ragoz350

I did something very strange.

Still, it's a shame that Williams and Wannberg's great efforts to edit the score (prior to recording) were of little use, as snippets from Duel of the Fates replaced a lot of the original material in the final edit.

JWFan will go down in history

It's... it's getting darker! But we have to wait a little longer...

Still wondering if 7M2 slot was spotted this way and JW wanted to split it into two parts (7m2 and 7m2a), or if there was originally a gap between 7M2 and 7M3 that Spielberg asked the composer to fill in later....

I think this is the appropriate thread... A mockup of a fragment of an early version of End Credits (1-27-17). End Credits music in TLJ has a complex history of versions: at least three can be distinguished, the thematic structure of which you can see in the Lehman's Catalogue (page 87). The earliest version isn't "available" in its entirety: only the first part. In the sequel trilogy, JW always wrote End Credits in parts (in at least two). For example, it is known that in TFA he wrote one part first and handed it to JKMS with a note in the sketch "Ending to come". As for this version, 9 days later (February 5) JW made small fixes regarding instrumentation. Perhaps at that time the 2nd part of End Credits was already finished, but we don't know about it. Moreover, I only did a mockup of the first half of that part. The most intriguing thing here is Rose's alternate B-theme, which JW later abandoned. Also he tried to continue the 'Luke in Exile' theme (at 1:57). (The second "unmockuped" half is based on 1M6 We Can Do This, but contains original snippets as well. Alas, I'm not sure I'll take on this half...)

That's an interesting observation! I would note two more things about the use of voice in the score: 1. In the original version of Finding the Blue Fairy, there is actually a vocal solo, but it's only heard when David sees the statue from a distance. When he gets closer and the theme begins, the voice disappears. At least that's what the sheet score says. 2. Thanks to the leaks, we know that JW wrote 2-3 sketches with planned themes in advance (The first theme became Monica's theme, the second became Fairy's theme, the third was unused). The voice part (along with the piano) was already indicated in these sketches.

Decided to correct and expand Memoirs of Geisha OST breakdown a bit. Thanks @filmmusic for some observations in that thread! 01 Sayuri's Theme 1m2A New [The Story] 02 The Journey to the Hanamachi 0:00-1:58 - 1m1Alt The Opening (mm. 1-18/24) 1:02 - SKIPPED: mm. 8-9 1:11 - SKIPPED: mm. 11-12 1:50-end - Theme - In 1m1Alt instead of the usual signature "J. Williams BMI" it says "J. Williams (after Demo Model)". There are a lot of inconsistencies between the sketch and the recording of the cue. From JW remained shakuhachi's solos, string sustains and some taiko hits, the rest of the "decorations" (percussion and synths) were done in a different way. - Theme was probably the first cue written, perhaps even as a demo. The sketch was written a bit hurriedly, without specifying the tempo and, for example, specifying the synth timbre: "synth (later)". 03 Going to School 1m7 New Off to School (2:30-2:38 - that bars are missing from the sketch) 04 Brush on Silk 0:00-0:14 - 2m2 New A Teasing 0:14-0:25 - 2m2 New B 0:25-end - 2m2 New C 2:16-end - 2m2B Approaching Mameha (as overlay, as it should) 05 Chiyo's Prayer 0:00-2:09 - 3m4 Chio's Prayer (mm. 1-33/40) 2:09-3:02 - 2m4 A House Called Tatsuyo (mm. 9-22/22) 3:02-end - 3m4 Chio's Prayer (mm. 34-40/40) 06 Becoming a Geisha 4m2 Mameha's Instruction 3:27 - SKIPPED: mm. 103-112 07 Finding Satu 0:00-1:44 - 3m5 Enter Mameo (mm. 1-30/32) 1:44-2:31 - 5m4 Do You Like Someone Else (mm. 6-17/32) 2:31-3:08 - 1m5A The Roofs of Hamachi (mm. 11-18/22) 3:04-end - 2m2B Approaching Mameha (again) 08 The Chairman's Waltz Chairman's Waltz (Full Version) 2:23 - SKIPPED: mm. 79-114 (that 35 bars copied from Chairman's Waltz (Violin Variations)) 09 The Rooftops of the Hanamachi 0:00-1:57 - 3m1 New On the Roof (mm. 1-59/89) 1:14 - SKIPPED: mm. 21-23 1:46 - SKIPPED: mm. 50-51 1:57-2:10 - 3m1 New Insert 1:57 - SKIPPED: mm. 61-62 2:10-2:43 - 3m1 New On the Roof (mm. 59-89/89) 2:38 - SKIPPED: mm. 82-85 (approx.) 2:43-end - 3m1 On the Roof (mm. 50-82/82) 3:18 - SKIPPED: mm. 66-67 3:35 - SKIPPED: m. 77 - The 3m1 New Insert was written before the recording, and it only adds material and doesn't replace anything. It also adds one bar around 1:46 (not in the OST). - This track combines two versions of the cue for the same scene. 10 The Garden Meeting 0:00-1:40 - 7m5 Preparing for the Reunion 1:40-end - 5m8 The Cherry Garden (mm. 4-16/16) 11 Dr. Crab's Prize 6m3Alt - In the sketch instead of the usual JW signature it says "Trad. Japan" (as in 6m1Alt). 12 Destiny's Path 7m7 We Have No Choice 1:20 - SKIPPED: m. 22 2:00 - SKIPPED: m. 33 2:32 - SKIPPED: m. 43 13 A New Name... A New Life 4m3 A New Name... A New Life 14 The Fire Scene and the Coming of War 0:00-3:21 - 6m4 The Fire Scene 0:59 - SKIPPED: mm. 23-27 1:05 - SKIPPED: m. 30 3:21-end - 6m5A The War Comes (mm. 1-58/60) 6:37 - last sustain tracked from somewhere else: it should be G, not C. 15 As the Water... 0:00-0:54 - 6m5B After the War (mm. 1-18/38) 0:54-end - 6m5B After the War (Vln+Vc Version) (mm. 18-40/40) (the violin part is played by viola an octave lower) 16 Confluence 8m3 New Coming Together 17 A Dream Discarded 8m1C Rev. The Hankerchief Scene - The letter "C" stands for "cello" here. Four versions of this cue were written: two for flute and two for Yo Yo Ma. 18 Sayuri's Theme and End Credits 0:00-3:44 - Sayuri's Theme (mm. 1-124/142) 3:44-end - ?new ending? - There are differences in orchestration of Sayuri's Theme: most of the theme's renditions were entrusted to Japanese instruments (or synths that imitate them). On the recording, they almost all replaced by orchestral instruments (mostly by cello). - The new ending is the transposed last bars of 4m2 Mameha's Instruction.

In 1M3, there is no rendition of the Force theme. There is Leia's theme. Someone already did a mockup of this short cue:

Well, this thread is getting pretty dark. Hopefully it won't be used for these things, and the case with the thesis author won't continue to develop...

It's a very unique case. For a composers to share the complete full score for free. It's clear that access will close again after a while, but given the scale of this project..... it's something historically significant

looks nice looks nice