DarthDementous

I discovered the sessions leaked but only four years ago, so it's really kind of a thing you must be in-the-know, on the right pages sort of deal. I was like: "How did I miss these sessions? I've waited so long for these damn things!" Which I presume is what a lot of people out there are hoping for - complete releases.

thanks for informing me, I guess this post is redundant after all haha.
 
of course the best John Williams score of Harry Potter hasn't been leaked in its entirety, that's just how it works out D:

Hopefully LLL will take care of that soon. :-)

Say what you will about Lucas, but he was good at coming up with wacky shit.

"Alien" doesn't necesarily mean "not reminding you of Earth". 
 
The beach is okay. It's an entire galaxy, water is common, we've seen loads of planets with 1g, breathable atmosphere and normal surface pressure, and I'm pretty sure terraforming is possible for these folks. It fits.
 
The imposed technological limitations in the SW movies seem more about time travel, teleportation, anti-aging technology and a sort of technological stasis where things look a bit different every time but they work the same. Those are the limits of the sandbox more or less. Inside the sandbox, you can do almost anything.

The fans: Yeah hah! More Death Star! 
 
 
 
 
Not a problem, just as long as the backgrounds are otherworldly. Soon they are going to film Star Wars in the streets of New York with the Statue of Liberty in the background. The fans don't seem to mind. 

There are gaps in it where you see the blackness of space through the disc. That might be the superstructure that holds the real reflector disc, to be added last. 

I think pub was referring to the opening phrase, arguing that it has some pent atonic character, with its use of the scale. But yeah, I wouldn't argue it's a pentatonic melody.
 
And its amusing how much meaningless rhetoric and jargon that Cantus is trying to pull to "justify" the memorability of this tune. Lol

He did, but in the mode of a paranoid schizophrenic.
 
Is he banned?

An arpeggio? WTF? It's an ostinato accompaniment. If you're going to spout musical terminology with the haughty schoolmarm tone you going for, at least get your definitions straight. Then your posts in this thread might be less objectionable. Otherwise frankly, you come off as a pompous idiot.
 
 
Why is the 4-5 appoggiatura a "terribly weak and indistinct sound?" No mention of the theme's modality?
 
 

 
 
 
What fuck is that when it's at home? Are you posting through Babelfish? You string these words together to give your posts a thin veneer of credibility, but they are so vague and ill-defined that they mean nothing.

Truly one of the most ridiculous posters of my tenure here, it's turning out.  And no amount of posturing and faux-superiority/intellectualism and dismissals of "hype" can hide that.  No one takes issue with you not liking the theme.  But your "I'm defending my thesis" act, that's silly. 
 
Your arguments are flimsy, unconvincing, arrogant.  No one is reading your posts and nodding in agreement.  Whether you recognize this as indicative of faults in your thinking, or of the lower mental alacrity of everyone who isn't you, is up to you.  Though the latter choice makes it all the more entertaining for the rest of us. 

Lol!
 
No one requires you to love Rey's theme. But your justifications are hilarious.

You said you're not hearing anybody humming or remembering it. I merely linked to five listeners outside of this website who tweeted positively about it in the last few days and a hundred or so others in agreement. That's it.
 
It is rather meaningless! Much like your condescending claims that you cracked the case through objective academic study (or at least a high school statistics project) and proven beyond a shadow of a doubt the inferiority of Rey's Theme and lack of public interest in this music relative to his previous work at the same point in their releases.
 
If you stopped at "I don't like Rey's Theme and doubt it will be remembered years from now," fine by me. I don't even care about your incredulity over people enjoying this as much as anything Williams has ever written. Quit presenting yourself as an authority with nothing to show for it. The content of your posts is not convincing, despite your passionate rhetoric.
 
 
I actually agree that those first six notes do not immediately call attention to themselves as a thematic idea. It's the responding six that always catch my ear and complete that initial phrase. To me Rey's is a call-and-response theme, it needs both halves to make me go "That's a tune!". In that way, maybe not the most efficient theme he's ever written, when many of his others can get away a little easier with 6 or 7 notes.
 
On the other hand, it's not exactly hard to find in this score. I'm as skeptical of your ongoing struggles with it as you are over our enthusiasm. It seems to me like you're trying to apply a sort of Western/European ideal of melodic construction while ignoring what a pentatonic figure might be bringing that's unique to the glossary, and what these "softer," slightly lurking or meandering qualities may be communicating for the character and the narrative.
 
