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JJA

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  1. 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"?
  2. JJA

    Anyone else love John Scott?

    THE SHOOTING PARTY is the most essential.
  3. 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.
  4. 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...
  5. 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.
  6. 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.
  7. JJA

    Anyone else love John Scott?

    The Shooting Party is my favourite of his. Also love his main theme for William The Conqueror.
  8. 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?
  9. 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.
  10. 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...?
  11. The title is pretty self-explanatory. But I'll clarify a couple of things: - The expanded releases don't count. - Your ranking of the scores themselves is irrelevant. This is about their representation on their respective OSTs. - In the case of TESB, we'll speak of the 2-LP program (but you can rank the shorter one if you want). - I'll personally forego discussing sound and mixing issues in my list, as I'm only familiar with the OT original albums from the recent reissues, which obviously don't accurately reflect the sound of the original releases. But feel free to include analysis of that aspect if you want. - You can include the non-JW SW scores if you want (I chose not to, since I'm still familiarising myself with SOLO). Anyway, my own choices best to worst: 1. THE FORCE AWAKENS + Almost everything important is present (save for "The Resistance", the imperial march fragment, and the Falcon crash landing cue) + Well judged near-chronological (and the deviations are well-judged) track order. 2. STAR WARS (A New Hope) + Almost everything important - and almost all music, for that matter - is present (Important omissions: the Mos Eisley arrival; the final battle intro cue) + The suite assemblies are absolutely sublime (particularly "The Rescue of the Princess" and "The Last Battle") - Most of the big rebel fanfare renditions are concentrated on the first half of the album, making it a bit lopsided "blows it's load too soon" experience. 3. ATTACK OF THE CLONES + Most highlights are present (Missing mainly: Anakin's confession music; Carrying Shmi home + the funeral; The heroic statement of Yoda's theme at the end) + Well judged near-chronological (and the deviations are well-judged) track order. - The development of the B(or C?)-section of the love theme (the part resembling Dies Irae) is poorly represented due to the Anakin's confession cue being omitted. 4. THE EMPIRE STRIKES BACK + While many highlights are not present ("Carbon Freeze" is sure an odd omission, and there's a LOT more...), it's nonetheless a generous amount of music, with all the themes well represented. - Side 4 makes no musical sense whatsoever in it's sequencing, and suffers as an album climax due to having no action tracks in it. 5. THE LAST JEDI + Well judged near-chronological (and the deviations are well-judged) track order. + Thematic material pretty well represented... - ...save for the desperation motif being only barely present. [The more unsatisfying ones are below:] 6. THE PHANTOM MENACE + Some of the suite assemblies are great, especially the bit where the creepy voices seque into the Darth Sidious theme (track 14) + It mostly flows well as a listening experience (except in the middle, where it meanders) - Why is the Coruscant arrival music included twice? - Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music - Missing thematic material (Qui-Gon's theme) - "The Tide Turns" is omitted (omitting your action climax cue is rarely a good thing) - Lots of missing highlights in general, much of it more important than some of what was included 7. REVENGE OF THE SITH + [Nothing stands out in particular, save for the music being good] - Many omitted highlights, much of it more important than some of what was included. - The needle-dropped and out-of-place Throne Room segment (see the previous point also) - Missing thematic material (the theme introduced in "Another Happy Landing") - Nonsensical (and often awkward) edits and microedits. - Insane and nonsensical sequencing that flows poorly. 8. RETURN OF THE JEDI + The sequencing isn't terrible, I guess... - Missing so much important music in general. - Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music (Personally, I would have edited the end credits bookends into a continuous cue, especially considering the short running time allotted to representing this music)
  12. JJA

    Hello

    Hello! I'm from Finland, and I've been a JW and film score fan for many years now. I've lurked on this board for many years, and decided to finally join.
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