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Showing content with the highest reputation on 12/30/19 in all areas

  1. 2 points
    TheUlyssesian

    Thomas Newman's 1917 (2019)

    Not that I can detect. The OST is not in order obviously. I would say most of the music on either presentation is intact just the FYC is chronological. Big tracks from memory - These are the soaring thematic highlights - Major components of the main theme are developed in these cues Gehenna (OST 2) = Fly by/German Trench (FYC 3) 1917 (OST 1) = Tobacco Tin (FYC 8) Night Window (OST 5) = Night Window (FYC 10) Sixteen Hundred Men (OST 16) = From Devons to Mackinse (FYC 16) Come back to us (OST 18) = Ending (FYC 17) These are the action and suspense highlights Up the Down Trench (OST 2) = Trench to the Yorks (FYC 2) Engalnder (OST 14) = Clock Chime to River Jump (FYC 13)
  2. 1 point
    Star Wars: The Rise of Skywalker - For Your Consideration (FYC) Album 01 Prologue (1:45) 02 Falcon Flight (2:22) 03 We Go Together (2:10) 04 In the Desert (2:26) 05 A Prisoner (1:23) 06 To Kimiji (1:37) 07 Fleeing from Kimiji (1:53) 08 Hallway Shooting (2:11) 09 Hard to Get Rid Of (2:19) 10 Join Me (2:21) 11 The Old Death Star (2:14) 12 Off the Waterfront (1:03) 13 Final Saber Duel (1:38) 14 Healing Wounds (2:49) 15 Advice (1:54) 16 Battle of the Resistance (1:54) 17 Approaching the Throne (4:16) 18 Parents (1:57) 19 Coming Together (1:44) 20 Seeing Sights (3:17) 21 Rescue (1:10) 22 Farewell (4:27) 23 A New Home (1:42) TOTAL TIME - 50:32 F.A.Q.: FYC? What's that stand for? For Your Consideration. Basically, Disney setup a website where eligible voters for the various awards that are given out around the end of the year could learn where they could attend a screening of their films, see which awards the films were pushing for, and listen to selections of the score for Best Score nominations. For the films that had score selections, they are exactly what is heard in the film, and sometimes include music not on the commercial soundtrack albums! So the music here is different than the album? Yes! Some tracks are almost the same, but the structure of the FYC program is fundamentally different; It is a selection of music from the movie exactly as it appears in the final cut of the film, even if the music used in the film was edited from Williams' original intentions. This could mean that a track might contain an Insert Williams later wrote, where the OST presented his original version; or a track might contain less music than its OST counterpart of the scene was re-edited after the recording of the music, or even a track might contain some music artificially looped or stretched if a scene got lengthened after scoring. The FYC always reflects these non-intended conforms to final picture from start to finish. So does the FYC contain the complete score? Certainly not. The FYC is only 50 minutes long. Which tracks contain music that is not on the OST album? We won't know that until the OST album is available to hear. Where can I find this FYC? https://disneystudiosawards.com/star-wars-score.html https://disneystudiosawards.com/star-wars-rise-of-skywalker/score In case Disney later removes this page, it is archived permanently here: https://web.archive.org/web/20191210202934/https://disneystudiosawards.com/star-wars-score.html I don't see a download link there; How do I download the files from Disney's site? In case Disney ever takes the files down, they are archived permanently here: The files on Disney's site have really low bitrate of 192kbps; Is there any chance its available uncompressed somewhere? Disney should be mailing out pressed physical CDs with the FYC program to Academy music department voters sometime soon. Usually not long after that, they begin turning up on ebay, and not long after that, lossless rips appear online. NOTE: It is against the board's rules to ask for a lossless rip in the public forum. Use the PM System or go to other websites for that discussion! Posts asking for illegal downloads will be deleted! Alright, so what's on the FYC album that is not on the OST album? 