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https://www.slashfilm.com/space-camp-remake/ Well, that clears up what Williams is working on in 2020... 😎

I sure hope this still happens. I quite enjoyed the Hobbit trilogy (not as much as the original Lord of the Rings trilogy, but it was still good overall), and its music was stunning throughout. Howard Shore really captures the voice of Tolkien to a T and beyond, and it would be a fitting companion to Doug Adams' Music of The Lord of the Rings book. Complete Recordings, too, might be nice.

A Thematic Breakdown of: THE MANDALORIAN: SEASON ONE Music composed by Ludwig Goransson Part 1 of 4 Themes in Chapters 1 & 2 (in order of appearance) Recorder Riff (original presentation) "Western" Motif "Travelling" Motif The Client * Mando Utility Motif (recently discovered) * Dramatic Utility Motif (previously known as Mando Culture) "Forge" Motif Recorder Riff (skeletal presentation) Chime Motif Dies Irae (traditional) The Child Razor Crest Jawa Motif * - utility refers to the fact that Goransson uses the theme(s) whenever he needs to without leitmotific significance CHAPTER 1 1. Hey Mando! (2:14) 0:00 Recorder Riff 0:23 Recorder Riff (increasing distortion) 1:42 Western Motif (piano w/ distorted guitar) 1:48 Western Motif (piano w/ interlude) 1:55 Western Motif (piano) 2:01 Western Motif (piano) 2. Face to Face (5:13) 0:00 Travelling Motif 0:42 Recorder Riff (variation) 1:06 Travelling Motif Recorder Riff (variation) 2:45 The Client 3:22 Recorder Riff (variation) 3. Back for Beskar (2:26) 0:00 Western Motif (piano) 0:07 Western Motif (piano) 0:15 Western Motif (piano) 0:23 Western Motif (piano) 0:32 Mando Utility Theme (high strings) 0:46 Dramatic Utility Theme Mando Utility Theme (high strings) 1:02 Dramatic Utility Theme Mando Utility Theme 1:16 Dramatic Utility Theme Mando Utility Theme 1:55 Mando Utility Theme 4. HammerTime (2:18) 0:15 Forge Motif 0:27 Forge Motif 0:46 Recorder Riff (orchestral variation) 1:18 Forge Motif 5. Blurg Attack (1:26) 0:17 Recorder Riff (skeletal variation) 0:29 Recorder Riff (skeletal variation) 0:57 Chime Motif Recorder Riff (skeletal variation) 1:05 Fanfare 6. You Are a Mandalorian (3:56) 0:34 Recorder Riff (skeletal variation) 0:46 Recorder Riff 1:56 Recorder Riff (skeletal variation) 2:11 Fanfare 2:42 Recorder Riff 2:53 Recorder Riff (skeletal variation) 3:04 Recorder Riff (skeletal variation) 3:26 Recorder Riff (skeletal variation) 3:37 Recorder Riff (skeletal variation) 7. Bounty Droid (3:03) 1:23-1:55 Dies Irae (traditional) 8. The Asset (1:36) 0:55 The Child 1:23 Recorder Riff 9. The Mandalorian (3:19) 0:00 Recorder Riff 0:23 Recorder Riff (increasing distortion) 0:46 Western Motif (piano w/ distorted guitar) 0:52 Western Motif (piano) 0:58 Western Motif (piano w/ interlude) 1:04 Western Motif (piano w/ interlude) 1:09 Western Motif (piano w/ interlude) Fanfare 1:15 Western Motif (piano w/ interlude) 1:21 Western Motif (piano w/ interlude) 1:26 Recorder Riff Western Motif (triangle [?] w/ interlude) 1:32 Recorder Riff Western Motif (triangle [?] w/ interlude) 1:39 Fanfare Western Motif (triangle [?] w/ interlude) 1:44 Western Motif (triangle [?] w/ interlude) 1:50 Western Motif (triangle [?] w/ interlude) 2:09 Razor Crest 2:20 Razor Crest 2:33 Recorder Riff Western Motif (interlude) 2:38 Recorder Riff Western Motif (triangle [?] w/ interlude) 2:45 Recorder Riff (skeletal variation) Western Motif (triangle [?] w/ interlude) 2:51 Recorder Riff (skeletal variation) 2:56 Chime Motif CHAPTER 2: THE CHILD 1. Walking on Mud (1:39) 0:15 Recorder Riff 0:45 Recorder Riff (increasing distortion) 1:18 Western Motif (piano w/ distorted guitar) 1:23 Western Motif (piano) 2. Jawas Attack (3:47) 0:00 Jawa Motif (underlying rhythm) 0:03 Travelling Motif 0:20 Travelling Motif 0:32 Jawa Motif (underlying rhythm) 0:40 Jawa Motif (underlying rhythm) 0:47 Jawa Motif (underlying rhythm) 0:54 Jawa Motif (underlying rhythm) 0:58 Jawa Motif (underlying rhythm) 1:12 Jawa Motif 1:20 Jawa Motif 1:27 Jawa Motif 1:34 Jawa Motif 1:39 Jawa Motif (underlying rhythm) 1:53 Jawa Motif 2:01 Jawa Motif 2:08 Jawa Motif 2:22 Jawa Motif (underlying rhythm) 3:12 Jawa Motif 3:20 Jawa Motif 3:35 Jawa Motif (underlying rhythm) 3. Trashed Crest (2:19) 0:06 Recorder Riff 0:38 Fanfare (variation) 1:24 Recorder Riff (skeletal variation) 1:34 Fanfare 2:03 Recorder Riff 4. To the Jawas (1:36) 0:00 Chime Motif 0:12 Recorder Riff 0:21 Fanfare 0:37 Jawa Motif 0:48 Jawa Motif 0:54 Recorder Riff (skeletal variation) 0:56 Recorder Riff (skeletal variation) Western Motif (interlude) 1:02 Recorder Riff (skeletal variation) Western Motif (interlude) 1:08 Recorder Riff 1:19 Recorder Riff 5. The Egg (2:55) 0:00 Jawa Motif (underlying rhythm) 0:17 Jawa Motif (underlying rhythm) 0:26 Jawa Motif 0:34 Jawa Motif 0:40 Jawa Motif (underlying rhythm) 1:00 Recorder Riff 1:17 Recorder Riff 2:22 (see 4:30 The Hangar - Chapter 5, 2:16 Nice Family & 2:05 Mando's Back - Chapter 6) 6. The Mudhorn (3:01) 2:11 The Child 2:34 Recorder Riff 7. Celebration (3:32) 0:01 Mando Utility Theme (orchestral) 0:13 Mando Utility Theme (orchestral) 0:23 Jawa Motif (underlying rhythm) 0:30 Jawa Motif (underlying rhythm) 0:49 Jawa Motif 1:09 Recorder Riff (skeletal variation) 1:14 Recorder Riff (skeletal variation) 1:23 Fanfare 2:07 Jawa Motif (underlying rhythm) (percussion) 2:23 Recorder Riff 2:48 Fanfare 8. The Next Journey (2:36) 0:00 Recorder Riff (skeletal variation) 0:12 Recorder Riff (skeletal variation) 0:23 Recorder Riff (skeletal variation) 0:35 Western Motif (piano) 0:44 Western Motif (piano w/ interlude) 0:49 Western Motif (piano w/ interlude) 0:55 Western Motif (piano) 1:01 Fanfare 1:22 Razor Crest 1:33 Razor Crest 1:47 Recorder Riff (variation) 1:58 Chime Motif 2:14 Recorder Riff (skeletal variation) I'm working on Part 2 (Chapters 3,4) as you read this. Any cross-referencing would be great as I am only one person and could've easily missed or misinterpreted the music at times. It takes a good deal of time, but it has been a lot of fun revisiting the albums in order so I'm happy to do it.

