Exploring rhythm in John Williams’ music (pt.1 – Switching time signatures)
Aug 14, 2026
All articles were written by Team Behind the Score. Some parts of the writing were polished with the help of AI to improve readability.
Throughout this site, we have primarily focused on harmonic concepts in music composition. While a solid understanding of harmony is crucial, a harmonic idea without strong rhythmic support can quickly become uninteresting and stagnant. On the other hand, even a song with a simple harmonic structure can shine when combined with intriguing rhythms.
In this three-part blog series, we will explore some fascinating rhythmic techniques commonly employed in the music of John Williams. Williams not only excels at harmonic devices but also showcases captivating rhythmic tactics that elevate the music. These techniques may appear simple, but they play a crucial role in making his scores unique and interesting.
We will look at many of his best-known themes throughout the series, and we will run A/B comparisons to hear how the music would sound without these rhythmic devices.
This write-up began as material for our book Behind the Score; we couldn’t include it there for copyright reasons, so we’re sharing it on the blog as a series instead.
Switching Time Signatures
Altering the time signature in a composition can have a profound impact on the music's flow. In film and video game scoring — where music interacts with a dynamic picture — changing time signatures can respond to the situation and heighten excitement. Changing the time signature itself is simple; the real challenge is keeping the transition musical without disrupting the overall flow.
Notes:
- Due to copyright issues, all audio and scores displayed on this page are alternative versions or recreations of the original content.
- In this post, we have chosen to omit some of the instruments from the score to place a greater emphasis on the rhythmic aspect of the music.
Example (1-A) — “Journey to the Island,” Jurassic Park (1993) (Original)
In Example (1-A), two extra beats were added in measure 4 when the time signature changed from 4/4 to 6/4. This adjustment was made to allow the theme to gradually develop in measure 4. The additional two beats lengthen the measure, creating a prolonged moment and a smooth sustained note before the climax of the cue.
Example (1-B) — “Journey to the Island,” Jurassic Park (1993) (Without the time change)
Example (1-B) is a reworking of Example (1-A) without the transition from 4/4 to 6/4 in the middle. While the transition in Example (1-A) was not overly drastic, it provided a temporary departure from constant 4/4 phrasing, making the rhythmic flow less predictable for the listener.
Example (2) — “Fawkes the Phoenix,” Harry Potter and the Chamber of Secrets (2002)
Measure 6
In this slow-paced 6/8 waltz rhythm, there is a brief switch to 9/8 in measure 6. In this measure, the melody is extended by three eighth notes, and two dotted-quarter melodies are inserted into a single measure.
Typically, a change in time signature brings a shift in rhythmic emphasis. Here, there is no excessive emphasis on the first beat of each measure, and the cue maintains a flowing 6/8 feel. Notating measure 6 as 6/8 instead of 9/8 is acceptable, while measure 10 can be notated as an extended 9/8 measure without issues.
Measures 15–18
As the song progresses, there is another change from 6/8 to 9/8 between measures 15 and 17. In these measures, the melodic phrasing is structured more firmly in 9/8 figures, creating a less noticeable 6/8 sound until it smoothly transitions back to 6/8 in measure 18.
For more reading on craft resources, see our Recommended Books for Film Composers.
Example (3-A) — “The Imperial March (Darth Vader’s Theme),” Star Wars: The Empire Strikes Back (1980)
Example (3-A) is a mockup of perhaps the most famous movie theme of all time. In this excerpt, the music briefly switches from 4/4 to 2/4 at measure 2. As the second measure is cut in half, the remaining horn melodic motif (①) is separated by a barline and continues as the new phrase, accented by the first beat from measure 3. From measures 3 to 4, the motif (the lower A) is sustained for another two measures — now with plenty of room for other instruments to support and raise the excitement. The effect of this simple yet clever transition can be compared with our mockup without the time-signature changes in Example (3-B).
Example (3-B) — “The Imperial March (Darth Vader’s Theme),” Star Wars: The Empire Strikes Back (1980)
Example (4) — “Flying Theme,” E.T. the Extra-Terrestrial (1982)
In Example (4), the music remains in 2/2 for the first eight measures and then switches to 3/2 starting from measure 9. The transition is smooth because the melody, regardless of the time change, is consistently phrased in half notes. This keeps the pulse uninterrupted. Once the signature shifts to 3/2, the rhythmic support aligns with the new meter, resulting in a more distinct rhythm.
Closing
That’s it for this episode! Next up: more rhythmic devices in John Williams’ music — starting with accent displacement (pt.2), then metric modulation and beyond. Stay tuned.
