Smaug The Iron

Here's my attempt to encapsulate the thematic make-up of these alternate end credits sequences. Not necessarily the easiest thing to read, but contains most of the pertinent thematic info, I think:
 

I agree with Crocs
 
 
Well, except for this part

Solo: A Star Wars Story (Deluxe). It is one of these few scores that entertain from start to finish. I don't think there is a single weak track on this release. The themes are all distinctive and applied well throughout. The score itself is a lot of fun and full of colour that you rarely find in film music these days (that's probably exactly why the mix in the film is bit of a letdown). And while John Powell's style is quite different from John Williams' it actually is a good thing. I sort of believe that that emulating someone's style is just as annoying as mocking someone's accent. It's artistically uninteresting and, quite frankly, just really dull. So I appreciate John Powell doing his thing for the most part. He has enough chops to use Williams material confidentially and his own stuff works very well with it. If there's any criticism I might have is that Powell's music tends to be extremely loud and I often feel exhausted by the action music. And since both the early heist scene and mine mission/Kessel sequences are now combined into 10-minute pieces it can be a bit much. I find the score is at its best during more quiet and inconspicuous underscore moments.
 
Karol

It's basically a very cool 6 minute suite of action material, with lots of new variations on the film's action motifs. No Yoda, no Rey's Theme coda, no Luke Exile theme, no Leia's theme, no Holdo's Resolve, no Here They Come. There's original material not heard anywhere in the film, mixed in with fragments of music heard throughout Escape. 
 
It was almost certainly recorded in the early sessions, probably before Williams composed The Rebellion is Reborn, and before Carrie Fisher passed away (likely necessitating the new approach).
 
It'll make an incredible finale on a 3-disc TLJ expansion someday, I know that much. Musically it's significantly more focused than the revised end credits suite. 

He does listen to them.
 
Mike burns them to CDRs and hand delivers them to Jamie Richardson.  

Later, Jamie and JW will sit down together and listen to them at JW's house.  JW will give Jamie notes that he delivers back to Mike.

It can be hard to look at something so familiar with fresh eyes, but I feel I might have done that with the throne room scene that ends Star Wars.
 
Most action/adventure movies end with the protagonists winning, and often we'll get a minute or so of a closure scene, but has there ever been a movie other than Star Wars that ends with nearly two minutes of ceremony -- where not a word is spoken, there's nothing but music playing, and spectacle is minimal? On paper, it sounds as boring as hell, like watching an olympics medal ceremony. And yet the way Lucas pulled it off is wonderful. Its purity of message (something like, "good prevailing over evil deserves to be celebrated") is completely unburdened by its aw-shucks earnestness (the acting seems basically impromptu but is completely endearing). And, again, all without a single word, without a single moment of self-importance.
 
Of course, the music is indispensable. JW's masterstroke was to start off with a fanfare but then shift to a muscular version of the force theme, which of course is not celebratory in the least. The fanfare is a perfect tee-up for celebration; it primes us for a triumphant last scene. But then JW goes into muscular force theme mode here for a full 30 sec to reminds us that our heroes went through some shit to get to this moment. Then we go into a musical B-section where we see the actors smile and chuckle at each other in outtake-looking footage (again, completely endearing), which then morphs into the final triumphant fanfare, coinciding with the first and only "hero" shots and only applause of the whole scene.
 
So down-to-earth, so self-effacing, so simple... and so absolutely perfect.
 
 

Howard Shore's work on the Hobbit trilogy wasn't recognized by the academy at all either

Of course they aren't as good as his LOTR scores, but in those 3 years that they were coming out, they were among the best scores anyone was writing at the time

How to Train Your Dragon 1, 2 & Hidden World (John P) - When you're having an epically shit day, nothing like JP going full tilt to get you through it. 

With all the discussion about this bonkers cue list, I wanted to share some more: So no one else has to, I’ve spent some time going through the cue list with the various early rumors and novelization, and I’ve been able to come up with a pretty good idea where some of the unknown pieces may fit.
 
Filial Fencing is most likely 1M2. The rumors all point to the Luke and Leia flashback duel originally starting the movie. Technically, the word “filial” pertains to parent-child relationships, rather than siblings, but there’s no known scene that would fit that definition.
 
It’s now known that the music for the appearance of dark Rey is Filial Fencing. It may seem surprising that the Luke and Leia flashback was originally scored with something much more suspenseful and dramatic, but the audience was not originally supposed to understand at first who they were seeing duel, and that it was friendly rather than life-or-death.
 
The Eye of the Webbish Bog, a.k.a. The Oracle, was an elaborate and bizarre puppet creature that was originally intended to be encountered by Kylo on Mustafar, and it’s been confirmed it was filmed. This would have originally happened in 1M6 Ren’s Entrance, and probably also 1M15 Vader’s Castle (essentially 1M6R).
 
The novelization contains an Ajan Kloss (the forest planet) scene that was likely what 2M3 The Wisdom of Maz was written for: Maz goes to talk to Rey at her workbench and offers some platitudes like “You won’t know how strong you are until you know how strong you have to be” and “To find the darkest part in the galaxy you will need to face the darkest part of yourself”.
 
The novelization also contains a second Maz scene not long afterwards where she talks to Leia briefly about Han and encourages her to give the lightsaber to Rey, which leads me to believe More Maz is most likely 2M5.

Oddly, ‘The Speeder Chase’ is comprised of 3M1 Before the Chase and 3M3 [untitled], with no known 3M2. If there was ever a 3M2 written or planned, it would appear it’s a brief scene where Lando attempts to get to the Falcon, only to discover it’s already been captured by stormtroopers. This scene was mentioned in early rumors and is in the novelization.
 
