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Found 282 results

  1. After the announcement, MV said: We tried, but WEA gave it to Perserverance then apologized to us (forgot we asked for it when the license was with Collector's Choice). Sorry guys. Maybe in a few years time a complete release will happen. In the mean time pick this up. It's only $13 and will sound better than previous releases. MV No, buy this version first so it will sell out fast. Then, we can do ours. MV Source: http://filmscoremont...mID=1&archive=0
  2. https://www.varesesarabande.com/products/cowboys-the-the-deluxe-edition
  3. The Force Awakens by John Williams Complete Score Breakdown & Other Info by Jason LeBlanc Do not repost anywhere without my permission!! I have no clue what any of Williams' original cue names are, so I made up my own names for all of them, usually just using a description of the scene or some dialogue from it rather than trying to imitate Williams' naming style. I'm sure I missed some things here and there so I welcome any at all questions and updates and corrections. Without further ado here we go! # Title On FYC? On OST? THE FILM SCORE 1 Main Title 1:26 01A [0:00-1:26] Main Title 1:26 2 Starry Night 2:09 01A [0:00-2:09] The Attack on the Jakku Village Part 1 2:09 01B [1:26-3:07] The Attack on the Jakku Village 1:41 3 Village Attack 3:18 01B [2:09-end] The Attack on the Jakku Village Part 1 3:18 01C [3:07-5:03] The Attack on the Jakku Village 1:56 4 I Will Show You The Dark Side 0:43 5 Kill Them All 1:53 02 The Attack on the Jakku Village Part 2 1:53 01D [5:03-end] The Attack on the Jakku Village 1:22 6 Submit Your Blaster For Inspection 0:44 7 Rey The Scavenger 2:21 03 The Scavenger 1:52 02A [0:00-2:21] The Scavenger 2:21 8 Lunchtime 1:18 04 Lunchtime 1:12 02B [2:21-end] The Scavenger 1:18 9 BB-8 Meets Rey 0:52 10 It's In The Droid 0:19 11 Not For Sale / You Need A Pilot 1:01 12 I Can Fly Anything 4:09 05 I Can Fly Anything 4:09 03B [0:30-end] I Can Fly Anything 2:41 13 Finn’s Trek 1:35 06 Finn’s Trek 1:35 14 Stolen Jacket 0:36 08B [0:35-1:11] That Girl With The Staff 0:36 15 Follow Me 3:09 07A [0:00-3:09] Follow Me 3:09 05 Follow Me 2:54 16 The Falcon 4:00 07B [3:09-end] The Falcon 4:00 07 The Falcon 3:32 17 Finn, I'm Rey 0:35 08A [0:00-0:35] That Girl With The Staff 0:35 18 The Droid Stole A Freighter? 0:47 08C [1:11-end] That Girl With The Staff 0:47 19 Poisonous Gas 1:33 09A [0:00-1:01] The Rathtars! 1:01 20 You're Han Solo! 2:05 ** released via LEGO The Force Awakens as "MX_HUBFALCON" 2:10 21 Tasu Leech 1:10 22 Rathtars Unleashed 1:19 08 The Rathtars 1:19 09C [1:22-2:13] The Rathtars! 0:51 23 Rey Closes Door 0:16 24 Escape In The Millennium Falcon 1:52 09D [2:13-end] The Rathtars! 1:52 25 Supreme Leader Snoke 2:07 09 Snoke 2:07 17A [0:00-1:02] Snoke 1:02 26 It's True, All Of It 1:19 27 Arrival at Takodana 0:42 10B [0:52-1:17] Finn's Confession 0:25 28 You Got A Name? 1:32 10 You Got A Name? 1:32 10C [1:17-end] Finn's Confession 0:51 29 Informants 0:21 04B [1:10-end] Rey Meets BB-8 0:21 30 I Will Finish What You Started 1:06 31 Maz Examines Finn 1:21 11A [0:00-1:21] Maz's Counsel 1:21 32 I'm No Hero 1:06 11 I’m No Hero 1:06 10A [0:00-0:52] Finn's Confession 0:52 33 Rey Underground 0:36 34 Rey's Vision 0:56 35 Maz and Rey 1:53 11B [1:21-end] Maz's Counsel 1:46 36 The Starkiller 1:52 12 The Starkiller 1:52 12 The Starkiller 1:51 37 Kylo Ren Arrives At The Battle 2:15 13 Kylo Ren Arrives at the Battle 2:15 13 Kylo Ren Arrives At The Battle 2:01 38 The Resistance 1:35 14 The Resistance 1:35 39 The Abduction 2:27 15 The Abduction 1:35 14 The Abduction 2:25 40 Finn and Poe, United 3:08 16 Finn and Poe, United 2:01 15A [0:00-2:52] Han And Leia 2:52 41 Han and Leia Discuss Kylo 2:01 15B [2:52-end] Han And Leia 1:49 42 You Still Want To Kill Me 0:36 43 You Will Never Be As Strong As Darth Vader 1:29 44 Bring Her To Me 1:03 17B [1:02-end] Snoke 1:01 45 Jedi Mind Trick 0:36 46 Ren's Rage 0:53 47 Precint 47 1:35 48 Bring Him Home 1:17 49 Landing At Light Speed 1:12 50 Weapon Charged In 15 Minutes 0:18 51 Group Enters Base 0:57 52 The Bombing Run 2:07 17 The Bombing Run 2:07 53 Escape Now, Hug Later 0:22 54 Bag of Explosives 0:48 18A [0:00-0:48] On The Inside 0:48 55 Planting Charges 2:06 18B [0:48-end] On The Inside 2:06 18 On The Inside 2:05 56 Torn Apart 4:24 19 Torn Apart 4:24 19 Torn Apart 4:19 57 Rey Gets The Lightsaber 0:48 20A [0:00-0:45] The Ways Of The Force 0:45 58 The Trench Run 1:44 20A [0:00-1:20] The Ways of The Force 1:20 59 Rey Vs Ren 2:38 20B [1:20-end] The Ways of The Force 2:38 20B [0:45-end] The Ways Of The Force 2:30 60 Time To Complete His Training 0:51 61 The Journey Home 2:18 21 The Journey Home 2:18 22A [0:00-2:05] Farewell and The Trip 2:05 62 R2 Shows The Map 1:10 22A [0:00-1:10] Farewell and The Trip 1:10 04A [0:00-1:10] Rey Meets BB-8 1:10 63 Rey's Trip 2:42 22B [1:10-end] Farewell and The Trip 2:39 22B [2:13-end] Farewell and The Trip 2:42 64 The Jedi Steps 2:12 23A [0:00-2:12] The Jedi Steps 2:12 23A [0:00-2:12] The Jedi Steps 2:12 65 Finale 7:46 23B [2:12-end] Finale 7:46 23B [2:21-end] Finale 6:39 CONCERT / ALBUM ARRANGEMENTS 66 Rey’s Theme 3:11 06 Rey’s Theme 3:11 67 March of the Resistance 2:35 16 March of the Resistance 2:35 68 Scherzo For X-Wings 2:32 21 Scherzo For X-Wings 2:32 ALTERNATES 69 I Can Fly Anything (Alternate Opening) 0:30 03A [0:00-0:30] I Can Fly Anything 0:30 70 UNUSED MUSIC 0:21 09B [1:01-1:22] The Rathtars! 0:21 Google Spreadsheet version of this table here: https://docs.google.com/spreadsheets/d/1rDuRXT-67ETwF2cy4lNkgp5AV_QcIDivxUwCLtLOGfg/pubhtml# (Third tab) CHRONOLOGICAL ORDER OF OST: THE FILM SCORE: 01 Main Title and the Attack on the Jakku Village (6:25) 02 The Scavenger (3:39) 03 I Can Fly Anything (3:11) 08B [0:35-1:11] (0:36) "Stolen Jacket" 05 Follow Me (2:54) 07 The Falcon (3:32) 08A [0:00-0:35] "Finn, I'm Rey" 08C [1:11-end] "The Droid Stole A Freigher?" 09 The Rathtars! (4:05) 17A [0:00-1:02] (1:02) "Supreme Leader Snoke" 10B [0:52-end] (1:16) "Arrival At Takodana / You Got A Name?" 04B [1:10-end] (0:21) "Informants" 11A [0:00-1:21] (1:21) "Maz Examines Finn" 10A [0:00-0:52] (0:52) "I'm No Hero" 11B [1:21-end] (1:46) "Maz and Rey" 12 The Starkiller (1:51) 13 Kylo Ren Arrives at the Battle (2:01) 14 The Abduction (2:25) 15 Han and Leia (4:41) 17B [1:02-end] (1:01) "Bring Her To Me" 18 On the Inside (2:05) 19 Torn Apart (4:19) 20 The Ways of the Force (3:15) 22A [0:00-2:05] (2:05) Farewell 04A [0:00-1:10] (1:10) "R2 Shows The Map" 22B [2:13-end] (2:42) The Trip 23 The Jedi Steps and Finale (8:51) THE CONCERT ARRANGEMENTS: 06 Rey's Theme (3:11) 16 March of the Resistance (2:35) 21 Scherzo for X-Wings (2:32) DETAILED OST BREAKDOWN: 01. Main Title and the Attack on the Jakku Village (6:25) [0:00-1:26] = cue 1 Main Title [1:26-3:07] = cue 2 Starry Night (FYC 01A [0:00-2:09]) [3:07-5:03] = cue 3 Village Attack (FYC 01B [2:09-end] [5:03-end] = cue 5 Kill Them All (FYC 02) 02. The Scavenger (3:39) [0:00-0:39] = unknown, possibly unused opening of: [0:39-2:21] = cue 7 Rey The Scavenger (FYC 03) [2:21-end] = cue 8 Lunchtime (FYC 04) 03. I Can Fly Anything (3:11) [all] = cue 12 I Can Fly Anything (FYC 05) 04. Rey Meets BB-8 (1:31) [0:00-1:10] = either cue 9 BB-8 Meets Rey or cue 61 R2 Shows The Map (up for debate which is the intended position and which is the tracked) [1:10-end] = cue 29 Informants 05. Follow Me (2:54) [all] = cue 15 Follow Me (FYC07A [0:00-3:09]) 06. Rey’s Theme (3:11) [all] = concert arrangment of Rey's Theme 07. The Falcon (3:32) [all] = cue 16 The Falcon (FYC07B [3:09-end]) 08. That Girl With The Staff (1:58) [0:00-0:35] = cue 17 Finn, I'm Rey [0:35-1:11] = cue 14 Stolen Jacket [1:11-end] = cue 18 The Droid Stole A Freighter? 09. The Rathtars! (4:05) [0:00-1:01] = cue 19 Poisonous Gas [1:01-1:22] = not in film, probably unused opening to next cue [1:22-2:13] = cue 22 Rathtars Unleashed (FYC 08) [2:13-end] = cue 24 Escape In the Millenium Falcon 10. Finn’s Confession (2:08) [0:00-0:52] = cue 32 I'm No Hero (FYC 11) [0:52-1:17] = cue 27 Arrival At Takodana [1:17-end] = cue 28 You Got A Name? (FYC 10) 11. Maz’s Counsel (3:07) [0:00-1:21] = cue 31 Maz Examines Finn [1:21-end] = cue 35 Maz and Rey 12. The Starkiller (1:51) [all] = cue 36 The Starkiller (FYC 12) 13. Kylo Ren Arrives At The Battle (2:01) [all] = cue 37 Kylo Ren Arrives At The Battle (FYC 13) 14. The Abduction (2:25) [all] = cue 39 The Abduction (FYC 15) 15. Han And Leia (4:41) [0:00-2:52] = cue 40 Finn and Poe, United (FYC 16) [2:52-end] = cue 41 Han and Leia Discuss Kylo 16. March of the Resistance (2:35) [all] = concert arrangment of The Resistance theme 17. Snoke (2:03) [0:00-1:02] = cue 25 Supreme Leader Snoke (FYC 09) [1:02-end] = cue 44 Bring Her To Me 18. On the Inside (2:05) [all] = cue 55 "Planting Charges" (FYC 18B [0:48-end]) 19. Torn Apart (4:19) [all] = cue 56 Torn Apart (FYC 19) 20. The Ways Of The Force (3:14) [0:00-0:45] = cue 57 "Rey Gets The Lightsaber" [0:45-end] = cue 59 "Rey Vs Ren" (FYC 20B [1:20-end]) 21. Scherzo For X-Wings (2:32) [all] = concert version of cue 58 "The Trench Run" (FYC20A [0:00-1:20]) 22. Farewell And The Trip (4:55) [0:00-2:05] = cue 61 "The Journey Home" (FYC 21) [2:05-end] = cue 63 "Rey's Trip" (FYC 22B [1:10-end]) 23. The Jedi Steps And Finale (8:51) [0:00-2:12] = cue 64 The Jedi Steps (FYC 23A [0:00-2:11]) [2:12-6:07] = End Credits part 1 (FYC 23B [2:11-6:04]) [6:07-7:28] = Repeated section of "March of the Resistance" (FYC 23C [6:04-8:34]) [7:28-end] = End Credits part 2 (FYC 23D [8:34-end]) QUICK FYC BREAKDOWN: FYC 01 The Attack on the Jakku Village Part 1 (5:27) [all] (5:27) = OST 01 [1:26-5:03] (3:37) Main Title and The Attack on the Jakku Village FYC 02 The Attack on the Jakku Village Part 2 (1:53) [all] (1:53) = OST 01 [5:03-end] (1:22) Main Title and The Attack on the Jakku Village FYC 03 The Scavenger (1:52) [all] (1:52) = OST 02 [0:36-2:21] The Scavenger FYC 04 Lunchtime (1:12) [all] (1:12) = OST02 [2:21-end] The Scavenger FYC 05 I Can Fly Anything (4:09) [0:00-1:00] (1:00) = Previously Unreleased [1:00-end] (3:09) = OST 05 [0:30-end] (2:24) I Can Fly Anything FYC 06 Finn’s Trek (1:35) [all] (1:35) = Previously Unreleased FYC 07 Follow Me and The Falcon (7:09) [0:00-3:09] (3:09) = OST 05 Follow Me (2:54) [3:09-end] (4:00) = OST 07 The Falcon (3:32) FYC 08 The Rathtars (1:19) [all] (1:19) = OST 09 [1:22-2:13] The Rathtars! FYC 09 Snoke (2:07) [all] (2:07) = OST 17 [0:00-1:02] Snoke FYC 10 You Got A Name? (1:32) [0:00-0:45] (0:45) = Previously Unreleased [0:45-end] (0:47) = OST 10 [1:17-end] (0:51) Finn's Confession FYC 11 I’m No Hero (1:06) [all] (1:06) = OST 10 [0:00-0:52] (0:52) Finn's Confession FYC 12 The Starkiller (1:52) [all] (1:52) = OST 12 The Starkiller (1:51) FYC 13 Kylo Ren Arrives at the Battle (2:15) [all] (2:15) = OST 13 Kylo Ren Arrives At The Battle (2:01) FYC 14 The Resistance (1:35) [all] (1:35) = Previously Unreleased FYC 15 The Abduction (1:35) [all] (1:35) = OST 14 [0:56-end] (1:29) The Abduction FYC 16 Finn and Poe, United (2:01) [all] (2:01) = OST 15 [1:13-2:52] (1:39) Han and Leia FYC 17 The Bombing Run (2:07) [all] (2:07) = Previously Unreleased FYC 18 On the Inside (2:54) [0:00-0:48] (0:48) = Previously Unreleased [0:48-end] (2:06) = OST 18 [0:03-end] (2:02) On The Inside FYC 19 Torn Apart (4:24) [all] (4:24) = OST 19 Torn Apart (4:19) FYC 20 The Ways of the Force (3:58) [0:00-1:20] (1:20) = Previously Unreleased [1:20-end] (2:38) = OST 20 [0:45-end] (2:20) The Ways Of The Force FYC 21 The Journey Home (2:18) [all] (2:18) = OST 22 [0:00-2:05] (2:05) Farewell and The Trip FYC 22 Farewell and The Trip (3:49) [0:00-1:10] = OST 04 [0:00-1:10] (1:10) Rey Meets BB-8 [1:10-end] (2:39) = OST 22 [2:13-end] (2:42) Farewell and The Trip FYC 23 The Jedi Steps and Finale (9:58) [0:00-6:53] (6:54) = OST 23 [0:00-6:59] (6:59) The Jedi Steps and Finale [6:53-8:05] (1:12) = OST 16 [tbd-tbd] (tbd) March of the Resistance [8:05-end] (1:53) = OST 23 [6:59-end] (1:53) The Jedi Steps and Finale Simple FYC/OST Combo Playlist, no Editing Required OST 06 Rey's Theme (3:11) OST 16 March of the Resistance (2:35) OST 21 Scherzo for X-Wings (2:32) FYC 01 The Attack on the Jakku Village Part 1 (5:27) FYC 02 The Attack on the Jakku Village Part 2 (1:53) OST 02 The Scavenger (3:39) OST 04 Rey Meets BB-8 (1:31) FYC 05 I Can Fly Anything (4:09) FYC 06 Finn’s Trek (1:35) FYC 07 Follow Me and The Falcon (7:09) OST 08 That Girl with the Staff (1:58) OST 09 The Rathtars! (4:05) FYC 09 Snoke (2:07) FYC 10 You Got A Name? (1:32) FYC 11 I'm No Hero (1:06) OST 11 Maz's Counsel (3:07) FYC 12 The Starkiller (1:52) FYC 13 Kylo Ren Arrives at the Battle (2:15) FYC 14 The Resistance (1:35) OST 14 The Abduction (2:25) OST 15 Han and Leia (4:41) OST 17 Snoke (2:03) FYC 17 The Bombing Run (2:07) FYC 18 On The Inside (2:54) FYC 19 Torn Apart (4:24) OST 20 The Ways of the Force (3:15) OST 22 Farewell And The Trip (4:55) FYC 23 The Jedi Steps and Finale (9:58) TOTAL TIME - 1:30:00 Some notes: I like the concert arrangements first but you could certainly put them after instead Obviously the main title isn't here, but I don't mind. I've been listening to that piece for 20 years and don't need to hear it everytime I listen to this score. Obviously if you can't live without it, you can use OST track 1 instead of FYC tracks 1 and 2. For "The Way of the Force", I went with the OST version to get the great music for Rey getting the saber. The FYC version replaces that bit with the music for the X-Wings attack, which is great but since we have similar music in the Sherzo track it was easy to keep the OST version. For "The Starkiller", and "Torn Apart" you could swap in the OST version if you prefer. Torn Apart has a softer ending on album than the FYC version OST Track 10 Finn's Confession can replace FYC tracks 10 and 11 if you prefer that album arrangement with the Arrival at Takadona music. Longer Chronological Edit of OST + FYC, In-Track Editing Required: THE SCORE OST 01A [0:00-1:26] (1:26) Main Title / FYC 01 The Attack on the Jakku Village Part 1 (5:27) FYC 02 The Attack on the Jakku Village Part 2 (1:53) OST 02 The Scavenger (3:39) FYC 05 I Can Fly Anything (4:09) FYC 06 Finn’s Trek (1:35) OST 08B [0:35-1:11] (0:36) "Stolen Jacket" FYC 07 Follow Me and The Falcon (7:09) OST 08A [0:00-0:35] "Finn, I'm Rey" OST 08C [1:11-end] "The Droid Stole A Freigher?" OST 09 The Rathtars! (4:05) FYC 09 Snoke (2:07) OST 10B [0:52-1:17] (0:25) "Arrival At Takodana" FYC 10 You Got A Name? (1:32) OST 04B [1:10-end] (0:21) "Informants" OST 11A [0:00-1:21] (1:21) "Maz Examines Finn" FYC 11 I’m No Hero (1:06) OST 11B [1:21-end] (1:46) "Maz and Rey" FYC 12 The Starkiller (1:52) FYC 13 Kylo Ren Arrives at the Battle (2:15) or OST 13 if you prefer its version of Kylo's Theme in the middle FYC 14 The Resistance (1:35) OST 14 The Abduction (2:25) note that FYC 15 has an alternate ending if you prefer it OST 15 Han and Leia (4:41) OST 17B [1:02-end] (1:01) "Bring Her To Me" FYC 17 The Bombing Run (2:07) FYC 18 On The Inside (2:54) FYC 19 Torn Apart (4:24) OST 20A [0:00-0:45] (0:45) "Rey Gets The Lightsaber" / FYC 20 The Ways of the Force (3:58) FYC 21 The Journey Home (2:18) FYC 22 Farewell and The Trip (3:49) FYC 23 The Jedi Steps and Finale (9:58) ALBUM ARRANGEMENTS OST 06 Rey's Theme (3:11) OST 16 March of the Resistance (2:35) OST 21 Scherzo for X-Wings (2:32) THE RAW NUMBERS: 102 minutes of score in the final cut of the film (not including Miranda/Abrams source music). 77 of that released between the OST and FYC, leaving 25 completely unreleased. The OST has another 15 minutes of music that isn't used in the film anywhere, meaning in total 92 minutes out of the 175 recorded has been released. With 25 of that being the music heard in the film that is unreleased, this leaves about 58 minutes completely unreleased and unheard. All comments welcome!