01 Prologue (1:45) [0:00-0:07] (0:07) = alternate mix of OST 02 Journey to Exegol [0:47-0:50] [0:07-0:26] (0:19) = OST 02 Journey to Exegol [1:02-1:20] [0:26-0:28] (0:02) = OST 02 Journey to Exegol [1:24-1:25] [0:28-0:36] (0:08) = OST 02 Journey to Exegol [1:31-1:40] [0:36-0:56] (0:20) = OST 02 Journey to Exegol [2:13-2:33] [0:56-1:28] (0:32) = NOT ON OST (Tracked music, an alternate for Rey arriving at Exegol late in the film) [1:28-1:37] (0:09) = tracked music from OST 01 Fanfare and Prologue [1:44-1:52] [1:37-end] (0:07) = NOT ON OST (Tracked music from Hard To Get Rid Of 1:58-2:01) 02 Falcon Flight (2:22) [all] = NOT ON OST 03 We Go Together (2:10) [all] = OST 09 We Go Together [0:00-2:33], with minor edits, but a proper clean ending 04 In the Desert (2:26) [all] = NOT ON OST 05 A Prisoner (1:23) [all] = NOT ON OST 06 To Kimiji (1:37) [all] = NOT ON OST 07 Fleeing from Kimiji (1:53) [0:00-1:35] (1:35) = OST 08 Fleeing From Kijimi [0:00-1:33], with minor edits [1:35-end] (0:18) = NOT ON OST (Full clean ending of the cue) 08 Hallway Shooting (2:11) [all] = NOT ON OST 09 Hard to Get Rid Of (2:19) [all] = NOT ON OST 10 Join Me (2:21) [0:00-1:48] (1:48) = OST 10 Join Me [0:00-2:05], shortened in numerous places [1:48-2:03] (0:15) = tracked music from The Battle of the Resistance [2:03-end] (0:18) = OST 10 Join Me [3:17-end] 11 The Old Death Star (2:14) [0:00-1:14] (1:14) = OST 04 The Old Death Star [0:00-1:19], with minor edits [1:14-end] (1:00) = NOT ON OST, either tracked in from something or a replacement insert for what's on the OST from 1:19-2:21 12 Off the Waterfront (1:03) [all] = OST 04 The Old Death Star [2:21-end] 13 Final Saber Duel (1:38) [0:00-1:10] (1:10) = OST 12 The Final Saber Duel [0:00-1:05], with minor edits [1:10-end] (0:27) = NOT ON OST (The proper full ending to the cue) 14 Healing Wounds (2:49) [0:00-0:31] = NOT ON OST, definitely a replacement insert for what's on the OST from 1:05-1:42 [0:31-end] = OST 12 The Final Saber Duel [1:42-end] 15 Advice (1:54) [all] = NOT ON OST 16 Battle of the Resistance (1:54) [0:00-0:02] (0:02) = OST 13 Battle of the Resistance [0:04-0:08], shortened [0:02-end] (1:52) = OST 13 Battle of the Resistance [1:12-end], with minor edits 17 Approaching the Throne (4:16) [all] = OST 14 Approaching The Throne, with minor differences (including a pitch-shifted opening and a different ending [a different choral performance with less orchestra under it]) 18 Parents (1:57) [all] = NOT ON OST 19 Coming Together (1:44) [all] = NOT ON OST 20 Seeing Sights (3:17) [all] = OST 15 The Force Is With You [0:00-3:02], with minor difference (including a clean ending) 21 Rescue (1:10) [0:00-0:15] (0:15) = OST 15 The Force Is With You [3:02-3:16] [0:15-0:30] (0:15) = NOT ON OST (A nice section he chose to microedit out of the OST program) [0:30-end] (0:40) = OST 15 The Force Is With You [3:16-end] 22 Farewell (4:27) [all] = OST 16 Farewell [0:48-end], with minor edits 23 A New Home (1:42) [all] = OST 18 A New Home If I'm adding that up right, that's 21:10 of unreleased music! Great! Now what if I want to combine both albums together into a long expanded album? Here is a quick and dirty playlist to get the most total music possible, without using a WAV editor, just combining tracks from both into a playlist OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09 We Go Together 3:17 OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08 Fleeing from Kijimi 2:51 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 10 Join Me 3:42 OST 04 The Old Death Star 3:16 OST 12 The Final Saber Duel 3:57 FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 OST 13 Battle of the Resistance 2:51 OST 14 Approaching the Throne 4:16 FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15 The Force Is with You 3:59 OST 16 Farewell 5:14 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51 SCORE TIME - 1:26:44 BONUS TRACKS OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18 BONUS TRACK TIME - 7:41 GRAND TOTAL TIME - 1:34:25 Here is a more detailed editing guide, which you have to use sound editing software to make. THE FILM SCORE OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09A We Go Together [0:00-2:33], with the clean ending from FYC 03 We Go Together 2:10 OST 09B Arrival at Pasaana [2:33-end] OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08A Fleeing from Kijimi [0:00-1:33], with the clean ending from FYC 07 Fleeing from Kimiji 1:53 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 08B I'm The Spy [1:33-end] 1:19 OST 10 Join Me 3:42 OST 4A The Old Death Star [0:00-1:19], seguing into the revised version of the rest of the cue heard in FYC 11 [1:14-end] FYC 12 Off The Waterfront 1:03 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 4B [2:21-end] instead) OST 12A The Final Saber Duel [0:00-1:05], with the full complete ending from FYC 13 Final Saber Duel 1:38 FYC 14 Healing Wounds 2:49 [0:00-0:31] seguing into the rest of the cue from OST 12B [1:42-end] FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 FYC 01 [0:56-1:28] Rey Arrives at Exegol OST 13 Battle of the Resistance 2:51 OST 14 Approaching The Throne 4:16 (FYC 17 features a slightly different choral ending if you prefer that) FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15A [0:00-3:02] Seeing Sights, with the full clean ending from FYC 20 Seeing Sights 3:17 FYC 21 Rescue 1:10 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 15B [3:02-end] instead, but you also have to restore the 15 seconds microedited out of the OST version at 3:16) OST 16 Farewell 4:27 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51 Alternates: OST 04A [0:00-2:21] The Old Death Star (Alternate) (2:21) OST 12B [1:05-end] Healing Wounds (Alternate) (2:52) Concert Arrangements: OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18 And finally here is a Google Doc with all this information, if you prefer to look at it that way: https://docs.google.com/spreadsheets/d/1VWApmUMfiSF9gvXb3LW9QloZO-St-ITFMF-qYaNN0fw Additionally, here's a theme list I started before the OST came out, that may be a bit outdated now, but hopefully I can keep it updated at some point. 01 Prologue (1:45) 0:08 Kylo Ren's Theme 0:43 Wayfinder Theme 0:48 Kylo Ren's Theme 0:57 Anthem of Evil 1:17 Rey's Theme 02 Falcon Flight (2:22) 0:20 The Emperor's Theme 0:31 March of the Resistance 0:48 March of the Resistance 0:57 The Rebel Fanfare 1:13 We Go Together 1:30 March of the Resistance 1:47 Hyperspace from TESB moment 1:53 Heroics 2:05 The Rebel Fanfare 2:09 The Death Star is about to blow up from ANH moment 03 We Go Together (2:10) 0:14 We Go Together 1:07 Rey's Theme 1:21 The Force Theme 1:45 We Go Together 04 In the Desert (2:26) 0:24 March of the Resistance 05 A Prisoner (1:23) 1:01 We Go Together 06 To Kimiji (1:37) 0:17 We Go Together 0:31 We Go Together 0:40 The Knights of Ren Theme 1:12 Rey's Theme 07 Fleeing from Kimiji (1:53) 0:00 Heroics 0:23 Kylo Ren's Theme 0:34 Kylo Ren's Theme 1:17 We Go Together 08 Hallway Shooting (2:11) 1:22 March of the Resistance 09 Hard to Get Rid Of (2:19) 1:29 The Emperor's Theme 10 Join Me (2:21) 0:57 Anthem of Evil 1:16 Kylo Ren's Theme 1:28 Rey's Theme (dark again) 1:53 Luke's Theme 2:07 Rey's Theme 11 The Old Death Star (2:14) 0:58 The Imperial March 1:46 Poe's Theme 1:57 March of the Resistance 12 Off the Waterfront (1:03) 13 Final Saber Duel (1:38) 0:43 Kylo Ren's Theme 14 Healing Wounds (2:49) 0:40 The Force Theme 1:47 Leia's Theme 15 Advice (1:54) 1:18 sounds kinda like Rey's Theme? 16 Battle of the Resistance (1:54) 0:09 Luke's Theme 0:38 The Force Theme 1:19 The Force Theme 17 Approaching the Throne (4:16) 1:22 Rey's Theme (the dark variant again) 2:07 Wayfinder Theme 3:18 Victory Theme 3:33 March of the Resistance 18 Parents (1:57) 1:19 Kylo Ren's Theme 1:33 Kylo Ren's Theme 19 Coming Together (1:44) 0:00 The Emperor's Theme 0:11 Kylo Ren's Theme 0:22 Knights of Ren Theme 1:18 The Force Theme 20 Seeing Sights (3:17) 0:24 We Go Together 0:42 Rey's Theme (on piano!) 1:44 Rey's Theme 1:57 Kylo Ren's Theme 2:20 The Emperor's Theme (with bad-ass choir!) 2:49 The Force Theme 21 Rescue (1:10) 0:02 Victory Theme 0:39 The Rebel Fanfare 0:47 The Rebel Fanfare 22 Farewell (4:27) 0:13 Kylo Ren's Theme 0:48 sounds like a sad variation of Rey's Theme 1:27 sounds like a defeated version of Kylo Ren's Theme 1:44 Rey's Theme 2:35 sounds like... something? 3:32 Victory Theme 23 A New Home (1:42) 0:19 Rey's Theme Big thanks to @thx99 for first posting the link here. Head over there and give him a big LIKE, will ya?
  3. 1 point
    (click for full 1425x1425 size)
  4. 1 point
    Falstaft

