ZenLogic101

And there are more variants of that theme on the expansion! Not nearly enough as there should be, but that's only because Rogue's own motif is pretty much an incomplete version of it, so it's purposefully held back until key moments.
 
I had completely forgotten that the OST leaves out some of my personal key favorite highlights that strengthen the narrative of the score. But at the same time, they're not gonna be anything that sounds substantially different. Maybe even worse in a few spots, since the original album jettisons some of the electronics in areas.
 
I did forget to post this when I made it, but I did make a crack at restoring a rejected cue for a scene in the movie. I did go the lazy route and just kept the center channel, so you do hear a tiny bit of the tracked cue the final film uses, but it should work okay:
 
 
 

Haha is this still included in every "temp track 101" kit after all these decades?
 
I predict this will become the new Dies Irae and musicologists hundreds of years from now will believe it held great religious and ritual significance for 21st century western civilisations, who consumed sticks of lime vapes while listening to it on a 2 hour loop.

This one went viral on social media in my country over the last few days.
 
The X-Men: The Animated Series theme
 
 
The song "Papagaio Alegre" by Brazilian musician Hermeto Paschoal:
 
 

Hope the guy takes some inspiration from Emperor's Tomb.
Now THAT'S an Indy score!
I like it better than the last two Williams ones.
 
Haab's Star Wars stuff has yet to make any impact on me though.
And his original Staff of Kings wasn't very inspiring either.
For background during gameplay, sure... it's functional, I suppose.
Does fit the style.
But doesn't take any life of its own.

lets hope this time they release the score WITH williams themes, not cutting them out...

While we're on the subject of Williams-ifying Spider-Man:
(apologies for the video quality; it's a real quick-and-dirty edit of two YouTube videos)
 
 
Initially I wanted to spin this off into its own thread: Rescore scenes based ONLY on the cue title.  I decided to play it safe and post it here instead.

No, it's not his fault that it turned out the way it did, but it did turn out the way it did.
 
The state of Lucasfilm was known, and Williams could have known.
And well, he probably did know because scoring DoD was NOT his first choice.
 
We're talking about John Williams' career end in film scoring. It may be, it may not be.
But Williams deserves an end to his career where he's only compared to himself.
Do you really want to say about John Williams' last score(s) "at least it's better than Lorne Balfe"? Or wouldn't you rather go "that's a great end to the story of his career"?
I'd rather have John Williams' final contributions to film scoring be about his story than about a misguided obligation to franchise IPs.
 
Come on, we could talk about John Williams' swan song being a light and soulful score to a Steven Spielberg biopic. Instead, we're here talking about whether Dial Of Destiny is even all Williams.
 

While I myself don’t agree with @TolkienSSthis time about DoD being the biggest mistake of John Williams’ career, I would like to ask everyone to stop being personal towards TolkienSS. He, just like anyone else, has the right to his opinion, and just because you disagree with him, it doesn’t give you the right to offend him. It’s immature and rude. Let’s talk about what he was talking about, not about him. Thank you very much.

Serious?
Ross' job from the very start was adapting. Cues simply adapted from other films are by Ross, original cues are by Williams. It's not difficult.
 
The other option is Williams' decision to "do it all himself" resulted in him copy-pasting because of his age.
I prefer option 1.
 
And it's for the better to see it this way, I don't want to think Williams regurgitated his previous scores to that extent himself, that would lessen my opinion on an already dissapointing score.
 
And based on the score and this interview, there is definitely an element of ego and pride in there that didn't let Williams pass on the project, despite him knowing it probably won't have an ideal result.
 
The only funny thing here is fans refusing to believe Williams would ask for help scoring nearly 3 hours at 90-something.

These are direct lifts.  I really cannot see Williams's remembering them with that level of detail or going back and studying the earlier scores (though maybe, but various comments over the years by him indicate otherwise).  So, it seems to be likely that either they were part of the temp-track and Williams just decided to use them or Ross did it.  

