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Michael Giacchino's Star Trek


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Posted 12 May 2009 - 05:30 AM

Michael Giacchino - Star Trek (2009)
Analysis by Jason LeBlanc


COMPLETE CUE LIST:

1. Narada Bing - 2:23 - Unreleased (0:49) / 1-01 [0:54-end] *Note: Varese mis-labeled this track as "Star Trek"
2. Narada Boom - 3:04 - 1-02 [0:00-1:13] / Unreleased (0:16) / 1-02 [1:13-end]
3. Hack To The Future / - 1:23 - 1-03
4. Nailing The Kelvin / - 2:10 - 1-04 or OST 2
5. Labor of Love / - 2:51 - 1-05 or OST 3 (clean ending)
6. Star Trek - 0:46 - Unreleased
7. Head To Heart Conversation - 1:08 - 1-07
8. One Proud Mother - 1:38 - 1-08
9. Hella Bar Talk - 1:55 - 1-09
10. The Flask At Hand - 0:36 - Unreleased (0:05) / 1-10
11. Welcome Back, Spock - 1:09 - 1-11 (Choir and distorted erhu unreleased, D.E. track contains a loop as well) [leaked]
12. Vulcan Gets a Good Drilling - 1:30 - 1-12
13. Hangar Management / - 2:46 - 1-13
14. Enterprising Young Men - 3:28 - 1-14 [0:00-2:39] / Unreleased (0:21) / 1-14 [2:39-end]
15. Flying Into A Trphlthdl - 3:22 - 1-15
16. Nero Sighted - 3:23 - 1-16 or OST 6 (Choir unreleased) [leaked]
17. Matter? I Barely Know Her! - 2:05 - 1-17
18. Jehosafats - 3:02 - 1-18
19. Chutes and Matter - 3:23 - 1-19
20. A Whole In My Hearth - 0:56 - 1-20
21. I've Fallen and I Can't Beam Up! - 1:51 - 1-21 (Brass and woodwinds from 0:06-0:23 unreleased)
22. Spock Goes Spelunking - 1:28 - 1-22 (Choir unreleased) [leaked]
23. An Endangered Species - 3:09 - 1-23 (Choir unreleased)
24. Galaxy's Worst Sushi Bar - 2:14 - 1-24
25. Mandatory Leave Of Absence - 1:19 - 1-25
26. Dad's Route To School - 0:34 - 1-26
27. Frozen Dinner - 1:30 - 1-27
28. You Snowin' Me? - 0:50 - 1-28
29. Nice To Meld You - 3:14 - 2-01 or OST 7 (Choir unreleased) [leaked]
30. Hail To the Chief - 0:50 - 2-02
31. I Gotta Beam Me - 2:02 - 2-03
32. Scotty's Tanked - 1:39 - 2-04
33. What's With You? - 2:12 - 2-05
34. Either Way, Someone's Going Down - 1:48 - 2-06 [0:00-1:48]
35. A Half-Vulcan With A Plan - 0:55 - 2-06 [1:48-end]
36. Trekking Down the Narada - 2:31 - 2-07
37. Run and Shoot Offense - 2:04 - 2-08 or OST 8
38. Does It Still McFly? - 2:02 - 2-09 or OST 9 (Choir unreleased) [leaked]
39. Nero Death Experience - 5:38 - 2-10 or OST 10
40. Nero Fiddles, Narada Burns - 2:28 - 2-11 or OST 11 (clean ending)
41. Black Holes Have a Lot of Pull - 0:55 - 2-12 (Choir unreleased)
42. Once You Go Black Hole aka Back From Black - 0:57 - 2-13 or OST 12 (Choir unreleased) [leaked]
43. That New Car Smell - 4:46 - 2-14 or OST 13
44. To Boldly Go - 9:37 - 2-15 / 2-16 or OST 14 / OST 15
TOTAL TIME: 100:12


Rescores
45. Opening - 1:01 - 1-01 [0:00-1:01] or OST 1 (clean ending) *Note: Varese mis-labeled this track as "Star Trek" on both releases.
46. Narada Boom (Insert) - 0:50 - Unreleased
47. Star Trek v2 - 0:46 - Unreleased
48. Star Trek v3 - 0:46 - I-6 *Note: Varese mis-labeled this track as "Main Title"
49. Hella Bar Talk (With Horn Solo) - 1:55 - OST 4
50. Jehosafats (Alternate Opening) - 0:18 - Unreleased
TOTAL TIME: 5:36

GRAND TOTAL: 105:48



Additional ASCAP Titles:
L Split - film edit of the Narada emerging containing tracked material from "Nero Sighted" and the opening of "Narada Boom"
Vulcans Are Testy - 0:15 - Editorially created cue for the transition to Kirk's trial, tracked from "Vulcan Gets A Good Drilling" and "Whats With You?"
Take Off, Eh? - The ending portion of "Enterprising Young Men", since the string hits were dialed out of the final film
Warping Into A Trap - The second half of "Flying Into A Trphlthdl", since the cue was cut in two when the Vulcan drill sequence was moved
Red Shirt Diaries - The second half of "Jehosafats", as the middle of the cue was dialed out in the final film.
Love In An Elevator - The second half of "An Endangered Species", as the middle of the cue was dialed out in the final film
Did I Know My Father - 0:32 - Editorially created cue for Kirk and Spock Prime's discussion of Kirk's father, tracked from "Either Way, Someone's Going Down"
You Gotta Be Vulcan Me - 0:20 - Editorially created cue for Kirk and Spock Prime arriving at the Federation Outpost, tracked from "Does It Still McFly?"
Come With Me Cupcake - The ending of "Scotty's Tanked", as a portion was dialed out in the final film.




PROBLEMS WITH THE VARESE SARABANDE OFFICIAL RELEASES:

1. There are eight cues for which choir was recorded, but both Varese releases DO NOT contain the choir.
Welcome Back, Spock - 1:09
Nero Sighted - 3:23 (omitted from film as well)
Spock Goes Spelunking - 1:28
An Endangered Species - 3:09
Nice To Meld You - 3:14 (omitted from film as well)
Does It Still McFly? - 2:02
Black Holes Have a Lot of Pull - 0:55
Back From Black - 0:57

2. There are 4 cues on the Deluxe Edition that Varese decided to micro-edit, removing music recorded along with the rest of the cue:
Narada Bing - the first 49 seconds are dropped, replaced by "Opening"
Narada Boom - There is a 16 second chunk edited out at approximately 1:13
The Flask At Hand - The first 5 seconds are omitted.
Enterprising Young Men - There is a 21 second chunk edited out at approximately 2:39

3. One cue, "Welcome Back, Spock" matches the film edit of the cue instead of the full intended version as recorded; The distorted erhu at the beginning of the track is mixed out, and there is a loop at the end of the track. However, it doesn't perfectly match the film version as the choir present in the film is mixed out of the Deluxe Edition version.

4. The Deluxe Edition soundtrack appears to contain a mastering error: In "I've Fallen And I Can't Beam Up!" from 0:06-0:23, only strings can be heard, the brass and woodwinds are missing.

5. There are a few times where cues run into each other that were not supposed to. "Hella Bar Talk" begins at the very end of "One Proud Mother", before "One Proud Mother" has finished fading out. Same with "Black Holes Have A Lot Of Pull", which begins at the very end of track 22, before "Nero Fiddles, Narada Burns" has finished fading.

