Leaderboard

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?

Tracklist with durations (from https://www.highresaudio.com/en/album/view/22pwf4/john-williams-star-wars-the-rise-of-skywalker-original-motion-picture-soundtrack): 1. Fanfare and Prologue 04:34 2. Journey to Exegol 02:49 3. The Rise of Skywalker 04:18 4. The Old Death Star 03:16 5. The Speeder Chase 03:21 6. Destiny of a Jedi 05:12 7. Anthem of Evil 03:23 8. Fleeing from Kijimi 02:51 9. We Go Together 03:17 10. Join Me 03:42 11. They Will Come 02:50 12. The Final Saber Duel0 3:57 13. Battle of the Resistance 02:51 14. Approaching the Throne 04:16 15. The Force Is with You 03:59 16. Farewell 05:14 17. Reunion 04:04 18. A New Home 01:47 19. Finale 10:51 Total Runtime 01:16:32

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!

Some great stuff in here! For one, his energy and enthusiasm are remarkable. He also crushes on Daisy again, and even on Billy Dee Williams a little bit! haha

Okay, here you go!! NEW SCORE AVAILABLE Walt Disney Star Wars: The Rise of Skywalker (John Williams) [23 cues, 50:44]

[Cut to a few months ago] *Abrams bursts into the room unexpectedly* "Hey Johnny, how's my score coming along?" All joking aside, just wanted to echo what others have said and voice what an incredibly genius idea it was to give Shazam a shot to see if they had anything for the OST. That was such a resourceful move and I never in a million years would have thought to do something like that so kudos to you all for figuring that out. Your love for Williams truly knows no bounds. Just about 30 hours left. We're in the endgame, folks.

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.

OK. I saw the film in the theater last night. And holy motherforking shirtballs, THIS SCORE IS INCREDIBLE. I cannot recall another experience quite like this one, where I went to the theater and saw a movie, and was just in awe of how good the score was the whole way through like this. What was most amazing was that even after listening to the 95 or so minutes of score we have between the FYC and OST a lot before seeing the film and becoming very familiar with it, EVERY SINGLE ADDITIONAL, UNRELEASED CUE I HEARD IN THE FILM WAS SOMETHING I WANTED TO HEAR AGAIN OUTSIDE THE FILM! Every cue he chose not to put on the FYC or OST had SOMETHING special in it that made it worth having. I just sat there being blown away as cue after cue was a great unreleased highlight. I don't understand the reports from people saying eh, most of the highlights were on the FYC or OST, or eh, there's only 30 minutes of more music and most of it was older themes anyway, or whatever. No way! I mean, of course a lot of the cues do feature old themes, but many of those old themes are completely new variations of them! I heard an ABSOLUTELY FANTASTIC rendition of The Emperor's Theme unlike any I had heard before (it was a quiet rendition, on woodwinds IIRC), a great new version of Luke's theme, some great new Force Theme variations, and TONS, I mean just TONS of great new Rey's Theme variations. JW clearly is in love with Rey, and she is basically the main character of this film, and JW pretty much scores all her scenes with some new version of her theme, and I feel like we only got maybe half of these renditions between the FYC and OST. He does so much more with that theme in the full score. The other thing apparent from watching the film, is that it is very clear from watching that the film was scripted and shot as a longer experience, and then edited down within an inch of its life for the final cut. It's quite clear sometimes when entire scenes are missing (some of which we have the cues for on the OST album), and it's also clear in other times that the scenes he kept in where whittled down and down and down after the original cue for them had been recorded. This score is instantly my #1 most requested session leak / complete score release from all the John Williams scores that haven't been expanded yet. Not only is there just a bunch of great music you can hear in the final film that hasn't been released yet, based on everything we can hear right now it seems clear to me that the full sessions for this score would have the most amount of interesting music we've never heard. I can't remember the last time I was THIS into a new John Williams score this much, nor the last time I got 95 minutes of a score and still wanted more very very much. It's clear that JW was very inspired while writing this score, either by an earlier longer cut that made a lot more sense, or just something inside him that wanted to make this score really special. It's amazing to think that an 87 year old man who could have retired 25 years ago with a career more noteworthy than most composers can dream of achieving is still crafting masterpieces like this. Bravo, maestro!