  4. martybmusic

    The STAR WARS Main Title

    On the latest episode of UnderScore, we sat down with Alan Snelling, assistant engineer to Eric Tomlinson on Star Wars (as well as Raiders, Superman and the rest of the original trilogy), who shared some wonderful recollections of the historic first recording of the Main Title. The remainder of the episode is a near hour-long musical exploration into the composition, orchestration and storytelling power of that infamous minute and a half of music. Enjoy! [This is the second episode in a six-part series on the score]
  5. As seen on the main page, here is the track list and list of soloists: http://www.jwfan.com/?p=4950 Here is the pre-order link on all the various Amazons http://www.amazon.com/dp/B009A9EPLM/ http://www.amazon.ca/dp/B009A9EPLM/ http://www.amazon.co.uk/dp/B009A9EPLM/ http://www.amazon.es/dp/B009A9EPLM/ http://www.amazon.de/dp/B009A9EPLM/ http://www.amazon.it/dp/B009A9EPLM/ http://www.amazon.fr/dp/B009A9EPLM/ http://www.amazon.co.jp/dp/B009A9EPLM/
  6. I'll repost my review here at this point and I will be making updates once I have seen the film to make more accurate comments on how the music relates to the story and the drama. Lincoln Original Motion Picture Soundtrack by John Williams A Review By Mikko Ojala The 26th collaboration between Steven Spielberg and John Williams takes them to the turbulent Civil War era of American history, the life and times of Abraham Lincoln. The upcoming motion picture Lincoln focuses on the last four months of the president’s life and the momentous decisions he was faced with during the ending of the civil strife and drafting the 13th Amendment to abolish slavery. Tony Kushner the famed screenwriter and playwright, who previously collaborated with Spielberg on Munich, provided a script based on the mammoth of a historical biography A Team of Rivals by historian Doris Kearns Goodwin, which apparently took 6 years to forge into a workable script as the entire presidency and life of Abraham Lincoln proved too much for a single film to depict. The film boasts an impressive cast of Daniel Day-Lewis as Abraham Lincoln, Sally Field as Mary Todd Lincoln, Joseph Gordon-Levitt as Robert Todd Lincoln, Tommy Lee Jones as Thaddeus Stevens, David Strathairn as the Secretary of State William Seward just to name a few and part of the film crew are the usual suspects in a Spielberg production, the cinematographer Janusz Kaminski, editor Michael Kahn and of course composer John Williams. John Williams is certainly no stranger when it comes to portrayals of American history and Americana as he has scored numerous films in the spectrum of the idiom throughout his career from the rural, frolicking The Reivers and The River to the heart aching string led lyricism of Born on the Fourth of July, and from the Southern flavoured blue grassy Rosewood to the stately nobility of Amistad or quiet heroism of Saving Private Ryan or the brassy valour of The Patriot. His approach to this type of film could be said to be archetypical for such a subject matter, the composer describing his score in a May 2012 interview with Jon Burlingame as written in the 19th century musical language and containing hymnal modalities in the spirit of the American music of the times. So it might not come as a huge surprise to Williams’ dedicated fans that he chose a mix of Coplandesque and his own inimitable brand of Americana to address Lincoln and still this might actually be one of his most outwardly traditional scores in the idiom to date, so strongly he embraces the modes and musical gestures, feel and inflections of tradition of American music. You could say that this new score forms a walk down the memory lane to the long time afficionados of his music as the different facets of his Americana writing pop up constantly on the soundtrack album and we do encounter in Lincoln brass and string writing in line with the style of Saving Private Ryan and Amistad, folk music stylings from scores like The Reivers, solemn sections similar to those in both The Patriot and War Horse and elegiac tones of Born on the Fourth of July, JFK and Nixon, but it has to be said that Williams does not self quote his old music but rather the overall sounds and styles of what has come before and building again something new on this foundation. In this respect Lincoln might not be groundbreaking in style and sound but it is despite of this highly entertaining and accomplished, at times ravishingly beautiful and powerful music which showcases once more Williams’ strengths, his gift for strong themes, deftness of orchestration and dramatic instinct. To enhance the connection of the music to the president himself the composer at Spielberg’s suggestion engaged the Chicago Symphony Orchestra and Chorus to perform the music in honor of Lincoln’s old home state of Illinois and to evoke some of the local musical flavour through their talent on the soundtrack. The Chicago Symphony Orchestra has to be complemented for its vibrant and warm sound and the beautiful and numerous heartfelt solos gracing the album, the playing further elevating the emotional appeal of the music. Violin, trumpet, clarinet, bassoon, horn, cello and piano all receive lengthy solo passages but the entire ensemble creates a very empathetic, resounding and warm sound that feels very appropriate for this kind of music, capturing both the tenderness and the stateliness with equal skill and certainly gives the studio orchestras run for their money. The music on the soundtrack album travels between the two poles of stately reverent and lyrically intimate by the way of some rustic humour, reflecting perhaps the balance of these elements in the film, the public and private persona of the president and the affairs of his office. The above mentioned soloists play an important role in the music and on nearly every track one or more of the Chicago Symphony’s musicians are offered a moment to shine. This serves both the restraint for which this score audibly strives but also imparts a sense of simplicity, honesty and fragility, a certain sense of isolation, giving an impression a man amidst events that are greater than he is, and provides a great deal of emotional resonance to the music. A healthy amount of restraint seems to be a guiding thought in this project to both Spielberg and Williams so as not to overpower the performances of the actors or the reality of the film and the composer is obviously trying to do more with less in many instances, reserving grander musical histrionics only for a handful of moments on the album. This restraint and certain stream lined sparseness and reliance on gentle simplicity does not however dilute the musical expression of the score and I actually feel that it strengthens and focuses it, Williams saying perhaps more emotionally with reduced forces than with a complete symphonic ensemble blowing full steam ahead with brass section blazing through every track. Themes: The score boasts with a whole host of themes ranging from noble pathos to familial tenderness. As it might be clear from the above general description of the music all these ideas share a strong Americana feel, whether it is a down-to-earth and folksy or more classical hymnal one and here as in both of Williams’ recent scores (The Adventures of Tintin The Secret of the Unicorn and War Horse) these themes seem to form a family, that shares common musical roots. The composer’s decision to provide so many different ideas perhaps reflects the different aspects of Lincoln and the people close to him, the themes forming a tight knit fabric of motifs that flows from one to the next with fluid ease on the soundtrack album. Partly as a consequence from this way of writing and thinking Williams doesn’t obviously assign any of his themes a clear central position as the “main theme” of the score that then would be stated and restated with regularity, which might puzzle and frustrate some of his fans, and there are indeed several long and well developed ideas on the album vying for that title, appearing continously from one track to the next. Still after numerous consecutive listens With Malice Toward None seems to be for me the most important and emotional and certainly most memorable of all the themes on the album. With Malice Toward None (Lincoln’s Theme): The name of the theme refers to the second inaugural speech of Lincoln and it is a folk song styled, simple, lyrical and honest melody that could be said to be main theme of the score. It seems to embody the down-to-earth nobility of the main character and his humanity. Coloured with lilting gait of folk music in some settings and slow solemn progression of traditional hymns in others, this theme paints a very humble, thoughtful and gentle picture of the president of United States. Appears on the album: 04 The American Process: 1:18-1:47 and 3:10-end 06 With Malice Toward None 12 Freedom's Call: 0:24-2:29 16 The Peterson House and Finale: 1:49-3:13 and 7:40-8:25 17 With Malice Toward None (Piano Solo) The American Process: A gentle lilting Americana "home and hearth" melody with almost folk song quality, the theme pensive yet optimistic with a sense of earthy wisdom. It is set often in the woodwinds, clarinet, bassoon and flute but this idea is also frequently developed on stately strings or brass, revealing a nobler aspect and aspirations in this guise. Appears on the album: 01 The People's House: 2:16-3:09 04 The American Process: 0:00-1:19 and 2:10-3:00 11 Equality Under the Law: 0:00-1:36 12 Freedom's Call: 2:29-3:18 16 The Peterson House and Finale: 4:50-5:43 and 8:26-9:14 The People’s House: The most dramatic and triumphant of the themes, this noble and heroic idea is built on a leaping four note clarinet figure heard initially on the opening track and soon blooms to a full brass and strings setting, imparting a sense of victory and achievement, probably reflecting political and personal accomplishment. The idea is used sparsely on the soundtrack album appearing only on the opening track and the Finale track, and it seems that Williams is reserving this level of musical heroism for specific and crucial instances in the narrative. Appears on the album: 01 The People's House: 0:00-2:15 and 3:10-end 16 The Peterson House and Finale: 3:14-4:49 Freedom’s Call (The 13th Amendment): A short and direct melody, composed of a series of a few alternating chords, depicts perhaps Lincoln’s just and good aspirations and goals, the 13 Amendment and the abolition of slavery and his gentle wisdom and noble humanity. There is stately grace in this simple yet affecting idea, bridging the public and personal side of Lincoln and Williams offers numerous alternating variations of it throughout the score in different settings from solo piano to brass chorale. Appears on the album: 02 The Purpose of the Amendment: 0:55- 1:39 and 2:26-end 09 Father and Son: 0:34-0:52 and 1:08-end 11 Equality Under the Law: 1:37-end 12 Freedom's Call: 3:18-5:29 15 Appomattox, April 9, 1865: 0:24-1:08 16 The Peterson House and Finale: 0:24-1:20 and 6:19-7:39 The Elegy: A mournful and anguished string elegy, quite religioso in nature, that seems to exude regret, sorrow and horror all in one harrowing theme, a reminder of the Civil War and its ravages. Appears on the album: 08 The Southern Delegation and the Dream: 3:06-end 13 Elegy The Loss and Remembrance Theme: A theme that seems to relate both to Lincoln's personal loss, of his son William, but also to mourning of the tragedy of Civil War and remembrance. It is an unadorned piano melody that expresses bittersweet sorrow with a hint of regret. This musical idea is used sparsely and always retains the same guise, invoked on the piano, the most familial and "domestic" but also emotionally direct of instruments. Appears on the album: 05 The Blue and Grey: 0:00-1:01 14 Remembering Willie: 0:29-end 16 The Peterson House and Finale: 9:29-end *** Track-by-track analysis As I have not seen the film nor do not know the full narrative of the movie, the below analysis and names of the themes are pure speculation on my part, made only to give the piece a structure and to help identifying recurring musical ideas on the album. 01. The People’s House (03:41): A pensive 4-note phrase (a warm nod to Aaron Copland's Appalachian Spring) on solo clarinet, played by Stephen Williamson, opens the album with an air of gentleness and optimism, the lilt of the melody almost asking a question as it repeats several times all the while developing the phrase, strings rising to support it. Flute and clarinet restate the original 4-note idea before Williams lifts the melody forth in key and strings sing out a fully formed upward climbing People’s House theme, noble and stately, as if denoting a moment of accomplishment and victory, brass accompanying the melody warmly underneath. Woodwinds present the second phrase of the thematic idea, slightly more thoughtfully winding melody implicating resolve before it is swept again into a majestically fanfarish and rousing full orchestra statement of this Americana theme, the 4-note motto of the theme slowly receding through the ranks of the orchestra to solo trumpet after the crescendo. Clarinet and flute duet plays a new theme, The American Process, another Americana melody where the two swaying woodwinds interlace their voices in the song-like melody that is dignified and initially almost folksy but soon reaches stately proportions as suddenly glowing violins underpinned by lower brass take up the theme, giving the music an air of importance, solo trumpet rouding out the track with a calm and proud statement of the People’s House theme. One of the stand-out pieces of the album, this is a wonderful way to open the CD but oddly the opening heroic musical idea does not return to the score until the finale. In overall feel this cue sounds like Amistad meeting Saving Private Ryan with a dash of the unabashed heroism of The Patriot thrown in. 2. The Purpose of the Amendment (03:06): A new ruminating and stoic melody is heard on clarinet and bassoon, developing slowly phrase by phrase but then moving to a hopeful and warm string idea, the first appearance of the Freedom’s Call theme, that calmly rises forth on higher strings, the celli and basses playing accompanying figures underneath giving the music a sense of forward progress, the theme perhaps illustrating Lincoln’s ideals and political aspirations concerning the 13th Amendment and healing the war torn nation. Clarinet and horns and trumpets all pass phrases, solo trumpet’s clear tones rising alone for a moment before autumnal strings and clarinet transition again to Freedom’s Call theme in the string section, this time more assured, glowing and reverent, clearly indicating a moment decision. The writing here reminds me of War Horse and Saving Private Ryan, especially Williams’ way of combining flute, clarinet and bassoon voices and the way the broad long lined theme is developed on strings. 3. Getting Out the Vote (02:48): Solo violin quickly and subtly hints at the chords of Freedom’s Call Theme, maybe a nod to the political action taking place during this light hearted cue, before Williams spins a wonderful jaunty Appalachian scherzando or dance for strings, solo fiddle, viola, woodwinds, tuba and light percussion, the music exuding wonderful hoe-down folk music feel and humour. The soloists have their moment to shine, violin and bassoon performing particularly delicious solos. This piece is a delightful interlude that offers not only variety and levity but allows the composer to explore a different side of Americana writing, the style and feel of the piece harkening back to his similar music in The Reivers. A terrifically sprightly and fun piece! 4. The American Process (03:56): Clarinet and bassoon duet once more, this time giving a long rendition of the American Process theme, solo flute joining them and for a while the trio develops the music alone the melody full of tender warmth. Oboe’s lyrical voice has almost a bucolic air here supported by the gentle lower strings before stately and burnished low and slow brass choir introduces a brief first statement of With Malice Toward None that ends in very dignified sounding brass phrases, hinting possibly at official state business. Randy Kerber, the only soloist not from the Chicago Symphony Orchestra, performs a simple yet emotional piano variation on the American Process theme with solo flute ghosting subtly, calm swaying string chords melting into Christopher Martin’s sublimely serene trumpet reading of With Malice Toward None, a perfect depiction of nostalgia and longing, which closes the track in soothing tones. 5. The Blue and Grey (02:59): A dark hued theme plays on solo piano, the Loss and Remembrance Theme, slow and thoughtful, expressing in equal measure sorrow and regret, a warm yet sad memory. Randy Kerber’s reading is beautiful, the halting phrases of the theme capturing a quiet sense of loss and the toll of war. A repeating string rhythm starts a slow tug, piano first striking paced rumbling chords underneath, the music expressing deliberation, slow wait for a moment of decision, pensive clarinet and bassoon appearing underneath the rhythm, which transitions briefly from strings to the woodwinds and then back again continuing inevitably and finally slides into resigned silence. 6. “With Malice Toward None” (01:50): String orchestra performs the main theme of the film with sensitivity and grace, the melody in equal part hymnal and traditional folk music, the nobility, humane spirit and a sense of wisdom captured in this gentle lyrical melody. One of the highlights of the album full of emotion and tenderness of Williams’ best themes, the only downside being that it feels too short and I would have loved to hear Williams develop this theme further. 7. Call to Muster and Battle Cry Of Freedom (02:17) Williams includes on the album this resounding reminder of the music of the Civil War era, a piece of diegetic music for militaristic drums and choir, where the traditional sounding military snare drum tattoo with a lively piccolo melody bookends a performance of a famous Civil War era song Battle Cry of Freedom sung by the Chicago Symphony Chorus with patriotic resolve. 8. The Southern Delegation and the Dream (04:43) Somber strings and subdued militaristic brass calls give away to a solo trumpet intoning a tragic and dark melody above string harmonies, paced by subtle timpani, the atmosphere grave. The same grimly martial mood continues and after a brief passage for snare drum, elegiac strings and solo trumpet the music suddenly plunges into disturbing rumbling synthesizer textures and turbulently quivering murkily dissonant string layers, like a musical depiction of a nightmare. High strings slowly rise from the dark cloud of sound and begin a reading of the Elegy Theme, a mournful, lonely and subtly religioso composition, which seems to lament the tragedy of the Civil War and the countless victims of the conflict, the tone of the music forlorn and sad although the piece seems to find some measure of solace in the end. An interesting mix of moods, this piece conjures up shades of the darker and more challenging music and elegiac writing from Born on the Fourth of July, Nixon and JFK. 9. Father and Son (01:42) A solo bassoon presents a halting ruminating melody that moves on to a noble but grave horn statement before melting into a variation on the Freedom’s Call theme on celli and basses, a brief lyrical solo oboe phrase transitioning back to the theme, this time heard in a simple affecting solo piano reading, suggesting a moment of paternal wisdom. 10. The Race to the House (02:41) (Traditional, arranged and performed by Jim Taylor ) A selection of Civil War era folk music titled The Last of Sizemore arranged and performed by the traditional and folk music expert Jim Taylor and licensed from his album The Civil War Collection. A jaunty jig for fiddle, banjo, guitar and hammered dulcimer that contains excerpts from "They Swung John Brown To A Sour Apple Tree", "Three Forks of Hell", Last of Sizemore" and Republican Spirit". Another track that offers some authentic diegetic music from the era and at the same time some lighter tones amidst all the serious and solemn music. A very entertaining piece of music. 11. Equality Under the Law (03:11) A dreamy clarinet solo over expectant string harmonies plays the American Process theme before whole string section takes up the phrase, hinting at the Freedom’s Call’s harmonies before horn and clarinet in somber mood move to a humble statement of American Process theme. Clarinet and flute pair to perform the Freedom’s Call again, this time with solemnity, developing the original melody further until string section rises through this build-up finally to a beautiful yet restrained and reverent reading of this idea that poignantly rises higher and higher, a powerful and emotional musical moment before subsiding in warm harmonies in a classic Williams style. Another winner track, the slow build through the cue reaching a highly satisfying release at the end of the piece. 12. Freedom’s Call (06:06) Tubular bells toll quietly over glowing strings that flow into a solo violin rendition of the With Malice Toward None, a soulful and yearning performance by Robert Chen of the Chicago Symphony Orchestra, the melody gently underlined by simple guitar chords. The solo is full of poignancy and idealism yet the violin lends the melody touching emotional fragility that would melt the hardest of hearts. The string section continues to develop the theme, finding new avenues for it and in solemn beauty raises the music to a magnificently emotional height. After the theme has subsided clarinet and bassoon appear together, duetting and performing the American Process Theme that is taken over by the brass in almost heraldic proclamation, the theme working in this piece as a bridge melody that ushers in high strings that play the Freedom’s Call theme in its more developed and emotional guise while rhythmic figures on the double basses play underneath with a feeling of determination, the performance full of stately largesse and sense of accomplishment. Horns and trombones continue the theme reaching a triumphant peak with sense of finality when Williams suddenly releases an ethereal almost beatifically glowing variation of the theme on strings and ends the piece in a noble horn soliloquy by Daniel Gingrich. A stunning composition by the Maestro, drawing together the three central themes of the film. The music is combining moods similar to those of Saving Private Ryan, War Horse and the fiddling of Mark O’Connor from The Patriot. 13. Elegy (02:34) This track is a long development of the Elegy Theme that was previously hinted at on the track The Southern Delegation and the Dream. It opens with a duet for trumpets in almost military bugle call style singing the main melodic line of the sorrowful and tragic theme before the strings come in and repeat the theme in harrowing tones, Williams’ elegiac writing strong and lyrically moving as usual, the performance of the Chicago Symphony Orchestra highly emotional, the mood alternating from sadness to heart rending pathos and finally to religioso majesty, which ends the piece in a resigned calm. 14. Remembering Willie (01:51) After a few harp notes, solo violin and viola receive their own passages, subtly quoting the Elegy Theme before the cello takes over and sings forlorn above simple guitar chords until Loss and Remembrance Theme appears on the solo piano as mourning and contemplative as before, now further enhanced by the sonorous emotionality of the solo cello that appears in brief duet with the piano, expressing quiet but powerful sorrow and feeling of loss. The fragile tone of the music is just superb here, this brief but powerful piece full of emotion. 15. Appomattox, April 9, 1865 (02:36) Horn calls out alone, solemn and slightly mournful and a piano variation on the Freedom’s Call plays serene and unadorned, Williams relying on the simplicity of the most domestic of instruments to carry the emotion and message of the moment, before brass chords slowly flow into heart breakingly beautiful, ethereal sounds of ghostly choral voices, a moment of haunting sorrow, followed by solo clarinet and horn both equally sorrowful and pensive, deep woodwinds and strings bringing the cue to an ending full of dark foreboding. 16. The Peterson House and Finale (11:00) This piece draws together all the themes of the score into a long tone poem styled piece, meditation on all that has gone before on the soundtrack, a stunning and emotional finale. Oboe starts off alone, wandering and ruminating when solemn chords appear halfway between the opening of several of the main themes, showing their interconnectedness, but finally clarinet and flute settle on Freedom’s Call in a humble setting, oboe and cor anglais interrupting, a hint of the Elegy Theme darkening the mood. Reverently slow the With Malice Toward None rises in the strings, Williams omitting a few folk song styled decorative notes here and there in the melody to transform the theme into a more hymn styled variation, a regal deep brass choir repeating the theme full of telling solemnity, slow and dignified in their progressions from which the People’s House Theme begins in the flutes and surges quickly up into a fantastically triumphant full ensemble statement of the theme that slowly fades into a solo trumpet stating the 4-note motto of the idea. The American Process theme on its emblematic woodwinds, clarinet and flute, appears and soon leaps into glowing and courageous string rendition that is followed by a heraldic trumpet solo interlude, showing again the skills of Christopher Martin, his voice sounding like a lonely bugle over a field of battle. From this grows the Freedom’s Call theme in the high strings with the rhythmic low string accompaniment, here perhaps even more expressive than on track 12 and it marches forth, the theme statelier here than ever before. The solo trumpet returns singing With Malice Toward None in serene, warm and clear tones over piano chords, a stunning moment of Americana before the piano continues alone performing an innocent and down to earth variation on the American Process Theme, flute appearing to ghost the theme and in the final reassuring chords the music seems to fade into silence accompanied by a swaying string figure but Williams gives the last word to the Loss and Remembrance Theme, its somber and sorrowful notes bidding farewell to the listener in bittersweet thoughtful tones. 