Smaug The Iron

I probably phrased it poorly. The theme clearly serves dual purposes in the ST (just as it did in PT) but I think if you added up all the ST references, ones tied to Luke would outnumber the rest.
 
In Williams' defence, he wrote Luke a new theme for TLJ in light of his changed circumstances, which also explains the absence of his 'heroic' theme from earlier films. When you think about it, the fleeting appearances of Luke's Theme in TLJ are cleverly tied to nostalgia, to 'the legend of Luke Skywalker, Jedi Master.' In other words, Williams was musically reflecting Johnson's storytelling and encapsulating Luke's arc in that film. Kind of brilliant actually.
 
FWIW, I believe his theme was used in an earlier version of Peace and Purpose, before they settled on the Force Theme (someone please correct me if that's not true!!)

Every film score ever written should be available to listen to outside the film legally IMO
 
OST program, complete program, something in between, whatever.
 
It sucks when new fans don't have access to something that was only legally for sale for a short window

Yep, seems to be the case. The entire "Dark Rey" scene was unscored in the November edit... but the fact JW named the cue 6M04 Daisy in a Veil likely means it was written for the entire sequence (and only the last 50 seconds was used).
 
So he scored it all, they partially dialed it out in the November cut, then decided to track in Filial Fencing (likely written for the abandoned opening sequence) for the Dark Rey fight.
 

Better Johnson than that Abrams hack. TLJ is the only Disney SW that managed to entertain me and Rian showed he can make a good movie with Knives Out. 

The Hidden World by John Powell
 

Make sure you tune in TODAY at 9PM GMT / 4PM EST / 1 PM PST for the premiere of SCORE MASTERS: CELEBRATING JOHN WILLIAMS AND JERRY GOLDSMITH, an online tribute event to the legendary composers co-produced by The Legacy of John Williams, The Goldsmith Odyssey and Ipswich Film Theatre. Join to celebrate Hollywood's finest composers in the week of their birthdays together with an amazing array of guest panelists, including Leonard Slatkin, David Newman, Mike Lang, Bruce Botnick, Jeff Bond, Mike Matessino and Leanna Primiani. 
 
More details here.
 
 

So here we are at the end. It's not like this score has no reprises and returning themes, but not all of them return, and we get many new ones and completely different soundscapes to spice things up.

Western - Introduced back in the trailer after part 2, a fun, rollicking Western theme. The score rarely has an opportunity to use its full form, mostly resorts to its first phrase.
Clara A - A more forlorn melody representing the time gap/impossiblity of Doc and Clara's relationship.
Clara B - A delicate childlike love theme.
Time's Running Out - a 3-note shape that dips down and returns to the starting note.
The Train - a 4-phrase figure that gets more elaborate with every phrase.
 
Amazingly, as far as I could tell, this score has no unused cues and little to no messing with cues - no microediting, a single instance of tracking, a single instance of partially dialing out the end of a cue. Goes to show that this was a very well-formed and communicated vision, and the alternates show that they weren't afraid to re- and re- and rerecord things for timing differences, edited down parts and slightly different moods, instead of messing with the picture until 2 seconds before the premiere and adjusting the score in the editing room.
 
 


Back to Back / Courthouse - following 2's lead, the Time Twinkles drop us right into an extended Clocktower reprise. The final cut is shorter and tracks one of 2's Western Unions here instead. From the quality of the performance I could guess say they abandoned this longer approach relatively quickly.
Main Title - After a reprise of I'm Back, we get to the logo, a marchy Main Theme fanfare. The main titles introduce us immediately to the gentle Clara themes, A for the more distant shots of the heroes arriving at Doc's house, the more intimate B on harp and flute for the shot through the home and them sleeping peacefully (enough).
 
