Darth Crossfader

So what does he have for breakfast?

It premiered and was released in the US in late 2005

Thanks for your thoughts, @Ludwig and @Loert! It does seem to be part of his compositional toolbox, so to speak, for the two reasons Ludwig mentioned. Some more examples I found: AOTC, 1M3 mm. 38-41: AMaj/C# -> BMaj/D# -> DbMaj/F -> Dbmin/Fb. Again, pathos-inducing underscore accompanying dialogue. TPM: 5M4+5 mm. 19-21: the last chord for the strings is GMaj/B, the bassoons and clarinets then continue with Gmin/Bb -> F#min/A ->Fmin/Ab. The music sets a darker mood here, accompanying the disappointment of Qui-Gon, Obi-Wan and Anakin as Yoda tells them that "young Skywalker's fate will be decided later".

That seems to be it!

So what does he say exactly in the video? A minor what problem? I don't hear "health problem", I hear something that seems to start with a w but beyond that, I can't make anything out of it. Maybe "a minor well-being problem"?

I'm not sure what's so selfish about letting the man himself decide how he wants to spend the rest of his days. Wanting him to "live forever" sounds a lot more selfish to me. I'm sure he's trying to balance his health and happiness, hence why he didn't attend this concert.

I don't think the splicing together of multiple takes necessarily correlates with the health issue. There don't seem to be more edits than in a typical video message. Agreed. Let the man live the rest of his life the way he wants to. He doesn't owe us seclusion for the sake of preserving his health.

"Unfortunately, I can't join you because of a (minor?) ... problem." I'm having trouble understanding what he is saying here.

Some examples from the Star Wars saga of what I'm referring to, with YouTube links: TPM, 4M6, mm. 33-34: Ebmaj -> Fmaj -> F#min -> G#min -> Amin, all in first inversion TPM, 4M6, mm. 37-39: G#min -> Fmaj, both in first inversion TPM, 5M3 Insert: Gbmaj -> Cmaj, both in first inversion AOTC, 3M3, mm. 40-42: G#min/B -> Emaj in first inversion ROTS, 5M4, mm. 13-15: the harp arpeggios are Ebmaj in first inversion ANH, 3M2, mm. 22-24 (refer to the LTP score): Amaj -> Cmaj -> F#min, all in first inversion ANH, 5M1 (revised), mm. 38-end: C#min in first inversion (my personal favorite) ESB, 1M2, mm. 163-166: Bbmaj in first inversion to (Gmin11/C?) -> Abmaj in first inversion -> Abmin in first inversion Some of these might indeed be the result of voice leading, but I feel like there's more at play in most of these examples.

The first section of The British Counter-Attack (which, for some reason, I've only just heard for the first time) almost sounds like an interpolation of JW's OT and PT idioms. Wish we'd have gotten some more of that in AOTC's Clone Wars sequence.

JW sure seems to love major and minor triads in first inversion (more specifically in an 'open' voicing for strings/brass). Is he channeling some classical composer who did this before him, or is it something which can be considered unique to his musical language? Paging @Ludwig, @Falstaft, @Loert.

Reminds me of Elfman's Mission Impossible!

Done!

@Jay What's with the "custom research paper writing service" bit in this guy's quote of your original post? It's not in your original post and it's not in @Falstaft's Facebook post either and at any rate, I would be very surprised if Frank were to advertise something like that. I'm suspecting that huxleymorris and cawaminga are spam bots.

We must have read different posts then