Incanus

What I meant with the abreviation on Adventures on Earth is the moment in the movie where the boys are just about to be caught by the Federal agents and the camera zooms at Elliott and the music climaxes just before the flying theme.In the concert the music just stopped on timpani hits and went for the end of the cue. Is it really the case that the concert arrangement does not contain the Flying theme? Atleast on the Spielberg and Williams collaboration album it does. Why oh why does Williams underestimate the interestingness(horrible word ) of his music :cry:?!!

By Incanus (Mikko Ojala) A filmmusic concert review from Finland:An Adventure in Space: Helsinki Philharmonics perform the music from the unforgettable space movies. I was thrilled when I first read in the paper about a Concert where Helsinki Philharmonic orchestra would be performing music from the famous Space movies including Star Wars as a part of the annual Helsinki Festival, a series of culture events all around our capital. I can tell you that film music is rarely performed in Finland since not any major orchestras seem to be too keen on playing the music from the movies for it is seen as something less exalted than the classical repertoire. Since I have moved in our capital I have heard of two film music concerts and they were not exactly advertised for the general public. Of course I rushed to buy the tickets to this one in a decade event and I happened to get the best seats in the Finlandia Hall since not many were buying theirs so early in advance! I waited patiently the concert for a month and finally the evening came. I was standing nervously with my friend in the lounge of the Finlandia Hall hoping the performance and the programme would be good (they had not annouced it too specifically beforehand). I became little concerned because the concert was named "A family concert of music from unforgettable space movies". A family concert? Was I about to see a horde of little children babling and shouting over the performance? Well, there were quite many small children with their parents but gladly not one of them succeeded to disturb the concert and they responded with enthusiasm to the music. I think these concerts are a good way to introduce children to the world of classical and film music. The concert started of with a good note. The first pieces were from 2001:The Space Odyssey. We heard the classic Richard Strauss? Also Spracht Zarathustra accompanied by the organ which gave it a strickingly forceful and spacious sound. It was performed with skill and enthusiasm and was an appropriate opening for the evening. Next in order was Johan Strauss? the Blue Danube which was abreviated version. As a sidenote this came to me as a surprise. Do the concert arrangers think that the concentration span of the children is so short that a 9 or 10 minute piece forces them to squirm impatiently in their seats? I don?t think so. But the conductor obviously did as the Blue Danube was not the only shortened piece of the evening. Next came the moment I had personally been waiting for, the Star Wars Main Title. Orchestra was in the full stride with it and it was one of the best performances of the evening. Just amazing! The music of John Williams truly comes alive in the concert hall and it is wonderful to observe the orchestration and the tiny nuances that one might miss on a recording. The brass came across very nicely, actually better that I had hoped for (My only fear had been a weak performance from the brass in a piece like this). This was not the last of the Williams pieces performed that night. In fact Williams stole the show since six of the ten pieces performed that evening were by the Maestro. Imperial March was as impressive and powerful as Yoda?s theme was delicate and full of emotion. But it came to me for the first time that these pieces are deceptively simple when you listen to them but to perform them must be a complitely different thing all together. I could hear small mistakes from snaredrum in the pace of the March and not enough precision in the brass but altogether not bad from the Philharmonics (I tend to be overtly critical when judging a piece so familiar to me that I can find mistakes or complaints even in the smallest of things). The next piece is one of my favourites among the concert suites of John Williams. Adventures on Earth from E.T. was performed with gusto and grandness it deserves but sadly it was abreviated. The whole Flying theme section in the middle was cut and it went straight for the Saying Goodbye and Ending cue. Why it was shortened is beyond me and it came as a nasty suprise. James Horners Apollo 13 Main Title was somewhat lacklustre and the only thing worth mentioning is the fine trumpet solo in the beginning. Orchestra played well but the piece was without energy and true substance (And I am not saying this just because I?m a Williams fan) Short and uninspired. And who could do without Gustav Holst?s Planets. We got to hear what must have been the most enthusiastic performance of the evening in the Mars Bringer of War. It was played both lively and loudly and the sound it made was phenomenal. This piece of music truly is huge. The influence of it can be clearly heard in Gladiator, Star Wars and other scores. The evening came to close with Star Wars. Much to my surprise and delight the Philharmonics played something I had hoped they would, Across the Stars. I must say it is one of the best love themes I have heard in a long time and the tragic quality of the Padme/Anakin loveaffair is perfectly captured by it. It was great to hear it played live and the performance came up to par in all but one aspect. The brass faltered in the dark C section of the piece badly and almost ruined the piece. Main complaints to the tuba player who played far too loudly and to the horns who did not. But the finale of the evening was flawless. The Throne Room and Finale was great with the whole orchestra playing vigorously and obviously enjoying themselves. This was the lengthier concert version with extended Force theme and Throne Room material reiteration which is brought to conclusion with the usual Star Wars Main Title. When the piece got to the point where the End Credits music should have started the Force theme suddenly came in and I was surprised since I had not heard this version before. But I think it is a good addition to the Finale. After the piece ended the audince burst into applauce. We applauded for nearly 10 minutes but the only encore they were willing to play was Also Spracht Zarathustra. Sadly they had not reserved more Williams for encore . I just hope they saw now how much people enjoy the movie music and it would encourage orchestras to perform it more often. It is just as good as classical music and even more accessible to the public. All in all a great concert with very good performance by the Helsinki Philharmonic Orchestra and the conductor Atso Almila. Mikko Ojala (Incanus) I include the Proramme in both Finnish and English: 6.9.2003 Avaruusseikkailu/An Adventure in Space Helsingin kaupungin orkesteri/Helsinki Philharmonic Orchestra Kapellimestari/Conductor Atso Almila Avaruusseikkailu 2001/2001: Space Odyssey: Richard Strauss: Also Spracht Zarathustra Johan Strauss: An der schönen, blauen Donau Tähtien sota/Star Wars: John Williams Tähtien sota, pääteema/Star Wars Main Title Keisarillinen marssi/Imperial March Yodan teema/Yoda?s Theme E.T. the Extra-Terrestial: John Williams Seikkailu maan päällä/Adventures on Earth Apollo 13 James Horner Apollo 13, pääteema/Apollo 13 Main Title Gustav Holst Planeetat/The Planets: Mars Bringer of War Star Wars Episode II Attck of the Clones John Williams Yli tähtien/Across the Stars, Love Theme Star Wars Valtaistuinsali ja finaali/Throne Room and Finale