 


Into the Mine - A unique bit for strings, flute and harp scores our friends' eager exploration, then more dramatic music scores the dig and the Delorean's reveal. The mysterioso strings return for its investigation.
Tombstone - Fittingly, Mourning returns, Biff echoing in slightly when they read it was Buford who killed Doc.
It's Me - A building, determined phrase ending up on another Biff theme suggestion.
Warmed Up - Everything's Going to be Fine returns again to score the overly optimistic preparations, then an excited Clocktower-like Main Theme scores the acceleration to 88 mph.
Indians - A westerny chase based on parts of the main theme's ending. The final echoing percussion parts are dialed out after the first few strikes. I used the album and bootleg take (Alternate no.2) because something went seriously wrong with the film version here: the actual film loops the percussion over the whole take, but in the Varese main program it stops very jarringly after a short time.
Safe and Sound - Another fitting reprise of Is That You, this time with a harmonica flavouring.
 
 
 

Hill Valley - gentle phrases of the main theme score Marty's interaction with William, then the Western theme's first phrase (with 1985-A) foreshadows its later use in the train setpiece. A buildup leads to a grand 3-note fanfare counterpointed by the Western motif's first phrase again. Piano and harmonica lead Marty along to the clocktower and point at it with an almost mocking 3-note fanfare.
The Hanging - One might expect another reprise of Skateboard Chase for the corresponding scene, but this time Marty isn't as in control of the situation so another westerny chase ensues, this time suggesting parts of Biff.
We're Out of Gas - After a shocked deflated unique phrase, the biggest in-film Western theme rendition scores the futile attempt at a horse-drawn time machine. The 3-note fanfare builds up to another failed attempt, at creating fuel.
There Is No Bridge - Preparations finally enters this score too, this time with an overlay of the Western theme's first phrase.
Doc to the Rescue - As far as I can tell, mostly uniquely new chase material.
At First Sight - Rising harp picks, strings and a harp run transition to a homely main theme, then Clara's themes meekly try to start on woodwinds, then Clara A finally plays on strings and B on flute, its ending section starting up on strings but not quite getting to the climax. Playful woodwinds are interrupted by 1985-A as Doc realises he's just altered the future again by saving Clara.
Clock Dedication /Battle Cry of Freedom - Yeah why not.
Yellow - The stinger from 2 returns, but this time ending up on the Biff motif.
The Kiss - Clara B on its usual harp and flute, with the strings in the second half this time succeeding in reaching the climax, the first half playing again on harp to play it off.
 
 
 

You Talkin' To Me? - Mostly westerny textures, but also featuring the weighty piano Biff motif reduction.
The Future Isn't Written - Main theme fanfares on strings turn into 3-note fanfares, Clara's theme starts seeping in. Mourning takes over as Doc explains he wants to stay with Clara, then a main theme fanfare as Marty helps him change his mind. Clara A plays for Doc's melancholy.
Goodbye Clara - After a reprise of their first meeting, woodwinds take Clara A, then the extended 3-note fanfare on flute ruins the mood, 1985-A playing as she kicks Doc out with one more sliver of Clara A as he places the flower.
What's Up Doc - A new motif, Time's Running Out, starts the cue.
Marty Gallops - After a bigger Time's Running Out, we get our first glimpse at The Train too, as pieces start falling into place. As Doc is conviced, the 3-note fanfare then Preparations play.
Wake Up Juice - A reprise of The Hanging's action bit and Clara A gives way to Running Out of Time in various playful settings.
Callin' You Out - Ominous material building up to Marty's attempted forfeit.
Count Off - The dramatic motif returns, periodically punctuated by Biff's motif as Buford counts off. A verson of 1985-A plays as Marty gets his gun.
The Showdown - Running Out of Time frantically follows Clara as she runs back to Emmett. The Westerny textures from You Talkin' To Me? return, along with the weighty piano Biff.
The Kick - 3-note fanfares and main theme fragments cry out triumphantly.
 
