Falstaft

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  1. That was my first instinct too, but it appears before and after her big scene, notably around the beginning of the Supremacy attack in a speedy version and later in a clipped version during the Battle of Crait. My suspicion is that it was originally a more prominent theme but some versions didn't make the final cut. Seems like an outgrowth of the March of the Resistance in some ways... and
  2. Hi everyone. Chiming again to let you know I've updated my catalogue of SW leitmotifs to include TLJ, which to my ears includes 3 new "true* leitmotifs (Rose, Luke in Exile, and that very desperate phrase most memorably associated with Holdo's sacrifice). I've also included explanatory notes for my definitions, updating timings, and notation for main leitmotifs. This is based on a quick first pass through the film and soundtrack, and I imagine there'll be a lot more for us to discover as we become more acquainted with the score, especially if unreleased material shows up soon. https://drive.google.com/file/d/1xJ0Jj-mLfOPUCtcAm_HDGIkFwvHL5gbX/view?usp=sharing (alternative link: https://www.academia.edu/33487589/Complete_Catalogue_of_Star_Wars_Leitmotifs_Compiled_by_Frank_Lehman_Updated_for_Episode_8_THE_LAST_JEDI_with_new_links_and_musical_notation_ ) This is all but a preview of what will appear in Emilio Audissino's upcoming anthology, of course, though there are certain advantages to digital documents -- namely, hyperlinks to youtube. Hope this is of some use to you guys, and let me know if I'm missing anything! Frank Leitmotif Catalogue Online Version.pdf
  3. Hi guys, Frank Lehman here--permanent lurker, semi-regular poster a long, long time ago. Just chiming in to offer some hype for Emilio's upcoming edited volume on John Williams, of which my chapter is just one of 20 by a huge range of international scholars. The title of my particular contribution is "Thematic Material of Star Wars: Catalog and Commentary," and its basic goal is to give a rigorous framework for identifying recurrent musical materials in this series. My criteria for what is and is not a leitmotif are fairly strict, but perhaps more importantly, completely explicit, since different people can have honest disagreements over what counts as what; you can disagree on the criteria, but hopefully you'll find I'm at least consistent in applying them. The picture above is just a silly little collage I made of most of the I transcribed (with some missing and some duplicates!). They're not all leitmotifs. Actually, by my criteria I hold there are just over 30 leitmotifs across all 7 movies, and of them, only ten or so principal leitmotifs that approach the developmental standards of, say, the mature Wagner operas. The vast majority of the rest are either thematic B-sections, incidental motifs, recurrent style topics, or themes limited to set-pieces. So for example, while there is a repeated little melodic/rhythmic idea in ESB (an ascending and immediately descending major second) that eagle-eared listeners might pick out, it lacks the consistent symbolic content or clear musical identity for me to feel like it's a leitmotif. So, into the much looser and more welcoming category "Incidental Motif" it goes. I'll be going through all this much more explicitly in my chapter, but can't share it with you guys just yet because technically it's not even finished. Given the publication schedule, there might be time for me to squeeze in whatever new stuff shows up in The Last Jedi. (My hope, above all, is that "Luke & Leia" returns and ascends to the level of a principle motif -- such a glorious, underutilized theme). Emilio's book will be amazing when it comes out, and I hope you all check it out. Besides me and Emilio, Mark Richards has an essay on thematic form and structure that, if you know anything about his work, will be amazingly insightful and rigorous. And a piece I saw previewed by Chloe Huvet on E.T. which is brilliant. We also conducted an interview with Keith Lockhart about the process of conducting Williams's scores live to picture which I think a lot of you will find eye-opening. Cheers!
  4. It was a great concert! I went on opening night (May 22) Program was, if I can remember correctly... Fanfare for a Festive Occasion (Never heard this before in concert!) Bernie Herrmann Suite: Citizen Kane Newspaper Montage, Vertigo Scene d'Amor, something from Currier & Ives Suite, Psycho Suite (w/ footage), North By Northwest Main Title (w/ montage of Hitchcock scenes). (intermission) Hooray for Hollywood (Such a great Williams arrangement) Carousel Suite Fiddler on the Roof Suite (Fantastic Williams arrangement, some bravura violin passages from Tamara Smirnova) All that Jazz from Chicago (intermission) Superman Theme Harry Potter: Fawkes the Phoenix, Nimbus 2000, Harry's Wondrous World Lucas/Spielberg Tribute (all with cute clips from movies): Jaws Theme, Star Wars Main Title, Raiders March, Flying from E.T. (instant standing ovation) Encores: Luke & Leia, NBC Mission Theme, Stars & Stripes Overall a wonderful show, with a really enthusiastic audience. I was doing my fair share of hooting and hollering the whole time, of course. Williams was as charismatic and genial a conductor as usual. He told some film scoring anecdotes about himself, Hitchcock and Lucas that really had the hall in stitches. If you've never seen JW in concert, you really must find a way to attend one of these! This was my 10th (almost straight) JW with the Pops!
  5. "Fantasy" on JW Themes

    Truly wonderful! and this is coming from someone who doesn't exactly post often here anymore...
  6. Does ESB end w/ Luke's theme or Vader's?