17. “With Malice Toward None” (Piano Solo) (01:31) A solo piano rendition of With Malice Toward None theme rounds out the album in a gentle, pensive mood, Randy Kerber’s performance liltingly warm and even nostalgic, a great finale to the entire listening experience. *** Lincoln is a very strong entry in Williams’ dramatic ouvre and on album it is a highly entertaining and listenable score, permeated strongly by the spirit of Americana. It might not break radically new ground in its approach for such a subject matter but it makes up for it in engaging thematic material, emotional soloist performances and a strong dramatic arc. While the score does make an instant impression with its melodic nature and warmly emotional tone, this is music that benefits from multiple listens, the thematic ideas intertwining through the album so that it takes a few listens to explore Williams composition in full and appreciate the way he approaches the subject matter and Lincoln's different facets. Those who come to this score expecting for the music to impress with bold brassy themes, sweeping statements and grand musical gestures or some kind of complete reinvention of the composer's style might be disappointed but all I can say as a fan of his intimate scores for dramas, his writing for solo instruments and his trademark Americana, this is another wonderful and heartfelt score from the Maestro and shows yet again how Williams is still at the top of his game and going strong at the age of 80, continuing to create some of the best film music around. Lincoln is definitely among the best of the year for me for its mastery of the idiom and sheer emotional appeal. © Mikko Ojala Credits: Music composed and conducted by John Williams Performer: Chicago Symphony Orchestra / Chicago Symphony Chorus Violin: Robert Chen Trumpet: Christopher Martin Clarinet: Stephen Williamson Bassoon: David McGill Horn: Daniel Gingrich Piano: Randy Kerber Additional Musicians: Charles Bisharat fiddle George Doering mandolin Alan Estes, Don Williams percussion Tommy Morgan harp Michael Valerio arco bass Producer: John Williams Editor: Ramiro Belgardt / Robert Wolff Recording Engineer: Shawn Murphy Mixing Engineer: Shawn Murphy Engineer: Brad Cobb Contractor: Sandy De Crescent Preparer: Jo Ann Kane Music Service Mastering Engineer: Patricia Sullivan Update: Film Cue List and approximate correspondence with the soundtrack album I have tried to figure out how does the soundtrack album line up with the film and how much of it is used in the movie and how much left out. Below is a break down of the score in the film cue-by-cue with track times to indicate pieces found on the album. This list contains a rough estimation as some cues sound very similar to the music on the CD but might be different takes. The track titles are either taken from the soundtrack album or the FYC promo and where none is found I have made them up myself. 1. Quickstep and the American Process/ The Dream (1;36) (OST track 7, approx. 0;00-0;32, 1;40-end + unreleased 0;30 + OST track 8, approx. 2;20-3;04) FYC CD track 1: Quickstep and the American Process The film version uses only a short portion of the Call to Muster found on the OSTberfore transitioning to the unreleased piano section and the music for the dream. 2. Sleeping Tad (1;42) (OST track 9) FYC CD track 2: Sleeping Tad 3. With Malice Toward None (0;48) (OST track 4, approx. 2;09-3;01?) FYC CD track 3 With Malice Toward None The OST section is probably an alternate take or a more fleshed out version of this variation of the American Process Theme made for the album. 4. Getting Out the Vote (2;25) (OST track 3, (2;49)) FYC CD track 4: Getting Out the Vote The album version is slightly longer than the film cue, which sounds like editorially shortened and looped. 5. The Southern Delegation Arrives (2;13) (OST track 8, 0;00-2;01) FYC CD track 5: The Southern Delegation Arrives On the OST the music crossfades with the dissonant Dream music. 6. Remembering Willie (1;41) (OST track 13) FYC CD track 6: Remembering Willie 7. Fort Fisher Is Ours (0;39) (Unreleased) 8. Trouble with Votes and Voters (1;20) (OST track 10, approx. 0;29-1;57) Non-Williams material. The music differs slightly from the OST counterpart, the music edited at various points. 9. Message from Grant and Decisions (2;35) (OST track 5, 1;01-end) FYC CD track 7: Message from Grant and Decisions The OST is missing some material and a clean opening. 10. No Sixteen Year Olds Left (1;51) (Unreleased) FYC CD track 8: No Sixteen Year Olds Left 11. The Telegraph Office (1;44) (OST track 1, 0;00-0;48 + track 12, 4;46-5;05 + track 1, 3;07-end) This piece is comprised of the clarinet and flute opening of track 1, which is edited into a short snippet of the Freedom's Call (track 12) and then quickly goes to the track 1 again. FYC CD track 9: The Telegraph Office 12. The Purpose of the Amendment (1;28) (Unreleased) FYC CD track 10: The Purpose of the Amendment 13. Equality Under the Law (1;34) (OST track 11, 1;37-end) FYC CD track 11: Equality Under the Law 14. The Military Hospital – The Argument (Unreleased) (1;35) 15. Persuading George Yeaman (0;27) (OST track 11, 1;09-1;36) 16. Mr. Hutton (0;59) (Unreleased) 17. Welcome To This House (1;41) (OST track 2, 0;00-1;40) FYC CD track 12: Welcome To This House 18. Race to the House (1;12) (OST track 10, partially unreleased) This piece mixes both the authentic folk music snippet from track 10 of the OST with a short new variations on the Getting Out the Vote (track 3) material which is editorially spliced together. 19. The American Process (2;26) (OST track 4, 0;00-2;10, (alternate)) The OST album contains an alternate version of the cue with different ending. FYC CD track 13: The American Process 20. Battle Cry of Freedom (0;50) (OST track 7, approx. 0;33-1;39) This is probably for the large part the same performance heard on the soundtrack album. 21. Thaddeus Stevens Returns Home (1;44) (OST track 2, 1;40-end, alternate) (Film version: unreleased opening section + OST track 2, 1;40-2;24 + 0;55-1;40) The version on the album is probably an alternate. The film version seems to combine a short unreleased opening section with the music found on the OST plus some tracked music from the Welcome to This House cue (incidentally found on the same track on the OST). 22. Lincoln Responds to the Southern VP (1;18) (Unreleased) FYC CD track 14: Lincoln Responds to the Southern VP 23. City Point (1;16) (OST track 5, approx. 0;00-1;00) FYC CD track 15: City Point The album cue crossfades with the Message from Grant and Decisions material. 24. Lincoln and Grant/Lee’s Departure (1;57) (OST track 15 (Alternate) (2;38)) FYC CD track 16: Lincoln and Grant/Lee's Departure 25. Trumpet Hymn (1;06) (Unreleased) FYC CD track 17: Trumpet Hymn 26. Now He Belongs to the Ages (2;47) (OST track 16, 0;00-2;47) FYC CD track 18: Now He Belongs to the Ages 27. End Credits (8;13)(OST track 16, 2;47-end) FYC CD track 19: End Credits Entirely or mostly unused pieces/concert suites: Track 1: The People's House: Aside from the opening, the whole middle section with the People's House theme and the whole American Process Theme are unused in the film. Track 6: With Malice Toward None: A concert arrangement of the theme. Track 8: Southern Delegation and the Dream (3:05-end): A variation on the Elegy Theme, which was entirely discarded in the film. Track 12: Freedom's Call: Again only a small snippet was used in the film, edited together with the music from the People's House track. Track 13 The Elegy: This theme is unused and its placement in the film is uncertain. Track 17: With Malice Toward None (Piano Solo): A concertized solo piano version of the theme. Warning the following contains spoilers! The Complete Score Analysis Lincoln is among the most subdued of the Spielberg/Williams collaborations in terms of the amount of music and its function in the film. John Williams has spoken in several interviews of trying to work underneath Tony Kushner's wonderful script and enhance the words and not to be a too obtrusive partner to the images. The composer was also extremely aware of the style and focus of the film and he and Spielberg use the music more as a subtle support for the drama than as a forefront participant in the storytelling. On the other hand the score works in a very traditional way by accenting the small beats and nuances of the scenes, fleshing out the emotions, the subtext often the unseen emotional turmoil of the main characters. It underscores the important turns of events in the film, facilitates transitions and provides humour but there is audible restraint working in the music throughout, the composer approaching the subject with obvious reverence (for good and for ill), the music rarely rising above a gentle whisper. As scoring approach is restrained and almost reverent, the composer chooses to enhance the positive qualities of the main character with various themes, all drawn seemingly from the Americana vocabulary of the times but still carrying Williams' indelible musical stamp on them. His inspiration were indeed the hymns and folk music of the 19th century but he has chosen rather to channel them through allusion than try to employ a completely authentic approach involving rigorous scholarship or strict recreation of the music of the times. Williams also focuses much of the time on soloists of the Chicago Symphony, their numerous solo parts and duets and trios throughout the score evoking an intimate lyrical atmosphere. Williams by his own word recorded over 90 minutes of music with the Chicago Symphony Orchestra and Chorus but only about 40 minutes of this material ended up in the finished film. The soundtrack album contains a good portion of this music but a few sections still remain unreleased. The CD also includes much music that went unused in the film or these pieces were perhaps meant as concept compositions that would enhance the album listening experience as they are obviously well rounded pieces in their own right. A For Your Consideration album was sent at the eve of the Academy Award season to the voters, which presumably contains the music as it is presented in the film (by Academy rules) and also is the source of some of the track titles in the below track-by-track analysis. Themes Freedom’s Call (The 13th Amendment): A short and direct melody, composed of a series of a few alternating chords, depicting Lincoln’s just and good aspirations and goals, the 13 Amendment and the abolition of slavery and his gentle wisdom and noble humanity. There is stately grace in this simple yet affecting idea, bridging the public and personal side of Lincoln and Williams offers numerous alternating variations of it throughout the score in different settings from solo piano to brass chorale. The music connects especially to the moment when a group of blacks for the first time in the history of United States arrive at the People’s House to observe the vote for the Amendment. As stated the motif portrays Lincoln's noble qualities and humanity but also the great work of passing the 13th Amendment and ending slavery and naturally becomes the central musical idea that travels through the entire film, appearing more frequently than any other theme in the score. Appears on the album: 02 The Purpose of the Amendment: 0:55- 1:39 and 2:26-end 09 Father and Son: 0:34-0:52 and 1:08-end 11 Equality Under the Law: 1:37-end 12 Freedom's Call: 3:18-5:29 15 Appomattox, April 9, 1865: 0:24-1:08 16 The Peterson House and Finale: 0:24-1:20 and 6:19-7:39 With Malice Toward None: The name of the theme refers to the second inaugural speech of Lincoln and it is a folk song styled, simple, lyrical and honest melody. It seems to embody the down-to-earth nobility of the main character and his humanity. Coloured with lilting gait of folk music in some settings and slow solemn progression of traditional hymns in others, this theme paints a very humble, thoughtful and gentle picture of the president of United States. In interviews Williams said that he started the scoring process from the final scene of the film and worked backwards from there after he had gotten the theme for the inaugural address right. His goal was to find a melody close to the hymnal writing of the times and he mentioned that he had searched for something suitable from old hymnals but in the end found it better to try to convey the spirit of the music of the era and hymns with his own theme for the president. While this theme is frequently used on the album, in the film it appears a scarce few times, the composer reserving it for a few key scenes toward the end of the film, the most pivotal being the finale, where it gains a near beatific character. Appears on the album: 04 The American Process: 1:18-1:47 and 3:10-end 06 With Malice Toward None 12 Freedom's Call: 0:24-2:29 16 The Peterson House and Finale: 1:49-3:13 and 7:40-8:25 17 With Malice Toward None (Piano Solo) The American Process: A gentle lilting Americana "home and hearth" melody with almost folk song quality, the theme pensive yet optimistic with a sense of earthy wisdom. It is set often in the woodwinds, clarinet, bassoon and flute but this idea is also frequently developed on stately strings or brass, revealing a nobler aspect and aspirations in this guise. Williams keys this musical idea to the processes of state, the peace making overtures and especially the actual vote and work at the House of Representatives, the music exemplifying the positive force of democratic process. Appears on the album: 01 The People's House: 2:16-3:09 04 The American Process: 0:00-1:19 and 2:10-3:00 11 Equality Under the Law: 0:00-1:36 12 Freedom's Call: 2:29-3:18 16 The Peterson House and Finale: 4:50-5:43 and 8:26-9:14 The People’s House: The most dramatic and triumphant of the themes, this noble and heroic idea is built on a leaping four note clarinet figure heard initially on the opening track and soon blooms to a full brass and strings setting, imparting a sense of victory and achievement, probably reflecting political and personal accomplishment. The idea is used sparsely on the soundtrack album appearing only on the opening track and the Finale tracks. In the film this motif appears only as a single subtle quote of the opening phrases in one cue, the actual full melody appearing only in the end credits. Appears on the album: 01 The People's House: 0:00-2:15 and 3:10-end 16 The Peterson House and Finale: 3:14-4:49 The Elegy: A mournful and anguished string elegy, quite religioso in nature, that seems to exude regret, sorrow and horror all in one harrowing theme, a reminder of the Civil War and its ravages. This musical idea went entirely unused in the film, the movie makers most likely deciding that the images of war spoke even more powerfully without musical accompaniment. Appears on the album: 08 The Southern Delegation and the Dream: 3:06-end 13 Elegy The Civil War: This theme or motif is more of a set of orchestral colorings, military styled brass calls, snare drums and tense strings conjuring terse martial mood. A few alternating chordal progressions seem to convey the looming threat of the civil war and the military aspect of the political machinations. This style of music is reprised a few times in the film always either directly relating to the Southern Delegation and their military surroudings or the presence and danger of the war, which sets a dark backdrop to the whole story. This is another subtle nod the the direction of Aaron Copland, his work The Lincoln Portrait in particular. Appears on the album: 08 The Southern Delegation and the Dream: 0;28-1;39 The Loss and Remembrance Theme: A theme that seems to relate both to Lincoln's personal loss, of his son William, but also to mourning of the tragedy of Civil War and remembrance of the dead. It is an unadorned piano melody that expresses bittersweet sorrow with a hint of regret. This musical idea is used sparsely and always retains the same guise, invoked on the piano, the most familial and "domestic" but also emotionally direct of instruments. Appears on the album: 05 The Blue and Grey: 0:00-1:01 14 Remembering Willie: 0:29-end 16 The Peterson House and Finale: 9:29-end *** Complete Score Track-by-track Analysis The track names are taken from the For Your Consideration album and Original Soundtrack and where unavailable made up by myself. 1. Quickstep and the American Process/The Dream (1;36) (OST track 7, approx. 0;00-0;32, 1;40-end + unreleased 0;30+OST track 8, approx. 2;20-3;04, FYC CD track 1) Following the unscored bloody opening scene where the black Union men are locked in a hand-to-hand combat with the Confederate forces, president Lincoln is shown sitting under a tent tarp in a military camp where he is having a discussion with two black soldiers. Then two young awed Union soldiers approach as they spot the president and start to recite the Gettysburg Address to the chagrinned commander-in-chief. And none too soon the snare drums suddenly stir and interrupt the men and call the troops to muster (to the tune of the Quickstep march rhythm) before they can finish their rather automaton-like litany. A black corporal Ira Clarke, who has also been conversing with the president, continues to recite the ending of the Address almost as a reminder to Lincoln to heal the war torn nation and set the things right as he promised and a gentle piano rendition of The American Process Theme mixes with the snare drum tattoo, hinting at Lincoln’s important duty and work that still lays ahead of him. The film transitions to the president recounting his dream to his wife Mary, where he was riding a tall metal ship towards an unknown shore and this dissonant rumble in the lowest reaches of the orchestra, a bed of tremoloing strings and sizzling rubbed gong depicting the flickering dream imagery, sepia and grey in Lincoln’s memory, before fading slowly away as he finishes his tale. 2. Sleeping Tad (1;43) (OST track 9, Father and Son) Lincoln comes upon his son asleep before the fireplace with glass plates of African-American slaves sprawled beside his tin soldiers on the floor. A solo bassoon presents a halting ruminating melody that moves on to a noble horn statement as the president looks at the glass plate photos in grave sadness before the score melts into the first variation on the Freedom’s Call Theme on celli and basses, the theme associated here to Lincoln personally but also reinforcing his thoughts concerning the civil war and especially the 13th Amendment, a brief lyrical solo oboe phrase transitioning back to the theme as Lincoln lowers himself beside his son and gently awakens him. This time the melody is heard in a simple affecting solo piano reading, colouring this moment of paternal love as Lincoln carries his son to bed on his back, the familial moment of tenderness gracefully captured by the music. 3. With Malice Toward None (0;48) (OST track 4 approx. 2;09-3;01) After Lincoln makes a journey to the house of Preston Blair, the founder and head of the Republican party, and agrees to have him travel to Richmond to negotiate peace, we see the old man getting ready to leave in his carriage and a hopeful piano variation of the American Process Theme sees him off on his mission, the peaceful solution to the hostilities through negotiations his primary concern. 4. Getting Out the Vote (2;32) (OST track 3, (2;49)) A trio of agents (“skulking men” as the film puts it) is hired and sent by the Secretary of State William Seward to procure the critical votes on Lincoln’s behalf for the amendment. Solo violin nimbly opens this wonderful jaunty Appalachian scherzando or dance for fiddle, viola, woodwinds, tuba, light percussion and strings, the music exuding wonderful folk music feel, energy and humour when we see the various ways these voters are cajoled into changing their stance. The efforts of these three gentlemen are met by various stages of success and the music comments their haggling accordingly as we see them reporting to Seward on their results. The soloists have their moment to shine, violin and bassoon performing particularly delightful solos, the former actually underscoring an on-screen fiddler in the film. This music provides a much needed sense of humour and lightness to the otherwise serious film and Williams has fun with the rather salt of the earth and no nonsense characters of Robert Latham, W.N. Bilbo and Richard Schell. The film version is slightly different than the counterpart on the soundtrack album. Not only it is shorter but also contains repeated phrases to conform to the dramatic outline and beats of the scene. 5. The Southern Delegation Arrives (2;13) (OST track 8, 0;00-2;01) William Seward confronts Lincoln concerning the rumours of a Southern peace delegation arriving to Washington through the efforts of Preston Blair and somber strings slowly murmur to colour his feeling of apprehension at the notion, especially since the president neglected to consult him, his Secretary of State. When we transition to no-man’s land outside Petersburg, Virginia, subdued militaristic brass calls give away to a solo trumpet intoning a tragic and dark melody, The Civil War Theme, above string harmonies when the opposing forces have arrived to receive and escort the delegation, paced by subtle timpani, the atmosphere grave when the Confederates and the Union men stare at each other in obvious tension. The same grimly martial mood continues and after a brief passage for snare drum, elegiac strings and solo horn, the music suddenly plunges into disturbing rumbling strings when the dismayed delegates find out that majority of their escort is made up of black soldiers but in a show of temperate diplomacy ascend their carriage courteously, the score portending that these will not be easy negotiations. 6. Remembering Willie (1;50) (OST track 13) On the evening of the Grand Reception at the White House Lincoln is alerted of Mary’s sudden harrowing mood brought about by the party and grim memories connected with it. The president hurries to comfort her in Willie’s old room, their son having died 3 years prior during a party in the White House. The depressed and guilt ridden Mary is holding the portrait of their son, a few delicate harp notes and solo violin and viola subtly quoting the Elegy Theme, expressing her sorrow and remorse, the party another reminder of how they lost their child and how they couldn’t save him. As she laments the death and their time in the house that reminds her of it all, solo cello takes over and sings forlorn above simple guitar chords until Loss and Remembrance Theme appears on the solo piano, inconsolable and contemplative, further enhanced by the sonorous emotionality of the solo cello that appears in brief duet with it. The instruments express quiet but powerful feeling of grief and the parents' loss, the fragile tone of the music capturing both the tender bond between the pair and their shared sad memory as Lincoln gently urges his wife to stay strong. 7.Fort Fisher Is Ours (0;39) (Unreleased) Lincoln and his Secretary of War Edwin Stanton are in the midst of the nervous bustle of the War Department telegraph office monitoring the progress of the assault on Wilmington. Stanton is on edge and when the president goes into one of his stories the secretary storms out to oversee the war effort in less of a storytelling atmosphere. When he returns one of the telegraphs operators announces the news: Fort Fisher has fallen but Wilmington itself has not surrendered. Tense heavy and slow bass drum strokes amid grave low string chords announces the sour victory for the North as both the president and the secretary look alarmed and dismayed demanding to know the tally of casualties, the music portending heavy losses and further bad blood between the contending parties. 8. Trouble with Votes and Voters (1;20) (OST track 10 approx. 0;29-1;57) A selection of Civil War era folk music arranged and performed by the traditional and folk music expert Jim Taylor. A jig for fiddle, banjo, guitar and hammered dulcimer that contains excerpts from "They Swung John Brown To A Sour Apple Tree", "Three Forks of Hell", Last of Sizemore" and “Republican Spirit" underscores more efforts to get votes from rather reluctant Democrats, the troubles and unlucky incidents accented by this folksy and spirited music. Here the film makers saw an opporturnity to colour the characters of W.N. Bilbo and comrades and their rather unscrupulous dealings with sprightly humor and inject the score of the film with earthy and suitably playful music of the times. 9. Message from Grant and Decisions (2;35) (OST track 5, 1;01-end) Meanwhile General Grant has had discussions with the Southern delegates and telegraphs the president that someone of authority in the government has to come and negotiate with them or the opporturnity for peace will be lost. Seward in his usual habit presents Lincoln with the options, setting the peace and passing of the 13th amendment side by side, leaving the president to make the final decision, adding that he cannot hope to have both. A repeating string rhythm starts a slow tug, piano first striking paced rumbling chords underneath, the music expressing deliberation, slow wait for a moment of decision, pensive clarinet and bassoon appearing underneath the rhythm which transitions briefly from strings to the woodwinds and then back again continuing inevitably and finally slides into resigned silence when we see Lincoln torn over the chance of peace and the chance to end the slavery, both seeming to exclude each other at this juncture, the music enhancing the mood of his troubled pondering and the underlinining the high stakes of his decision. 10. No Sixteen Year Olds Left (1;51) (Unreleased) Lincoln, who is plagued by heavy burdens of the state and his important decision, can’t sleep and thus works through the night. He appears at the bedside of his young aides in the small ours of the morning, waking them up and arguing to the bleary eyed young men of the Stanton's decision of executing 16 year old private for laming his horse to avoid going to battle. He wants to pardon the boy, but the aides say that Secretary of Defence Stanton is against pardons to deserters. A pensive clarinet solo underscores Lincoln’s weary sorrow for such wasteful death and as he mentions to the surprise of his young assistants the Southern peace delegation and the rumours being true after all, the celli sing out a somber line. But when the president switches back to the issue of the young soldier, finally deciding to pardon him, an optimistic string phrase and noble solo horn quote the stately but stoic military brass colours of the Civil War Theme but here the mood is optimistic and resolved, the music blooming into a tentative reading of the first chords of Freedom’s Call Theme as Lincoln heads for the War Department telegraph office, the transition earning another statement of the military material pertaining to the peace delegation, now on glowing woodwinds. 11. The Telegraph Office (1;44) (OST track 1, 0;00-0;48 + track 12, 4;46-5;05 + track 1, 3;07-end) At the telegraph office Lincoln, while he is sending a reply to general Grant, gets into a conversation with the two young men on duty, the subject Euclid and equality. The president takes the mathematical theorem and expounds on its universal law so that it should apply to people as well as mathematics, the noble sentiments heard in the burgeoning clarinet reading of the opening phrases of the People’s House Theme that is gracefully taken up by the flutes when the president makes up his mind and decides to stall the arrival of the peace delegation, his desire to see the amendment passed winning in his mind and we hear a tenderly glowing strings rise into a short statement of the Freedom’s Call Theme, a trumpet soliloquy of People’s House Theme escorting the president out of the telegraph office, his plans and mind made up. In this piece the composer seems to pay homage to the great Aaron Copland, whose music has become almost synonymous with orchestral Americana, the initial 4-note opening phrase of the People's House Theme quoting the central motif from Copland's perhaps most famous work, the ballet Appalachian Spring. 12. The Purpose of the Amendment (1;28) (Unreleased) Things are coming to a boiling point in the debates at the House of Representatives and Thaddeus Stevens makes his entry in the discussion on the 13th Amendment bill. His word as the leader of the radical Republican wing holds a lot of weight and his colleagues plead him to compromise on his views in his speech and announce that the bill stands only for equality before the law and not universal equality for the blacks. A solo horn opens the cue when Thaddeus Stevens glances at the balcony where Mrs. Lincoln sits watching the debate, the music giving the moment pensive air, Mr. Stevens torn between his own radical opinion and what would be a politically more temperate approach. The solo continues as a Democrat representative Fernando Wood deliberately goads Stevens by proclaiming that he had always previously demanded full equality for the blacks and demands to know if this is still so. When Stevens seemingly struggles with the answer, the Freedom’s Call Theme plays in humble yet proud woodwind setting with subtle lower string accompaniment that rises to the fore, the rhythm of the motif repeating as everybody is holding their breath before Mr. Stevens answers. Solo horn calls out in stately manner as we see the brief moment of inner struggle of the representative, the music stopping just before he announces his stance: Stevens proclaims that the purpose of the amendment is to guarantee not full equality but equality before the law for the blacks. 