6. There are also five cues for which Chris Tilton recorded additional drum overlays added to the film mix. These also have not been presented on CD.
Hella Bar Talk - 1:55
Hangar Management - 2:46
Enterprising Young Men - 2:39
Chutes and Matter - 3:23
Scotty's Tanked - 1:39









THEMES:

MAIN THEMES:

Main Theme
- a 16 note theme that the composer has referenced as Kirk's Theme, but is used throughout the score liberally in many scenes with and without Kirk. Introduced in the film quietly over the opening logos, strains of it are next heard when Kirk's mother clutches her stomach when leaving the Kelvin. Giacchino's original intentions were not to have the fully orchestrated version appear until the first shot of The Enterprise in space, but in the final film it appears over the Main Title (as the music is tracked from the Enterprise reveal scene). After that it is used very often in the score, never going more than a few cues without reappearing again.

Nero's Theme - Nero's evil 7-note theme is used for Nero and his crew during the first half of the movie, however after the sequence over Vulcan it only used two more times before the End Credits.

Spock's Theme - This 5-note theme is usually played on the erhu to emphasize Spock's Vulcan side, but is often played in a faster setting with the rest of the orchestra, weaving in and out of the Main Theme or B Theme.

Cadet's Theme - This 5-note theme is occasionally intermingled with the Main Theme during scenes where the cadets and other fleet members are involved in the action. It debuts over a shot of the hangar at Starfleet as everyone scrambles to help Vulcan, as is last heard when Spock appears on the Enterprise at the end of the movie wishing to join its crew.

Vulcan Theme - A 4-note theme introduced quietly on string as Spock mourns the destruction of his planet. It is next played during Kirk and Spock Prime's mind-meld, and is then used throughout the finale for Spock and the Jellyfish as attempts to get revenge on Vulcan's destroyer.

Main Ostinato
- This quick 6-note motif moves the action along when needed. Like the Main Theme, it too is introduced quietly over the opening logos in the film, however it does not appear again until the Cadets leave to go face the threat over Vulcan. It is then used frequently throughout the rest of the score, usually in action scenes involving multiple members of the crew.


MINOR THEMES:

Suspense Theme - Used twice in the score for scenes involved Starship captains flying towards The Narada to meet with its crew.

The Narada Theme - A 11-note secondary theme for Nero is used only twice in the film - first when Captain Robau takes a turbolift on his way to the shuttle that will take him to Nero's ship, and a second time as the Narada opens fire on the Enterprise over Vulcan.

Sacrifice Theme - The same theme is played when George Kirk sacrifices himself to save The Kelvin and when it appears that Spock will sacrifice himself to destroy The Narada.

Unknown Theme - A brief theme heard as Bones smuggles Kirk on board the Enterprise reappears towards the end of the film during a conversation between Kirk and Sulu over the intercom.

Action Ostinato - Another ostinato is used in the score, but only for two major scenes. The first is when the shuttle with Kirk and Bones approaches The Enterprise and then The Enterprise enters warp; The second is when Kirk has to rescue Sulu from the Drill Platform when Sulu falls off, and Chekov races to rescue them both. It also appears in the End Credits.

B Theme - The Main Theme has an 8-note B section that is occasionally used before or after the Main theme, usually to amp up the action as it is always played in a fast-paced, exciting manner.

Finale Theme - This theme is introduced as Spock takes off in the Jellyfish, and is used throughout the next several cues until our heroes have completed their task and dispatched with Nero and The Narada.



WHERE TO FIND THE THEMES:

Main Theme
1-01.Star Trek 0:02-0:33
1-02 Narada Boom 1:32-1:38
1-04. Nailin' The Kelvin 1:40-1:56
1-09. Hella Bar Talk 0:13-1:42
1-10. The Flask At Hand 0:17-0:20
1-13. Hangar Management
1-14. Enterprising Young Men 0:37-1:02, 1:32-2:21
1-16. Nero Sighted 2:42-2:48
1-17. Matter? I Barely Know Her!
1-18. Jehosafats
1-19. Chutes and Matter
1-25. Mandatory Leave Of Absence
2-02. Did I Know My Father
2-03. I Gotta Beam Me
2-04. Scotty's Tanked
2-04. Come With Me Cupcake
2-06. Either Way, Someone's Going Down
2-06. Half Vulcan With A Plan
2-07. Trekking Down the Narada
2-08. Run And Shoot Offense 0:54-1:03
2-09. Does It Still McFly 1:09-1:20
2-10. Nero Death Experience 3:56-4:06
2-11. Nero Fiddles, Narada Burns 0:07-0:17, 1:07-1:18, 1:32-2:02, 2:10-2:14
2-13. Back From Black 0:15-0:45
2-14. That New Car Smell 1:48-2:38, 3:01-3:19, 3:45-4:03, 4:14-4:36
2-16. End Credits 0:55-1:18, 4:42-4:47, 6:28-6:49, 7:31-7:55, 8:11-8:21, 8:24-8:35

Nero's Theme
1-02. Hack To The Future 0:28-0:39 (not in film)
1-04. Nailin' The Kelvin 0:09-0:17
1-11. Welcome Back, Spock 0:01-0:16, 0:36-0:48
1-12. Vulcan Gets A Good Drilling 1:00-1:13
1-15. Flying Into A Trphlthdl 1:05-1:10 (not in film)
1-16. Nero Sighted 0:45-0:57 (not in film), 2:55-3:11
1-17. Matter? I Barely Know Her! 0:13-0:45
1-24. Galaxy's Worst Sushi Bar 0:25-0:43 (not in film)
2-07. Trekking Down the Narada 0:08-0:20 (not in film)
2-16. End Credits 5:14-5:28, 5:31-5:44

Spock's Theme
1-08. One Proud Mother
1-13. Hangar Management
1-14. Enterprising Young Men 1:16-1:26
1-17. Matter? I Barely Know Her!
1-20. A Whole In My Hearth
1-28. You Snowin' Me?
2-03. I Gotta Beam Me
2-06. Either Way, Someone's Going Down
2-09. Does It Still McFly
2-10. Nero Death Experience 1:24-1:31
2-14. That New Car Smell 0:34-1:14, 3:21-3:35, 4:04-4:14
2-16. End Credits 2:11-2:51. 2:56-3:24, 3:41-3:57, 4:02-4:18, 4:23-4:42

Cadet's Theme
1-13. Hangar Management 0:00-0:13
1-14. Enterprising Young Men 1:56-2:21
2-07. Trekking Down the Narada 0:20-1:08
2-11. Nero Fiddles, Narada Burns 1:37-1:50
2-14. That New Car Smell 4:16-4:4:25
2-16. End Credits 7:32-7:58

Vulcan Theme
1-23. An Endangered Species 0:11-0:53
2-01. Nice To Meld You 2:43-3:01
2-08. Run And Shoot Offense 1:08-1:46
2-09. Does It Still McFly? 0:07-0:30
2-10. Nero Death Experience 3:32-3:48