    Agreed -- coincidence. Without a G following the C to corroborate a statement of the Imperial March, it's just a matter of JW providing a strong support for the chordal roots of the underlying progression (I-bVI-I). I'd be quicker to call EEEC a quote of Beethoven's 5th than Vader's theme. But cool observation nonetheless.
  7. First off, great review Roald. I agree with most everything you wrote. In time, in time... Once I see the movie, in other words. But I can tell you it will be a positive review. After my initial astonishment upon hearing the OST for the first time, I had a bit of a bout of dissapointment, much like many of the people on this board. But with each subsequent listen, it grows on me more and more and more and more. I'll say this much -- everyone should give Grievous and the Droids another chance. Except for the first 17 seconds, the cue is not standard JW action writing fare. The meat of the cue, including that pounding rhythm and the awesome trombone theme enters in at 1:17, and from that point it is relentless, awesome, motivically driven fun.
  8. I'm listening to the first track of ROTS

    I for one am thoroughly overwhelmed by these four tracks. Though they're not all cut from the same crop as us JWfans, I honestly think the folks over at MillenniumFalcon have the right attitude about this score. I too teared up during the end credits. The EP III score is what's getting me through this semester. And, just to be the first to point this out, JW's consistent substitution of Neapolitans for the usual Major IV chord for the Force Theme's chord progression -- brilliant!
  9. Thanks Miz, that's exactly what I was thinking of. I love how JW characterized Leia's theme as "wildy romantic"! And I agree with you wholehartedly on the general use of themes in SW.
  10. And Imperial Attack, and Learn about the Force, and Chasm Crossfire, and at least a half a dozen other times between ESB and ROTJ. Leia's theme may not be as omnipresent as, say, the Force Theme, but it's still there! Her theme is no more a Death Theme than Cantina Band 2 because it is heard during poor Greedo's untimely end. Also, I believe I remember hearing JW as having said about Ben's Death something along the lines: I used Leia's theme because it "fit the moment," i.e. was appropriate musically if not semantically, which is what a good theme can do anyway. I don't remember the specifics of this mention however, if anyone else does and could refer me to the source, that'd be appreciated.
  11. The Coolest Homework Assignment Ever

    Woah, how many of us would kill to get our hands on that footage? Is it easily available? What music precisely is he playing on the piano, just curious. While we're on the topic, I've got a pretty cool couple of assignments for my Film Scoring/Orchestration indep study, which has basically guided by whatever I want to do. Besides transcribing Princess Leia's Theme by ear (which is a really cool process and makes you love the piece 100x more), I've proposed that I literally take an unscored scene from a well known movie and add appropriate underscore. This is a fairly common assignment, I would think, not unlike what the JW-composition contest is about. My choice of scene -- Nepal Bar, right after Marion wins drinking game, up until The Medallion cue.
  12. E.T Wins

    I was choking up just watching the ET DVD extra of JW conducting the score to a live presentation of the movie. It's incredible what even being reminded of that movie can do to ya. Also, bit OT, but does anyone else clap for Williams during a moment of applause in a concert, even a) if you're only hearing it as a live broadcast on the radio, or B) its a prerecorded thing like on the ET DVD? Cause I sure do.
  13. London Symphony Orchestra update-EP3

    I beg to differ. A John Williams score is worth it, if you value a pristine movie-music experience. But you're probably right, I'll cave, maybe listen to a track or two.
  14. London Symphony Orchestra update-EP3

    Before AOTC came out, I had to give my unopened soundtrack to my little brother with the explicit instructions that even if I am to plead with him to let me listen to it, he was not to give it to me until I had seen the movie. It came down to that a couple times too. I expect it will be even harder to resist ROTS.
  15. London Symphony Orchestra update-EP3

    JOY I swear, with each one of these reports, waiting and waiting for this score to come out becomes more agonizing ...must...hear...now