I have been wondering that myself! That cue Rescuing Sarah was one of my favourites in the whole score of the Lost World and the chime section on the cue is awesome. Williams and other composers do have a habit of putting edited cues(Patriot, Last Crusade and LOTR soundtracks come to mind) and strangely enough alternates on the score albums . It is a frustrating experience to hear a cue that sounded so great in the film edited or replaced with an alternate on the album.

One of the most loved and enthused scores of John Williams must be Hook. Almost every fan has expressed that it is a masterpiece of composition and movie scoring. We all know there is a great need of the official complete release of this magnificent soundtrack (I use superlatives very much on this subject) and since that is to happen at some point(hopefully) in the future we JW fans have come up with our own bootleg and CD-R versions of it. So I would like to know how many disc versions each of you JW fans own? Personally I own the Original Sountrack recording and a 2 CD bootleg and The Ultimate Edition CD-R (3 Discs). And people tend to create complitely their own variations of these by their own preferance. Usually these bootlegs contain material that has been later recorded by Williams or other orchestras as a concert pieces (to name a few Cincinnati Pops orchestra and the Prague Philharmonics).The most multitudinous of the versions (to my knowledge) has 4 Discs. Of course the number of CDs depends on how tightly or loosely one organises all the material but I would not be surprised even if a 5 CD or 6 CD editions would surface some day