Just having a quick piss during this way too long movie.
Lorne Balfe's score is abysmal. He couldn't spell panache if every key on his synth keyboard spelled it out for him.
If he says he wrote 14 hours for this film, I say that's laughable.

It's one of the best film musicals ever.

I could imagine using A.I. for these modern generic action cues.
You have a 4:35 action sequence. And you provide
the length category "action: chase" a number of synch points for the edits Style: "Zimmer" or "Balfe" a basic theme (optional) And that's it. Nobody can tell me, that this is something that requires the actual human spirt. Because that is usually simply already not audible.

You must see the relation. A 10/10 Zimmer is approximately a 1/10 Williams.

Thank you, but I guess it won’t be like that.

Hearing the music snippet again, this meme truly capture the situation:

 

It will probably be used in this sequence, but of course I could be wrong, here I tried to match it:
 
Migration - Official Trailer test 3.mp4  
 

While I'm not a big fan of this movie, I do love the score. When talking about the next potential iso score project, @Jay slightly nudged me towards it, saying it has a lot of edits and dialed out music so it's be worth doing. Well, a big thanks to him because I ended up having a ton of fun doing this!
 
I took the longest, Extended cut as the base, but for most cues it really wasn't as simple as that. For some it was fine, for some I had to use the Theatrical, for some the cue was even longer than the Extended cut, for some it was even shorter than the Theatrical cut, for many it was between the two. In some cases what I had to do was obvious, in some cases I decided to just go completely freehanded and cut the footage to the music however I felt like.
 
 
 

New 1m1 Opening Introduction
New 1m1 Pt.2 Main Title (Part 2) - The bulk of this one is replaced with End Title in all cuts, but it still fits.
New 1m1A Krypton - A new opening for 1m2 recorded in a lower key to match the revised Main Title.
1m2 Kryptonopolis - The cue is definitely longer than the footage, so I had to stretch it or leave it blank in places.
1m3R The Dome Opens (Revised) - The film dials out the very ending, I had to stretch it here and there a bit.
 
 

2m1 The Council's Decision - For the first half, I had to use the Theatrical cut, the second half is too short even in the Extended. A lot of the cue (The parents' discussion, and everything from the fanfare cutaway before the closing of the pod onwards except for the very last note overlapped with the first of the next cue) is dialed out in the Theatrical.
New 2m2 The Krypton Quake - This is a mess: the Theatrical has too little footage for the scene and drops most of the cue except for the very opening and the explosion's final buildup (but the ending with the explosion itself is still removed), the Extended has far too much footage and loops the cue a lot. I decided to just edit it however I felt like, the 3 certain points were the opening, the Fanfare over the pod leaving Krypton, and the ending, otherwise I tried to put shots of Kal-El's parents over main theme and Personal theme statements, bigger wide shots over sudden changes, etc.
3m2 Baby's Trip to Earth - The Extended's added footage doesn't fit particularly great under the cue and the timing's still off so I had to cut that short and extend the footage later.
 
 

New 3m2 Baby Makes an Entrance
 
 

3m5 Baby Lifts Lorry
 
 

4m2 Racing the Train - The base Theatrical footage is too short, the Extended adds the wrong footage for the wrong section so I had to loop shots instead.
 
 

4m4/5m1 Jonathan's Death - I love the sweeping americana Smallville theme and the Cowboys theme cameo in this one.
 
 

Orig. 5m3 Kryptonite Calls - Used the Theatrical cut here...
New 4m4/5m1 The Fortress of Solitude - And for this cue too.
New 5m2 Father's Instruction - And also for this, but I had to insert a bit from the Extended.
New 5m3, A/B Father's Instruction Part 2
 
 
 

Orig. 7m1 More Mugger - A very fun way to score the scene and emphasise the comedy of Superman posing as Clark - note the pizzicato for the thug's finger calling! The film dials out most of the exchange with the mugger and all but the first Superman theme (for the bullet reveal).
 