Thanks for the interview video! Same Youtube account posted a video which actually has small clips of Williams at the recording sessions: (before 6:33 there's material which could include some spoilers)

I know you're probably busy listening to other John Williams stuff today , but here's the long-awaited podcast with Mike Matessino about the DISASTER MOVIE SOUNDTRACK COLLECTION: https://thelegacyofjohnwilliams.com/2019/12/11/mike-matessino-podcast-disaster-soundtrack-collection/ It's a long and thorough conversation where Mike talked also about his work on Monsignor and Minority Report. Loads of music clips interspersed all throughout. Co-hosting the show with me is again the ever-reliable Tim Burden. Hope you'll all enjoy!

I've said before that the odds of an 87 year old scoring one of the biggest movies of the year are really very low. There are just so many mental and physical ailments that would prevent an 87 year old from continuing to work, including the fact that he is about 10 years older than the average life expectancy. John Barry and Jerry Goldsmith both died in their 70s. We really are very lucky John is still with us and available to conclude the Skywalker saga that he helped start over 40 years ago.

You can do it with anything more or less

Jay-Dubs with the only other contributor to all 9 films, the insufferable Anthony Daniels: Love that JJ is right next to Williams here, which shows just how highly he regards him. Also very telling that Williams is the only crew member on stage here, other than the writer/director, senior producers and heads of Disney/Lucasfilm: Williams with Lando (discussing their delicious love for Leia) and Indiana Jones, who demanded John start writing his themes for Indy 5 before Christmas: Apparently John spoke to the audience, in a scene eerily reminiscent of Palpatine's speech to the Senate in Revenge of the Sith. He discussed, at great length, his immense displeasure at Giacchino's interpretations of his themes in Rogue One: And last but not least, Williams with Ridley... while friendzoned Boyega and Daniels photobomb JW's happy moment:

Look at this lovely young couple.

Couldn't agree more. I'm not usually one to encourage dwelling too heavily on what could have been, but in this case I really think it's worthwhile to entertain those "What If?" scenarios just so we can fully appreciate what (as other users have aptly called them) a gift these scores are, not just for having received them but for having received them in the way that we did. So first, there was the very unfortunate, grim, but ultimately quite possible reality that Williams either wasn't physically or mentally able to do these scores or, even worse, had passed away years before these films were even made. Abrams directs the first installment to the new trilogy and his longtime collaborator, Michael Giacchino, does the score instead. The films are made and we are left longing to hear what Williams could have done with these new films. Unfortunately, we'll never know. We sit listening to the new scores wondering what Williams could have done with a theme for Rey, or what sound Williams would have gone for for a character like Kylo. But that didn't happen! Williams remains as mentally and physically fit as ever. However, he decides he doesn't have any interest in scoring Episode VII or agrees only to write a couple themes to kickstart the new trilogy. "I don't want to steal the spotlight from this new generation of talents," Williams politely declines. "I'm too old for that scene. They need someone younger, more energetic, more talented than myself." Nope! Williams decides to score the whole film. But maybe he only scores Episode VII and then passes the baton to a new voice to finish the trilogy? Or, even worse, maybe something happens to Williams that makes him unable to finish the trilogy? Yeah, no. Williams, nearing the age of 88, persists, alive and healthy in both body and mind, and closes out yet another Star Wars trilogy. But maybe the result is severely lacking? Williams scored all 3 films, sure, but nowhere did he manage to even once capture the spirit of the earlier entries, not once did he wow with vibrant new thematic statements or invoke that classic Star Wars-ian feel of old that he used to be able to pull off oh so well? The scores lack an energy, lack imagination. They stand as proof that Williams should have hung up the baton years ago; that the idea to hand-off the job of scoring these 200 million dollar films to a man soon to be pushing 90 was a mistake seriously lacking in judgement. Where is that Williams spark, that magic? But maybe that doesn't happen either? Maybe, just maybe, Williams does do all three scores? And maybe, while arguments can be made as to the overall quality of them compared to the other 6, the scores stand as proof that Williams, and only Williams, could have delivered on that trademark Star Wars sound for these films, while standing as a continued testament to his talented musical capabilities and cementing his status even further as a legendary figure in the pages of musical history. Maybe Williams actually was able to pull it off, in a way that only Williams could? Maybe we're left wondering how we could have gotten so lucky? In all the possible scenarios of what could have happened, the one that seems most unlikely to me is that last one. And, holy fuck, that's the one we got.

