Cheers mate. A few points - I like the designation of the three octatonic collections as C,Db; C#,D; and D,Eb. Dodges the potential confusion from just calling them collection 1, 2 and 3. - The first cluster (strings - I really should've named the orchestral groups) isn't from any octatonic scale. It conforms closest to the D Harmonic Major scale. Either counting it as that; breaking it down into a hexachord ([0,1,3,4,7,8] or 6-z19), further divided into two interlocking [0,1,3,4] and [0,1,4,5] tetrachords; or as two interlocking T1/11 related minor triads; seems to be the way to go. - The combined brass superset is [0,1,2,3,5,6,8,9] or 8-18, and is built from a chromatic tetramirror [0,1,2,3] plus an alternating tetramirror [0,1,3,4], a major second apart. What it's interesting is the G,Ab,Bb,B [0,1,3,4] subset is a transposition of the strings' F#,G,A,Bb. When both sets are mapped against each other we have two chromatic clusters, are are only two pitches way from a totally chromatic chord. - I think it's worth pointing out the prevalent [0,2,6] whole tone set, from the Db-Eb-G embedded in the trombone trichord, to the Bb-D-E in the horns' pentachord. The woodwind chord also appears to me based exclusive on these trichords, inverted and transposed. I've omitted the duplicated high G6 to make it clearer. - I agree on the final two chords in the strings and the brass being octatonic compound constructions, based on the C-Db collection. It seems to me what Williams is doing is pitting atonal elements against either octatonic or non-diatonic but tonal elements. I love that we're deconstructing 5 seconds of music depicting Nazis being lasered by a fucking gold-plated chest. Just shows how much thought Williams puts into these relatively insignificant moments.