 
 

A Science Experiment - The heroes gear up with Time's Running Out. The 3-note fanfare plays on harp as Clara discovers the time machine model, then the main theme and trainlike percussion/rhythms follow Doc and Marty catching the train. When we cut back from Clara's riding, the Train motif takes over with the 3-note fanfare, the Biff ostinato joining on strings to up the tension near the end.
It's Clara - The extended 3-note fanfare and the main theme sees the train arriving at the Delorean and Preparations returns once again for Doc explaining the details. Time's Running Out follows Clara on her way to the train, which is just starting up, slowly lumbering from piano strikes to a quickening figure, and from here, the cue is full of various train-evoking rhythmic figures, 3-note fanfares and main themes as well as unique melodies. When the yellow log blows, we switch up a gear, and the western theme is played over a Biff ostinato base and more trainlike percussion.
Point of No Return - The cue mostly continues the previous one's ideas. As Emmett notices Clara and tells her to come with him, Clara A plays, and as she and him start climbing toward each other, The Train plays and climbs optimistically higher, made more ominous by 3-note fanfares. After the red log blows, the western-Biff-percussion combo returns, but this time every statement capped off with a less than hopeful main theme fanfare. As Marty prepares the hoverboard and Doc catches it, the main theme plays, as we cut to see the end of the line, Time's Running Out ups the tension. The successful main theme soars away with Doc and Clara, the western+Biff+percussion combo returns once more in its most hurried statement, and the 3-note fanfare screams out as Marty successfully travels back to the future.
 
 
 

It's Destroyed - A somber setting of the 3-note fanfare and main theme very much like Is That You scores the machine's wreck, a dramatic 3-note fanfare seeing Marty home.
Back to the Girlfriend - The Time Twinkles and Clara fragments score Marty's approach, and main theme scores their happy reunion. The 3-note fanfare reminds them of their Hilldale adventures in the future.
It Erased - The Time Twinkles mark the future changing, then a string setting (not unlike Doc and Clara's first meeting) and sad main theme fanfare on harp mourn Doc.
Doc Returns - He sure does once again, with the Time Twinkles of course. The main theme for strings welcomes him joyously, Clara B's second half and a main theme fanfare score Doc handing over the picture, and Clara B supports his explanation of the disappearing writing: Your future is whatever you make it - so make it a good one. As the Time Train gears up, Doc Returns is fittingly reprised, and the end logo calls back to the opening logo's marchy main theme.
End Credits - A reprise of The West (from bttf2), then a bridging main theme and a full rendition of Clara A and B, then a portion of It's Clara (as the train starts up), then a fitting transition into another reprise of the classic end credits ending.
 
 
 

Back to Back, Courthouse (alternate) - Apparently they once tried to edit this opening down to its bare minimum!
I'm Back (alternate) - So, what was our running joke? That's right, Silvestri tried to have the 3-note fanfare for this logo, too.
Into the Mine (alternate) - I can only assume this extended opening is not an earlier abandoned stinger or some wild recording stuck to this cue.
Warmed Up (alternate) - Originally it was all in one piece, the middle part was scored too and the ending was longer.
The Hanging (alternate) - Aside from the longer action part, the interesting bit here is the actual hanging itself.
Goodbye Clara (alternate) - A very different mood with the 3-note fanfare instead of a Clara A reprise.
To The Future - This seems very very much like an alternate for this bit here.
The Kick (alternate) - Fascinatingly, this is for the exact same cut and focuses on the exact same sync points, but without any of the themes, really.
Doc Returns (alternate) - I joined the two alternates to get the more different half of each. The first half features more Clara A and B, the second half has a much longer ending and the good old running joke finale - Once again, Silvestri tries to have the 3-note fanfare (and the main theme) for the end card.

My Disney Star Wars suite:
 
 
Karol
 

Christopher Plummer has passed away at the age of 91.
 
What a great career he had!
 

