Jacck

What is/isn't an action scene?
And what is/isn't a third act?
If there is a fake third act with an action scene, wouldn't that qualify as an action scene technically still in the second act?

There's no action cues because there's no action in the movie. That's yet another piece of evidence...

Between this piece, Jango's Escape, and Zam the Assassin, Star Wars Episode II Attack of the Clones boasts some impressive and unforgettable standalone action pieces! 

By the way folks, it was exactly forty years ago today (16th February 1978) that John Williams gave his first concert with the London Symphony Orchestra, entitled LSO In Space.  The venue?  The Royal Albert Hall in London.
 
Let's hope our Johnny wears the same clobber this time.
 

OK I've finally found time to go through the FYC one track at a time and and posting my results into the main post of this thread.

I skipped over Escape for now because its such a nightmare, but here's what I've gotten through for now with the next handful of tracks
 
FYC 02 Ahch-To Island (2:31)
OST equivalent: 02 Ahch-To Island [1:43-end] (2:40) 
 
This is the music for Rey asking Luke for help, and then following him on his "daily routine".  The FYC features the proper clean opening as heard in the film, while on the OST, the beginning of the cue is slightly abridged, and mixed over the ending of the previous Ahch-To cue that's in the same track.  However, the OST features a section of music (3:22-3:27) that is edited out of the FYC track at 1:40, meaning the film was probably slightly shortened after scoring around that area.  So, to create a proper complete version, you'd want to take the cleaning opening of the FYC track, then segue over to the OST track as soon as you can and continue with the OST track all the way to the end.
 
 
FYC 03 The Supremacy (2:00)
OST equivalent: 04 The Supremacy [0:08-2:00] (1:52)
 
This is The Supermacy showing up and Leia realizing they were tracked through lightspeed, and Kylo firing on their ship.  The FYC from 0:25-0:30 is longer than the same OST passage (0:35-0:36), though I don't know of the OST is microedited, or if the OST is how it was recorded and they had to artificially stretch it for the final film.  The FYC has a small edit around 1:14, and the OST has a small edit around 1:18 (or, the OST is the proper recording, and the FYC Is looped in that area).  Finally, the FYC seems to have a loop 1:39-1:43, but then omit material around 1:53.  The FYC track seems to artificially fade the final string sustain down early, but the OST segues to another cue when it ends, so we don't have a good ending anywhere. 
 
For a custom edit, I'd ignore this FYC track entirely and just use the whole Supremacy OST track.
 
 
FYC 04 Admiral Holdo (1:02)
OST equivalent: None - Completely new track!
 
This is Admiral Holdo being introduced as the new leader, and her initial speech to the Resistance.
 
 
FYC 05 Fun With Finn And Rose (3:03)
OST equivalent: 05 Fun With Finn And Rose [0:25-end] (2:09)
 
The OST from 0:00-0:25 contains the cue for Rose telling Finn about her sister, then realizing he's trying to escape and stuns him (it only contains the Paige story portion of the cue, though).  This cue isn't on the FYC at all, so you'd need to break it out into its own track if you want to keep it (you can call it "You Are a Hero" or "That's a Real Hero".  I wouldn't call it "Finn Meets Rose" though, because THAT cue comes before this one and isn't on the FYC or the OST at all).
 
In the film, that cue segues immediately to the next cue, which covers which covers Finn and Rose coming up with their plan and telling it to Poe.  This cue appears in full on the FYC track, while the OST version omits the opening minute due to it seguing from partway through the sister story cue to partway through the planning cue.
 
So, Option 1 is to break out OST 0:00-0:25 into its own track, and then use FYC 05 for the next cue in its own track.  Option 2 would be If you don't want to do WAV editing, then its a a personal preference if you rather use the OST track (Paige story opening -> incomplete planning cue) or the FYC track (no Paige story at all, but complete planning cue).
 
 
FYC 06 Connection (1:58)
OST equivalent: 06 Old Friends [2:36-end] (1:52)
 
This cue covers Ren and Rey's Force connection ending because Luke has shown up, and then him taking her to their first lesson up the cliffside.  The FYC provides the full proper clean opening, while the OST omits the opening 4 seconds and is segued from another cue in the same track.  Otherwise they are basically the same, but the FYC might be slightly edited down in one spot, so I'd transition from the FYC's clean opening to the OST track as early as possible then just use that from there to the end.
 
 
FYC 07 Lesson One (1:59)
OST equivalent: 07 Lesson One (2:10)
 
The FYC and OST tracks of the same name are pretty much identical to each other, though the FYC seems to have a few edits and a loop around 1:31, so I'd ignore the FYC track and just use the OST track.

Escape V2.1:
 

 
Volume changes have been fixed up, cleaned up the remaining FYC edits and made some changes to the part with Poe's Theme. To my ears, it sounds like Williams intended for the gorgeous strings build-up (as BB8 fixes the X-Wing) to flow straight into the big statement of Poe's Theme (sadly cut to shreds in the FYC) but I've recreated what I think was his original intention.
 
Edit: Refined the sections around Poe's Theme, which sounded a little clunky. Don't think I can get it much better than this due to the crappy overdubs they've slapped into the film mix (unless someone can find me a clean boom-tsh I could add over the top, which would smooth it out).
 
At least all the tracked music from Battle of Crait is gone.

There is a near 100% chance that Williams, the most nominated person alive, will receive a Lifetime Achievement Oscar. 

