CGCJ

Went through the final with one of those music identification apps:
 

I love the end of Powell's blurb:
 
"I’ve said this before, having been privy to seeing a little of his process — I realized he is not, in some way, unusual or impossibly different from all other composers. He’s using the same techniques, the same rules, the same approaches as everyone else. He’s simply better than everyone else.”

I'm lucky enough to have a free subscription through work, so that's how I read.  I'll post the text below
 
 

https://www.nytimes.com/2022/02/08/arts/music/john-williams-hollywood-film.html
 
“I don’t particularly want to do films anymore,” Williams said. “Six months of life at my age is a long time.” In his next phase, he plans to focus more intensely on another passion: writing concert works, of which he has already produced several dozen. He has visions of another piece for a longtime collaborator, the cellist Yo-Yo Ma, and he is planning his first proper piano concerto.
 
This year, he will complete what he expects to be his final two films: “The Fabelmans,” loosely based on Spielberg’s childhood, and a fifth installment in the “Indiana Jones” series.
 
“The Fabelmans” has been particularly emotional, he said, given its importance to Spielberg. On a recent day, he recounted, the director wept as Williams played through several scenes on the piano.
 
Williams said that he expected “The Fabelmans” would be the pair’s final film collaboration, though he added that it was hard to say no to Spielberg, whom he considers a brother. (Spielberg, for his part, said that Williams had promised to continue scoring his films indefinitely. “I feel pretty secure,” he said.)
 

 
I also found this. Thomas Newman celebrates John Williams on his 90th birthday.
 
Can anyone post the whole program of Newman celebrating Williams? I can't access it:
 
 

“The Fabelmans” has been particularly emotional, he said, given its importance to Spielberg. On a recent day, he recounted, the director wept as Williams played through several scenes on the piano."
 
Wow.

https://www.starwars.com/news/john-williams-birthday

Went through the last two episodes with one of those music identification apps:
 

Went through the last two episodes with one of those music identification apps:
 

Went through the last two episodes with one of those music identification apps:
 

Went through the last two episodes with one of those music identification apps:
 

Went through the last two episodes with one of those music identification apps:
 

Awesome, thanks for sharing @CGCJ! I can't think of any glaring oversights there, and I'm looking forward to hearing every single one of those tracks. Hopefully everything that eventually stands out from the finale will be included too.
 
Also: super randomly decided to throw the train cue from Chapter 2 into the extension again because it rocks and I can't believe it wasn't released. Well, somehow I got a result back this time...
 

 
Maybe they realized the mistake and put it on the second volume? Huge if true. Having this would really round out the first four episodes of score so I hope it's not just a weird glitch.
 
EDIT: The song finder has been giving me mixed messages so please take this news with a grain of salt! If it's right you all owe me a Canada Dry. If it's wrong I will go into indefinite hibernation. 

Went through the last two episodes with one of those music identification apps:
 

Here's what I heard this week...
 

 
Pykes in the Desert - Short bit of underscore with some strings and light percussion.
 
Marshall Vanth - The speederbiking melody from Mando S2's The Marshal's Tale returns for acoustic guitar and strings, and is followed by a particularly upbeat and percussive title card.
 
Mando Arrives - Really nice string and wind harmonies, with some playful athematic ideas being passed around. Sounds a little Return of the Jedi-y to me for some reason. Followed by what must be a new recording of the soulful recorder from Mando S1's You Are a Mandalorian. 
 
Frogs - Short cue made up of Grogu's synth stylings.
 
Luke and the Force - Starts with a neat allusion to Mando S2's A Friend  and continues for a while longer to include Yoda's theme, the Child's theme from S1, and a dramatic orchestral section for the Order 66 flashback. The Child's mysterious theme from S1 has a brief interplay with the Rhodes motif to close.
 
I Wanna See Him - Lots of passing themes and textures, including harp and recorders, the Mando and Child motif, and the Child's theme from S1 again. 
 