Thanks, @Jilal, for the cue list!
So, time to branch out from Williams into other classics. These scores are mostly pretty well mixed but lots of messing around, rewriting, dialing out... lots to see here! So, let's have a look at how Silvestri attempts to be big, dramatic, but also comedic when necessary for this little film!
 
Throughout the score he employs multiple themes:
Main theme - one could name it Adventure or something, but it's too versatile and varied to be pinned down with a name. It has multiple phrases and stages, many different settings to be employed wherever needed.
3-note Fanfare (and extension) - techincally just the first 3 notes of the main theme, plus sometimes repeats and a cap, but it gets used on its own often enough that I wanted to separate it from the numerous generic "main theme" mentions a little more.
Doc - two themes actually, a mad rushing ticking clock for his passionate (and let's be honest, crazy-looking) speeches, and one descending collection emphasising his more dramatic nature.
Marty - a gentle motif for solo flute or french horn.
Biff - 1.5 themes, one low menacing ostinato, and another, more threatening one that I'm calling a .5 because here it rarely gets used, but it'll come back for the second one.
Dramatic theme - what it says on the tin.
Time Twinkles - the later iconic effect here mostly intertwined with Doc's material.
 
 

3m1 DeLorean Reveal - The 3-note Fanfare introduces our time machine dramatically.
 

3m2 Disintegrated Einstein - After the world's first time-travelling canine disappears, Doc's frantic motif dominates the cue aside from a dramatic passage for his initial explanation. The Time Twinkles also make an appearance.
 

4m2 Peabody & Son - Marty's run-in with the pine specialist eventually leads to the first big statement of the main theme, echoing triumphantly.
4m2A Ditches DeLorean - Doc and the Time Twinkles return to score the unbelievability of Marty's situation and the recurring quirkiness of the time machine. These two cues feature different material written for a bit of the same footage, so one is a partial revision of the other.
 
 

4m4 Town Square - As Marty stumbles around his well-known town square before it was a parking lot with dilapidated shops and a non-working clocktower, trumpet plays the extended 3-note Fanfare.
 

6m1 Retrieve DeLorean - Doc's other, descending motif leads to the Dramatic Motif.
 

6m2 Jigawatts (+6m2 Erased from Existence?) - Marty's realisation is scored by the 3-note Fanfare, Doc's initial disbelief with his descending motif, then his madcap thinking with his tickingly oscillating motif and the Time Twinkles. As he becomes more serious about potential consequences, the dramatic motif and his descending motif return.
 

7m1 Dream Boat - Doc's motif this time scores the absurdity of the situation, the Time Twinkles returning as he's explaining how the time stream's being altered.
 

8m4 Skateboard Chase - Biff's ominous ostinato underlines most of the track, but in the middle our biggest most heroic setting of the main theme yet takes over, while the last third only gets the 3-note Fanfare.
 

10m5 George to the Rescue + 10m5BA Reaching for Lorraine + 10m5BB George McFly - Being in power, Biff's ostinato rules the track, but it also introduces a new Biff motif, first just the first two descending notes as the goons punch Marty, then a more comic rendition as George gets ready and a fuller one as Biff gets out to deal with him. As the heroes seem to be victorious, Marty's theme and the main theme play, but not all is well yet.
 

11m2A Earth Angel Overlay A + 11m2B The Kiss - as Marty starts fading, the Dramatic motif plays, and when George stands up for himself, the Main Theme briefly plays triumphantly.
 

12m0 Clocktower / Part IA + 12m1 Clocktower / Part 2 - Doc's frantic motif scores the quick dash to get the time machine ready, then the later recurring "everything's going to be fine" setting of the main theme supports his explanation of the plan. As he discovers Marty's letter, a less heroic Main theme plays, but is quickly cut short when a more pressing matter appears - the tree branch breaking the electrical connection. Biff's ostinato lends the dash up the stairs some tension, then the cue becomes chaotic until Marty tries to tell Doc his future fate directly, scored by a percussion rhythm and the main theme again. He can't persist for long, however - the clock's ticking. the rhythm switches up a gear, Biff's ostinato returns briefly. Doc's efforts to scuttle along the ledge are scored by his motif, while the cuts back to Marty's efforts to follow the plan, start the Delorean and make it to the poles in time are scored by more extrovertedly rhythmically driven, mostly Main Theme renditions.
 