Here's my analysis of the new themes in The Rise of Skywalker (beware: spoilers present!) http://www.filmmusicnotes.com/new-themes-and-their-meaning-in-the-rise-of-skywalker/ Enjoy!

Weird? I have no idea what you're talking about... Karol

Yeah. All the President's Men is better. 1. The Force Awakens - I've "internalized" the score. After a decade of Zimmer and Friends, it was nice to have a new SW score from JW. I didn't expect it to be so modern and clean. Now I just love it. It's Star Wars themed CE3K. This is the one that I keep coming back to. Just below ROTJ, my favorite score. 2. War Horse - I saw the film last year and at first it felt cold. I'm going to get the CD soon. 3. The Last Jedi - Another score that is "internalized." There's more room for the orchestra to breathe, probably because there's no all that crazy JJ action. It might dethrone TFA. JW can't write bad music. Love what you love, hate what you hate.

Has anyone noticed that the music in the B-Roll footage contains an alternate ending to OST track Journey to Exogol?

Just made an interesting discovery- while we may have lost the trail on the Mandalorian culture theme a bit, the high strings that play counterpoint to it in the track Back for Beskar (Episode 1) reappear multiple times completely separate from the previously-dubbed Mando culture theme, notably at the beginning of Celebration (Episode 2) and in Mando Rescue (Episode 3). I'm sure there are more examples elsewhere, but this revelation was very interesting for me. Also, I'd spitballed around with @Holko as to what the music that plays mostly on Kuill's planet could be (Blurgg Attack, You Are a Mandalorian) and it turns out it's basically a very skeletal variation of the recorder riff. Anyways, if you haven't already guessed by these last two posts, I have started to sit down and analyze episode-for-episode, track-for-track. I'll start posting tomorrow.

