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What to expect from Episode VIII's Score?


Unlucky Bastard

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7 minutes ago, BloodBoal said:

 

Wasn't he (Joseph) credited for the source cues somewhere (apart from the Wiki page I just linked to), though? I'm not saying it's true, just that I remember reading that somewhere else... Maybe it was actually here, at JWFAN. A member spreading lies... Stiff?

 

His official PDF at Gorfaine Schwartz (which seems to be down at the moment) had an error on it that lists his AOTC cue ("Cafe sequence") twice, once under AOTC and once under TPM.  You may be thinking of that.

 

John definitely wrote the TPM source music.

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  • 1 month later...

Exciting news! Female singer listed under the music department for TLJ, as part of an ensemble!

http://m.imdb.com/name/nm8849878/filmotype/music_department?ref_=m_nmfm_1

 

Also performed on Rogue One, La La Land and many other films but no previous collaborations with Williams. Her credits are quite specific regarding contributions to each film (ensemble, soprano, trio, soloist, etc.) so this is an exciting development if accurate.

 

Wonder if she had anything to do the choir on Spielberg/Williams Vol 3?

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Has he already taken over and Disney just haven't gotten around to writing the press release?

 

Someone should tweet this singer and ask! Also, if she performed a choir rendition of Rey's Theme with solo cello!

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I mean, they were made during one of the most prolific periods of Williams' career.  He was stretched so thinly from 2001-2005.  But it doesn't seem like it would have added all that much in terms of cost or time to just record again each time.

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6 minutes ago, Disco Stu said:

 

Link?

 

It was a Hans Zimmer/ghostwriter joke, but clearly not a very good one haha 🙈

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5 hours ago, JohnSolo said:

I'm always wondering; is that a harmonica at the end of the main titles on the TPM and AOTC OSTs?

 

More likely it's some combination of woodwinds.

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I'm glad they're recording a new one. As said before, it makes each film and score more unique. I'm guessing that Lucas was so obsessed with uniformity that he wanted all the prequels to sound the same. Wouldn't be the last time he tracked music from an earlier episode for that reason.

 

I like the TFA recording, apart from some glaring issues. The first note is weak and the horns are way too loud at 0:15. The horns are supposed to be loud during the second phrase at 0:24 but they're actually softer.

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I don't hate the TFA version but I found it distracting when I first saw the film.

 

My musical theory isn't strong enough to explain exactly why it doesn't "feel" right, but there was a great breakdown on Star Wars Oxygen (and clearly a lot of people took issue with it; even Red Letter Media noted the opening note felt wrong but ultimately speculated it was the lack of 20th Century Fox fanfare preceding it).

 

I think it has a lot more to do with the recording than the performance (note the very distant brass at 0.02 compared to the LSO recordings). We can't disregard another conductor's idiosyncrasies either; Dudamel's a fantastic interpreter of Williams but nobody understands Star Wars music like Williams himself.

 

After listening to The Lost World on repeat lately, I'd love it if the brass in TLJ more closely reflected that recording. It's too close, dry and loud throughout TFA for my liking (clearly intentional, just not my cup of tea).

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4 hours ago, crumbs said:

I don't hate the TFA version but I found it distracting when I first saw the film.

 

My musical theory isn't strong enough to explain exactly why it doesn't "feel" right, but there was a great breakdown on Star Wars Oxygen (and clearly a lot of people took issue with it; even Red Letter Media noted the opening note felt wrong but ultimately speculated it was the lack of 20th Century Fox fanfare preceding it).

 

I think it has a lot more to do with the recording than the performance (note the very distant brass at 0.02 compared to the LSO recordings). We can't disregard another conductor's idiosyncrasies either; Dudamel's a fantastic interpreter of Williams but nobody understands Star Wars music like Williams himself.

 

After listening to The Lost World on repeat lately, I'd love it if the brass in TLJ more closely reflected that recording. It's too close, dry and loud throughout TFA for my liking (clearly intentional, just not my cup of tea).

 

There's something about it that makes it sound like the brass are overblowing or something. Kinda reminds me of a mono recording sometimes. It had this sorta cool old-school novelty at first but it's worn a little thin for me.

 

Like I dunno if it's recording, performance, composition/orchestration, or what, but much as I admire it I still find myself nitpicking at things in TFA in a way that I don't with his others, including other recent ones like BFG. Even tracks that I love, like something about how this lone horn note sounds after the sforzando...I dunno what it is, it just reminds me of that pinched sound when I couldn't sustain a high note or ran out of breath:

 

 

There's some other balance stuff, like how much louder the horns are than the trumpets on the Luke's theme variation. It just sounds a bit strange or at least just different to other Williams scores, but I don't know if I'm crazy or what.

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There was definitely a conscious creative decision to make TFA sound very dry accoustically.

 

Hopefully TLJ moves back to Murphy's recording setup from the prequels. Everything felt even and balanced; the brass didn't sound like each instrument had the microphone shoved deep in the bell. I love the 'concert hall' feeling of TPM; it's like classical music in parts. The score sounded bigger and more grandiose (probably because of the larger scoring stage).

 

Perhaps it's a contributing factor to re-recording Main Title; the score is accoustically different and they want every cue to match. Or maybe, now he's back on his feet, Williams is just too much of a perfectionist to invite other conductors to the podium this time.

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On 5/29/2017 at 2:28 PM, Disco Stu said:

Good news.  I'd much rather each film have its own main title recording.  Gives each score a greater sense of separate character.

 

This!

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