Hi all!!! I have been away for long time( whole summer actually) and haven't had the chance to use computer so now that the autum has come I start once more to bother everyone with small and almost useless tidbits about the scores of maestro Williams. I was watching JFK for the umpfteenth time in June and while listening the movie through the earphones I made a surprising discovery (well when you think of Oliver Stone's style maybe not so surprising ). I was suddenly hearing very familiar music in the scene where Oswald is arguing in the street with some anti-Castro Cubans. Under this scene was the music from Born on the Fourth of July and more specifically the turbulent strings of the cue Shooting of Wilson. I was stunned, Stone was using old Williams score to underscore a complitely different movie, so he had done what Lucas would do many years hence. This proves there has been much tampering with Williams' scores in the past(sadly :cry: ) Other interesting little discovery I made was a complitely new cue or an alternate in Jurassic Park. Watching the DVD extras and specifically The Making of Jurassic Park the end credits of the documentary contained a very percussive and beat driven version of the Raptor Motif not heard in the movie anywhere. I don't have a clue where the cue would fit though it sounded like chase music. There is some other new music in the documentary but the only credits for the music are for John Williams so could these be alternates by JW or the underscore has not been credited?

JW has written many onomatopoietic motifs and sounds. First that comes to mind is the chirping out of control music of the Procompsognathi(Compy's) in the Lost World on tracks 2 Island Prologue and track 10 Compy's dine. Witches of Eastwick the is a quasinature sound imitation on the track Daryl's Secrets where the strings and woodwinds imitate the sound of a strong wind when Daryl in blown back by the witches' spell. The sound of metallic clangs at the end of the track Have Another Cherry imitate the sound of beating with a firepoker. Hook has the ticking clock effect in the the Museum scene and in the end battle just before Hook dies. Williams also depicts snakes with woodwinds like in the Witches of Eastwick on track Maleficio and in the Raiders of the Lost Ark in the Well of Souls we hear these woodwind chirps and slitherings for the snakes. Harry Potter CoS has the Spider motif which I thik refers to the pacing of the Spiders and the fast movement of their legs. The wonderful Subway motif of Sleepers where Williams makes the orchestra sound just like a subway speeding screechingly past you. Brilliant!

Do any of you have the perpetual problem of getting even the newer Williams scores in your countries? I live in Finland( at the edge of the civilized world and Europe so it would seem at times) and let me tell you it is an agony to wait for the scores such as Catch Me If You Can for almost 3 months after the movie opens in the USA. I think many countries have the same problem. I for myself don't own a Visa or any other credit card so I do not order via internet. This waiting is painful when I read the extatic reviews and read people rawing about these scores and I have to wait for another 2 to 4 months for the "almost Europe wide" release . I can also tell you how irritating it is when I ask about the newest score by John Williams in the record stores and the only thing I usually get for an answer is a blank stare or "Dunno, I haven't never heard of that movie or the score, I'll check from our computers. Yup, nothing here. Of you go." When you try to order it from abroad throug the record store it will cost extra to send it here if they happen to find it on their lists in Sweden or Germany. Some record companies have some influence on when the scores are released world wide e.g SW TPM or AOTC, but usually the only movie album released early (even 6 moths in advance here in Finland) are the popular song compilations from the movie. The question of what sells seems to be the main point today Incanus aka Mikko Ojala from Helsinki Finland.

I'm missing Williams's old comedy scores from the 60', Heart beeps, and a whole bunch of hard to get titles (though I have Witches of Eastwick on CD-R which I'm so glad ). By the way did any of you visit the Rarescores site when it was still open? There were many rare hard to find scores there "available for down load for listen and examination ". I didn't get Black Sunday or Space Camp in time before it was closed but I got many other titles.