The Matrix still holds up today. Reloaded and Revolutions don't. (barring occasional moments of spectacle)

20th Century Fox  https://www.foxscreenings.com/
Ferdinand (John Powell) Greatest Showman, The [Song - "This is Me" (Benj Pasek & Justin Paul), 3:52] Logan (Marco Beltrami) Post, The (John Williams) War for the Planet of the Apes (Michael Giacchino)  
 
A24 Films  LINK 1 or 2
Ballad of Lefty Brown, The (H. Scott Salinas) Disaster Artist, The (Dave Porter) Florida Project, The (Lorne Balfe) Ghost Story, A (Daniel Hart) Good Time (Oneohtrix Point Never) It Comes at Night (Brian McOmber) Killing of a Sacred Deer, The (?) Lady Bird (Jon Brion) Lovers, The (Mandy Hoffman) Menashe (Aaron Martin & Dag Rosenqvist)  
 
Amazon Studios  LINK 1 (possibly obsolete: 2)
Big Sick, The (Michael Andrews) Brad's Status (Mark Mothersbaugh) City of Ghosts (Jackson Greenberg & H. Scott Salinas) Crown Heights (Mark Degli Antoni) Human Flow (Karsten Fundal) Last Flag Flying (Graham Reynolds) Long Strange Trip (N/A) Lost City of Z, The (Christopher Spelman) Wonder Wheel (?) Wonderstruck (Carter Burwell) [31 cues, 1:03:39]  
 
Annapurna Pictures  LINK 1, 2, 3, or 4
Detroit (James Newton Howard)  
 
Bleecker Street  LINK 1, 2 or 3
Breathe (Nitin Sawhney) [5 cues, 06:56] Man Who Invented Christmas, The (Mychael Danna) [5 cues, 07:17]  
 
Broadgreen Pictures  1 or 2
 
 
CBS Films  http://cbsfilmsscreenings.com/
 
 
DreamWorks  LINK 1 or 2
 
 
DreamWorks Animation  LINK 1 or 2
 
 
EuropaCorp  http://awards.europacorp.com/
 
 
Entertainment Studios  https://entertainmentstudiosawards.com/
Hostiles (Max Richter)  
 
Focus Features  LINK 1 or 2
The Beguiled (Laura Karpman & Phoenix) Darkest Hour (Dario Marianelli) [19 cues, 52:08] Phantom Thread (Jonny Greenwood) [20 cues, 1:04:01] Victoria & Abdul (Thomas Newman) [32 cues, 46:19]  
 
Fox Searchlight Pictures  LINK 1 or 2
Battle of the Sexes (Nicholas Britell) [26 cues/songs, 1:17:53] Goodbye Christopher Robin (Carter Burwell) [26 cues/songs, 1:01:21] Shape of Water, The (Alexandre Desplat) [33 cues, 55:31] Shape of Water, The (Alexandre Desplat) [26 cues/songs, 1:17:17] Three Billboards Outside Ebbing, Missouri (Carter Burwell) [22 cues, 27:05] Three Billboards Outside Ebbing, Missouri (Carter Burwell) [19 cues/songs, 44:16]  
 
IFC Films  http://www.ifcfilmsawards.com/
 
 
Lionsgate  http://www.lionsgateawards.com/
Wonder (Marcelo Zarvos)  
 
Neon  http://neonguilds.com/
B-Side, The (?) Bad Batch, The (?) Beach Rats (Nicholas Leone) Colossal (Bear McCreary) I, Tonya (Peter Nashel) Ingrid Goes West (Jonathan Sadoff & Nick Thorburn) Racer and the Jailbird (Raf Keunen) Risk (Jeremy Flower)  
 
Netflix  LINK 1 or 2
Bright (David Sardy) [23 cues, 1:02:05] Chasing Coral (Saul Simon MacWilliams & Dan Romer) Chasing Coral [Song – "Tell Me How Long" (Dan Romer & Terry Geiger), 3:30] First They Killed My Father: A Daughter of Cambodia Remembers (Marco Beltrami) [44 cues, 1:37:04] Heroine (?) Icarus (Adam Peters) [50 cues, 1:57:10] Meyerowitz Stories (New and Selected), The (Randy Newman) [22 cues, 24:04] Meyerowitz Stories (New and Selected), The [Song – “Genius Girl” (Adam Sandler & Noah Baumbach), 2:06] Meyerowitz Stories (New and Selected), The [Song – “Myron/Byron” (Adam Sandler, Noah Baumbach, & Randy Newman), 00:53] Mudbound (Tamar-Kali Brown) [25 cues, 37:43] Mudbound [Song – “Mighty River” (Mary J. Blige, Raphael Saadiq, & Taura Stinson), 05:19] okja (Jemma Burns & Jaheim Jung) [29 cues, 1:14:08] On Body and Soul (Adam Balazs) One of Us (T. Griffin) Strong Island (Hildur Guðnadóttir & Craig Sutherland)  
 
Open Road Films  http://openroadfilms.com/AWARDS/
 
 
Paramount Pictures  LINK 1 , 2, or 3
Downsizing (Rolfe Kent) [40 cues, 57:31] [DEFUNCT - DETAILS IN SPOILER] Downsizing (Rolfe Kent) [39 cues, 56:23] LINK 1 or 2 Inconvenient Sequel, An: Truth to Power (Jeff Beal) Mother! (N/A) Suburbicon (Alexandre Desplat) Transformers: The Last Knight (Steve Jablonsky) [83 cues, 2:14:15] LINK 1 or 2  
 
Roadside Attractions  http://roadsideawards.com/
 
 
Sony Pictures  LINK 1 or 2
All the Money in the World (Daniel Pemberton) Baby Driver (Steven Price) Only the Brave (Joseph Trapanese) Roman J. Israel, Esq. (James Newton Howard) Star, The (John Paesano)  
 
Sony Pictures Classics  http://www.sonyclassics.com/awards-information/
Brigsby Bear (David Wingo) Call Me By Your Name (?) Fantastic Woman, A (Matthew Herbert) Film Stars Don't Die in Liverpool (J. Ralph) Foxtrot (Ophir Leibovitch & Amit Poznansky) Happy End (?) Leisure Seeker, The (Carlo Virzì) Loveless (Evgueni Galperine & Sacha Galperine) Maudie (Michael Timmins) Mark Felt: The Man Who Brought Down the White House (Daniel Pemberton) Norman: The Moderate Rise and Tragic Fall of a New York Fixer (Jun Miyake) Novitiate (Christopher Stark)  
 
STX Entertainment  http://stxawards.com/
Molly’s Game (Daniel Pemberton) [16 cues, 41:30]  
 
Universal Pictures  LINK 1, 2, 3, 4, 5, or 6
American Made ( Christophe Beck) Despicable Me 3 (Heitor Pereira; original songs & themes by Pharrell Williams) [38 cues, 54:31] Fate of the Furious, The (Brian Tyler) [29 cues, 1:17:38] Fifty Shades Darker (Danny Elfman) Fifty Shades Darker [Song - "I Don't Wanna Live Forever (Fifty Shades Darker)" (Zayn & Taylor Swift), 4:05] Get Out (Michael Abels) [41 cues, 56:44] Girls Trip (David Newman) Split (West Dylan Thordson) [22 cues, 59:47] Thank You For Your Service (Thomas Newman)  
 