Main Ostinato

1-01. Star Trek 0:35-0:45
1-10. The Flask At Hand 0:02-0:17, 0:21-0:24
1-14. Enterprising Young Men 0:00-0:13, 0:18-0:23, 2:48-2:53
1-17. Matter? I Barely Know Her! 0:45-1:16, 1:30-1:54
2-06. Either Way, Someone's Going Down 1:55-2:06, 2:24-2:31
2-09. Does It Still McFly 1:06-1:21
2-10. Nero Death Experience 1:17-1:25
2-11. Nero Fiddles, Narada Burns 1:07-1:13
2-14. That New Car Smell 3:43-3:51, 4:39-4:41
2-16. End Credits 1:18-1:23, 3:32-3:39, 3:43-4:02, 4:18-4:23, 4:26-4:33, 5:45-5:59, 6:04-6:10, 7:44-7:55, 9:01-9:04


Suspense Theme
1-01. Narada Bing 1:07-1:22
1-18 Jehosafats 0:24-0:41, 0:56-1:10, 1:56-2:04

The Narada Theme

1-02 Narada Boom 0:32-0:43. 1:38-1:56
1-16. Nero Sighted 0:13-0:25
1-21 Jehosafats 2:04-2:08

Sacrifice Theme
1-05. Labor of Love
2-10. Nero Death Experience

Unknown Theme
1-13. Hangar Management 2:06-2:36
2-16. Trekking Down The Narada 1:23-1:36

Action Ostinato
1-14. Enterprising Young Men 0:13-0:18, 0:23-0:31, 2:53-2:56
1-21. I've Fallen and I Can't Beam Up! 0:35-0:44, 0:52-0:56,
2-16. End Credits 0:21-0:26, 0:49-0:55, 5:59-6:04, 6:08-6:13

B Theme
1-14. Enterprising Young Men 1:10-1:28, 1:44-1:53
2-11. Nero Fiddles, Narada Burns 0:01-0:07
2-16. End Credits 7:19-7:31

Finale Theme
2-09. Does It Still McFly? 1:26-1:44
2-10. Nero Death Experience 0:41-0:51, 1:31-1:36, 2:15-2:30, 2:49-2:55, 3:09-3:26,
2-11. Nero Fiddles, Narada Burns 0:18-0:42


Star Trek Theme (Alexander Courage)
1-13. Hangar Management (Intro)
2-10. Nero Death Experience (Intro)
2-15. To Boldly Go (Intro and Fanfare)
2-16. End Credits (Fanfare and Main Theme)






COMPLETE ANALYSIS:

1. Narada Bing - 2:23 - Unreleased (0:49) / 1-01 [0:54-end] *Note: Varese mis-labeled this track as "Star Trek"
Mysterious music plays under the opening production company logos, building to a climax as they end. The eerie mood resumes over a closeup of a metal construction eventually revealed to be the Federation Starship Kelvin in deep space near a black hole. Militaristic drums enter the sound scape as we cut to the bridge, and Captain Robau enters. As their sensors detect something, eerie strings play as the enormous starship Narada emerges from the black hole.

This entire cue was dropped from the final film. The newly recorded cue "Opening" plays over the opening logos, then there is no music for the initial scenes on board the Kelvin. When the Narada emerges, the music is tracked from "Nero Sighted".


2. Narada Boom - 3:04 - 1-02 [0:00-1:13] / Unreleased (0:16) / 1-02 [1:13-end]
The Kelvin prepares for battle, going into Red Alert. The Narada fires upon the Kelvin, and after destroying most of their shields one of Nero's men appears on the Kelvin's viewscreen to demand the presence of the Kelvin's captain on the Narada over tense strings. The Narada Theme is first introduced here. The pace of the music picks up as Captain Robau leaves the bridge and relays his instructions to George Kirk and makes him acting captain. The Main Theme is introduced, but only the second half. The Narada Theme is heard again as Robau descents the turbolift. Ethnic percussion enters as Robau flies to the Narada in a shuttle. The cue ends with strings and brass as Robau exits the shuttle on board the Narada.

In the final film, many portions of this cue were dialed out to let the scenes play with no music. The first appearance of the Main Theme and Narada Theme both go missing. The music for the conversation between George and Robau is replaced by a rescored insert.


3. Hack To The Future / - 1:23 - 1-03
Nero interrogates Robau about Spock and his spaceship over tense strings. Nero's Theme is introduced, played on a distorted erhu.

In the final film, the erhu is mixed out


4. Nailing The Kelvin / - 2:10 - 1-04 or OST 2
The cue begins as soon as the action cuts back to the Kelvin Bridge as "Terminated" flashes on the screen after Nero kills him. The music is fast paced and energetic as the Narada opens fire on the Kelvin. Nero's theme returns, now played in a big way with brass, over an exterior shot of the Kelvin getting nailed with laser blasts. George Kirk orders a full evacuation of the ship, and the music only quiets as George and his wife Winona talk over intercom. Strains of the Main Theme are heard slightly as Winona clutches her stomach and enters the shuttle. This cue was written to dovetail directly into....


5. Labor of Love / - 2:51 - 1-05 or OST 3 (clean ending)
Strings underscore Winona's labor as George sets a collision course to ram the Kelvin into the Narada. The music reaches its peak as James Kirk is born, then George and Winona have one last conversation and decide on a name for their son just before the Kelvin rams into the Narada as the music peaks again.


6. Star Trek - 0:46 - Unreleased
As Labor of Love is fading out, the Main Title cue begins, continuing as the film's title appears on the screen. Chris Tilton: "The very first version of the Star Trek logo actually had the main theme rhythm and then a quick loud statement of the main theme, but it wasn't as drawn out as the Enterprising Young Men version."

This cue was rejected, and a second version was recorded featuring Alexander Courage's Star Trek Fanfare. That was also rejected, and an edit of "Enterprising Young Men" was used instead.


7. Head To Heart Conversation - 1:08 - 1-07


All but the final 16 seconds were dropped from the final film.


8. One Proud Mother - 1:38 - 1-08
The erhu is used for the first time as Spock's father Sarek talks to a very young Spock about destiny, then the film transitions to adult Spock seeks advice from his mother about his future. Spock's Theme is introduced on the erhu when he asks his mother if he should complete the kolinahr.

In the final film, the first 24 seconds of the cue were dropped.


9. Hella Bar Talk - 1:55 - 1-09
After a mostly unscored bar conversation, Pike dares Kirk to do better than his father as he leaves the bar. Kirk ponders things and plays with a miniature starship model, and then he is next seen on his motorcycle observing a starship being built in Iowa. The next morning, he rides into the Starfleet shipyard as the Main Theme plays, and he turns in his motorcycle and boards the shuttle to the Academy.

Extra percussion recorded by Chris Tilton was added to the final film mix of this cue. An alternate version with a newly recorded horn solo turned up on the original soundtrack release.


10. The Flask At Hand - 0:36 - Unreleased (0:05) / 1-10
Kirk and Bones take off for the academy.

This entire cue was dropped from the final film, replaced by most of "Star Trek v2"


11. Welcome Back, Spock - 1:09 - 1-11 (Choir and distorted erhu unreleased, D.E. track contains a loop as well)
A new, quieter version of Nero's theme is heard on a close-up of Nero's face 3 years later. The distorted erhu returns for a run-through of Nero's Theme as well Spock Prime arrives backed up by choir and Nero orders his capture.

In the final film, the erhu was mixed out. Also when Spock Prime arrives, the cue is slightly looped. The Varese Deluxe Edition matches this film edit, except the choir is also missing.