Has it been pointed out yet that Oma Tres is an anagram of Maestro?

Forgive me if this is the wrong thread of the dozen available choices but I wanted to pop in and say that this is a fabulous sendoff for John's Star Wars - perhaps lacking a single moment of spectacular payoff, as is the film - but fabulous all the same. I have lately rediscovered Star Wars through my children, and I thank Mr. Williams for being the soul of this world since my own childhood.

Do you see Mattris? ----------------------------------------------------------------------> YES ----> Star Wars Disenchantment Thread Do you see Chen G.? --------------------------------------------------------------------> YES ----> Rise of Skywalker Spoilers Allowed Discussion Thread Do you see Thekthithm? -----------------------------------------------------------------> YES -----> Other Topics (what are you doing there?) Do you see publicist complaining? ----------------------------------------------------> YES -----> 2020 Oscars Thread Do you see Stefancos threatening everyone with atomic spoilers?------------> YES -----> I booked my ticket for Star Wars:TROS Do you see weirdos going off-top about other scores? ---------------------------> YES -----> What is the last score you listened to? Do you see a poll?---------------------------------------------------------------------------> YES -----> Is Jay everywhere? ----> YES ----> Returning Themes in The Rise of Skywalker score ------> Am I everywhere? -----> YES -----> Your First Impression of TROS Can you talk about film spoilers?--------------------------------------------------------> YES -----> Rise of Skywalker Spoilers Allowed Discussion Thread Is your screen freezing from the number of new posts?---------------------------> YES -----> The Rise of Skywalker - For Your Consideration (FYC) Album Discussion

How's this to get us started 01 Prologue (1:45) 0:08 Kylo Ren's Theme 0:43 NEW THEME #1 (the swirly one) 0:48 Kylo Ren'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 1:30 March of the Resistance 1:53 NEW THEME #2 (the action one) 2:05 The Rebel Fanfare 2:09 The Death Star is about to blow up from ANH moment 03 We Go Together (2:10) 0:30 NEW THEME #3 (the Anakin's Theme-ish one) 1:07 Rey's Theme 1:21 The Force Theme 1:58 NEW THEME #3 04 In the Desert (2:26) 0:24 March of the Resistance 05 A Prisoner (1:23) 06 To Kimiji (1:37) 1:12 Rey's Theme 07 Fleeing from Kimiji (1:53) 0:00 NEW THEME #2 0:23 Kylo Ren's Theme 0:34 Kylo Ren's Theme 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) 0:58 Rey's Theme (dark and twisted version?) 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) 0:38 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 NEW THEME #1 3:18 NEW THEME #4 (the triumphant one) 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 1:18 The Force Theme 20 Seeing Sights (3:17) 0:24 NEW THEME #3 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 NEW THEME #4 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 NEW THEME #4 23 A New Home (1:42) 0:19 Rey's Theme

Here it is I think out of any cue in the film that isn't on the OST, this is the one that most SHOULD HAVE BEEN. It's not only the narrative and emotional climax of the movie, but the entire sequel trilogy, and the entire saga. And it features a glorious new rendition and reworking of what has been used as the main title theme for all 9 episodes. What was he thinking skipping over this one?

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.

Well, there's close to half an hour of unreleased music just in the first half of the film [edit: the chart originally posted here has become outdated; Go to the main post for the most up-to-date version]

I asked Mike Matessino about the chances of this and he said that "petitioning for isolated scores would be a very good way of sabotaging potential official expansions. It would send the message the The Phantom Menace: Ultimate Edition was what the fans wanted after all, and music recorded but not used could never see the light of day. Bad idea."