    Star Wars Villain Music Article

    Hi everyone, I've been trying to steer clear of JWfan and social media until TROS comes out, for fear of musical spoilers. But I did want to drop in quickly just to share an article I wrote that I think JWfan may enjoy: "How John Williams’s Star Wars score pulls us to the dark side" https://www.washingtonpost.com/outlook/how-john-williamss-star-wars-score-subtly-pulls-us-to-the-dark-side/2019/12/13/be3ab50e-1b7d-11ea-87f7-f2e91143c60d_story.html Most of what I cover here is stuff a lot of you will already know (Vader's death cue, the Emperor/Augie connection, the fantastic unreleased music in ROTS Opera Scene) but even if it's not news, I bet it will still be fun seeing it in print! (Also, despite my better judgment, I checked the comments on the article, and most of them are really wonderful!) May the force be with you all!
  5. 1 point
    The talent doesn't exist at the moment. And producers aren't looking for the sort of music you're talking about anyway, let alone nurturing it. Symphonic film music in particular is dead and TV soundtracking reached its peak with Game of Thrones, apparently.
  6. 1 point
    publicist

    TLJ & TRoS, which do you like

    Close them now.
  7. 1 point
    Stefancos

    TLJ & TRoS, which do you like

    #thankyourianjohnson
  8. 1 point
    If the missing music turns up, Intrada could probably be convinced to put out a new edition
  9. 1 point
    Star Wars: The Rise of Skywalker Here's my best attempt to avoid an overlong and unnecessary rant. The Rise of Skywalker is not only unsuccessful in concluding the saga effectively, but it also lacks a great deal of coherence within the sequel trilogy itself. It does not feel like the product of the two previous films. It is terribly paced; the audience is shot out of a cannon from the very start, never to take a breath for the remainder of the picture. This is obviously due to the poor writing and story, whose faults include the introduction and return of over 10 characters and visits to who knows how many planets. Everyone fights for screen-time, resulting in a far less character-driven story than, say, The Last Jedi. There's a great deal of both forced and failed exposition, and it doesn't take long for The Rise of Skywalker to get muffled and congested into a pretty sad identity crisis. At times it feels like the movie attempts to cater to every faction of the fan-base at once, as if Abrams and company had a checklist of things they needed to include to keep the interest of all parties. Even amidst the absolute mess I was able to find a few things to hold on to. The cinematography was, naturally, a huge drop-off from The Last Jedi, but there were a few striking frames that I noticed in particular. The score was mixed either really well or buried under sound effects, but the former moments were absolutely terrific when they did occur. I share many of our fellow JW Fans sentiments regarding a handful of unreleased cues, but I also noticed a fair bit of tracked music which I found to be rather interesting choices. One of the most emotionally resonant cues to hear in film was off of the FYC; Advice. If you've seen the film you know what it underscores, and there's an absolutely heartbreaking non-thematic brass moment towards the end of the cue that's just so powerful. It contributed a lot to the scene, which is probably one of my favourites of the film. I'm not quite sure what I would do without Adam Driver, who rocks it again despite receiving a fraction of the role he ought to have had. There was also a lot of decent humour which I found to work really well at times while falling flat at other points. I knew enough about the goings-on of the film that it was actually a lot easier for me to accept it for what it is, but nothing could hide the fact that the film simply wasn't good. Below is my ranking of all Star Wars films, with The Rise of Skywalker finally taking it's place among them.
  10. 1 point
    Here's some updated transcriptions and timings for what I take to be the new leitmotifs in TROS. I'm still not quite sure what to title the two Rise of Skywalker themes. I like "Fellowship" better than "Friendship" or "Trio," if only because it applies more broadly than to just Rey/Poe/Finn. If Giacchino hadn't already written a "Hope" theme for RO, I think either could warrant that label too. Incidentally, how many JW themes is it now that revolve around a melodic 5-b6-#4 motif. There's the Knights of Ren, Peter Pettigrew, Chamber of Secrets, Nimbus 2000, Secret of the Scrolls, Count Dooku's little fanfare in AOTC...
  11. 1 point
    tintacle