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I'm selling my standing ticket. See the 'sales section'. I want to sell it to someone I know will use it and not resell it at insane prices. Price is what I paid for it -- a measly €8.

<Marion's Theme plays allegro>

I agree there. Going down the list, very few of the themes consistently underscore characters or ideas on a recurring basis throughout the whole series. Let's take a look at some that aren't really held down by any on-screen connections: Recorder Riff There was never any really leitmotific association with this theme. I feel like it's main role is to capture the musical aura of the series as a whole. Plus, I'm fairly convinced that both the flashback sequences and some of the blurg scenes provide major variation on this, making it even more broad. Main Fanfare Once again there's no need for any other association- it's simply the main theme, and can be used for anything from riding blurgs to soaring through space. "Razor Crest" Used most often in relation to scenes involving Mando's ship, the Razor Crest, although Chapter 4 broke the barriers right from the start, opening the village prologue with the theme on acoustic guitar, and no ship present whatsoever. "Travelling" Motif Another very loosely used motif. Initially used in the first three episodes for "travelling" scenes (i.e. Mando walking through the street in Episode 1, Mando and Baby Yoda walking through desert in Episode 2, Mando landing on Navarro in Episode 3). However, it reappeared in the last episode as part of the big emotional finale, when Mando and Baby Yoda leave Navarro. Then there are a few that play by the rules a bit more: The Client As far as I can recall, this plays exclusively in scenes involving Werner Herzog's character, appearing in Chapters 1, 3, and 7. Jawa Motif Definitely to be associated with the jawas in Chapter 2, although @Holko pointed out that the rhythm reappears in Chapter 5's Speederbikes. The Child The guitar line appears first in Chapter 1's The Asset, and also plays in Chapter 3 with a beautiful oboe counterpoint. Both scenes are focused on our dear friend Baby Yoda. My memory isn't the greatest on where else it appears, but as far as I can recall the relation is clear. Raiders Exclusive to Chapter 4, particularly scenes with the raiders and villagers. More of a theme for the episode as a whole than anything else. IG's Theme Heard in the final two chapters and only used in relation to IG as a reprogrammed nurse droid. It plays under his "training" montage, his rampage on Navarro and his final sacrifice. Moff Gideon's Theme Also heard in the final two chapters and used for Moff Gideon's character, but for his stormtroopers as well it would seem. Notable moment is when it plays under the shot of the flametrooper in Chapter 8. As for Mandalorian Culture, I concur with @Disco Stu. Goransson uses it more as a utility for scenes that call for something dramatic. Man, I love this score but analyzing it is no piece of cake.

We’ve sorta circled back to 2006. He’s done with Star Wars and the main thing we’re looking forward to is the vague promise of a new Indiana Jones plus whatever concert works and one-offs happen to pop up.

My favourite imitation was done by Clint Bajakian for the video game Indiana Jones and the Emperor's Tomb. Not only did he convincingly imitate JW's various stylisms but he also managed to capture the playfulness of Indiana Jones music in particular. Some examples: This imitates JW's "Nazi" style to a tee (brass in octaves, snare drum etc.) (SHAMELESS PLUG ALERT) I have tried to imitate JW in the past, mostly unsuccessfully, but I think my most successful attempt was with this Prequel-style action track:

Presses Roll definitely deserves to live in his concert repertoire.