The final sequence with the New Home cue was the best marriage of music to visuals in a long time. Perhaps it was the lack of dialogue and loud sound effects, but it felt like art. Rey riding down the sandhill was a nice callback, both visually and musically. I was happy that the saga ended with such subdued poignancy.

Since we just switched to a new page, I'm going to indulge in quoting myself, because I feel like shouting to the heavens how good this score is!!!

Holy crap check out this amazing unreleased cue for Rey training in the woods How could that not be on the OST?

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:

There's a moment in They Will Come you'll appreciate. This is a pretty lovely album. I had two immediate impressions. After finishing, I realize that TFA is 100% the score of the trilogy. TLJ and ROS help give it all a bit more hype and flavor, and feature the best versions of its themes, but as a fresh narrative and overall listening experience, TFA is the anchor. The other was while listening to the wondrous title track "The Rise of Skywalker," it occurred to me that this score and the trilogy overall...it's really for the softies! I've spent four years now reading comments putting down these scores as "weak", lacking a new Imperial March or Duel of the Fates, waiting for that badass First Order March (the biggest adrenaline junkies will probably be disappointed with The Final Saber Duel and Anthem of Evil) but that's not the tone of these movies or these scores. The way I see it, the music of the OT evokes heroism, spirited adventure, above all classicism in structure and craftsmanship. The prequels are all fire and brimstone, passion, war, aggression, tragedy. The sequels -- summed up in my mind by Rey's Theme, Jedi Steps, Rose's Theme, and now The Rise of Skywalker -- this is a musical trilogy of wistfulness and whimsy, nostalgia, loneliness, and magic. Altogether that is Star Wars by John Williams.

Overall, my first impression of the soundtrack was extremely positive. I'd say I liked it MUCH more on first listen than I did the Force Awakens or Last Jedi OST albums. I grew to love the Force Awakens OST album, but my first listen was not an instant love, as it was so different from my expectations. The Last Jedi I l liked fine and still do, but was not blown away by anything. But this album blew me away. You can hear passion and excitement in this work. The Rise of Skywalker and The Speeder Chase are instant classics! The album overall has a nice flow and pace to it. The strengths of this work are the new themes (especially The Rise of Skywalker theme and the trio theme), the great new renditions of the other sequel trilogy themes (he continues to find ways to make Rey's, Poe's, and the Resistance's themes stray fresh), and the fact we finally got a proper John Williams action set piece track in a Star Wars score again. The weaknesses are the straight-up renditions of Original Trilogy themes towards the end of the album, and an overall unsatisfying end credits medley. I am thrilled we have a nice FYC with lots of additional music, and can't wait to see the film to hear what else it has is store for us.

Half the reason I feel it worked last time was because it was in such a tiny, front-of-park shop - they probably didn't know or care that they were breaking street date and not making enough waves for anyone to notice. I'd assume a park that focuses on SW would be a little smarter about that. Alas, lightning did not strike twice. I checked the store I did last time, as well as a few other noteworthy areas and no dice, despite this CLEAR homage to the Death Star.

This is peak JWFan 😂

So this is REALLY weird. My dad and me were toying around with this Shazam app and so I played the Kylo Ren theme from ‘Prologue’, trying to fool the thing because that music hasn’t been officially released yet but it contains an existing theme. And then it said THIS: 😳😳😳

This is such a weird time... probably the last time it will be like this, unless Indiana Jones 5 actually gets made and JW scores it. What I mean is, it was weird yesterday, as I was out and about doing errands, then doing various things around the house... basically all day long constantly checking to see if the STAR WARS EPISODE 9 ORIGINAL SOUNDTRACK ALBUM was available to listen to. Then eventually... going to bed... and realizing "well, when I wake up in about 8 hours or so, either there will be dozens of pages of discussion, and I'll know how my day is starting... or there will be nothing". And today... I keep checking. At some point, some time soon, I'll be able to hear the STAR WARS EPISODE 9 ORIGINAL SOUNDTRACK ALBUM... but I have no idea when that point will be. All we know is that it will be legally for sale digitally in Australia and New Zealand 41 hours and 38 minutes from now, and that's goddamn exciting.