Walt Disney  LINK 1 or 2
Beauty and the Beast (Alan Menken & Howard Ashman) Beauty and the Beast [Song - “Evermore” (Josh Groban) (3:10)] Beauty and the Beast [Song - "How Does A Moment Last Forever" (Celine Dion) (3:38)] Cars 3 (Randy Newman) [21 cues, 50:22] Cars 3 [Song - “Ride” (ZZ Ward, Gary Clark Jr.) (4:03)] Cars 3 [Song - “Run That Race” (Dan Auerbach) (2:44)] Coco (Michael Giacchino) [38 cues, 1:08:43] Coco [Song - "Remember Me" (Kristen Anderson-Lopez & Robert Lopez) (2:47)] Guardians of the Galaxy Vol. 2 (Tyler Bates) Guardians of the Galaxy Vol. 2 (Tyler Bates) [Song - "Guardians Inferno" (James Gunn & Tyler Bates) (3:17)] Lou (Christophe Beck) Star Wars: The Last Jedi (John Williams) [20 cues, 1:06:24] Thor: Ragnarok (Mark Mothersbaugh) [26 cues, 59:33]  
 
Warner Brothers  AMPAS, HFPA, & BAFTA
Blade Runner 2049 (Benjamin Wallfisch & Hans Zimmer) Disaster Artist, The (Dave Porter) Dunkirk (Hans Zimmer) It (Benjamin Wallfisch) Kong: Skull Island (Henry Jackman) Lego Batman Movie, The (Lorne Balfe) Wonder Woman (Rupert Gregson-Williams)  
 
The Weinstein Company  LINK 1 or 2
3 Generations [West Dylan Thordson; Michael Brook (festival version)] Leap! (Klaus Badelt) Tulip Fever (Danny Elfman) Wind River (Nick Cave & Warren Ellis)  
 
MISCELLANEOUS
Elizabeth Blue [3 songs by August Roads] LINK 1 or 2 "All in My Head" (4:26) "Dying For Ya" (3:17) "Green" (4:36)  
 
NOTES:
ARCHIVES OF PAST YEARS' THREADS:  2016, 2015, 2014, 2013, 2012, & 2011 Links to film sites above provided only for those featuring score/music excerpts. Direct links to audio files provided in the Spoilers below the film titles. Please post other studios and film sites featuring music below and I will add them to this master list. Sources for the sites listed above (in part): Historical: http://www.awardscircuit.com/oscar-predictions/103406-2/fyc-awards-season-tracker-2016-2017/ http://www.richiesolomon.com/screenings/#films

Star Wars: The Last Jedi - For Your Consideration (FYC) Album
 
01 Escape (7:41)
02 Ahch-To Island (2:31)
03 The Supremacy (2:00)
04 Admiral Holdo (1:02)
05 Fun With Finn And Rose (3:03)
06 Connection (1:58)
07 Lesson One (1:59)
08 Canto Bight (2:15)
09 The Master Codebreaker (1:07)
10 The Fathiers (2:20)
11 The Cave (2:02)
12 Rey's Journey (1:35)
13 A New Alliance (5:28)
14 Holdo's Resolve (2:17)
15 Chrome Dome (2:03)
16 The Battle Of Crait (7:00)
17 The Spark (4:20)
18 The Last Jedi (5:02)
19 Old Friends (1:23)
20 Finale (9:01)
 
TOTAL TIME - 1:06:07
 
 
 
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 lengethened after scoring.  The FYC always reflects these non-intended conforms to final picture from start to finish.
 
Also, the FYC presentation seems to favor cues featuring original music over ones featuring a lot of returning themes, for the most part.
 
So does the FYC contain the complete score?

No; The film has somewhere around 150 minutes of music in it.  The FYC is only 66 minutes long.
 
Which tracks contain music that wasn't on the OST?

Every track is different from its OST counterpart is some way, but most notably "Admiral Holdo", "The Master Codebreaker", "Rey's Journey", and "Holdo's Resolve" are COMPLETELY new tracks, while "A New Alliance" and "The Last Jedi" feature significant music in the beginning of each track that isn't on the OST.
 
Where can I find this FYC?
 
http://www.waltdisneystudiosawards.com/star-wars-the-last-jedi/score
 
I don't see a download link there; How do I download the files from Disney's site?
 
http://www.waltdisneystudiosawards.com/media/audio/sw/score/01_ESCAPE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/02_AHCH-TO_ISLAND.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/03_THE_SUPREMACY.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/04_ADMIRAL_HOLDO.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/05_FUN_WITH_FINN_AND_ROSE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/06_CONNECTION.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/07_LESSON_ONE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/08_CANTO_BIGHT.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/09_THE_MASTER_CODEBREAKER.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/10_THE_FATHIERS.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/11_THE_CAVE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/12_REYS_JOURNEY.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/13_A_NEW_ALLIANCE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/14_HOLDOS_RESOLVE.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/15_CHROME_DOME.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/16_THE_BATTLE_OF_CRAIT.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/17_THE_SPARK.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/18_THE_LAST_JEDI.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/19_OLD_FRIENDS.mp3 http://www.waltdisneystudiosawards.com/media/audio/sw/score/20_FINALE.mp3 or http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=01_ESCAPE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=02_AHCH-TO_ISLAND.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=03_THE_SUPREMACY.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=04_ADMIRAL_HOLDO.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=05_FUN_WITH_FINN_AND_ROSE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=06_CONNECTION.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=07_LESSON_ONE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=08_CANTO_BIGHT.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=09_THE_MASTER_CODEBREAKER.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=10_THE_FATHIERS.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=11_THE_CAVE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=12_REYS_JOURNEY.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=13_A_NEW_ALLIANCE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=14_HOLDOS_RESOLVE.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=15_CHROME_DOME.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=16_THE_BATTLE_OF_CRAIT.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=17_THE_SPARK.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=18_THE_LAST_JEDI.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=19_OLD_FRIENDS.mp3 http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=20_FINALE.mp3  
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=01_ESCAPE.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=02_AHCH-TO_ISLAND.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=03_THE_SUPREMACY.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=04_ADMIRAL_HOLDO.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=05_FUN_WITH_FINN_AND_ROSE.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=06_CONNECTION.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=07_LESSON_ONE.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=08_CANTO_BIGHT.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=09_THE_MASTER_CODEBREAKER.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=10_THE_FATHIERS.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=11_THE_CAVE.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=12_REYS_JOURNEY.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=13_A_NEW_ALLIANCE.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=14_HOLDOS_RESOLVE.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=15_CHROME_DOME.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=16_THE_BATTLE_OF_CRAIT.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=17_THE_SPARK.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=18_THE_LAST_JEDI.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=19_OLD_FRIENDS.mp3
http://www.waltdisneystudiosawards.com/play.php?sub=sw&file=20_FINALE.mp3
 