Tracks on JW OST albums that are 100% recorded just for the album: Checkmate The entire album Diamond Head The entire album How To Steal A Million The entire album Not With My Wife, You Don't! The entire album Penelope The entire album other than the title song Fitzwilly The entire album Earthquake The entire album Jaws The entire album The Missouri Breaks The entire album Star Wars Princess Leia's Theme The Fury The entire album Superman - The Movie March of the Villains Love Theme from Superman, though this also plays in its entirety in the end credits of the film after the End Credits cue The Empire Strikes Back The Imperial March Yoda's Theme E.T. The Extra-Terrestrial Abandoned And Pursued E.T. And Me E.T.'s Halloween Flying Over The Moon Monsignor The Meeting In Sicily At The Forum Return of the Jedi Luke And Leia Parade Of The Ewoks Lapti Nek (Jabba's Palace Band) The Forest Battle The River Growing Up The Pony Ride Love Theme from The River The Ancestral Home, though this ended up getting used in the final film From Farm to Factory Young Friends Farewell Home Alone Star Of Bethlehem (Orchestral Version) Have Yourself A Merry Little Christmas - this special version of the song specifically recorded for the album (the 2015 La-La Land edition premiered the actual film cue version) Home Alone 2 Somewhere in My Memory Star of Bethlehem Christmas Star Schindler's List Jewish Town (Krakow Ghetto - Winter ’41) Amistad Cinque’s Theme The Phantom Menace Anakin's Theme, though this also plays in the end credits of the film after the End Credits cue Angela's Ashes Angela’s Prayer Plenty Of Fish And Chips In Heaven The Lanes Of Limerick Harry Potter and the Sorcerer's Stone Prologue (see more information about the Children's Suite below) Fluffy's Harp (see more information about the Children's Suite below) Attack of the Clones Across The Stars Harry Potter and the Chamber of Secrets Fawkes The Phoenix The Chamber of Secrets Dobby The House Elf Revenge of the Sith Battle of the Heroes Memoirs of a Geisha The Chairman's Waltz Indiana Jones and the Kingdom of the Crystal Skull The Raiders March (new recording of 1980 arrangement) Call Of The Crystal The Adventures of Mutt Lincoln The People's House With Malice Toward None Elegy With Malice Toward None (Piano Solo) The Book Thief Max and Liesel The Force Awakens Rey's Theme The March of the Resistance Scherzo For X-Wings The BFG Overture The Last Jedi The Rebellion is Reborn The Rise of Skywalker The Rise of Skywalker Anthem of Evil (possibly - no confirmation yet) Tracks on JW OST albums that combine film cues with album-only recordings : The Return of the Jedi Han Solo Returns (At The Court Of Jabba The Hutt) is in actuality a portion of the film cue 3M2 The Big Thaw [0:00-2:47] combined with a portion of the album-only concert arrangement Jabba The Hutt [2:47-end]. The actual full recording of Jabba The Hutt remains unreleased to this day Ewok Celebration and Finale is in actuality the album-only recording Ewok Celebration [0:00-1:56] & the film cue End Credits [1:56-end] Home Alone Home Alone Main Title ("Somewhere In My Memory") is in actuality the film cues 1M2 Home Alone (Main Theme) [0:00-1:04] & 2M2 Banished to the Attic [1:04-1:32] & the album-only recording Somewhere in My Memory (Album Intro) [1:32-2:31] & the film cue 11M4B End Title Part II [2:31-end]. The 2015 La-La Land expansion finally presented just Somewhere in My Memory (Album Intro) & 11M4B End Title Part II together without the 1M2 & 2M2 bits as Somewhere In My Memory, disc 1 track 1. Jurassic Park Theme From Jurassic Park is in actuality the album-only 3M2 Record Intro & the film cue 3M2 The Dinosaurs & the album-only 3M2 Wompi Ending Harry Potter and the Sorcerer's Stone Diagon Alley and The Gringotts Vault is really a portion of Children's Suite track Diagon Alley & the film cue 2M4 Diagon Alley Hogwarts Forever! and The Moving Stairs is really the film cue 4M5 The Moving Stairs & Children's Suite track Hogwarts Forever Harry Potter and the Prisoner of Azkaban A Window To The Past is in actuality a unique recorder solo & portions of the film cues 7M12 End Credits & 4M3+4 New Woods Walk and Birds Flight & 7M2 Insert A.I. Artificial Intelligence The Search For The Blue Fairy is in actuality a portion of 7M1+2 (Vocal Version) Finding The Blue Fairy [0:00-2:28] & a portion of Theme #2 CD version [2:28-end] Catch Me If You Can The Float is as combination of the album-only 7M4 Front Extension with the film cue 7M4 Frank and Carl with the album-only 7M4 End Extension Recollections (The Father's Theme) is possibly also a film cue with album extensions? Memoirs of a Geisha The Journey to the Hanamachi is in actuality a portion of 1M1 Alt The Opening [0:00-1:58] & an album-only recording called Theme [1:58-end] War Horse Learning The Call seems to combine a portion of 1M7 Learning the Call [0:00-0:43] with album-only material [0:43-1:56] with a portion of 1M8 Whistling Montage [1:56-2:28] with more album-only material [2:28-end] Lincoln The Southern Delegation and the Dream combines the film