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The Force Awakens ALBUM Discussion (No Film Spoilers)


rebekahnoelleparker

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A good but disappointing score. I share the criticism some of you brought up.

Rey's theme is great, very versatile and gets developed a lot across the soundtrack. I also like most of the old theme appearances ( Force theme, Luke, Han and Leia, Leia, Rebel fanfare and the Imperial March) and its orchestrations.

The action music is problematic in its anonymity. Why is the recurring action motif / Finn's motif appearing almost always in the same orchestrations.

The other problem is the lack of engaging themes apart from Rey and Poe's themes. I don't dig the March of the resistance. Kylo Ren's theme is solid but not developed enough. Finn's theme seems to be the above mentioned action motif.

Then there is the anonymity of the First Order. Why isn't there a first order theme? A missed opportunity for a catchy and classic JW march.

All in all sadly the weakest of the Starwars scores... my ranking

1) TESB

2) TPM

3) SW

4) RotS

5) RotJ

6) AOTC

7) TFA

I really hope JW returns for Episode VIII and IX. Even though this score wasn't as good as expected it is better than everything else which was composed this year.

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Absolutely loving the score on album, too.

It's very well-developed, motivically, and that goes for both the new and the old themes.

This score really showcases Williams as a virtuoso craftsman, even more so than the prequels. In old fashioned terms, the score is beethoven-ian, not mozartian.

The new themes aren't necessarily sing-songy, but both Rey's theme and Kylo Ren's theme (Kylo Ren actually has two related motifs, one menacing, the other tragic) are immediately memorable. I also like how Finn is given more of an action set-piece, instead of a character theme per se. This makes for more coherency across action sequences, and I think it's a good decision, especially since the character is still in the process of becoming whatever he is to become.

Lots of subtle deconstructions of the Imperial March (already very present in the first track), as well as new and interesting takes on the Rebel Fanfare (even in inversion!).

There seems to be an obsession with the interval of a minor third throughout the score; not quite sure what its significance is, but I look forward to scrutinizing it...

Oh, and there are prominent motifs for BB-8 (flute chords; usually a tritone apart) and for the First Order (four note motif; b3-2-4-b5, again encompassing a minor third...) too, as well as hints of the Resistance fugal theme throughout. Liking all of it very much!

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Okay here's what I think.

I love that this sounds like later Williams, with stuff that sounds out of War Horse, or Tintin, or Azkaban. I think that is great for Star Wars (at least in my mind, but I'm kind of a fanatic of those previous scores, so...), but this is blended with throwbacks (in style) to older stuff. The music, itself, is generally great. BUT, simultaneously to that, I feel like I'm missing something. It might be the dominance of action that has been mentioned, or that I expected more thematic diversity/development.

So I feel weird. On the fence. I haven't seen the film, but probably the film itself is a big cause of this.

I think I've barely ever heard the prequel scores in complete form so that's a hard comparison for me, but on album, the experience of this feels distinct to those three. The Phantom Menace had a more striking personality on a first listen (I don't know how to define that sound), with stuff like Augie's Great Municipal Band coming out of nowhere, but on the other hand this has this twilight JW thing that asdfgh, which comes out the most when parts of Rey's theme appear and take your breath away.

So I feel "huh". But this is a very first impression.

I can't dislike because I just play one track or another I'm like, damn, that is cool music.

It's funny to me out that my earliest interpretation of the TV spot music ("it's JW music tinkered by someone else but not necesarily a main theme from the score") turned out so close to the truth.

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Man, I seriously don't get all the "worst Star Wars score" talk. �

Especially since we haven't actually heard the full score.

I'm only judging by what I've heard so far, but I'll say it doesn't it hits the peaks that the prequel OSTs did.

Going by my first listen, I'd say that while this might be the worst Star Wars score, it is a beautiful score nevertheless and easily my favourite from this year. It has a lovely sense of finality to it, not only looking back to past Star Wars scores but Williams's career as a whole. Note the callbacks to those neo-baroque fugues from the mid 70s, the flute and celeste textures of The Jedi Steps recalling Ben Gardner's Boat, or the suspensions, anticipations and appoggiaturaas in The Starkiller drawing to mind Elliot mourning E.T's "death", Arlington and other threnodies throughout Williams's career.

This is one to cherish, folks.

Are there any classic polychords (I am not listening till I see the film)? Boom-tzz?

Plenty!

Less than I'd hoped for, unfortunately :(. Nothing along the lines of Boys Into Battle or Get 'Em R-2!, although there is some very interesting stuff in The Falcon. Love the almost Midway-ish sound of some parts of that cue!

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Certainly Rey's theme and The March of the Resistance have more presence in this score than Battle of the Heroes in ROTS.

The March Of The Resistance only appears 2 or 3 times in the film. At least in obvious form. I'm sure there are hints of that theme to be found throughout the score, though.

There is a nice little hint of it, just a few notes, in Rey Meets BB-8.