13. Equality Under the Law (1;34) (OST track 11, 1;37-end) George Pendelton, one of the leaders of the Democrats and rabidly against the amendment, accuses Stevens of turning his coat and prevaricating. Stevens then repeats his stance, Freedom’s Call Theme starting a slow development on clarinet, flute and bassoon, Williams extending the theme’s melody ever so slightly as the leader of the Republican’s ends his scatching speech on equality before the law on a triumphant note, the Republican party members cheering, the orchestral strings blossoming into a soaring and unabashedly hopeful reading of the Freedom’s Call Theme, which continues relieved and confident as he walks slowly out of the House chamber after finishing his speech, the score celebrating this smaller stepping stone and victory on the road to abolishing the slavery. 14. The Military Hospital – The Argument (Unreleased) (1;35) Lincoln is visiting the military hospital accompanied by his eldest son Robert, who sulkingly accuses his father of deliberately trying to dissuade him from enlisting by bringing him along to see the wounded and the dying. Defiantly he says that he knows all about the horrors of war and that his father won’t turn his head. To all this Lincoln answers with apparent good natured calm. As the president goes about his official business of meeting the wounded, Robert sees two soldiers carting off a covered bloody heap on a wheelbarrow, their work leaving a grim red trail behind them as they go. He follows and sees to his disgust and horror that they were transporting amputated limbs to be buried, all unceremoniously dumbed into a pit behind the hospital. Robert walks away shaken and a tragic call of a solitary horn over whispering high strings exclaims his shock and sorrow. He stiffles a sob and when his father appears elegiac strings sing out the younger man’s defiant wish to enlist, the suffering of war only steeling his resolve and adding to his frustration. Lincoln understands but reminds him of the suffering of those, who have to give up their children to war, Freedom’s Call Theme humanely calling out his fatherly concern on warm brass as the president dispenses this wisdom as a father not as a head of state but he also reminds his son that he is the president and can decide on his enlistment if he so wishes. Robert snaps that his father is just afraid of his mother and what she might do or say, which suddenly provokes a slap from the president, the music turning tragic and ominous as Robert storms off shouting, the solo trumpet and accompanying grim horns quoting the militaristic mood of the Civil War Theme once more, the threat of war and death looming in the music as Lincoln wearily exclaims in half-whisper that he doesn’t want to lose his son to the civil strife. 15. Persuading George Yeaman (0;27) (OST track 11, 1;09-1;36) One of the uncertain Democrats, George Yeaman, is invited to the White House to a discussion with the president. Lincoln in his typical way starts a story, this time about him and his father, but finally makes an honest plea to the representative to vote for the amendment, arguing his case emphatically. Solo clarinet in equally pensive style opens this short cue and as he makes his final plea the American Process Theme on woodwinds and brass seems to ask a decision from Mr. Yeaman before trailing off into silence. 16. Mr. Hutton (0;59) (Unreleased) A somewhat gloomy clarinet and bassoon duet underscores Lincoln’s attempt to persuade Mr. Hutton, another Democrat representative, to vote for the amendment. The man refuses as he holds a deep grudge against the blacks as his brother died in the Civil War and the music remains stoic and melancholy as the clarinet and bassoon continue their discussion. Lincoln then says he is not going to try to turn Mr. Hutton around with any more speeches and that the amendment will likely pass without his help and that he has to acknowledge that the black people will live among the white and the score subtly quotes a few opening notes of the Freedom’s Call Theme before warm string phrase ends the piece as Lincoln offers his condolences to Mr. Hutton’s family and steps into his carriage having made his case. 17. Welcome To This House (1;41) (OST track 2, 0;00-1;40) And so comes finally the morning of the vote for the 13th Amendment. The stoic melody heard in the previous cue is reprised again on clarinet and bassoon, developing slowly phrase by phrase as Thaddeus Stevens is seen arriving to the empty House floor obviously full of trepidation on the eve of this momentous occasion. The melody moves gradually to flute and clarinet coupling as we see people assembling to the House of Representatives. When Asa Vintner Litton, a Republican representative and a fervent abolitionist, welcomes a group of African-Americans to the House balcony to observe the vote, first such group to ever visit the House of Representatives, a hopeful and warm string reading of Freedom’s Call Theme kindles in the orchestra that steadfastly rises forth on violins and violas, the celli and basses playing accompanying figures underneath. These are finally joined by low burnished brass to celebrate this historical moment, the music itself here winding into silence to observe the vote. 18. Race to the House (1;12) (OST track 10, partially unreleased) The debate preceding the vote for the amendment comes to a standstill when the Democrats demand confirmation to the rumours of Confederate peace delegation in the capital and thus of postponing the vote until a peace has been negotiated. The conservative Republican wing joins with the Democrats in their request under orders of Preston Blair and soon the president’s aides and N.W. Bilbo are rushing to the White House to inform Lincoln and asking him for the answer to the Democrats’ question. Williams answers this scene with a brief humorous scherzando, which editorially combines his motif for the “skulking men” heard in Getting Out the Vote and the traditional folk music melodies, when we see the trio of men running from the Hill to the White House in breathless hurry to deliver their message and to save the vote for the amendment. 19. The American Process (2;24) (OST track 4, 0;00-2;10, (alternate)) The vote is finally drawing to a close and Williams underscores the action with the American Process Theme that evokes in its honest simplicity the rightness of the democratic process. A duet of clarinet and bassoon sings the theme alone for a moment when representative Alexander Coffroth announces his “yes” vote and soon a solo flute joins in, the action moving to the headquarters of General Grant where the troops are intently following the tally through the telegraph. The orchestrations gather strength as the woodwind section finally reprises the melody in full form as votes are cast one by one by the representatives. In the White House Lincoln is seen sitting with his son Tad in his lap reading a book together and a serene and familial oboe solo expresses a tender and calm personal moment for the president in juxtaposition to the historical event taking place at the House of Represetatives, the deep and warm strings carrying the score back to the House where the roll call is concluding. A sustained chord in high string plays as the Speaker of the House Colfax announces suddenly that he wants to cast a vote and George Pendelton objects the rarely used priviledge as subdued clarinets play a dour phrase. Stately brass announces the Speaker’s “aye” vote and concludes the tally, strings rising with noble intent as the clerk hands the document to Schuyler Colfax, the cue ending in another sustained chord for suspense as he slowly reads the results. 20. Battle Cry of Freedom (0;50) (OST track 7, approx. 0;33-1;39) The 13th Amendment passes and the Republicans rejoice, the representatives beginning an impromptu chorus of Battle Cry of Freedom, a popular patriotic Civil War era song by George Frederick Root and the unofficial tune of Lincoln’s second term campaign. The song gradually morphs from the rough version sung out of tune at the House floor into a full chorus and orchestra, here performed by the Chicago Symphony Orchestra and Chorus, first male voices and then female joining with them when Thaddeus Stevens is seen taking the bill of the Amendment and walking home through the streets where people are celebrating, the song proudly calling out as a victorious march on this historical occasion. 21. Thaddeus Returns Home (1;44) (OST track 2, 1;40-end (Alternate)) (OST track 1;40-2;24 + 0;55-1;40) The orchestra starts tentatively when Thaddeus Stevens closes his door and is welcomed by his black housekeeper and he hands her the Amendment as a “gift”, the melody in the strings and woodwinds reminiscent of the one that opened the Welcome to This House cue. Clarinet passes a proud and confident melodic phrase to horns and finally to solo trumpet as Stevens is seen getting into bed, where his housekeeper is already seen sitting with the bill in her hands and a gentle and tender clarinet voices the man’s affection for her. She begins to read the Amendment aloud to him and Freedom’s Call Theme is evoked by Williams in its proudest and most resolute form yet, a musical reassurance of the values inherent in the document and the crowning moment to Mr. Stevens in his struggles against slavery, which as we now see has also had a very personal motive. 22. Lincoln Responds to the Southern VP (1;18) (Unreleased) After the passing of the 13th Amendment the president travels to meet the Southern delegation and their leader the Confederate Vice President Alexander Stephens. Both parties express their views at the negotiation table, the Confederates bitter and resentful of their lot and the recent passing of the amendment. As Lincoln expounds upon the ideal of democracy and its longevity, the futility of further bloodshed and war, a ruminating bassoon solo above subtle string accompaniment supports his words with quiet lyricism. Strings slowly grow more insistent as the tension grows and the same turbulent orchestral rumbles that underscored Lincoln’s nightmare at the opening of the film are suddenly quoted when the president makes a plea to stop the war, the question left ominously hanging in the air unanswered, the image dissolved into a raging inferno of a town burning in the night, a grim nightmarish visage of the destruction of the Civil War. 23. City Point (1;16) (approx. OST track 5, 0;00-1;00) Outside Petersburg, Virginia Lincoln arrives at the scene of a recent battle, the land torn and burning, the countless dead, the Blue and Grey, lying side by side in the middle of the carnage. As the president rides amid the battle field a touching and unadorned rendition of the Loss and Remembrance Theme plays on piano, the head of state taking off his stove pipe hat and honoring the fallen soldiers as he passes in silence through the fields of the dead, the music giving the moment a poignant but mournful cast, the weariness brought on by this long suffering reflected in the president’s face and in the score. 24. Lincoln and Grant/Lee’s Departure (1;57) (OST track 15 (alternate) (2;38)) The piece opens with an unused section of music. Lincoln meets with general Grant at the Thomas Wallace House at Petersburg, where he holds his temporary headquarters. A horn calls out alone, solemn and remorseful as the two men share a moment while sitting on a porch by the roadside, the horror of the field of the dead still fresh in the president’s mind. A piano variation on the Freedom’s Call Theme serene and unadorned with a tinge of regret appears, Williams relying on the simplicity of the most domestic of instruments to carry the emotion and message of the moment, when Lincoln admits to Grant they have allowed each other to do terrible things, the gentle tone of the music almost rueful here as Lincoln is still shocked by the death he has seen, a concrete reminder of the toll of war. The general admits this but also says that they have won the war and that now Lincoln should focus on healing the nation. Slow and solemn brass chords (unused in the film) flow into heart breakingly beautiful, ethereal sounds of ghostly choral voices of the Chicago Symphony Chorus that seem to evoke the voices of dead of the Civil War as much as they mark this important moment of history as we see general Lee surrendering to general Grant and effectively ending the war. Here the significance of the relatively small and intimate scene and all the historical ramifications are carried by the score, which magnifies the near everyday scene with dramatic subtextual meaning. Solo clarinet carries a defeated and somber tones as Grant magnanimously salutes the defeated general with his men, horn answering for general Lee, both equally sorrowful and pensive, deep woodwinds and strings bringing the cue to a gloomy finale as the Confederate commander rides away from the Appomattox courthouse in silence, the music mirroring more the mindset of soldiers and their honor, won and lost, than the relief at the end of the civil strife. On the album this piece is slightly longer than in the film, opening with a solo horn soliloquy, which then proceeds to the Freedom's Call Theme. In the film the score opens with the Freedom's Call Theme on piano but in different key and omits the longer bridge between it and the choral section. 25. Trumpet Hymn (1;06) (Unreleased) And so the rebuilding of the nation can begin. At the White House Lincoln is holding a meeting with the Speaker of the House and select representatives, when his aide comes to remind him of his engagement at the theater and that he should be leaving to pick up his guests. Lincoln’s black valet Mr. Slade hands him his gloves and the president proceeds to leave and all the assembled rise to see him off and a solo trumpet sings With Malice Toward None in poignant spirit, the music speaking clearer than words for the significance of the moment, the noble yet earthy decency captured in the melody, the music equivalent of a goodbye as the president exclaims almost wistfully "I suppose it’s time to go, though I would rather stay". The president throws away the leather gloves that he distinctly dislikes and his servant tries to catch up with him but stops at the last minute and turns to take a look at Lincoln with some premonition in his eyes. Williams catches this foreboding by weaving a subtle strain of the supporting chords of Loss and Remembrance Theme into the score on piano as we see the figure of the president slowly walking down the hall and disappearing from view, the trumpet’s voice receding into silence with him, the scene and music full of poignant inevitability. 26. Now He Belongs to the Ages (2;47) (OST track 17, 0;00-2;47) The president has been shot (this happens off-screen) and we next see him when he has been taken to the Peterson House near the Ford Theater, where he has lain through the night. Oboe begins the piece alone, wandering and ruminating full of aching grief as near hysterically weeping Mrs. Lincoln is escorted out of the room, where she has just seen her dying husband. The cabinet ministers, the doctors, president’s aides and his eldest son Robert have gathered around the deathbed and slowly solemn chords appear halfway between the opening of several of the main themes, showing their musical interconnectedness and common source in Lincoln's character when a physician finally announces the president dead. When Edwin Stanton the Secretary of War exclaims “Now he belongs to the ages” clarinet and flute settle on Freedom’s Call in a humble setting as the camera glides away and moves to the flame of a lamp and we hear Lincoln’s voice reciting his second inaugural address, the president seen at the center of the flame. The speech continues and oboe and cor anglais interrupt the Freedom’s Call melody, a briefest hint of the Elegy Theme appearing as Lincoln reminds the listeners of the horrible cycles of hate and of the punishment for sins of which the slavery is among the worst to his mind and he saw the Civil War as a divine punishment for this. Reverently slow the With Malice Toward None rises in the strings when the president expounds upon the charity and humanity people should show in rebuilding the state, to friend and foe alike as they are still of the same nation. Williams omits a few folk song styled decorative notes here and there in the melody to transform the theme into a hymn styled variation, the string setting reverent and solemn with deep benevolent warmth, the gentle strains of the melody drawing the film to a calm resolution as the screen slowly fades to black. 27. End Credits (OST track 17, 2;47-end) This cue draws together all the themes of the score into a long tone poem styled piece, meditation on all that has gone before on the soundtrack, a stunning and emotional finale. A regal deep brass choir with woodwind accompaniment repeats With Malice Toward None full of calm solemnity, slow and dignified in their progressions from which the People’s House Theme begins in the flutes and surges quickly up into a triumphant full ensemble statement of the melody that slowly fades into a solo trumpet stating the opening 4-note motto of the theme. The American Process Theme on its emblematic woodwinds, clarinet and flute, appears and soon leaps into glowing and courageous string rendition that is followed by a heraldic trumpet solo interlude, showing again the skills of Christopher Martin, his voice sounding like a lonely bugle over a field of battle. From this grows the Freedom’s Call Theme in the high strings with the rhythmic low string accompaniment marches forth, the theme perhaps statelier in its progression here than ever before. The solo trumpet returns singing With Malice Toward None in serene, warm and clear tones over piano chords, a stunning moment of Americana before the piano continues alone performing an innocent and down to earth variation on the American Process Theme, flute appearing to ghost the theme and in the final reassuring chords the music seems to fade into silence accompanied by a swaying string figure but Williams gives the last word to the Loss and Remembrance Theme, its somber and sorrowful notes bidding farewell to the listener in bittersweet thoughtful tones. -Mikko Ojala-
  7. JW is usually very good at singling out themes which deserve a more fulfilled arrangement if not given in the movie, like (finally) Marion's theme. My nomination for an extended treatment is Qui-Gon's Funeral. To be super clear, I'm referring to themes which only exist as "incomplete" arrangements.
  8. Hello! This thread is to discuss the Last Jedi score as heard in the film. No spoiler tags are needed but you're welcome to use them in the early days now before it's opened wide. @Oskar has already kicked off the discussion, you can read it here, and let's continue it here!
  9. Admin note: This thread is largely hype for the release before it's release date, and then ordering/shipping/"it's arrived!" talk afterward; Please relocate to the following thread to discuss the actual musical content of the release: http://www.jwfan.com/forums/index.php?/topic/27789-et-the-extra-terrestrial-new-2cd-la-la-land-edition-music-discussion/ https://www.facebook.com/lalalandrecords/photos/a.181243738754.155532.56031953754/10155838795413755/
  10. ... but only for digital download. Here's where I've found it so far: iTunes [256kbps AAC]: https://itunes.apple.com/us/album/towering-inferno-original/id932230572Amazon MP3 [256kbps MP3]: http://www.amazon.com/dp/B00OSCJNSG/jwfancom-20Google Play [320kbps MP3]: https://play.google.com/store/music/album/John?id=Bchszf2l5sv3r4l3ppe5gwtyrlmqobuz [lossless]: http://www.qobuz.com/fr-fr/album/the-/0603497897193Doesn't seem to be on HDTracks. Random!
  11. An Evening with John Williams in Concert London Symphony Orchestra Conductor: John Williams Friday 26 October, Auditorium 7:30pm £21-£90 Source
  12. http://www.starwars.com/news/sony-classical-to-release-ultimate-editions-of-original-star-wars-soundtracks
  13. This morning I listened to a 2014 recording by the BBC Concert Orchestra on Spotify. I don't think it correspond to a physical album. The playing is good, but it contains a way too much echo for me, but the thing is they recorded the End Titles from The Empire Strikes Back. Well, I think it's worth of mention. Except the Gerhardt version, I don't remember any other re-recording of this piece. Please feel free to share your own discoveries!
  14. Hello! Just like we did with Jurassic Park (1 2) and ET (1 2), here is a thread to discuss the actual contents of the new release, leaving the existing thread to be where you can post your shipping updates type stuff, so actual discussion is separated from that stuff. I'll re-post here some comments from OneBuckFilms since I forgot to make this thread before he posted them there!
  15. Here's all the themes I hear on the OST and where they are located! This is in order of when they first appear as is purely my own interpretation; I am open to all other interpretations, other thoughts and comments, corrections, etc! Main Theme (Sophie's Theme) 01 Overture 0:12-0:37 01 Overture 0:48-0:56 03 Dream Country 2:17-2:38 03 Dream Country 7:23-7:26 06 Building Trust 0:34-1:15 06 Building Trust 1:59-2:22 08 Dream Jars 3:13-3:30 11 Snorting and Sniffing 0:45-1:01 11 Snorting and Sniffing 1:21-1:36 11 Snorting and Sniffing 1:51-1:56 12 Sophie's Future 0:15-1:14 12 Sophie's Future 2:05-2:30 13 There Was A Boy 0:42-1:01 13 There Was A Boy 1:20-1:30 13 There Was A Boy 2:44-2:52 14 The Queen's Dream 1:37-1:49 14 The Queen's Dream 2:26-2:33 15 The Boy's Drawings 0:15-0:40 15 The Boy's Drawings 1:15-1:18 15 The Boy's Drawings 2:22-2:27 15 The Boy's Drawings 2:42-2:49 16 Meeting The Queen 0:06-0:12 17 Giants Netted 0:06-0:11 18 Finale 0:14-0:53 19 Sophie and the BFG 0:12-0:49 19 Sophie and the BFG 2:15-2:30 19 Sophie and the BFG 2:40-2:44 19 Sophie and the BFG 6:20-6:52 Unknown Theme #1 (possibly actually a melancholy B Section of Sophie's Theme) 02 The Witching Hour 2:10-2:50 06 Building Trust 1:44-1:59 10 Blowing Dreams 0:30-0:55 18 Finale 0:00-0:14 18 Finale 0:53-1:01 18 Finale 1:30-2:06 19 Sophie and the BFG 0:49-1:11 19 Sophie and the BFG 6:52-7:42 Unknown Theme #2 (Lonliness/Orphanage Theme?) 02 The Witching Hour 2:50-3:56 13 There Was A Boy 2:00-2:29 15 The Boy's Drawings 0:58-1:06 (not sure about this one...) 15 The Boy's Drawings 2:49-2:55 (not sure about this one...) Bad Giants 03 To Giant Country 0:00-0:52 07 Fleshlumpeater 0:33-0:41 07 Fleshlumpeater 1:27-1:29 09 Frolic 0:00-0:42 19 Sophie and the BFG 1:10-1:29 Giant Country 03 To Giant Country 0:54-1:09 03 To Giant Country 1:13-1:44 03 To Giant Country 1:54-2:12 (b section) 03 To Giant Country 2:18-2:26 (b section) 11 Snorting and Sniffing 1:58-2:04 (not sure about this one...) 13 There Was A Boy 2:52-3:29 14 The Queen's Dream 2:14-2:22 (b section) 17 Giants Netted 0:15-0:20 (b section) 19 Sophie and the BFG 1:29-1:44 19 Sophie and the BFG 1:50-2:05 (b section) Bad Dreams / Nightmare Theme 04 Dream Country 8:09-9:03 05 Sophie's Nightmare 0:00-0:0:49 (rhythmic intro) 05 Sophie's Nightmare 0:49-1:03 05 Sophie's Nightmare 1:26-1:32 14 The Queen's Dream 0:00-0:46 (rhythmic intro) 14 The Queen's Dream 0:46-1:10 17 Giants Netted 0:34-0:42 19 Sophie and the BFG 4:51-5:35 (rhythmic intro) 19 Sophie and the BFG 5:35-6:08 Fleshlumpeater 07 Fleshlumpeater 0:08-0:33 07 Fleshlumpeater 0:43-0:56 07 Fleshlumpeater 1:12-1:27 BFG/Sophie Friendship Theme (possibly actually an optimistic B Section of Sophie's Theme) 10 Blowing Dreams 0:55-1:43 12 Sophie's Future 1:14-2:05 15 The Boy's Drawings 1:31-1:58 15 The Boy's Drawings 2:27-2:42 16 Meeting The Queen 0:12-0:35 16 Meeting The Queen 1:14-1:38 16 Meeting The Queen 2:30-2:48 18 Finale 1:01-1:30 19 Sophie and the BFG 4:19-4:52 The Queen 14 The Queen's Dream 2:41-2:47 15 The Boy's Drawings 2:16-2:22 16 Meeting The Queen 0:38-0:42 (not sure about this one...) 16 Meeting The Queen 1:38-2:24
  16. Hi to all JWFN members. It is great to see such dedication and knowledge to the man who has scored more than just the movies. On that note The History Press and I would like to share word of a new book published now in the UK and September 1st 2018 in the US. John Williams is the spine and soul of this book. Mark O’Connell didn’t want to be Luke Skywalker. He wanted to be one of the mop-haired kids on the Star Wars toy commercials. And he would have done it had his parents had better pine furniture and a condo in California. Star Wars, Jaws, Close Encounters of the Third Kind, E.T. The Extra Terrestrial, Raiders of the Lost Ark and Superman didn’t just change cinema – they made lasting highways into our childhoods, toy boxes and video stores like never before. In Watching Skies, O’Connell pilots a gilded X-Wing flight through that shared universe of bedroom remakes of Return of the Jedi, close encounters with Christopher Reeve, sticker album swaps, the trauma of losing an entire Star Wars figure collection and honeymooning on Amity Island. From the author of Catching Bullets – Memoirs of a Bond Fan, Watching Skies is a timely hologram from all our memory systems. It is about how George Lucas, Steven Spielberg, a shark, two motherships, some gremlins, ghostbusters and a man of steel jumped a whole generation to hyperspace*. *Action figures sold separately. From examining his contributions to these key films, the soundtracks to broken homes and the VHS revolution to seeing the musical DNA from JANE EYRE all the way through to ATTACK OF THE CLONES, WATCHING SKIES is as much about John Williams as it is Spielberg, Lucas and Donner. It is about how 'Leaving Home' was exactly the cue going through the author's life and mind when he did just that, how the 'Love Theme from Superman' had to be played at a Pinewood Studios wedding, how 'ET and Me' scored a divorce and how a honeymoon on Amity Island couldn't help but hear those JAWS 2 harps at every street corner and beach rock. Were it not for the work of Williams, this book and these movies would not exist with the same legacy they have today. WATCHING SKIES - STAR WARS, SPIELBERG AND US is available now. WATCHING SKIES on Facebook WATCHING SKIES on Twitter For more about WATCHING SKIES and author Mark O'Connell
  17. Hey! @Bespin and I were discussing a John Williams 2 disc set. He was wondering what a third disc would look like. I'm wondering what each of your dream JW sets would look like. Let's try to limit it to under 40 tracks and no more than two tracks per movie. I'll start working on my opinion. Let's hear yours. - The Illustrious Jerry
  18. Hi there, I've made a cover of the original Jurassic Park main theme. Check out my video cover here on YouTube: I figured you guys on this forum would like it. I'm a big fan of John Williams and have been making music for 20 years. This one isn't my best production or cover, but it was a real challenge for me because I only re-made it by ear. If you liked, feel free to like, share or subscribe to my Youtube channel! You can follow me here as well: YouTube : youtube.com/channel/UCbWkDWdiuItkSzWhNHajAKw Website : romainpennes.com SoundCloud : soundcloud.com/romain-pennes Twitter : twitter.com/RomainPennes Instagram : instagram.com/romain_pennes Thank you guys and have a great day!