Is the Silva Screen JW compilation Close Encounters any good? I saw it in our record store and examining it I noticed I don't actually miss many titles except the Rare Breed suite and the Black Sunday suite. Is it worthy of bying for these two tracks alone?

For all you fans of Howard Shore's Lord of the rings trilogy scores( atleast the 2 first installments thus far) these are good news. Shore himself confirmed he is planning the complete release of the trilogy's scores in the late 2004 coinsiding with the release of the Return of the King DVD Special edition ( the God-knows-how-many- DVD set ). As a John Williams fan one would hope to see Indiana Jones trilogy and SW prequel trilogy complitely released but we obviously have pray and hope for a miracle for this to happen. :cry:

One of my friends was curious about what was the reason I began to listen the music of the movies and the music of John Williams in particular. I didn't have think for too long since that moment is embedded in my memory forever. That turning point was when I was eleven years old and sitting comfortably in my seat of our local cinema. The movie was Jurassic Park and my first Williams moment was the Journey to the Island when we first see the Isla Nublar and the helicopter dives between the mountains. Jurassic Park Fanfare plays and I was stunned. This was the music for me. It was awesome. I had liked classical music before but this music had something else to it and when I got hold of the CD my interest grew and even the subtleties of film music began to interest me. After this I developed a different consciousness about the music in the movies and started to pay more attention to it. What happened I noticed one composer emerged above the others. Every score I loved seemed to be written by one man, John Williams. This sparked an interest that continues to this day. I have to say it has made watching movies a far richer experience when you find that extra layer of music telling the story under the visuals and I have John Williams to thank for making me to realise the film music. I would like to know about other JW fans what were your first encounters with Williams or movie music?