    STAR WARS Custom Covers thread

    ------------------------------------------------------------------------ Thanks for the logo heidl
  12. 1 point
    The bittersweet, fall-of-innocence tone of the Rise of Skywalker suite reflects the fall of innocence of Star Wars itself, its heart now lost to the cash-grab motives and mishandling that have characterised Episodes 7 and 9. Discuss!
  13. 1 point
    Listened to the score album twice - for the first times - yesterday. (I had previously listened to it up through Anthem of Evil previously, but my CD rip had popping so I had to stop). All in all, I think it was a very satisfying album. I love the TROS concert suite, and really love the choral part of the Anthem of Evil suite. I have no problem with the end credits - it's not nearly as rote as the TPM and AOTC ones that just needle drop the concert arrangements as-is. Those are my low water mark for these things. Overall, I'm very happy with the score and how it's presented here. Honestly, when I left the theater, the score didn't really stick with me - didn't hear a lot of it, wasn't paying extreme attention to the music, etc. The piece that I remembered the most was the needle-drop of Death of Darth Vader, since the movie actually stopped to breathe for a second and mixed the music front and center. After seeing you guys talk about it for a bit, I do remember that there was a new march-like version of the Star Wars theme when the fleet arrived. It seemed a little out of place in context at the time. but that would be neat to have at some point.
  14. 1 point
    I saw the movie for the second time and now with the benefit of a second viewing I really got the impression that the movie was hacked to pieces in the editing process.
  15. 1 point
  16. 1 point
    They changed the program again! *Sigh* I suppose Williams finally embraced his true legacy.
  17. 1 point
    A new entry for my iso score videos. The Mandalorian Chapter 4 - Isolated Score Training the Plebs - Camp Attack - Spirit of the Woods
  18. 1 point
    Supposedly it had to do with child labor laws, since Dafne Keen is still underage they can only film so much with her per day/week, so they constructed the entire season to be a blend of Lyra and Will's stories instead of just following Lyra's story like the first book/movie did. I guess it kinda works. We haven't watched episode 8 yet
  19. 1 point
    Yeah, it doesn’t help that Twitter has exposed JK Rowling’s questionable politics, which have alienated a number of fans who grew up reading her books.
  20. 1 point
  21. 1 point
    I get that JW can throw in whatever new themes he likes into appropriate points of the film. For me, the addition of this theme into an otherwise-scattered action cue reflects the larger issues of the score and the film. There's an extra theme here when existing themes aren't used in obvious places they could be, and in the wider film there is a new 'Rise' theme used in plenty of places where existing leitmotif would probably have the greater impact. All in all the score to TROS seems to be an accumulation of existing transposed themes from before, a few new, unnoticable themes that the plot or character development didn't call for (and are not served by), and lots of scattered action music or meandering underscore. This all reflects the film itself: lacking any core identity, solid plot progression or decent character development. It throws in the new without developing it, or giving the required gravitas or development to the old. Personally I think JW was on autopilot for this one. He saw the cut of the film, thought it was a mess, and duly scored it sufficiently from scene-to-scene (because the film feels like a fast sequences of scenes), but could not use his music to lift it above what was written, filmed and edited. That's why we got a couple of concert pieces, and those new themes threaded thinly throughout, with just-enough working of existing themes (most notably Rey's).
  22. 1 point
    It would've been nice had Rose accompanied them on their journey to Pasaana, especially as a lighthearted foil to both Finn and Poe. Zori Bliss is another example of 'quick sob story in exposition scene = full-fledged character' which is so sloppy and cheap this late in the game. Although I liked the way in which they introduce the village she's in, which is reminiscent of WW2, with the stormtroopers searching the houses.
  23. 1 point
    Well JJ had to make room for such memorable new characters as... Zorro Blass. And Jannah someone. And Dominic Monaghan! All playing vitally important characters that left no room for the existing ones to have any sort of closure or relevance in the narrative.
  24. 1 point
    People found it weird that one of the main new characters of the previous film was abandoned too!
  25. 1 point
    As crazy and fast-paced as they were, I absolutely loved the first 2 or 3 minutes of this film. Even though it's mostly just a very quick montage, the film felt normally paced and there is a confidence to how gung-ho it chooses to be starting out that I think is never really felt again for the rest of the movie. There was something very satisfying about just immediately hopping into the story, almost in a way like the film was saying "whether you like or hate the direction we chose to go in, we're going for a ride so you best buckle in." And obviously the music comes in to great effect here to help with that, but I really have to especially highlight this moment in 0:55 to 1:28 of the FYC Prologue track. When I first heard those quick little string lines in the film at the start after Kylo grabs the Wayfinder and sets out for Exegol, I assumed it was gonna be just a brief little idea that Williams would voice before moving on to something else because it seems like that has more or less been his style when having to deal with these quicker and faster cut action pieces as of late. It's something that really annoys me at times because there will be a fun little phrase he'll throw in and it'll be gone as soon as it was introduced and I'm left just wishing he had chosen to spend a little more time with that idea before moving on. As a result, I really got a thrill out of hearing in the theater Williams just choosing to keep building and building upon those string lines. I kept waiting for him to pull back and cease the momentum but he just continues to double down and ramp up the intensity. Felt very Anderton's Great Escape which I loved. I also appreciate how Williams doesn't even just leave it as this fun little action moment to get things going, instead even going so far as to throw-in that little Anthem of Evil statement in there at the start. There's just something about how well Williams captures the energy of what is happening on the screen with those 30 seconds and how sprightly the music is during that sequence that really got the blood pumping. The music and film seemed to be perfectly in-sync and, for one of the few times in the movie, that feeling of obtaining information faster than you could process worked in favor of the film, making for a really great opening in my eyes. I don't know. It's nothing SUPER special, but there's just something about that section of the music I really like. This score is good.