cues 3M18 The Southern Delegation Arrives [0:00-2:06] and 7M51 Lincoln Responds To Southern V.P. [2:06-3:05] with the album-only cue Prayer (Strings) [3:05-end] The BFG Dream Jars is in actuality a series of album-only flute pieces and some of 4M37 Flute Sweeteners [0:00-2:18] followed by a most of the film cue 2M18 Dream Jars [2:18-end] The Post Mother and Daughter seems to combine the film cue (as heard on the FYC album) with unique album-only material afterward The Presses Roll seems to combine the film cue (as heard on the FYC album, though the ending of Setting The Type is tracked over the end there) with unique album-only material afterward Notes on other OST tracks that look like concert arrangements, or got published for concert performance, etc... but are actually 100% film cues: Star Wars Main Title is in actuality 1M2 Main Title & 12M2 End Titles Superman - The Movie Theme From Superman (Main Title) is in actuality 1M1 Main Title & End Title 1941 The March From 1941 is an edit of 14M2 End Credits Swing, Swing, Swing is a film cue, 7M4 Swing, Swing, Swing Finale is 14M2 End Credits without edits The Empire Strikes Back Han Solo and the Princess is a film cue, 5M4/6M1 Solo And The Princess Raiders of the Lost Ark Raiders of the Lost Ark is 12M2 End Credits Part 2 Marion's Theme is in actuality two film cues, 10M4 En Bateau & 4M2 To Cairo The Raiders March is an edit of 12M2 End Credits Part 2 Indiana Jones and the Temple of Doom Short Round's Theme is a film cue, 3M3/4M1 The Elephant Ride SpaceCamp SpaceCamp is the end credits The Witches of Eastwick The Dance of the Witches & End Credits (The Dance of the Witches Reprise) are both identical presentations of End Credits Indiana Jones and the Last Crusade Scherzo For Motorcycle And Orchestra is the film cue 7M2 Keeping Up With The Joneses is the film cue 9M2 Schindler's List Theme From Schindler's List is in actuality 20M3 Placing The Stones Remembrances is in actuality 20M4 Alt End Credits Remembrances (With Itzhak Perlman) is in actuality 20M4 End Credits Theme From Schindler's List (Reprise) is in actuality 20M4 Piano & 20M4 Extension Sleepers Hell's Kitchen is actually the end credits (8M5 New Hell's Kitchen) Rosewood Rosewood is in actuality 1M1 Rosewood & End Credit The Lost World The Lost World is The Lost World (End Credits) Finale & Jurassic Park Theme is a portion of 14m2 The Saving Dart & a new recording of a concert arrangement from the first movie (not recorded during that film's sessions) Saving Private Ryan Hymm To The Fallen & Hymm To The Fallen (Reprise) are identical presentations of 17M2 Hymm To The Fallen The Phantom Menace Duel of the Fates is actually 7M3 End Credits Angela's Ashes Theme From Angela's Ashes and track Angela's Ashes Reprise are identical presentation of the end credits The Patriot The Patriot is End Credits with the ending missing The Patriot Reprise is End Credits with the ending intact A.I. Artificial Intelligence Abandoned in the Woods is in actuality Opening End Credits Harry Potter and the Sorcerer's Stone Harry's Wondrous World is 9M3 End Credits Part 1 Hedwig's Theme is 9M3 End Credits Part 2 Minority Report Minority Report is in actuality 8M2 End Credits Sean's Theme is in actuality 8M1 Alt Piano Version A New Beginning is a repeat of the second half of 8M2 End Credits, with a loop inserted. The Terminal The Tale Of Viktor Navorski is in actuality End Credits Jazz Autographs is in actuality End Credits Part II "Destiny"... "Canneloni"... and the Tale of Viktor Navorski (Reprise) is in actuality 7M4 Destiny... Cannaloni & a repeat of End Credits (edited) A Happy Navorski Ending! is a portion of 5M4 Amelia (already heard in OST track 2) & End Credits Tango Ending (unique to this track) Indiana Jones and the Kindgom of the Crystal Skull Irina's Theme is really just portions of 1M4NR Irina Spalko & 3M28 Russians Reappear & 7M56 End Credit The Adventures of Tintin The Adventures of Tintin is in actuality Tinker-Tin Rev (the third Main Title cue attempted) Snowy's Theme is in actuality Snowy's End Title The Secret of the Scrolls is in actuality a bunch of film cues edited together The Adventure Continues is in actuality Dueling End Title Lincoln Freedom's Call is actually 7M60 Hymm Version [0:00-4:46] followed by 7M52v3 Lincoln's Battlefield Visit [4:46-5:55] and the final chord of 4M30v2 The Telegraph Office [5:55-end], which incidentally is also heard at the end of OST track 2. These scores are confirmed to have nothing recorded specifically for album use Close Encounters of the Third Kind Jaws 2 Dracula Empire of the Sun Always Stanley & Iris Hook Far and Away War of the Worlds Not yet factored into this list / I've never analyzed these albums at all: Cinderella Liberty The Eiger Sanction Images The Towering Inferno The Accidental Tourist Born on the Fourth of July Presumed Innocent JFK Sabrina Nixon Seven Years in Tibet Stepmom Munich The rest of the film scores JW composed had no OST album, so everything released when the specialty labels got to them was recorded for film use (as far as we know).

