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ragoz350

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ragoz350 last won the day on May 16

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  1. Honestly, it's hard for me to compare the Galaxy's Edge to the Han's and Obi's themes. The Edge is a separate suite with several thematic constructions at once. I don't know what Ross brings to it, but it's an interesting "free Star Wars music fantasy" of JW on a non-specific theme (not a saga character). I like the Han's and Obi's suites, too. I find Han's theme itself a bit odd, but the concert version is very solid - and it's clear that JW appreciated this material, since he moved many of the bits to the Battle of the Crait in TLJ. Obi-Wan is a nice melancholic theme. Many good things have already been said about it, but I especially like one progression (0:58-1:06 in the single, and on the picture from Falstaft's analysis) - I wouldn't have thought I'd hear something like that in Star Wars music
  2. Hmm, this (accidental) connection is interesting from a plot point of view as well.
  3. Yea, this 1-3-2-5 motif (grown out of Ludlow's demise) is now becoming a kind of JW's version of DSCH And it's remarkable that both the themes from sequels and Obi's begin with this motif, a seed for new musical ideas...
  4. In Spotlight's recording of Tintin's main theme, the harpsichord sounds terrific (better than in OST) - how could anyone not love this instrument?
  5. Yea, such a bright cue! The second half of these cues sounds to me like the combo of "The Norwegian Ridgeback" from Philosopher's Stone and some intonations a la Droid Motif from Empire Strikes Back. Basically, from what I know: 3M29R: The first half is present in the movie during the last dialogue between Han and Leia (AFAIR), so the cue was definitely recorded. 1M4A: the beginning (up to the start of Leia's theme) is in the bonus features, someone (@Manakin Skywalker?) was able to extract the music from there with good quality, and I used this fragment. For me, in fact, it's surprising that the bassoon solo didn't appear in the bonuses, very good material for underscoring.
  6. The Force Awakens. This time the deleted scene. Among the many deleted scenes in the film is one for which JW wrote a total of three versions. It is the first appearance of Leia, who is informed in a scene that Jakku's village has been destroyed. The second half of the scene is a comic scene with C3PO trying to talk to a "sleeping" R2. The first half of the scene was officially released (for some reason as two separate scenes). And the second one we can apparently only judge from Foster's novelization. Of course, the C3PO lines can't be that extended in the real script, but the sync hint "Genius" at the end of 3M29 cue matches the last line of the droid ("R2, you're a genius!"). View Spoiler for novelization fragment: 1. 3M29 Leia, C3PO and R2 (written no later than March 3, 2015) The scene was originally located right before Snoke's first appearance. The cue doesn't begin with the beginning of the scene, but with the officer's address to Leia. Cue underscores the scene in its fullest version. I also tried very conventionally to "reconstruct" the scene with C3PO . 2. 3M29R Leia, C3PO and R2 (no later than June 12) The "revised" version is shorter than the original. The first half of the scene has been truncated (Leia's order to C3PO has been cut out), and the last dialogue has been shortened. But Leia's theme sounds in the fuller version. Interestingly, this part of the cue appears in the film during one of Han and Leia's dialogues. The second half of the cue is almost unchanged, except for the addition of a bass clarinet at 0:58-1:07, and changes to the last bars for a smoother transition to the next cue (apparently, the last "silent" shot was cut). 3. 1M4A Introductions (no later than July 28) The scene has been moved to a very different place, right after the First Order departs from the Jakku planet at the beginning of the movie. Nevertheless, this served as an excuse for JW to revisit the cue again. The Resistance theme (both A and B!) is now prominent in the first half of the scene, while Leia's theme gets a new "polyrhythmic" rendition. The second half of the cue is based on the old, but heavily "revised" material. A faster tempo prompted JW to "embellish" bassoon solo with many other instruments. Bonus: there is a fragment in the 1M4A cue sketch that Williams crossed out before the cue was even submitted (which is very rare). It's a fragment from the second half of the cue, but it's different in texture from the rest of the cue. I made a separate mockup of it for fun. ragoz350 · 1M4A - Old fragment
  7. In general, it's curious that JW was interested in this scene, writing two versions of the cue at once. This is similar to the case in Prisoner of Azkaban, where Remembering Mother (Window to the Past) also had two versions, of which the one with the simpler melody was chosen, which in addition became the leit-theme afterwards. This alternate version of Steps really doesn't have a mystical tone, but rather is more like A New Home from TROS (particularly the piano/celeste opening) - this more "minimalist" approach is not typical of SW and when combined with the track it works worse a little bit than the original version. In fact, in addition to the oboe solo, the score also lists a quiet flute undertone, which should be recorded separately. This flute is missing from the audio from bonus features, but I added it to mockup. Btw the leaked score has several pencil edits, apparently made from the podium, about the instrumentation, which is unusual.