13m1 Lone Pine Mall - As Marty watches the events unfolding just as he remembers, the Main and Dramatic themes play over a drawn-out percussion rhythm. As Doc wakes up, the Time Twinkles lead to Marty's theme, then a triumphant, then a sweet, then heroically determined Main Theme, with the 3-note Fanfare playing it off.
 

14m1 Doc Returns - He sure does, along with his theme, then a big Main Theme sees the travellers and the audience off to their further adventures.

So, the attempt was made, and while the foundations are good, it's not working quite so well. What happens now? Fire Silvestri and hire Zimlings? Or just... talk to him? Work out an actual idea of how to reshape the vision? Yeah, the latter will be better. Especially considering the Zimlings don't exist yet.
 
So for the rewrites the material is generally softened (or sharpened where necessary), the scale and dramatic nature of some parts are reduced, while a select few moments are made much bigger. Timings are tightened, the main theme appears in more cues, both the the comedy and tenderness are played up more.
So let's jump in and see the final versions!
 
 

1m1 Logo - Silvestri intended for the score to open with Marty's gentle theme, then the main theme fanfare for the logo. It wasn't used.
 
 

[New] 3m1 DeLorean Reveal - Very similar approach to the early version in general, but it features the Time Twinkles and kind of the extended 3-note fanfare too, along with a different timing.
 
 

[New] 3m2 Disintegrated Einstein - Again a similar approach, but featuring the 3-note fanfare echoing among the brass for Doc's initial looks, so his chaotic theme enters more naturally as a deceleration of that, and the cue also sticks to it more, no unique dramatic passage. The ending was unused.
 
 

[New] 4m1 85 Twin Pines Mall - The bending strings set up an uneasy atmosphere, and the trilogy's first Preparations setting appears - a characteristic percussion loop and melody, with various motifs set over it - a lowkey dramatic main theme here for Doc's preparations before the orchestration amps up for the terrorists' entrance. The second half is a frantic chase eventually building up bits of the main theme enough to propel Marty back in time.
[New] 4m2x Peabody Barn / Part I - Less dramatic than the initial approach, this one focuses on the extended fanfare on muted trumpet.
[New] 4m2Y Peabody Barn Prt. II - The Main Theme plays more fully here than in the first approach, and we go right into Ditches Delorean, which is pretty much the same.
 
 

[New] 4m4 55' Town Square - Again a similar approach, but shorter, without those stingers, and the extended fanfare is on muted trumpet.
 
 

[New] 5m2 Is That You - The 3-note fanfare gives way to Marty on solo flure over sustained strings, then a gentle main theme.
 
 

6m1 Retrieve DeLorean - Again a very similar approach, just phrased clearer and sounding better.
 
 

[New] 6m2 Jigawatts (+ 6m2 Erased from Existence?)- Again similar in general shape, but featuring the main theme when Doc's energy climaxes.
 
 

[New] 7m1 Dream Boat - Again similar, but timed more clearly to work around the dialogue, emphasising key lines and dynamic changes. No idea why Mike titled this The Picture. It ended up being unused.
 
 

XmX Picture Fades - A quick shimmering effect.
 
 

[New] 8m4 Skateboard Chase - Again a similar approach, but it now uses the Time Twinkles and muted 3-note fanfare for Marty spotting the "skateboards", and the climatic ending also uses the main theme instead of the 3-note fanfare all the way.
 
 

[New] 9m1 The Letter - Marty on French horn scores his love for Doc and the extended fanfare again on flute his attempt to save him, the main theme closing it out.
 
