DominicCobb

I'm pretty sure it did, actually.

Yes it's certainly less noticeable in TLJ than TFA, which is a mess we can't quite quantify given how much of that score is unreleased. Escape is really the only cue from TLJ I can think of that sounds hacked up, but I guess a lot of the the other changes aren't as noticeable? Either way I'd still argue TLJ is better off than the PT, or at least AOTC and ROTS. Maybe it comes down to how you define "hacked up." For me the extensive tracking in the latter two prequels means there's no comparison. But I'm sure for some people the "hacking" only refers to the treatment of new material.

Perhaps I haven't listened to them all enough, but TLJ doesn't seem to me nearly as hacked up as any of the prequel scores.

The one that I always remember first is when Finn tells Poe he's breaking him out, probably because it's the first time we hear it. Not a bombastic rendition by any means but I wouldn't call it hymn-like.

I thought the TLJ trailer music in particular did a really good job of working Williams music into the type of track one expects from a trailer these days without going too far into over processed nonsense. The usage of themes in those trailers is honestly pretty impressive, and really goes to show how strong and untouchable Williams's work is that the trailers use his melodies, which is practically unheard of these days for any film to not just straight up use library trailer music (the Avengers trailers using Silvestri's theme is a notable exception and even then it's just minimally used as an add on to a preexisting library track). I think that first TLJ teaser in particular was very well written, and honestly I really enjoy the horn counterpoint to the Force theme here And the parallel Rey and Force themes near the beginning is done pretty well

Wow, three pieces from TLJ were in there and practically no one realized. As for the current topic, definitely going to say no, just sounds a lot like a good piece of library music too me, and I doubt whoever put this together (likely the Total Film team) was given access to Williams's score.

I tend to think that the score is pretty great as is. But the glaring omission in my mind is a big new theme that is central to the movie. The new themes here are relatively minor and secondary. The obvious subject matter in my head would be a Reylo/connection/balance sort of theme. Considering how Rey and Kylo's complicated and developing relationship is central to not just this film but the trilogy as a whole, it seems like a real missed opportunity, especially when there's a sequence that could have featured a really show stopping rendition of it (the throne room), and it could have ported over to TROS as well.

I think you two might be referring to different pieces, crumbs seems to be talking about the main cue heard during the opera scene, not the short snippet that's heard while Anakin is entering the opera house.

I believe it was a Benny Goodman record. Not sure which. As for that Galaxy's Edge piece, definitely not Williams, also not Ross: https://www.billboard.com/articles/news/8528161/disneys-star-wars-galaxys-edge-cantina-music-album-playlist-one?utm_medium=social&utm_source=twitter&utm_source=t.co&utm_medium=referral So they're releasing potentially multiple in-universe music albums for the park - hopefully the orchestral music will find a release at some point as well.

So who wrote this? Surely not Williams, right?

As "forgetful" as Williams apparently is, his TLJ score ended featuring a hell of a lot of returning themes. I'd be a little surprised if we got anymore than what was in that. Maybe one or two extras, but I'm not getting my hopes up for something like the ESB droid motif, personally. That's seems incredibly improbable.

Am I mistaken or isn't the potential third motif being discussed part of that scene as well (playing right before his second theme and then in parallel with it, as in the TFA finale)? I'm not sure if calling it a motif or theme is accurate (I agree I wouldn't know what it signifies specifically that the other two don't), but it certainly seems to be related to Kylo's two themes, even if it doesn't always play at the same time. Perhaps a good comparison would be the rhythmic section that opens the Imperial March - what do we usually call that?

I don’t think a win is impossible, depending on the competition and quality of the score. If Disney decides to make a big deal of it, the fact that this is his last SW score and he hasn’t won in 26 years could be compelling narratives for voters.

Trying to avoid the trailer but always like hearing the music. Seems like this might be a quality upload of the music only? https://www.youtube.com/watch?v=t1neOF-mYgk As for the end bit, Dies Irae vs. Kylo's theme, it might technically be Dies Irae but the way it starts out is clearly meant to evoke Kylo's theme. Certainly the same kind of instrumentation you always hear. Not that it matters of course. Anyone reading into that is wasting their time. Highly doubtful the people making the trailer know all that much more about the movie than anyone else does, and they definitely have no idea what JW's score will sound like. Have they even started recording yet?

Little late here, but Abrams has stated that "Who's Luke Skywalker?" was a line from Rey when she meets Finn that was reshot and replaced with "Luke Skywalker, I thought he was a myth."

Finally saw Williams perform and I must say I really spoiled myself here. Seeing him conduct the last 15 minutes of ET with Steven mfing Spielberg on stage will be something I’ll never forget.

Also, the Rebel fanfare is teased throughout, with these being potential quotes :59-1:17 1:48-2:11 -- :31 also seems to be a hint but probably doesn't count. The leitmotivic sense is beside the point (I believe that was a discussion that's been had). I just mean usually you'd see a distinction made between Rey's theme A, Rey's theme intro, Rey's theme B, etc. in write ups like this.

Is this the Imperial theme? The brass in Spaceport at 1:04 Also, the list is great. One question, would it make sense to distinguish between Han Searching A and B section?

Yep, that bit in Corellia Chase got me thinking of their connection in the first place. Good stuff.

Here’s a question, it’s seems like people feel like the two main sections of Han’s theme are melodically different enough to be separate ideas, but what about the third section? To my untrained ears, it sound like a halfway point between the two - like it could be a B section to either theme. So what’s the analysis of the third section from people who understand music composition?

This all makes sense to me, though I'm not sure why the B-section of the main title qualifies and Rey's doesn't.

So where do we end up on the "is it two themes or two parts of one theme" debate now that we've all heard it? I'm no expert, but from what I hear there is a first distinct melody (the "heroic" one), then another (the "searching"), then finally a third (which is more clearly a counter melody to the "searching"). The fact that the searching theme seems to have it's own B section makes me think that it's two themes, but then again the searching theme itself feels like a B section to the heroic theme. I don't know, I really don't know much about this stuff. All I know is that Rey's theme has like 5 different sections, so I'm inclined to say they're all just parts of one theme.

I'd definitely like to see another composer take the next non-Williams SW film, though if they do a sequel to Solo I really want Powell back. I'd rather SW not fall into the Marvel trap of "new composer, new themes for all the characters!"

One of my favorite little cameos is the Rebel fanfare here: from 1:49-2:11

Okay, so anyone who's listened to the soundtrack will know I'm talking about "Reminiscence Therapy." Starts with a Death Star motif, goes into a bit from "Imperial Cruiser Pursuit," then "Attacking a Star Destroyer," then later has "Tie Fighter Attack (Here They Come)," various bits of "The Asteroid Field," some of which he does some cool variations on, and that stuff that sounds like "The Battle of Crait," which admittedly is also in the title suite Williams composed. I will say, on first impression of the soundtrack, Powell's best use of an existing theme is the main title when Solo sees the Falcon for the first time ("L3 & Millennium Falcon"), and in general I appreciate his use and interpretations of that theme and the Rebel fanfare, which is what I was hoping for from him in that regard (and little or no Force theme). I really like Han's theme, and am still trying to get into the other stuff, but I like it too, and melodically find it fits very well into the existing Star Wars soundscape.