12. Vulcan Gets a Good Drilling - 1:30 - 1-12
The cue begins after Spock's line "A Captain cannot cheat death" and continues over Spock's explanation of the purpose of the Kobayashi Maru test. The trial is interrupted as a distress call from Vulcan arrives and all cadets are ordered to report to the hangar for assignment. Nero's Theme returns in a bold, menacing way with metallic percussion as we see the Narada has parked itself over Vulcan. From the surface, Spock's mother Amanda sees that it is drilling directly into the surface of the planet.

In the final film, the first part of the cue segues directly into Hangar Management, as the drill sequence was moved until just before The Enterprise arrives at Vulcan. Additionally, the scene was re-edited so that the scene with Spock's mother appears first, then the bold statement of Nero's theme for a shot of the Narada in orbit over Vulcan, which is followed by an editorially created scene where new dialogue letting Nero know seven Federation ships are on their way is placed over footage from the deleted Klingon subplot.


13. Hangar Management / - 2:46 - 1-13
The Cadet's Theme is introduced over an establishing shot of the hangar, then the Main Theme plays as Kirk finds out his name was not called for assignment. It plays again as he asks an officer for clarification. A warmer version of the full Main Theme plays as Kirk and Bones say good bye.

The Main Theme returns again as Uhura and her roommate get their assignments. Uhura convinces Spock to re-assign her to The Enterprise with him as a playful version of Spock's Theme is heard. Bones injects Kirk with a vaccine as the underscore reaches one of its most comedic moments. After Bones convinces the officer stationed outside The Enterprise to let them both on board, the music segues immediately to...

Extra percussion recorded by Chris Tilton was added to the final film mix of this track.


14. Enterprising Young Men - 3:28 - 1-14 [0:00-2:39] / Unreleased (0:21) / 1-14 [2:39-end]
As the shuttles depart San Francisco, the Main Ostinato returns for the first time since its brief appearance under the opening logos. The Secondary Ostinato debuts as Kirk and Spock look out the shuttle window. The shuttles arrive at an orbitting space station, and as soon as we see the first shot of the Enterprise in dock, the Main Theme is played as a glorious fanfare. On board the Enterprise, the B Theme is played for the first time as Bones leads Kirk past Spock, then the B Theme and Spock's Theme are played together as Spock takes the elevator to the bridge. As he walks onto the bridge, the Main Theme plays, then plays again along with the B Theme as Pike gives a brief speech to the bridge crew.

The Main Theme continues, now mixed with the Cadet's Theme as the whole fleet clears space dock and enters Warp... except for the Enterprise. Quiet strings hits play as Sulu tries to figure out why they did not take off. After Sulu figures it out, the Enterprise takes off with a brief run of the Main and Secondary Ostinatos.

In the final film, this cue was slightly extended with a quick loop as the shuttle enters the docking bay. The quiet string hits leading into the ostinatos are dialed out. In addition, extra percussion recorded by Chris Tilton was added.




15. Flying Into A Trphlthdl - 3:22 - 1-15
After Chekov's briefing, Kirk wakes up, talking about the "lightning storm in space" that Chekov mentioned in his briefing. Kirk races to find Uhura as the music picks up pace. A crescendo is reached as Kirk and Uhura confirm that a Romulan ship was responsible for a mysterious attack on the Klingons.

Uhura confirms for Pike that she intercepted the report of the Klingon attack as strings enter the soundtrack. The pace begins to pick up as Uhura takes over for the current communications officer, and word arrives that there are no transmissions coming from Vulcan. Pike orders shields up and the music cuts out as soon as the Enterprise exits warp into a massive field of debris made up of the destroyed Federation ships.

In the final film, the middle of the first half of this track is replaced by music tracked from "Run and Shoot Offense." The cue is split in two since the Vulcan drill scene was moved here.


16. Nero Sighted - 3:23 - 1-16 or OST 6 (Choir unreleased)
Pounding percussion-based action music enters after the Enterprise makes some evasive manuvers, and The Narada Theme makes its last appearance as the Narada opens fire. Spock announces that communications and transporter abilities are jammed. The Narada is set to deliver a final blow to the Enterprise when Nero recognizes the Enterprise on viewscreen. Nero hails the Enterprise and demands that Captain Pike come aboard the Narada for negotiations over some tense underscoring. After Nero signs off, several of the bridge crew speak their mind, and the Main Theme plays quietly as Pike says he understands that he will likely die on board the Narada. He asks for any officers that have advanced hand-to-hand combat and Sulu volunteers. Nero's Theme plays as the camera pulls back from the bridge, through the window, into space where the Enterprise is seen dwarfed by the immense size of the Narada.

In the final film, this cue is shortened by almost a minute, as scenes were deleted after scoring (the first performance of Nero's Theme, heard at 0:45 on the CD, does not appear in the film) Also, the music is dialed down briefly after Nero puts a hold on the attack of the Enterprise as he see's the ships name on his viewscreen. The music for the beginning of Pike and Nero's conversation is also dialed out. Choir recorded for this cue went unused in the final film as well.


17. Matter? I Barely Know Her! - 2:05 - 1-17
Nero tells a crew member to prepare the red matter, and Nero's Theme plays as the Romulan makes his way to Spock's ship to grab some and inject it into a projectile weapon. Back on the Enterprise, Pike instructs Kirk, Spock, and Sulu of his plan to have Kirk, Sulu and Olsen space jump down to the drill platform to disable the drill and restore transporter and transmission capability.

Spock's Theme is quickly heard as Pike promotes Spock to Acting Captain, and the Main Theme is heard quickly as Kirk is promoted to First Officer. The Main Ostinato returns as Kirk, Sulu, and Pike enter a turbo lift, then another quick version of Spock's Theme is heard as Spock returns to the bridge and learns that McCoy has taken over as the ship's primary doctor. The music immediately segues to:


18. Jehosafats - 3:02 - 1-18
The A Team boards the shuttle, and the music starts building during a brief conversation between Kirk and Olsen before a cymbal crashes changes the tone to mysterious as the shuttle departs. Kirk and Sulu have a brief conversation about Sulu's combat experience, then the pace picks up (on a shot of Pike at the control panel), and continues at an energetic pace as our heroes gear up, approach the Narada, and get ready to jump. The Main Theme is briefly heard as Pike says "Gentlemen we are approaching the drop zone". As Pike approaches the Narada, a subdued, slow version of Nero's Theme is heard. As we cut back to the parachuters, the pace picks up and the Main Ostinato returns as they approach the platform and open their parachutes. Olsen doesn't open his chute in time, as is sucked into the exhaust port of the drill, going up in flames along with the detonators.

Several sections of this cue were dialed out in the final film. Sections from the second half were replaced by music tracked from "Welcome Back, Spock". In addition, a new opening featuring the B Theme was written (See below).


19. Chutes and Matter - 3:23 - 1-19
Kirk lands on the platform and is almost dragged off, but is able to retract his parachute in time. The pace picks up as a Romulan emerges to do battle with Kirk, and Sulu has trouble with his chute and almost ends up getting fried like Olsen. Once Sulu is safe and takes off his helmet, prepared to do battle with his sword, the Main Theme is heard briefly as a battle call. Thrilling, non-thematic action music plays as Kirk and Sulu finish their sword fights victoriously. Sulu has to rescue Kirk from the side of the platform, and the Main Theme is very briefly heard once they are safe. They then use the Romulan's weapons to destroy the drill platform's jamming abilities.