 

[New] 10m5 George to the Rescue - Similar but far shortened.
[New] 10m5BA Reaching for Lorraine - Again similar but smaller in general, adding the 3-note fanfare for the climactic punch.
[New] 10m5BB George McFly - Again similar, the ending is less overtly threatening but still uneasy.
 
 

[New] 11m2A Earth Angel Overlay A + [New] 11m2B The Kiss + 11m2B Earth Angel Overlay B - the Kiss is pretty much the same, Overlay A features pounding percussion in place of the dramatic motif, and Overlay B is much bigger than the lowkey original ending.
 
 

[New] 11m4 It's Been Educational - Marty's and the main theme play for the farewells.
[New] 12m0 Clocktower / Part 1 + [New] 12m1 Clocktower / Part 2 - Again a very similar approach but a lot tighter and better structured with more heroic moments and kept-up tension.
 
 

13m0 Helicopter - A quick delicate main theme for Doc's joy.
 
 

[New] 13m1 Lone Pine Mall - This time watching the past goes bigger, 3-note fanfare and dramatic motif over a different percussion - the last half only differs in timing for the different cut, also playing Marty's theme before Doc wakes up.
 
 

14m0 4x4 - Marty's theme on french horn and strings again.
[New] 14m1 Doc Returns - same approach but shorter in the end for the shorter cut.
Back to the Future - Various settings of parts of the main theme.
 
 

And a bonus round: First we have the film edit of Earth Angel (with a little bonus from the 5.1 middle channel that those who know the album mix well might notice), then the film mix/edit of Johnny B. Goode (that one terrible edit courtesy of the filmmakers, I tried to make it more palatable), then a quick attempt to approximate what Earth Angel's ending might have been like with the original overlay.

John Powell - How To Train Your Dragon (Deluxe Edition)

Well a foot of snow overnight meant Jay had to go outside and snowblow the driveway on lunch break, and the damn thing is so loud I can't listen to podcasts, so music it was.  I tried to find the loudest score I happened to have on my phone and this was it.

Damn, this score is good, like hella good.  I remarked this time how often the score is playing one of the many themes, and how he always makes every instance of each theme sound fresh.  Back in the day I think a lot of these theme instances flew over my head
 
The one thing I can say about this score is the lack of a full end credits suite like Williams would do would really tie everything together at the end.  Coming Back Around is a great finale cue, but following that with a 5-7 minute wrapup would be exquisite.  Maybe I'll cut one together myself.

I thought that was a nice touch. Powell made it his own unique version. 

I just listened to the Powel film suites on YouTube and again realized how good he is with themes, harmonies and composition ideas, but when it comes to more classical oriented scores how bad he is with percussion. For scores like The Bourne Identity the percussion is completely fine, but when it comes to more classical scores like Ice Age or How to Train Your Dragon suddenly the most beautiful music sounds very very rough. I am not sure if he sees that as his personal style or if he would just need better orchestrators and better conductors. 

1989 - Indiana Jones and the Last Crusade
 
1 Indy's Very First Adventure (8:13)
0:00-3:27 = 1M2 Young Indy 3:27-end = 1M3 Dunn and Duffy Circus Train 2 X Marks The Spot (3:12)
0:00-1:03 = 3M4 1:03-end = 4M1 [edited - the ending is not included] 3 Scherzo For Motorcycle And Orchestra (3:53)
7M3 4 Ah, Rats!!! (3:41)
4M3/5M1 Kazim and the Rats! 5 Escape From Venice (4:24)
5M3 To The Boats 6 No Ticket (2:46)
8M5 Intrigue On The Dirigible 7 The Keeper Of The Grail (3:24)
13M2 8 Keeping Up With The Joneses (3:38)
9M2 Shot Down 9 Brother Of The Cruciform Sword (1:56)
9M4 Kasim Meets Max 10 Belly Of The Steel Beast (5:29)
0:00-2:24 = 10M2 2:24-end = 11M2 11 The Canyon Of The Crescent Moon (4:17)
11M4/12M1 Canyon Of The Crescent Moon 12 The Penitent Man Will Pass (3:23)
13M1 The Breath of God 13 End Credits (Raiders March) (10:27)
0:00-2:07 = 13M4/14M1 Letting It Go 2:07-end = 14M2 End Credits