It'll be his first symphony.

Continuing my catchup. Howard SHORE! MY PRECHIOUSSSS!!!! AHHHHH!!!!

Simply absurd levels of complexity. It's no huge surprise that someone like Nicholas Hooper comes along and simply can't come close to replicating this level of writing. Williams is an absolute genius and totally unmatched by his peers.

Complete cue list for The Post, courtesy of the BMI database. The only FYC track that isn't represented here is FYC 'Ben's Living Room' (which is the same cue as OST 'Scanning the Papers'). Having verified with the film the cue list is in correct order (and no cues went unused) but the split between the final 3 cues (and the contents of 'Redo') remains unclear. I could only find one "courtroom" cue before Court's Decision and End Credits, which is partially included on the OST at the end of The Presses Roll. Music on the FYC or OST is delineated green. Film Cue List Papers Various Presidents Reading the Paper Richard The Base First Class Seat Scanning the Papers McNamara Photo Wild About Harry Let's Publish Lawyer Talk Dad's Note Setting the Type Presses Roll Courtroom to Court Building (partially released) More Courtroom (unclear) Court's Decision and End Credits Redo OST Tracks Nixon's Order (which is the cue Reading the Paper) Mother and Daughter (which is the cue Dad's Note) Deciding to Publish (which is a microedited combination of Wild About Harry, Let's Publish and Lawyer Talk) Two titles struck me as the missing source cues. Anyone with a better musical knowledge who might understand what For Chester with Love is referring to? Source Music Booth at Chasens For Chester with Love Oak Room 1971 Two Martini Lunch

The more I listen to Two Martini Lunch the more I am struck that its Marions Theme! Beautiful!

No. They shouldn't have forced a gigantic storyline into the last film.

I had to listen to "Freewill" first tonight after learning this news. It's the first Rush song I ever heard and within seconds of it coming on the radio I was hooked, like no rock song I'd ever heard before. This was in the late 90s, we didn't have internet yet, and I spent weeks trying to figure out who the band was. Within a month I bought the "Retrospective I" compilation on CD and began an amazing journey. I love how his songs were always wrestling with real shit, and he was such a thoughtful, smart lyricist. This seems like an appropriate second song to listen to:

Like most things in life, it depends on your income.

We're slowly getting to the point where we can almost say that about the entire film.

Well we know thanks to Bruce Botnick that one of these will be Goldsmith's U.S. Marshals! Yavar

Some interesting variations on the Victory theme here (0:59 - 1:22), with a sense of trying to find its ultimate form in terms harmony and intervals (i.e. in Farewell), ending quite unresolved before the Resistance theme enters by contrast in its most formal guise. But always that cell of note - falling second - note.

Well that escalated quickly. This is why we can't have nice things.

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When Sacha Dhawan revealed his 'true identity' to the Doctor I did think to myself 'Well, that'll be social media split between how great and progressive it is that a POC is playing the Master/how awful and racist it is that a POC is playing one of the show's most notorious 'baddies'. Sigh.

Banned words on this thread from this moment on: “cancel”, “illness”, “apologies”, “unforeseen circumstances”, “deeply sorry”, “regretfully”, “rescheduled”. Thank you for your time.

"I'm not making fun of gay people. I'm making fun of effeminate men. It's totally different. You know who's REALLY making fun of gay people? Falstaft." "I don't understand what's happening here, it seemed like we were all having safe, mean-spirited fun being rude and ugly on the site dedicated to the nice, kindly man who scored E.T. - and then someone said our fun actually was rude and ugly and now I'm just shocked and bewildered? Is this what being gaslit is like? Anyway, if our behavior makes one of the best, most interesting, and most informed contributors feel like they don't have a place here, too bad for him and anyone else like him, I guess." This sort of hyper-casual disrespect is really unnecessary and unbecoming and I don't understand why it's even here. This is a forum dedicated to John Williams. When you search the name John Williams, this place comes up. When you ask questions on google about John Williams' music, you get links back here. The man is considered one of the nicest, most gentle, most friendly, most open people in the film industry, as well as being a legitimate genius. And now there's a thread on the site so closely associated with him where a small percentage of this forum's membership persists in being needlessly cruel to one of its best members, because it's more important to feel better about being casually nasty to weak straw figures in the shape of lisping effeminate PC men, than it is to be respectful and thoughtful to any degree. It's really disappointing to see. Nobody here is sticking up for the article. Everyone agrees its a bad article. But turning that into an excuse to wallow in some real repugnant (and beyond that, wholly unnecessary) rhetoric at the risk of alienating some of the best contributors here is not just sad, it's destructive. People don't have to be angels just because this site has John Williams' name on it. They don't have to post as if the Maestro might be watching just in case he decides to sign up. That's silly. But it doesn't have to be yet another repellent enclave of upset men, either. The internet's got enough of those already. There's no reason this little corner of the internet needs to join their ranks. I can't describe to you how disappointing it would be to stop visiting JOHN WILLIAMS FAN DOT COM because it assumed the shape of a bile-filled subreddit.

Score's out on Spotify in the UK. Not making the impression it had on me in the show - I think Arnold has made (what I consider) the mistake of focusing on the tense/action material particularly from episode 1, and left off a lot of the more emotional music. This is why I really don't like TV soundtracks. If a piece of music isn't from a pivotal scene, more likely than not it will never be released.

