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Falstaft last won the day on July 8

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    Tufts University

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  1. Heck, it may have been Williams that Djwadi was cribbing from, not Sibelius! Westeros by way of Coruscant... (Totally kidding about this, btw. An easy coincidence, given the simplicity of the ostinati in all 3 cases)
  2. It's actually not that far off from this throwaway little fanfare he wrote for TLJ.
  3. Sure -- it's the second subject from the last movement of Sib's 2nd Symphony that appears to serve as a model for the "Luke in Exile" theme from TLJ. It's a wonderfully apt reference too. Sibelius's chilly, windswept music is so evocative, and Williams channels it to great effect, not just for Luke's morose character, but the physical location of Acht-To. Also, just within the Sib Violin Concerto first movement, there are two other rather *Star Warsy* musical ideas: This little transitional string figure resembles any number of galloping string ostinati from the series, the "I Can Fly Anything" motif most clearly to me... This ominous motif for brass has a strong Dark Side of the Force vibe to me...
  4. It's the main theme from the first movement of Sib's Violin Concerto. Not the last time Williams would pull from Sibelius for inspiration in Star Wars! (cf. Luke in Exile/Second Symphony Mvt 4)
  5. If it's not Williams, it's one of the finest JW impersonations I've ever heard! Details in the orchestration, little melodic and harmonic turns--esp. after the 40sec mark--are hard to imagine anyone else doing. You should listen to it some more. Even if you think it's the weakest of the 8 so far, it's an enormously rich and wonderful score, and really rewards re-listening.
  6. This is the cue. Was it ever confirmed this music was intended for Rey meeting BB8, or is that speculation? Lovely music, harmonically similar to Rose's motif though I wouldn't say it's necessarily the source for the new TLJ theme. The melody and chord progression is fairly stereotypical, at least at first. (Check out Patrick Williams' theme for Earth Day, conducted by JW, for another "model" -- right down to that #4/nat4 clash in the melody that irks me so..)
  7. I'm having a hard time myself placing the exact moment in ROTJ that this riff occurs. It's got the right octatonic vibe for the Forest/Ewok battle, but the key doesn't work as far as I can tell. Most of the octatonic material in the Forest Battle is grounded firmly on D-octatonic, the version of the scale that goes D-E-F-G-Gb, whereas this is based on E-octatonic (with F#). Maybe it's not even melodic -- could be an inner line for some action cue. Gotta keep hunting...
  8. For the curious 0:00 - 0:10: Pregnant sustained G 0:10 - 0:37: Slow, stripped down Yoda's Theme on Fr. Horn in C lyd 0:37 - 1:12: Non-thematic section, vaguely reminiscent of Yoda and Force themes. Based Cm<=>DM progression, setting up V of G-minor 1:13 - 1:30: 3-fold repetition of Rey's theme's last phrase in G-min (circling around its dominant) 1:30 - 1:39: Climactic, sustained D maj (V/G) chord 1:39 - 1:49: No music, lots of suggestive sound effects that someone else should dig into. 1:49 - 2:00: Loud, densely scored partial statement of Force Theme in G-min, Gm-EbM progression 2:10 - end: Quiet statement of Rey's Chimes in G-min 0% chance this is Williams, beyond use of his themes.
  9. There's always this! It's not a true waltz. For one, Rose's theme isn't in triple meter. However, the Luke in Exile motif *is* in 3/4 and has a dance-like quality to it, for sure. In his deep analysis, @Ludwig compares it to a sarabande, a type of baroque dance form: https://www.filmmusicnotes.com/new-musical-themes-and-their-meaning-in-the-last-jedi/ . (Incidentally, the piece of music, Sibelius's second symphony, mvt 4, that I can't help hearing this theme being somewhat indebted to, is also in triple: https://youtu.be/4Dn2R2IvOLg?t=134 Themes in triple meter (either simple or compound) are extremely rare in Star Wars; in fact, off the top of my head this may be the only major one!