1984 - Indiana Jones and the Temple of Doom
 
1 Anything Goes (2:54)
0:00-0:39 = 1M1 High Life In Hong Kong     0:39-1:30 = 1M2 Anything Goes     1:30-end = 1M2A Anything Goes - Part II     2 Fast Streets of Shanghai (3:43)
1M7/2M1 Through Chinatown [edited] 3 Nocturnal Activities (5:57)
0:00-3:29 = 5M3 Nocturnal Activities 3:29-end = 5M4/6M1 Strangle Hold 4 Short Round's Theme (2:32)
3M3/4M1 The Elephant Ride 5 Children in Chains (2:45)
7M4/8M1 Slave Children 6 Slalom on Mt. Humol (2:26)
0:00-0:19 = 2M3A New Intro 0:19-end = 2M3 Down The Snowbank 7 The Temple of Doom (3:01)
7M1 Sanskrit Sacrifice 8 Bug Tunnel and Death Trap (3:32)
6M3 The Walls Come Down 9 Slave Children's Crusade (3:25)
9M7/10M1 Crusade Of The Slave Children 10 The Mine Car Chase (3:42)
10M4/11M1 Mine Car Chase 11 Finale and End Credits (6:19)
0:00-0:32 = 12M2 Finale [just the opening] 0:32-end = 12M5 End Credits [everything but its opening]

OK I'm gonna start posting ones that aren't already on the site
 
1981 - Raiders of the Lost Ark
 
1 Raiders Of The Lost Ark (6:03)
12M2 End Credits Part 2 2 Flight From Peru (2:23)
2M2 Flight To Freedom 3 The Map Room: Dawn (3:55)
6M2 Discovering The Script     4 The Basket Game (4:47)
4M4/5M1 Escape In The Alleys [edited] 5 The Well Of The Souls (4:57)
0:00-2:48 = 7M1 The Floor That Moves [edited] 2:48-4:45 = 1M2 The Cave [edited] 4:45-end = 7M1 The Floor That Moves [again] 6 Desert Chase (7:41)
0:00-2:26 = 9M1 Indie In Pursuit 2:26-5:12 = 9M1A Truck Chase [edited] 5:12-end = 9M1B Indie's Feats 7 Marion's Theme (3:10)
0:00-1:41 = 10M4 En Bateau     1:41-end = 4M2 To Cairo     8 The Miracle Of The Ark (6:11)
11M2/12M1 The Miracle Of The Arc 9 The Raiders March (2:29)
12M2 End Credits Part 2 [edited and looped]

2000 - The Patriot courtesy @BrotherSound
 
 
2004 - The Terminal
 
 
2005 - War of the Worlds
 
 
2005 - Memoirs of a Geisha
 
 
2011 - The Adventures of Tintin courtesy @BrotherSound
 
 
2012 - Lincoln courtesy @BrotherSound
 
 
2015 - The Force Awakens
 
 
2016 - The BFG
 
 
2017 - The Last Jedi courtesy @filmmusic
 

In this thread we will compile a list of exactly which cues appear in each track on John Williams' OST albums
 
After that we can move on to FYC albums and then expanded albums
 
I'll copy the breakdowns into the main post so we have them all in one place
 
I'll only collect ones we know for sure what's in each track, due to expanded edition liner notes and/or the original sheet music.  Maybe when we get through all those we can do the rest with made-up cue titles or scene descriptions?
 
Feel free to link me to any I haven't found yet!
 
