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THE LAST JEDI - OST Album MUSIC Discussion (No Movie Spoilers)

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If ever there was an episode that shouldn’t be entirely new, it’s the last one. You want it to be the culmination of all of the episodes that have come before it.

 

But now with no Han, Leia or Luke (at least, not physically) it’s off to a rocky start.

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6 minutes ago, Margo Channing said:

Anyone else seen that big Harry Potter LP boxset? Fuck who'd buy that?

 

Little off topic there haha, but isn’t it only 1-5 anyway?

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I need to pick up this one, and TFA. It's times like this that I wish they had some nice Struzan-type artwork on the cover.

 

Speaking of which, I'd buy an LP release of HPSS in a heartbeat... if I didn't also have to buy HPGOF to get it  >_<

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On 4/8/2018 at 2:11 AM, John said:

It also appears in "The Battle of Crait". I'm leaning towards it being a new heroic/Resistance motif... or maybe even a new motif for Poe?

 

It's just a recurring motif JW used in action sequences, it doesn't really have any attachment. No characters are explicitly shown on-screen whenever it's heard, just big guns and spaceships.

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Reflecting on this score a bit, it's quite novel how the big new concert piece is a mash up of two thematic ideas from the score. I think it's a first for SW and pretty rare for JW in general.

 

On the other hand, it's pretty disappointing that TLJ didn't yield several big new themes with their own concert arrangements. ESB gave us the Imperial March, Yoda's Theme, and Han and the Princess. 

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It only has three new leitmotives overall, compared to twice as many in Empire Strikes Back, so its only natural.

 

I actually like that the concert piece meshes the two themes together. Its like one concise presentation of the entire score.

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Compared to the bounty of new themes/motifs JW wrote for TFA, I have to think TLJ as a film just didn't present many opportunities for new musical ideas. Rose's Theme makes sense as a new character theme but it is kind of telling that the other major new theme, Luke's Island Life, only appears in the first 3rd of the film and never again until the end credits. 

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29 minutes ago, artguy360 said:

it is kind of telling that the other major new theme, Luke's Island Life, only appears in the first 3rd of the film and never again until the end credits. 

 

Is it?! I gotta give the isolated score a listen. If its true, its a crying shame!

 

The Rebel Desperation motif is also kind of setpiece oriented. I think there's a kind of embryonic form of it embedded into the earlier action material, but the definitive form of the leitmotif doesn't really materialize until the false third act, and than devolves back into the embryonic form for the actual third act.

 

Even Rose's theme, while it is certainly well-fleshed out, doesn't define the entire film in the way that, say, Rey's theme defines The Force Awakens.

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3 hours ago, crumbs said:

Newsflash, people. John Williams doesn't need to be writing variations on leitmotifs to be writing excellent Star Wars music. The Last Jedi is filled with cue after cue of superb non-thematic writing that's just as affecting as his thematic writing. The closest comparison is probably Revenge of the Sith, similarly filled with lots of memorable cues with no regard for existing leitmotif.

 

I do find enjoyment in the structure of Williams Star Wars scores, and I do think of them as leitmotivic pieces. But than, I'm a strong believer in leitmotivic scores in general. As you say, to each his own.

 

I don't think the comparison to Revenge of the Sith is apt. That score had plenty of leitmotives, and they were spread throughout quite nicely. While Battle of the Heroes appears late in the game, to my mind the theme that defines the score is the lament for Anakin. Yes, it doesn't materialize until the midpoint, but its constructed such that it grows out of the B-phrase of "Across the Stars", which is quoted a couple of times in the first half, so it carries the associative power of that theme with it, and is - to my mind - one of the most moving themes Williams has ever written for the series.

 

Also, the grievous material is very dominant in the first half of the score and is, I believe, infrequently applied to Anakin in the later half. There are also recurring brass fanfares for Mustafar, if I recall correctly, and two pieces of music that return after a single statement in The Phantom Menace: The Curoscant fanfare, and the Funeral theme. They're only themes once they are restated, and that's what happens here. While the latter is also late to appear in the picture, it is forshadowed quite early down the line: Anakin's Betrayal has a snippet of it.

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Has anyone commented on the version of the Rey’s Theme bell chords at the very end of TLJ’s Finale? It sounds like a different key or a new harmony or something compared to TFA, but I lack the musical erudition to assign any significance to it. Is it just a neat variation, or does this connect to anything else in the score?

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It’s just the introduction figure to her theme proper. It occurs two or more times in the score, I believe: once before she starts training with her lightsaber, the other as the Falcon flies across the Crait landscape.

 

It has no narrative meaning on its own. It’s part of the unabridged theme, and can be used on its own as a shorthand for the entire piece. Has Williams ever even indicated that he wrote more than one theme for Rey? It just isn't how he works, typically.

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11 hours ago, igger6 said:

Has anyone commented on the version of the Rey’s Theme bell chords at the very end of TLJ’s Finale? It sounds like a different key or a new harmony or something compared to TFA, but I lack the musical erudition to assign any significance to it. Is it just a neat variation, or does this connect to anything else in the score?

 

Like Chen G. said, it's just a part of her theme. But you're exactly right that the harmony is different in this statement, which lends it that slightly more hopeful sound.

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Was listening to The Lost World and I couldn’t help noticing similarities between the theme at around 2.28 and 3.05 in Visitor in San Diego and the new brass fanfare theme for The Resistance. Actually there are many parts of cue that remind me of the opening escape cue from TLJ and a lot of the other action material with regards to the orchestrations and lines of writing (2.42-2.50, 3.31-4.04, 4.22-4.38, 5.30-5.55)

 

 

I’m so glad JW returned to this writing style for TLJ.

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I can't explain it in musical terms except to say it just sounds wrong to my ears, like the orchestra screwed up their timings and got the notes wrong for the crescendo, and the conductor is making quick adjustments to correct their timing before it climaxes.

 

Maybe it'd be different if this was the only version of the piece I'd ever heard, but once you're used to the OST version it's hard to get accustomed to the revised version. Plus, it just seems like such a needless, weird change?

 

Can't explain it much more than that.

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Can someone post me the analysis of the End Credits suite please? Precisely the new themes used and their origin on the previous tracks of the score. Thanks.

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On 8/15/2019 at 5:45 AM, crumbs said:

Ugh, that terrible revised ending again. What was Williams thinking?

 

On 8/15/2019 at 5:55 AM, Disco Stu said:

I might prefer the OST version but terrible is a strong word for the signature edition.  Why do you think it's really that bad?

 

Doesn't strike me in any signficant way, honestly. Granted, a Pedroni performance isn't always the best metric of how successful a concert version is.

 

 

Did we ever figure out why the End Credits turned out the way they did? We were so spoilt with Force Awakens. 

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Ok so the action music I’m not very familiar with in the End Credits, is from The Battle of Crait.

 

So, we can say this end credits features 4 new themes from TLJ, right?

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