  26. 1 point
    My gift to you this holiday season. Here's my Fantasy End Credit suite of The Rise of Skywalker end title. I truly disliked the Finale cue on the album so my goal was to fix it by trying my best to eliminate as much previously established themes and only use new Rise of Skywalker themes and music in the suite. I hope you enjoy! IMO, this is a much more satisfying finale then what Williams gave to us on the album and in the film.
  27. 1 point
    Last night my daughter watched the 1934 film Babes in Toyland starring Laurel & Hardy. She’s seen it before and loves it. One of the pleasures of the modern era is having decades and centuries of human culture at your fingertips. My kids will be exposed to the films of not just my youth but of the past 100 years!
  28. 1 point
    It's nice, but no chills. Guess I have no heart. Yoda's theme just makes no sense.
  29. 1 point
    Does it strike anyone else as an obvious oversight to reveal that big podrace stadium full of Sith fans and not have them chanting "Korah, Ratama..."? For twenty years, whenever I heard the opening of "Duel of the Fates," I've been picturing some ancient, insidious cult ritual, and now that's literally what we get onscreen, and the theme is MIA. If I'm JJ, that's the first request I make in the spotting session.
  30. 1 point
    It's grown on me these past few days. Really, almost every new piece by a composer or musician I'm a fan of initially feels like an outsider, like it doesn't quite belong ala the new kid in town. But after a certain amount of listens, those new pieces cement themselves in my mind as part of the repertoire. I made a playlist of "nice" Williams pieces such as "Jurassic Park Theme", "Back to America", "Marion's Theme", "A New Beginning", the Star Wars love themes, and some pieces from Ann-Sophie Mutter's CD. and I added "The Rise of Skywalker" and "Farewell" to it multiple times so they would play more often. Last night, I went for a long winter walk listening to that plat list. It definitely now sounds like it belongs on a Williams set list. I had the list playing on random, and I found myself hoping one of the new pieces would come up next.
  31. 1 point
    The attention to detail being paid to the score by so many people in this thread is amazing. I saw the film last night and I couldn’t keep track of all the moments where I heard music I loved but not found on the OST or FYC. For now, I’ll say that I adore how Rey’s theme on piano (from The Force is with you; OST) was saved for the moment after Palpatine drains her and the camera is on her lifeless face. It was a magical use of color for an important and poignant moment.
  32. 1 point
    They generally earn less money, even in the same jobs as men. And have less effective healthcare. To name a few things.
  33. 1 point
    Reposting from Twitter a little analysis I cooked up of this extraordinary piece of music: "Rise of Skywalker" concert arrangement based on two distinct but emotionally simpatico themes, a hymn (A) that's stated in full in the first minute (first woodwind choir, then strings), and a more lyrical, striving melody (B) that is stated over the next minute in strings and horns. The middle the piece is essentially a development section that sequences and composes out the B theme. Midway through, it becomes based on the music from the aftermath of the final battle in the movie.There's a big arrival back on the A-theme at 2:50, now much more fully orchestrated (in the film there's also chorus). This has some developmental qualities too (internal modulation to Db maj before returning to Bb), but overall serves a climactic & recapitulatory formal function. There are a few cadential delaying tactics before the very end, including a great brass chorale that evokes the conclusion of Rey's Theme nicely and a little rebel-fanfare-esque chromatic planing. The final bars make a brief, transformed statement of the B theme. The unusual structure of this piece -- bithematic ternary with some light rotational and developing-variational features -- is characteristic of I guess you could call "late" period Williams SW concert arrangements. "Rebellion is Reborn" and "Galaxy's Edge" work similarly. Watching the way his approach concert arrangements have evolved over time is fascinating. The developmental, dare I say sonata-principle-esque, impulse seems to be getting stronger and stronger the older Williams gets. In terms of melody & harmony, there's a nice mix of old and new here too. The A theme has a Lincoln-y quality, and the B-theme a War Horsey vibe (those tearjerking IV<=>iii progressions!), but I also get some ET, Amazing Stories, Midway, Spacecamp, even Close Encounters...I also hear Williams channeling Brahms quite strongly in the opening section, and echoes of Franck, Saint-Saens, and Prokofiev in the B-theme. As far as connections with Star Wars music, there seem to be some passing echoes of Rey (esp. her chimes), Rebel Fanfare, Jedi Steps, and March of the Resistance in there, plus Yoda/Young Anakin/Rose by dint of the lydian disposition of both A and B themes. Overall -- and my opinion will surely evolve over time -- I think it's an intensely beautiful, well-balanced, & sophisticated piece of music with a direct, heartfelt sentimentality that Williams does so well. Up there w/ Rey's theme as the best concert arr. of the ST.
  34. 1 point
    It's been a long time since I last went into a local music store to buy a CD instead of ordering it online:
  35. 1 point
    Kylo is competition for Daisy! JW can't let him win!
  36. 1 point