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well I like it. Sounds fantastic too...is it a Murphy MIX ?......very wide stereo. Trumpets over to the right ...and all nice and bright without being painful. Very happy...so far i'm liking it loads more than the prequels . "the girl with the staff" being a fav !

hey Sharky is that a "VERTIGO" homage at 1;50 in "The girl with the staff"

t

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So I think I've unraveled the mystery of the minor 3rd in this score.

It's musical symbolism: The minor third can be seen to represent a neutral axis of the force, and I really think the entire concept of the score has to do with an "awakening" on both sides of it.

I've discovered that Kylo Ren's and Rey's themes are essentially inversions of each other, both revolving around a central interval of a minor third. Even though Rey's theme has 6 notes and Kylo Ren's theme only 5, the contours are the same (though inverse), with Rey's theme ascending to the fifth (light) at the end of the phrase, and Kylo Ren's theme descending from the fifth to the tritone (dark) at the beginning of the phrase.

Rey's theme's accompanimental figure (minor 3rd motif) can be seen as a rather literal "awakening" figure. A similar figure accompanies pivotal moments for Kylo Ren's arc.

Of course, the minor third already has significance as the basis of the Emperor's theme, and both Snoke's motif and the First Order motif are confined within that same interval. Kylo Ren's "tragic" motif similarly ends with a minor third.

The Rebel Fanfare, of course, is also based on that interval (albeit harmonized as planing major chords), and I think it could be significant that precisely that motif gets such a workout throughout the score for TFA.

I'm sure there's much more to discover...

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I broke down... I broke down...

I've listened to the OST before watching the movie.

I'm weak I know!

Currently trying to identify the themes featured in the End credits and finding where they appears on the other tracks. That's A lot of new music to digest!

After only one hearing, I could not tell what is the "Major" new theme of this score.

Without having saw the movie, I would say that it's the music related to Rey and the resistance.

The force theme is evocated few times,, but not too much I think. Not as much as I thinked and it's not developped at all.

I love the finale track and of course Rey's Theme.

That's all I can say for the moment!

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Spoilers? You are planning on going out to see a MODERN film in theaters???

Solely just out of curiosity!

I've stated many times that I feel a new Star Wars movie was unneeded, and many comments I see saying that this new film feels like a remake, supports this view of mine.

It will be the fist time I go to the cinema to see a modern movie after Interstellar one year ago.

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Define your definition of "unneeded"?

I've said it in a previous post of mine that you commented.

Unneeded= the thematic material has been exhausted and nothing new or revelatory can come out of this, leading slowly (with the coming of the future films) to a kind of "daily soap opera".

I have this view not only about Star Wars, but for every film that is being done beyong a trilogy.

I regard that the number 3 is the magic number.

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That is such a silly thing to say.

The Prequels, and probably to some extent the EU proved that there is a wealth of possibility for stories.

Of course you can make up dozens of stories out of anything (eg. Darth vader as a baby, Darth vader goes to University, Han Solo teen comedy etc.), but are they really needed? that is what I'm asking. The core thematic elements have been exhausted, and every addition is the same things just with another wrapping.

Personally I can't think of a 4th, 5th , 6th and so on film that was at least just as good and presented something new, to the original films.

Anyway, this is the score thread so maybe we should talk about it in the other thread.

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It reminded me of ROTS string writing.

This entire scores string writing and recording has more in common with 77 SW than any of the prequels.

Don't get my hopes up, man! SW is my favourite score of the trilogy.

It reminds me a lot of Star Wars in that it doesn't jam themes down your throat constantly. It feels fresh, new, and like if he scored VIII, could REALLY explore and open up what he's started.

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Listening to the album. Almost done. Glad I decided to watch the film first and wait for this CD. I'm enjoying the programme, it feels very much like the movie. I can spot all the themes instantly. It's so strange to hear such and old fashioned SW score a decade after modern prequels. It has that swashbuckling romantic fairy tale quality, with only occassional prequel-like Williams bits.

This score along with Rogue Nation should prove that an old school music can be used effectively in a modern blockbuster, be mixed well. And not feel embarrassing.

Karol

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Loving the dramatic statement of Rey's theme in The Abduction!

Agreed. I think Rey's Theme is a fantastic composition, it does wonders every time it appears and the concert arrangment left me speechless.

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This score along with Rogue Nation should prove that an old school music can be used effectively in a modern blockbuster, be mixed well. And not feel embarrassing.

I think Godzilla achieved this too, to some extent, despite the Absynth, Massive and Aura synth prelays.

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Isn't that rendition of Rey's theme at the end of The Scavenger absolutely gorgeous? The whole piece is a great musical introduction to the character but that small moment has such vulnerability to it that it is absolutely arresting.

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The End Credits playing now. The best one since TESB?

The End Credits are really great. Maybe the best since TESB, though I really like AOTC's. TPM's and ROTS's were such crappy cut&paste jobs...

Isn't that rendition of Rey's theme at the end of The Scavenger absolutely gorgeous? The whole piece is a great musical introduction to the character but that small moment has such vulnerability to it that it is absolutely arresting.

Yes!

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