Well, after the generally good reception of my analysis on the themes of AOTC I think I will continue by going backwards and try to analyze the themes and motifs of the Phantom Menace. I have to say I was very disappointed when I first saw TPM in theatre, because then I realised it contained so much great music excluded from the album. I generally like the way John Williams arranges his music for the album but the music of Star Wars lends itself so gratifyingly to chronological representation that the original album just did not do justice to the music. As many other fans, I wanted more. Williams himself said recently in an interview about AOTC that if there was a format of audio recording that could hold 2+ hours of music these scores would have been released as whole but since that may be many years away our hopes of getting episode 3 in full form must almost certainly fall short :cry: . Well, since the year 1999 we have got this UE of TPM and it proved to be Sony marketing plot that was inexperiently produced and flawed by editing. Many people had made their own more or less complete versions of the score prior to that using music available in SW computer games. UE completed many cues and offered better sound quality so some just expanded their older homemade version by certain cues. Still I would want a solid 2 CD Michael Matessino/Nick Redman production and comprehensive analysis of this great score than the cheap UE. One thing UE made available was some great cues featuring John Williams' new themes and motifs for this installment of the SW saga. Many were left out of the original album. But here is the analysis of the major and some minor themes of the Star Wars Episode I The Phantom Menace: Anakin's theme: Lovely, youthful melody full of innocence and wonder. Innocence is the most descriptive word, for it was one of the qualities Lucas wanted to emphasize in him. (On the side note the novelization of the TPM shows the more temperamental dark side of Anakin as he gets into a fist fight after the podraces as some alien accuses him of cheating and he beats the sense out of him before Qui Gon stops him, so there is something dark in his persona) Williams de-composed (I know not a very good word, but Williams used it in Classic CD magazine ) it out of Imperial March going backwards to reflect the slow change of the character of Anakin Skywalker to Darth Vader and to show the connection. By changing the structure and the interwals of the March he created something between benevolent and malicious as the theme start very inaucpiciously and ends in a hint of foreboding as the last strains on the theme quote the Imperial March as if to show the boy is dangerous. Duel of the Fates: This central choral theme composed for the climatic light saber fight between the Jedi and Darth Maul in the end of the movie is driven by the first 5 notes as a motoric figure that gives it a continuous kinetic push. The theme refers to the battle of the Jedi but also to the eventual fate of Anakin as he is between good and evil. Theme is used on many occasions from the boarding on the Federation Battle ship to the climatic Duel and destruction of droid control ship. Williams himself said he saw the duel as something ritualistic, almost quasireligious and wanted a feeling that the duellists were in a kind of a temple performing some kind of ritual. The words are sung in Sanskrit (the old cultural language of India) and the text is from an old Celtic poemcycle The White Goddess and it is called Battle of the Trees translated by Robert Graves. From the poem only 2 lines are utilised and out of these two only few words are used: "Under the tongue roots a fight most dread and another one behind in the head." This might refer to the plot of the movie as the battle is fought on two different levels: Jedi vs the Sith and Naboo vs the Trade Federation. This may come as a shock to some but the lyrics are actually something of a psudosanskrit since it was translitterated to the choir so that it could pronounce the words more clearly, so the official lyrics are only poor interpretation of the classical Sanskrit. Williams tried different languages namely Latin and Ancient Greek but he liked the Sanskrit vowels best. Often aggressive choral pieces like DOTF are associated and compared with Carl Orff's O Fortuna from Carmina Burana (songs from the monastery of Bura) but I find this analogy tiresome. Just because the choir is chanting in a loud voice does not mean it has something to do with Orff, though it is a good over all description of the style of the piece. The Trade Federation March: This Militaristic march in the old Williams tradition represents the massive droid armies of the Trade Federation and the oppressive element of their invasion of the Naboo. This piece resembles the Nazi march from Indiana Jones and the Last Crusade but the similarity is superficial. It is sinister and dramatic in the style of Imperial March though not as complex and creates the feeling of threat and oppression. Used many times in the movie and has quite a few unreleased versions where the influence of the Imperial March is more evident. Jar Jar Binks' theme: this piece is a comic theme for a comic relief. Bumbling and often clumsy(in mood not in composition) it describes the character and his antics as he gets into trouble. Very mickey-mousy as it imitates and follows the physical movements of the character almost like in a cartoon. Qui Gon Jinn's theme: Very noble and dignified theme representing the wisdom and determination on the Jedi master. Williams uses this 24 note repeating phrase sparingly e.g. when Qui Gon goes to free Anakin and in Duel in the Desert where it rises into a wonderfully energetic fanfare. This could be also the thematic material used in the Talking of Podracing scene. Darth Maul's theme(Aka the Sith Chant): Threatning and dark theme for the Sith apprentice presents a short ominous brass motif with rhythmic percussion combined with the whispered chant that is a modified version of the sanskrit lyrics of the DOTF. Used on conjuction with the Probe droid motif. The Probe droid motif: Short percussion and string motif depicting Darth Maul's Probe droids. Used twice plus there is an alternate version of this music featuring the Sith Chant and the percussion for the droids. Shmi Skywalker's theme: The thematic material for Shmi is hard to discern from the movie. It could be found in the scenes when Anakin, Qui Gon and the group is talking about Podracing and finally when Anakin leaves his mother. This tender and sad motif represents the caring of the mother for his son and the sorrow of letting him go. Shmi's short motivic phrase of 15 notes returns in the AOTC and is heard a couple of times in the beginning of the movie and finally just before she dies. This is actually a confirmation for her theme so to speak. The Flag Parade: Fanfare for the Podrace celebration in the grand tradition of old Hollywood spectacles. The Parade could be described as a cross between Miklos Rozsa's Parade of Charioteers from Ben Hur and Williams's own Parade of the Slave Children from Indiana Jones and the Temple of Doom. It is a jubilant fanfare and has processional feeling as the flags are paraded in the arena before the race. Queen Amidala's theme/motif: Williams has said he composed some material for the queen but it was ultimately dropped and never used fully. Maybe some music in the scenes "Queen warns the Federation" or "Anakin and Group to Coruscant" belongs to her. It would seem the very airy and distant flute melody form her alledged motif . It reflects her persona as the role of the queen is detached, cold and austere. The Underwater motif: It is somewhat dubious, can this be counted as a motif, since Williams uses frequently choir to evoke the underwater atmosphere. This choir motif is used in the underwater scenes when Obi Wan and Qui Gon swim to Otoh Gunga and travel through the planet's core.