That's a really low bitrate; 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!
 
 
 
Simple Comparison
 
FYC 01 Escape (7:41)
FYC 02 Ahch-To Island (2:31)) ≈ OST 02 [1:43-end] (2:40) Ahch-To Island
FYC 03 The Supremacy (2:00) ≈ OST 04 The Supremacy [0:08-2:00] (1:52)
FYC 04 Admiral Holdo (1:02) = Unreleased
FYC 05 Fun With Finn And Rose (3:03)
[0:00-1:05] (1:05) = Unreleased [1:05-end] (1:58) ≈ OST 05 Fun With Finn And Rose [0:25-end] (2:09) FYC 06 Connection (1:58) ≈ OST 06 Old Friends [2:36-end] (1:52)
FYC 07 Lesson One (1:59) ≈ OST 08 Lesson One (2:10)
FYC 08 Canto Bight (2:15) ≈ OST 09 Canto Bight (2:38)
FYC 09 The Master Codebreaker (1:07) = Unreleased
FYC 10 The Fathiers (2:20) ≈ OST 11 The Fathiers (2:42)
FYC 11 The Cave (2:02) ≈ OST 12 The Cave [0:00-1:36] (1:36)
FYC 12 Rey's Journey (1:35) = Unreleased
FYC 13 A New Alliance (5:28)
[0:00-1:24] (1:24) = Unreleased [1:24-3:19] (1:55) ≈ OST 14 A New Alliance [0:10-1:51] (1:41) [3:19-4:00] (0:41) = Unreleased [4:00-end] (1:28) ≈ OST 14 A New Alliance [1:51-end] (1:22) FYC 14 Holdo's Resolve (2:17) = Unreleased
FYC 15 Chrome Dome (2:03) ≈ OST 15 "Chrome Dome" (2:03)
FYC 16 The Battle Of Crait (7:00)
FYC 17 The Spark (4:20)
[0:00-0:46] (0:46) = Unreleased [0:46-end] (3:34) ≈ OST 17 The Spark (3:36) FYC 18 The Last Jedi (5:02)
[0:00-1:15] (1:15) = Unreleased [1:15-end] (3:47) ≈ OST 18 The Last Jedi (3:04) FYC 19 Old Friends (1:23) ≈ OST 19 Peace and Purpose [1:44-end] (1:22)
FYC 20 Finale (9:01)
 
Approx amount of unreleased music = 
 
 
Track-by-track breakdown / editing guide
 
FYC 01 Escape (7:41)
 
FYC 02 Ahch-To Island (2:31)
OST equivalent: 02 Ahch-To Island [1:43-end] (2:40) 
 
This is the music for Rey asking Luke for help, and then following him on his "daily routine".  The FYC features the proper clean opening as heard in the film, while on the OST, the beginning of the cue is slightly abridged, and mixed over the ending of the previous Ahch-To cue that's in the same track.  However, the OST features a section of music (3:22-3:27) that is edited out of the FYC track at 1:40, meaning the film was probably slightly shortened after scoring around that area.  So, to create a proper complete version, you'd want to take the cleaning opening of the FYC track, then segue over to the OST track as soon as you can and continue with the OST track all the way to the end.
 
 
FYC 03 The Supremacy (2:00)
OST equivalent: 04 The Supremacy [0:08-2:00] (1:52)
 
This is The Supermacy showing up and Leia realizing they were tracked through lightspeed, and Kylo firing on their ship.  The FYC from 0:25-0:30 is longer than the same OST passage (0:35-0:36), though I don't know of the OST is microedited, or if the OST is how it was recorded and they had to artificially stretch it for the final film.  The FYC has a small edit around 1:14, and the OST has a small edit around 1:18 (or, the OST is the proper recording, and the FYC Is looped in that area).  Finally, the FYC seems to have a loop 1:39-1:43, but then omit material around 1:53.  The FYC track seems to artificially fade the final string sustain down early, but the OST segues to another cue when it ends, so we don't have a good ending anywhere. 
 
For a custom edit, I'd ignore this FYC track entirely and just use the whole Supremacy OST track.
 
 
FYC 04 Admiral Holdo (1:02)
OST equivalent: None - Completely new track!
 
This is Admiral Holdo being introduced as the new leader, and her initial speech to the Resistance.
 
 
FYC 05 Fun With Finn And Rose (3:03)
OST equivalent: 05 Fun With Finn And Rose [0:25-end] (2:09)
 
The OST from 0:00-0:25 contains the cue for Rose telling Finn about her sister, then realizing he's trying to escape and stuns him (it only contains the Paige story portion of the cue, though).  This cue isn't on the FYC at all, so you'd need to break it out into its own track if you want to keep it (you can call it "You Are a Hero" or "That's a Real Hero".  I wouldn't call it "Finn Meets Rose" though, because THAT cue comes before this one and isn't on the FYC or the OST at all).
 
In the film, that cue segues immediately to the next cue, which covers which covers Finn and Rose coming up with their plan and telling it to Poe.  This cue appears in full on the FYC track, while the OST version omits the opening minute due to it seguing from partway through the sister story cue to partway through the planning cue.
 
So, Option 1 is to break out OST 0:00-0:25 into its own track, and then use FYC 05 for the next cue in its own track.  Option 2 would be If you don't want to do WAV editing, then its a a personal preference if you rather use the OST track (Paige story opening -> incomplete planning cue) or the FYC track (no Paige story at all, but complete planning cue).
 