Oof, can you imagine the conversation when they get home. "Hey honey, how was work?" "Baby, you should sit down.....I...I lost my job today." "What!? You've been working there for six years, and Bob Iger has sent you personal cards every single Christmas thanking you for all your hard work! Hell, he's invited you to the golf tournaments three years in a row! What could you possibly have done to get yourself fired!?" "I...I..." "Spit it out, you--" "I uploaded the For Your Consideration soundtrack for Star Wars on the official website one week in advance." "............ You son of a bitch, you were messing around with that secretary we met last Christmas party weren't you?! Don't lie to me!"

Williams was very easy to work with because there was absolutely no ego. The important thing is he is a composer/conductor as well as an instrumentalist so he's a polyglot. He UNDERSTANDS the musician and all of the demands required of him or her. Celebrity Conductors like JEG are megalomaniacs and they hide their insecuruty with unpleasantness and POWER. Have a look on YouTube of a rehearsal with Celibidache rehearsing Bruckner with a top German Orchestra. He is so patronising and they fuckin hate him. Williams doesn't need to bully anyone. That behaviour is beneath him. After all he is a composer not only of film scores but also concert music and an example of how HUMAN he is is that he has concentrated almost exclusively on the Concerto as a format? Why? I guess because he loves people and gifts not only the orchestra but also the Soloist with his gentleness and wisdom. The only other conductor I can think of that I worked with (in a choral capacity of course) to match Williams humility was Rattle when I sang with European Voices (it was either them or I was depping for the Arnold Schonberg Chor or something) when we did a tour of Mozart's Idomeneo with the Berlin Philharmonic. There is wonderful music for chorus in that Opera. My claim to fame with Rattle was my conversation with him after a rehearsal when he confirmed my idea that Idomeneo was Mozart's one and only use of the Piccolo, which as an instrument was in its infancy in Mozart's Day. Rattle was VERY down to earth. I worked with the screaming skull only once. Solti conducted us as students when I was in 2nd year at RCM in Parsifal I think it was. Then about two days after the concert he snuffed it! I remember Stephen Cleobury as being desperately dull but a very worthy musician. I worked with Richard Hickox only once with his group Collegium Musicum 90 and he really Impressed me as a great musician. Jan Pascal Tortelier was also a delight to work with I remember. I worked with Rattle again at the Proms in another production of Parsifal, then one last time in what is known as a "bumping" job when professional singers are paid to bolster the sound of an amateur symphonic chorus like the LSO chorus. We recorded the ballet "Harnasie" with the CBSO in Birmingham... In Polish! I sang in all the Haitink Galas at Covent Garden but I don't remember much about him. Generally with Opera conductors the chorus are a hindrance. It takes them all their time to look up at us from the podium because this breed are interested in only one thing...the Orchestra. I remember in Salzburg once I sat in on a rehearsal of Katia and Marielle Labeque playing through the Double Concerto of Francis Poulenc with the Vienna Phil and I thought to myself "Christ how lucky am I to get paid for this?" I think we were singing Stravinsky's Oedipus Rex or something. This is like 20 odd years ago so I can't remember cos I've done a fair bit. I can say with confidence that John Eliot Gardiner was the finest choral trainer I ever worked with. But as a human being? Well I won't go into it. I remember once we had a gig where he used us in the Montervedi Choir to sing in Ravel's Daphnis et Chloe and because it wasn't his "Fach" the whole thing nearly collapsed. "Period Instrument" conductors like Gardiner (or Minkowski and Norrington both of whom I've also worked with) concentrate a lot on Baroque repertoire which very often doesn't have a great deal of rubato or time signature changes (in fact none) so things naturally become more motoric and fixed. Certainly rhythmically more foursquare. However with something like Daphnis it's all over the place. I'm telling you now if some of these big name classical conductors walked into a Hollywood sound stage and had to conduct something to order when time is MONEY they'd have a job on their hands. Korngold was looked down upon for his move to movie music. But like Williams he was triumphant because he drew on his enormous musical wealth and HUMAN FEELING. Truly great ARTISTS don't need to shout. Often their whispers are more deafening.