I wish Williams would give permission to release these scores, since they are absolute gems of movie music. He seems to think his music is not worth of releasing as a whole since all the moments don't seem as interesting to him as they do to his fans. I remember him expressing this about TPM. And if it's not in Williams' hands maybe record companies should take initiative. About the releasing date that could be in the far future or near, who knows. Anyway these scores belong to my all time favourites.

1-The B File: Presumed Innocent 2-Going Home: Angela's Ashes 3-Inside the Mansion: Far and Away 4-False Accusation: Rosewood 5-Fixing the Plumming on a Rainy Afternoon: Accidental Tourist 6-Maybe Septembre: JFK(not strictly a score track but it's on the album) 7-War Plans: TPM 8-Preparing for Battle: The Patriot 9-A Broken Home: Catch me if you Can 10-Madame Lavinia:Family Plot 11-My Dad :??? 12-The People Protest: River? 13-Quiet Moments: Seven years in Tibet 14-Turtle Doves: Home Alone 2 15-Crazy Alice: Cowboys 16-Homecoming: Born on the fourth of july 17-Nantucket Visit: ??? this is a hard one. 18-Up the Drainpipe: The Eiger Sanction 19-The Alm : Heidi 20-Bonding: Stepmom

1-The Night Visitor: Stanley and Iris 2-The Levitation: Return of the Jedi 3-Spiders: HP and the Chamber of Secrets 4-Kevin's House: Home Alone 2 4-Death of Belle: Heidi 5-Rain Clouds Gather: The River 6-Back with Sara: Accidental Tourist 7-The Rescue Operation: Towering Inferno 8-Rescuing Sara: Lost World 9-Desert Winds: SW Epidsode I TPM 9-The Bicycle: Stanley and Iris 10-Stolen Memories: Schindler's List 11-Crimebuster Always Gets His Man: Heartbeeps 12-The Warehouse: Raiders of the Lost Ark 13-Shannon is Shot: Far and Away 14-I Think of Theresa: Angela's Ashes 15-The Sentries: 1941 16-The Return Home: Star Wars 17-Man of the House: Home Alone 18-No Ticket: Indiana jones and the Last Crusade 19-Saying the Rosary: Sleepers 20-Children in Chains: Indiana Jones and the Temple of Doom

Some of the most unlistenable unnerving music in my collection: HOWARD SHORE: Copland: Lacks everything I admire in a score. Nothing to crasp since there is no theme and the orchestral rumble that basicly goes nowhere. I hate it as a whole. ELLIOT GOLDENTHAL: Final Fantasy: action music for Staccato and Dreamscapes has very unusual avant garde feeling. Even after several listenings I don't crasp it and it jars my ears. HANS ZIMMER: Gladiator:The battle music in the beginning of the movie is just too repetetive and lends of a heavy dose from Holsts' Planets (Mars Bringer of War). Same goes for the Colosseum scene music. Thin Red Line: Zimmer and Co. written pieces JOHN WILLIAMS:(Thought it to be impossiple Williams could write something I did not like but after long and hard thinking I remembered) The Towering Inferno: Much of the underscore for the interiors of the skyscraper is lowkeyed elevator music. Too schmaltzy for me. JAMES HORNER: Titanic: has many moments I don't care to listen to basicly because the love theme is utilised. Celin Dion made sure I hate that theme(not by bad performance but with overperfomance of that song in the media). Plus there is always the repeating Horner action music with orchestral hits aplenty. Mask of Zorro: The Horner 4- note motif is back with vengeance - very annoying. The love theme sounds like an old Finnish schlager (popular tune) from 1950 or 60' in basic melody. Sakusacchi groans in my ears. Why does he has to use that for every second score he composes . Big Joe Young: I own this CD and I have never listened it through. Very arch hornerian and that sakusacchi flute is there too. Theme song is Disney like and akward. Too much same old Horner. Michael Kamen: Die Hard 3: underscore is simply too quiet to keep interest in the music. Nondescript. X- men: Electronic meanderings with couple of listenable tracks. Superhero scores without good main theme are simply lousy. JERRY GOLDSMITH:Masada: The March is trying too hard to be jewish. I don't like it a bit. Ruins the over all effect of the score. MacArthur: weirdly electronically peppered orchestrations makes this war time score unfriendly to listen.