 
FYC 06 Connection (1:58)
OST equivalent: 06 Old Friends [2:36-end] (1:52)
 
This cue covers Ren and Rey's Force connection ending because Luke has shown up, and then him taking her to their first lesson up the cliffside.  The FYC provides the full proper clean opening, while the OST omits the opening 4 seconds and is segued from another cue in the same track.  Otherwise they are basically the same, but the FYC might be slightly edited down in one spot, so I'd transition from the FYC's clean opening to the OST track as early as possible then just use that from there to the end.
 
 
FYC 07 Lesson One (1:59)
OST equivalent: 07 Lesson One (2:10)
 
This is the music for Rose feeling The Force under Luke's training, then sensing the dark place underneath the island.  The FYC and OST tracks are pretty much identical to each other, though the FYC seems to have a few edits and a loop around 1:31, so I'd ignore the FYC track and just use the OST track.
 
FYC 08 Canto Bight (2:15)
OST equivalent: 08 Canto Bight (2:38)
 
Both tracks are roughly identical, though the FYC seems to be edited down in a bunch of spots, and fades out early instead of having the proper ending the OST track has.  However, one spot on the FYC includes an intended silence that is segued past in the OST version - compare 1:11 on the FYC to 1:22 on the OST.  An ideal edit would be the entire OST track, but with that section restored properly from the FYC track.
 
 
FYC 09 The Master Codebreaker (1:07)
OST equivalent: None - Completely new track!
 
Rose tells Finn about growing up with Paige in a mining system the First Order took over, and how the rich people in this casino are profiting from the war, before they are interrupted by BB-8 and head into the casino to see the master codebreaker at a table.
 
 
FYC 10 The Fathiers (2:20)
OST equivalent: 11 The Fathiers (2:42)
 
This FYC track is more or less the same as the OST track, just shortened in many spots (like the sequence was tightened up after the cues were recorded).  I'd recommend just ignoring the FYC track and using OST track.
 
Of note is that this is a rare case of the FYC NOT matching the film exactly; The Fathiers sequence in the film is comprised of 3 separate cues, and both the OST AND FYC track contain the 1st and 3rd cues only, completely omitting the second cue (a brief piano source cue).  The end of the first cue and start of the third is at 0:56 of the OST track or 0:51 of the FYC track.
 
 
FYC 11 The Cave (2:02)
OST equivalent: 12 The Cave [0:00-1:36]
 
This covers Rey in the cave seeing multiple images of herself.  The FYC seems to have a proper clean ending as recorded, but the OST correctly segues to the next cue exactly as the film does anyway, so the clean ending isn't really needed except for personal preference.
 
It's interesting to compare the FYC to OST.  They are approximately the same music, but the FYC version is longer because of many differences throughout.  In some spots it seems like the FYC might be artificially stretched / looped, while in others the FYC has material that the OST seems to have microedited out.  It sounds fine though, so for a complete edit you could use the FYC track and just mix the rest of the OST track (1:36-end) over the clean ending the FYC has.
 
 
FYC 12 Rey's Journey (1:35)
OST equivalent: None - Completely new track!
 
Rey instructs Chewie what to tell Finn if he finds him, then hops in her escape pod and heads to The Supremacy, where Kylo meets her in the landing bay.  This seems to have the proper clean opening and ending as recorded, though in the film it segues from and to other unreleased cues.
 
FYC 13 A New Alliance (5:28)
OST equivalent: 14 A New Alliance [0:10-end] (3:03)
 
The OST track opens (0:00-0:10) with the music for Rey being brought to Snoke,  a cue that isn't on the FYC at all.
 
The FYC track is a complete presentation of a long uninterrupted sequence of music from a bit later in the film, some of which is on the OST and some of which is not.
 
FYC 0:00-1:24 (1:24) covers Snoke dropping Rey to the ground after torturing her, taunting her that he will kill Luke after they destroy the Resistance, showing her the transporters being destroyed, and bringing her in front of Kylo.  This isn't on the OST at all. FYC 1:24-3:19 (1:55) covers Snoke telling Ren to kill Rey then taunting Rey some more; Kylo killing Snoke then Kylo and Rey beginning to fight the guards; and a bit of Poe on the transporters.  This is on the OST from 0:10-1:51 (1:41), though the OST seems to edit out material at around 0:48, so the FYC seems to be the superior choice. FYC 3:19-4:00 (0:41) covers a bit of Finn talking to DJ and some more Rey/Ren guards fighting.  This isn't on the OST at all. FYC 4:00-end (1:28) covers Rey and Ren finishing off the guards.  This is on the OST from 1:51-end (1:22).  There doesn't seem to be any edits in either version, which makes it easy to just use the FYC track all the way to the end.  
 
FYC 14 Holdo's Resolve (2:17)
OST equivalent: None - Completely new track!
 
This covers some space action with the Resistance cruiser preparing to jump to lightspeed, Hux ordering his men to keep firing on the transports, Phasma ordering a more painful death for Finn and Rose, and then Holdo turning the cruiser around and ramming it into the Supremacy.
 
 
FYC 15 Chrome Dome (2:03)
OST equivalent: 15 "Chrome Dome" (2:03)
 
This covers the aftermath of the explosion, Finn and Rose coming out of the rubble, and Finn fighting Phasma.  The FYC and OST versions are about the same, though the FYC from 0:56-1:00 is a bit longer than the equivalent OST passage (0:53-0:55), the FYC has an edit that removes material at 1:09, the FYC from 1:12-1:18 is longer than the equivalent OST passage (1:15-1:19), and the FYC is longer from 1:27-1:32 compared the OST 1:28-1:30.  Overall I'd say go with the OST version, because the bit in the OST the FYC skips past is actually unique material, while all the parts where the FYC is longer are basically just sustaining bits in between the action for longer.
 