  19. Here's a load of cue titles I found in the GEMA, Sabam & BMI repertoires (Timings from SABAM, which reflects duration in film): No Title 1M02A (00:48) No Title 1M02A2 Welcome Poe and Hux He's Insane Resistance Force To the Target Theme In We Can Do This Fighter Down We Lose Girl Ace Rescuing Luke Tossing the Saber Rey Looks Back Revisiting Snoke (03:38) We Need Your Help Luke's Breakfast Old Books The Cave Scene We Need a New Base (01:48) Prep for Battle Leia Saved! Leia Saved! Fix Luke in the Falcon Watch the Language NO Title 3M20INS2 Admiral Holdo Rose Appears Rose Catches Finn No Title 3M22Rev Sun Shot Thought Connection (00:53) Place to Place Learning the Force Rey Awakens Lady Officer and Poe Conspire The Connection Worst People in the Universe Party Music R.T. Shore Rose's Fathiers No Title 4M32INS No Title 4M32REV2 Luke and Rey Place in the World Six Hours Left Codebreaker... Thief The Fathiers (00:57) Fathiers Charge! Crashing the Party Saying Goodbye to the Fathier (00:52) Saving Leia Mirror Scene Encounter Before the Dream You're Not Alone No Title 5M46INS Touch Young Ren is Awakened Big Fights Yoda Insert Yoda Appears Not Enough Holdo's Secret Plan Traitor! Eavesdropping Mutiny I'll Help You Working Switches Dread Ladies Parting Come Closer, Child The Emperor's Theme (00:07) Poe Wakes Up Finn, Rose, and Hux Snoke (02:45) Fighting Together Join Me Hoda's Resolve Important Scene No Title 7M67AINS After the Big Explosion Finn Fights Phasma Chrome Dome (00:12) Rose and Finn Escape Hux and Ren What Cha Got? Troops and Planes Mechanical Trouble Here They Come, Again Finn's Attempted Sacrifice The Kiss Luke and Leia Together Luke and Leia (00:53) Han and Leia Reunion Follow Him More Fight No Title 9M85INS Rey Looks Old Friends Finale Pt. 1 End Credit Pt. 2 (01:11) End Credit Pt. 3 Rev (00:23) End Credit Pt. 4 (01:03) Rose's Turn (02:09) [BMI repertoire lists this an alternate title for The Rebellion is Reborn]
  20. I've got a new and sealed copy of JW's score to Jaws 2 (Intrada 2CD set) which I'd like to trade for another expanded JW release. I've also got a new and sealed copy of Trevor Jones' Cliffhanger (La-la land 2CD set) which I'm interested in trading.
  21. Star Wars: The Last Jedi - For Your Consideration (FYC) Album 01 Escape (7:41) 02 Ahch-To Island (2:31) 03 The Supremacy (2:00) 04 Admiral Holdo (1:02) 05 Fun With Finn And Rose (3:03) 06 Connection (1:58) 07 Lesson One (1:59) 08 Canto Bight (2:15) 09 The Master Codebreaker (1:07) 10 The Fathiers (2:20) 11 The Cave (2:02) 12 Rey's Journey (1:35) 13 A New Alliance (5:28) 14 Holdo's Resolve (2:17) 15 Chrome Dome (2:03) 16 The Battle Of Crait (7:00) 17 The Spark (4:20) 18 The Last Jedi (5:02) 19 Old Friends (1:23) 20 Finale (9:01) TOTAL TIME - 1:06:07 F.A.Q.: FYC? What's that stand for? For Your Consideration. Basically, Disney setup a website where eligible voters for the various awards that are given out around the end of the year could learn where they could attend a screening of their films, see which awards the films were pushing for, and listen to selections of the score for Best Score nominations. For the films that had score selections, they are exactly what is heard in the film, and sometimes include music not on the commercial soundtrack albums! So the music here is different than the album? Yes! Some tracks are almost the same, but the structure of the FYC program is fundamentally different; It is a selection of music from the movie exactly as it appears in the final cut of the film, even if the music used in the film was edited from Williams' original intentions. This could mean that a track might contain an Insert Williams later wrote, where the OST presented his original version; or a track might contain less music than its OST counterpart of the scene was re-edited after the recording of the music, or even a track might contain some music artificially looped or stretched if a scene got lengethened after scoring. The FYC always reflects these non-intended conforms to final picture from start to finish. Also, the FYC presentation seems to favor cues featuring original music over ones featuring a lot of returning themes, for the most part. So does the FYC contain the complete score? No; The film has somewhere around 150 minutes of music in it. The FYC is only 66 minutes long. Which tracks contain music that wasn't on the OST? Every track is different from its OST counterpart is some way, but most notably "Admiral Holdo", "The Master Codebreaker", "Rey's Journey", and "Holdo's Resolve" are COMPLETELY new tracks, while "A New Alliance" and "The Last Jedi" feature significant music in the beginning of each track that isn't on the OST. Where can I find this FYC? http://www.waltdisneystudiosawards.com/star-wars-the-last-jedi/score I don't see a download link there; How do I download the files from Disney's site? http://www.waltdisneystudiosawards.com/media/audio/sw/score/01_ESCAPE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/02_AHCH-TO_ISLAND.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/03_THE_SUPREMACY.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/04_ADMIRAL_HOLDO.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/05_FUN_WITH_FINN_AND_ROSE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/06_CONNECTION.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/07_LESSON_ONE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/08_CANTO_BIGHT.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/09_THE_MASTER_CODEBREAKER.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/10_THE_FATHIERS.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/11_THE_CAVE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/12_REYS_JOURNEY.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/13_A_NEW_ALLIANCE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/14_HOLDOS_RESOLVE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/15_CHROME_DOME.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/16_THE_BATTLE_OF_CRAIT.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/17_THE_SPARK.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/18_THE_LAST_JEDI.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/19_OLD_FRIENDS.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/20_FINALE.mp3 or http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=01_ESCAPE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=02_AHCH-TO_ISLAND.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=03_THE_SUPREMACY.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=04_ADMIRAL_HOLDO.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=05_FUN_WITH_FINN_AND_ROSE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=06_CONNECTION.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=07_LESSON_ONE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=08_CANTO_BIGHT.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=09_THE_MASTER_CODEBREAKER.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=10_THE_FATHIERS.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=11_THE_CAVE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=12_REYS_JOURNEY.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=13_A_NEW_ALLIANCE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=14_HOLDOS_RESOLVE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=15_CHROME_DOME.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=16_THE_BATTLE_OF_CRAIT.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=17_THE_SPARK.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=18_THE_LAST_JEDI.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=19_OLD_FRIENDS.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=20_FINALE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=01_ESCAPE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=02_AHCH-TO_ISLAND.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=03_THE_SUPREMACY.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=04_ADMIRAL_HOLDO.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=05_FUN_WITH_FINN_AND_ROSE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=06_CONNECTION.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=07_LESSON_ONE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=08_CANTO_BIGHT.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=09_THE_MASTER_CODEBREAKER.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=10_THE_FATHIERS.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=11_THE_CAVE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=12_REYS_JOURNEY.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=13_A_NEW_ALLIANCE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=14_HOLDOS_RESOLVE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=15_CHROME_DOME.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=16_THE_BATTLE_OF_CRAIT.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=17_THE_SPARK.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=18_THE_LAST_JEDI.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=19_OLD_FRIENDS.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=20_FINALE.mp3 That's a really low bitrate; Is there any chance its available uncompressed somewhere? Disney should be mailing out pressed physical CDs with the FYC program to Academy music department voters sometime soon. Usually not long after that, they begin turning up on ebay, and not long after that, lossless rips appear online. NOTE: It is against the board's rules to ask for a lossless rip in the public forum. Use the PM System or go to other websites for that discussion! Posts asking for illegal downloads will be deleted! Simple Comparison FYC 01 Escape (7:41) FYC 02 Ahch-To Island (2:31)) ≈ OST 02 [1:43-end] (2:40) Ahch-To Island FYC 03 The Supremacy (2:00) ≈ OST 04 The Supremacy [0:08-2:00] (1:52) FYC 04 Admiral Holdo (1:02) = Unreleased FYC 05 Fun With Finn And Rose (3:03) [0:00-1:05] (1:05) = Unreleased [1:05-end] (1:58) ≈ OST 05 Fun With Finn And Rose [0:25-end] (2:09) FYC 06 Connection (1:58) ≈ OST 06 Old Friends [2:36-end] (1:52) FYC 07 Lesson One (1:59) ≈ OST 08 Lesson One (2:10) FYC 08 Canto Bight (2:15) ≈ OST 09 Canto Bight (2:38) FYC 09 The Master Codebreaker (1:07) = Unreleased FYC 10 The Fathiers (2:20) ≈ OST 11 The Fathiers (2:42) FYC 11 The Cave (2:02) ≈ OST 12 The Cave [0:00-1:36] (1:36) FYC 12 Rey's Journey (1:35) = Unreleased FYC 13 A New Alliance (5:28) [0:00-1:24] (1:24) = Unreleased [1:24-3:19] (1:55) ≈ OST 14 A New Alliance [0:10-1:51] (1:41) [3:19-4:00] (0:41) = Unreleased [4:00-end] (1:28) ≈ OST 14 A New Alliance [1:51-end] (1:22) FYC 14 Holdo's Resolve (2:17) = Unreleased FYC 15 Chrome Dome (2:03) ≈ OST 15 "Chrome Dome" (2:03) FYC 16 The Battle Of Crait (7:00) FYC 17 The Spark (4:20) [0:00-0:46] (0:46) = Unreleased [0:46-end] (3:34) ≈ OST 17 The Spark (3:36) FYC 18 The Last Jedi (5:02) [0:00-1:15] (1:15) = Unreleased [1:15-end] (3:47) ≈ OST 18 The Last Jedi (3:04) FYC 19 Old Friends (1:23) ≈ OST 19 Peace and Purpose [1:44-end] (1:22) FYC 20 Finale (9:01) Approx amount of unreleased music = Track-by-track breakdown / editing guide FYC 01 Escape (7:41) FYC 02 Ahch-To Island (2:31) OST equivalent: 02 Ahch-To Island [1:43-end] (2:40) This is the music for Rey asking Luke for help, and then following him on his "daily routine". The FYC features the proper clean opening as heard in the film, while on the OST, the beginning of the cue is slightly abridged, and mixed over the ending of the previous Ahch-To cue that's in the same track. However, the OST features a section of music (3:22-3:27) that is edited out of the FYC track at 1:40, meaning the film was probably slightly shortened after scoring around that area. So, to create a proper complete version, you'd want to take the cleaning opening of the FYC track, then segue over to the OST track as soon as you can and continue with the OST track all the way to the end. FYC 03 The Supremacy (2:00) OST equivalent: 04 The Supremacy [0:08-2:00] (1:52) This is The Supermacy showing up and Leia realizing they were tracked through lightspeed, and Kylo firing on their ship. The FYC from 0:25-0:30 is longer than the same OST passage (0:35-0:36), though I don't know of the OST is microedited, or if the OST is how it was recorded and they had to artificially stretch it for the final film. The FYC has a small edit around 1:14, and the OST has a small edit around 1:18 (or, the OST is the proper recording, and the FYC Is looped in that area). Finally, the FYC seems to have a loop 1:39-1:43, but then omit material around 1:53. The FYC track seems to artificially fade the final string sustain down early, but the OST segues to another cue when it ends, so we don't have a good ending anywhere. For a custom edit, I'd ignore this FYC track entirely and just use the whole Supremacy OST track. FYC 04 Admiral Holdo (1:02) OST equivalent: None - Completely new track! This is Admiral Holdo being introduced as the new leader, and her initial speech to the Resistance. FYC 05 Fun With Finn And Rose (3:03) OST equivalent: 05 Fun With Finn And Rose [0:25-end] (2:09) The OST from 0:00-0:25 contains the cue for Rose telling Finn about her sister, then realizing he's trying to escape and stuns him (it only contains the Paige story portion of the cue, though). This cue isn't on the FYC at all, so you'd need to break it out into its own track if you want to keep it (you can call it "You Are a Hero" or "That's a Real Hero". I wouldn't call it "Finn Meets Rose" though, because THAT cue comes before this one and isn't on the FYC or the OST at all). In the film, that cue segues immediately to the next cue, which covers which covers Finn and Rose coming up with their plan and telling it to Poe. This cue appears in full on the FYC track, while the OST version omits the opening minute due to it seguing from partway through the sister story cue to partway through the planning cue. So, Option 1 is to break out OST 0:00-0:25 into its own track, and then use FYC 05 for the next cue in its own track. Option 2 would be If you don't want to do WAV editing, then its a a personal preference if you rather use the OST track (Paige story opening -> incomplete planning cue) or the FYC track (no Paige story at all, but complete planning cue). FYC 06 Connection (1:58) OST equivalent: 06 Old Friends [2:36-end] (1:52) This cue covers Ren and Rey's Force connection ending because Luke has shown up, and then him taking her to their first lesson up the cliffside. The FYC provides the full proper clean opening, while the OST omits the opening 4 seconds and is segued from another cue in the same track. Otherwise they are basically the same, but the FYC might be slightly edited down in one spot, so I'd transition from the FYC's clean opening to the OST track as early as possible then just use that from there to the end. FYC 07 Lesson One (1:59) OST equivalent: 07 Lesson One (2:10) This is the music for Rose feeling The Force under Luke's training, then sensing the dark place underneath the island. The FYC and OST tracks are pretty much identical to each other, though the FYC seems to have a few edits and a loop around 1:31, so I'd ignore the FYC track and just use the OST track. FYC 08 Canto Bight (2:15) OST equivalent: 08 Canto Bight (2:38) Both tracks are roughly identical, though the FYC seems to be edited down in a bunch of spots, and fades out early instead of having the proper ending the OST track has. However, one spot on the FYC includes an intended silence that is segued past in the OST version - compare 1:11 on the FYC to 1:22 on the OST. An ideal edit would be the entire OST track, but with that section restored properly from the FYC track. FYC 09 The Master Codebreaker (1:07) OST equivalent: None - Completely new track! Rose tells Finn about growing up with Paige in a mining system the First Order took over, and how the rich people in this casino are profiting from the war, before they are interrupted by BB-8 and head into the casino to see the master codebreaker at a table. FYC 10 The Fathiers (2:20) OST equivalent: 11 The Fathiers (2:42) This FYC track is more or less the same as the OST track, just shortened in many spots (like the sequence was tightened up after the cues were recorded). I'd recommend just ignoring the FYC track and using OST track. Of note is that this is a rare case of the FYC NOT matching the film exactly; The Fathiers sequence in the film is comprised of 3 separate cues, and both the OST AND FYC track contain the 1st and 3rd cues only, completely omitting the second cue (a brief piano source cue). The end of the first cue and start of the third is at 0:56 of the OST track or 0:51 of the FYC track. FYC 11 The Cave (2:02) OST equivalent: 12 The Cave [0:00-1:36] This covers Rey in the cave seeing multiple images of herself. The FYC seems to have a proper clean ending as recorded, but the OST correctly segues to the next cue exactly as the film does anyway, so the clean ending isn't really needed except for personal preference. It's interesting to compare the FYC to OST. They are approximately the same music, but the FYC version is longer because of many differences throughout. In some spots it seems like the FYC might be artificially stretched / looped, while in others the FYC has material that the OST seems to have microedited out. It sounds fine though, so for a complete edit you could use the FYC track and just mix the rest of the OST track (1:36-end) over the clean ending the FYC has. FYC 12 Rey's Journey (1:35) OST equivalent: None - Completely new track! Rey instructs Chewie what to tell Finn if he finds him, then hops in her escape pod and heads to The Supremacy, where Kylo meets her in the landing bay. This seems to have the proper clean opening and ending as recorded, though in the film it segues from and to other unreleased cues. FYC 13 A New Alliance (5:28) OST equivalent: 14 A New Alliance [0:10-end] (3:03) The OST track opens (0:00-0:10) with the music for Rey being brought to Snoke, a cue that isn't on the FYC at all. The FYC track is a complete presentation of a long uninterrupted sequence of music from a bit later in the film, some of which is on the OST and some of which is not. FYC 0:00-1:24 (1:24) covers Snoke dropping Rey to the ground after torturing her, taunting her that he will kill Luke after they destroy the Resistance, showing her the transporters being destroyed, and bringing her in front of Kylo. This isn't on the OST at all. FYC 1:24-3:19 (1:55) covers Snoke telling Ren to kill Rey then taunting Rey some more; Kylo killing Snoke then Kylo and Rey beginning to fight the guards; and a bit of Poe on the transporters. This is on the OST from 0:10-1:51 (1:41), though the OST seems to edit out material at around 0:48, so the FYC seems to be the superior choice. FYC 3:19-4:00 (0:41) covers a bit of Finn talking to DJ and some more Rey/Ren guards fighting. This isn't on the OST at all. FYC 4:00-end (1:28) covers Rey and Ren finishing off the guards. This is on the OST from 1:51-end (1:22). There doesn't seem to be any edits in either version, which makes it easy to just use the FYC track all the way to the end. FYC 14 Holdo's Resolve (2:17) OST equivalent: None - Completely new track! This covers some space action with the Resistance cruiser preparing to jump to lightspeed, Hux ordering his men to keep firing on the transports, Phasma ordering a more painful death for Finn and Rose, and then Holdo turning the cruiser around and ramming it into the Supremacy. FYC 15 Chrome Dome (2:03) OST equivalent: 15 "Chrome Dome" (2:03) This covers the aftermath of the explosion, Finn and Rose coming out of the rubble, and Finn fighting Phasma. The FYC and OST versions are about the same, though the FYC from 0:56-1:00 is a bit longer than the equivalent OST passage (0:53-0:55), the FYC has an edit that removes material at 1:09, the FYC from 1:12-1:18 is longer than the equivalent OST passage (1:15-1:19), and the FYC is longer from 1:27-1:32 compared the OST 1:28-1:30. Overall I'd say go with the OST version, because the bit in the OST the FYC skips past is actually unique material, while all the parts where the FYC is longer are basically just sustaining bits in between the action for longer. FYC 16 The Battle Of Crait (7:00) FYC 17 The Spark (4:20) OST equivalent: 17 The Spark (3:36) The opening of the FYC track (0:00-0:46) is not included on the OST track, and begins almost immediately after The Battle of Crait in the film. It covers Rose telling Finn that love is how they'll win & kissing him, and Ren telling Hux to advance on the base. The remainder of the FYC track (0:46-end [3:34]) is basically the same as the OST track, and covers Luke arriving, talking to Leia, then marching out to face the First Order. So you can just use the entire FYC track and ignore the OST track for a complete edit. FYC 18 The Last Jedi (5:02) OST equivalent: 18 The Last Jedi (3:04) The opening of the FYC track (0:00-1:15) is an unreleased cue that covers the Resistance following the crystal critters into the caves, Rey hovering over and scanning for their location, and then both parties arriving at opposite sides of the stone-piled exit. The rest of the FYC track is roughly the same as the OST track, and covers Kylo and Luke's final showdown. The FYC track is longer though, because the OST appears to be microedited in a few spots - there's a section microedited out of the OST at 0:15 that is intact in the FYC from 1:30-1:53, then another section microedited out of the OST at 0:22 that is intact in the FYC from 2:00-2:09, and finally compare OST 1:26-1:30 to FYC 3:14-3:22 and OST 1:45-1:48 to FYC 3:38-3:44. So overall, I'd again recommend just using the entire FYC track and ignoring the OST track in a complete edit. FYC 19 Old Friends (1:23) OST equivalent: 19 Peace and Purpose [1:44-end] (1:22) The OST track from 0:00-1:44 is portion of a cue covering Luke's death and Kylo matching into the base and finding it empty. There's a whole chunk of the cue taken out around 1:28, but unfortunately the cue isn't on the FYC at all so can't be restored using it. The FYC track is only the next cue, covering the reunion of Rey & Chewie with Poe & everyone else on the Millennium Falcon, and Rey telling Leia Luke's death felt like it was full of Peace and Purpose (which makes it so odd they retitled the track for the FYC), and the ship taking off into hyperspace. There's no real difference between the two versions, so again just ignore the FYC track and use the full OST track. FYC 20 Finale (9:01) OST equivalent: 20 Finale (8:28) The first cue in this track (the Canto Bight kids telling their story and then being kicked outside) is microedited on the FYC around 0:0:06 (You can hear what was taken out from about 0:06-0:18 of the OST version). But then on the FYC, the cue is allowed to end in full, there's a brief pause, and the next cue begins at 0:24; On the OST however, this cue is crossfaded into the next one at 0:36. So its personal preference if you want to use the separation or the crossfade, but you have to make sure to use the OST track for the beginning of the cue because of the material taken out of the FYC/film version. To compare the rest of either track, I found it easiest to do it as a table, I hope you don't mind: The next cue (the sunset scene before the end credits) and then the whole beginning of the end credits up through the piano rendition of Leia's Theme is about the same on both versions. This gets us to 2:44 of the FYC or 2:56 of the OST, and then things start to differ. Both start out the same, from 2:44-3:15 of the FYC / 2:56-3:27 of the OST but covering the same arrangement of the Luke/Rey/Island theme, but the OST has a sudden edit at 3:27 skipping over what's in the FYC from 3:15-4:05; Then both are the same again from OST 3:27-3:34 / FYC 4:05-4:13. Simple FYC/OST Combo Playlist, no Editing Required 01 OST 01 Main Title and Escape (7:26) OR FYC 01 Escape (7:41) 02 OST 02 Ahch-To Island (4:23) 03 OST 03 Revisiting Snoke (3:29) 04 OST 04 The Supremacy (4:01) 05 FYC 04 Admiral Holdo (1:02) 06 FYC 05 Fun With Finn And Rose (3:03) 07 OST 06 Old Friends (4:29) 08 OST 08 Lesson One (2:10) 09 OST 09 Canto Bight (2:38) 10 FYC 09 The Master Codebreaker (1:07) 11 OST 10 Who Are You? (3:04) 12 OST 11 The Fathiers (2:42) 13 OST 12 The Cave (3:00) 14 OST 13 The Sacred Jedi Texts (3:33) 15 FYC 12 Rey's Journey (1:35) 16 FYC 13 A New Alliance (5:28) 17 FYC 14 Holdo's Resolve (2:17) 18 OST 15 "Chrome Dome" (2:03) 19 OST 16 The Battle Of Crait (6:48) OR FYC 16 The Battle Of Crait (7:00) 20 FYC 17 The Spark (4:20) 21 FYC 18 The Last Jedi (5:02) 22 OST 19 Peace And Purpose (03:08) 23 OST 20 Finale (8:28) OR FYC 20 Finale (9:01) BONUS TRACK 24 OST 07 The Rebellion Is Reborn (4:00) (Concert Arrangement) TOTAL TIME - 1:29:17 (or 1:30:17) Longer Chronological Edit of OST + FYC, In-Track Editing Required: Coming soon! FYC / OST Comparison spreadsheet Coming soon! ALL UPDATES / CORRECTIONS WELCOME!!! Admin note: Click here to jump right to discussion of the actual FYC Album, after all the hype talk ACTUAL ALBUM DISCUSSION ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Original Main Post ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Hello, The Force Awakens opened (in the US) on Friday, December 18th, 2015. On Monday, December 21st, 2015, we discovered that Disney's Awards consideration side had added an album of score that could be streamed or download that was different than TFA's OST. Soon after, physical CDs pressed of the same music began showing up on ebay (as they had been mailed out to voting members of The Academy or other awards ceremonies) as well. I am hopeful Disney will do the same this year for The Last Jedi. If they do not, I will close this thread. If they do, I wanted to start the thread now to contain all information about the album like we had for TFA. I'll update this main post with all information about the FYC album if we get one!.