Almost all were quite easy. I honestly have no idea where three of them are from. 1-Cancelling Operation K: I have no clue, Black sunday ? 2-The Ride Home:Witches of Eastwick 3-Frogs: E.T. 4-Wade's Death: Saving Private Ryan 5-The Trek: The Lost World 6-Andie Is Stranded:Midway 7-For Mina: Dracula 8-Remembering Childhood: Hook 9-High Wire Stunts: Jurassic Park 10-The Weightless Waltz: Spacecamp? 11-Planting the Charges:Towering Inferno 12-Susan Speaks: The Patriot 13-Hide and Seek: A.I 14-The Greenhouse Effect:Minority Report 15-Imaginary Air Battle: Empire of the Sun 16-Inside the Bubble City: Star Wars Episode I TPM 17-Ben's Antics: Stepmom 18-Turning Back the World: Superman 19-Hand to Hand Combat:Jaws 20-Lost Squadron:Close encounters of the third kind

As far as I know Star Wars has the most comprehensible body of interweaved music in the moviemusic history and Williams himself is pleased about the organic growth of the musical world of SW. Comparison has been made by some to the four part opera saga Der Ring des Niebelung by Richard Wagner, though not in content or their similarity musicwise but in length. I think these two should not be compared as every person has his/her opinion about them. De gustibus non est disputandum. Certainly Wagner's leitmotif style of leading themes or motifs is employed in SW to a great effect and that must be one of the reasons SW has become one of the most popular music phenomena as well as cinematic. These musical cells make events, people and place's recognisable through music and have familiarity that affects even the unconscious part of our minds. I have decided to list all the themes and motifs of Star Wars saga just jog my memory and yours. Don't hesitate to remind me (which i know you won't) if I forget something.Also there is the question what can be called a theme or specific motif? Does it have to be used multiple times and continually or can it be a brief and very specific and used only once? Some that I am about to mention are dubious to be included but I make comments on themes very briefly as need arises: Episode IV A New Hope: 1) Star Wars main Title theme (Luke Skywalker's theme): If I really need explain this to a John Williams fan he/she has missed something very important. 2)Princess Leia's theme 3)THe Rebel Fanfare 4)Jawa theme: Used only in this movie so can it be called a theme, though jawas don't appear prominently on any other SW film this could be excused. 5)Tusken Raider motif: tuned logs and percussion; used briefly when Tusken attack Luke. Not used since. 6)The Death Star motif 7)The Early Imperial theme: doubles as the music for Darth Vader. As Williams composed Imperial March for ESB this theme is not used consecutively. 8)The Force Theme/Obi Wan Kenobi theme:This is the one theme that has been used throuhout the saga. 9)Throneroom motif: The end celebration music of ANH is used also one more time in ROTJ when Lando leads the Rebel fleet into hyperspace. Episode V Empire Strikes Back: 10)Imperial March 11)Yoda's theme 12)Han Solo and the Princess Love theme 13)The Droids motif: Used in ESB but wasn't used in ROTJ where Williams composed an new motif for R2 an C-3PO. 14) Lando's Palace/Cloud City March 15)Boba Fett motif: Not used after ESB though one motif in AOTC bears some resemblance to it. Episode VI Return of the Jedi 16)Luke and Leia (Brother and sister theme) 17)Parade of the Ewoks (You'll never guess, this must be...the Ewok theme ) 18)Jabba the Hutt 19)Emperor's theme 20)Droids motif II Episode I The Phantom Menace: 21)Anakin's theme 22)Duel of the Fates 23)Darth Maul's theme(Aka the Sith Chant): Short ominous brass theme with percussion and whispered Sanskrit chant. 