 
1989 - Born on the Fourth of July courtesy @BrotherSound
 
 
1991 - JFK courtesy @BrotherSound
 
 
1995 - Nixon courtesy @BrotherSound
 
 
1997 - The Lost World: Jurassic Park

Feb 5: They record bars 1-68 of the published suite (IE, ANH's main title), and this shows up as "1M2 Main Title" on the recording log
 
Feb 6: They record bars 107-end of the published suite (IE, ANH's end credits), and this shows up as "7M3 (Throne Room)" on the recording log
 
Also Feb 6 (Potentially), they record some other short version of the ANH end credits, this shows up as "Throne Room (End Credits)" on recording log, but this could just be some paperwork error and doesn't actually exist (I find it dubious that it has the same 1:24 length as the cue right under it - I think its a mistake that no one Xed out)
 
Feb 10: They record a brand new Williams composition he titled "7M3 End Credit", and this shows up on the recording log as "7M3 End Credits"
 
Feb 16: They record hybrid composition comprised of bars 107-124, then 127-131 of the published suite followed by 4 brand new bars that Williams titled "End Credit Part 1 Short Ending".  This shows up as "7M3 End Credits Insert" on the recording log
 

 
 
 
 
Lucas and his team play with the music in the film.  He tracks "7M3 End Credit" into several scenes instead of the music JW wrote.  The end credits are "7M2 The Big Parade" followed by "7M3 End Credits Insert" followed by "7M3 End Credit" followed by "Anakin's Theme", though there are several bits snipped out of things to fit the run time of the film.  "7M3 (Throne Room)" is completely unused.
 
 
 
JW assembles his OST album.  He decides to put "7M3 End Credit" in its own track (track #2) as "Duel of the Fates".  He makes "Anakin's Theme" track #3.  The final track is "7M2 The Big Parade" followed by "7M3 End Credits Insert" followed by "7M3 End Credit" followed by "Anakin's Theme" like the film, except "The Big Parade" is a different version than the version in the film, and "End Credit" and "Anakin's Theme" are not edited down like in the film.  They are the same mastered files that already appeared in tracks 2 and 3.  (he actually further edits Duel of the Fates by replacing some portions with material from within the same track but that's another story)
 
 
Lucasfilm starts pumping out video games.  Eventually we find "7M3 (Throne Room)" in one of them but have no idea what it is or why it was recorded.
 
 
The sheet music leaks, with the recording log, so now we know the names of all the things and how to place every bit of music we've ever heard in the film, the OST, the UE, or a video game, but still don't know why this piece was recorded.

1M2     Star Wars Main Title = The main title recording, recorded using the published suite (bars 1-68) on February 5th 7M3    Throne Room = the recording this thread was created to discuss, ANH's entire end credits recorded using the published suite (bars 107-end) on February 6th Throne Room (End Credits) = either some kind of shorter rendition of the end credits also recorded on February 6th from the published suite that never leaked, or a full blown typo on the Dakota recording log. 7M3    End Credit  = What we know as "Duel of the Fates", recorded on February 10th 7M3    End Credits Insert = The actual opening of the end credits used in the film, the OST, and the UE to bridge from Augie to DOTF, recorded using the published suite (bars 107-124, 127-131) + 4 new bars, on February 16th

Out of all the Williams scores that received some sort of expansion already (not counting FYCs), the ones I'd most want to be revisited for a new definitive edition would be
 
1) Last Crusade
2)Temple of Doom
3) Phantom Menace
4) Hook
5) Return of the Jedi
6) Empire Strikes Back
7) Raiders
8) Star Wars
 

Don't forget Prisoner of Azkaban and Mischief Managed. First we have a little more then 4 minutes of the original End Credits (the last minute of it we already hear in A Window to the Past) then we have Buckbeak’s Flight (again), The Snowball Fight (again), Double Trouble (again),The Knight Buss (again), Aunt Marge’s Waltz (again) and ends with Hedwig's Theme.