And that said, I have always found those first six notes to be an incredibly dramatic rising figure from the moment I first heard that climactic Ways of the Force excerpt in the 60 Minutes special, blasted on horns with high suspended strings. It never occurred to me that it was the beginning of the film's central melody, but I certainly recognized gravitas.

Well, if you persistently can't remember Rey's theme, then I suppose that can't be helped. But I'm not sure Williams is to blame. 
 
To my mind, what struck me immediately, was how beautifully sculpted the theme is, and how very carefully structured it is (all of it revolving around the interval of a minor third).
 
I also found the D-E (4th to 5th) melodic cadence of the first phrase very beautiful, and quintessentially williams-esque; it's a sort of musical equivalent to what in poetry is referred to as a feminine cadence (two syllables, instead of a monosyllabic, harder ending).
 
Perhaps you expected a different, broader or simpler theme. But that's the thing with character themes: They're supposed to reflect characters, and as such, I think what Williams wrote is just about as perfect a musical depiction of Rey's character as I can imagine. 
 
And I LOVE that it caught me a bit by surprise. 
 
(I also think the undulating minor third intro motif is about as catchy a hook as anything the Star Wars scores have offered)

I’m afraid you’re missing a big piece of brain. Or something. 

This is a phenomenon I have studied extensively actually, funded by various grants and with some of the top musical minds in the world.  It is *your* thinking that is incorrect. 

Actually, it is.
 
Christ, you are insufferable. A sense of humour bypass and a tin ear are a deadly combination on JWFan. 
 
- Sharky, who's gleefully looking forward to your paper on Thematic Memorability and Exposure.

Just to be clear, my cheeky post above with the Twitter reactions was merely the result of typing "Rey's Theme" into the search bar and copying/pasting links from some first page results. It took me about 2 minutes and I wouldn't call Twitter posts from the last week about a new Star Wars track diving into the obscure corners of the internet. 
 
 
Who are "they" and what makes you believe "they" represent the majority? 
 
 
Based on what?

Oh please elaborate right now. You have time to edit your posts making me look like an idiot writing random stuff after all.

Most people don't care about the music in movies, they don't listen to soundtracks outside of them. In case of the themes you mentioned people got used to them through the years because of countless repetitions in the games, movies etc.etc.
 
I bet your friends have seen Force Awakens one or two times, meaning they heard Rey's Theme probably like 10 times? Most of those times they were probably too focused on visuals and/or dialogue to consciously notice it. Let's just wait...
 
Also what facts did I not get quite on point?
 
EDIT: Nice editing skills, Cantus. Shame on you l0l

I don't think this emotionality is what Williams was aiming for in "Rey's Theme" at all, though.
 
Your example, which seems heavily influenced by Goldsmith's "The Edge", is very broad and direct, really putting emphasis on the sort of "open plain wonder" (later just another musical shorthand for big moments) that has become culturally embedded in the minor tonic - major subdominant progression. 
 
For Williams, that progression is simply there as a passing reference to the Force theme. The core of Rey's theme is about something else entirely: driven-ness and self-discovery, musically made present through the ever-shifting guises of the main melody, as well as the omnipresent undulating minor third motif.
 
 

I win!

thanks for all the responses guys, out of all of them I think I like the Waterworld one the most.
 
for the rest, not bad, but didn't really remain in my memory afterwards. I prefer the more traditional/classical orchestrations, never been fond of tribal elements for whatever reason. there are some moments where the orchestra really stands out though, I see what people mean when they say JNH has a wonderful command over the sound of his pieces. 
 
I think he'll be a good fit for this, I heard a few Williams-sounding Potter elements in some of the more whimsical samples. I quite like how it isn't a cheesy kind of whimsical either, its very restrained at times. unfortunately, the curse of Williams means that every-time I hear something similar to that I'd rather be listening to the first three Harry Potter scores. its very frustrating to find quite nice music and then go 'oh this isn't as good as Williams', stupid impossible standards!
 
if anything it'll be nice to have a score for a Harry Potter film that isn't mellow, droning, sorrowful or melancholy with exciting action moments (etc. Desplat's scoring for Deathly Hallows). I'm a great fan of thematic scoring but I don't know how JNH usually does it, I could only pick out a theme in the first Waterworld sample, even the scene between King Kong and the woman is meant to have some kind of 'love theme' but I don't hear it. might've been mixed too quietly or maybe it just doesn't stand out for me, who knows.
 
EDIT: are there any more tracks like the Waterworld one? maybe I can latch onto one particular style of JNH. also do we normally get samples for these kinds of films? I'm anxious to hear some of this film's soundtrack.