Training Montage - An extended setpiece for Luke and Grogu's various exercises, clocking in at about 6 or 7 minutes and proving to be a surefire pick for Volume 2. Upbeat and energetic quotes of the Mando and Child motif play over string rushes, with the occasional piano accent. The Force theme is heard briefly, before returning to the Mando and Child motif, the joyous Grogu theme, soulful recorder, and more references to A Friend (in that order).
 
To Tatooine - We return to Boba's world and the Desert Fanfare is heard on strings before dialogue takes over.
 
Asking a Favour - Brief reference to The Marshal's Tale on acoustic guitar again.
 
The Standoff - Mostly atmospheric with some slow string hints of The Marshal's Tale. The score doesn't have to do much to build the tension here and it doesn't overplay its hand at all.
 
Another Cantina Source - More processed and electronic than the Latin twist heard earlier in the show. Seems this cantina band is fluent in a wide variety of genres, although none quite as ear-catching as jizz. 
 
A Choice - Yet another reference to A Friend, as well as Yoda's theme under a namedrop. The Mando and Child motif is most prominent, including one variation for solo violin. The music rises for the cliffhanger ending.

Wow, this latest chapter was definitely the best episode of the show yet, and mostly because it's not really an episode of *this* show to begin with! It's certainly refreshing to see something this expansive and well-directed after four episodes of drab compositions, cheap production design, and small-looking desert sets. The difference is night and day, and reinforces that Mando is already the best version of a show about a bounty hunter with cool armour. 
 
What's more is the music really bloomed in this episode, with Shirley making the most of Goransson's catalogue of Mando themes in some really interesting ways! I will admit there were a number of excerpts that were a little more brief than I would have liked, but I'm already anticipating hearing some of the highlights in a couple of weeks. Plus, it seems there's plenty more in store!
 
It'll be strange to see if any of these cues even gel well together with Volume 1, because there's not a lot that connects the two soundscapes here. Considering this episode may as well be the premiere of Mando Season 3, it could serve better as a little prologue to whatever we get to hear a year from now.
 
In any case, here's what I heard in this latest chapter...
 

 
The Fishery - Lots of electronic underscoring to start things off, building up to Mando's dissonant stinger and continuing to build the atmosphere thereafter.
 
Space Ring - A fantastic mash-up of the Boba Fett and Mando title cards gives way to some excellent wide shots of the space station. Fantastic strings and winds variation of the Fanfare from Mando.
 
Club Source - Upbeat electronic/hip-hop source music. Nothing mentionable.
 
Finding the Armorer - Low-key electronics and beats, followed by several Mando ideas in quick succession ("Western" motif, fluttering synth, Drama theme). Shades of some of the armorer cues from the first season of Mando.
 
The Great Purge - Full orchestra for this cool flashback sequence. The Rhodes motif plays for a Grogu namedrop. The Forge motif shows up briefly before the Rhodes returns.
 
The Duel - Two parts, the first being some eerie recorder music and the second being some loose electronics under the actual fight between Mando and the other covert guy.
 
This is the Way / Remove Your Weapons - More references to the armorer cues, as well as quotes of the Recorder Riff and the Fanfare. The second half of the cue is lighter comedy scoring as Mando deals with the transport security droid.
 
Public Space Transport - Tender harp and strings followed by soulful processed recorder. This bit is most likely tracked from Mando S2's The Story, which is referencing Mando S1's You Are a Mandalorian to begin with.
 
Back to Pelli Motto - More comedy music for everyone's favourite mechanic and her droids. Also a small reference to Mando S1's Bright Eyes.
 
The Naboo Starfighter - More light music as the cover is taken off the rusty old ship.
 
Repair Montage - A great extended sequence full of cool passing references to Mando themes, including a triumphant stringy Recorder Riff, the Fanfare for cellos, and some happy bits of Grogu's theme (EDIT: Not Grogu's theme, but the closing notes of the Fanfare).
 
Let's See What She's Got - Major key Recorder Riff for strings as well as an energetic variation of the Razor Crest fanfare. 
 
Fennec Recruits Mando - The soundscape briefly returns to Boba's world at the end, with a quote of the Desert Fanfare appearing before the episode closes. Mando's last line, however, indicates that we may not have heard the last of some other familiar themes. Really curious to see (and hear!) where this all goes now!

Before digging into the score proper, it’s probably best to begin by dissecting Göransson’s end credits track, which was released as a single alongside the first episode. Bear in mind that it has been hard to make any clear distinction between what each of the different parts of the piece represent, so the assigned titles are merely for the sake of differentiation at this point. These don't necessarily need to be themes for anything in particular, but I've tried my best to come up with appropriate names for the time being. They will be updated later on if need be.
 
The track begins with a shanty-like repeating phrase, which we'll call the Buccaneer theme because a) it sounds more than a little pirate-y and b) that was the working title for the show. This idea has appeared over all the title cards thus far, much like the simple "Western" piano motif in Mando.
 
The next section kicks in at 0:20, with those wonderfully bold vocals taking up the "Main" theme (it's no more or less integral than any of the other melodies here but I don't know what else to call it just yet...stay tuned). There are two main phrases followed by a B section at 0:56, complete with little trumpet accents.
 
A brief vocal segue at 1:09 sets up the choral Tribe Fanfare at 1:14. This idea appears to be most connected to Boba's experiences with the sand people, and also mirrors the structure of the Mando credits by breaking out in a way that's similar to the Razor Crest Fanfare. The second phrase is touched up by brass and strings rather nicely.
 
At 1:49, the Reborn theme emerges on brass, with a second statement at 2:08 backed by vocals. The piece proceeds to close the way it began, with a bombastic outro for the Buccaneer theme repeating from 2:29 to the end.
 
Aside from all of these, there is also Boba's Jaunty Riff from Mando S2, the Desert Fanfare which played over the post-credits scene teaser (and coincidentally sounds very similar to a decidedly exotic version of the Recorder Riff from Chapter 9 of Mando, which can be compared here), as well as a slew of organic noises and breathy sounds that act as interchangeable calling cards for the character. Now without further ado, let's take a look at what this first volume has to offer!
 
01. Rebirth (3:16) from Chapter 1: Stranger in a Strange Land
This makes for a decent album opener, all things considered, underscoring the show's prologue with rumbling strings and otherworldly shimmers. Vocals emerge at 0:50 along with Boba's wind stinger, giving way to a short string lament before veering into harsher sound design. Percussive thumps and tambourine cut through the chaos, with chord outlines of the Reborn theme setting the stage for the first big statement, which comes as Boba emerges from the sarlacc pit at 2:40. 
 
02. The Stranger (3:01) from Chapter 1: Stranger in a Strange Land
A mysterious harp intro continues the first episode's lengthy flashback opening, with a fantastic combination of vocals, percussion, and all manner of strange sounds and effects accompanying the Tuskens first appearance as they capture (rescue?) our dazed bounty hunter. The Reborn theme returns at 1:03, eventually growing in size for a second statement. A strummed rendition of the Buccaneer theme follows, complete with vocal dressings. The varied instrumentation blends together wonderfully, connecting these ideas with ease before the Reborn theme emerges again at 1:53, with some off-kilter development beginning around 2:15. The Buccaneer theme returns on cellos over the first title card with big supporting brass chords. The whole cue is an excellent sampler of the score's sound and style, and makes good use of Göransson’s themes to boot.
 
03. Normal Day at the Office (2:41) from Chapter 1: Stranger in a Strange Land
Big brass hits and electronics help Boba to suit up with style, donning his armour as he prepares to receive tribute from several colourful characters. The track then moves into rather low-key and lighthearted dialogue underscore. A sneaky pizzicato version of the Desert Fanfare plays at 0:50. The relatively laid back sound continues until the end, with some light string touches grounding the quirky plucked passages. 
 
04. Fear Is a Sure Bet (3:48) from Chapter 1: Stranger in a Strange Land
The first action set piece of the show is a little underwhelming, relying on largely abrasive electronics to underscore a standoff and chase scene. The Desert Fanfare clears the space for the Jaunty Riff at 1:16, with trembling strings repeating the Desert Fanfare from 1:30 and on. More anonymous action follows, and overlapping strands of the Desert Fanfare appear briefly again at 1:58. For the most part, this is not a particularly notable cue, and the absence of Chapter 2's far superior train sequence on this volume only makes it more of a headscratcher inclusion. 
 
05. Desert Walk (3:00) from Chapter 1: Stranger in a Strange Land
It's been observed by some that the music in the flashbacks has had an exponentially greater effect in episode than what the present timeline offers, and these first few tracks are certainly a testament to that. With this cue, Boba and a fellow prisoner are taken into the desert to harvest melons. A fun statement of the Reborn theme emerges at 0:37, complete with mariachi-esque trumpets, vocals, and guitar strums and shimmers. Eerie strings and electronics provide a brief interlude, before a neat mixture of percussion and echoing effects close the track. 
 
06. Boba's Throne (3:45) from Chapter 2: The Tribes of Tatooine
A slithery string line opens before Boba's distinct sounds join in with muted trumpets. The atmosphere becomes noisier, with very little of note until the Buccaneer theme flashes by over the title card at 2:35. Hints of the Jaunty Riff and the Desert Fanfare round out the cue. 
 
07. The Twins (4:37) from Chapter 2: The Tribes of Tatooine
Intriguingly, there's a repeating diegetic drum throughout this track which seems to follow the Hutts around on their litter. Menacing muted trumpets and distorted vocals underscore the twins' appearance in the city square. An uplifting major-key variation on the Reborn theme starts at 2:59, with a smattering of vocals and effects closing the track.
 
08. Stop That Train (4:06) from Chapter 2: The Tribes of Tatooine
Deep strings, electronics, and percussion follow an impending threat through the desert as Boba's tribe scrambles to defend themselves from a speeding train. Some neat processed vocals join in at 0:55, with the mood then becoming more somber as Boba and company burn their dead. Soulful vocals chant beneath the solemn Reborn theme at 1:43. The track switches to another cue at 2:25 as Boba takes a pack of stolen speeders back to the tribe. The dynamic Buccaneer theme opens for a particularly upbeat statement of the "Main" theme, with energetic string and vocal accompaniments. The cue gradually plays down from there on.
 
09. Like a Bantha (2:02) from Chapter 2: The Tribes of Tatooine
This is one of the rare set pieces in the show that actually runs with a pretty good idea for a little while. Boba trains the Tuskens how to ride speeders as a malleable montage melody works beneath. The idea appears in one or two other scenes in the episode, although it remains rather brief despite being a clear highlight.
 
10. The Ultimate Boon (5:07) from Chapter 2: The Tribes of Tatooine
This second chapter seems to have been really good for strong music-driven stretches, and this track is the pinnacle of that. The entire ritual scene is handed over to Shirley, and he delivers his best work on the show thus far. It's perfectly measured and not overplayed, with expert implementation of Göransson's themes to signify some genuine character growth. Long and low vocals hum the Reborn theme at 0:10, returning at 0:53 over processed plucks and shimmers. An exotic wind sound bridges into a reverent choral rendition of the Tribe Fanfare at 1:44, which is then carried up by solo cello at 2:08. Boba emerges from the chief's tent with his new garments, the music maintaining the power and resonance with a controlled brass build-up. The piece then transitions into the next section, with serious strains of the Reborn theme following Boba to the desert workshop at 2:51. The melody changes shape and progresses further at 3:22, building in anticipation before the vocals join at 3:52. It is here that Shirley combines the Reborn theme and the Tribe Fanfare together to form a fully satisfying climax, with an emotional vocalic/wind effect tastefully tying the journey together at 4:35. The entire sequence is the closest the show has gotten to the heights of Mando, and Shirley's major contribution is certainly worthy of comparison to any of Göransson's narratively similar forging cues. Without a doubt, this is the best track on the album!
 
11. Aliit Ori’shya Tal’din (6:12) from Chapter 3: The Streets of Mos Espa
Organic breaths and sorrowful strings mark the beginning of another highlight passage as Boba begins his next set of flashbacks. A brass reference to the Reborn theme appears at 0:31, and vocals prepare the way for a travelling sequence at 0:49. The "Main" theme plays on strings atop the humming choir at 0:56, increasing in confidence and energy at 1:16 as Boba rides a bantha into town. A short interlude separates the B section, which is heard for the first time in the show proper at 1:50. The music settles under a cautious dialogue with the Pyke leader, and a slightly unsteady variation of the Reborn theme adds to the menacing tone at 3:16.  The standout choral lament begins at 3:56 as Boba finds the tribe massacred. Fascinatingly, a Redditor supposedly translated the lyrics to what is perhaps the most explicitly religious-sounding piece of music in any Star Wars media. It's an unexpected attention to detail but very cool nonetheless!
 
12. Road Rage (4:56) from Chapter 3: The Streets of Mos Espa
After a string of surefire highlights, the album meanders back into decidedly mediocre territory. Peppy techno electronics and brass hits do well to compliment a goofy chase through the streets of Mos Espa, with passing appearances from the Jaunty Riff and the Desert Fanfare marking Boba's presence. The processed wailing and dangerous string lines from Stop That Train return fittingly as a group of Pykes land on Tatooine. 
 
13. The Mod Parlour (3:04) from Chapter 4: The Gathering Storm
This wacky techno piece for the impromptu chop shop operation in Chapter 4 more than speaks for itself. I'm happy for anyone who enjoys it though! 
 
14. Fennec and Boba (2:08) from Chapter 4: The Gathering Storm
Brass and vocals are initially prominent before giving way to a far sneakier setting, with passing references to some familiar Fennec-related material from Chapter 5 of Mando (the string idea at 0:22 and 0:52 should be familiar). Low-key pizzicato exercises accompany Fennec's spy droid at 1:13 and continue for the remainder of the cue. 
 
15. You Fly, I'll Shoot (5:34) from Chapter 4: The Gathering Storm
Boba and Fennec attempt to reclaim his ship from Jabba's palace. A mishmash of electronics, breath sounds, and tense strings underscore a firefight in the hangar. The track notably manages to stay athematic until the bay door finally opens at 3:01, at which point full-bodied choir hums the Reborn theme at its most triumphant. Several more statements follow until the up-tempo Jaunty Riff interrupts at 4:09, ushering in the Desert Fanfare at 4:32 as Boba annihilates the biker gang from above.
 
16. The Families of Mos Espa (5:33) from Chapter 4: The Gathering Storm
The final score cue on the album is fairly standard dialogue music. The Jaunty Riff picks up the energy a little bit at 1:32, and an angular variation of the Desert Fanfare slides in at 2:44, returning beneath percussion at 4:12. The most ear-catching bit is, of course, the Recorder Riff cameo at 5:10, which intermingles with the earlier-mentioned "Western" motif. Perhaps this tease will help to open things up a bit and give the score some real legs through the final few chapters? For now we can only guess. All other impressions aside, there's plenty to potentially look forward to, as the finales have been far and away the best-scored episodes in these shows to this point. Fingers crossed!
 
It’s interesting to note that aside from Göransson’s themes (both new and old), there are essentially no other leitmotifs to track across episodes like there has been consistently with Mando. What's there is excellent and has certainly led to some elevated passages, no doubt about it, but the fact remains that the show's musical identity is defined by fairly limited thematic tissue, and there have been a number of occasions where the score in episode has noticeably lacked punch and fallen flat as a result. If anything, it's more of a textural approach than Mando ever was. As a result, the nature of the release as well as the music itself is not as easily tailored to an in-depth analysis as might have been anticipated, but I hope these notes prove useful to anyone who is enjoying the music and is trying to keep tabs on the fresh catalogue of themes. As always, I look forward to hearing what comes next. Thanks for reading and cheers!

I finally got around to listening to it... WHERE THE FUCK IS THE TRAIN CUE?! Who's the moron that decided not to include it? And what about Boba's hallucination? It's like they purposely left off half of the highlights... but yet they just had to include the Mod Parlour source.
 

A number of track titles for the upcoming album release have been identified via AHA Song Finder. Here's what the extension was able to pick up on so far:
 
CHAPTER 1
Rebirth - The flashback prologue, up until Boba escapes from the sarlacc. 
The Stranger - Boba is picked up by the sand people and the first title card appears.
Normal Day at the Office - Boba suits up for the first time and visitors pay tribute to him.
Fear Is a Sure Bet - Assassins ambush Boba and Fennec.
Desert Walk - Boba and another prisoner are taken into the desert to search for those sand melons.
 
CHAPTER 2
The Twins - The two hutts confront Boba in the town square.
Stop That Train - The train attacks the Tuskens and they burn their dead.
Like a Bantha - Boba trains the sand people to ride speeders.
The Ultimate Boon - Boba gets his new clothes and makes his staff.
 
CHAPTER 3 
Aliit Ori'shya Tal'din - Boba journeys across the desert on a bantha, visits the Pykes, and returns to find the tribe massacred. 
Road Rage – The major-domo attempts to escape and the Pykes arrive on Tatooine.
 
CHAPTER 4
The Mod Parlour - A weird techno source/score cue for the chop shop where Fennec is healed.
Fennec and Boba - The pair travel to Jabba's palace. That little spy droid locates Boba's ship.
You Fly, I’ll Shoot - Boba and Fennec get his ship back from Jabba's palace. 
The Families of Mos Espa - I don't know what the rest of this cue could be but this is the title I got for the big hint at the end of this episode.
 
The only thing I'm worried about is the train heist cue from Chapter 2. I haven't been getting any results for it, although there are a lot of SFX in the way. Otherwise everything of note seems to be covered here.
 
I haven't had any luck with Shazam thus far but if it does pick up anything we might be able to see if there's more based on the track IDs. I'm not really sure how that works but I think that's what we did last year.

This show is losing my interest very quickly and I think the score for the most part has been fine, nothing more and nothing less. There are certainly a number of highlights that I'm looking forward to hearing on Friday, and I'd be really surprised if any of these major standouts are left off the album. At the very least, I'm hoping to be able to put together a really solid 50-60 minute playlist by the end of this, and I think it's on pace for that. 
 
Here's what I heard in the latest chapter...
 

 
Bacta Tank / Scouting Jabba's Palace - Organic noises transition into the flashback where the title card theme plays very softly. Mostly blends into the background.
 
Finding Fennec - A brief reference to Chapter 5's Night Riders complete with the little Mando stinger. Some cellos segue into another reference to a mysterious bit from Chapter 5 (I think it's from the track The Hangar) and eventually lead into the title card.
 
Chop Shop - Grungy electronic source music.
 
Drink Up - Some atmospheric touches play under Boba and Fennec by the campfire.
 
To Jabba's Palace - Some percussion and string accents, with another reference to The Hangar. There's some pizzicato for the little spy droid.
 
Breaking In / The Kitchen - Low-key electronics and pizzicato with hints at Boba's S2 theme. 
 
Firespray - The vocals combine with Boba's S2 theme briefly, before electronics and strings take over for the shootout. The "not Secrets" theme plays victoriously as the ship leaves the hangar.
 
Scores to Settle - Boba's S2 theme is in full force, with the angular fanfare playing as he takes out the speeder gang.
 
Sarlacc Pit - A strange soundscape of choir, strings and trumpet runs.
 
Loyalty / Bacta Flashback - Starts with some quiet Boba sounds and eventually becomes what sounds exactly like the cue from the Mando post-credits scene. May even be tracked in.
 
Completely Healed - Very short cue.
 
Another Cantina Source - Self-explanatory.
 
Bar Fight - Brief electronics.
 
Another Cantina Source (Again) - More of the same.
 
Recruiting Krsantan / Dinner Table - A mix of percussion, Boba sounds, and strings.
 
Mando Tease - The only major spoiler here, which is the very clear allusion to the recorder riff and the "western" title card theme at the end of the episode.

I wasn't as impressed with most of the music in this episode, but that choral cue is indeed one of the highlights of the score thus far. I think the flashbacks have easily been the most interesting part of the show up to this point and Shirley's work absolutely reflects that. Most of the stuff in the present timeline has been lacking inspiration, at least to my ears.
 
I'm really looking forward to hearing the first album next week though. The ratio of stuff I want to hear compared to the stuff I've already forgotten is certainly a lot different than it's ever been with Mando, but I trust that the release will include all of the more obvious standout cues we've pointed out. Looking forward!
 
Here's what I heard in this latest chapter...
 

 
Boba's Domain - A very low-key cue opens the episode under a dialogue scene. Strings, electronics, and short pizzicato passages are present.
 
Mos Espa at Night - The brass excerpt from the post-credits scene teaser returns over a wide shot of the city, with the S2 Boba theme bumping beneath. The cue dies out beneath some source music.
 
New Recruits - Some slight tension dies down before light pizzicato takes over. The S2 Boba theme appears with the horn bit again, before transitioning into the main title shanty (with more pronounced tambourine this time, I think).
 
Back to Bacta / Kamino / Raided Camp - Maybe I wasn't listening close enough but I don't think there were any breaks in the music for this lengthy flashback sequence. There are some emotional strings and noble horns that play for the glimpses of Kamino, with the main section of Ludwig's piece finally being integrated into the score proper. It's a really cool moment! There's some quiet atmosphere as Boba visits the Pykes, and then the ending features that excellent choral lament that I had mentioned. This had better be on the first volume!
 
Wookiee Attack - Aleatoric strings and some of the organic noises that followed Boba around in Mando S2. 
 
The Twins' Gift - Cautious strains of Boba's S2 theme, followed by some pizzicato. There's some percussion that accompanies the rancor in its den. 
 
Bonding with the Rancor - Mostly atmospheric with some synths and processed winds.
 
Back to the Mayor's - Boba's S2 theme and the horn bit appear again in this very brief transition cue.
 
Majordomo's Escape - A mish-mash of electronics with some horns and strings. Not at all notable, sorry to say.
 
Pykes Arrive - Some distorted vocals, strings, and foreboding thumping. Not a very interesting tease at what's to come by any means.

So, I’ve recently discovered the SABAM repertoire database lists precise timings for many of these scores, as heard in the film, which can be useful for getting a rough idea of how much additional music there might be available for an expansion, though of course alternates and unused cues won’t be factored into these durations:
 
The Accidental Tourist 39:03
The Adventures of Tintin 1:32:25
Amistad 1:29:08
Angela’s Ashes 37:32
The Book Thief 1:05:33
Born on the Fourth of July 40:59
Catch Me If You Can 45:43
Cinderella Liberty 42:16
Conrack 20:20
How To Steal A Million 56:05
JFK 1:22:06
Memoirs of a Geisha 1:27:30
Nixon 1:38:25
The Patriot 1:31:32
The Post 43:40
Presumed Innocent 38:52
The Reivers 38:46
The Rare Breed 53:57
Sabrina 46:57
Seven Years In Tibet 1:19:43
Sleepers 1:04:20
SpaceCamp 49:46
Stepmom 1:01:12
The Sugarland Express 22:17
The Terminal 58:28
Valley of the Dolls 23:46 (plus 40:23 comp. Previn)
 
I’ve only included timings of music composed by JW.

Raiders - Opening sequence live (Tanglewood 2008).mp4

Here we are!
 

Well, let’s hope that the unused, never orchestrated sketches are incorporated into all those leather-bound volumes, and then we should hopefully have an answer for this and similar questions someday when those are all donated to Juilliard.

The music in episode 2 was really good the entire time, and there was so much of it!
 
I'm already annoyed that we are getting condensed volumes again, because I know when the Vol 1 OST drops in 2 weeks it will only have at most half of the great music in this episode on it.  
 
I wish we knew if it was Gorannson/Shirley's decision or a Disney exec's decision to not do weekly volumes, because this show clearly has good enough scores it absolutely deserves the weekly treatment.  Bah!

I went back and watched the last few minutes of the episode just to hear that montage cue again.  I'll echo what Stu said: that entire sequence was set up so perfectly for Shirley and he absolutely smashed it. Similar in a lot of ways to the forging scenes from Mando S1: no dialogue and sparse sound effects, the score mixed right at the front with the purpose of carrying weight and meaning to the neat rituals on screen. And it's a fantastic combination every time!
 
The other thing I took note of was how relatively restrained the cue is too! You might expect a lot of exclamation marks and big trumpet hits and the theme at its biggest and boldest over the top, but those low-key chants and hums of Ludwig's theme do all the heavy lifting (and throw in a solo cello for good measure!). Even when Boba dons his new robes and exits the tent we get a few noble brass chords before transitioning back to the same theme for the carpentry bit. It's really smart scoring and a class act from Shirley! I'm impressed and I'm glad others have recognized it too. 
 
Also: one of the other excellent set pieces from this episode is most certainly the speeder training bit. It's not super long but the melody really makes for a fascinating balancing act. It's lighthearted and happy but also determined and serious. The whole sequence honestly reminded me a lot of IG's reprogram scene in Chapter 7 of Mando, which worked well because of how nimbly it walked that tonal line between sweet and sincere (not the best choice of words, but I think they communicate my general sentiment well enough). I also noticed that the melody that plays under the speeder lessons reappears rather triumphantly when the Tuskens get the water from the wrecked train.
 
Anyway, this is my roundabout way of saying bring on Volume 1, please!
 
 
Wow, I love it! I'd be lying if I said it wasn't more than a little bit cute that Ludwig seemingly drew upon a childhood memory like that. And I mean this is in the very best way!

We are now two episodes in and the consensus on the score has been pretty good so far! I'll admit there have been a few times where the music seems to be missing an extra punch, but Shirley is doing good work with a strong set of themes and I look forward to hearing the forthcoming albums. 
 
Here's what I heard in this chapter...
 

 
A Prisoner - A sneaky and slippery string melody takes us from an exterior shot of Jabba's palace and into Boba's court. Muted trumpets and percussion set the stage before the cue lowers beneath dialogue.
 
To the Mayor's - Strands of Boba's S2 theme appear, bumping along in the background in a way that is very similar to the previous episode. 
 
Who Sent the Assassins? - Brief atmospheric stuff as Boba confronts the mayor. Not really mentionable.
 
More Max Rebo - Another cantina band cue. This one doesn't appear to be aping anything in particular.
 
The Twins - Some short ideas for the Hutts, including muted trumpets, low wailing, and little bits and bumps for the brief standoff.
 
More Bacta Tank / Tusken Camp - The "not Secrets" theme is heard on strings, with vocal interjections. 
 
Hit and Run - The action seems to be picking up as a mysterious train approaches. Percussion and orchestra hits mix with rather Dune-esque wailing, before a solemn melody plays over the Tusken funeral pyre. 
 
Boba's Plan - Some suspense bits as Boba spots the speeders in the night. Fairly standard planning music follows.
 
Anchorhead Bar - Some vocal textures and strings.
 
Stealing the Speeders - A couple of different statements appear of the pirate theme play rather nicely as Boba brings a slew of speeders back to camp.
 
Training the Tuskens - A great little set piece with a strong melody at the centre makes for what may be one of the best cues in the show thus far. It's lighthearted and fun but becomes more serious as the tribe prepare to stop the train. I really hope it's on the first volume!
 
Stopping the Train - A very long action set piece with plenty of cool bits but not a lot of connective tissue. Lots of beat thumps and impending strings signal the start of the wild west hold-up. The more prominent backing vocals from Ludwig's suite appear a lot. There are some cool string runs as the little Tusken snipers get into position, as well as a silly frantic cluster for the little droid engineer. The "not Secrets" theme is heard with a bit of tension on strings. I would expect this to be on the album. 
 
Pyke Prisoners - Some general underscore as Boba talks to the prisoners from the train. Picks up a little when the Tuskens find the water.
 
Guide in Your Head - Atmospheric music for Boba's dream sequence. Not much that really sticks out, to be honest.
 
New Clothes / Carpentry - My pick for the best cue in this episode, mostly because it does some great stuff with Ludwig's themes. The "not Secrets" theme is chanted in a much more drawn-out tempo, before the Razor Crest equivalent section of Ludwig's suite takes centre stage, first with lone vocals and then onto solo violin for the second half of the theme. The pirate theme provides a transition into the woodworking montage, where the Razor Crest equivalent continues. 
 
Tribal Dance - Percussive accompaniment for the tribe's dance at the end of the episode.