    I tried so hard to like this film. I held out until the very end hoping that something might happen to salvage what a mess this "final" entry was in my eyes, but nothing happened. In what was possibly a product of the film mix, the quality of my theater's speakers, or both, I could hardly hear the score throughout 85% of the film despite my best efforts. The film ended and the credits rolled and I felt immensely disappointed. I'd spent 2+ hours feeling numb to what was happening and both frustrated and surprised at myself for not feeling more when significant events were occurring with characters I had invested sizable time with. But then those end credits swung into that Rise of Skywalker theme and our theater was filled with that old Williams magic. Suddenly I was back to being a little kid again, discovering and in awe of all Williams had to offer for the first time, eagerly trying to get my hands on anything he had written. There is a seriously transportive nature to that theme that almost, to me, seems to perfectly embody the love and appreciation we have for this man and the impact he has had in our lives more than anything. It's more befitting of being representative of Williams saying goodbye to Star Wars and reflecting back on the stupendous nature of his incredible career than a closing theme for the Skywalker saga (as I'm sure others have noted). For a solid minute, I sat in that mostly empty theater and felt all these intense waves of varying emotions alongside the sinking realization that Williams was here to send us off with one final glorious farewell. Williams was able to conjure up more feelings from me and with more depth in that single minute than the entire film had in 2 hours. As much as I loved the new sequel scores, after the Last Jedi I was content with saying that Williams had said pretty much everything he had to say on this franchise but then this theme comes along and proves me dead wrong. It was like the last piece had finally clicked into place. It feels so deliberate and purposeful to me, almost as if Williams knew back when he was asked if he wanted to score these new films that he had this one last thing to say on them. Or as if he had written this theme in the late 90s/early 2000s and had just forgotten to use it in anything and discovered it stashed away in a drawer somewhere shortly before scoring this film. The man turns 88 in 2 months and still knows how to make me feel certain emotions better than anyone. I'm speechless and in total awe at how beautiful this theme is. This is a defining theme.
  37. 1 point
    THE SOUND QUALITY ON THIS IS FANTASTIC! The military theme (or whatever it's called) at the end of Unstable (Film Version) is very very cool, something I've wanted since seeing the film! In Case You Succeed is a nice little cue Orion (Film Version) is like the album version but part of it is repeated. I assume it was recorded this way to fit the scene, and not actually looped by the film's music editor Send In The Probe is really cool! Nice to have something so mysterious early on in the presentation, it really helps the overall experience. The warm ending with some ethnic instrument and some nice choir work is awesome! Entering The Stargate (Film Version) Not sure what's different from the album version off the top of my head King Of The Slaves (Film Version) Not sure what's different from the album version off the top of my head Spread Out Wow, this was a really really cool cue, I liked it a lot! A part in the middle reminded me a bit of Silvestri's The Abyss. Overall a nice exercise in mounting tension! Skaara and Gun Nice little cue Sarcophagus Opens (With Choir) This was AWESOME, I LOVED the choir! Daniel's Mastadge (Film Version) Seemed to be more or less the same as the album version but orchestrated slightly differently, especially towards the beginning? Leaving Nagada (Film Version) Not sure what's different from the album version off the top of my head, perhaps some different orchestration a little under 3 minutes in? Ra - The Sun God (Film Version) Wow pretty nifty choral chanting here!! I love it Battle at the Pyramid (Film Version) Heh, pretty surprising little moment around 45 seconds in. At least one other difference I noticed later The Stargate Opens (Alternate Excerpt) Basically the same until the end, which is a nice different ending I enjoyed The Eye of Ra (With Choir) Wow! More awesome choir! I loved it, I'll be putting this version in my main program for sure Ra - The Sun God (Film Version Excerpt, No Choir) Basically the beginning of the cue as heard in the main program, but without the choir so you can hear the orchestral detail End Credits (Alternate Take) Basically a slightly different, I suppose less interesting version of the end credits than the film/main program version So happy this is out, this is a great release! And again....THE SOUND QUALITY ON THIS IS FANTASTIC!
  38. 1 point
    First off, thanks @Jay for the awesome edit-free playlist. As many are saying, hearing the score with more fleshed out is really amazing. While I have listened a few times and specifically played a number of tracks, I am not sure where I sit on the score. I like it a lot - but I think until I see the film later today, I cannot fully decide how much I love it. And even saying that, I am not sure why - maybe I just want more time? I happen to love TPM score, but only am so-so on the movie. So, it's not really about that I guess. Anyway, I think it's all too new so far. And in fact with the disaster box set arriving this week, I am jumping between Williams scores a ton. One thing I did on my playlist and I offer it up to others to try or comment: I programed the concert suite Rise of Skywalker ahead of the main title. Sort of like an overture, although one that only introduces one theme as compared to more standard ones. I guess sort of like how Jerry Goldsmith opened Star Trek The Motion Picture with Ilia's theme played against a black screen. I like the way RoS ends and then a brief pause and bang, the main title. Anyway, give it a try. I also wonder if how Williams will program this suite in relation to others and I am going to play with that a bit - if we had to take 3 suites from the 9 films, and RoS had to be one, which other two would form a nice three piece experience? I sort of suspect RoS would be the middle one. Anyway, I guess I should start a thread on this idea. (So I did: https://www.jwfan.com/forums/index.php?/topic/31055-star-wars-suites-in-concert-how-would-you-program-them/ )
  39. 1 point
    You haven't seen ROTS? It's been out since 2005! /s
  40. 1 point
    Some fantastic Rey's theme material missing from both album and FYC, when she's training in the woods. Maybe my favorite thing about this score outside of the big thematic stuff is how Kylo's theme transforms as the character transforms. First the heroic version, then the final sad statement as he crawls out of the pit and over to Rey. Brilliant leitmotif work.
  41. 1 point
    I had my music player set to "repeat album" before I even hit play on the first listen
  42. 1 point
    Bespin