"Earthwake" -- sounds like the perfect name for an environmental issue movement! Time to wake up and save the earth, folks!

The music for that scene is on the FYC and the OST (it's in Seeing Sights FYC / The Force Is With You OST) Here it is. Amazing unreleased variations of Rey's Theme and Ren's Theme

So, after the press screening, I can tell you that the score is really, really good, really crushing. This movie really owns it a lot. I haven't heard FYC material, but especailly two new themes are very epic and have a very prominent place in the score. One is majestic, both are super catchy and memorable. An instant classics for me. I have the impression that this is the most aggressive score of the new trilogy, and at the same time the most lyrical and nostalgic. Of course, old themes are back - Force, Vader, Palaptine, Leia, Han Solo and the Pricnes, Yoda, Rey, Resistance. End Credits is a mix of old themes and new ones. I didn't notice Dule of the Fates, but there is a powerful choir that sounds quite similar to it. There are more choirs, at the beginning and especially in the last act of the film. One of them reminded me of Anakin's Betrayal from ROTS. The movie ends, for the fourth time in a row, with Binnary Sunset. In two places, if I remember correctly, Williams almost copied fragments from ROTJ (Darth Vader's death) and ESB (Dagobah). But it sounds spectacular. To sum up, there is a lot going on here. I can't wait to hear it on CD. And of course a few more times at the cinema. Of course, don't take my words for granted. I really like scores from both TFA and TLJ.

So I'm after the press screening. I liked the movie very much, although there will certainly be many who will not be satisfied. As usual. I have to gather my thoughts to write a spoiler free review for my web portal - for now, until tomorrow morning, there is an embargo from Disney. One thing I'll tell you: John Williams has a cameo! He played a bartender by the name, if I remembered correctly from the end credits, Oma Trek. How cool is that? EDIT - Oma Tres

