curlytoot

Not sure if you guys saw this; Giacchino's alt-list of punny track titles.

Can someone please give a timestamp? xD

Are you by chance working on a track-by-track theme breakdown for this score, @Jay?

That's probably my biggest gripe with the album. Especially since the credits music is a new recording! Not sure why it was ommited.

Great find. I really wish "Good Luck Little Sister" was on the OST. I vividly remember hearing the ending of that cue in the theater and loved it (probably the wildest version of Krennic's theme); rushed to the OST afterwards to locate it but alas, it wasn't there.

Really? Feels like Star Wars to me.

New clip.

The string motif at 0:15 is pretty Williams-esque, IMO. This score is sounding better and better with each new clip!

Ah, sorry! Stupidity on my part. Also, though,: 0:55 of "The Witching Hour" is indeed the same; it's just a lot slower. The pitch relationships (of the first 6 notes, at least) are identical to the other appearances of that motif.

@Jay, one thing of interest which you may or may not have noticed: THE FURY Motif “The Witching Hour” 0:55 “To Giant Country” 1:52, 2:16 “There Was a Boy” 3:02 “The Queen’s Dream” 2:13 “Giants Netted” 0:12 “Sophie and the BFG” 1:48 Also: Piano Theme “The Witching Hour” 2:48, 3:27 “There Was a Boy” 2:11

Yeah, I agree. Really genius of him.

I agree. But my rationale is as follows: In "Blowing Dreams", you have the B theme... and then, after a pause, the friendship theme. These sound like two distinct themes. In "Finale", the main theme plays, THEN the B theme... and then—again—after a brief pause, the friendship theme. In "Sophie and the BFG", the main theme is again directly followed by the B theme in both its first and final iterations—beginning and closing the track. Basically, the B theme is more often linked directly to the main theme than the friendship theme is. It is also worth noting how naturally the B theme spins out of the main theme. This feels like a TFA-esque move (withholding the Force theme) by JW, withholding the "full theme" (really perhaps two themes, but connected together) until towards the end of the score. Unless I am mistaken and it appears earlier-on in complete form. Either way, the point stands. It's interesting, because the B theme's first appearance (the clarinet rendition, I believe) is standalone. I feel like Williams leads us to believe that it is totally separate from the main theme... until we get the realization later on that it is all connected, and is in truth the natural progression from the main theme. Either way, I just think there is a stronger case to be made for the B theme being... the B theme.

I had wondered that, myself, but listen to the end of "Sophie and the BFG". I feel like that segment especially solidifies its role as the B theme. On the other hand, the friendship theme—to me—has a distinct, noble quality.

I think Unknown Theme #1 is certainly the B section. I think the friendship theme is a standalone theme.

Yep, and in "The Queen's Dream".

I can't get over how great the horns sound in the nightmare portion of "Sophie and the BFG"—half playing open, half playing stopped at 5:41, then all of them playing stopped at 5:43. So sinister.

Oops.

Probably just "Sophie and the BFG"? It's 8 minutes, like the suite supposedly is.

Flute and clarinet in unison.

Hm. Possibly, but I hear it as a very distinct theme.

I have not yet seen the film; what are we calling the theme that pops up at 0:55 in "Blowing Dreams", 1:27 in "Sophie's Future", 1:31 & 2:27 in "The Boy's Drawings", 1:14 & 2:29 in "Meeting the Queen", 1:01 in "Finale", and 4:19 in "Sophie and the BFG" (among others that I might have missed)? It's a gorgeous little melody.

The opening of "Giants Netted" reminds me of the opening of "The Falcon" from TFA. Those two repeated notes at 0:06 sound to me like they're the start of Finn's theme, but then veer off into the main BFG theme. Also, the first half of the lovely brass chorale theme in "Meeting the Queen" reminds me a tiny bit of the theme from SAVING PRIVATE RYAN's "Omaha Beach". And, still can't figure out if those are Wagner tubas or not, but I'm loving the sound.

Are those Wagner tubas I hear, in the brass chorale in "Meeting the Queen"?!

Is it Mastered for iTunes or not?