    EARTHQUAKE - LLL Music Discussion

    Putain, tu piges que j’cause pas anglais?
  43. 1 point
    Ludwig

    Star Wars Villain Music Article

    Thanks, Frank. Well written and a great read, as usual! One thing that was new to me and quite convincing was the claim of Kylo Ren's theme as overcompensation for his weakness as an evildoer. From that perspective, his two themes make more even sense than I had thought: his "menacing" theme could be seen as his external theme, in other words a projection of how he would like to be viewed by others. His mask certainly plays on that idea, and that is how we see him when he is first introduced and it literally hides the face of someone who himself admits is not as filled with the dark side as he'd like to be. The music could be seen as having this same masking quality. Kylo's "conflicted" theme then could be seen as his internal theme, a portrayal of how Kylo sees himself, which we all know is easily supported by Kylo's pleas to Vader's helmet the first time we hear this theme. Since the film came out, I wondered why the character was given two themes, especially when the distinction between the two becomes blurred even in TFA. But with this new insight, I now think Williams' judgement has been even more bang on than I first thought! What could be more fitting for a character whose internal and external selves are divided than to give him two themes depicting these? Clearly, Williams has still got it.
  44. 1 point
    Sure, though it lacks the raw energy the NPO would have given it, I think. Personally I'm glad that Jerry had enough of second rate European orchestra's after the disastrous Total Recall attempt.
  45. 1 point
    Over a few episodes in and Goransson continues to prove a great successor to John Williams' original guiding spirit with Star Wars. What excellent, non-awful work. I really wanna watch the show!
  46. 1 point
  47. 1 point
    Leonard Rosenman scored Howard Shore? Now that's an image I won't get out of my head.
  48. 1 point
    This was a very fun episode to listen to. Not just for the Goldsmith discussion, but also honestly from the way you guys described those Gunsmoke shows, it made me wanna go back and look at the series again. I remember watching it years ago on TVland, and it didn't make much of an impression, but to be fair I was also like 8 at the time.
  49. 1 point
  50. 1 point
    They'll be pissed, like an old man being asked when he will die.
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