Jacck

Listen to the landing. The last chord of the first line of both, and the chord that precedes it and starts the theme. Lets for an example start with D minor, both land on G Major. In The Force theme it hits it more strongly or more Masculine with the tune landing on the tonic (G), of the G major chord. In Rey's theme, the tune has a slightly more gentler landing in the G chord by landing on D, the 5th. It just hit me the first time I heard it. I hadn't seen the film yet. I heard that, went "What?!" went to the piano and said "F***er just gave us a female force user in the theme"  

Manakin,
 
Just a friendly note, the word "retard" is considered by many as a fairly nasty epithet--along the lines of the "n" word for African-americans, etc.  I do not think you mean it as such, but perhaps it is best to find a new insult without such overtones.  

Of course every artist (composer/painter/sculptor/writer) has peak years, evolution of the language, turnarounds, sometimes even regression and such. Williams is no different than any others. However, I wouldn't put this kind of hard heaviness on the age in which the "peak years" should be. Some artists gave their best in the youngest years, other in the late phase of their careers. So there's no rule. Of course JW had a huge peak between 45 and 55, but he continued to produce excellent works in later years as well.
 
I'm amazed about the vital energy, the exuberance and the brilliance he put in The Last Jedi, at least from what I heard in the OST. It's far from being tiresome, or fatigued. He still has "the spark" (hehe). Is this the best Star Wars score ever? Of course not. But imho there is a lot to enjoy here. Sure, there is some retreading and some pure professionalism, but he still crafts every note with so much care, imho. Even when he quotes himself. "The Rebellion is Reborn" is a great testament of all this, imho.
 
Back to what I posted a few pages ago (but only a couple of hours ago, hehe), here's the section of Sibelius' Symphony No.2 which reminds me of the flute motif featured several times in the score (1:32  onwards of "Rebellion is Reborn"):
 
 
Probably it's just a reminiscence, but the score has a sort of vague Sibelius-like atmosphere, imho.

I didn't even know Rose existed until I saw the track list. Looking forward to tomorrow to see how her character fits her theme. 
 
From Tintin (Snowy, Haddock) to Rey to Sophie's theme in BFG, JW character themes in his late career have been absolutely spot on at representing their characters.

Yawn....
 
I feel fatigued by your whining. If you don't enjoy this score feel free to post in other threads about other things.

To my ears, Rose's Theme sounds like a cross between an early 70s disaster movie theme but in major key, and an English stately romance theme. 
 
I realize I may be alone in that assessment.  

Honestly this score is beyond all my expectations. I was worried JW was getting too old to pull  out something like this

about Rose's theme: It sounds to me like it could serve as a Knight's theme in Indiana Jones and the Last Crusade.
I think it has a characteristic chord progression found in that theme but would have to check it.

Agreed!

I agree with both of you!
 
 
 
Agree with this too!
 
 
 
 

First 20 minutes are really good so far. No stand-out new themes yet, but what strikes me is how intensely successful the Force Awakens' themes are. He did an incredible job there, and it's paying off here.
 
EDIT: Holy shoot, Rose's theme is an instant classic. Simple, but it's something that would fit right at home in a score like The Fellowship of the Ring.

Yes it is! "Peace and Purpose" at 1:54.
 
And as somebody else said, I think there's a hint of it coming out of that first new Resistance March statement in "Main Title and Escape" but a little more arguable. Those 4 notes at 3:09 just remind me of it in "The Resistance", but it's a weird one because it also follows a similar shape to how the Resistance March melody continues....but not exactly. I think it's closer to Poe's Theme. So if it's a Poe moment, then I think it could be Williams finding a very subtle little connection there between both. 

I just saw the movie and I listen the score now.
 
It's amazing, great, I'm in heaven!!

The FYC will be out in a few days, surely.

I'm getting crazy-addicted to the first 30 seconds or so of "The Supremacy". Always love hearing those prequel-esque trumpet fanfares. Also nice Kylo theme call-and-response with the horns and trombones.

I have listened to it completely.
When i listened to TFA i thought its star wars but not really, being used to the old star wars sound this one caught me off guard it was a very modern non star wars john williams score for me. Now i do appreciate it, its in my top 3 and while the lack of old themes was something that i really i didnt enjoy it still did have some charm.
TLJ is the opposite of all that. I liked it from the first second to the last. Old themes are way more present here with some pleasant surprises and some carie fisher hommage as well.
Its bombastic, its badass, its developped, its a bit of a ESB returns in a sense.
I just have two negative points.
The jedi Step theme doesnt really have his chance in this one
Rey's theme, I would have hoped for a developement as well, the theme is really shy in this one, it doesnt really take off.
 

I got chills listening to that track for the first time. After it being teased in Jedi, I LOVE that he brought it back in full force here!

I really like The Battle of Crait A LOT.  The return of TIE Fighter Attack is completely fine to me - its integrated well, and SOUNDS great.

Some great tempo changes in Rebellion Is Reborn!
 
The syncopated flute runs and xylophones are back!
 
Also, the percussion is far more presents. TFA was mostly brass and strings in its action music.

Did anyone else catch the Poe's theme intervals at 3:09 in track 1? Nice segue-in from the Resistance theme.

That's what I thought!

The way JW is playing with new and interesting renditions of TFA themes in the first few tracks reminds me strongly of ESB. 
 
I remember thinking that score was more musically complex and varied than the very straightforward score for ANH. I am getting the same impression here, especially with how JW treats the thematic material.
 
I hope everyone takes the time to appreciate these new renditions. They are quite unique.

Right now what strikes me is that TLJ is so much bolder and luch orchestrally than TFA
 
It feels like the underscore from the days of Empire Strikes Back.  The recurring themes don't seemed shoe- horned in like TFA
 
It's immediately engaging, not after multiple repeats like TFA

Right now I just can't believe Williams is 85 years old and still pulls out amazing stuff like "The Rebellion is Reborn"

Every time I hear the first few notes of Rose's Theme I keep thinking it's going to start playing Anakin's Theme.
 
-Erik-