 

New 6m2/7m1 Introducing Otis - This was a pain, though the second half fits with the Theatrical cut, none of the cuts fit the first half so I had to hack something up again. The Theatrical dials out everything from entering the station to entering the lair.
 
 
 

New 7m1/8m1 Helicopter Sequence - A real tragedy that 3 cuts later we still don't have the footage JW scored for the first major action setpiece in the score so I had to cut up the footage in all kinds of ways to make the very satisfying sync points fit. For shorter gaps I could slow down shots but for the longer ones there was just nothing to do. I followed the Theatrical for the very last shot of Supes flying.
New 8m2 The Burglar Sequence - Used the theatrical edit here with one shot slowed down.
Orig. 9m2 Chasing Crooks - Even the Extended is too short here, so I had to extend it here and there.
 
 

New 8m4 The Cat Rescue - The Extended adds too much, had to use the Theatrical for this one.
 
 
 

New 8m5 Air Force One - Again, I used the theatrical, but the only difference is the last shot, cutting away to the TVs instead of the Fortress.
 
 

Orig. 10m2 The Penthouse
 
 

Orig. 10m3 I Like Pink
Orig. 10m4/11m1 I Can Fly - The flying around the Statue of Liberty was cut shorter, so I had to loop a shot and extend the transition to the next cue.
Orig. 11m2 To the Moon
Orig. 11m3 Flying Part III - I had to cut the shot of them arriving a tiny bit shorter.
 
 

Orig. 11m4 Clark Loses His Nerve
 
 

New 11m1 The Truck Convoy - Had to use the Theatrical again, the Extended adds a lot to this part.
 
 

New 11m1A The Truck Convoy Pt.2
New 11m2 Miss T. Helps - Theatrical again for both (which doesn't actually use the first March part in 11m1A), and I had to overlap the cues a bit.
 
 

New 12m1 To the Lair - Had to lengthen a couple shots but otherwise fits. The Theatrical dials out the part where he turns into a drill.
 
 

New 12m2X Trajectory Malfunction - I used the Theatrical but had to shorten it just a bit. The film dials out the ending under the rocket noises.
 
 

New 12m3 Luthor's Lethal Weapon
 
 

New 13m1 Miss T.'s Rescue - I had to extend the Extended just very slightly.
New 13m2 Chasing Rockets - The Theatrical doesn't have enough flying around, the Extended has too much of it and way too much of Lois driving and sitting at the fuel station. The Theatrical dials out everything after the cut from "15 seconds and counting" to Lois' car.
New 13m3 The Golden Gate Bridge - Works perfectly with the Theatrical, surprisingly, since it dials out everything before Superman arrives to save the bus.
New 13m4 The Rescue of Jimmy - The key to this cue and the next was moving the part where the earthquake catches up with Lois' car later. I also had to grab some shots from the Extended for the end, otherwise it mostly fits with the Theatrical (which dials out everything until Superman flies in to rescue Jimmy, and some after he leaves him).
New 14m1 Pushing Boulders - A segment of this cue covers the moved part of Lois' car starting to sink, and from then on it was just a matter of chopping up all the other shots of her sinking and dropping them in after that part (as well as looping some shots to cover gaps). I can see why they moved that part earlier though - this cut makes it seem like Supes causes the boulders and quakes that make the car sink and Lois die!
New 14m2 Flying to Lois - Not sure exactly where the break is between the cues, but everything starting right before Supes notices her fits perfectly.
New 14m3 Turning Back the World - Also fits perfectly with no changes.
 
 

New 14m4/15m1 The Prison Yard - Used the theatrical, there's a gap but the Extended doesn't fill it in.
End Title - Shortened it seriously since in the LLL booklet, the Love Theme's slate (Love Theme) doesn't seem to indicate in any way that it was intended as an End Credits Part 2. The film switches it with the Main Title.
 
 
 

7m1 The Mugger - Starting off with this fascinating one - one of the weakest ways I can remember JW scoring a scene! Only emphasising the tension of the scene, injecting it with none of the cheeky humour it should have, even ending before the bullet reveal etc. where it would've had more chances to do that. rejected very much rightfully IMO.
 