  10. Quickly -- *The statements of Rose's theme come from "Rebellion is Reborn"; *The brief Leia arrangement is new; *The Luke in Exile section comes from "Rebellion is Reborn" (which in turn came from early Ahch To Island cues); *The Battle of Crait stuff comes directly from that cue (parts of which in turn came from the opening Escape cue, or perhaps vice versa -- hard to say) *The Yoda arrangement splices the very beginning and very ending of the original 1980 concert arrangement *The Holdo's resolve stuff comes directly from that cue *The Battle of Crait stuff that follows comes directly from that cue, along with spruced up iteration of TIE Fighter Attack *The Rey's theme Coda is new to the End Credits So, besides little transitions here and there, the only music specifically unique to the TLJ credits are the Leia's Theme snippet for piano and the end statement of Rey's Theme (and possibly the brief iteration of Rose's motif at 2:34) I map out the End Credits for this and the rest of the films in a little more detail in my leitmotif catalogue, if you're curious. Enjoy!: https://drive.google.com/file/d/1xJ0Jj-mLfOPUCtcAm_HDGIkFwvHL5gbX/view?usp=drive_open
  11. Really well, thanks! Alas, no Mutter or Williams -- we could hear them off in the distance rehearsing! Unfortunately, the talk wasn't publicized all that well, but Jack Sullivan (the other speaker) and I still had a great crowd. I'm not sure what you mean, it's identical to the commercial recording -- big swell on Bb for two measures, then four measures of the lydian fanfare, followed by the main theme. No re-writes or edits that I can discern.
  12. Don't have time to go into that much detail, but I can summarize a few things. First, with the exception of the Sabrina arrangement, the two from Memoirs of a Geisha, and the Schindler's List encore, every violin arrangement was new. Even the pieces he's arranged for violin before are considerably expanded and transformed, especially the Far & Away and Witches of Eastwick scherzi. The versions of Rey's Theme and Yoda's Theme were the same as the YouTube previews that were released last week. The Hedwig's Theme arrangement is lengthier than the YouTube version, with most of the newer material coming towards the end, including a mini cadenza and some broad material for orchestra when the opening theme returns, IIRC. The treatment of Leia's theme was, as many have noted, a real revelation, even though structurally, only the opening really differs hugely from the original arrangement. Eagle-eared listeners may have noticed a very brief allusion to the Han & Leia love theme in solo horn in measure 4. Notably, the ending is quite shortened following the arrival at the big climactic B-major chord, essentially bypassing some of the accustomed woodwind material transitioning immediately to where the solo violin comes in in the original arrangement. Of special interest to me, since I gave a pre-concert talk on it, was that the Across the Stars arrangement. The version premiered at Tanglewood was a slightly different, updated version compared to the YouTube version w/ A-SM that we've been listening to for a month or so now. The opening introductory passage is ever so slightly modified such that the penultimate chord is a straight G-Minor rather than the E-halfdim from before. (Why, I cannot imagine.) More substantially, the second rotation of the Main Love theme is stated more fully before the climactic middle section, where it had sounded clipped and developmental before. There may have been a few more spots with alterations, but those are the two big ones I noticed. It's a *big* improvement for an already stellar reimagining of this theme. Galaxy's edge was basically the same as the commercially released suite, including the presence of the opening fanfare. The one big difference is the trimming of everything from 3:18-3:38, for brevity's sake I guess. Amazing concert!
  13. Not entirely true: There's also a brief but very clear rendition at the start of "Lesson Two": There's also a little motif that occurs twice on Ahch-To which, while not really a close match for "Jedi Steps" intervallically, has the same broad character: There's also the connection w/ the Luke's Last Stand motif from "The Spark." I'm not sure who first made the claim, but in addition to its resemblance to the Imperial March, there's also a few structural affinities with Jedi Steps. To me it's a more demonstrable link than any between Jedi Steps and the Main Theme (which, forgive me, I still do not hear).
  14. It's a wonderful theme, isn't it, Tydirum? Here's my quick and dirty attempt at a transcription. This only gets across half the story, since so much of the effectiveness of the harmony relies on the thick wind voicings and the active, walking bass-line. But even with just chord symbols, you can see how chromatically dense this melody is!
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