Ach I was only in the chorus lads but thanks. Then again how was I to know as an astonished 8 year old bunking off school one Friday afternoon in late January 1978 (and being taken to see Star Wars with my Uncle Jack... he wasn't really my Uncle just one of my Ma's drinking pals...but every adult was either your Uncle or your Auntie in those days) how could I have known I'd end up being a miniscule minion of the Star Wars religion? I'd first heard of Star Wars when my Ma and I were briefly living in Blackpool in England (went went down there from Glasgow because she was forever trying to run away...from herself) and she used to work in a hotel at the seafront. I used to sit in the kitchens in the bowels of the place waiting for her to finish whilst I was being fussed over by the head waiter and his wife who was the cook. There was a small portable telly that I would watch whilst munching cake and on came an old game show one evening called "The Krypton Factor". There were only three channels to choose from in those days but conversely the telly was a damn sight better than it is now. Anyway The Krypton Factor (!) had pretentions of being a high brow intellectual show and one of the tasks the contestants had to achieve was to study a short clip of a newly released film then answer detailed questions about it. Well on came Han Solo, Luke Skywalker and Ben Kenobi in the Cantina and of course I had no idea what this was. What transfixed me though was the presence of this big hairy thing sitting alongside them. Anyway that was that. I had been whisked to another universe for all of two minutes. But what an impression it had on me. This would've been late October/early November 1977 just about a week after my 8th birthday. By the end of November we were back up in Glasgow living in cheap bedsits again and by December that year there were centre page spreads about this new thing called Star Wars that would soon arrive in Scotland. It was then I remembered the big hairy thing again because his image was plastered all over the newspapers. Seeing the photo of "Lord Darth" as my Ma referred to him was enough to send me stratospheric. So the day came that Friday afternoon when I was let off school to go and see this phenomenon with Uncle Jack. I got sweeties and he bought a few cans and we sat there and witnessed the whole thing. It changed my life. Me and all the millions. We left the Odeon Cinema on Renfield Street and on the way home bumped into my father who had been separated from my Ma for the past two years. I begged him to take me to see it again. "But you've already seen it!" he exclaimed. "But I want you to see it Da" came my reply. Ah the nuance of pester power... By the time Jedi was released I was 13 so therefore old enough to go on my own. I wept bitterly at the end of the film which may have been a reflection of the truly intolerable conditions I was by then enduring at home. By this time we were squatting in a ramshackle house and my Ma's drinking had reached fever pitch. All alone in the house with her I escaped...into music via the tapes of Star Wars and Empire I had pestered my Ma to buy me for Christmas 1980. The minute Jedi was released I knew I HAD TO GET THE MUSIC. So within a week I begged, borrowed and stole and went on as many errands as I could to gather the money for the tape. Within a few days the prize was mine. I had a small mono tape recorder then and I would play those three tapes to death. I still have them. I even bought a Baton (!) from Biggars music shop on Glasgow's famous SauchieHall Street. Biggars was one block away from "Casa Cassettes" (now long gone) which was a great music store where I bought my very first tapes. I would listen to the three Star Wars tapes over and over whilst conducting an imaginary orchestra with my baton. The great Carrie Fisher had this to say about the phenomena of long ago in a galaxy far far away. And I agree with her... “Movies were meant to stay on the screen, flat and large and colorful, gathering you up into their sweep of story, carrying you rollicking along to the end, then releasing you back into your unchanged life. But this movie (Star Wars) misbehaved. It leaked out of the theater, poured off the screen, affected a lot of people so deeply that they required endless talismans and artifacts to stay connected to it.” Via The Princess Diarist And I think this is what the whole world has been trying to do. Trying to relive and recapture the first time we saw Star Wars as kids but failing to realise that with each new movie we got older and each film got further and further away from that feeling of childlike wonder. What doesn't change though is the quality of the one element that saved me through the most desperate times of my life as a kid (and adult). The music. And here I am at 50 years old listening to the latest and very last incarnation from the pen of a master. I wish time machines were real. I would hop into that escape pod and go back to that freezing Friday in 1978 and relive it just one more time. A golden little day I'll never forget. May the Force be with you all friends and music lovers!

OMG 2 COLLECTIBLE CARDS!!!!!!

Already I can hear this new score is cast in the same language as the last two Sequel scores. Same harmonic pallette and darkness. These scores have been more edgy, more visceral somehow. I love what I'm hearing. Williams has an inexhaustible supply of invention it seems. Its often the case with Composers whether for film or the concert hall, whereas pop artists have shorter shelf lives because they are restricted by the 3 minute song form. This is excellent music. Each new bar that comes is a new wonder. I'm seeing with my ears right now. When I see the movie itself I'll hear with my eyes. These last three scores have redeemed the patchy quality of the movies. This is exactly the kind of music I was hoping for before Force Awakens was released. A mirroring of the OT scores but shot through some darker prism. He never let's us down. Even at his advanced age he's got a fire of youth in this new writing. BRAVO MAESTRO WILLIAMS!