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Figured it would be nice to have a thread for this: THE PHANTOM MENACE Original Motion Picture Soundtrack (1 CD) Star Wars Main Title and The Arrival at Naboo 0:07 Main Theme (A Section) 0:26 Main Theme (B Section) 0:48 Main Theme (A Section) 1:25 The Story Begins Duel of the Fates 0:00 B Section 0:16 Ostinato Accompaniment 0:24 A Section 1:40 B Section 1:58 Ostinato Accompaniment 2:11 A Section 2:37 B Section 3:02 Ostinato Accompaniment 3:07 B Section 3:22 Ostinato Accompaniment 3:37 A Section 3:43 B Section 3:52 A Section 3:55 B Section 4:08 Ostinato Accompaniment Anakin's Theme 0:00 A Section 0:16 B Section 0:50 C Section 1:24 A Section 1:54 Imperial March 2:08 Imperial March 2:12 B Section 2:35 Imperial March Jar Jar's Introduction and The Swim to Otoh Gunga 0:08 Jar Jar's Theme (A Section) 0:25 Jar Jar's Theme (B Section) 0:38 Naboo Battle Motif 0:45 Jar Jar's Theme (B Section) 1:04 Jar Jar's Theme (A Section) 1:23 Underwater Wonders 4:05 Jar Jar's Theme (A Section) The Sith Spacecraft and The Droid Battle 0:26 Naboo Battle Motif 0:49 Naboo Battle Motif 0:59 Naboo Battle Motif 1:10 Duel of the Fates A Section 1:26 Naboo Battle Motif 1:34 Naboo Battle Motif 1:43 Naboo Battle Motif 1:51 Naboo Battle Motif 2:14 Naboo Battle Motif The Trip to the Naboo Temple (The Audience With Boss Nass) 1:45 Jar Jar's Theme (A Section) 2:16 Queen Amidala/Boss Nass (Instrumental Connection) The Arrival at Tatooine and The Flag Parade 0:00 Jar Jar's Theme (A Section) 0:17 Jar Jar's Theme (A Section) 0:28 Unknown 1 0:40 Unknown 2 0:53 Unknown 1 1:14 Unknown 1 1:27 Unknown 1 2:04 Flag Parade (A Section) 2:38 Flag Parade (B Section) 2:51 Flag Parade (A Section) 3:25 Flag Parade (B Section) 3:35 Flag Parade (A Section) He Is the Chosen One 0:10 The Force Theme (Fragment) 0:19 Anakin's Theme 1:36 The Force Theme 2:11 Anakin's Theme 3:33 Hyperspace Anakin Defeats Sebulba 0:32 The Force Theme 0:53 Jabba's Theme 2:49 Podrace Motif 3:13 Podrace Motif 4:02 Podrace Motif 4:05 Anakin's Theme Passage Through the Planet Core 0:47 Queen Amidala/Boss Nass (Instrumental Connection) 2:19 The Force Theme (Fragment)? 2:51 The Force Theme (Fragment)? 3:10 Underwater Wonders 4:16 Naboo Battle Motif Watto's Deal and Kid's at Play 1:11 Anakin's Theme 2:28 The Force Theme 3:15 Unknown 3 3:49 Unknown 3 3:55 Jar Jar's Theme (Fragment)? 4:18 Anakin's Theme 4:31 Unknown 3 Panaka and the Queen's Protectors 0:09 Naboo Starfighters 0:20 Main Theme (A Section) 0:26 Naboo Starfighters 0:40 Naboo Starfighters 0:56 Duel of the Fates (A Section) 2:03 Naboo Starfighters 2:31 Naboo Starfighters Queen Amidala and The Naboo Palace 0:42 Queen Amidala/Boss Nass (Instrumental Connection) 1:17 Anakin's Theme 3:23 Queen Amidala/Boss Nass (Instrumental Connection) The Droid Invasion and The Appearance of Darth Maul 0:34 Trade Federation March 0:49 Trade Federation March 1:27 Trade Federation March 1:44 Trade Federation March 1:58 Trade Federation March 2:50 Trade Federation March 3:20 Dark Side? 3:44 The Emperor's Theme 4:18 Underwater Wonders 4:57 Duel of the Fates Ostinato Accompaniment Qui-Gon's Noble End 0:00 Duel of the Fates (B Section) 0:13 Naboo Escape 0:41 Naboo Escape 1:34 Standoff 1:39 Force Field 1:55 Standoff/Duel of the Fates (Lyric's Only) 2:24 Duel of the Fates Ostinato Accompaniment 2:34 Duel of the Fates Ostinato Accompaniment 2:53 Standoff 3:20 Duel of the Fates (A Section) 3:23 Duel of the Fates Ostinato Accompaniment 3:34 Standoff The High Council Meeting and Qui-Gon's Funeral 0:00 Discussion and Confrontation 0:55 Yoda's Theme 1:17 Imperial March 1:55 Jedi Funeral 2:14 The Force Theme 2:23 Jedi Funeral Augie's Great Municipal Band and End Credits 0:06 The Emperor's Theme (Reverse) 0:18 Naboo Parade 0:31 The Emperor's Theme (Reverse) 0:53 Naboo Parade 1:06 The Emperor's Theme (Reverse) 1:18 Naboo Parade 1:26 Main Theme (A Section) 1:35 Rebel Fanfare 1:41 The Rolling Thunder 1:44 Rebel Fanfare 1:55 The Rolling Thunder 1:59 Main Theme (A Section) 2:06 The Rolling Thunder 2:16 Duel of the Fates 6:29 Anakin's Theme The Ultimate Edition (2 CD's) Star Wars Main Title 0:07 Main Theme (A Section) 0:26 Main Theme (B Section) 0:48 Main Theme (A Section) Boarding the Federation Battleship 0:00 The Story Begins 0:50 ??? 1:12 ??? Death Warrant for Qui-Gon and Obi-Wan 0:01 The Emperor's Theme Fighting the Destroyer Droids 0:01 Main Theme (A Section) 0:09 Main Theme (A Section) 1:03 The Force Theme Queen Amidala Warns the Federation 0:15 Unknown 1 0:27 Queen Amidala/Boss Nass (Instrumental Connection) 1:53 Queen Amidala/Boss Nass (Instrumental Connection) The Droid Invasion 0:24 Trade Federation March Swimming to Otoh Gunga 0:14 Underwater Wonders Inside the Bubble City 0:39 Queen Amidala/Boss Nass (Instrumental Connection) 2:19 The Force Theme (Fragment)? 2:52 The Force Theme (Fragment)? Attack of the Giant Fish 0:03 Underwater Wonders 1:09 Naboo Battle Motif Darth Sidious 0:00 The Emperor's Theme 0:34 Underwater Wonders The Giant Squid and The Attack on Theed 0:48 Trade Federation March Fighting the Guards 0:29 Unknown 2 0:37 Unknown 1 Escape from Naboo 0:00 Naboo Escape 1:08 Naboo Escape 1:35 Naboo Escape Enter Darth Maul 0:06 The Emperor's Theme 0:31 Dark Fanfare 0:36 Darth Maul Motif 0:49 Darth Maul Motif The Arrival at Tatooine 0:06 Jar Jar's Theme (A Section) 0:24 Jar Jar's Theme (B Section) 0:33 Unknown 1 0:46 Unknown 3 0:59 Unknown 1 1:39 Unknown 1 1:54 Unknown 1 2:06 Unknown 1 2:12 Unknown 1 2:18 Unknown 1 Padme Meets Anakin 0:20 Anakin's Theme 0:43 Unknown 1 0:57 Jar Jar's Theme (A Section) Jar Jar's Run-in With Sebulba 0:15 Jar Jar's Theme (A Section) 0:50 Unknown 4 1:01 Unknown 4 Anakin's Home and The Introduction to Threepio 0:00 Unknown 4? 0:14 Unknown 4? 0:46 Unknown 4? Darth Sidious and Darth Maul 0:25 Dark Side? 0:35 The Emperor's Theme 0:54 Darth Maul Motif 0:59 Unknown 3? Talk of Podracing 0:00 Discussion and Confrontation 0:54 Unknown 1 1:56 Anakin's Theme (Fragment) 2:19 Anakin's Theme 2:32 Imperial March 2:38 Unknown 1 Watto's Deal / Shmi and Qui-Gon Talk 1:38 The Force Theme Anakin, Podracing Mechanic 0:00 Unknown 5 0:33 Unknown 5 0:40 Jar Jar's Theme (Fragment)? 1:02 Anakin's Theme 1:15 Unknown 5 The Racer Roars to Life / Anakin's Midi-chlorian Count 0:00 Shmi's Theme 0:16 Unknown 3 0:45 Anakin's Theme Darth Maul and The Sith Spacecraft 0:00 Darth Maul Percussion 0:02 Sith Whispers 0:09 Darth Maul Stab 0:25 Darth Maul Motif 0:40 Darth Maul Stab Watto's Roll of the Die 1:33 Anakin's Theme The Flag Parade 0:12 Flag Parade (A Section) 0:46 Flag Parade (B Section) 0:59 Flag Parade (A Section) Sebulba's Dirty Hand / Qui-Gon's Pep Talk 0:34 The Force Theme 0:55 Jabba's Theme (A Section) Anakin Defeats Sebulba 0:12 Naboo Escape (Tracked Music) Hail to the Winner, Anakin Skywalker 0:10 Podrace Victory 0:20 Podrace Victory 0:39 Anakin's Theme 0:58 Imperial March Anakin is Free 0:00 Qui-Gon's Theme 1:15 The Force Theme 1:29 Main Theme (B Section) Fragment 1:53 Anakin's Theme Fragment 2:12 Shmi's Theme 3:00 Shmi's Theme 3:54 Anakin and Shmi 4:28 Shmi's Theme 4:47 The Force Theme 4:57 Anakin's Theme Qui-Gon and Darth Maul Meet 0:00 Darth Maul Percussion 0:20 Dark Fanfare 0:39 Qui-Gon's Theme 0:58 Main Theme (A Section) Fragment 1:24 Qui-Gon's Theme 1:37 The Force Theme Anakin and Group to Coruscant 0:40 Queen Amidala/Boss Nass (Instrumental Connection) 1:41 Anakin's Theme High Council Meeting 0:00 Dark Side? 1:06 Anakin's Theme 1:22 Anakin's Theme (Fragment) The Senate 0:12 Unknown 1 0:47 Unknown 1 Anakin's Test 0:29 Anakin's Theme 1:03 Anakin's Theme 1:15 The Force Theme 2:57 Unknown 1 Qui-Gon's Mission / Obi-Wan's Warning 0:09 The Force Theme (Fragment) 0:18 Anakin's Theme 1:35 The Force Theme 2:13 Anakin's Theme 3:07 Anakin's Theme (Fragment) 3:34 Hyperspace Nute and Rune Confer with Darth Sidious 0:00 The Emperor's Theme 1:43 Jar Jar's Theme (A Section) 2:00 Unknown 4 2:17 Jar Jar's Theme (A Section) Jar Jar Leads Group to the Gungans 0:12 Queen Amidala/Boss Nass (Instrumental Connection) 1:46 Unknown 4 2:11 Anakin's Theme (Fragment) War Plans 1:21 War Plans 1:34 War Plans The Battle Begins 0:04 Duel of the Fates (A Section) 0:15 Duel of the Fates (A Section) The Republic Pilots Take Off Into Space 0:03 Naboo Starfighters 0:27 Naboo Starfighters 0:38 Main Theme (A Section) 0:44 Naboo Starfighters 0:55 Duel of the Fates Ostinato Accompaniment 1:07 Naboo Battle Motif 1:14 Dark Fanfare Activate the Droids 0:03 Trade Federation March 0:18 Trade Federation March The Duel Begins 0:02 Duel of the Fates (B Section) 0:15 Duel of the Fates (Tracked) Anakin Takes Off in Spaceship 0:05 Naboo Starfighters 0:12 Naboo Starfighters 0:38 Naboo Starfighters The Duel Continues 0:00 Duel of the Fates (Tracked) The Battle Rages On 0:00 Naboo Battle Motif 0:30 Naboo Battle Motif 0:40 Duel of the Fates (A Section) 0:56 Naboo Battle Motif 1:05 Naboo Battle Motif 1:54 Dark Fanfare Qui-Gon, Obi-Wan and Darth Maul Continue Battle 0:02 Duel of the Fates (Tracked) Qui-Gon, Darth Maul, and the Invisible Wall 0:00 The Invisible Wall The Gungan's Retreat and The Queen Surrenders 0:00 Anakin Defeat's Sebulba (Tracked) 1:27 Anakin's Theme (Tracked) 1:37 Standoff 1:48 Duel of the Fates Ostinato Accompaniment 1:54 Duel of the Fates (A Section) The Death of Qui-Gon and The Surrender of the Gungans 0:07 Standoff 0:13 The Invisible Wall 0:28 Standoff/Sith Whispers 0:55 Duel of the Fates Ostinato Accompaniment 1:00 Dark Fanfare 1:04 Duel of the Fates Ostinato Accompaniment 1:24 Standoff 1:55 Duel of the Fates (A Section) 2:15 Standoff The Tide Turns / The Death of Darth Maul 0:14 Droid Control Ship Destroyed 0:50 Duel of the Fates (A Section) 0:55 Duel of the Fates Ostinato Accompaniment 0:57 The Force Theme 1:18 Droid Control Ship Destroyed 1:51 The Force Theme 2:32 Qui-Gon's Theme 2:56 Unknown 1 3:02 Qui-Gon's Theme 3:09 Unknown 1 The Queen Confronts Nute and Rune 0:00 Discussion and Confrontation 0:54 Yoda's Theme 1:17 Imperial March The Funeral of Qui-Gon 0:06 Jedi Funeral 0:26 The Force Theme 0:34 Jedi Funeral The Parade 0:07 The Emperor's Theme (Reverse) 0:18 Naboo Parade 0:32 The Emperor's Theme (Reverse) 0:53 Naboo Parade 1:06 The Emperor's Theme (Reverse) End Credits 0:02 Main Theme (A Section) 0:11 Rebel Fanfare 0:17 The Rolling Thunder 0:20 Rebel Fanfare 0:28 The Rolling Thunder 0:35 Main Theme (A Section) 0:42 The Rolling Thunder 0:52 Duel of the Fates 5:04 Anakin's Theme 6:59 Imperial March 7:13 Imperial March 7:40 Imperial March ATTACK OF THE CLONES Star Wars Main Title and Ambush on Coruscant 0:07 Main Theme (A Section) 0:26 Main Theme (B Section) 0:48 Main Theme (A Section) 1:24 The Story Begins 1:39 Kamino Theme 2:11 Kamino Theme 3:00 Conspiracy Motif 3:16 Kamino Theme Across the Stars: (Love Theme from Star Wars: Episode II) 0:00 Across the Stars Ostinato 0:13 Across the Stars (A Section) 0:55 Across the Stars Ostinato 1:03 Across the Stars (A Section) 2:01 Across the Stars (B Section) 2:26 ??? 2:33 Across the Stars (A Section) 2:40 Across the Stars (A Section) 2:48 Across the Stars (A Section) 2:54 Across the Stars (A Section) 3:06 Across the Stars (A Section) 4:01 Across the Stars (B Section) 4:26 ??? 4:36 Across the Stars (A Section) 5:02 Across the Stars Ostinato 5:07 Across the Stars (A Section) Zam the Assassin and The Chase Through Coruscant 1:29 Coruscant Action 1:52 Coruscant Action 2:33 Coruscant Action 3:16 Speeder Action 3:43 Speeder Action 4:15 Speeder Action 6:09 Speeder Action 7:59 Speeder Action Yoda and the Younglings 0:45 Across the Stars (A Section) 1:07 Obi-Wan/Investigation/Jedi Order Motif 1:17 Yoda's Theme 3:10 The Force Theme 3:23 Across the Stars (A Section) Departing Coruscant 0:00 Across the Stars (A Section) 0:49 The Force Theme 1:14 Across the Stars (A Section) Anakin and Padme 0:00 Naboo Courtship Motif 0:59 Across the Stars (A Section) 1:28 Dies Irae? 2:11 Across the Stars (B Section) 2:26 Dies Irae? 2:43 Dies Irae? 3:15 Across the Stars (B Section) Jango's Escape 0:04 Jango Fight 0:25 Jango Fight 1:06 Action Strings 1:16 Jango Fight 1:58 Jango Fight The Meadow Picnic 0:00 Naboo Courtship Motif 1:36 Naboo Courtship Motif 1:39 Across the Stars (A Section) 2:12 Naboo Courtship Motif 2:40 Kamino Theme/Mystery Motif 2:46 Trade Federation March Return to Tatooine 1:23 Unknown Arpeggio Motif 2:48 Unknown Arpeggio Motif 3:10 The Force Theme 3:35 Duel of the Fates Ostinato Accompaniment 3:38 Duel of the Fates (A Section) 4:05 Duel of the Fates Ostinato Accompaniment 4:08 Geonosis Sneak 4:27 Geonosis Sneak 4:45 Geonosis Sneak 2 4:59 Geonosis Sneak 2 5:51 Conspiracy Motif The Tusken Camp and The Homestead 0:00 Sandpeople Motif? 1:26 Anakin/Shmi Motif 1:45 Greatest of All Jedi 3:27 Imperial March 3:59 Dark Side? 5:15 Dies Irae? Love Pledge and The Arena 0:12 Across the Stars (A Section) 1:55 Unleashing the Monsters 2:11 Unleashing the Monsters 2:42 The Monsters 3:20 The Monsters 4:15 The Monsters 5:03 The Monsters 5:23 The Monsters 5:54 The Monsters 6:09 Across the Stars (A Section) 7:11 Across the Stars (A Section) 7:24 Action Strings 7:39 The Force Theme 7:59 Action Strings Confrontation with Count Dooku and Finale 0:00 Dooku Escape 0:08 The Force Theme 0:42 Dooku Escape 0:51 Dark Side Motif (Prequels) 1:15 Dark Side? (From TPM)? 2:59 Imperial March 3:17 Imperial March 3:38 Across the Stars (A Section) 4:45 Main Theme (A Section) 4:54 Rebel Fanfare 5:00 The Rolling Thunder 5:03 Rebel Fanfare 5:11 The Rolling Thunder 5:18 Main Theme (A Section) 5:26 The Rolling Thunder 5:36 Across the Stars (A Section) 6:34 Across the Stars (B Section) 6:59 ??? 7:05 Across the Stars (A Section) 7:10 ??? 7:13 Across the Stars (A Section) 7:18 ??? 7:21 Across the Stars (A Section) 8:34 Across the Stars (B Section) 8:59 ??? 9:09 Across the Stars (A Section) 9:36 Anakin's Theme 9:56 Across the Stars (A Section) 10:01 Imperial March 10:06 Across the Stars (A Section) 10:12 Princess Leia's Theme Concert Arrangement Reference/Across the Stars (A Section)? 10:18 Imperial March On the Conveyor Belt (Target Bonus Track) 0:36 Droid Factory 2:35 Conveyor Belt 2:51 Conveyor Belt REVENGE OF THE SITH Star Wars and The Revenge of the Sith 0:07 Main Theme (A Section) 0:26 Main Theme (B Section) 0:48 Main Theme (A Section) 1:24 Coruscant Battle 1:38 The Force Theme 2:04 Coruscant Battle 2:16 Grievous/Dark Side Rising/Dark Times 2:24 Grievous/Dark Side Rising/Dark Times 2:26 Coruscant Battle 2:34 Coruscant Battle 2:49 Coruscant Battle 3:15 Buzz Droids 3:37 Buzz Droids 4:13 Buzz Droids 4:32 Buzz Droids 4:46 Grievous/Dark Side Rising/Dark Times 5:21 The Elevator 5:37 Grievous/Dark Side Rising/Dark Times 5:43 Dies Irae? 6:07 The Elevator 6:20 The Elevator 6:27 Dies Irae? 6:53 The Elevator Anakin's Dream 0:23 Across the Stars (A Section) 2:25 Across the Stars (A Section) 3:30 The Force Theme Battle of the Heroes 0:00 Ostinato Accompaniment 0:05 A Section 0:26 Ostinato Accompaniment 0:32 A Section 1:16 B Section 1:33 A Section 1:56 The Force Theme 2:11 Ostinato Accompaniment 2:17 A Section 2:51 A Section 3:06 Ostinato Accompaniment 3:10 A Section Anakin's Betrayal 0:00 Lament Theme 0:43 Lament Theme 1:26 Dies Irae? 1:38 Dies Irae? 1:59 Dies Irae? 3:20 Lament Theme General Grievous 0:05 Grievous/Dark Side Rising/Dark Times 0:11 Grievous/Dark Side Rising/Dark Times 0:16 Grievous/Dark Side Rising/Dark Times 0:25 Grievous/Dark Side Rising/Dark Times 0:26 Grievous/Dark Side Rising/Dark Times 0:32 Grievous/Dark Side Rising/Dark Times 0:38 Obi-Wan Kenobi's Theme (The Force Theme) 0:44 Grievous/Dark Side Rising/Dark Times 0:52 Evil Dark Side Theme 1:04 Evil Dark Side Theme 1:49 Grievous/Dark Side Rising/Dark Times 2:15 Grievous/Dark Side Rising/Dark Times 2:22 Grievous Duel 2:32 Grievous Duel 2:43 Grievous/Dark Side Rising/Dark Times 3:02 Grievous Duel 3:22 Grievous Duel 3:44 Grievous/Dark Side Rising/Dark Times Palpatine's Teachings 2:37 Imperial March 3:00 The Force Theme 3:13 Grievous/Dark Side Rising/Dark Times 3:40 A Dark Place 4:55 Hyperspace Grievous and the Droids 0:07 Grievous/Dark Side Rising/Dark Times 0:49 Main Theme (A Section) 1:16 Invisible Hand Battle 2:10 Invisible Hand Battle 2:38 Grievous/Dark Side Rising/Dark Times 2:45 Grievous/Dark Side Rising/Dark Times 3:01 Invisible Hand Battle 3:13 The Force Theme Padme's Ruminations 1:16 Across the Stars (A Section) 1:36 Dark Side Motif (From TPM and AOTC) Anakin Vs. Obi-Wan 0:02 Battle of the Heroes (A Section) 0:23 Imperial March (The Clash of Lightsabers Lift) 0:31 Battle of the Heroes (A Section) 0:55 Imperial March (The Clash of Lightsabers Lift) 1:52 Imperial