More to come…

Interesting! The ‘Seeing Sights’ title still got used for the FYC, even though it’s 7M32 Make the Sacrifice.
 

Ah, looks like an earlier version of 7M20 Approaching the Throne!

⛔️ Warning! Long-winded explanation of the TROS cue numbering ahead. ⛔️
 
So, if my understanding of this unusual complicated cue list is correct, JW started scoring the rumored 3 hour 2 minute cut back in March 2019, and it was spotted as nine “reels” of roughly 20 minutes each (9 x 20 = 3 hours). This is why we have the seemingly nonsensical placement of 9M3 Bows and 9M5Alt Return to Tatooine after the end credits in reel 8.
 
However, as the film was edited and gradually got shorter, the reels were adjusted, as seen in the spreadsheet for the November 11th cut. So, by the time 8M16 End Credits was recorded, the film no longer had 9 reels, but at least a couple reel 9 cues had already been recorded. The end credits would have originally been planned for 9M7, or an earlier version may have even been recorded.
 
The numbers from 1-9, and 1-12 in at least one case (reel 5), are what I believe was the original spotting. Higher numbers were then used for revisions, definitely for everything recorded in October and November, and possibly earlier than that. (This also accounts for why there’s, for example, a 6M20 Sabre Toss insert for 7M2 Rey Meets Luke). The lower numbers are meant to be sequential, but the higher numbers are not: we may not know everything that happened behind the scenes, but it’s pretty hard to imagine 8M13 Ben to Rey being followed immediately by 8M14 Horn Solo and 8M15 End Credits.
 
So, getting back to the original point, I was already expecting to see an earlier ‘Approaching the Throne’ numbered 8M1, 8M2, or 8M3. It appears everything in the entire final confrontation was scored at least twice, first with 8M1, 8M2, 8M3, etc., and later with revisions for reel 7: 7M20-7M44, and this appears to add further confirmation of that. 
 
I think JW may have switched over to even numbers at some point, too: there’s not a single odd number 1M20+ or 7M30+, out of 10 known cues.

Looks like there's more of the cue list known now! Seems https://franklehman.com/starwars/ was updated recently with more of the cue list!
 
These are the newly added cues that I noticed:
4M1C
7M28 Seeing Sights
7M44 Name That Tune
8M1 Approaching the Emperor #2
8M4C1o
8M4C2
8M4D
8M5B
8M8C Chorus
8M17 Duel of the Fates Excerpt
Chant 1
Chant 2
xM4

The Call of the Crystal concert piece gives me goosebumps - just an outstanding piece. How about that dank harp thing that closes Irina's Theme? 
 
For me, the score is a great example of how Williams' sound and style have been refined since the first score and he put the effort in to make it feel like a part of the same world that makes you recognize that this is an Indiana Jones score.
 
 

He didn't. White Vision already has the memories in his hard drive but could not access them. Fake Vision only helped him open up the memory bank. 

He didn't. White Vision already has the memories in his hard drive but could not access them. Fake Vision only helped him open up the memory bank. 

LOTR: The Fellowship of the Ring (CR) by Howard Shore
 
Damn, is this shit good. I've waxed enough poetic about these scores, but this time, I'm especially struck by how FOTR works as a mood piece. The way it accumulates tension and existential dread (as karelm fittingly put it in the other thread) makes it deeply psychological in a way no other fantasy scores really do it (even the other two "flashier" scores fall short here). The whole thing, from the first act to the third, is a masterclass on setup and release. This is fucking good film music.

Titanic by James Hornet (La La Land Records)
E.T. by John Williams (La La Land Records)
Home Alone by John Williams (La La Land Records)
Home Alone 2 by John Williams (La La Land Records)

Titanic by James Hornet (La La Land Records)
E.T. by John Williams (La La Land Records)
Home Alone by John Williams (La La Land Records)
Home Alone 2 by John Williams (La La Land Records)

Titanic by James Hornet (La La Land Records)
E.T. by John Williams (La La Land Records)
Home Alone by John Williams (La La Land Records)
Home Alone 2 by John Williams (La La Land Records)

Pure JNH magic 
 
 

All that's left is acceptance:
 

This cue is so amazing, it contains my favorite performance of the Berk theme in the whole trilogy:
 
 

Right, that's the insert 9M85A “Luke Looks”.
 
The film and album use a different insert, 9M85A New “Rey Looks”, as heard in 'Peace and Purpose'. They both replace the same section of 9M85 “Finale Part I”, so there should be at least three recorded versions of Luke’s death. We don’t know whether 9M85 Alt Insert was actually recorded yet, which is the insert that uses Luke’s theme, scored wistfully for flute and clarinet.
 
The recording status is also uncertain for 9M85B and 9M85C. 9M85B “Between Luke and the March”, which is actually an insert with an insert, replacing a few bars of 9M85A, and including (as @Falstaftmentioned above) a possible reference to the theme from 'Holdo's Resolve'. 9M85C “Island to March” provides a different possible transition from 9M85A back into the Kylo's theme "march".
 
Ok, everyone got all that? There will be a quiz! 😃

Not only Luke's Theme in one version of the TLJ Finale (9M85 Alt Insert), but a quite different sounding set of variants of the Force Theme (9M85 and 9M85A), a few hints of Jedi Steps here and there, even one version of Luke's death that directly recalls the Desperation motif, aka Holdo's Sacrifice (9m85B).
 
Not clear what of these various alternates were actually recorded. Time, hopefully, will tell.

Its not Luke's Theme any more. It is now the Main Theme of the saga.