According to Mike Matessino JW is on the plane to Vienna today! https://filmscoremonthly.com/board/posts.cfm?pageID=4&forumID=1&threadID=138909&archive=0

There's a quote from Richard Taruskin at the beginning of his History of Western Music from 2005 that has always stayed with me. He calls Adorno "preposterously overrated" and laments that musicians and scholars are still engaging with his screeds. Adorno's hostility towards anything other than Beethoven, Schoenberg and a few select others is legendary, particular his distaste for jazz, popular music, and film music. Star Wars would be absolute anathema to him, on every conceivable level. Still, he was a brilliant music critic and hugely influential social theorist; his book on Wagner is especially a tour de force. It's just that no one especially wants to read him any more, most musicologists included...

I recently got about 5 pages into a dissertation comparing Copland and Mahler and I was getting a strong odor of BS. I did a Ctrl+F "adorno", got FIFTY-NINE results, and immediately closed the tab

I have no problem with this type of cultural criticism when it is well thought out. This article just selectively overlooks counter examples like the Imperial March to make a point, and that’s unacceptable.

If you count tracked music, then the Main Theme also appears in all 9 films' underscore (AoTC battle) Here's the tally of the OT themes used in more than 1 movie: Force: 9/9 Main Theme: 8/9 (9/9 if inc. tracking in AOTC) Imperial March: 8/9 Rebel Fanfare: 7/9 (8/9 if inc. this vaguely RF-ish moment) Leia: 7/9 Yoda: 7/9 Emperor: 6/9 Han & Leia: 4/9 (5/9 if inc. tracking in TROS) Death Star: 3/9 Luke & Leia: 3/9 TIE Fighter Attack: 3/9 Throne Room: 2/9

As other members here have already stated in one way or another, one big thing these sequel scores have going for them over the OT and PT entries is the actual development of character themes over an entire trilogy. It's a lot of fun going back and reading through our discussion threads for TLJ and seeing how, while some were expecting and hoping for Williams to pull a Shore and really advance and build upon the themes he had laid out in TFA, many were, understandably, expecting for Williams to do what he usually did with his sequel scores: revisit old themes through brief and limited renditions (perhaps with the occasional surprising variation here and there) but with largely no development, all while the new thematic material took center stage as the older stuff got relegated to the backseat. Which, again, was a logical assumption to make! That was the approach Williams used for The Lost World, that's how he handled things with the Potter sequels, that's largely how he handled character themes in his prior Star Wars films. Outside of the scope of the film that saw that theme being introduced, Williams never really seemed to have the desire to advance old themes for characters when there was new music to develop and focus on. The first time we hear Leia's theme in the OT and the last time we hear it in the OT. It goes out with a super brief rendition. Hardly seems like the last time you will be hearing it in the saga. The first time we hear Han and Leia's theme in the OT, the the last time we hear it in the OT. Nothing really has dramatically changed about it. The first time we hear Vader's theme in the OT, Vader isn't even on-screen and it's introduced uncharacteristically by woodwinds. It's concluded usage in the OT is in a very similar, albeit much softer, way. First time we hear Anakin's theme in the PT, last time we hear it in the PT. It's cold and distant in the end, a noticeable departure from how it was introduced. However, with the theme itself having been only a cameo appearance in the last 2 films of the PT, such a departure can't really be characterized as real tangible development, more of a brief alteration to match the character's new head-space as the theme itself isn't even synonymous with Anakin, only his childlike state. And the list goes on and on. Character themes within Star Wars had largely gotten cool variations here and there but no real conscious development as connected to the characters said themes were attached to. But with the ST, things are remarkably different. Rey's theme is first heard in TFA in a way that very much hearkens to the idea of someone who is just beginning their journey while also expressing the loneliness and perhaps lost nature that someone currently finds themselves in in searching for greater purpose. We last hear the theme in a way very suggestive of the completion of a journey and of someone who has matured through the events they have experienced. The theme concludes, like the character, in a way far different than how it started. Poe's theme goes through a similar metamorphosis also perfectly in line with his character growth, first heard in a way that perfectly embodies Poe's daring and hot shot nature at the start of the ST before last being heard in a way more befitting now of "Poe the leader" than "Poe the pilot." Those final thematic statements mean something this go around and are utilized by Williams as an opportunity to highlight character change. And Kylo Ren's theme, perhaps the best example, is introduced as this. It's huge, it's powerful, it's commanding of attention. This is someone to fear. By the end of the very next film, the theme has changed to match the evolved state of the character. His theme has more structured orchestral backing now, akin to the new First Order army he now has complete control over as Supreme Leader. The denser state of the rendition gives the theme more direction and clarity to its statement, similar to the sureness the character has now acquired throughout the film. By the very last film, it concludes by being used like this, this and this. You could not be more removed from the initial usage. It's now light, hopeful, very much a theme for a character of good. Kylo's theme, as a result, may be the most developed theme in all of Star Wars. This is not to dismiss all the wonderful variations of the Force theme we got across the 9 films, nor to ignore the unique permutations that Luke's theme has undergone. But as far as living up to the true purpose of a character theme, a recurrent musical idea associated with and fully representative of a particular person, Kylo's theme takes the cake. Every significant beat and change in that character feels like it is marked by a concurrent beat or change in his theme. I'm certainly not trying to critique or criticize one approach to theme usage over the other. Rather, I'm just trying to make the point that it seems like Williams went into this trilogy with the very conscious and deliberate choice to try a different approach with how he dealt with character themes (and sequel scores in general). He seems to treat them with a reverence he had normally forgone when doing scores to sequels in the past, reprising them unabashedly in new ways that connect with how the characters themselves are changing. As I started out saying, in trying to compare and contrast these 3 new scores over the other two trilogies, one way that this trilogy does stack up undeniably better (IMO) than the other ones is in character thematic development. Had Williams been able to go into these 3 films with a clear roadmap of where each character was going, he could have potentially capitalized on that approach even further, but I think he did a damn fine job despite that. Sorry for the long-winded post. This is all pretty much stuff that has already been said in one way or another alongside fairly obvious observations that I'm sure most noticed and thought about, but I wanted to verbalize these thoughts nonetheless.