March (The Clash of Lightsabers Lift) 2:30 Battle of the Heroes (B Section) 3:06 Battle of the Heroes Ostinato Accompaniment 3:10 Battle of the Heroes (A Section) 3:21 The Force Theme 3:36 Battle of the Heroes (A Section) Anakin's Dark Deeds 0:00 Dark Deeds 0:34 Slaughter 0:44 Grievous/Dark Side Rising/Dark Times 1:05 Grievous/Dark Side Rising/Dark Times 1:15 Slaughter 1:44 Grievous/Dark Side Rising/Dark Times 2:01 Imperial March 2:01 Grievous/Dark Side Rising/Dark Times 2:14 Bitter Revelation 3:17 Bitter Revelation Enter Lord Vader 0:19 Grievous/Dark Side Rising/Dark Times 0:50 To Mustafar 1:32 Grievous/Dark Side Rising/Dark Times 2:21 Grievous/Dark Side Rising/Dark Times 3:19 Imperial March 3:25 Grievous/Dark Side Rising/Dark Times 3:43 The Force Theme 3:49 The Emperor's Theme The Immolation Scene 0:00 Lament for Anakin 0:52 The Force Theme 1:04 Lament for Anakin 1:29 Lament for Anakin 2:02 Leaving Mustafar 2:17 Leaving Mustafar Grievous Speaks To Lord Sidious 0:00 Grievous/Dark Side Rising/Dark Times 1:14 Evil Dark Side Theme 1:27 Grievous/Dark Side Rising/Dark Times 1:58 Dies Irae 2:13 Bitter Revelation The Birth of the Twins and Padme's Destiny 0:00 Across the Stars Ostinato Accompaniment 0:38 Across the Stars Ostinato Accompaniment 1:33 Jedi Funeral 1:53 The Force Theme 2:00 Jedi Funeral 2:36 Jedi Funeral 2:52 The Force Theme 3:00 Jedi Funeral A New Hope and End Credits 0:07 Princess Leia's Theme 0:28 Luke's Theme (A Section) 0:51 The Force Theme 1:24 Main Theme (A Section) 1:34 Rebel Fanfare 1:40 The Rolling Thunder 1:44 Rebel Fanfare 1:53 The Rolling Thunder 2:03 Main Theme (A Section) 2:20 Princess Leia's Theme (A Section) 3:26 Princess Leia's Theme (B Section) 4:00 Battle of the Heroes 5:30 The Force Theme 5:45 Battle of the Heroes 6:39 Battle of the Heroes Ostinato Accompaniment 6:43 Throne Room Fanfare 7:04 The Force Theme 7:38 Throne Room Fanfare 7:48 Throne Room Theme 8:08 Main Theme (B Section) 8:28 Throne Room Theme 8:49 Throne Room Fanfare 8:59 The Force Theme 9:45 Throne Room Theme 10:03 Escape Pod 10:13 Throne Room Theme 10:34 Main Theme (B Section) 10:55 Throne Room Theme 11:17 The Rolling Thunder 11:20 Main Theme (A Section) 11:37 Main Theme (B Section) 11:54 Rebel Fanfare 12:01 The Rolling Thunder 12:05 Rebel Fanfare 12:09 Throne Room Fanfare 12:18 Rebel Fanfare 12:33 Throne Room Theme 12:39 Throne Room Fanfare A NEW HOPE Main Title / Rebel Blockade Runner: 0:07 Luke's Theme A Section 0:26 Luke's Theme B Section 0:48 Luke's Theme A Section 1:25 Luke's Theme A Section 1:38 Rebel Fanfare 1:41 Mars, Bringer of War Reference 1:56 Rebel Rhythm 1:58 Rebel Fanfare Imperial Attack 0:00 Rebel Rhythm 0:04 Rebel Fanfare 1:11 Imperial Motif (Fragments) 1:41 Rebel Fanfare 2:20 Ben Kenobi's Theme (The Force Theme) 2:31 Leia's Theme 2:52 Leia's Theme 3:43 Leia's Theme 4:06 Imperial Motif 4:47 Escape Pod 4:54 Imperial Motif 6:18 Death Star Motif Dune Sea of Tatooine / Jawa Sandcrawler 0:00 Stravinsky Reference 1:35 Jawa Rhythm 1:43 Jawa Theme A Section 2:13 Jawa Theme A Section 2:46 Jawa Theme B Section 3:16 Jawa Secondary/Sandcrawler Theme 4:12 Jawa Secondary/Sandcrawler Theme 4:47 Imperial Motif The Moisture Farm 0:10 Jawa Rhythm 0:16 Jawa Theme A Section 0:40 Jawa Theme B Section 1:03 Jawa Theme A Section 1:25 Luke's Theme A Section 1:45 Dies Irae (Fate Motif?) Hologram / Binary Sunset 0:31 Leia's Theme 1:53 Unknown 1:56 Luke's Theme A Section 2:21 Ben Kenobi's Theme (The Force Theme) 2:53 Rebel Fanfare 3:13-3:34 Dies Irae 3:13 Luke's Theme A Section 3:27 Ben Kenobi's Theme (The Force Theme) Binary Sunset (Alternative) 0:00 Unknown 0:22 Dies Irae (Fate Motif?) 0:44 Dies Irae (Fate Motif?) 1:00 Unknown 1:20 Threepio Motif? 1:21 Landspeeder Travel Motif? Landspeeder Search / Attack of the Sand People 0:00-0:32 Landspeeder Travel Motif 0:11 Luke's Theme A Section 1:46 Sand People Motif? 2:46 Ben Kenobi's Theme (The Force Theme) Tales of a Jedi Knight / Learn About the Force 0:09 Ben Kenobi's Theme (The Force Theme) 0:45 Sand People Motif? 1:00 Threepio Motif? 1:08 Landspeeder Travel Motif? 1:40 Imperial Motif 2:10 Ben Kenobi's Theme (The Force Theme) 2:45 Leia's Theme 3:53 Ben Kenobi's Theme (The Force Theme) 4:13 Death Star Motif Burning Homestead 0:47 Landspeeder Travel Motif? 0:58 Ben Kenobi's Theme (The Force Theme) 1:26 Landspeeder Travel Motif? 1:29 Ben Kenobi's Theme (The Force Theme) 1:42 Dies Irae (Fate Motif?) 1:50 Death Star Motif 1:53 Imperial Rhythm 1:55 Imperial Motif 1:58 Leia's Theme A Section Mos Eisley Spaceport 0:31 Ben Kenobi's Theme (The Force Theme) 0:45 Landspeeder Travel Motif 1:06 Landspeeder Travel Motif 1:20 Imperial Motif 1:52 Landspeeder Travel Motif 1:53 Ben Kenobi's Theme (The Force Theme) Cantina Band 0:00 Main Melody 0:43 Main Melody 2:29 Main Melody Cantina Band No. 2 0:04 Main Melody 2:15 Main Melody Princess Leia's Theme 0:15 Leia's Theme 1:30 Leia's Theme 2:25 Leia's Theme Millennium Falcon / Imperial Cruiser Pursuit 0:30 Luke's Theme A Section 0:42 Imperial Spy Motif? 0:58 Luke's Theme A Section 1:09 Imperial Spy Motif? 1:34 Imperial Rhythm 1:37 Imperial Motif 1:40 Imperial Spy Motif? 1:54 Ben Kenobi's Theme (The Force Theme) 2:13-2:34 Blasting out of Mos Eisley Setpiece/Motif? 2:16 Ben Kenobi's Theme (The Force Theme) 2:34 Star Destroyer Chase Setpiece/Motif? 2:42 Blasting out of Mos Eisley Setpiece/Motif? 2:54 Star Destroyer Chase Setpiece/Motif? 3:30 Death Star Motif Destruction of Alderaan 0:02 Dies Irae (Fate Motif?) 0:20 Dies Irae (Fate Motif?) 0:46 Dies Irae (Fate Motif?) Death Star / The Stormtroopers 0:55 Rebel Rhythm 0:57 Rebel Fanfare 1:21 Stormtrooper Rhythm 1:39 Psycho Reference 1:46 Ben Kenobi's Theme (The Force Theme) 2:08 Imperial Motif 2:58 Imperial Motif (Fragments) 3:18 Luke's Theme A section Wookiee Prisoner / Detention Block Ambush 1:22 Luke's Theme A Section 2:11 Luke's Theme A Section 3:21 Rebel Rhythm 3:23 Rebel Fanfare 3:27 Leia's Theme 3:40 Luke's Theme A Section Shootout in the Cell Bay / Dianoga 0:16 Imperial Motif 0:33 Rebel Fanfare 1:31 Imperial Motif 2:26 Dianoga/Trash Compactor A Section 2:48 Dianoga/Trash Compactor B Section 2:57 Dianoga/Trash Compactor A Section 3:22 Dianoga/Trash Compactor B Section The Trash Compactor 0:00 Trash Compactor 0:47 Imperial Rhythm 0:51 Imperial Motif 1:32 Trash Compactor 2:04 Trash Compactor Tractor Beam / Chasm Crossfire 0:00 Ben Sneaks Around 1:24 Ben Sneaks Around 2:01 Luke's Theme A Section 2:12 Luke's Theme A Section 2:24 Imperial Rhythm 2:34 Stormtrooper Rhythm 2:37 Imperial Motif 2:45 Imperial Motif 3:01 Stormtrooper Rhythm 3:23 Luke's Theme A Section 3:40 Luke's Theme B Section 3:58 Luke's Theme A Section 4:08 Leia's Theme A Section 4:17 Stormtrooper Rhythm 4:31 Luke's Theme A Section 4:45 Stormtrooper Rhythm 4:48 Imperial Motif Ben Kenobi's Death / Tie Fighter Attack 0:00 Ben Kenobi's Theme (The Force Theme) 0:09 Leia's Theme 0:37 Rebel Rhythm 0:39 Rebel Fanfare 1:01 Ben Kenobi's Theme (The Force Theme) A Section 1:17 Ben Kenobi's Theme (The Force Theme) 2:03 Here They Come Motif (Rebel Rhythm?) 2:12 Rebel Fanfare 2:20 Here They Come Motif 2:24 Rebel Fanfare 2:41 Here They Come Motif 3:14 Here They Come Motif 3:29 Death Star Motif The Battle of Yavin (Launch from the Fourth Moon / X-Wings Draw Fire / Use the Force) 0:54 Death Star Motif 1:11 Ben Kenobi's Theme (The Force Theme) A Section 1:26 The Rolling Thunder 1:30 Ben Kenobi's Theme (The Force Theme) A Section 1:49 Imperial Motif 1:55 Imperial Rhythm 2:46 The Rolling Thunder 2:56 Rebel Victory Fanfare 3:40 Ben Kenobi's Theme (The Force Theme) A Section 4:01 Ben Kenobi's Theme (The Force Theme) A Section 5:10 Imperial Motif 6:28 Luke's Theme A Section 6:49 Ben Kenobi's Theme (The Force Theme) A Section 7:03 The Rolling Thunder 7:10 Luke's Theme A Section 7:45 Luke's Theme A Section 8:07 Mars, Bringer of War Reference? 8:45 Rebel Fanfare Throne Room / End Titles 0:00 Throne Room Fanfare 0:17 Ben Kenobi's Theme (The Force Theme) 0:48 Throne Room Fanfare 0:56 Throne Room Theme 1:11 Luke's Theme B Section 1:29 Throne Room Theme 1:45 End Credits Rhythm 1:47 Luke's Theme A Section 1:56 Rebel Fanfare 2:02 The Rolling Thunder 2:06 Rebel Fanfare 2:17 The Rolling Thunder 2:24 Luke's Theme A Section 2:40 Luke's Theme B Section 2:57 Luke's Theme A Section 3:21-4:02 Leia's Theme 3:23, 3:27, 3:31, 3:35, 3:39, 3:43, 3:47 and 3:50 (Fragments) Rebel Fanfare 4:03 The Rolling Thunder 4:06 Luke's Theme A Section 4:22 Luke's Theme B Section (Development) 4:38 Rebel Fanfare 4:44 The Rolling Thunder 4:47 Rebel Fanfare (Development) 4:58 Rebel Fanfare 5:11 Throne Room (Development) Throne Room (Gerhardt) 1:55 Throne Room Fanfare 2:04 Ben Kenobi's Theme (The Force Theme) 2:48 Throne Room Theme 3:10 Escape Pod 3:21 Throne Room Theme 3:39 Luke's Theme B Section 3:59 Throne Room Theme THE EMPIRE STRIKES BACK Main Title / The Ice Planet Hoth 0:07 Luke's Theme (A Section) 0:26 Luke's Theme (B Section) 0:49 Luke's Theme (A Section) 1:38 Imperial March 1:52 Imperial March 2:49 Luke's Theme (A Section) 3:05 Luke's Theme (A Section) 3:18 Han Solo and the Princess 4:10 Luke's Theme (A Section) [Strings] 4:25 Luke's Theme (B Section) 4:42 Princess Leia's Theme 5:20 Princess Leia's Theme 5:47 Han Solo and the Princess 6:31 Droid Motif 6:59 Luke's Theme (A Section) 7:10 Luke's Theme (B Section) 7:25 Luke's Theme (A Section) 7:44 Han Solo and the Princess The Wampa's Lair / Vision of Obi-Wan / Snowspeeders Take Flight 1:07 The Force Theme 1:23 Luke's Theme (A Section) 1:48 Hoth Blizzard 1:53 Rebel Fanfare 2:03 Droid Motif 2:46 The Force Theme 2:59 Hoth Blizzard 3:34 Luke's Theme (A Section) 4:09 Luke's Theme (A Section) 4:52 The Force Theme 6:43 Snowspeeder Search 6:57 Snowspeeder Search 8:10 Snowspeeder Search The Imperial Probe / Aboard the Executor 0:07 Imperial March 1:14 Imperial March Rhythm 1:40 Imperial March 1:57 Probe Droid 2:32 Imperial March Rhythm 2:50 Imperial March 3:45 Imperial March Rhythm 4:02 Imperial March The Battle of Hoth (Ion Cannon / Imperial Walkers / Beneath the AT-AT / Escape In the Millennium Falcon) 0:10 Luke's Theme (A Section) 0:40 Imperial March Rhythm 0:54 Imperial March 1:20 Imperial March 1:42 Imperial March 3:06 Imperial March 3:13 The Rolling Thunder 3:14 Rebel Fanfare 3:27 Luke's Theme (A Section) 4:02 Imperial Walkers 4:30 Snowspeeders 5:03 Snow Battle 5:40 Snow Battle 6:17 Snowspeeders 6:46 Imperial Walkers 7:24 Snowspeeders 7:40 Hoth Evacuation 8:03 Droid Motif 8:33 Imperial March 8:38 Hoth Evacuation 9:14 Luke's Theme (A Section) 9:44 Luke's Theme (A Section) 10:11 Luke's Theme (A Section) 10:21 The Force Theme 10:45 Rebel Fanfare 11:16 Imperial March 11:59 Han Solo and the Princess 12:15 Imperial March 12:50 Imperial March 13:12 Han Solo and the Princess 13:20 Imperial March 13:32 Han Solo and the Princess 14:06 Han Solo and the Princess The Asteroid Field 0:05 Imperial March 0:33 Imperial March 1:19 The Asteroid Field 1:42 The Asteroid Field 1:59 Asteroid Chase 2:42 Asteroid Chase 3:26 Han Solo and the Princess Arrival on Dagobah 1:16 Luke's Theme (A Section) 1:00 Droid Motif 1:20 Droid Motif 1:42 Droid Motif 1:54 Droid Motif 2:15 Droid Motif 2:41 Imperial March 3:04 Imperial March 4:35 The Force Theme Luke's Nocturnal Visitor 0:00 Yoda Playful 0:12 Yoda's Theme (A Section) 0:31 Yoda's Theme (B Section) 1:18 Yoda's Theme (A Section) 1:32 Yoda's Theme (A Section) 1:48 Yoda Playful 1:56 Yoda's Theme (A Section) Han Solo and the Princess 0:16 Han Solo and the Princess 1:32 Imperial March 2:07 Imperial March Rhythm 2:12 Imperial March 3:07 The Dark Side Jedi Master Revealed / Mynock Cave 0:09 The Force Theme 0:27 Luke's Theme (A Section) 0:46 Yoda's Theme (B Section) 0:59 Yoda's Theme (A Section) 1:27 The Force Theme 1:50 Luke's Theme (A Section) 2:13 Imperial March 2:51 Mynock "Cave" 4:32 Mynock "Cave" The Training of a Jedi Knight / The Magic Tree 0:06 Yoda's Theme 0:38 Imperial March 1:07 The Force Theme 2:14 Luke's' Theme (A Section) 3:57 The Dark Side 4:39 Luke's Theme (A Section) 4:46 Yoda's Theme 4:58 Imperial March The Imperial March 0:00 Imperial March Rhythm 0:10 Imperial March (A Section) 0:38 Imperial March Rhythm 0:48 Imperial March (B Section) 1:06 Imperial March (A Section) 1:39 Imperial March Rhythm 1:48 Imperial March (A Section) 2:16 Imperial March (A Section) 2:34 Imperial March Rhythm 2:39 Imperial March (A Section) 2:44 Imperial March Rhythm Yoda's Theme 0:07 Yoda's Theme (A Section) 0:58 Yoda's Theme (B Section) 1:19 Yoda's Theme (A Section) 2:06 Yoda's Theme (A Section) 2:33 Yoda's Theme (A Section) Attacking a Star Destroyer 0:00 Boba Fett Motif 1:58 Imperial March (Fragment) 2:13 Yoda's Theme Yoda and the Force 0:28 Luke's Theme (A Section) 0:59 The Force Theme 2:18 Yoda's Theme 2:30 Yoda's Theme 3:01 The Power of the Force/The Dark Side 3:12 Yoda's Theme 3:41 Imperial March Imperial Starfleet Deployed / City In the Clouds 0:03 Imperial March 0:37 Imperial March 1:27 Han Solo and the Princess 1:51 Boba Fett Motif 2:03 Yoda's Theme 2:23 The Force Theme 2:46 Yoda's Theme 4:17 Cloud City 4:55 Cloud City 5:03 Cloud City 5:22 Imperial March (Hidden at Cloud City Variation)? 5:38 Imperial March (Hidden at Cloud City Variation)? Lando's Palace 0:06 Cloud City March (A Section) 0:29 Cloud City March (B Section) 0:43 Cloud City March (A Section) 1:22 Luke's Theme (A Section) 1:42 The Force Theme 1:56 Imperial March 2:05 Yoda's Theme 2:26 Yoda's Theme 3:00 Luke's Theme (A Section) 3:16 The Force Theme Betrayal at Bespin 0:03 Luke's Theme (A Section) 0:30 Han Solo and the Princess 1:06-1:27 Cloud City March (A Section) 1:14 Rebel Fanfare 1:24 Rebel Fanfare 1:27 Cloud City March (B Section) 1:42 Imperial March (Hidden at Cloud City Variation) 1:52 Boba Fett Motif 2:20 Luke's Theme (A Section) 3:13 Droid Motif 3:27 Imperial March Deal with the Dark Lord 0:00 Imperial March 0:08 Prison Motif? 0:14 Droid Motif 0:38 Prison Motif? 1:05 Han Solo and the Princess 2:10 Han Solo and the Princess Carbon Freeze / Darth Vader's Trap / Departure of Boba Fett 0:04 Luke's Theme (A Section) 0:24 Imperial March 0:57 Han Solo and the Princess 1:19 Imperial March 1:27 Luke's Theme (Fragment) 1:35 Han Solo and the Princess 1:59 Han In Carbonite 2:27 Imperial March 3:22 Han Solo and the Princess 3:43 Han Solo and the Princess 4:17 Unknown 1 4:34 Imperial March 4:42 Unknown 1 5:00 Cloud City Trap 5:38 Yoda's Theme 6:07 Yoda's Theme 6:35 Yoda's Theme 6:46 Yoda's Theme 7:15 Imperial March 7:34 Cloud City Trap 8:12 Unknown 1 8:29 Unknown 1 9:18 Cloud City Trap 9:32 Han Solo and the Princess 9:57 Han In Carbonite 10:02 Han Solo and the Princess 10:29 Imperial March 10:59 The Force Theme 11:11 Yoda's Theme 11:35 Yoda's Theme 11:42 Luke's Theme (A Section) The Clash of Lightsabers 0:08 The Dark Side 0:41 Imperial March 1:41 Yoda's Theme 1:43 Yoda's Theme (Shadow) 2:00 Cloud City March (A Section) 2:16 Han Solo and the Princess 2:54 Han Solo and the Princess 3:23 Unknown 2 Rescue from Cloud City / Hyperspace 0:54 Imperial March 2:08 Unknown 2 2:13 Cloud City 2:20 Cloud City 2:25 Cloud City Rescue? 3:22 The Force Theme 3:50 Imperial March 4:02 Cloud City Rescue? 4:14 Cloud City Rescue? 5:06 Escape from Bespin 5:17 Princess Leia's Theme 5:23 Escape from Bespin 6:08 Escape from Bespin 6:24 Imperial March 6:41 Escape from Bespin 6:44 Droid Motif 7:13 Imperial March 7:47 Imperial March 8:10 Escape from Bespin 8:29 The Force Theme 8:43 Imperial March The Rebel Fleet / End Title 0:03 The Force Theme (A Section) 0:33 The Force Theme (B Section) 0:43 The Force Theme (A Section) 0:58 Han Solo and the Princess (A Section) 1:23 Han Solo and the Princess (B Section) 1:46 Han Solo and the Princess (A Section) 2:00 Luke's Theme (A Section) 2:08 Rebel Fanfare 2:14 The Rolling Thunder 2:17 Rebel Fanfare 2:28 Yoda's Theme (A Section) 2:30 Rebel Fanfare 2:55 Yoda's Theme (B Section) 3:12 Yoda's Theme (A Section) 3:42 Imperial March Rhythm 3:52 Imperial March 4:46 Han Solo and the Princess (A Section) 5:05 Han Solo and the Princess (B Section) 5:25 Han Solo and the Princess (A Section) 5:53 Throne Room Fanfare 5:57 Rebel Fanfare 6:02 Rebel Fanfare 6:03 Imperial March RETURN OF THE JEDI Main Title / Approaching the Death Star / Tatooine Rendezvous 0:07 Luke's Theme (A Section) 0:26 Luke's Theme (B Section) 0:49 Luke's Theme (A Section) 1:33 Death Star II 2:03 Death Star II 2:26 Trap Motif 2:35 Death Star II 2:54 Imperial March 3:01 Trap Motif 3:05 Imperial March 3:10 Trap Motif 3:15 Imperial March 3:21 Trap Motif 3:28 Imperial March 3:56 Imperial March 4:55 Imperial March 5:17 Trap Motif 5:20 Imperial March 6:00 Yoda's Theme? 6:36 Luke's Theme (A Section) 6:42 Droid Music? Jabba's Theme (B Section)? 7:16 Droid Music? Jabba's Theme (B Section)? Jabba's Baroque Recital 0:00 A Section 1:06 B Section 2:05 A Section Bounty For a Wookiee 0:20 Jabba's Theme (A Section) 0:59 Jabba's Theme (A Section) 1:14 Jabba's Theme (B Section) 1:47 Jabba's Theme (A Section) Han Solo Returns 2:24 Han Solo and the Princess 2:48 Jabba's Theme (A Section) 3:02 Jabba's Theme (B Section) 3:29 Jabba's Theme (A Section) 3:43 Jabba's Theme (B Section) Luke Confronts Jabba / Den of the Rancor / Sarlacc Sentence 1:39 Jabba's Theme 3:46 Rancor 4:28 Rancor 5:17 The Force Theme 5:32 Luke's Theme (A Section) The Pit of Carkoon / Sail Barge Assault 0:00 Unknown (From Binary Sunset) 0:34 Jabba's Theme 1:25 Luke's Theme (A Section) 1:31 Rebel Fanfare 1:46 The Rolling Thunder 1:50 Rebel Rhythm and Rebel Fanfare (Ben Kenobi's Death Lift) 2:08 The Rolling Thunder and Luke's Theme Fragment (Battle of Yavin Lift) 2:18 Rebel Rhythm 2:26 Luke's Theme (A Section) 2:38 Rebel Rhythm 2:41 Rebel Fanfare (Fragment) 2:48 Jabba's Theme 3:01 Jabba's Theme 3:05 Here They Come Motif (Tie Fighter Attack Lift) 3:12 Rebel Fanfare 3:30 Battle of Yavin Lift 3:45 Luke's Theme (A Section) 3:52 Rebel Rhythm 3:55 Rebel Fanfare 4:15 The Rolling Thunder 4:21 Rebel Rhythm 4:27 Rebel Fanfare 5:02 Victory Fanfare 5:21 Luke's Theme (A Section) 5:26 Victory Fanfare 5:39 Death Star Motif 5:41 Victory Fanfare The Emperor Arrives / The Death of Yoda / Obi-Wan's Revelation 0:03 Imperial March 0:20 Imperial March 1:05 The Emperor's Theme 1:48 Imperial March 2:04 Luke's Theme (A Section) 2:13 Yoda's Theme 2:53 The Force Theme 3:10 Yoda's Theme 3:49 Imperial March 3:58 Luke's Theme (A Section) 4:33 The Force Theme 5:00 Yoda's Theme 5:35 Revelation 6:14 The Force Theme 6:21 Revelation 6:35 Revelation 7:04 Yoda's Theme 7:33 The Force Theme 7:54 Revelation 8:56 The Force Theme 9:43 The Force Theme 10:14 Princess Leia's Theme Alliance Assembly 0:16 Rebel Briefing 1:31 Luke's Theme (A Section) 1:52 Rebel Briefing Shuttle Tydirium Approaches Endor 0:31 Unknown 1 1:06 Unknown 1 2:01 The Force Theme 2:19 Imperial March 2:41 The Force Theme 2:54 The Force Theme 3:00 The Dark Side 3:42 Imperial March Speeder Bike Chase / Land of the Ewoks 0:43 Speeder Bike Theft 0:48 Speeder Bike Theft 0:52 Speeder Bike Theft 1:08 Speeder Bike Theft 1:12 Speeder Bike Theft 1:16 Speeder Bike Theft 2:33 Discovery In the Forest 2:54 Discovery In the Forest 3:10 Discovery In the Forest 3:27 Wicket's Theme (A Section) 3:54 Discovery In the Forest 4:01 Wicket's Theme 4:43 Princess Leia's Theme 4:55 Wicket's Theme (B Section) 5:04 Wicket's Theme (B Section) 5:11 Wicket's Theme (A Section) 5:25 Imperial March 5:59 The Emperor's Theme 7:09 Princess Leia's Theme 7:28 Han Solo and the Princess 8:40 Han Solo and the Princess (Han Solo Returns Insert) The Levitation / Threepio's Bedtime Story 0:18 The Force Theme 0:45 Unknown 2 0:55 Unknown 2 1:36 Luke's Theme (A Section) 1:43 Imperial March 1:54 The Force Theme 2:08 Luke's Theme (A Section) 2:22 Han Solo and the Princess Sail Barge Assault (Alternate) 0:33 Rebel Fanfare 0:36 Unknown Action 0:47 Unknown Action 0:51 Luke's Theme (A Section) 1:29 Unknown Action 2 1:48 Jabba's Theme 2:01 Jabba's Theme 2:06 Unknown Action 2 2:19 Jabba's Theme 2:30 Unknown Action 2 3:14 Unknown 3 3:43 Unknown Action 2 4:03 Victory Fanfare 4:27 Victory Fanfare 4:41 Death Star Motif 4:42 Victory Fanfare Parade of the Ewoks 0:00 Ewok Theme 0:28 Wicket's Theme (A Section) 0:45 Wicket's Theme (B Section) 1:10 Wicket's Theme (A Section) 1:34 Ewok Theme 1:50 Wicket's Theme (B Section) 2:06 Wicket's Theme (A Section) 2:39 Wicket's Theme (B Section) 2:55 Wicket's Theme (A Section) Luke and Leia 0:27 Luke and Leia (A Section) 1:41 Luke and Leia (B Section) 2:23 Luke and Leia (A Section) 3:21 Luke and Leia (B Section) 3:48 Luke and Leia (A Section) Brother and Sister / Father and Son / The Fleet Enters Hyperspace / Heroic Ewok 0:27 The Force Theme 0:57 Luke and Leia 1:34 The Force Theme 1:46 Luke and Leia 2:17 Han Solo and the Princess 2:42 Han Solo and the Princess 3:46 Imperial March 4:49 The Force Theme 6:11 Imperial March 6:34 Luke's Theme (A Section) 7:14 Wicket's Theme (A Section) 7:30 Fleet Preparing for Hyperspace 7:36 Fleet Preparing for Hyperspace 7:45 Throne Room Motif 8:17 Death Star Motif 9:33 Wicket's Theme (A Section) 9:41 Wicket's Theme (B Section) 9:55 Wicket's Theme (A Section) 10:08 Wicket's Theme (B Section) Emperor's Throne Room 0:14 Imperial March 1:00 Emperor's Throne Room 1:07 The Emperor's Theme 1:39 Emperor's Throne Room 2:23 The Emperor's Theme The Battle of Endor I (Into the Trap / Forest Ambush / Scout Walker Scramble) 0:00 Trap Motif 0:24 Trap Motif 0:49 Imperial March 1:02 Trap Motif 1:15 Luke's Theme (B Section) 1:20 Trap Motif 1:44 Rebel Fanfare 1:53 Trap Motif 2:17 Rebel Fanfare 2:24 Rebel Fanfare 2:59 The Emperor's Theme 3:38 Capture 3:48 Imperial March 3:54 Capture 4:06 Capture 4:16 Imperial March 4:31 Scout Walker Scramble 4:48 Scout Walker Scramble 4:55 Wicket's Theme (A Section) 5:44 Wicket's Theme (A Section) 6:06 Scout Walker Scramble 6:23 Scout Walker Scramble 7:14 Ewoks In Trouble 8:21 Imperial March 10:13 Imperial March 10:35 Ewoks In Trouble 11:08 Rebel Fleet Fanfare The Lightsaber / The Ewok Battle [The Emperor Arrives Insert: 0:03 Imperial March 0:15 Imperial Rhythm 0:20 Imperial March 0:26 The Emperor's Theme] 0:48 The Emperor's Theme 1:43 The Forest Battle 3:35 Ewok Theme 3:46 Wicket's Theme (B Section) 4:00 Wicket's Theme (A Section) 4:05 The Forest Battle The Battle of Endor II (Leia Is Wounded / The Duel Begins / Overtaking the Bunker / The Dark Side Beckons / The Emperor's Death) 0:00 Defending the Bunker 0:07 Princess Leia's Theme 0:22 Han Solo and the Princess 0:29 Defending the Bunker 1:05 The Emperor's Theme 1:19 The Force Theme 2:16 The Force Theme 2:38 The Emperor's Theme 3:49 The Dark Side 5:37 The Force Theme 5:40 The Emperor's Theme 6:30 The Force Theme 7:13 Rebel Fanfare 7:44 The Emperor's Theme 8:49 The Emperor's Theme 9:08 The Force Theme The Battle of Endor III (Superstructure Chase / Darth Vader's Death / The Main Reactor) 0:00-1:54 Ben's Death / Tie Fighter Attack / Battle of Yavin Lift 0:00 Here They Come Motif 0:09 Rebel Fanfare 0:16 Here They Come Motif 0:20 Rebel Fanfare 0:37 Here They Come Motif 0:46 Rebel Rhythm 0:49 Rebel Fanfare 1:04 The Rolling Thunder 1:07 Luke's Theme (Fragment) 1:12 Rebel Victory Fanfare 1:50 Death Star Motif 2:45 Imperial March 3:42 Imperial March 4:04 Imperial March 4:58 The Rolling Thunder 5:02 Luke's Theme (A Section) 5:31 Victory Fanfare Leia's News / Light of the Force 0:00 Luke and Leia (A Section) 0:31 Luke and Leia (B Section) 0:51 Han Solo and the Princess 1:19 The Force Theme 2:12 The Force Theme Victory Celebration / End Title 0:16 Victory Celebration A Section 0:53 Victory Celebration B Section 1:15 Victory Celebration A Section 1:33 Victory Celebration B Section 2:26 Luke's Theme (A Section) 2:35 Rebel Fanfare 2:41 The Rolling Thunder 2:44 Rebel Fanfare 2:55 The Rolling Thunder 3:02 Luke's Theme (A Section) 3:25 Wicket's Theme (A Section) 3:40 Wicket's Theme (B Section) 3:55 Wicket's Theme (A Section) 4:19 Ewok Theme 4:34 Wicket's Theme (B Section) 4:50 Wicket's Theme (A Section) 5:32 Luke and Leia (A Section) 6:28 Luke and Leia (B Section) 6:46 The Rolling Thunder 6:53 Luke's Theme (A Section) 7:08 Luke's Theme (B Section)/Throne Room Motif 7:23 Rebel Fanfare 7:29 The Rolling Thunder 7:44 Rebel Fanfare 7:57 Throne Room Motif The Forest Battle 0:00 The Forest Battle 1:45 Ewok Theme 1:57 Wicket's Theme (B Section) 2:10 Wicket's Theme (A Section) 2:21 The Forest Battle 2:33 Unknown 3 2:50 The Forest Battle Leia Breaks the News (Alternate) 0:00 Luke and Leia (A Section) 0:28 Luke and Leia (B Section) 0:45 Luke and Leia (A Section) 0:52 Han Solo and the Princess 1:02 Wicket's Theme (A Section) Ewok Celebration and Finale 0:18 A Section 0:49 B Section 1:00 A Section 1:10 B Section 1:26 A Section 1:36 B Section [End Title Film Take: 2:00 Luke's Theme (A Section) 2:09 Rebel Fanfare] Ewok Celebration (Film Version) 0:27 A Section 0:49 B Section 0:59 A Section 1:09 B Section 1:25 A Section 1:35 B Section THE FORCE AWAKENS Main Title and the Attack on the Jakku Village 0:08 Luke's Theme A Section 0:26 Luke's Theme B Section 0:49 Luke's Theme A Section 4:20 Kylo Ren's Theme 5:32 Kylo Ren's Theme 6:13 Kylo Ren's Theme The Scavenger 0:38 Rey's Theme? 0:53 Rey's Theme (Intro) 1:31 Rey's Theme (Main Theme) 1:59 Rey's Theme (Intro) 2:54 Rey's Theme I Can Fly Anything 1:19 Rey's Theme Rey Meets BB-8 0:00 BB-8 motif? 01:09 Resistance March Follow Me 1:12 Finn's/Action Motif 1:41 Finn's/Action Motif 2:00 Finn's/Action Motif 2:29 Rebel Fanfare Rey's Theme 0:00 Rey's Theme (Flute Intro) 0:13 Rey's Theme (Intro) 0:33 Rey's Theme 1:00 Rey's Theme (Intro) 1:21 Rey's Theme 1:40 Rey's Theme 1:54 Rey's Theme (Intro) 2:13 Rey's Theme 2:39 Rey's Theme (Intro) The Falcon 0:08 Rebel Fanfare 0:11 Finn's/Action Motif 0:50 Finn's/Action Motif 1:00 Finn's/Action Motif 1:19 Finn's/Action Motif 2:26 Finn's/Action Motif 2:39 The Snow Battle Reference? 3:06 Finn's/Action Motif (Strings)? That Girl With the Staff 0:08 Luke and Leia? 0:20 Rey's Theme The Rathtars! 0:44 Luke's Theme A Section 2:47 Finn's/Action Motif 3:06 Finn's/Action Motif 3:43 Rebel Fanfare Finn's Confession 0:00 Discussion and Confrontation (Talk of Podracing Reference) 0:48 Rey's Theme 1:00 Rey's Theme 1:17 Rey's Theme Maz's Counsel 2:14 The Force Theme 2:40 Rey's Theme Kylo Ren Arrives at the Battle 0:00 Dark Side (Carrying Home Mother Reference)? 0:51 Kylo Ren's Theme 1:17 Kylo Ren's Theme 1:29 Kylo Ren's Theme 1:43 Rey's Theme The Abduction 0:13 Unknown 1 (Starkiller Base)? 0:45 Kylo Ren's Theme 0:57 Kylo Ren's Theme 1:18 The Force Theme (Fragment)? 1:39 Rey's Theme Han and Leia 0:03 Luke's Theme A Section 0:10 Leia's Theme 0:29 Han Solo and the Princess (Luke To The Rescue Lift) 1:12 Resistance March 2:22 The Force Theme (Fragment)? 2:31 Rebel Fanfare (Fragment)? 3:25 Han Solo and the Princess 3:44 Unknown 1 (Starkiller Base)? 4:02 The Force Theme March of the Resistance 0:15 Resistance March Snoke 1:01 Snoke's Theme (Dark Side motif from ROTS?) On the Inside 0:45 Kylo Ren's Theme 1:04 Kylo Ren's Theme 1:27 Rey's Theme Torn Apart 1:06 The Force Theme (Fragment)? 2:14 Han Solo and the Princess (Twisted, Horns) 2:48 Kylo Ren's Theme 3:13 The Force Theme 3:44 Kylo Ren's Theme 3:52 Rey's Theme The Ways of the Force 0:13 The Force Theme 0:33 Rey's Theme 0:53 Rey's Theme 1:08 Unknown 1 (Starkiller Base)? 1:21 Kylo Ren's Theme 1:35 Kylo Ren's Theme 1:50 The Force Theme 2:08 Rey's Theme 2:38 The Force Theme 2:52 Rey's Theme Scherzo for X-Wings 0:14 Luke's Theme A Section 0:32 Luke's Theme A Section 0:50 Luke's Theme A Section 1:04 Luke's Theme A Section 1:19 Luke's Theme A Section (Fragment) 1:34 Luke's Theme A Section (Fragment) 2:03 Luke's Theme A Section 2:07 The Force Theme Farewell and the Trip 0:11 Rey's Theme 0:47 The Force Theme 1:26 Rey's Theme 1:49 Han Solo and the Princess 2:12 The Force Theme 2:55 Leia's Theme 3:45 Rebel Fanfare 3:51 Luke's Theme A Section 4:03 Rey's Theme (Flute Intro) 4:07 Rey's Theme 4:34 Rey's Theme (Flute Intro) The Jedi Steps and Finale 0:04 Luke's Theme A Section 0:19 Rey's Theme/Luke's Theme Hybrid? 0:41 Rey's Theme/Luke's Theme Hybrid? 1:10 Rey's Theme/Luke's Theme Hybrid? 1:37 The Force Theme 2:14 Luke's Theme A Section 2:23 Rebel Fanfare 2:29 The Rolling Thunder 2:41 Luke's Theme A Section 2:58 Rey's Theme (Intro) 3:02 Rey's Theme (Flute Intro) 3:11 Rey's Theme 4:01 Rey's Theme (Flute Intro) 4:25 Unknown 1 (Starkiller Base?) 4:45 Kylo Ren's Theme 5:02 Finn's/Action Motif 6:05 Resistance March 7:27 The Force Theme 7:31 Rey's Theme 8:07 Rebel Fanfare 8:22 Rey's Theme 8:34 Luke's Theme A Section
  23. Hi everyone, i try to made little video about being thankful for John´s amazing work. Thanks to your JW.com, it has been my home page for many years And this is how John Williams changed my life: ______________________ My childhood wasn´t good and I was feeling verry lonely. There was some unreasonable agression i had to experience from others. Also parents divorced verry badly and i had some serious depressions when i was about 12 years old. It may sound oversensitive, but this is really how it was. During the day i had to live my life, but in the night, before i fell a sleep. I was listening to John Williams music and i felt like - this is my true friend. His music was my best friend in that time. That music gived me feeling that someone likes me. Without this "musical friendship" i think i might not be here anymore. I was 13 and i started to play and write music. It was my childhood dream to become composer one day like he is. I was studying music a lot, 6 years conservatory in Prague, than i got to Berklee, but as i was accepted, i realised that - the music i would love to compose, my brain simply cant do that well. Before this realization i was feeling verry sad, anxious and jelaous. Because i was studying so, so hard and so many years. I couldn't understund why- if i am studying so hard - why the God or whatever there is or isnt, why it won't allow me to do it. I wrote some pieces for orchestra and one of them was this piece inspired by John´s music (this is the piece i called Autumn letter - because it was in Autumn i sent a written letter to John Williams about my story and (that my dream is to meet him one day) But once i realised that in real world of movie music everything must be completed so fast, i realised, that the time come. Time to give up on my dreams. I simply wasn´t that good, that i could work in industry. My brain was wired differently and i couldnt handle all stress and being creative under stress. I had to decide. And i left music completely. For 2 years i was just "man without dream" i felt useless in the world. I didnt know what to do. But than.. a miracle happened. Answer for my letter came and one lovely family behind ocean helped me to make it happen. It was possible for me to meet John Williams and to talk with him personally in his room. The first thing he sayed to me with verry sweet voice and present look in his eyes was: "Ou.. ou.. you came all that long way across the ocean JUST because of me? " He looked surprised and i realised how really humble this man must be. When he invited me to enter, he turned his hands up like there is nothing he has to hide. We talked about music and questions i had since i was young. He was so open to me. Finally in the end, his friend tooked a picture of us. That foto you can see in this video - and since that time, the light came into my life. I knew this moment was really gift for me from "universe" or whatever we call it. And i finally understud, that there exist people with so much talent that its not possible to try to be like them. Not to compete with them, but to accept it and start to enjoy everything they do as a gift to humanity. I came back to home and since that time i forget on being composer. I started to learn to paint with oil and its so funny. All that time, it seems i am better at Art as just a hobby, than to write music. My life is so happy now and i can really enjoy other people's art. In the end i realised every little thing was part of my life puzzle. When i was feeling so down, suicidal child, there came his music to me and it gived me „hope“. And once i was strong enough and i was somehow "prepaired" to face the thruth. The thruth appeared and i accepted it. I began to be 100 procent honest with my life and give more space for others than before in my hearth. This was the gift, that John Williams gaved me that day. That day i wont ever forgot. The day of sunrise of my true soul and the sun set of the "past". John Williams has really some higher spirit. Some healing power for us all. He is our life teacher. Today i love my parents, my friends, i love the world. Thank you! Thank you so much my friends
  24. Apologies if we had one of these before, the search function is still not right, so you can merge if you wish. In any case... http://www.empireonline.com/news/story.asp?NID=29282'>ROBOPOCALYPSE!!! I hope someone makes it, cause that's a great title.
  25. Hey! Could anyone tell me how I can get the soundtracks for the Star Wars Prequel Trilogy and the Original Trilogy? Where is the best place to get them and where can I find complete OST's at a good price. I'm trying to complete my collection so if someone could help that would be great!
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