24)The Trade Federation March 25)Shmi Skywalker's theme: The thematic material for Shmi is hard to discern from the movie. It could be olaced inthe scenes when they are talking about Podracing and when Anakin leaves.This small motif for her is heard in AOTC when she dies and when Anakin mentions her in the beginning of the movie. 26) Qui gon Jinn's theme 27)Jar Jar Binks' theme: Comedic and mickey mousy as it accompanies his clumsy movements. 28)The Flag Parade: Fanfare for the Podrace celebration 29)Queen Amidala's theme/motif: Williams has said he composed some material for the queen but it was ultimately dropped and never used fully. Maybe some music in the scenes Queen warns the Federation or Anakin and Group to Coruscant belongs to her. 30)Coruscant fanfare: Used when the Queen arrives at Coruscant. I hoped it would have been used in subsequent Episode but alas it wasn't. 31)Under water motif: Williams uses choir quite often to portray water and underwater scenes and so he does in Episode I. This "motif " is used inthe underwater scenes when Obi Wan and Qui gon travel in Bongo through the planetcore. Episode II Attack of the Clones: 32)Across the Stars (Love theme) 33)Secondary love theme/Naboo theme 34)Mystery motif 35)The Conflict motif: some recemblance to Boba Fett motif in ESB 36)Kamino/ storm motif 37)Longing for mother/Grief motif 38)Zam the Assassin's motif Here it be for you all. The most accessible and apparent motifs and themes of SW in chronological order from 1977 to 2002.Some of the motif are, as I said in above, dubious as I don't have any confirmation of them.I 'll wait for more additions to the thematic gallery next year and the completion of the saga.

I'd like to say I mentioned this motif in my analysis as the Longing for Mother motif. The part of the cue you refer to in the garage scene is atleast to my mind actually string version of the Section C of the love theme( one of the best unreleased cues of the score.) The piece starts quietly and strings play the Section C building it slowly to a choir statement of the Dark Side/Emperor theme as Anakin grieves that he could not save Shmi from dying and confesses to Padme killing a whole tribe of Tusken raiders as anger took over him Darth Vader's theme is finally introduced. And to what Stefancos said about the the interestingness of these new themes compared to the old ones I have to agree on some level. Good old days are gone and so seem to be the grander Star Wars melodies. But I suspect Williams doesn't write so many complex themes for SW anymore since he doesn't want Lucas butchering them as he has done so far. As some moviecritic said, Lucas should perhaps hand the directing job of Episode 3 to Steven Spielberg so we could get some soul into the project. And perhaps then we could get a score that would be as colorful and as rich as the ones in other Spielberg /Williams collaborations

I forgot to log in when I was writing the analysis. Embarrasing huh? All my hard work would have gone uncredited. :oops:

I think Johnny won't be wearing that beloved black turtleneck in the ceremony (as we all would have hoped ) But wouldn't it be nice if Williams dressed up as a Jedi Knight or came in wearing the robes of a Sith lord (maybe too gloomy, but showy in any case) and carrying a light saber Or maybe it's a just a black tuxedo or suit again this year.

Back on the list once more Here is my first message: Please could someone inform me what is the overall chronological cue order of the A.I. Oscar promo. I haven't seen the movie since last Fall and I can't seem to place all these smaller cues in the movie( even with the track titles some kind soul provided on this messageboard).