I've said it before and I'll say it again: These two themes are some of my favorite themes I've heard from JW in years. Ever since I first heard the Victory Theme (via the trumpet rendition in the FYC track of "Approaching the Throne"), I've been hooked. And "We Go Together" was only track 3 on the FYC, but even on my first listen-through of the album, I had to put it on repeat a few times before moving onto track 4—the theme was just so good. Couldn't be any happier than to get both these themes packaged in one arrangement. I know many people here are deeply in love with "Rey's Theme" (also a great one, don't get me wrong), but this one knocks that out of the water, for me.

It's cool to see how you can hear hints of this theme in stylistically similar passages from TFA and TLJ. The unreleased "friendship cue" from TFA and "The Rebellion is Reborn" (quoted near verbatim in the intro).

Me when people use Joker for memes

Saw the film over the weekend and it felt like a great weight was lifted, between holding off on spoilers and the intense discussions of the FYC/OST. Loved the film (alright I bawled, especially but not only during key moments in the score). Without getting into a review, I was able to "let go" of most of the weak spots and let it wash over and it was really satisfying... of course, not as much as it could've been. The relative volume of the score was a substantial disappointment. I saw a "standard" presentation and the sound was only moderately loud and read point source-like from the centre of the screen (boo), but the extraordinary subordination of the score in the film's mix itself took away from my enjoyment overall. And the bad mixing didn't hide the many regrettable edits. I need to see it again but I feel like I would rate the score far worse as it was presented onscreen than in listening to Jay's helpful playlist ordering, or even just OST alone. I do wish there was some really solid, Desert Chase or Battle of Yavin or Hoth-level mega cue, but the blissful moments in the final act made up for that somewhat. The tracked cues reached a new low here, although it was a best/worst scenario. I actually liked hearing the clip of Vader's Death in that weird, disorienting, overlapped remix AND it was a cheap shot. (It might've been smarter and more accurate to track the phrase that resembles Kylo's theme in the extended version of the Emperor's theme in The Dark Side Beckons.) And as others have pointed out, Yoda and the Force totally works in context, one of the best parallel references in the whole saga including the scene. I feel somewhat resigned in joining the chorus on this one but yes it would've been nice to have something unique instead of Binary Sunset for the fourth time. I have to presume as others have that JW's best intentions got thwarted by all the reshoots and reediting, and plain disrespect for his work. Maybe he's gotten too attached to his various patterned ways of structuring/organizing scores/programs (which is still way ahead of most composers of any age). Maybe he wanted to throw in some surprises or curve balls that never made whichever cut. Or demands on his time were too high. All that said, it's my favourite of the prequel scores overall, and sits at number four below the OT and slightly above ROTS. The ROS/Victory theme gets right under the skin.

Only in a civil court!

it feels more like there extensions of one another it's not the first time Williams combines themes for a concert version .Hedwig's Theme as the main HP theme and the Nimbus 2000. Harry's Wondrous World has the Friendship theme, the family theme and the quiddich theme...

The Rise of Skywalker theme has grown on me a lot. Credit to @Loert as his piano rendition really helped me hear TROS themes as part of JW's musical language for relationships and bonds while also having distinctive Star Wars touches. I think it is a very fitting theme(s) with an almost meta-layer of sentimentality and a feeling of farewell.

The artist of the other cover seemed to have a personal beef with Steve McQueen. I like this cover, but what the hell is with all the different fonts??

I know. That's what I thought. I've ordered two.