 

1m1 Main Title - This was great fun to hack up for this much shorter take. Shots had to be sped up or slowed down, the Brando and Hackman credits were moved later to the front of the cast roll and reversed to go in the right direction, credits for executives and shit could be thrown out. I especially love the way the final director credit is scored.
 
 

1m3 The Dome Opens - The booklet says this was for a shorter cut where we saw the dome closing, so I tried to replicate that somehow.
 
 

5m4/6m1 The Fortress of Solitude - The booklet says this was for a cut with the Fortress already being there, so I cut everything from the wide vista of its future place until the wide vista of it already being built, found the spot most likely to score that reveal, and filled in the opening with extra shots from the Extended.

Of the Star Wars sequels, The Last Jedi proved the most faithful to John Williams' intended score, with one major exception: the opening Escape sequence.
 
After Williams recorded the score's first 8 cues, Rian Johnson restructured the entire sequence, forcing deep music edits to match the revised opening. Sadly Williams followed suit on his OST, presenting a heavily truncated suite of these cues in Main Title and Escape.
 
Now, with the aid of sheet music and mockups, I've reconstructed the film's opening sequence, reintegrating deleted footage where available, and restored Williams' complete score to its intended glory.
 
In my opinion, the best continuous stretch of film scoring in the trilogy. Enjoy!
 

 
Williams' ability to ratchet up musical tension is simply unrivaled, paired with a climactic release to make the hair on your neck stand up. A shame neither the film nor soundtrack presented Williams' complete intended score; this had every potential of being the greatest opening track of any Star Wars soundtrack, period.
 
Alas, the wait continues for expanded releases that showcase the Maestro's complete musical vision.
 
Special shout out to @BrotherSound and another anonymous user for their help!

Couldn't agree more.
 
JW's early cues have a musical flow that feels disconnected in the revisions, or very 'stop start' as @ragoz350 put it.
 
And that's not factoring in the music editing in the final edit (and the less said about TROS, the better).
 
Reason #83,583 why the sequel scores really, REALLY need expansions: to restore Williams' intended vision. It's baffling he isn't pushing for these himself, considering the way his scores were massacred.

The Force Awakens.
Rey vs Ren and Flying Home.
 
The two climactic scenes are the duel and the explosion of the Starkiller base. Actually, all the cues written for these scenes were recorded. However, the differences between their versions interested me, so here's mockups.

1. 7m67 Rey vs Ren (written no later than May 5)
This cue was written for an old edit of the duel scene. Apparently, the scene of the X-Wing pilots attacking the base wasn't ready at the time (it was filmed later due to script rework). So the duel here is only interrupted by the scene with a worried Hux and Snoke.
Also different in this version is the moment the earthquake starts and the subsequent dialog between Kylo and Rey. Two unused lines from here made it into the JW sketch, and can be found in the novelizations, and this version was also mentioned by Abrams in the commentaries (more on that later).
There's also a small deleted scene in this version where Hux with the stormtroopers arrive to help Kylo, with Rey looking on silently.
 
Writing this cue didn't come easily to the composer. The fast-paced montage led to complex timings and meters, which sometimes confused the composer himself. Because of this, there are some unintuitive tempo changes in the cue, and some bits JW wrote as if keeping a different tempo in mind (although it seems that many of the timings were adjusted during recording).

 
A few minor changes were made during recording. Most notably, the removal of violins during the rendition of Kylo's theme. Without them, it will sound something like this:
woVlns-clip.mp3
 
2. 7m68 Flying Home (no later than October 11)
JW returned to the climax of the movie 4 months later when he wrote the first version of the Scherzo in September. In early October, he wrote the cue for the final explosion and the return of the Falcon and X-Wings to base. In this version, the explosion itself was shorter, and there were some other shots before the Falcon appeared.
Note: in the sheet score the tempo is listed as ~152 BPM, although on the available recording fragments it is a bit slower (~140 BPM). Either this is just a typo, or it's a JW's new preference.
Note 2: judging by a couple sync hints, JW thinks Poe is controlling the Falcon.

 
3. 3 versions of the beginning of the duel
7m67R It Is You (no later than October 19)
The duel is now split into two parts, so JW needed to write new cues for this. 
This version added a lot of new footage with the fight, so this cue relies mostly on new material.

 
7m67B Rey Gets The Saber (no later than November 2)
Later, JW worked two more times on the moment, which ended up being accompanied by A Home Destroyed from ANH. This insert adds another rendition of Rey's theme before the duel begins.

 
7m67BF Rey Catches Sword (no later than November 5)
This version uses the Force theme instead of Rey's. It also replaces the rest of 7m67R: several shots were removed, and JW wrote a shortened version of the beginning of the duel. He also partially removed the xylo/trumpet hits, and during the recording he also removed the pulsation of the strings, apparently to make Rey's theme more prominent. 

 
Interestingly, both of these inserts were recorded on the same day, so JW offered Abrams two more options at once.
 
4. 7m67A Rey vs Ren (no later than October 22)
    7m68A Light in the Snow and Flying Home (fixed on November 2) 
7m67A was written to continue the duel, and ends at the moment of the rift forming between Rey and Kylo. At first, JW copies bars from the old version, but when the new added footage of the fight begins, he writes new material for the rest of the cue. Kylo and Rey's dialog has also changed, as Abrams mentions in the commentary on the Blu-ray:
 
So, JW wrote perhaps the most "stop-startish" action cue in the sequels. Unfortunately, the brass-heavy mix coupled with the not always smooth performance (timings again had to be changed on the fly) only adds to the chaos of the cue. I've tried to "add" some details that are not easily audible on the recording.
 
7m68A is an insert that "joins" the end of 7m67 to the next cue. Also, the explosion scene was expanded and a new Poe's line was added, giving JW the opportunity to expand the rendition of the Force theme. 
 

0:55
 
0:56
Because Leia's "only hope" died.

... is a sad statement usually only said by people who have never been an artist or laid hands on the CRAFT of being one.
It's the equivalent of an obese person telling you "everyone's body is different" when you suggest laying off the Twinkies.
 
What is appealing to human senses is not an esoteric metaphysical idea, it's measurable, repeatable, and objectifiable. It's called neurophysics. And if you think the great artists like painters are great and famous because that was just somebody's opinion, you've never heard of picture composition.
Because even if a total noob looked at a Rembrandt, he may not want to hang a copy on his wall, but he would understand why the painting is considered great, even if he couldn't articulate why.
 
There's a system behind great art, that is more likely than not mathematical or physical.
There are many great architects through time, but no matter which one you prefer, the foundation is a knowledge of statics.
 
Likewise, repetition of sound, tempo, rhythm, volume is tiring to the ear. That's not opinion.
 
And there's a clear case to be made for Lorne Balfe's music not being in the category of art at all. Art has intention that goes beyond purely existing. Balfe's score is little more than a technical exercise, a technical placement of rhythmic and basic melodic patterns to fill gaps in a film; its absolute lack of anything resembling a human emotion refusing to participate in any kind of storytelling, be it reflecting the films story or telling a story, even a simple one, by itself.
 
To call it paint by the numbers would be insulting to paint by the numbers. Even paint by the numbers tries to imitate art.
Let AI advance two more years, and people like Lorne Balfe will be useless.

Funny that all you do is attack me and somehow @Jayis turning a blind eye to it. Let’s celebrate film music together and not fight with each other. Right?
That much?

There must have been some miscommunication from Balfe's camp about those 14 hours of score. He probably spent 14 hours writing the score.

Mediocrity always needs to be called out, otherwise we’ll find ourselves in a world where the gold standard in Film Music will be Lorne Balfe and RCP and people will believe that these scores are better than anything the greats wrote, and they will slowly fade away into oblivion.