To get the spaceships' attention prior to their arrival at Devil's Tower, The aliens communicate though lights, colours and notes.

as a form of communication in the film.

These are virtues taught in schools that will be evolved in the 21st century." The only ones."

The computer and audio specialists play the loud clear sounds of the five-note sequence after the signal: "Sunset": [Best Animated Feature Oscar-winner Happy Feet (2006) directly referenced this scene in which the penguin population communicated with "aliens" (humans) by dance steps exchanged between the two, after the human's "space ship" (a helicopter) arrived and perched on a Devils Tower-type outcropping.]. He said the choice was arbitrary, but actually they are critical tones of the major scale (see below). line. Three tiny, neon-lit scout ships appear with the tiny red orb following in their wake - they hover over the end of the runway. Steven The five musical tones in Close Encounters are, in solfege, Re, Mi, Do, Do, So, as below. The aliens communicate though The film also evokes typical science fiction archetypesa… in the movie.

That much I think you could trust the aliens to know, but I'll bet they'd like Mozart too. The whole film is based around a simple five

So maybe his choice wasn't as random as he implied in interviews. The motif is a signal that takes on the role of a greeting. The Air Force scientists duplicate the electronic sounds that they have heard in transmissions, mixing them with light sequences (on colored strips) to communicate. I think that the inhabitants of a distant galaxy would recognize and appreciate a melody formed of the major or minor scales, because they are both derived from universal acoustic principles: a vibrating string in another galaxy will have the same harmonic partials as it does here (partials you'll find discussed in the appendix of Exploring Theory with Practica Musica), and among the first and most audible of those partials are Do, Do an octave higher, So, Mi, and Re - hey, those are the same ones John Williams chose! they play are B flat, C, A flat, (octave lower) A flat, E flat. 'undefined'=== typeof _trfq || (window._trfq = []);'undefined'=== typeof _trfd && (window._trfd=[]),_trfd.push({'tccl.baseHost':''}),_trfd.push({'ap':'cpbh'},{'server':'a2plvcpnl293276'}) // Monitoring performance to make your website faster. If you want to opt-out, please contact web hosting support. The The composer, come up with the final combination of notes. Spielberg describes the music as being like an additional character

The five musical tones in Close Encounters are, in solfege, Re, Mi, Do, Do, So, as below. French scientist Lacombe suggests that the organist play the sequence with an increased tempo and try different frequencies for the five notes or tones, to lure the friendly mothership to land, as he marches out to the end of the runway. They must have one. For instance, when the humans attempt to make contact with the A giant electronic board covered with colored strips and a powerful synthesized musical keyboard have been constructed at the site.

The second Do is an octave below the first. Film critic Charlene Engel observed Close Encounters "suggests that humankind has reached the point where it is ready to enter the community of the cosmos. Answer: I'm always happy to discuss the nexus between alien visitations and music theory. humans and the aliens. the five notes the scientists play are G, A, F, (octave lower) F, C. the register, placing some of the notes in different octaves, and varying the tone colour through instrumentation. The three ships dance above the runway and respond with their own duplicate tones - they emit the musical sounds in the specific combination of five notes. I haven't watched this movie for a long while, but I believe the hand signals are the Curwen hand signs as illustrated for question 22, above. In that sense the German scientist would be on the right track, at least, in claiming all music to be derived from these. In the sky above them, streaking objects resembling comets whoosh through the blackness. The The second Do is an octave below the first. The five tones were chosen by composer John Williams after trying about 350 of the approximately 134,000 possible five-note combinations available in the 12-tone chromatic scale. But it might be better to go a little farther and include the tones derived by filling in the scale with the above tones mirrored on the other side of the main note: the opposite of Mi is La, the opposite of So is Fa.