 
FYC 16 The Battle Of Crait (7:00)
 
FYC 17 The Spark (4:20)
OST equivalent: 17 The Spark (3:36)
 
The opening of the FYC track (0:00-0:46) is not included on the OST track, and begins almost immediately after The Battle of Crait in the film.  It covers Rose telling Finn that love is how they'll win & kissing him, and Ren telling Hux to advance on the base.  The remainder of the FYC track (0:46-end [3:34]) is basically the same as the OST track, and covers Luke arriving, talking to Leia, then marching out to face the First Order.  So you can just use the entire FYC track and ignore the OST track for a complete edit.
 
 
FYC 18 The Last Jedi (5:02)
OST equivalent: 18 The Last Jedi (3:04)
 
The opening of the FYC track (0:00-1:15) is an unreleased cue that covers the Resistance following the crystal critters into the caves, Rey hovering over and scanning for their location, and then both parties arriving at opposite sides of the stone-piled exit.
 
The rest of the FYC track is roughly the same as the OST track, and covers Kylo and Luke's final showdown.  The FYC track is longer though, because the OST appears to be microedited in a few spots - there's a section microedited out of the OST at 0:15 that is intact in the FYC from 1:30-1:53, then another section microedited out of the OST at 0:22 that is intact in the FYC from 2:00-2:09, and finally compare OST 1:26-1:30 to FYC 3:14-3:22 and OST 1:45-1:48 to FYC 3:38-3:44.
 
So overall, I'd again recommend just using the entire FYC track and ignoring the OST track in a complete edit.
 
FYC 19 Old Friends (1:23)
OST equivalent: 19 Peace and Purpose [1:44-end] (1:22)
 
The OST track from 0:00-1:44 is portion of a cue covering Luke's death and Kylo matching into the base and finding it empty.  There's a whole chunk of the cue taken out around 1:28, but unfortunately the cue isn't on the FYC at all so can't be restored using it.  
 
The FYC track is only the next cue, covering the reunion of Rey & Chewie with Poe & everyone else on the Millennium Falcon, and Rey telling Leia Luke's death felt like it was full of Peace and Purpose (which makes it so odd they retitled the track for the FYC), and the ship taking off into hyperspace.
 
There's no real difference between the two versions, so again just ignore the FYC track and use the full OST track.
 
 
FYC 20 Finale (9:01)
OST equivalent: 20 Finale (8:28)
 
The first cue in this track (the Canto Bight kids telling their story and then being kicked outside) is microedited on the FYC around 0:0:06 (You can hear what was taken out from about 0:06-0:18 of the OST version).  But then on the FYC, the cue is allowed to end in full, there's a brief pause, and the next cue begins at 0:24; On the OST however, this cue is crossfaded into the next one at 0:36.  So its personal preference if you want to use the separation or the crossfade, but you have to make sure to use the OST track for the beginning of the cue because of the material taken out of the FYC/film version.
 
To compare the rest of either track, I found it easiest to do it as a table, I hope you don't mind:
 
 
 
 
 
The next cue (the sunset scene before the end credits) and then the whole beginning of the end credits up through the piano rendition of Leia's Theme is about the same on both versions.  This gets us to 2:44 of the FYC or 2:56 of the OST, and then things start to differ.
 
Both start out the same, from 2:44-3:15 of the FYC / 2:56-3:27 of the OST but covering the same arrangement of the Luke/Rey/Island theme, but the OST has a sudden edit at 3:27 skipping over what's in the FYC from 3:15-4:05; Then both are the same again from OST 3:27-3:34 / FYC 4:05-4:13.
 
 
Simple FYC/OST Combo Playlist, no Editing Required
 
01 OST 01 Main Title and Escape (7:26) OR FYC 01 Escape (7:41)
02 OST 02 Ahch-To Island (4:23)
03 OST 03 Revisiting Snoke (3:29)
04 OST 04 The Supremacy (4:01)
05 FYC 04 Admiral Holdo (1:02)
06 FYC 05 Fun With Finn And Rose (3:03)
07 OST 06 Old Friends (4:29)
08 OST 08 Lesson One (2:10)
09 OST 09 Canto Bight (2:38)
10 FYC 09 The Master Codebreaker (1:07)
11 OST 10 Who Are You? (3:04)
12 OST 11 The Fathiers (2:42)
13 OST 12 The Cave (3:00)
14 OST 13 The Sacred Jedi Texts (3:33)
15 FYC 12 Rey's Journey (1:35)
16 FYC 13 A New Alliance (5:28)
17 FYC 14 Holdo's Resolve (2:17)
18 OST 15 "Chrome Dome" (2:03)
19 OST 16 The Battle Of Crait (6:48) OR FYC 16 The Battle Of Crait (7:00)
20 FYC 17 The Spark (4:20)
21 FYC 18 The Last Jedi (5:02)
22 OST 19 Peace And Purpose (03:08) 
23 OST 20 Finale (8:28) OR FYC 20 Finale (9:01)
 
BONUS TRACK
24 OST 07 The Rebellion Is Reborn (4:00) (Concert Arrangement)
 
TOTAL TIME - 1:29:17 (or 1:30:17)
 
 
Longer Chronological Edit of OST + FYC, In-Track Editing Required:
 
Coming soon!
 
 
FYC / OST Comparison spreadsheet
 
Coming soon!
 
ALL UPDATES / CORRECTIONS WELCOME!!!
 
 
 
 
 
 
Admin note: Click here to jump right to discussion of the actual FYC Album, after all the hype talk

ACTUAL ALBUM DISCUSSION
 
 
 
 
 
 
 
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Original Main Post ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
Hello,
 
The Force Awakens opened (in the US) on Friday, December 18th, 2015.
 
On Monday, December 21st, 2015, we discovered that Disney's Awards consideration side had added an album of score that could be streamed or download that was different than TFA's OST.  Soon after, physical CDs pressed of the same music began showing up on ebay (as they had been mailed out to voting members of The Academy or other awards ceremonies) as well.
 
I am hopeful Disney will do the same this year for The Last Jedi.  If they do not, I will close this thread.  If they do, I wanted to start the thread now to contain all information about the album like we had for TFA.
 
I'll update this main post with all information about the FYC album if we get one!.

I started an analysis for shits and gigs, and to distract me from perpetual existential crisis. Here's the first half:
 
Star Wars: The Last Jedi OST Review / Musical Analysis
Introduction
Mixing / Mastering
What initially stands out for me is the mixing and mastering of the album, which hits you straight away upon listening to 01 Main Titles and Escape.
 
