Music theory says that when a song is written in a major key, then it will sound happy, right? The chords in this beautiful main theme from Jurassic Park are often in a major key like I, IV and V, right? At the same time it doesn't sound really happy to me. More uplifting in a sad way. Why is that? Is that a reason why music theory is not as good as it seems?

 

Maybe it is the use of mediant chords?

 

Have you tried smiling whilst listening to it...?

 

Cuz it's not in a "major" key. It is in Lydian and uses some modal mixture from Mixolydian (lowered seventh) and also some chromaticism. The interesting part is that it resolves in the end to the major key, but it's not the focus of the composition at all.
Try to sing any random children song or something by Mozart - now that's a major key.

 

The initial key is Bb then modulates to D and at the end returns to the home key (Bb, with some fast modulations between different keys).

https://ledgernote.com/blog/interesting/musical-key-characteristics-emotions/



Bb Major
Joyful, Quaint, Cheerful

Love, Clear Conscience, Hopeful Aspirations for the future and a better world. Optimistic and able to take control in order to ensure peace.

 

No, Music theory is fantastic! No where in music theory does it say the major(ionian mode) sounds happy. That is just a ubiquitous decriptive term that has no real meaning. Don't confuse Silly BS like certain modes convey certain emotions. A good musician can make any mode Sound "Happy" or "Sad". Music theory is about harmony through the study of intervallic relationships of the notes, and has nothing to do with emotional responses by the listener or Musician. Music Theory is very mathematical by nature and helps musicians easily find and create pleasing harmonies and melodies.

 

The feeling and perception of music depends on many other things like the way the instruments were played, rhythm, layers of sounds,think about disney's Up soundtrack written in major keys yet the instruments they use make it sounds very nostalgic

 

You can start a sequence beginning in Cmaj and use predominantly Dm, Em and Am. It will sound sad but remain within the confines of the C major root. I can't describe it in theoretical language because I don't know theoretical language. I also have no knowledge of Latin. And I'm the Pope for heavens sake!

 

Almost off topic but worth it... I like the joke and I like even more than it's actually not a joke.

We often think "happy first - then smile" But the other way round might be meaningful too.

"When you smile, your brain releases tiny molecules called neuropeptides to help fight off stress. Then other neurotransmitters like dopamine, serotonin and endorphins come into play too. The endorphins act as a mild pain reliever, whereas the serotonin is an antidepressant."
(taken from From https://www.sclhealth.org/blog/2019/06/the-real-health-benefits-of-smiling-and-laughing/)
Taken with a pinch of salt too but smiling and happiness is definitely a tricky chicken and egg process.

Bottom line is "smiling is a nice habit and might even be a very healthy one"

 

In response to the thread title: "This theme is sounding sad to me..." I was going to say no, it's you who are feeling sad.

 

John Williams is a master of modal music, in this case with lots of Lydian mode.

 

No it doesn't - just a very bad myth.

Myths like that are revealed at their most ridiculous in links like this one...

According to the article from the above link (stand by to be amazed)
D Minor = Serious, Pious, Ruminating
D# Minor = Deep Distress, Existential Angst

So just by transposing the key, or scale, or chords up by one semitone (and all relative intervals stay the same!)
we move from 'serious, pious, ruminating' to 'deep distress and existential angst' - how mind boggling is that!
This is the feeble-minded astrology approach to music theory and you have to be totally deluded to buy into any of this.

Contrast with...

That will do nicely,
maybe just a bit too polite when writing it off as "Silly BS" but otherwise exactly what beginners need to hear.

 

@Ad Heesive: May I join the discussion?

 

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Like this?

 

At the beginning of the lyrics' sentences, the chords are C, or F, or Dm, and considering how it builds-up and comes back from them, in a broad sense, C Mixolydian would be my guess.

 

I feel I'm stating the obvious but this kind of definitions are meant for beginners with basic chords. The proof is even I know this
They aren't set in stone especially with more complex ones.

 

I see that this is a resurrected thread.. so whatever, but I'll try to give some input without starting a fire (it is kinda sad that we cannot exchange this kind of information). My idea is less talking -more music. So here is my theory:

Yes! for instance, you like a tune and you want to steal some mojo. You analyze it! (artists steal, fact)

True! (Or at least it shouldn't)

Best answer. Period. (IMO ofc) I don't know how Lydian sounds to OP, but probably different than "major" (Ionian) or "minor" (Aeolian)
back to Williams and enough talk:
I will play "major" (Ionian) scale, then Lydian, Mozart in both, the two chords, Williams, and then Williams with some shit at the end to see if this can give me any inspiration (well, for me that's the point). Let's music do the talking:


Feel free to correct/criticize me! Would this way give a better "feel" (to ex. OP) about what this stuff is all about?

 

Dude, you ended up with a frigian intention over there (But that's okay because Johnny Williams uses Phrygian intention in the theme too ...)

Good try!

I'll leave my two cents contribution and listen to the comments!

 

Last edited: Jan 29, 2021

There is a reason Beato plays only the first 2 bars. Williams then fucks up (in a frighteningly GOOD way!) and deviates..
..I ended on something Radiohead-ish , seems to me. Well, so be it!

Edit:
@Mynock, see that Db(C#?) at the end that's out of Lydian, I think the orchestra plays 16ths down from E. That minor third gave me the inspiration, LOL

 

Last edited: Jan 29, 2021

Did you see why the phrygian intention? Our ears end up making the approximation between D7 and Eb ((intermediated by a Gm deposited in a weak beat)

By the way, the comment made by Smoove Grooves is interesting. This doesn't sound sad to me either, basically because it is a fanfare composed using tonal music with modal interlocutions (some lydian here, phrygian there - is what adds this special flavor). Interesting is the fact that the lydian mode is constantly associated with adventure and fantasy in the case of 20-21th century films.

Maybe the OP should get acquainted with what semioticians of music call musical topics (musical tropes prominently featured in Western European music and, in this case, Western Mass Media music, 'cos I am not really interested in semiotics: it is a lot of hermeneutics and very little study of human cognition... but it's a start!).

By the way, I love Flying In a Blue Dream, it's almost like lydian Sinatra... (i mean, the theme, please...)

 

Last edited: Jan 29, 2021