Jump to content


  • Content Count

  • Joined

  • Last visited

About JJA

  • Rank
    Occasional Poster

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. JJA

    Star Wars - Theme Music

    However, in this revised broader meaning, it nonetheless still describes a sense of adventure that was embodied originally by Luke in the first film, both as an audience avatar and in terms of character motivations. Much of his initial motivation is based on wanting to escape his boring farm life for something more exciting, implicit desire for revenge over his aunt and uncle, living up to the false image he's fed about his "heroic" father, as well as a general wish to be a heroic figure, as is reflected in his "looking for a great warrior" statement to Yoda, who in turn is reluctant to train the "reckless" Luke. He misunderstands the Jedi path as being a process of becoming a "better hero/warrior", more or less. However, when Luke grows closer to truly embodying the Jedi teachings, the theme gets for the most part replaced by the Force Theme. When he throws his light saber away at the end of ROTJ, the choice of playing the Force Theme instead of Luke's original theme is very much deliberate. A case of "musical ego-sublimation", if you will. In retrospect, it's more like a theme for that adventure-seeking early phase in Luke's character arc, rather than precisely "his theme". Or to be more exact, it's a "Spirit of Adventure Theme" that happens to be initially attached to Luke, since he indeed embodies that spirit in his initial "state" or modus operandi. When he no longer does, it stops being attached to him. Indeed, in the sequel trilogy, he's primarily represented by the Force Theme and his other (new) theme, while the original title crawl music is still heard in adventurous contexts, but almost solely in scenes involving other characters. This communicates that the "spirit of adventure" is still an extant thing in the SW universe, with Luke being past that state of existence. The only time it's heard with Luke is in the reunion scene with R2, but there the context is indeed about rememberance of their previous "fun adventures".
  2. In regards to Herrmann, I must admit I rarely enjoy his music in C&C or other long presentations, with some exceptions. Not really sure why, as I generally prefer most other film composers' works in complete form. His music is however terrific in the films themselves, needless to say.
  3. JJA

    The temp track or similarities thread

    The above piece has a reoccuring section (it first appears at 0:07) with an uncannily similarity to two separate Mario Nascimbene film compositions:
  4. The first three are pretty tied for me, and might prefer any one of them depending on my mood: 1. Miklos Rozsa 2. John Williams 3. Jerry Goldsmith 4. Erich Wolfgang Korngold 5. Alfred Newman (not sure - too hard to decide*) *= I also considered Howard Shore or Sergei Prokofiev for #5, but the former was solely on the basis of a single film franchise, while the latter (who might be my overall favourite composer in non-film context) has too few film compositions to be truly applicable. Also felt highly tempted to choose Ennio Morricone or Dimitri Tiomkin.
  5. Another observation: is the 0:24-0:37 section of "Return to Tatooine" in AOTC supposed to be a motif representing Anakin's childhood memories? In the film I clearly remember that section also playing when Anakin re-encounters Jar Jar at the start of the film (or at least, at some point during that whole scene). Or was that part tracked there from "Return to Tatooine"?
  6. JJA

    Anyone else love John Scott?

    THE SHOOTING PARTY is the most essential.
  7. If you were exposed to excerpts of music you had never heard before from familiar film or classical composers, which ones do you think you'd be able to recognize as coming from a certain composer? In other words, who are the most stylistically recognizable composers to you? I'd probably recognize Miklos Rozsa and Maurice Jarre pretty easily, at least. Many others too, assuming I had longer chunks to listen to.
  8. Another observation: Isn't the "Leaving Mustafar" motif in The Immolation Scene merely a distorted version of the Force Theme? At least I never thought otherwise...
  9. 1. No official statement on it, so let's look at the other two... 2. Pretty sure all 3 appearances in the first score (not counting the credit sequence appearances here) are standalone statements. 3. Each of these 3 appearances involve non-main characters having "WOW!" moments at Superman's heroics. Seems pretty clear to me.
  10. Do you think that the part after 06:14 in 'The Battle Of Endor II' might be another appearance of the Dies Irae / Fate Motif? Could be a random coincidence, but it does make for interesting musical architecture if intentional. Regarding the Dies Irae appearances in AOTC and ROTS, aren't these pretty much all variants of the Across The Stars section first occurring after 2:26 in the concert track? Sort of an Anakin's fall motif embedded within the love theme, what with that love affair being one of his main catalysts for falling? It might be intentionally linked to the OT Dies Irae motif, indeed. If the above mentioned ROTJ appearance is indeed this destiny motif, the music in that scene basically describes Luke coming to see that he almost chose the "fate" of his father by giving into his anger during the duel.
  11. JJA

    Anyone else love John Scott?

    The Shooting Party is my favourite of his. Also love his main theme for William The Conqueror.
  12. It seems to me that the Superman march (the A-melody of the march, that is) and The Fanfare are assumed to be merely two interchangeable representations of the title character, but I feel this is inaccurate, at least in the initial score. Every time you hear the A-march outside of the credits in the original film (heard just thrice!), it plays specifically when the focus is on Superman's heroics being admired by other non-main characters. The helicopter rescue is an obvious application of this, as are the ways it later underscores the amazement of the police officers ("The Burglar Sequence"), and the amazement of the Air Force One pilots ("Super Rescues"). Thus, the A-march is a theme for Superman-The-Celebrity, while The Fanfare is a more general tag for the character + his heroics when admiration for Superman isn't the main focus. It seems that when the potential admirants are in grave distress themselves, the fanfare is preferred for heroic scenes (see the bus rescue part in "Superfeats"). In contrast though, I'm not sure the B-section of the march has any specific purpose as a theme even in the first score. In Superman II, Ken Thorne more or less follows this pattern, by accident or otherwise. The main showpiece for the A-march comes in the Niagara Falls rescue scene, where the context is again placed on the public admiration for the character's actions. Notice that the march fails to appear in "Superman Triumphs Over The Villains", where the fanfare and the B-march are used instead (the heroics are not accompanied by an admiring public in this scene). It might get slightly hazy in Superman III, due to the March being used in "The Final Victory". I suppose this might be justified by Superman restoring his good public persona in that scene after triumphing over his evil self that caused such infamy, or something. As much as I love the score for Superman IV, the A-march feels completely misused, assuming I'm right about all of the above. The original purpose of the march was either ignored or went unnoticed. It should not appear in "Nuke 1 Fight", "Net Man", "Lift To The Moon", or "The Moon Fight", among possibly other appearances. On the other hand, the march should probably appear in the United Nations scene when the crowd cheers at Superman's plan, as well as the scene where Superman has the PSA moment with the public after the subway rescue. Needless to say, the Superman poster moment in Supergirl also misuses the march, as the scene isn't about human non-main characters admiring him. The Fanfare would have been better. I'll admit I've never seen Superman Returns aside from fragments, so I''ll leave that commentary in more capable hands. How closely is the original purpose of the march adhered to? Any thoughts on this?
  13. Has anyone here tried to do this? Nothing wrong with completeness of course, but it can be an interesting experiment to condense such complex scores to a shorter presentation. With the LOTR trilogy, we obviously have the OSTs for this, but they don't quite utilize the potential 80 minute (or near) disc space to their fullest, and we may have disagreements with some of the programming choices in them. The OSTs, the CRs, the rarities CD, and rips from the fanclub credits are all acceptable sources here. So, if you've ever done this, let's see tracklists and explanations of edits and what versions of tracks you used/combined and such.
  14. JJA

    Rank the JW Star Wars OST albums

    😂 Well, that would be no... Those are my (scrambled) name initials. The similarity to JJ. never occured to me when I signed up. Should I have it changed to avoid confusion...?