoyed it! Stay tuned for the third episode of my melody series, which will be released tomorrow! :)

[@tomwheeler1082]

John doesn't orchestrate all of his work. You know that right? Like jurrassic park isn't him. Not sure for E.T. tho.

[@JJBerthume]

Cinetube TSL His orchestrators have all states that working for him is more copy work than anything - also, I’m working from the concert versions for these videos, which were arranged and orchestrated by him.

[@tomwheeler1082]

Oh ok thanks!

[@dwalden74]

As a fellow JW fanboy (and once aspiring composer), I really appreciate these videos. Best video showing JW’s methodology is in this Empire making-of the score: kzbin.info/www/bejne/nqaakJeDncmWn9k Keep up the great work! 👍🏼

[@driverape]

The video is very interesting, but I recommend speaking a little slower!

[@jasonzurlo1543]

First

[@alexandrodiova8386]

Jason Jason, haha it doesn't count :b He just edit the video.... But... It seems all the comments are gone so... Nevermind 😂

[@elijahberthume4325]

Alexandro di Ova I originally had I am after all his brother, but he took the video down to edit it more because he made a mistake in it lol

[@elliotdotson1486]

Looooooooow key

[@elijahberthume4325]

That One Kid NO

[@joelburford7167]

Would it be possible to email me your chart you speak about at 27:00 please. I'll message you my email. Thanks.!

[@r3music534]

You keep talking about Williams score?! Let’s get your fanboy antics right ! Herbert Spencer orchestrated et and many others! Not Williams! Although you are talented and it’s much appreciated give proper credit where it’s due

[@JJBerthume]

Herbert Spencer is amazing! He said working for William's was a copyist's job, as have all of William's orchestrators. William's sketches, which are entirely his, can be found online: almost all of the information (with the exception of some articulation details and perhaps a doubling choice here or there in a time crunch) can be found in them. This is an exact quote from Conrad Pope, who has also orchestrated for John Williams many times: "A colleague and friend contacted me earlier today and informed of this thread. Please forgive my intrusion, but I thought I could shed some light because of first hand experience. Dear [...], the short, succinct, undeniable answer to your question, “DOES JW ORCHESTRATE HIS OWN MUSIC “, is a resounding, unequivocal YES. John Williams is the only and absolute author of his music and the architect of the “orchestral sound” of his work. I do not regard his “sketches” as “sketches” in the conventional understanding of the term (e.g. Beethoven’s Sketches) where one grasps simply a rather powerful, yet inchoate, manifestation of a possible musical idea (remember I’m referring to Beethoven here, not most MIDI transcriptions I receive! --- a touch of “film music” humor) John’s sketches are rather more akin to what the Germans refer to as a “Particell”-or “short score” (an example of this is the published “particell” of Schoenberg’s Vier Lieder op.22). With JW, every detail is generally accounted for: even in the string divisi and in the disposition of brass. The only discretion an “orchestrator” or copyist truly has is in the voicing of the woodwinds-and even there it is generally only with regard to their role in an “orchestral” tutti. The reason for engaging an orchestrator with respect to JW, really, is in the woodwind writing. As anyone who has heard or read what I have to say on the topic: the strings almost always balance themselves regardless of bad writing. The brass can find a “blend” in spite of a composer’s efforts to achieve the opposite, HOWEVER the woodwinds require attention if one seeks to achieve and blend and balance within that particular choir of The orchestra. More than the “instrumental” assignments in JW’s sketches, what I find more important in making a correct and balanced orchestration are his precise indications of dynamics and articulations. Here he reveals that he is a true master, not just of composition but rather of the mechanics of The orchestra and orchestral performance. For the most part, “register” and dynamic remain the most determinative factors of choice of instrument (particularly with regard to the woodwinds). These dimensions convey to an orchestrator more the weighting and balancing The orchestra to the musical idea presented-and provide a touchstone for the orchestrator to know if everything is “correct” in the “sketch” (particell). Therefore, an orchestrator (at least for JW) is more like a proofreader or an editor. (Also know that all the scores for JW were transposed-young people: understand the instruments and what is the most efficacious for them to read! Finale doesn’t play any instrument!) With JW, at least in his most “busy” years, his orchestrators functioned as someone, to quote my mentor Arthur Morton, transferred from the “white paper onto the yellow paper”. (Please see Judy Green’s Catalog for an explanation of music paper- a business about to go the way of the “buggy whip” business). Now that JW has more time he can send his work to the copying office directly and review, revise and correct what he doesn’t care for- a method I’ve used for my original music for almost 25(!) years now and still use to this day as an orchestrator with my assistants (though I always try to get my colleagues who input my stuff orchestration screen credit--- though not always successfully, sadly. Orchestration is a “film business credit” NOT a “music credit”- as anyone who has heard me speak knows.) Please know, that I, too, only use “pencil and paper”-I wish I knew Sibelius (actually, I think one should find a better program--- at least at the level I work) or Finale (the best, for any orchestrator/copyist because of its flexibility and ubiquity in Hollywood. Sibelius is a “composer’s tool”-intuitive, simple, effective. Finale is an “engraver’s tool”--- more what orchestrator’s and copyist’s do --- not only do we work for “geniuses”, we sometimes work for real geniuses who demand flexibility and creativity in their graphics). But, today, Hollywood is dominated by deadlines dictated by “previews”, “mock-ups”, and “what is approved” as opposed to what “ is emotionally moving”. I fear that most film makers no longer have music as an intrinsic component of their inner lives--- that music can touch and convey what only words and image are a shadow of. Music is the TRUE emotional content and heart of film. Music, rather ironically I think, has always awaited the invention of film--- to unite our eyes, our ears and our emotions. Opera was a “good” beta attempt. Film is something that Wagner would have applauded enthusically. Thank God for Steven Spielberg. Thank God for John Williams. As an “old dog” I find that pencil and paper frees my mind to imagine what my skills at the computer only “circumscribe”. Orchestrating for John William was always a joy for me in that his sketches always reflect a mind, an ear that soars, imagines, to dare, and challenges us to develop our own talents to be as expressive, imaginative and truthful to what our own gifts can be. And to paraphrase my colleague Tim Davies above, until you have walked in the “moccasins” of those who have “orchestrated” 50 or more motion pictures it is hard to know what an "orchestrator" truly does--- it’s the difference between having a 9mm pistol at a firing range and making every “bull’s eye” and being at Custer’s Last Stand managing not to be "scalped"- apologies to my non-American confreres who don't apprehend the reference. BOTTOM LINE: John Williams is the greatest, most amazing composer today. Indeed, he is the singular musician in every realm it has been my great honor to not only meet but serve.The chances are you will never equal nor surpass him. Your challenge: Be as competent and as clear in your musical intentions as he is--- and THAT, doesn’t mean just making a simply MIDI sequence that "sounds good" in MIDI--- unless, MIDI is the only performer. Music is meant to not only be listened to. A composer- and certainly an orchestrator- thinks not only about how the audience feels, but how the music makes the performer want to perform! Forgive the length of this response but it didn't seem inappropriate given the length of this thread."