The entire album is heavily limited, mixed meticulously, and makes use of modern mastering techniques such as multi-band compression. There’s no doubt that this is the loudest original Star Wars album release to date. Aesthetically, the techniques used create an epic, large, punchy sound, with bass rolls and strikes that caused my ADAM A8X monitors to boom beautifully, and the trumpet highs of the fanfares and action pieces to almost pierce the ears, were they not being hugged by a warm, analogue-sounding bus compression. The percussion hits are particularly explosive when they occur! Sometimes the limiting gets a bit too close to brick-walling for my personal liking, with sections sounding as if they’re fighting for headroom.
Track-by-track analysis
01 Main Titles and Escape
The track of course starts with the iconic Star Wars / Luke’s Theme fanfare. The performance is very similar to the TFA performance, if not identical. What does sound different is how punchy it is. The main titles segue into a homage to the mysterious piccolo solo that featured in the same way in ESB. This is my favourite of the main title segues, so it was a pleasure to hear it played here with such articulacy.
 
The track quickly enters an urgent-sounding, militaristic section, with a pounding, rhythmic bass pedal, and fast fanfaric brass/winds, reminiscent of RoTS / BoTH material to my ears. The track is frenzied, with shifting textures constantly as the story develops.
 
Kylo Ren’s Theme makes its first appearance with a bang at 1:57, orchestrated identically to how we’ve heard it in TFA. I’ve noticed that Williams seems to give the ‘B section’ of Kylo Ren’s Theme a bit more room to breathe in this score – I’m referring here to the ominous rising bass phrase – it’s a bit more fleshed-out and developed throughout the score.
 
The cue continues in various (likely edited) directions, before a triumphant rendition of the Rebel Fanfare erupts at 2:40. Other theme appearances are a lively and triumphant Poe’s Theme at 3:01, March of The Resistance at 3:17, an allusion The TFA ‘Falcon’/Chase theme at 4:20, orchestrated wonderfully, Battle of the Heroes at 6:15, and others (I think there may be a new Luke on the Island Theme that occurs at around 4:03).
 
Overall, the orchestration is absolutely stellar. Reminiscent of the end-reel action cues for TPM. Rich, detailed, colourful, and innovative. Shout-out to the Superman-esque bass ostinato! Very exciting track. The feel is dominant, urgent, frenzied and triumphant, told in Williams’ usual story-telling drama style.
02 Ahch-To Island
This track begins with The Jedi Steps theme introduced in TFA. The cue alludes to a fragment of Battle of the Heroes in the bass at 0:57. This cue is incidental, with various swells and developments. The orchestration sometimes uses colours Williams’ seemed to have previously reserved only for Potter or more whimsical/magical films. The cue builds up to a full, wonderful rendition of Rey’s Theme at 2:42. Luke on the Island Theme re-occurs in what I believe to be a clearer rendition at 3:35. Parts of the cue are slightly coloured akin to the mid-reels of RoTS (e.g. Anakin’s Betrayal), in my opinion.
03 Revisiting Snoke
Ominous underscore. Williams has got them monks again doing their thang. Expect tremolo swells, and relatively subtle renditions of Kylo Ren’s Theme (both parts) as well as The Imperial March. Again, some innovative orchestration here. Epic & lively ending involving Kylo Ren’s Theme.
04 The Supremacy
Starts with sleuthing underscore that develops gradually. March of the Resistance appears 0:48, which gets developed with increasing urgency. The cue becomes more frenzied, as Williams’ famous action 2-4-3-5-1 (minor) ostinato gets used excitingly. Great string-work develops, which is really a development on the Kylo Ren chase music established in TFA, and reminiscent of other Williams action cues (e.g. The Moon Rising in A.I.). The craftsmanship in the string writing is striking (a bugger to play, though).
 
The cue takes a turn at 2:03, where we hear Princess Leia’s Theme played over ominous, dissonant harmonies. Shortly after, we hear another, more uncertain and intimate solo harp rendition of Princess Leia’s Theme before the orchestra continues to boldly develop the narrative, interspersed with references to the Force Theme.
 
The cue ends with a fragment of Rey’s Theme.
05 Fun with Finn and Rose
The track begins with the first appearance of a gentle rendition of a fragment of Rose’s Theme. It’s a simple melody, but quite memorable, with a Celtic, feminine aesthetic that I felt Rey’s Theme also had.
 
At 0:52 we get a light-hearted rendition of the B section of The March of the Resistance, which develops a bit and involves the A part too. Princess Leia’s Theme re-appears with clarity at 1:35.
 
Overall, mostly incidental underscore here. Shout out to the innovative, fresh ending – where did that come from, Johnny?
06 Old Friends
The cue begins with a subdued rendition of The Force Theme, which gets a full play-out before the tone develops into something more light-hearted and impressionistic, with Luke’s Theme peppered in. Princess Leia’s Theme again appears delightfully and magically at 1:12.
 
The second half of the cue is more sparse, with a fragment of Rey’s Theme, ominous sounding gestures leading to Kylo Ren’s Theme, and more whimsical Williams story telling. At 3:00 the new Luke on the Island Theme returns.
 
Again, there is some wonderful eerie orchestration and colours here. I think it’s great that Williams is still innovating.
07 The Rebellion is Reborn
The cue begins with a lovely and full rendition of Rose’s Theme – triumphant and broad, before developing into a fragment of Rey’s Theme. The Luke on the Island Theme returns, interspersed with Rose’s Theme.
 
The track has an exciting and optimistic feel. It ends with a fantastic, bold, optimistic outro using Rose’s Theme. I imagine pushes the narrative forward very well.
08 Lesson One
Starts light with fluttering strings and winds, before a gentle performance of Rey’s Theme. The cue develops in interesting directions, making use of The Force Theme.
 
The cue becomes very dramatic at around 1:28 with an ominous ostinato-like figure being played by the strings. The cue swells to a gigantic, cliffhanging end.
09 Canto Bight
Begins with a lovely fanfare with some interesting harmonic stuff going on.
 
Prepare yourself for the source music which references Aquarela do Brasil, but don’t let the steel drums put you off. This track actually turns into something very creative, funny and funky – reminiscent of Jazzy stuff from Tintin, CMIYC, and The Knight Bus.
 