In the final film, the final portion meant for the firing of the red matter is dialed out.


20. A Whole In My Hearth - 0:56 - 1-20
After the projectile containing the red matter is released into the freshly drilled hole, the music returns as Chekov tells Spock that the red matter will create a black hole in the center of Vulcan. Spock leaves the bridge as the erhu enters the soundscape briefly, then a heroic version of Spock's Theme is heard as Chekov is given control of the bridge.


21. I've Fallen and I Can't Beam Up! - 1:51 - 1-21 (Brass and woodwinds from 0:06-0:23 unreleased)
Nero orders the drill retracted, causing Sulu to fall off the edge of the drill platform. As Kirk jumps off to save him the Secondary Ostinato returns. Kirk's parachute fails, and the Secondary Ostinato is heard again as Chekov races to the transporter room to use his expertise with manual transporter control, catching them in free fall.

In the final film, this cue was shortened to 1:20


22. Spock Goes Spelunking - 1:28 - 1-22 (Choir unreleased)
Spock enters the transporter room and beams down to Vulcan, and this cue begins as he appears. Chorus is heard as he races into the High Council's chamber. He brings them outside, where pounding drums heighten the tension as they have seconds to make it before the ground falls out beneath them. The cue ends as Spock's mother Amanda falls just before beaming is complete.

The Deluxe Edition contained a version of this cue with the choir omitted.


23. An Endangered Species - 3:09 - 1-23
Onboard the Enterprise, everyone has made it back except Amanda as sad strings play. Spock walks off and the chorus returns as Vulcan is consumed by its black hole and the Enterprise takes off. The Vulcan Theme is introduced during this sequence. Spock enters a log entry about the recent developments, as the erhu returns, almost playing Spock's Theme but never quite able to. Shards of the Main Theme are also heard as he exits the bridge. Uhura follows him into the elevator

Uhura tries to ease Spock's suffering as the two kiss and hug. Spock lets Uhura know the only thing he needs is for everyone to continue performing admirably.

In the final film, a portion in the middle is briefly dialed out, splitting the cue in two.


24. Galaxy's Worst Sushi Bar - 2:14 - 1-24
On board the Narada, Nero tries to get the subspace frequencies of Starfleet's protection grids surrounding Earth from Captain Pike. Pike refuses, and Nero tells him the story of his life before Romulus was destroyed. He tells Pike his plans to destroy all the planets in the federation, then grabs a Centurian Slug to get Pike to give him the information he wants. The erhu plays a warped version of Nero's Theme.

Chris Tilton described the use of the erhu in this track in this thread: "The Erhu was used in several instances for the Romulans, only the Romulan version has had added effects on it (a delay and probably some other minor distortion or EQ). Giacchino did this on purpose because both the Romulans and Vulcans are related. "

In the final film, the erhu is mixed out


25. Mandatory Leave Of Absence - 1:19 - 1-25
On board the bridge of the Enterprise, the crew discusses the alternate reality they've found themselves in, and Spock decides to regroup with the rest of Starfleet. When Kirk argues that they should be chasing Nero, Spock has him removed from the ship by jettisoning him to Delta Vega as the Main Theme is briefly heard.


26. Dad's Route To School - 0:34 - 1-26
Kirk exits his escape pod and climbs an icy wall and examines his new surroundings


27. Frozen Dinner - 1:30 - 1-27
On his way to the Federation outpost, Kirk is chased by two different monsters. The whole orchestra gets a workout as Kirk narrowly avoids being eaten, runs into a cave, and the bigger monster is chased away by a mysterious stranger wielding fire

In the final film, this cue was shortened to 1:17


28. You Snowin' Me? - 0:50 - 1-28
The mysterious stranger is revealed to be Spock Prime, and Spock's Theme plays on the erhu when we see his face.

In the final film, this cue was shortened to 0:35


29. Nice To Meld You - 3:14 - 2-01 or OST 7 (Choir unreleased)
Spock Prime relates the story of how he and Nero came to be in the current time period through a mind meld with Kirk. The supernova that destroys Romulus is seen, as well as the Narada and Jellyfish being pulled into the black hole. The Vulcan Theme is re-introduced as Spock Prime is seen on Delta Vega after Nero banishes him there.

In the final film, the first 2 minutes and 20 seconds of the cue are either dialed out or barely audible. The ending of the cue, featuring Spock Prime walking down the exit ramp of the Jellyfish onto the Narada and then watching the destruction of Vulcan from Delta Vega, is the only portion heard prominently, though the choir is removed.. Both released soundtracks omit all the choir intended for the cue.


30. Hail To the Chief - 0:50 - 2-02
Scotty's alien buddy lead Kirk and Spock Prime down the outpost's hallways over some fun and mischievous music in this short cue.


31. I Gotta Beam Me - 2:02 - 2-03
After Spock Prime gives Scotty his equation for trans-warp beaming, he tells Kirk that him and Scotty must warp to the Enterprise without him over some warm string-based music. Spock's Theme is hinted at as he tells Kirk about Starfeet Regulation 619 - "Any command officer who is emotionally compromised by the mission at hand, must resign said command" He tells Kirk to get young Spock to show he is emotionally compromised, and the Main Theme returns as Kirk ponders this and then enters the transport deck with Scotty. As Spock Prime tells Kirk to "live long, and prosper", Spock's Theme is heard.

In the final film, this cue was shortened to 1:43


32. Scotty's Tanked - 1:39 - 2-04
Scotty has been transported into the Enterprise's water recirculating system, and Kirk races to find a way to save him. The Main Theme is quickly heard over a shot of Scotty shooting sideways through a pipe. Finally Kirk opens a release valve which drops Scotty to safety.

Spock sends security to capture the intruders. The Main Theme is heard as Kirk and Scotty race over catwalks to get away. One of the Starfleet officers Kirk beat up in the bar in the beginning of the movie says "Come with me, cupcake!"

Extra percussion recorded by Chris Tilton was added to the final film mix of this track. Additionally, a small portion was dialed out, separating the cue in to two pieces.


33. What's With You? - 2:12 - 2-05
Kirk tries to get an emotional response out of Spock by needling him about his planet's destruction and the death of his parents. His plan works, and Spock initiates a fist fight that ends with Kirk's throat in Spock's tight grip. This is all scored with tense strings that climax just before Spock releases him. Spock relinquishes himself of command and exits the bridge.


34. Either Way, Someone's Going Down - 1:48 - 2-06 [0:00-1:48]
After Kirk takes the captain's chair, he addresses the crew as the Main Theme plays quietly. In the transporter room, Spock's Theme plays on the erhu as he talks to his father.


35. A Half-Vulcan With A Plan - 0:55 - 2-06 [1:48-end]
Chekov relays his plan to hide from Nero in the magnetic field caused by Saturn's rings during an un-scored scene. Spock returns to the bridge as the Main Ostinato returns to speed the action along. The Main Theme plays under Spock's line "Also my mother was human, which makes Earth the only home I have left", then the Main Ostinato rounds out the track as the Kirk informs Spock he will be going with him to infiltrate the Narada and steal the red matter.


36. Trekking Down the Narada - 2:31 - 2-07
After a brief un-scored scene where Nero, now over Earth, orders the drill to be prepared, the Enterprise exits warp into the the magnetic field. The Cadet's Theme returns for the first time since the Enterprise left Earth, but quickly transitions to the Main Theme as the Enterprise rises above the magnetic field. Some pulsing percussion briefly enters as Kirk and Spock make their way into the transporter room, then the Main Theme is heard as Spock says goodbye to Uhura and Kirk finally learns her first name. A new ostinato plays quickly then Kirk and Spock beam out, presumably to arrive in an empty cargo bay onboard the Narada.

In the final film, the scene was edited down, so the statement of Nero's Theme at the beginning is completely absent. The shortened cue runs 1:51


37. Run and Shoot Offense - 2:04 - 2-08 or OST 8
Kirk and Spock do not emerge in an empty cargo bay, but in a room full of Romulans and must do battle. After a brief skirmish set to a pounding percussion based action cue reminiscent of some of Giacchino's work on LOST, the Main Theme is heard as Kirk covers Spock so so he can mind meld with a Romulan to learn where the red matter is. The Vulcan Theme returns, played on the erhu during the mind meld, then in a full orchestral version as Nero's drill begins drilling into San Franciso Bay and the Starfleet Academy cadets run ouitside.

In the final film, the music for the beginning skirmish is dialed out. It also appears that the scene was re-edited after scoring, as it runs longer in the film than on the CD.


38. Does It Still McFly? - 2:02 - 2-09 or OST 9 (Choir unreleased)
The Vulcan Theme plays on violins as Kirk and Spock make their way on his ship. It continues on flute as Spock examines the ship, and the ship recognizes his voice. The Main Theme is briefly heard as Kirk says "huh, that's weird!". As they discuss their plan Spock's Theme is hinted at on string. After Kirk leaves Spock to fly the ship, the Main Ostinato and Main Theme returns as he sits down and prepares to launch. As the ship takes off a new melody is introduced (that is beefed up in the film with a choir overdub that is not included on the soundtrack) that plays over a modified, driving version of Spock's Theme on brass.

Both released soundtracks contain a version of this cue with the choir omitted.


39. Nero Death Experience - 5:38 - 2-10 or OST 10
Kirk makes his way towards Captain Pike but runs into Nero and a minion. After a scuffle in which Nero appears to get the upper hand, we cut to Spock manning Spock Prime's ship, using it to destroy a section of the Narada so that he can escape as the new melody introduced in the prior track returns. Choir enters as he emerges and heads for the drill. Back inside, Nero has Kirk dead to rights. Outside above Earth's orbit, Spock prepares to destroy Nero's drill to fast action music with more choir. Spock's Theme is heard as he opens fire on the drill and detaches it from the Narada. When Nero learns his drill has been destroyed, he leaves Kirk - however, his minion is still there to keep Kirk at bay. Nero orders his men to fire on Spock, despite the fact that it could ignite the red matter. More choir is heard throughout these scenes, as well as a brief appearance of the new finale melody again.

Spock warps away, getting the Narada to follow, into space and away from Earth. Kirk jumps off a platform to escape Nero's minion, and only barely grabs the edge of a platform and attemts to pull himself to safety. The fast space music returns as Spock and the Narada emerge from warp. The chorus returns as Spock circles around and sets a collisoin course to with the Narada, with The Vulcan Theme returning for one last emotional appearance as the ship computer warns him about his collision course, but Spock accepts his fate. Nero launches "everything" at Spock, but the Enterprise comes in just in time to save the day as the Main Theme plays as a triumphant fanfare mixed with choir.

Back in the Narada, Nero's minion has picked up Kirk and is about to kill him - but Kirk is able to get his gun and kill him as choir briefly returns, then Kirk blasts his way to Captain Pike and the Main Theme plays again, quicker and quieter this time, as Kirk sets him free. Kirk, Spock, and Pike beam out, and Spock Prime's ship crashes into the Narada.

In the final film, the sequence with Kirk killing the Romulan with his own gun got moved to earlier, before the scenes with Spock and the Narada in deep space. As a result, the music was edited and moved around. Also, the fanfare when the Enterprise shows up to save the day is replaced by music tracked from Enterprising Young Men, though the chorus from this cue is still used over it.


40. Nero Fiddles, Narada Burns - 2:28 - 2-11 or OST 11 (clean ending)
Spock, Kirk, and Pike emerge on The Enterprise in the transporter room as the B Theme returns for the first time since the beginning of the film, followed by the Main Theme. On board The Narada, a black hole begins to form from the red matter as strings and choir blend to enhance the mysterious nature of it. Kirk hails The Narada and offers help. Spock pulls Kirk aside and The Main Theme is heard on strings as Spock asks Kirk what he's doing. Kirk states that showing compassion may be the only way to make peace with the Romulans, and that he thought Spock would like it as it is logical. Spock says "not this time", and then Nero denies help anyway as the Main Theme plays in an odd, evil variation briefly. Kirk fires "everything" on the Narada, and the Cadet's Theme returns in a triumphant setting as the Narada is pulled into the black hole. The Main Theme returns, but quickly goes away as The Enterprise is almost sucked in as well!

In the final film, the string and choir based music for the scene where the red matter opens the black hole is dialed out, and the scene plays with no music instead. For the Narada's final destruction, the orchestra is dialed out almost completely, along with the sound effects, which allows the choir singing the Main Theme to take over the soundscape to a quite glorious effect, before rejoining the original cue with its Cadet's Theme / Main Theme combo.


41. Black Holes Have a Lot of Pull - 0:55 - 2-12 (Choir unreleased)
The Enterprise's warp drive is not enough to escape the black hole's pull, but Scotty comes up with a plan to eject the warp core and use it's wake to push the Enterprise away from the black hole. The fast, frenetic music highlights the intensity of the scene and comes to and end just before the warp cores explode.

The Deluxe Edition contained a version of this cue with the choir omitted.

42. Back From Black - 0:57 - 2-13 or OST 12 (Choir unreleased)
Scotty's plan works, and the Enterprise is pushed to safety. A triumphant version of the Main Theme makes up the bulk of the track.

Both released soundtracks contain a version of this cue with the choir omitted.


43. That New Car Smell - 4:46 - 2-14 or OST 13
Sometime later, back on Earth, Spock meets Spock Prime and they have a conversation as Spock's Theme plays on erhu for the last time in the score. Spock Prime urges Spock to remain in Starfleet while he works to find a new home for the stranded Vulcans in the galaxy. The Main Theme is heard as Spock Prime says goodbye and wishes Spock good luck.

The Main Theme continues as Kirk receives an accommodation in Starfleet and assumes command of The Enterprise, relieving Captain Pike of command. The Enterprise is getting ready to depart, and as its new captain enteres the bridge, the Main Ostinato returns, with the Main Theme played quickly on trumpet as he looks around. As he sits down in his chair the Main Theme returns, then Spock's Theme plays as he too enters the bridge. As he submits his candidacy for first officer to Kirk, the Cadet's Theme plays for one last time, as our heroes have now all done their part and banded together to face new trials.

In the final film, the erhu is mixed out, and the ending is replaced by tracked music.

44. To Boldly Go - 9:37 - 2-15 / 2-16 or OST 14 / OST 15
Alexander Courage's Star Trek Fanfare enters the score for the first time as Spock Prime reads the Enterprise's mission statement over shots of The Enterprise taking off.

The lengthy end credits suite can be broken down into these parts:
  • 0:00-2:10 a new rendition of Alexander Courage's Star Trek Theme. Also featured are the Secondary Ostinato (0:20-0:26 and 0:47-0:55), Main Theme (0:55-1:19), [b]Main Ostinato[/b] (1:19-1:22), and [b]Star Trek Fanfare[/b] (1:22-1:39)
  • 2:10-4:43 [b]Spock's Theme[/b], in a quiet more elegant rendition for the first half (2:10-3:32), and a rousing action variation mixed with the [b]Main Ostinato[/b] in the second half (3:32-4:43)
  • 4:43-5:00 the [b]Main Theme [/b]followed by original material
  • 5:00-5:45 the beginning of the cue "Matter? I Barely Know Her!", which features [b]Nero's Theme. [/b]Additionally, from 5:40-5:45 a section from "Jehosafats" is used.
  • 5:45-6:29 original material featuring the [b]Main Ostinato [/b]and [b]Secondary Ostinato[/b]
  • 6:29-7:19 original material featuring the [b]Main Theme[/b]
  • 7:19-7:58 original material featuring the [b]B Theme [/b]and [b]Cadet's Theme[/b]
  • 7:58-8:43 original material featuring the [b]Main Theme[/b]
  • 8:43-end Alexander Courage's [b]Star Trek Fanfare [/b]and a brief appearance of the [b]Main Ostinato[/b]
And additional crescendo appears in the final film, though it is unknown if it was recorded by Giacchino or something the sound team put together.



[b]Rescores:[/b]

45. [b]Opening [/b]- 1:01 - [b]1-01 [0:00-1:01] or OST 1 (clean ending)[/b] *Note: Varese mis-labeled this track as "Star Trek" on both releases.
Giacchino introduces his [b]Main Theme[/b] on solo horn over the opening Paramount, Spyglass Entertainment, and Bad Robot logos. As the Bad Robot logo appears, the [b]Main Ostinato[/b] is heard momentarily for the first time. This cue replaced the first minute of "Narada Bing".

The reason for this replacement cue was noted by Chris Tilton in this thread: "The horn theme intro was recorded much later, because they had edited the film down (which made it better) in such a way that several moments of the main theme were removed, so Michael felt like there weren't enough statements early on to, what I presume, earn the moment they arrive at the Enterprise. The opening of the film is still the same, he just changed the music. The build towards the end of the opening contains elements from the original, which actually continued on over the ship and the arrival of Nero, which had a more creepy tone to it, than the big Nero theme that they tracked in later (which I think ended up working quite well). "


46. [b]Narada Boom [/b](Insert) - 0:50 -[b] Unreleased[/b]
A brief insert was recorded covering the bridge scene when one of Nero's crew sends the message to Robau, and them him and George walk to the shuttle bay and Robau places him in command. The rescore features more militaristic drumming than the original, and omits the brief introduction of the main theme.


47. [b]Star Trek v2[/b] - 0:46 - [b]Unreleased[/b]
Chris Tilton described this version as "The logo is just some chords that build into that choir bit with the TOS fanfare notes. " The beginning of this can be heard in the actual film as the shuttle with Bones and McCoy takes off for the academy, replacing "The Flask At Hand". The rest can be heard in the DVD's special features.


48. [b]Star Trek v3[/b] - 0:46 - [b]I-6[/b] *Note: Varese mis-labeled this track as "Main Title"
This is an edit of "Enterprising Young Men", and can be heard in the final film as well as the Deluxe Edition on track 6 of disc 1.


49. [b]Hella Bar Talk[/b] (With Horn Solo) - 1:55 - [b]OST 4
[/b]The original soundtrack released by Varese contains an alternate mix of this track with horn solo mixed in that, according to Chris Tilton in this thread, was added late in the recording stages. It was not used in the film.


50. [b]Jehosafats[/b] (Alternate Opening) - 0:18 - [b]Unreleased
[/b]
This short revised opening features the B Theme as our heroes board the shuttle.


In addition to my analysis, you can find Datameister's complete analysis here

Edited by Jason LeBlanc, 04 May 2011 - 01:57 PM.


#2 Incanus

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Posted 12 May 2009 - 05:45 AM

Great work Jason:)
Even though I am not a biggest fan of the score and am not crazy about the main theme the score has really grown on me in the past few listenings. Seeing how the middle portion of the score is neglegted on the album makes me wonder if including that music might have raised my opinion about it. Any great music there we are missing?

Ars superior est vita hominum.

 

"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-

 

I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-


#3 Jay

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Posted 12 May 2009 - 05:52 AM

I'll break down all the film cues, including what themes are in them all, etc later. Right now it's bed time :D

But yes, the whole section of music from the drill platform fight through Spock's log was great, as is the the film version of Narada Burns

#4 Saxbabe

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Posted 12 May 2009 - 05:54 AM

IIRC, #23 & 24, the Drill Platform cues were big ones I was hoping would be on the CD, but I see they're not...bummer. They should have been.

EDIT: Me and Jason posted almost the same thing at the same time. That is good music!

"He used to down an entire bottle of firewhisky, then run onto the dance floor, hoist up his robes, and start pulling bunches of flowers out of his--"
"Yes, he sounds like a real charmer"
"Never married, for some reason."


Harry Potter and The Deathly Hallows - J.K. Rowling
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"Only music can make the audience believe what they see. Only music can make fantasy reality." - John Williams


#5 Datameister

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Posted 12 May 2009 - 05:59 AM

You're an animal, Jay! Thanks for your hard work.

#6 Jay

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Posted 12 May 2009 - 06:03 AM

The album really favors the action tracks, and is therefore very lopsided. There's so many quieter bridging cues missing that would make for a more well rounded listening experience...

#7 Datameister

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Posted 12 May 2009 - 06:12 AM

That's a pity. Oh well. By the time the DVD comes out, I'll really be itchin' for a new complete soundtrack project, so I'm sure it'll be lots of fun. :D

#8 Bryant Burnette

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Posted 12 May 2009 - 06:27 AM

Very nice.

Can't wait until somebody leaks the whole thing.

#9 Incanus

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Posted 12 May 2009 - 06:38 AM

Very nice.

Can't wait until somebody leaks the whole thing.

Hush! To discuss such an act is a villainous thing. It is to suggest someone would be so underhanded and create...*gasp* dare I say it... A BOOTLEG!














:D

Ars superior est vita hominum.

 

"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-

 

I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-


#10 Datameister

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Posted 12 May 2009 - 07:22 AM

You said the B word. I'm telling.

#11 Wojo

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Posted 12 May 2009 - 11:34 AM

Don't call it a boot. Call it a high-necked leather foot warmer.

Maybe Paramount plans to sell an album entitled "More Music from Star Trek," featuring fifteen additional minutes of score, some dialogue tracks, special effects, and a Tiesto remix of the end credits. Oh, one can hope!

#12 Richard Penna

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Posted 12 May 2009 - 11:46 AM

I don't care how it surfaces, but I want that addtional music!

That cue list is a shock actually, I didn't expect there to be as much missing as that.

#13 SithTyrann

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Posted 12 May 2009 - 12:22 PM

isnt the main title just part of track 5 "enterprising young men" ? or is it a variation?

#14 Jay

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Posted 12 May 2009 - 12:25 PM

In the film it appears to be entirely tracked from "Enterprising", but who knows if he wrote an original Main Title that got replaced, or he never wrote one *shrug*

#15 guest

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Posted 12 May 2009 - 01:35 PM

I believe Chris tilton mentioned over at FSM that there were several takes of the Main Titles.

