ABANDONED POOLS, TOMMY WALTER AND THE SCHOOL OF MUSIC

Hello,

I’m currently working on a new Abandoned Pools song, though I’m still undecided on the title—I'm leaning toward 'Holding On,' but I feel like it’s a bit on the generic side. Still, it seems to capture the essence of the song. The arrangement feels like it would really benefit from an orchestral arrangement, budget permitting. Please enjoy....

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Top 10 Favorite John Williams Album Tracks

Part 1, tracks 1-5....

One of the goals of this newsletter is to introduce you to music you may not have encountered before. For me, there’s no better place to start than with John Williams. While he's undoubtedly one of the most famous composers in the world, this isn't about giving him more attention—he's already well known. Most people are familiar only with his most iconic scores and themes, but his catalog is so vast that much of his best work often goes unnoticed. The pieces I’m sharing here may not necessarily be his most celebrated scores, but they are the ones I keep coming back to, even outside of the films they accompany. While Schindler’s List might be considered his finest work (and I do appreciate it), it’s not something I typically reach for when I’m in the mood for Williams’ music. With that in mind, here are ten hidden gems from John Williams that I believe are truly worth your time.

If you'd like to listen along whilst reading, the playlist is available here:

John Williams Top 10 • aband...

E.T. And Me - From "E.T. The...

PREVIEW

1a and b: “E.T. Phone Home” and “E.T. and Me” from E.T. the Extraterrestrial

I’m putting these two tracks together because I love them for the same reasons. “Soothing and benign” is the way Steven Spielberg described Williams’ E.T. score in the liner notes of the album and that is why both of these tracks are on my “going to sleep” playlist. Sliding harmonics on violins (1:24, “E.T. and Me”) is usually reserved for horror movies. But in this case it’s like a sleepy yawn, sending you further down a slumber spiral. I can remember listening to this soundtrack on vinyl drifting off to sleep in my childhood bedroom and in a lot of ways it was the score to my wonder years. The childlike, magical celeste, the twinkling harp solo, the gentle, muted strings, lovely counterpoint and harmony, and perfectly melancholy clarinet solos all combine to form the sound of my boyhood in suburban 80s Los Angeles. It was a special time, and it’s what I’ve worked hard to provide for my own family as best I could.

2. “Toy Planes, Home and Hearth” from Empire of the Sun

Just pure magic. The opening celeste and harp evokes childlike wonder, perfect for the perspective of the young, British boy antagonist (played by Christian Bale) with a loving sweetness that describes the life that he has lost. The melody is simple yet elegant, initially passed through the strings and horns. After a key change, the choir takes over, with a Boys' choir joining in to bring a distinctive touch from the British Choral Tradition. At 1:35, the horns deliver close harmonies, showcasing a distinctive and beautiful Williams-style arrangement. This seamlessly transitions into Williams' incorporation of Chopin's Piano Mazurka, Op. 17, No. 4, adding a semi-diegetic layer to the piece—meaning it occurs within the story's context and could be heard by the characters, as it was previously performed on screen by the boy's mother.

3. “The Battle in the Snow” from Star Wars, The Empire Strikes Back

This track is the orchestral equivalent of heavy metal. It opens with a menacing low piano and timpani, followed by dark, melodic horns, trumpets, and tuba in octaves, perfectly capturing the imposing presence of the massive Imperial AT-AT vehicles advancing on the Rebel base. Then, a relentless rhythmic ostinato kicks in at a frenzied pace, maintaining its intensity throughout. My favorite moment comes at 3:08—the percussion break, straight out of a drum and bugle corps performance, and is followed by a brass fanfare that could easily pass for a rock guitar riff. This leads into a dizzying flourish of woodwinds and pitched percussion—another signature Williams moment. This track rocks.

4. “The Heroics of Luke and Han” from Star Wars, The Empire Strikes Back

"The Heroics of Luke and Han" is actually a suite of various cues from the movie, expertly woven together for the soundtrack. The orchestration is masterful, narrating a story of looming evil that our heroes rise up to confront. Several themes are showcased here, including the iconic Force theme (also known as the Binary Sunset theme), but the central focus is the clash between Darth Vader’s theme (the Imperial March) and Han and Leia’s love theme, which is passed around several instruments in between exhilarating woodwind runs as the dark lord relentlessly pursues them. My favorite moment comes at 2:12, where the close harmonies are exchanged between the horns and trombones—absolutely breathtaking. The piece culminates in a sweeping chord in the Lydian mode, with the horns playing the raised fourth, evoking the unmistakable magic of 80s film scores.

Similar goodness on this album: “Rebels at Bay"

5. “One Small Fact” from The Book Thief

How much emotion can a composer extract from a simple piano piece? That’s often the true test of their craft. This track begins with just that—a solitary piano—before gradually expanding to include strings, woodwinds, horns, and harp. What stands out most to me is Williams' remarkable ability to create dissonance while still preserving beauty. The result is a powerful emotional resonance, stirring feelings I didn’t even know I had.

Part 2 with tracks 6-10 coming next week....

For a deeper dive into John Williams’ music, I strongly recommend The Soundtrack Show podcast hosted by David W. Collins.

Another thing before I go, I plan on posting video tutorials on my YouTube channel in the near future. It would be greatly appreciated if you would subscribe: