The Force Awakens The Force Awakens Disney Records OST

[BloodBoal 7,538]

Jyn and Tonic

[Bilbo 3,709]

9 hours ago, BloodBoal said:

Jyn and Tonic

?

[Quintus 5,399]

Couldn't find a more appropriate thread for this (the express thread is missing links or has broken ones). 

 

 

 

Cool performances! 

[#SnowyVernalSpringsEternal 10,265]

Very nice!

[DarthDementous 1,059]

March of the Resistance is a fantastic theme and an excitingly structured concert piece. it's a more than worthy replacement for the Rebel fanfare and most importantly it feels fresh but rooted in Star Wars.

 

those performances were fantastic and in the case with 'March of the Resistance' sounded exactly like the original.

 

as a whole I'm not super stoked about TFA but my opinion is constantly shifting particularly in regards to the themes. except for a few moments I felt like the action music was quite lacking in intensity, excitement and some kind of cohesive structure in a way that even the Prequels had. however, TFA had an extremely break neck pace and JJ comes off as a bit of a neurotic director so maybe we might see some of that cohesion in TLJ - but that's only speculation for now.

[Tom 4,651]

55 minutes ago, DarthDementous said:

 

 

as a whole I'm not super stoked about TFA but my opinion is constantly shifting particularly in regards to the themes. except for a few moments I felt like the action music was quite lacking in intensity, excitement and some kind of cohesive structure in a way that even the Prequels had. however, TFA had an extremely break neck pace and JJ comes off as a bit of a neurotic director so maybe we might see some of that cohesion in TLJ - but that's only speculation for now.

I tend to agree that the action music lacks focus.  Compared to ESB, it is like we are not in the same musical universe (but to be fair ESB is the masterpiece of masterpieces).  I do think much of it comes from the nature of the movie.  I don't think it allowed for much more than Williams gave us.  The only three scenes that were epic is a SW sense were the resistance rescue, Jedi steps, and maybe ren/rey fight.  The music did its job, though I would have preferred a much more sustained epic Rey's theme than the force them for the latter. 
 

After a full year of listening, I would rate TFA score (relative to other JW SW scores) as a 3.5 of 5, but without Rey's theme is would be a 3 star at best. 

[DarthDementous 1,059]

Just now, Tom said:

I tend to agree that the action music lacks focus.  Compared to ESB, it is like we are not in the same musical universe (but to be fair ESB is the masterpiece of masterpieces).  I do think much of it comes from the nature of the movie.  I don't think it allowed for much more than Williams gave us.  The only three scenes that were epic is a SW sense were the resistance rescue, Jedi steps, and maybe ren/rey fight.  The music did its job, though I would have preferred a much more sustained epic Rey's theme than the force them for the latter. 
 

After a full year of listening, I would rate TFA score (relative to other JW SW scores) as a 3.5 of 5, but without Rey's theme is would be a 3 star at best. 

I feel the exact same way, and in some ways the film was holding Williams back. however, apart from the duelling nature between Rey and Ren's themes in 'Ways of the Force' I find most of the cue quite dull, especially the interval trumpet action music sounds quite pedestrian for what I know Williams is capable of writing. I wonder if that cue went through many re-writes along with JJ's constant re-editing of the film. I will say that the underscore in TFA is absolutely beautiful though, and I'm more than happy with the sound quality. the sound of the brass alone make me want the LSA to stay on board when it comes to Star Wars.

[Will 2,215]

12 minutes ago, Tom said:

I tend to agree that the action music lacks focus.  Compared to ESB, it is like we are not in the same musical universe (but to be fair ESB is the masterpiece of masterpieces).  I do think much of it comes from the nature of the movie.  I don't think it allowed for much more than Williams gave us.  The only three scenes that were epic is a SW sense were the resistance rescue, Jedi steps, and maybe ren/rey fight.  The music did its job, though I would have preferred a much more sustained epic Rey's theme than the force them for the latter. 
 

After a full year of listening, I would rate TFA score (relative to other JW SW scores) as a 3.5 of 5, but without Rey's theme is would be a 3 star at best. 

 

8 minutes ago, DarthDementous said:

I feel the exact same way, and in some ways the film was holding Williams back. however, apart from the duelling nature between Rey and Ren's themes in 'Ways of the Force' I find most of the cue quite dull, especially the interval trumpet action music sounds quite pedestrian for what I know Williams is capable of writing. I wonder if that cue went through many re-writes along with JJ's constant re-editing of the film. I will say that the underscore in TFA is absolutely beautiful though, and I'm more than happy with the sound quality. the sound of the brass alone make me want the LSA to stay on board when it comes to Star Wars.

 

I'm very confused about these reactions to the action music, or a lack of "epicness." 

 

"The Ways of the Force" wasn't a masterpiece, but there were several absolutely terrific action cues (and a suite based off of one) in the score. I mean, "I Can Fly Anything," "Scherzo for X-Wings," etc.? How is that not epic or how is it "lacking focus"?

 

I don't mean to come across as overly confrontational, but I've never quite been able to understand this opinion that the TFA action writing is somehow lacking, or that there aren't enough "epic" moments. 

[crumbs 14,306]

I didn't like the TFA action music upon first listen. These first impressions came from the film itself where the action music (The Falcon) is an edited mess. Listening to the OST version I began enjoying the complexity of the writing. I had the same "discovery" with his AOTC action music (Jango's Escape and The Chase Through Coruscant); it's just Williams' modern action style; he's mostly abandoned the thematic writing of the 80s.

 

I get what you mean about "lacking in intensity" though. I found the writing in The BFG significantly more layered, energetic and cohesive than TFA. If you'd told me it was an unreleased score he wrote in the 90s, I would've believed it.

 

TFA feels inconsistent. Scherzo for X-Wings and The Bombing Run are as fresh, exciting and layered as anything Williams wrote for the prequels, yet The Rathtars is nondescript, an instant skip. Most of his writing for Rey is brilliant (Rey's Theme, The Scavenger, Arrival at Takodana, You Got A Name?, The Abduction) but underscore like Maz Examines Finn, I'm No Hero, the first half of Maz & Rey, Han & Leia and Finn and Po United is fairly run-of-the-mill.

 

I've pinned this unevenness on JJ's neurotic style and direction, Williams being fatigued after his operation and having to rewrite so many cues. JJ's direction in the aforementioned dramatic scenes is mediocre compared with Rey's scenes, where Daisy carries the emotion and Williams matches it musically. With the prequels JW was clearly used to doing the heavy-lifting for George's dramatic incompetence; in TFA he closer reflected JJ's direction and didn't indulge in melodrama as with the prequels. Another great example of JW's chameleon writing for different directing styles, even within the same film series.

[Not Mr. Big 4,639]

1 hour ago, DarthDementous said:

as a whole I'm not super stoked about TFA

Idiot!

21 minutes ago, Tom said:

After a full year of listening, I would rate TFA score (relative to other JW SW scores) as a 3.5 of 5, but without Rey's theme is would be a 3 star at best. 

Idiot!

6 minutes ago, crumbs said:

 

I didn't like the TFA action music

 

Idiot!

[Will 2,215]

22 minutes ago, crumbs said:

The Rathtars is nondescript, an instant skip.

 

Everybody seems to be saying that and I can't say how strongly I disagree!

 

Here are several moments that at one point or another I was absolutely transfixed by:

 

 

Then I love how the xylophone enters later. Classic Williams awesome-ness.

 

Finally it builds to this awesome harmonic moment:

 

 

22 minutes ago, crumbs said:

Han & Leia and Finn and Po United all fairly run-of-the-mill underscore.

 

I love those pieces! Might be a couple of my favorites from the score, to be honest (certainly, they emotionally touch something in me that only "The Journey Home/Farewell and the Trip" and some of the other Resistance base material, as well as maybe "Arrival at Takodana," does in the same way; the Resistance base cues are really the ones where I get closest to tearing up - somehow they perfectly encapsulate my emotion at hearing a new JW score for the first time ever). So emotional, melancholy but hopeful. I remember how others have noted how it almost seems like Williams is saying, "The old crew is back, but the old spark isn't quite there, and everyone is longing for it..." 

 

Still can't get over how terrific that Resistance base music was. Particularly the Han and Leia scenes. And the March of the Resistance there in the "Han and Leia" OST track is my favorite rendition in the whole film (or at least my favorite full-blown rendition). I actually thought Williams hit the Resistance scenes out of the park. I mean, there's also that awesome sort of fugato MOTR variation... 

 

My recent revelation that Han and Leia was largely lifted from TESB hurt that cue a bit, but not too much. 

 

If we're talking about "uninspired stuff," I would definitely say that the Starkiller Base interior stuff should be discussed. It was one of the least inspired parts of the film (the Rey escape and infiltration) and it's no surprise that Williams couldn't come up with anything spectacular -- although it's definitely strong as always!

[crumbs 14,306]

19 minutes ago, Will said:

My recent revelation that Han and Leia was largely lifted from TESB hurt that cue a bit, but not too much. 

 

That's part of the reason I never listen to this cue. I don't mind that militaristic Resistance theme when Poe and Finn reunite but I'm bored by note-for-note reprisals of existing music. A bit like The Duel from ESB at the start of Anakin vs Obi-Wan. Wholly original cues like The Boys Continue are vastly more compelling.

 

It feels like a missed opportunity, especially when we know Williams is so brilliant at taking the same notes and reinventing them for different purposes, of which the Force Theme is the best example (although I'll be happy if Binary Sunset isn't re-purposed again -- it's only going to diminish its impact in the original film by reusing it too often).

[Will 2,215]

13 minutes ago, crumbs said:

 

That's part of the reason I never listen to this cue. I don't mind that militaristic Resistance theme when Poe and Finn reunite but I'm bored by note-for-note reprisals of existing music. A bit like The Duel from ESB at the start of Anakin vs Obi-Wan. Wholly original cues like The Boys Continue are vastly more compelling.

 

It feels like a missed opportunity, especially when we know Williams is so brilliant at taking the same notes and reinventing them for different purposes, of which the Force Theme is the best example (although I'll be happy if Binary Sunset isn't re-purposed again -- it's only going to diminish its impact in the original film by reusing it too often).

 

Well, yeah, my opinion on "Han and Leia" was probably skewed a bit because I heard it way before I heard the TESB cue.

 

Still, though, in any case, Finn and Poe, United is marvelous IMO, as well as the other Resistance base music. 

[Tom 4,651]

I would agree that the scherzo is fresh and epic, though not as used in the film (at all).  I suppose I am conflating two standards there.

[Will 2,215]

4 minutes ago, Tom said:

I would agree that the scherzo is fresh and epic, though not as used in the film (at all).  I suppose I am conflating two standards there.

 

Would you agree that I Can Fly Anything is, too?

[Tom 4,651]

28 minutes ago, Will said:

 

Would you agree that I Can Fly Anything is, too?

It is fresh and very good, but I would hesitate to say epic. The same with the FInn/action motive.  

[Not Mr. Big 4,639]

3 minutes ago, Tom said:

It is fresh and very good, but I would hesitate to say epic. The same with the FInn/action motive.  

Idiot! 

[Will 2,215]

5 minutes ago, Tom said:

It is fresh and very good, but I would hesitate to say epic. The same with the FInn/action motive.  

 

I suppose it depends on your definition of epic, but I would say I Can Fly Anything would qualify, although the Finn motif wouldn't (doesn't mean the latter isn't very good though!). 

[DarthDementous 1,059]

I actually began to like the action cues less and less as time went on. The Falcon is the worst offender in my eyes, I don't know what it is about it but the scatter-brained nature of it really makes me want to shut that cue off regardless of a few really nice moments. that's what I mean when I say it lacks cohesion. @Will I haven't heard what 'The Rathtars' sounds like in the film but basing it off what's represented on the soundtrack I feel that it also suffers from a lack of cohesion, if it was written around a central idea or melody or hell even a collection of motifs then I'm sure it would've been positively amazing, but since it relies on the Finn motf like The Falcon did which I'm not that fond of I definitely don't find myself connecting with it. 'The Bombing Run' is decent but doesn't have a real driving force behind it (its kind of hard to quantify why exactly I'm not as thrilled by TFA's action music as in other Star Wars so don't take this literally). Scherzo for X-Wings on the soundtrack is great, one of the few action tracks that achieve that structure and cohesion that I really desired (others being The Resistance, the music that plays when the Falcon crashes onto Starkiller Base, it's short but sweet, and the music that plays when Chewbacca shoots the stormtroopers) - yet its ruined in the film because right as its about to hits its stride its momentum is clipped with rapid cuts to scenes. 

 

'Han and Leia' has a really gorgeous and magical moment right before Poe and Finn re-unite that reminds me of 'Yoda Teaches the Younglings' and I don't mind the rest of the cue. 

 

as someone mentioned before he achieved what I'm talking about in the BFG which adds fuel to the fire that JJ and Williams' state after the pace-maker was responsible for some of what I perceive to be a negative of TFA's score.

[crumbs 14,306]

It's surely no coincidence that parts of TFA soar as high as anything Williams wrote for the prequels/original trilogy (Jedi Steps and Finale, everything associated with Rey's Theme) but long stretches of the underscore feel uninspired, in a very KOTCS way. This reflects the film itself and Williams seemed to match inspired writing with the inspired parts of the film.

 

Contrast that with The BFG where every cue feels like it has Williams' undivided attention, with some of the most complex, densely orchestrated music I can remember him writing. It almost begins transcending 'film score' in parts.

 

We know there was heaps of unused music that sounds more boisterous than much of the final film's score (alternate Han's Death, Parade Grounds), so that's on JJ. It would be interesting to have a recording breakdown of cues he wrote before and after his operation though

[King Mark 3,630]

7 hours ago, crumbs said:

 

That's part of the reason I never listen to this cue. I don't mind that militaristic Resistance theme when Poe and Finn reunite but I'm bored by note-for-note reprisals of existing music. A bit like The Duel from ESB at the start of Anakin vs Obi-Wan. Wholly original cues like The Boys Continue are vastly more compelling.

 

It feels like a missed opportunity, especially when we know Williams is so brilliant at taking the same notes and reinventing them for different purposes, of which the Force Theme is the best example (although I'll be happy if Binary Sunset isn't re-purposed again -- it's only going to diminish its impact in the original film by reusing it too often).

 

 

I agree, williams should have come up with nice new variations of Han solo and the Princess. I was so looking forward to hearing the theme again, but it ended up a lift from TESB

[crumbs 14,306]

1 hour ago, king mark said:

 

 

I agree, williams should have come up with nice new variations of Han solo and the Princess. I was so looking forward to hearing the theme again, but it ended up a lift from TESB

 

Yeah I remember the excitement when the tracklist leaked. Williams having a fresh take on the theme after 35 years ... then it appeared about 4 times in fragments and he didn't really do anything with it. Bummer.

 

Maybe we're just spoiled by his ability to reinvent the Force Theme in every film? I'm not sure what else he can do with it at this point, but I'm sure he'll find a way to surprise me in TLJ. Solo violin? Piano? Flute?

[Will 2,215]

1 hour ago, crumbs said:

 

Yeah I remember the excitement when the tracklist leaked. Williams having a fresh take on the theme after 35 years ... then it appeared about 4 times in fragments and he didn't really do anything with it. Bummer.

 

I thought all the renditions were stunningly gorgeous, if in a subdued sense -- and while none broke truly new ground, I think that the only direct lift was the first.

 

I guess because I wasn't really familiar with the older SW scores, it all felt fresh even though it wasn't really to longtime fans.

4 hours ago, crumbs said:

It would be interesting to have a recording breakdown of cues he wrote before and after his operation though

 

That would be very interesting (although we are starting to sound like celebrity stalkers LOL). 

 

I still can't say though that I've ever noticed any lack of effort on TFA as compared to The BFG.

[BloodBoal 7,538]

2 minutes ago, Will said:

 

I thought all the renditions were stunningly gorgeous, if in a subdued sense -- and while none broke truly new ground, I think that the only direct lift was the first.

 

I guess because I wasn't really familiar with the older SW scores, it all felt fresh even though it wasn't really to longtime fans.

 

Yes, that's precisely the thing here.

 

Since you're still a newbie, even the most rehashed and boring ideas sounds like the best thing since slice bread to you, as usual!

 

"The BFG music! It's brilliant!"

 

Yes, it was brilliant... The first 30 times Williams did that kind of thing... Now, please, give us something else!

[crumbs 14,306]

23 minutes ago, Will said:

I still can't say though that I've ever noticed any lack of effort on TFA as compared to The BFG.

 

Not a lack of effort per se, just a general sense of fatigue or disinterest with the underscore. Listening to TFA a year on, I've noticed a gap between tracks where you feel Williams was giving it his all versus others where it's uninteresting underscore he writes in his sleep (where you only know it's Star Wars because the Force Theme occasionally pops up). I doubt tracks like That Girl With The Staff sit atop many most-listened playlists.

 

Maybe the prolonged recording schedule was more of a disservice than benefit. I know he called it luxurious but that doesn't mean he maintained inspiration for 11 months, after rewriting cues like Rey Meets BB8 for the fourth time because the director couldn't decide what tone his own film had.

[#SnowyVernalSpringsEternal 10,265]

Good film music isn't just about inspiration.

 

TFA's score is less interesting in parts where the film is less interesting.

 

Williams is no Jerry Goldsmith 

[Tom 4,651]

15 minutes ago, Stefancos said:

Good film music isn't just about inspiration.

 

TFA's score is less interesting in parts where the film is less interesting.

 

Williams is no Jerry Goldsmith 

The music from the prequels disagree. 

[#SnowyVernalSpringsEternal 10,265]

The exceptions that prove the rule. But the Prequels have plenty of parts where the music isn't all that interesting.

[Will 2,215]

17 hours ago, DarthDementous said:

Since it relies on the Finn motf like The Falcon did which I'm not that fond of I definitely don't find myself connecting with it. 

 

Well, yeah, if you really don't like Finn's theme then a good chunk of the action material (although far from all) is basically thrown out the window. 

 

Quote

'Han and Leia' has a really gorgeous and magical moment right before Poe and Finn re-unite that reminds me of 'Yoda Teaches the Younglings' and I don't mind the rest of the cue.

 

Yes, that moment is lovely!

[King Mark 3,630]

12 hours ago, crumbs said:

 

Yeah I remember the excitement when the tracklist leaked. Williams having a fresh take on the theme after 35 years ... then it appeared about 4 times in fragments and he didn't really do anything with it. Bummer.

 

Maybe we're just spoiled by his ability to reinvent the Force Theme in every film? I'm not sure what else he can do with it at this point, but I'm sure he'll find a way to surprise me in TLJ. Solo violin? Piano? Flute?

 

Leia's theme didn't get any new interesting variations either...in TFA or ROTS.

 

Compare that with the amazing quotes of Leia's Theme in TESB (Ice Planet Hoth) and RotJ (at the end of ObiWan's Revelation). Leia's theme when we first see her in the Hoth base is the best ever

[Will 2,215]

12 hours ago, BloodBoal said:

 

Yes, that's precisely the thing here.

 

Since you're still a newbie, even the most rehashed and boring ideas sounds like the best thing since slice bread to you, as usual!

 

"The BFG music! It's brilliant!"

 

Yes, it was brilliant... The first 30 times Williams did that kind of thing... Now, please, give us something else!

 

Granted, I am not speaking from a position of immense knowledge here, and I know you're going to jump on that fact to attempt to discredit my post, but is it really true that Williams has done stuff like this so many times that The BFG is essentially unlikeable?

 

I mean, sure, even I know that he's used very similar instrumentation and some elements of the general style on past scores. Swirling winds, mickey-mousing, warm strings, solo piano, etc.

 

However...

 

Correct me if I'm wrong, but somehow I have a feeling that many (I don't know about you though) may have listened to this score just once or twice (and perhaps didn't see the film), and very quickly just had the first impression that it was something we'd heard before. "Too much whimsical mickey-mousing!"

 

I think, while it's possible that there is a chance that I simply haven't listened enough to the particular Williams scores that this is derivative of, there is also a chance that our definitions of "originality" simply don't coincide. 

 

I've listened to the E.T. and HPSS complete scores and do not remember thinking they were much like The BFG. While there were many somewhat similar moments, particularly in the latter IIRC, The BFG was still very, very sufficiently original as compared to those. Perhaps full listens to Hook, Potters 2 and 3, and Home Alone (all of which I have heard some, but not nearly all of, on album) are significantly more similar. I don't know. But, if people here would consider HPSS as a major example of a work that The BFG is so similar to so as to be rendered nearly irrelevant, then I'm afraid it's possible there is a difference of opinion here in what constitutes a sufficient level of originality.

 

There are certain emotional and almost "regal" harmonies, French impressionism-styled bits, and moments of rolling excitement that certainly don't feel like anything out of E.T. or HPSS, or any of the parts of the other "similar" scores I've heard. 

 

14 hours ago, crumbs said:

Maybe we're just spoiled by his ability to reinvent the Force Theme in every film? I'm not sure what else he can do with it at this point, but I'm sure he'll find a way to surprise me in TLJ. Solo violin? Piano? 

 

Reporting for duty!

 

 

 

16 hours ago, crumbs said:

Contrast that with The BFG where every cue feels like it has Williams' undivided attention, with some of the most complex, densely orchestrated music I can remember him writing. It almost begins transcending 'film score' in parts.

 

I think that this sense is more due to The BFG being written in a different style. Lots of "classical pastiche," and also just an emphasis on mickey-mousing and such that will inevitably result in more "colorful" orchestrations. Thus, it won't feel like a film score, and the orchestrations will be very different.

 

TFA is much more traditional IMO. 

 

While parts of TFA's underscore indeed are not particularly engaging, I don't expect all of a score to be engaging, and I don't get the sense that Williams was putting in any less effort or even just for whatever reason writing in lower quality in this score compared to, say, the prequels (although, granted, I've heard TFA much more than the other scores). 

[Manakin Skywalker 4,891]

I just randomly found out (one) of the composers who wrote the trailer music for TFA. I was listening to some old trailer music I have by Mike Rubino, and went to his website to see what else he worked on. He was credit for one or more of the TFA trailers. Just some interesting info, not really that important.

 

http://mikerubinomusic.com/#1455760908056-46cbae5c-3597

[Will 2,215]

13 hours ago, Manikin Skywalker said:

I just randomly found out (one) of the composers who wrote the trailer music for TFA. I was listening to some old trailer music I have by Mike Rubino, and went to his website to see what else he worked on. He was credit for one or more of the TFA trailers. Just some interesting info, not really that important.

 

http://mikerubinomusic.com/#1455760908056-46cbae5c-3597

 

Probably TV spots. 

[Manakin Skywalker 4,891]

9 hours ago, Will said:

 

Probably TV spots. 

Yep that's what I meant. I know JW scored the first trailer. The second trailer on the other hand is debatable...

[Will 2,215]

24 minutes ago, Manikin Skywalker said:

Yep that's what I meant. I know JW scored the first trailer. The second trailer on the other hand is debatable...

 

Yeah, that second teaser is a total mess. We do know though that Orphan Music "contributed music" to it so if parts/all of teaser 2 aren't Williams (I don't even want to discuss that anymore LOL), that's probably who did them. The theatrical trailer we know was Confidential Music and Frederick Lloyd, so that just leaves TV spots, only some of which we know the composer of so far, for this Rubino guy.  Or rejected trailer cues, I guess. 

[A24 4,331]

Today I saw the soundtrack for 6.99 Euro. I left the store empty-handed.

[BloodBoal 7,538]

That is... good to know.

[A24 4,331]

Just making a statement. Just like the movie, I felt the music was a rehash job.

[Jay 37,337]

It's not, but you'll never know

[#SnowyVernalSpringsEternal 10,265]

5 minutes ago, Alexcremers said:

Today I saw the soundtrack for 6.99 Euro. I left the store empty-handed.

 

You wanted the embossed cover?

[A24 4,331]

Cover was fine, Steef. Looked like a rehash job of the very first Star Wars LP. 

[#SnowyVernalSpringsEternal 10,265]

What's the last Williams you own?

[A24 4,331]

Something with a girl and her books ...

[Tom 4,651]

2 hours ago, Alexcremers said:

Today I saw the soundtrack for 6.99 Euro. I left the store empty-handed.

Any other parts of you full? 

[artguy360 1,843]

What's wrong with TFA's underscore? To me its as enjoyable and interesting as most underscore, stuff that's written to support the film but not stand out in the scene it accompanies. Off the top of my head I can recall several great uses of Kylo Ren's motif in more subdued, brooding renditions in the underscore along with interesting, quick quotes of the map motif among others. 

[Chewy 2,387]

23 hours ago, Alexcremers said:

Something with a girl and her books ...

 

No BFG?! Now, I is sad

[crumbs 14,306]

Not sure if this has been covered yet, but is this:

 

Meant to be a reference to this?:

 

It's not just the brass that's identical but the ascending flutes as well. Can't be a coincidence IMO!

[DarthDementous 1,059]

wow comparing them like that really brings out how much more fun I have with the soundtrack of the OT and how much more energetic it sounds.

[crumbs 14,306]

The further I listen to those tracks, the more similarities I've discovered. In fact, I'm starting to think that section of The Falcon is actually reworked straight from Battle in the Snow (or this was the temp, and Williams didn't deviate much when re-writing).

 

The musical construction of the 15 seconds following that time-stamp in both tracks is almost identical, right down to the orchestration of repeated trumpet flourishes, the use of triangles and even the boom-tsh interval. The tempo is slower and the notes re-arranged but bar-for-bar it syncs up almost perfectly.

 

Compare both tracks 2 seconds at a time and you'll see what I mean.

[Will 2,215]

@crumbs

 

I definitely hear the similarity and it's really cool. However, I highly doubt this was a purposeful emulation on Williams' part (although obviously it could be). 

 

I don't think he'd ever emulate that little bit if it wasn't the temp track ... and I think we'd established that he probably hadn't even been presented with the temp track. We don't know for sure, but several things lead us to believe that he hadn't watched the film with temp track:

 

A) We know the temp track was composed of Williams SW music, according to an MSW report. It would seem very weird and improper to tell frickin' John Williams, who's been in Star Wars way longer than Abrams, and also longer than Kennedy, that he had to emulate his own past music!

 

B) We know from the Blu-ray commentary that Abrams was surprised at JW's approach to the so-called "Rey's Trip" cue. Why would he be surprised at JW's approach if JW was following the temp track? (unless J.J. didn't personally listen to the temp track and it was just something his editors used)