Tydirium

I'm gonna take the wildest of guesses and say there's a sliver of a chance that this "epuc piano tinkle and big rumble trailer trash" music might not be Williams. I do really like how these all took to adapting bits and pieces of Rey's Theme all over.

We wanted something more... less-Disney.

So it comes down to the Emperor again, yes? Should have figured. This trilogy is a superficial story held together by an unhealthy amount of fanfic like nostalgia.

Williams does not use the restroom.  He has orchestrators for that.  

Some REAL updates from Don Williams (JW’s brother and his usual timpanist) grabbed during a meeting at theAcademy of Scoring Arts lecture:
 
 
Looks like the sessions began a couple of weeks ago and will continue through August and September, with a couple of weeks break because of JW’s commitments at Tanglewood.
 
Don talks about 135 minutes of music (gasp!)

Another new video:
 
 

No, i think your definition of great is different than everyone else's.

Just saw Intrda had a banner made for their website
 

I love John's look on that Boston Pops cover.

"Daisy" is a better reply than the rumored real one: "JJ. Why did it have to be JJ?" 

Anne-Sophie: As a composer, tell me about the thought process behind adapting themes for instrumental voices that were different than you originally intended, and how difficult the process is for you from an emotional/dramatic point of view...
 
JW: DAISY!
 

Hadn't seen this one before.

Hadn't seen this one before.

Hadn't seen this one before.

It doesn't. "We're Looking Good" belongs more.

Remembering Munich gets me so pumped up.

Not sure if this is the place to post this, but my current fascination is 3:39 to 3:47 of "Pops on the March". The harmonic underpinning of the tune in that spot is something only Williams could (or would, these days) do. I'm almost tempted to set aside some time on Sibelius to try and figure out exactly what is going on there; it's really remarkable how things seem to harmonically shift with almost every note of the melody. Anyone have any thoughts on this?
 
 

It's a wonderful theme, isn't it, Tydirum?
 
Here's my quick and dirty attempt at a transcription. This only gets across half the story, since so much of the effectiveness of the harmony relies on the thick wind voicings and the active, walking bass-line. But even with just chord symbols, you can see how chromatically dense this melody is!
 

 
 

Not sure if this is the place to post this, but my current fascination is 3:39 to 3:47 of "Pops on the March". The harmonic underpinning of the tune in that spot is something only Williams could (or would, these days) do. I'm almost tempted to set aside some time on Sibelius to try and figure out exactly what is going on there; it's really remarkable how things seem to harmonically shift with almost every note of the melody. Anyone have any thoughts on this?
 
 

Not my favorite picture, though a really special one, with two of my favorite composers.