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robthehand

Star Wars: Original Trilogy Music Resource

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Thank you to thx99 for clarifying the context of my comment. I put in the sections from "Father and Son" and "Land of the Ewoks" (I had forgotten that terrible insert from before. It's been a while since I've listened to the SE soundtrack). I still couldn't find the string vibrato that plays right before the "Land of the Ewoks" insert. I may just do a film rip to mp3 (I've never learned how to do channels on DVD), since there is no dialogue or sound effects over it.

Can you provide exact times of this?

Using the non-Special edition, at about 19:25-19:26. It is right after Han says, "Who are you?" (which is part of "Han Solo Returns") and just before Leia says, "Some one who loves you", which leads to the "Han Solo and the Princess" motiv used in "Land of the Ewoks".

It there's somewhere, but I don't remember where. I'll have to look.

Edit: Nevermind. I think that bit may be unreleased. Maybe someone with more knowledge can chime in.

Edit edit: After listening more closely to the insert in "Land of the Ewoks," you can hear the tail end of the strings before Han/Leia theme starts. So, it seems the strings is supposed to be part of the insert, but was cut out for some reason on the SE album. If you need a clean rip of the piece, shoot me a PM.

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Okay, I finished my work, and had only one section I was unable to find. That was during "Shuttle Tydirium Approaches Endor", when the action shifts to the Death Star and Palpatine is meeting with his creepy advisers. Before that, there is an exterior shot of TIE Fighters flying across the surface. This features a four note melody played on the horn that I could not identify. It is a c. 52:45-52:56 in the non-Special Edition. Other than that, I was able to do the whole Battle of Endor, using the B-chord from "Mynock Cave" to cover for the missing note as the AT-ST blows up after tripping over the logs (end of "Ewok Battle").

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Okay, I finished my work, and had only one section I was unable to find. That was during "Shuttle Tydirium Approaches Endor", when the action shifts to the Death Star and Palpatine is meeting with his creepy advisers. Before that, there is an exterior shot of TIE Fighters flying across the surface. This features a four note melody played on the horn that I could not identify.

It's on the Special Edition soundtrack, it was a revised insert/sweetener of the cue, on the SE CD and film, it was overlayed on top of the original version (which can be heard on the Anthology set).

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I found this thread just because I wanted to know exactly which parts of which cues make up the "Rebels at Bay" track on the ESB OST, and I ended up reading the whole thing.

 

....it was a quite a journey.  Like a timelapse of 12 years of film score fandom.

 

A lot of people who were clearly once vital members of this community with "last visited" dates in the former decade.

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The actual content of the thread just gives me a headache.  I'm happy enough with the OSTs and SE releases of Star Wars scores and I'll be really happy when there are official new releases of it all (eventually).  Keeping track of microedits and god knows what else to make my own edits, it's all too much like math.  I approached reading it more sociologically or whatever.

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27 minutes ago, Disco Stu said:

I found this thread just because I wanted to know exactly which parts of which cues make up the "Rebels at Bay" track on the ESB OST, and I ended up reading the whole thing.

 

You couldn't tell just by listening to it?

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Just wondering, has anyone else done a comprehensive edit of all 3 sources for these scores (the newest OST remasters, the SEs and the Anthologies) and, if so, is the wildly changing sound quality more distracting than just sticking with one chronological version (albeit incomplete)? Specifically, for Jedi? I've never understood the love for this score but I've never been able to sit through the SE without getting frustrated by the sound quality.

 

I'm guessing the Anthology is the best source to use as a base, then only use the SE to fill in the gaps. To finish off, replace any Anthology tracks with OST tracks, where applicable (as this is now the best quality source by a mile).

 

I'm not that fussed about the Anthology's incorrect takes, I'd rather have superior sound quality. :P

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Thought so, but is the changing AQ too distracting when assembling 3 sources?

8 hours ago, crumbs said:

and, if so, is the wildly changing sound quality more distracting than just sticking with one chronological version (albeit incomplete)?

 

 

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Oh I dunno, there's some real wizards with this technology out there.

 

Personally I'm just waiting for Disney to finally hire Mike M to redo them properly instead of bothering with fan edits until then.

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On ‎9‎/‎27‎/‎2017 at 9:21 AM, crumbs said:

Just wondering, has anyone else done a comprehensive edit of all 3 sources for these scores (the newest OST remasters, the SEs and the Anthologies) and, if so, is the wildly changing sound quality more distracting than just sticking with one chronological version (albeit incomplete)? Specifically, for Jedi? I've never understood the love for this score but I've never been able to sit through the SE without getting frustrated by the sound quality.

 

I'm guessing the Anthology is the best source to use as a base, then only use the SE to fill in the gaps. To finish off, replace any Anthology tracks with OST tracks, where applicable (as this is now the best quality source by a mile).

 

I'm not that fussed about the Anthology's incorrect takes, I'd rather have superior sound quality. :P

It's not enough to just edit the cues together... you of course need to correct the EQ, adjust the volume level, etc. and you can easily make a decent sounding edit. Correcting ROTJ's quality isn't actually really that hard.

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I'm going to listen to the scores again but am largely unfamiliar with their specifics. Was wondering: do the special edition tracks reflect the music used in the movies at all, trackwise? I mean, if there's a 10-minute track, does that mean there's 10 minutes of non-stop music in the film, or are there lots of crossfades?

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Mostly, there are some crossfades (but mostly only cues that are crossfaded in the films), and in the cases of ESB and ROTJ, alternates edited into the main program (Imperial Probe/Ice Planet Hoth, Carbon Freeze, Speeder Bike Chase, Land of the Ewoks)

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On ‎9‎/‎6‎/‎2018 at 11:36 AM, bollemanneke said:

I'm going to listen to the scores again but am largely unfamiliar with their specifics. Was wondering: do the special edition tracks reflect the music used in the movies at all, trackwise? I mean, if there's a 10-minute track, does that mean there's 10 minutes of non-stop music in the film, or are there lots of crossfades?

 

In a broad, general sense, the special edition releases follow the music as it was written for the films. A 10-minute track typically comprises multiple cues, edited together more or less the way they were intended for the film. Some segues don't quite follow the intended timing, and some cues that were written to segue are presented separately, and sometimes multiple short cues are presented as a single track (with minimal overlap, and still generally in the correct order). Like Falafel said, there are some alternates and inserts included at convenient moments as well.

 

Basically, the special edition albums give a pretty good sense of the complete scores, albeit with some sound quality issues. (The 1990s Anthology release features significantly better sound quality, but many cues are missing, and some of the cues that are included use different takes.)

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Okay, new topic - am I an idiot?!

 

I've adored the score to Star Wars since I was a small child. Can't count how many times I've listened to it, or played parts of it on piano, or heard it in the context of the film, etc., etc. But it wasn't until JUST NOW that I realized that the chaotic, dissonant motif that plays as the stormtroopers blast their way into the Tantive IV is just a variation on the film's Imperial motif. Here I was thinking that motif wasn't introduced till later in the sequence, after Leia is stunned.

 

...I assume everyone else realized this, and I'm just now catching up?

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WHAT?!?

Played it out in my head and wow, it really is!

 

I've been listening to the score since I was 7 (SE, I think), and only last year did I notice the Dies Irae-like motif omnipresent in the Tatooine portion.

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29 minutes ago, Datameister said:

Okay, new topic - am I an idiot?!

 

I've adored the score to Star Wars since I was a small child. Can't count how many times I've listened to it, or played parts of it on piano, or heard it in the context of the film, etc., etc. But it wasn't until JUST NOW that I realized that the chaotic, dissonant motif that plays as the stormtroopers blast their way into the Tantive IV is just a variation on the film's Imperial motif. Here I was thinking that motif wasn't introduced till later in the sequence, after Leia is stunned.

 

...I assume everyone else realized this, and I'm just now catching up?

I also didn't really know this, until it was pointed out by David Collins on his podcast. Though I suppose I might have already kind of knew it subconsciously.

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Is Binary Sunset really the name of that track?  That just doesn't seem like the kind of idiom that Williams would have used in 1976.  If it's written or printed on period documentation I'd be interested.  (And if that's earlier in this thread and my search powers are weak I apologize.)

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4 minutes ago, Tallguy said:

Is Binary Sunset really the name of that track?  That just doesn't seem like the kind of idiom that Williams would have used in 1976.  If it's written or printed on period documentation I'd be interested.  (And if that's earlier in this thread and my search powers are weak I apologize.)

I point you to what is now the best JW music info resource on the forum (perhaps the Internet):

The spreadsheet says it was originally called "Lost R2", so yes, much less grand.

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