FSM Link


Also the end credits were edited down to a shorter version in the film.

#16 sandman609

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Posted 12 May 2009 - 01:48 PM

Fantastic Jason. Appreciate the work. It really is a shame so much of the lower key stuff was left off. Really would've helped the album.
I personally really enjoyed the music in the film and look forward to the eventual.... high-necked leather foot warmer.....

#17 The_Trout

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Posted 12 May 2009 - 02:14 PM

It's a shame that half the soundtrack is missing, though that's really par for the course on Star Trek soundtracks, isn't it? Oy.

On the other hand, "Does It Still McFly" is the greatest Giacchino track title ever. It's finally topped "Booneral" in my mind.

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#18 Eblobulator

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Posted 12 May 2009 - 05:51 PM

Thanks for your hard work Jay! I was wondering if the CD was in film order or not.

Edit: Hopefully the game for the movie will contain the remaining 45 minutes of missing music.

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Kathryn Janeway: "Time travel. Since my first day on the job as a Starfleet Captain I swore I'd never let myself get caught in one of these godforsaken paradoxes - the future is the past, the past is the future, it all gives me a headache."
 

#19 king mark

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Posted 12 May 2009 - 06:42 PM

i also want an eventual high-necked leather foot warmer

#20 Maxxie

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Posted 12 May 2009 - 06:47 PM

Me too, and I haven't even seen the film yet! :thumbup:
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#21 Diego

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Posted 12 May 2009 - 07:00 PM

Yesterday the OST was the number 1 album on iTunes, perhaps if it sells well enough there'll be another release with more music.
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#22 Jay

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Posted 12 May 2009 - 07:04 PM

A Vol 2 release would be somewhat disjointed, with all the climax and denouement music already on Vol 1...

#23 Charlie Brigden

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Posted 12 May 2009 - 07:22 PM

Nice work, Jay!
Repeat the JWFan pledge after me: 'I hereby recognise John Towner Williams' place in the world as the great composer there has ever been, and I therefore renounce the works of Rozsa, Korngold, Herrmann, Horner, Kamen, Giacchino (unless the prophecy is fulfilled and he becomes the heir to JTW) and Goldsmith, especially Goldsmith. I understand that if I ever refer to Jurassic Park as anything less than "a masterpiece sixty-five million years in the making" I will be resigned to living out my days at the Zimmershrine.'

#24 Luke Skywalker

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Posted 12 May 2009 - 07:30 PM

A Vol 2 release would be somewhat disjointed, with all the climax and denouement music already on Vol 1...


i wouldnt care about that at all :P

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#25 John Crichton

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Posted 12 May 2009 - 09:01 PM

Thanks Jason. I'm gald the CD is in order like I thought it was, that's less work now. But I'm going to be busy when the DVD comes out.
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#26 Taikomochi

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Posted 12 May 2009 - 09:12 PM

A Vol 2 release would be somewhat disjointed, with all the climax and denouement music already on Vol 1...


i wouldnt care about that at all :lol:


Maybe iTunes bonus tracks. That would be awesome. I especially want the Drill music and the film version of "Nero Fiddles, Narada Burns".

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#27 Indiana_Fett

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Posted 12 May 2009 - 11:02 PM

On the other hand, "Does It Still McFly" is the greatest Giacchino track title ever. It's finally topped "Booneral" in my mind.


Is that a BTTF reference?

#28 Richard Penna

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Posted 12 May 2009 - 11:10 PM

I thought it was a "does it still fly?" reference with a scottish twist...

#29 Joey

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Posted 12 May 2009 - 11:12 PM

Im glad the end titles is there, the Alexander Courage music is the best music in the film.
If it isn't high concept the it's not worth watching believed the pseudo superior one.

#30 Richard Penna

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Posted 12 May 2009 - 11:30 PM

Good? Heck yeah. Best music on the album? No.

BTW, the Main Titles are a 45-second edit of Enterprising Young Men. (I've 'obtained' the exact edit used - you know what to do).

#31 Koray Savas

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Posted 13 May 2009 - 12:28 AM

I believe Chris tilton mentioned over at FSM that there were several takes of the Main Titles.

FSM Link


Also the end credits were edited down to a shorter version in the film.

He posts at FSM? I wish he came back here!


As for the Main Titles, it's a 45 second edit of Enterprising Young Men. I mentioned it earlier in a different Trek thread. Oh, and where the hell did this complete cue list with track times come from??

#32 The_Trout

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Posted 13 May 2009 - 12:36 AM

On the other hand, "Does It Still McFly" is the greatest Giacchino track title ever. It's finally topped "Booneral" in my mind.


Is that a BTTF reference?


Given that they're inspecting a spaceship that came back from the future, I'd say yeah, it's a BTTF reference. :cool:

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#33 Delorean90

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Posted 13 May 2009 - 03:46 AM

Jason, do you have a rough idea as to where tracks 2 and 3 are supposed to flow together, as well as 10 and 11?

#34 Jay

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Posted 13 May 2009 - 05:24 AM

where the hell did this complete cue list with track times come from??

From me watching the movie and noting down the times that the cues begin and end, then making up titles for them all. Same thing Mr Takis and I do with every new Williams score that comes out


Jason, do you have a rough idea as to where tracks 2 and 3 are supposed to flow together, as well as 10 and 11?

Tracks 2 and 3 are very straightforward. You can tell just from listening to the CD how they were supposed to line up... the final note of track 2 starts at 2:01, and that's what the first note of track 3 would overlap.

As for tracks 10/11, in the film it basically cuts right from about 5:28 of track 10 to about 0:01 of track 11.... the ending of track 10 and the beginning of track 11 are basically just tiny tidbits to make each cue make musical sense on their own when listening to them uncombined

Hope that helps!

#35 Indiana_Fett

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Posted 13 May 2009 - 05:30 AM

On the other hand, "Does It Still McFly" is the greatest Giacchino track title ever. It's finally topped "Booneral" in my mind.


Is that a BTTF reference?


Given that they're inspecting a spaceship that came back from the future, I'd say yeah, it's a BTTF reference. :cool:


Gotcha. Didn't get that part at first.

#36 Koray Savas

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Posted 13 May 2009 - 06:46 AM

where the hell did this complete cue list with track times come from??

From me watching the movie and noting down the times that the cues begin and end, then making up titles for them all. Same thing Mr Takis and I do with every new Williams score that comes out

You did all that in a theater?! :cool:

#37 Jay

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Posted 13 May 2009 - 12:24 PM

Of course not. When I saw the film in the theater, I simply enjoyed my movie going experience.

I'm not allowed to say what I used to get the exact timings later ;)

#38 guest

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Posted 13 May 2009 - 02:27 PM

That's why we have PM's.

#39 JanBing

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Posted 13 May 2009 - 06:01 PM

Also the end credits were edited down to a shorter version in the film.

I knew it!!!

I thought I was crazy when listening to the End Credits on the CD, as I was so sure that Goldsmith's theme came right after Courage's theme in the cinema... and on the CD there's a passage inbetween.

#40 Luke Skywalker

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Posted 13 May 2009 - 06:09 PM

Goldsmith's theme?

I'm watching the film today (YAY!)

I hope Episode III is Called 'Revenge of the Sith'




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