This extract of score we had ages ago is 1:20+ of "Hallway Shooting" track 8

Yes the Original Soundtracks. We recorded at Abbey Road (where I also recorded there) music by Lili Boulanger (great composer who died at age 24 and was sister of the great pedagog Nadia) Stravinsky's Symphony of Psalms and his Opera The Rakes Progress. We recorded Bruckner Motets there also I think all under John Eliot Gardiner who compared to Williams was a piece of shit. I also recorded Dave Brubeck's Jazz Cantata "The Gates of Justice" there as well as Goldsmith's "Christus Apollo" As well as those modern works we also recorded material like Schumann's "Scene's from Goethe's Faust and" Das Paradies und die Peri" all with the Montervedi Choir. I worked with them for 5 years and toured the globe until I was unceremoniously dropped after standing up to Jiggy as he is known in the business. We performed Beethoven 9 in LA and I even had the chance to visit the old offices of FSM where I bought some CDs from them whilst renewing my subscription to the print magazine. This was in 1999. I sing 2nd Tenor for Scottish Opera Chorus now in Glasgow. We just finished Tosca (which is like one big film score with singing) and we start rehearsing Nixon in China by John Adams this Thursday. Generally in chorus I just stand at the back holding a farmyard implement. It's easier! Yes the Original Soundtracks. We recorded at Abbey Road (where I also recorded there) music by Lili Boulanger (great composer who died at age 24 and was sister of the great pedagog Nadia) Stravinsky's Symphony of Psalms and his Opera The Rakes Progress. We recorded Bruckner Motets there also I think all under John Eliot Gardiner who compared to Williams was a piece of shit. I also recorded Dave Brubeck's Jazz Cantata "The Gates of Justice" there as well as Goldsmith's "Christus Apollo" As well as those modern works we also recorded material like Schumann's "Scene's from Goethe's Faust and" Das Paradies und die Peri" all with the Montervedi Choir. I worked with them for 5 years and toured the globe until I was unceremoniously dropped after standing up to Jiggy as he is known in the business. We performed Beethoven 9 in LA and I even had the chance to visit the old offices of FSM where I bought some CDs from them whilst renewing my subscription to the print magazine. This was in 1999. I sing 2nd Tenor for Scottish Opera Chorus now in Glasgow. We just finished Tosca (which is like one big film score with singing) and we start rehearsing Nixon in China by John Adams this Thursday. Generally in chorus I just stand at the back holding a farmyard implement. It's easier! The photo of myself and the Maestro is a treasured possession. I had the temerity to go up to George Lucas and as for Williams photo. I wasn't interested in being photographed with him! Lucas said "I don't think that's possible. Mr Williams is so busy". During a break I took a chance and walked up to the podium where the Maestro was looking at his score. I asked for a photo and he was extremely gracious. I was so nervous I forgot to shake his hand to my eternal regret. I told him how I came from a background of poverty and violence in Glasgow in the 70s and how his music eventually led me to win a scholarship at the RCM. I then stayed that his music would last for centuries. He replied "Ah but will we?". Christ I was so slim in that photo haha! Yes I agree with you. I love the Sequel scores because as you say they are closer in some way to the OT music. I consider Williams music for these 9 films to be the modern day equivalent to Wagner's Ring Cycle. Opera was the medium of the day in Wagner's time. Now its Cinema. Don't get me wrong there are wonderful moments in the prequel scores of course. But with trying to marry the quagmire of the Taxation of Trade Routes with what is basically a kids movie I think Williams wrote music which mirrored the artifice of what was on screen. That is how great a composer he is. He can't helped morphing into whichever project he tackles. Seamlessly. Yes Williams spoke to us but this was nearly 20 years ago now when I sang on those movies. The thing about film music gigs in general is that they are a gift for choral singers because (apart from the Sanskrit material) it's all mostly just "oohs and aahs" and generally harmony is firmly tonal. Compare this with works that I've been part of like Poulenc's A Capella Cantata "Figure Humaine", Reich's "Desert Music" or something like the Ligeti Requiem which are impossibly difficult. A lot of Renaissance repertoire came my way also in those days incl the "Missa et Ecce Terrae Motus by Antoine Brumel or the 19 part Motet" O Bone Jesu"by the Scottish Renaissance master Robert Carver. Film music is a walk in the park compared with this stuff which is modal (written before the invention of the bar line) and rhythmically mist complex. I wasn't aware that Williams wrote four scores that in one year. Surely his most prolific year by far?

So by my calculations, there's almost 45 minutes of unreleased music heard in the final film, though it's still unclear how much of that is old recordings tracked in... (Apologies to mobile phone users, this chart only looks right on a desktop or tablet.... if you are on mobile, turning your phone sideways helps somewhat) [edit: the chart originally posted here has become outdated; Go to the main post for the most up-to-date version]

Extended ending: