shad79

It's staggering how effective the music is for that film. Outside a few cues in the dying minutes, nothing in TROS comes close to these heights:
 
 
I just can't relate to people who single out the TLJ score as weak or uninspired. What film were they watching? Because Rian and his sound team clearly adored the score Williams wrote and temped the film to give the music the maximum impact.

Rian clearly understood (and respected) that the music needs to take centre stage for key dramatic sequences in Star Wars, something JJ completely disregarded outside the obligatory musical closing sequence (Jedi Steps and A New Home).
 
The key difference is that JJ didn't construct his sequences around music; he conformed the music to his vision (with a hacksaw when necessary). That is not how Star Wars music is meant to function in these films and is a disservice to Williams' music. Contrast that to the big musical moments in TLJ where the entire sequence is crafted around the score, like all the examples you mentioned (plus Paige's death, another powerful musical moment that JJ and his sound team would have drowned in obnoxious sound effects).
 
The music never has the chance to breathe in JJ's films, let alone take centre stage, among all the shouting and noise.

Jay, I should correct you on one thing. There is no alternate take of Rey Arrives On Exegol. The section tracked into Kylo Ren's flight to Exegol is NOT an alternate take, but the final part of the same cue. I put the complete cue a few posts above this one; you should take a listen. It is quite illuminating.

This is the entirety of Rey Arrives On Exegol. Enjoy.
 
 
39_Rey_Arrives_On_Exegol.m4a

I was keeping the context, you brought your opinion to the table and I responded to it. 
 
You're correct, there are musicians that I can't stand, but I don't come on here acting like they've ruined my life using words such as "betrayed".  The original JP was certainly a game-changer for the entire industry, I'll whole-heartily agree with you there.  But as Dr. Malcolm prophetically said in TLW "Oooh! Ahhh! That's how it always starts. Then later there's running and screaming".  TLW & JPIII were good movies, but they couldn't hold a candle to the original.  Same could be said for the JW duo.  That doesn't mean they cannot be entertaining, because they were.  
 
 I totally get the MG fatigue, but you cannot deny the man has composed some fantastic pieces in his time.  The fact is there are waaayyyy more movies being made now than there were 30-40 years ago, therefore you need more composers to compose music for those films.  Like it or not, MG is one of the most recognizable composers today, that's why he is getting asked to compose a good-sized chunk of the larger mainstream movies in the last 10 years and going forward.  The vast majority of the movies that he's scored lately are in the "popcorn flick" realm (Star Trek, Marvel, Jurassic World).  These films are meant to be entertaining and not to be picked apart and criticized. Call me old-fashioned, I guess, but I go to these types of movies to have a good time and to be entertained.  I'm not expecting to see anything thought-provoking LOL
 
@Thor if we cross paths in the future we can down a few ales!
 

http://filmmusicreporter.com/2020/03/11/michael-giacchino-to-return-for-jurassic-world-dominion

There are first official clips from TROS. For me music in this clips seems to me more 'visible"  than in the cinema.
 
 
 
 
 
 
 
 

You're all welcome.
 

I think everyone here is being too harsh on Giacchino and Beltrami. Grant a lot of their music isn't that great but there's a lot of their music that is. I think an Indiana Jones score from either composer would be interesting.  I also think this board is way too harsh on the Rogue One score. I for one enjoy it and think Giacchino did a good job on it.

If JW doesn't score it, I pity the composer who does. They will receive perpetual bashing from JWFan.

I don't know how any sane person could put Johnson's treatment of JW's Last Jedi in the same category as Abrams' two hatchet jobs.

I wonder if Mike could forward this to Disney Records/JW's team as ammunition for Star Wars expansions?
 
Williams was so furious about the unsanctioned A.I. Academy Promo that Mike was asked to "devalue" it with a comprehensive expansion. Now people are spending thousands of dollars on the black market for heavily edited fragments of TROS, on a CD expressly forbidden for sale.
 
Sony Music are a clueless bunch of clowns so them sitting on the rights for decades was no shock, but the silence from Disney/Lucasfilm/Kennedy is pathetic. There is huge potential for profit here for relatively little expenditure. The music is sitting on a hard drive gathering dust when they could become a perpetual income stream. That is more insane than spending $2,000 on a TROS FYC.

How Williams could win his Oscar for TROS:
 
-Firstly, he goes to a NASA station and records the sounds of the equipments there. "I'm immersing myself in the sounds of space".
 
-He abandons Rey's old theme and "composes" a new one for her, based on the sounds of a little girl playing with her dolls, manipulated electronically to the point of being unrecognizable - "It's the sound of innocence lost".
 
-For Kylo's theme, he puts Pharrell Williams to whisper some nonsense about "Can't stop the paranoia" on the microphone... and manipulates it electronically.
 
-For the rest of the score, just a very tiny string session... again manipulated electronically to make the instruments loose all their usual sound.
 
And voilá! He'll win an Oscar, a Grammy, Golden Globe, every musical award you can possible think of. Despite being virtually indistinguishable from the sound effects of the movie, lots of critics like the asshole Oscar voter above, will claim thet iT WoRkS WondErFulLy iN The MoViE.

An anonymous tipster has sent JWFan some information that I can share with you now!
 
The information is a list of cues that appeared in a cut of the film dated November 11th, 2019.  Remember, the final day of recording sessions didn't happen until November 21st, and even by this cut some of the cues JW had written had already been dropped or replaced, so consider this a PARTIAL cue list:
 
1M01 Main Title
1M022 The Ninth Beginning
1M05 Rey Trains
1M06 Ren's Entrance
1M08 Approaching The Nursery
1M09 Rey Wakes Up
1M13 Tell Me What They Are
1M15 Vader's Castle
1M20 Rey Training
1M24 Meditation
1M26 Spy's Message
1M26 Lightspeed Skipping
 
2M01 Cockpit Dialog
2M02 Fixing The Helmet
2M03 The Wisdom of Maz
2M04 The Emperor Lives
2M06 The Medal
2M07 Ship Trip
2M20 The Forge
2M30 Rey's Mission
2M32 Quicksand
 
0M01 Children's School
3M00 Lando
3M01 Before The Chase
3M03 No Title
3M06 Knights of Ren
3M07 Ochi and the Dagger
 
4M01 Rey Senses Ren's Approach
4M02 Rey's Incredible Hand
4M04 Zucini?
4M05 To The End
4M05B Good Ship, Bad Ship
4M06 He Won't Remember
4M07 Rey's Grief
4M10 Red Eyes
4M11 Poe and Girlfriend
4M12 Ship Walk and Talk
 
5M01 Meddling and Poe's Crush
5M03 Hallway Shooting
5M05 Rey Sees Mother
5M06 Hard To Get Rid Of
5M07 I'm The Spy
5M08 Geneology
5M10 Landing At ?
5M12 Off The Waterfront
5M30 Under a Blanket
 
6M02 Rey Climbs Pipes
6M02A Climbing
6M04 Daisy In A Veil
6M05 Leia Lies Down
6M07 Stop and Start
6M08 Healing Wounds
6M12 Six Twelve
6M13 Rey's Trip To P
6M20 Sabre Toss
 
7M01 Seven One
7M02 Rey Meets Luke
7M03 Luke's Advice
7M04 The Meeting
7M05 March Of The Resistance
7M08 Father Knows Best
7M10 Leia's Sabre
7M12 Seven Twelve
7M12A Horses #2
7M20 Approaching The Throne
7M21 Parents
7M30 More Action
7M32 Make The Sacrifice
7M36 Dunkirk
7M38 I Am All The Sith
 
8M04 Psalm of the Sith
8M05 Jumping The Chain
8M07 Big Ship Blows Up
8M08 On Their Knees
8M10 Success and Sliding
8M11A Dropping The Sabre
8M14 Ben to Rey
8M15 Horn Solo
8M16 End Credits
 
9M03 Bows
9M05ALT Return to Tattooine
 
 
 
 
The list also contains the two source pieces not composed by Williams:
 
2S35 JJ Festival Music
3S35 JJ Bar Source
 
 
 
 
As well as the cue names from prior scores that were tracked into this cut:
 
13M2 from Ep.6 Vader's Death
7M03 from Ep.3 The Birth of the Twins
7M05 from Ep.3 Plans for the Twins
3M26R from Ep.7 You're Han Solo?
4M36R from Ep.7 I Ran Into You
5M46R from Ep.7 Kylo Stalks Rey
6M50R from Ep.7 Han and Leia Reunion
6M55R from Ep.7 Council Meeting
6M56E from Ep.7 Ren In Cockpit
8M77 from Ep.7 March Of The Resistance
4M36 from Ep.8 Luke and Rey
 
 
 
 
 
UPDATE: Additional cue titles found in GEMA Repertoire:
 
Chewie's Interrogation
Emperor's Attack
Emperor's Theme V3
Falcon's Last Trip
Filial Fencing
Hero Fight
It Fits!
Kylo's Theme
Lido Hey [JJ Abrams/Lin-Manuel Miranda]
More Maz
Name That Tune
Poe's Theme
Ready to Be a Jedi
Rey and Ren
Rey's Training
The Crowd Joins In
The Dunkirk Shot
The Feeling
The Last Fight
The Millennium Falcon Theme
The Resistance Theme
Through the Jungle
Tunnel Monster
Uncharted Territory
Wayfinder Insert

A Thematic Breakdown of:
THE MANDALORIAN: SEASON ONE
Music composed by Ludwig Goransson
Part 1 of 4
 
Themes in Chapters 1 & 2 (in order of appearance)
Recorder Riff (original presentation)
"Western" Motif
"Travelling" Motif
The Client
* Mando Utility Motif (recently discovered)
* Dramatic Utility Motif (previously known as Mando Culture)
"Forge" Motif
Recorder Riff (skeletal presentation)
Chime Motif
Dies Irae (traditional)
The Child
Razor Crest
Jawa Motif
 
* - utility refers to the fact that Goransson uses the theme(s) whenever he needs to without leitmotific significance
 
CHAPTER 1
1. Hey Mando! (2:14)
0:00  Recorder Riff
0:23  Recorder Riff (increasing distortion)
1:42  Western Motif (piano w/ distorted guitar)
1:48  Western Motif (piano w/ interlude)
1:55  Western Motif (piano)
2:01  Western Motif (piano)
 
2. Face to Face (5:13)
0:00  Travelling Motif
0:42  Recorder Riff (variation)
1:06  Travelling Motif
         Recorder Riff (variation)
2:45  The Client
3:22  Recorder Riff (variation)
 
3. Back for Beskar (2:26)
0:00  Western Motif (piano)
0:07  Western Motif (piano)
0:15  Western Motif (piano)
0:23  Western Motif (piano)
0:32  Mando Utility Theme  (high strings)
0:46  Dramatic Utility Theme 
         Mando Utility Theme (high strings)
1:02  Dramatic Utility Theme 
         Mando Utility Theme
1:16  Dramatic Utility Theme
         Mando Utility Theme
1:55  Mando Utility Theme
 
4. HammerTime (2:18)
0:15  Forge Motif
0:27  Forge Motif 
0:46  Recorder Riff (orchestral variation)
1:18  Forge Motif
 
5. Blurg Attack (1:26)
0:17  Recorder Riff (skeletal variation)
0:29  Recorder Riff (skeletal variation)
0:57  Chime Motif
         Recorder Riff (skeletal variation)
1:05  Fanfare
 
6. You Are a Mandalorian (3:56)
0:34  Recorder Riff (skeletal variation)
0:46  Recorder Riff 
1:56  Recorder Riff (skeletal variation)
2:11  Fanfare
2:42  Recorder Riff
2:53  Recorder Riff (skeletal variation)
3:04  Recorder Riff (skeletal variation)
3:26  Recorder Riff (skeletal variation)
3:37  Recorder Riff (skeletal variation)
 
7. Bounty Droid (3:03)
1:23-1:55  Dies Irae (traditional)
 
8. The Asset (1:36)
0:55  The Child
1:23  Recorder Riff
 
9. The Mandalorian (3:19)
0:00  Recorder Riff
0:23  Recorder Riff (increasing distortion)
0:46  Western Motif (piano w/ distorted guitar)
0:52  Western Motif (piano)
0:58  Western Motif (piano w/ interlude)
1:04  Western Motif (piano w/ interlude)
1:09  Western Motif (piano w/ interlude)
         Fanfare
1:15  Western Motif (piano w/ interlude)
1:21  Western Motif (piano w/ interlude)
1:26  Recorder Riff
         Western Motif (triangle [?] w/ interlude)
1:32  Recorder Riff
         Western Motif (triangle [?] w/ interlude)
1:39  Fanfare
         Western Motif (triangle [?] w/ interlude)
1:44  Western Motif (triangle [?] w/ interlude)
1:50  Western Motif (triangle [?] w/ interlude)
2:09  Razor Crest
2:20  Razor Crest
2:33  Recorder Riff 
         Western Motif (interlude)
2:38  Recorder Riff 
         Western Motif (triangle [?] w/ interlude)
2:45  Recorder Riff (skeletal variation)
         Western Motif (triangle [?] w/ interlude)
2:51  Recorder Riff (skeletal variation)
2:56  Chime Motif
 
CHAPTER 2: THE CHILD
1. Walking on Mud (1:39)
0:15  Recorder Riff
0:45  Recorder Riff (increasing distortion)
1:18  Western Motif (piano w/ distorted guitar)
1:23  Western Motif (piano)
 
2. Jawas Attack (3:47)
0:00  Jawa Motif (underlying rhythm)
0:03  Travelling Motif 
0:20  Travelling Motif
0:32  Jawa Motif (underlying rhythm)
0:40  Jawa Motif (underlying rhythm) 
0:47  Jawa Motif (underlying rhythm)
0:54  Jawa Motif (underlying rhythm)
0:58  Jawa Motif (underlying rhythm)
1:12  Jawa Motif
1:20  Jawa Motif 
1:27  Jawa Motif
1:34  Jawa Motif
1:39  Jawa Motif (underlying rhythm)
1:53  Jawa Motif
2:01  Jawa Motif 
2:08  Jawa Motif
2:22  Jawa Motif (underlying rhythm)
3:12  Jawa Motif
3:20  Jawa Motif
3:35  Jawa Motif (underlying rhythm)
 
3. Trashed Crest (2:19)
0:06  Recorder Riff
0:38  Fanfare (variation)
1:24  Recorder Riff (skeletal variation)
1:34  Fanfare
2:03  Recorder Riff
 
4. To the Jawas (1:36)
0:00  Chime Motif
0:12  Recorder Riff
0:21  Fanfare
0:37  Jawa Motif
0:48  Jawa Motif
0:54  Recorder Riff (skeletal variation)
0:56  Recorder Riff (skeletal variation)
         Western Motif (interlude)
1:02  Recorder Riff (skeletal variation)
         Western Motif (interlude)
1:08  Recorder Riff
1:19  Recorder Riff
 
5. The Egg (2:55)
0:00  Jawa Motif (underlying rhythm)
0:17  Jawa Motif (underlying rhythm)
0:26  Jawa Motif 
0:34  Jawa Motif 
0:40  Jawa Motif (underlying rhythm)
1:00  Recorder Riff
1:17  Recorder Riff
2:22  (see 4:30 The Hangar - Chapter 5, 2:16 Nice Family & 2:05 Mando's Back - Chapter 6)
 
6. The Mudhorn (3:01)
2:11  The Child
2:34  Recorder Riff 
 
7. Celebration (3:32)
0:01  Mando Utility Theme (orchestral)
0:13  Mando Utility Theme (orchestral)
0:23  Jawa Motif (underlying rhythm)
0:30  Jawa Motif (underlying rhythm)
0:49  Jawa Motif 
1:09  Recorder Riff (skeletal variation)
1:14  Recorder Riff (skeletal variation)
1:23  Fanfare
2:07  Jawa Motif (underlying rhythm) (percussion)
2:23  Recorder Riff
2:48  Fanfare
 
8. The Next Journey (2:36)
0:00  Recorder Riff (skeletal variation)
0:12  Recorder Riff (skeletal variation)
0:23  Recorder Riff (skeletal variation)
0:35  Western Motif (piano)
0:44  Western Motif (piano w/ interlude)
0:49  Western Motif (piano w/ interlude)
0:55  Western Motif (piano)
1:01  Fanfare
1:22  Razor Crest
1:33  Razor Crest
1:47  Recorder Riff (variation)
1:58  Chime Motif 
2:14  Recorder Riff (skeletal variation)
 
I'm working on Part 2 (Chapters 3,4) as you read this. Any cross-referencing would be great as I am only one person and could've easily missed or misinterpreted the music at times. It takes a good deal of time, but it has been a lot of fun revisiting the albums in order so I'm happy to do it. 
 

Unreleased music
 
Immediately after the preparation/takeoff/speech montage ends, we cut to Rey, having made it through the maw, arriving at Exegol and seeing the massive Star Destroyer fleet.  She lands on the planet in front of the same building Kylo went to in the prologue.  The music playing during all this is the same music that had been used in the prologue (FYC 01 0:56-1:28) as Kylo flew to Exegol, the Anthem of Evil on brass played under fast-paced strings, with Rey's Theme appearing towards the end.  Since Rey's theme appears in this piece of music, it seems more likely that it was written for this scene and later tracked into the Prologue, but it also sounds musically similar to all the Kylo on Mustafar music in Journey to Exegol that plays in the film leading into this passage, so it is impossible to tell at this point which iteration is intended and which is tracked.
 
As she exits Luke's X-Wing and approaches the building, about 18 seconds of The Emperor's Theme from The Birth of the Twins from The Revenge of the Sith is tracked in again.
 
A timpani hit transitions from the tracked music into about 18 seconds of action music that seems to be unreleased, covering the Resistance fleet traveling through the maw and then the General Pryde instructing his crew to use Ion Cannons against the approaching vessels.  As the Resistance Fleet arrives and Poe remarks at the size of the fleet , about 8 seconds of Falcon Flight (0:20-0:28) is tracked in, repeating the fast-paced Emperor's Theme from that cue for this moment.
 
Now the final battle of the war official begins, with Resistance and First Order ships exchanging fire, and Finn finding the navigation tower he needs to destroy and heading towards it.  This 30 second sequence is completely unscored, though it is possible the music heard in the OST track The Battle of The Resistance from 0:00-1:12 was written to cover a longer version of this sequence.
 
Next, Rey is shown walking through the building on Exegol.  This 38 second scene is scored by about 12 seconds of music that I believe is tracked but I can't place at the moment (a portion is extremely similar to OST Fanfare and Prologue 0:28-0:32), followed by about 24 seconds tracked in from the OST track Fanfare and Prologue (3:39-4:05) featuring The Emperor's Theme with a brief, unidentified but likely tracked transition into:
 
FYC 16 Battle of the Resistance 1:54 / OST 13 Battle of the Resistance 2:51
 
The battle rages, with Resistance Ships and First Order ships exchanging more fire, and Luke's Theme plays as some lay cover fire for Finn and Jannah as they make their way towards the navigation tower.  General Pryde deactivates the tower, knowing he can lead all the fleet out if they follow his Destroyer instead.  Finn, as The Force Theme plays, instantly knows which Destroyer is the right one, and lands on it, leading a ground charge on orbaks as The Force Theme plays again.
 
Note: None of the material heard from 0:00-1:12 of the OST track appears in the film at all, and again could be for either deleted battle footage, or possible something recorded specifically for the album.

FYC 17 Approaching the Throne (4:16) / OST 14 Approaching The Throne 4:16
 
There is actually 3 different versions of this cue: The OST version, the FYC version, and the film version.
 
The OST version and the FYC version are the same in terms of basic musical content and themes used, but there are minor edits throughout each, the opening bass line has been pitched down in the FYC version, and the final choral outburst is punctuated with a final chord on the OST version only.
 
The film version further differs from the FYC version in two different spots!  I'll point out each difference as I go through the action.
 
Rey approaches the throne room set to a pulsing bass line followed by passages led by strings, horn, and then strings again, as she looks around and sees the empty throne.  This is the first about 45 seconds of the track (either version)
 
As recorded, next would be about 15 seconds of eerie underscore as Rey turns around and observes that the entire room is full of Sith faithful, and they begin chanting and the music hits a crescendo point.  This is heard on both the OST (0:45-0:57) and the FYC (0:45-1:03), but is completely dialed out in the final film mix, so that the chanting of the Sith is the only music you hear.
 
Rey hears the Emperor speaking, and turns around to see Palpatine on his crane.  Rey's Theme is heard as Palpaltine says "I never wanted you dead, I wanted you here", and he then tells Rey it is her birthright to rule here.  An optimistic string line sneaks out from the moody underscore as Rey indicates she has not come to lead the Sith, but to end them.  Strings grow with intensity until the Sith Wayfinder motif plays under Palpatine saying "that is what I want: Kill me and my spirit will pass into you" and then music that almost hints at Kylo Ren"s Theme plays as he continues with "as all the Sith live in me, you will be Empress, we will be one"
 
Back outside, the battle continues with Jannah and Finn covering BB-8 as he attempts to open a hatch.  He is successful, and Jannah drops a bandoleer of grenades inside.  They run to safety and observe the navigation tower.  This music is fast-based action, and builds up to a triumphant setting of The Victory Theme, meant to begin right when the navigation tower successfully deactivates and continuing as Poe observes from his ship.  However, this setting is only heard in the OST (3:10-3:20) and FYC (3:17-3:27) versions of the cue; In the final film, music from a few moments prior as BB-8 opened the hatch (OST 2:31-2:41 / FYC 2:39-2:49) is tracked back in to replace the Victory Theme statement entirely.
 
The Resistance Theme plays as Finn realizes the Destroyer is resetting its systems and Snap lets Poe know the Falcon has sent no word on any backup.
 
In the throne room, The Emperor proclaims "the time has come!", and a choral passage concludes this lengthy cue as the Sith faithful in the room begin moving.

 FYC 18 Parents 1:57
 
There is a brief unscored moment as Rey says she will not kill him and Palpatine says she is weak like her parents, with this cue beginning as as soon as Rey says her parents were strong, saving her from Palpatine, but Palpatine opens the roof of the throne room and lets Rey see how badly The Resistance is losing the battle.  A choir passage underlines the tragedy as several Resistance pilots and ground troops are shown perishing.  A new variant of Kylo Ren's Theme, which I will call the Ben Solo Theme plays twice, first on strings, then on brass during cutaways to Ben, having apparently made his way to Exegol, approaches the building, runs inside, and jumps down towards the throne room.
 
A brief scene where Finn tells Rose to take off in the landing ship without him so him and Jannah can take the Destroyer down themselves is unscored. 

FYC 19 Coming Together 1:44
 
Score returns once Palpatine is lowered to the ground, telling the Sith that Rey will now strike him down and pledge herself as a Sith.  Another iteration of the Ben Solo Theme plays as he is shown to be closer to the throne room, and has a blaster that he uses to take out some of Palpatine's guards in his way.  The Knights of Ren approach him, and a final iteration of The Knights of Ren theme is heard.  The rest of the scene is a lot of quick cuts between both sequences, as Rey ignites her saber and approaches Palpatine, and Ben attempts to fight the Knights with only his blaster and his Force abilities.  Eventually, Ben is about to lose, and reaches out through the Force to Rey.  The Force Theme underscores their wordless understanding, as Rey lifts her saber as if to strikes Palpatine down as he wants, but instead places it behind her back and the cue ends abruptly as she pulls her hand out to show him that it's gone.
 
Unreleased music
 
Ben reaches behind his back and pulls out the saber, gives the Knights a brief sarcastic bow, and an impressive and climactic action cue now explodes to the forefront, with the film cutting back and forth between Ben fighting and eventually defeating the Knights of Ren, and Rey pulling out Leia's saber and then fighting and eventually defeating the Emperor's guards.  The music features glorious heroic renditions of Rey's theme and the Ben Solo Theme intermingled as all this happens, and comes to a close as they stand before The Emperor, Luke and Leia's sabers drawn, but he uses the force to knock their sabers out of their hands and lift them up in the air.
 
No music plays as Palpatine realizes Rey and Ben are a dyad in the Force, unseen for generations, with a brief but intense cue playing as he begins sucking out their life force.
 
Back above the surface, all hope seems lost for the Resistance, and Snap Wexley perishes as Poe looks on unable to help. This is unscored, with the next cue beginning on a morose note as all Poe can hear is the sound of defeat, and as he apologizes for their imminent defeat, Lando arrives with a massive fleet of ships.  A new lengthy rendition of Luke's Theme, arranged like it was for the original film's End Credits, but extended with new passages plays as the tide turns and many of the new ships begin taking out Destroyers.
 
Back in the throne room, Rey and Ben are collapsed on the floor unable to get up, and The Emperor's Theme plays as he approaches them.  Ben begins moving, and the Ben Solo Theme plays one final time as Palpatine uses the Force to fling him up in the air and into a hole int he ground, seemingly to his death.  The Emperor's Theme plays as he proclaims "nothing will stop the return of the Sith"
 
The music cuts out as he begins shooting lightning from his fingertips into the sky, which flies outwards into all nearby Resistance ships and they begin falling form the sky.

FYC 20 Seeing Sights 3:17 / OST 15A [0:00-3:02] The Force Is with You 3:02
 
Rey wakes up and looks upward, seeing Resistance ships continue to fall from the sky as more choir is used.  She attempts to connect with the Jedi of the past as she had attempted to do in the beginning of the movie, as Rey's Theme plays on piano.  Numerous Jedi begin speaking to her, and soon the music builds with intensity as she is able to finally stand up and draw her lightsaber towards herself.  Rey's Theme gets a serious rendition as she faces The Emperor, who begins sending lightning towards her instead of the sky, The Emperor's Theme backed with choir plays for a bit, but after Rey draws the other lightsaber towards herself and cross them in front of her, a triumphant The Force Theme plays as the Emperor's lightning backfires on himself and he perishes.
 
Unreleased (well, tracked) music
 
As he dies, the building begins to crumble.  Outside, Jannah and Rey successfully blow up the bridge of the command ship and General Pryde perishes. This is all scored by The Force Theme tracked in from Peace and Purpose from The Last Jedi.

FYC 21 Rescue 1:10 / OST 15B [3:02-end] The Force Is with You 0:57
 
The Victory Theme returns as Poe realizes that because the command ship has been destroyed, the fleet is stuck and cannot escape orbit and travel through the maw.  However, Rose reminds Poe that Finn and Jannah are stuck on the command ship, and they are shown in imminent danger as the Destroyer plummets towards the surface.  Lando arrives, and The Rebel Fanfare plays as The Falcon flies over and hovers where Finn and Jannah can jump onto it and they all fly away from danger.
 
OST 16A [0:00-0:48] Rey's Death 0:48
 
Rey looks around, drops both lightsabers as drops to the ground dead, as Finn feels it through the force.  Rey's Theme plays as her lifeless body is shown on the ground, relatively near the pit that Palpatine threw Ben into.

FYC 22 Farewell 4:27 / OST 16B [0:48-end] Farewell 4:26
 
Ben's hand appears, and he pulls himself out of the pit and approaches Rey's body as a tragic version of Kylo Ren's Theme plays.  He picks up her body and hugs it, then remembers the healing power she had used on him.  He puts his hand on her side and attempts to bring her back to life, with Rey's Theme playing as soon as her hand moves to cover his.  The music crescendos as she sits up, and quiets as she says "Ben" and smiles.  They kiss, and he smiles back, but then falls backwards as a funeral-pyre sounding brass passage plays.  This passage is similar to the one written for when he was about to die on Kef Bir just before Rey healed him (heard on the OST but replaced in the film/FYC), but here it continues as as his and then Leias bodies fade away, with only Maz being in attendance for the latter.  
 
First Order ships are shown plummeting to the surface set to a brief subdued fanfare, and Rey is shown in Luke's X-Wing joining the fleet. A choir-backed rendition of The Victory Theme now covers more shots of First Order ships plummeting, The Resistance Fleet uniting and flying away, and celebrations on 3 random planets (I think Bespin, the Forest Moon of Endor and... Jakku?)
 
In the film, the end of this cue segues directly into:

OST 17 Reunion 4:04
 
The Resistance reunites and celebrates on Ajan Kloss.  Luke's Theme is heard as BB-8 rolls around and reunites with D-0, The Force Theme is heard as Chewie hugs Rose while Finn looks on from a distance, and there is a brief comedic interlude as Poe sees Zorii and and they nod at each other from a distance, but she rejects a wordless request for more.  The OST version continues from here with a lovely statement of Poe's Theme (1:02-1:17) that does not appear in the film at all, perhaps indicating in the cut Williams scored to, she did not reject his advances, and they hugged as well, set to his theme.  The film also omits the beginning portion (1:17-1:39) of Yoda's Theme, perhaps meant to underscore more cut celebration footage.
 
Resuming what is in the film, Yoda's Theme plays as Beaumont hugs Klaud, Maz gives Chewie the medal Leia was seen holding earlier in the film, Poe reunites with Finn, and 3P0 hears Lukes K-Wing approaching.  Rey's Theme plays as she lands and BB-8 greets her.  Luke and Leia plays as Jannah sits down next to Lando hits on bonds with her, and then Rey sees Finn and Poe.  As the three of them embrace each other, We Go Together gets a sweet string rendition to end the cue as the scene fades out over a wide shot of the entire celebration.
 
FYC 23 A New Home 1:42 / OST 18 A New Home 1:47
 
Rey arrives on Tatooine without score, with a final new melody beginning as she approaches the Lars Homestead.  Rey's Theme plays for the final time to picture as she slides down a hill towards their house, and the new melody continues as she wraps up Luke and Leia's sabers and uses the Force to bury them in the sand.  She is shown to have constructed her own, new lightsaber with a yellow blade, and stands up when she sees a woman has arrived nearby and asks her who she is.
 
There is no score as she says her name is Rey, but then is at a loss for words when asked for her family name.

OST 19 Finale 10:51
 
Rey looks into the distance and sees a vision of Luke and Leia smiling at her, and as The Force Theme begins, arranged exactly like it was for the Finale from The Force Awakens, she tells the woman her name is Rey Skywalker, the music swells and she is shown looking into the setting suns of Tatooine with BB-8 to end the film.
 
The End Credits roll, after the traditional opening, contains arrangements of We Go Together (1:20-2:05), Anthem of Evil (2:05-3:25), The Imperial March (3:25-4:51), Rey's Theme (4:51-6:09), The Victory Theme (6:09-7:32), and Luke's Theme and the Rebel Fanfare (7:32-end)
 
In the final film, the Anthem of Evil passage is cut down to 38 seconds, The Imperial March is cut down to just over a minute, and The Victory Theme passage is cut down to just under a minute.
 
CONCERT ARRANGEMENTS:
 
OST 07 Anthem of Evil 3:23
 
This is an arrangement of the Anthem of Evil theme, giving it more depth that it receives in the final film.
 
OST 03 The Rise of Skywalker 4:18
 
This piece arranges two different themes together.  The Victory Theme opens the track (0:00-0:48), arranged similarly to how it is in the end credits (6:09-6:52).  This is followed by a new flute-led transition (0:48-0:53) that leads into an arrangement of We Go Together (0:53-1:43), also arranged similarly to how it is in the end credits (1:20-2:05), but with a new coda.  This is followed by a completely original bridge (1:43-2:25) that features both We Go Together (2:03) and The Victory Theme (2:18).  Next (2:25-3:32) comes a re-orchestrated version of a passage from Farewell (3:56-4:57), this time without any choir accompaniment, but featuring a similar triumphant version of The Victory Theme.  Finally (3:32-end), a noble horn and string arrangement of The Victory Theme ends the track.

What if...?
No, no, surely it won't.
 
 
 
Well, let's check anyway.
...
 
 
 

 
 
Holy shit

The implication is that JJ had wanted a badass epic version of Duel of the Fates, but voila, the movie ended up having some brand new appropriate Kylo-themed scoring there (magically? without JJ Abrams' knowledge?)
 
The whole Reddit "leak" reads like a wishlist of things a very specific group of nerds has been very vocal about on social media since the movie came out - the very type that hang out on that subreddit, in fact - and a bonzo conspiracy theory built around why those things weren't in it.  It was all a Machiavellian plot by Kathleen Kennedy and Disney to sandbag their franchise, despite Hero JJ's valiant efforts, in order to thwart an already floundering competitor franchise because someday maybe JJ Abrams will do something in that! (forget that James Gunn is already actively working on a DC movie and welcomed back into the Marvel fold)

Fixed. 

TLJ did an incredible job building the Rey/Kylo relationship. That’s its biggest strength in fact.

I call bull on that! So is it TESB's fault that ROTJ recycled the Death Star plot from ANH and included teddy bears?
 
TLJ ended with loads to follow up on. A new Resistance that needs to be build, Kylo Ren, as Supreme Leader hunting for Rey.
 
Rian Johnson is not responsible for the mess of TROS.

This. It was the toxic fan outrage over Rian Johnson having the audacity to liberate the series from its own conventions that resulted in TROS being the clusterfuck it is. The fans have no one to blame but themselves.
 
JJ should have doubled down on what Rian was trying to accomplish, rather than appease a toxic minority of fans who will never be happy with the non-Lucas films, period. Instead, he crafted a mess that pleases absolutely nobody. Those who liked TLJ despise the way he walked back everything Rian was trying to say, everyone else sees the film as an unsatisfying mess that introduces way too much, way too late in the game.
 
One specific complaint I'll never understand is Snoke being killed off in TLJ. Rian was clearly trying to prevent Episode IX becoming a rehash of ROTJ, with a Rey/Ben/Snoke confrontation that lazily copied the Luke/Vader/Emperor climax. It was a far more interesting direction to usurp the "big bad" (a blatant clone of the Emperor, now literally a clone -- an apt metaphor for JJ's lazy storytelling) and promote your conflicted baddie to the role before entering the final film. Of all the interesting things they could have done in TROS, JJ chose the most obvious and most lazy of the lot.

So Rian Johnson, taking creative risks in a largely creatively bankrupt franchise is 'trolling the fans'? 
 
The more I watch The Last Jedi, the greater my appreciation grows for the film and Rian Johnson. 
 
The problem is this whole trilogy and saga is essentially trapped in a time capsule - by the filmmakers and the 'fans'. Try something different - you're fucked. Do more of the same shit - you're fucked. Don't read every Star Wars nerd's list of demands - you're doubly fucked. Thus Star Wars can't be new, it can't go anywhere at all.
 
Not only that, but Star Wars - the Original Trilogy has been elevated into the stratosphere, perched on some glorified pedestal when in fact they're films people nit-picked, critics hated, people were disappointed by - the only difference is audiences didn't have the internet back then. 
 
Now, everyone's screaming and shouting to have their opinions heard and it's not giving you clear data as to who's right, who's wrong, who's a troll, who's just an outrage-monger. It's a clusterfuck of opinions.
 
Rian Johnson, Kathleen Kennedy, Disney, none of them are directly responsible for the audience's  barbaric, slobbering, entitled, narcissistic, greedy reactions to these films. The 'fans' don't own Star Wars - they own a virtual replica of it in their minds informed by experiences, by nostalgia and by expectations that were never warranted.
 
Everyone wants to point a finger and lay the blame with such ferocity and misguided anger that we've all overlooked the real culprit. We can all agree that there's some of the stankiest bullshit you've ever smelled in this trilogy, awful dialogue, time wasting sequences and characters, all the usual flaws, however they're seriously not worth the vitriol. It's not worth it to pour hatred into something you can't control. 
 
I'm so sick and tired of the Star Sars fandom. I love something about all the films in the saga but I will never associate myself with the fandom ever again, not in today's outrage culture.