I love the boogie-woogie bass synth - it's coloured so amusingly. Pretty hilarious.
 
10 Who Are You?
The track begins mysteriously, with a mention to Rey's Theme. The tone becomes more ominous. More underscoring involving sparse, eerie gestures. Great dissonant harmonies and colours are crafted by Williams. At 2:10 the energy suddenly increases, starting with a short rendition of the Rebel Fanfare and Luke's Theme. 
 
11 The Fathiers
This is a fun action piece. I immediately pick up on a 'swashbuckling' feel here at the beginning, reminiscent to some of the Tin-Tin material. The cue is full of exciting gestures, horn rips, swirling violins, off-beat xylophone hits, healthy doses of Boom-Tzzz and rapid-fire trumpets. At 1:02 a fragment of Rose's Theme briefly appears. At 1:28 Rose's Theme appears again, but this time it really lifts magically and gets a chance to soar.
 
The track has a great energy - exciting, optimistic, almost whimsical in parts in a Potter-esque style. Williams effortlessly develops the narrative with his usual key changes and rhythmic variations. There's a lot going on here.
 
12 The Cave
Low harp-pedal and ominous gestures begin this dissonant cue, immediately creating an uneasy feel. The dissonances and timbres are slightly reminiscent of the Dagobah material from ESB, in my opinion. The cue continues for a while oscilating between moments of rising, orchestrationally-innovative gestures and eerie silences.
 
At 1:35 a flute solo emerges, non-vibrato, quite haunting - still and questioning. The cue proceeds with a kind of romantic string elegy with fragments of Rey's Theme, before arriving at a subdued ending.
 
13 The Sacred Jedi Texts
Begins with a plain rendition of The Force Theme, before transporting to a mysterious, questioning, swirling statement. Yoda's Theme appears briefly at 0:31, before a loud transitional fanfare. The Force Theme makes a loud, dramatic and desperate appearance 1:00, which I found to be very powerful. 
 
We hear a lovely string elegy at 1:43. Another stock appearance of The Force Theme a bit later.
 
The cue ends with the concert arrangement of Yoda's Theme at 2:39.
 
 
... more to come

NO.We all know from years of analysis that's not true
 
You haven't budged from that position since 2002 and systematically have refused to look at any evidence proving otherwise  because you don't like the score

That's not correct. William Ross composed very little music for HP2 and the adaptation credit he got is appropriate for the work he did on that score, along with conducting.

For fuck's sake Ross didn't compose most of the score to Harry Pottter 2
 
Why are you guys propagating lies like that as though they are fact and keep re-enforcing them
 
 

Why does this sound so unbelievable?
William Ross composed most of the score to harry Potter 2 from what I know (based on WIlliams material of course), and it still sounds like a John Williams score.
I didn't see anyone saying that it was a bad score.

They hate each other's guts.
 
Insiders told me Williams yelled out expletive-laden abusive rants from the podium, regularly storming off the stage and screaming at Bill Ross, "you handle this fucking cue."

I have always loved JW in that mode.
I have no idea what is wrong with the people here, I need to find a new fan forum.

You do realise Disney/Williams would make money off streaming services due to the ads that play before the videos, right?

So unless Williams suffered some temporary loss of agency while writing, it follows that he intended to reference BotH.

So I've completed my first film viewing, two OST listens and have been listening to isolated tracks all night. I was a little negative last night focusing on the things I didn't like about the score, as I was still digesting the film itself (which I consider flawed but ultimately an excellent and daring addition to the series).
 
The score, overall, is sublime. This has to be the most thematically dense score in the entire series, and surely the most slavish JW has been to existing thematic material. For months we've speculated what TFA themes would be jettisoned prequel-style (considering his disinterest in developing his prequel themes across that trilogy) but instead we find a score rich with development of almost every theme from TFA. I'm sure we'll debate the merits of this OST presentation for years to come, lamenting that so and so wasn't included (and yeah, why on earth they recorded Main Titles fresh but reused the TFA recording), but this is an almighty OST with nary a dull moment. An earlier poster put it brilliantly when they said JW was clearly shaking the dust off with TFA and took a while to get back in the swing of things, but TLJ feels like no time has passed at all since he finished with ROTS. I often comment that parts of TFA don't sound particularly Star Wars-y, especially the thin underscore, as if JW was going through the motions and still recapturing that 'mode' of writing style. As if the further along he went the more Star Wars-y his cues felt. This score is just effortless, a gob-smacking triumph for a man at 85, writing music with such complexity it puts most other film composers to shame.
 
Bravo to the mixing department (Murphy and Sullivan) for their sublime mix. It retains the clarity of TFA's recording but we've returned to a fuller orchestral sound. Far less heavy on the brass, it's a wetter recording that feels right at home with the LSO's prequel scores. Amazing how two scores by the same orchestra on the same stage with the same recording setup can have such a radically different sound! Really makes you question why they went so dry and brass-focused with TFA (a recording which, after hearing live with a full orchestra, was a real disservice to the score as performed).
 
And although the film seems light on new material upon first listen, there's at least 4 significant new ideas that I've picked up on:
Rose's Theme Luke's Island Life Theme New First Order Motif/Fanfare (first heard in Escape and reprised throughout the complete score) Admiral Holdo's Theme (mostly unreleased) I'm only at page 7 of this thread but these are just my initial thoughts.

The theme of Prokofiev's g minor Concerto is not literally quoted in the scores, but it is based on a sequence of notes that appear in some permutations in Voldemort's theme (also in the same key).
 
Prokofiev's theme: G Bb D Eb C# D
 
Voldemort's theme (the excerpt posted by Blanche Hudson above): D C# Eb C# D G
 
in another instance of Voldemort's theme: Bb D G Bb C# D Eb D Bb G F# Bb G D 
 
Probably these are the examples you are thinking about.

When was the last time John Williams wrote something as down-to-the-ground brutal as the last minute of Chrome Dome?

"Battle in the Snow" from EMPIRE prominently featured two grand pianos, pounding out that bellicose ascending and descending triplet figure that heralded the advancing Imperial walkers.

haha, I'm f***ing gorgeous!!! 

Its fine dear, atleast you're pretty.