Perrinzki

Incredible news! Just about the best film composer available for the job. I do have to say though that sometimes I wished Powell didn't rely too much on the pentatonic scale for his thematic constructs; nevertheless he is indeed a master at working in that particular idiom and it is very much a staple to his style. Either way, we all know that the music for this project is in safe hands, and I eagerly look forward to hear what Powell can deliver to the saga.

4. Overcoming Sadness (0:51) has I believe what is the Sadness motif in a comical setting beginning at 0:10
D - C D b - F# E - D E C
 
 
I think one of the film's most important concluding scenes, as Sadness starts gaining more importance is actually scored with a deconstructed version of Sadness's theme, using just the last note from every phrase.
 
23. Joy Turns to Sadness/A Growing Personality (7:49) starting from 1:48
D - b - E - C
 
Had anyone else noticed that before?
 
@Jay's theme breakdown did not mention this one. So just thought I would point out something I noticed which I think is pretty nifty. I should also point out that the Sadness theme deconstruction in the context of the movie is absolutely devastating as it scores one of the lowest points in the story. This is a SMALL but extremely effective score by Gia.

From 0:35 to 1:15, a masterclass of buildup, balance, tension, and anticipation. Folks, this is how you Gloriously Resolve. Composed and conducted by Christopher Tin.

For me it's Rey's Theme, and I agree with the sentiment that "Across the Stars" is a bit too one-dimensional (it is still gorgeous music, nonetheless). Wherever John Williams takes Rey's theme next I cannot wait to experience; just with the end credits arrangement its enormous potential was made very clear for when JW decides to fully unleash it.

For me it's Rey's Theme, and I agree with the sentiment that "Across the Stars" is a bit too one-dimensional (it is still gorgeous music, nonetheless). Wherever John Williams takes Rey's theme next I cannot wait to experience; just with the end credits arrangement its enormous potential was made very clear for when JW decides to fully unleash it.

I think the best thing he's ever done going by pure effort and ambition is John Carter.
 
There is a brilluance and exuberance to his earlier scores which seems to be missing now. Scores like Incredibles, Ratatouille, Up had wild imagination and excitement in them. Specifically Ratatouille which is actually pretty brilliant. There's some virtuoso displays of orchestration there. Also a lightness and nimbleness.
 
His current music while more sophisticated so to say is a bit leaden specially in the construction of themes. It seems writing really long passages of melodic harmony tires out the best of them except John Williams.
 
But he's still a pretty worthwhile composer. Still easily one of the 5 or so best working today.

To those that really like Giacchino's new major theme (a vast majority, it seems), I urge to either listen to or revisit his score for the video game "Medal of Honor: Underground", as the main theme he wrote for that one will most likely be reminiscent of the '5 year mission' theme in its lyrical quality and elegant melody.

Hello all! First post in the forums; have been lurking from some time now.
One of my favourite short musical moments comes from Austin Wintory's magnificent score to the video game "Assassin's Creed: Syndicate", in the cue "I Would Have Created a Paradise". The passage, starting from 3:07 until 3:42, first presents a variation on the cue's main action motif (which is also the villain's theme) on solo cello, which then veers off into a vicious melodic dance. At 3:23, the cello reaches a brilliant rendition of the score's main theme, a memorable melody which starts on a distinctive octave-down two-note line. Here, though, only the primary phrase is stated, before the cello unleashes in some incredibles arpeggios, counterpointed by dense, falling harmonies on the brass with string accents, resisting easy harmonic resolution or conventional progressions. Overall, this score is an incredible excercise in compositional intricacy and artistry.
 
 

Hello all! First post in the forums; have been lurking from some time now.
One of my favourite short musical moments comes from Austin Wintory's magnificent score to the video game "Assassin's Creed: Syndicate", in the cue "I Would Have Created a Paradise". The passage, starting from 3:07 until 3:42, first presents a variation on the cue's main action motif (which is also the villain's theme) on solo cello, which then veers off into a vicious melodic dance. At 3:23, the cello reaches a brilliant rendition of the score's main theme, a memorable melody which starts on a distinctive octave-down two-note line. Here, though, only the primary phrase is stated, before the cello unleashes in some incredibles arpeggios, counterpointed by dense, falling harmonies on the brass with string accents, resisting easy harmonic resolution or conventional progressions. Overall, this score is an incredible excercise in compositional intricacy and artistry.
 
 

Hello all! First post in the forums; have been lurking from some time now.
One of my favourite short musical moments comes from Austin Wintory's magnificent score to the video game "Assassin's Creed: Syndicate", in the cue "I Would Have Created a Paradise". The passage, starting from 3:07 until 3:42, first presents a variation on the cue's main action motif (which is also the villain's theme) on solo cello, which then veers off into a vicious melodic dance. At 3:23, the cello reaches a brilliant rendition of the score's main theme, a memorable melody which starts on a distinctive octave-down two-note line. Here, though, only the primary phrase is stated, before the cello unleashes in some incredibles arpeggios, counterpointed by dense, falling harmonies on the brass with string accents, resisting easy harmonic resolution or conventional progressions. Overall, this score is an incredible excercise in compositional intricacy and artistry.