  8. The Force Awakens. Couldn't resist the temptation to make mockup of 8M74Alt The Mountain. Basically, it's an alternate version of The Jedi Steps, written at about the same time as the original one. It was also recorded, but not used.
  9. I'm not sure if these two versions of the 1M6 cue were recorded. The third version (the little horn solo that appears in the film) was written in ~May 2015, and recorded twice: in June and October (combined with the 1M7 Flute Version). It would hardly make sense to record older versions of the cue... With 1M7 things are a bit trickier: the first version was slightly "fixed" (changing the opening, adding a harp, also adding one missing note in the second phrase of the Rey's theme), and was recorded in that form, probably. Then there was the "Flute Version", which was also recorded and can be heard in the movie (and is in the OST, the end of the track "The Scavenger"). Even later came the 1M8 Breakfast cue, which is essentially a new version of 1M7 cue, but it also seems to accompany the moment when Rey runs into the sound of the droid. It isn't known if it was recorded.
  10. In fact, the situation with the use of the harpsichord in these cues is more interesting than at first sight. In the 1M5 cue sketch, at one place it says "Suggest Turkish instrument" although the instrument itself is not listed - JKMS guys shrugged it off and just added a separate part in a score with the name "Ethnic". I'm guessing that Abrams may have wanted some sort of "exotic" sound to represent the character, or just to depict the desert. But Williams, instead of copying conventional temp-tracks, got more creative with the task. The third version of The Scavenger (theoretically there should be a second version (just ALT), but in that case it didn't leak, and JW quickly abandoned it most likely) already specifies specifically a Synth Harpsichord that sounds along with the piano and plays what we know as the second Rey theme, and a "gallop" motive. Perhaps Williams thought of this motive as a kind of imitation of the playing on some ethnic plucking instrument. And the harpsichord idea lasted quite a long time, and early versions of End Credits also include the harpsichord. As a result, it turns out that Rey's theme has unusual "exotic" or even "Turkish" roots
  11. The Force Awakens. Made little mockups of two old versions of the 1M6 cue. The first version (1M6 Seeing A Mother and Getting Rations) was written along with the original 1M5 version (The Scavenger), i.e. at a very early stage of work. The first part of the cue was supposed to accompany a longer version of the scene where, apparently, Rey is also looking at a certain mother with a child. The moody low harpsichord in the commissary scene is also quite unusual. The cue concludes with rendition of the *first notes* of theme from 1M5 cue, at a faster tempo. The second version (1M6Alt Seeing A Mother and Getting Rations) has already been written along with a new version of The Scavenger (1M5Alt2), in which the final Rey theme appears (remarkably, these new versions are called "alternative", JW still wasn't sure about the new theme). The musical approach here is even more minimalist (it's funny that the whole cue is built on varying one motive) and concentrates more on Rey herself (in the commissary scene in particular). At the end of the cue, a "galloping" motif from the previous cue appears, but using a harpsichord synth (which, in fact, was listed in both the cue and the old versions of End Credits). Also here I made as bonus old version of the 1M7 Lunchtime with Rey cue (the "Flute Version" of this cue is heard in the film), with piano "solo". The third version of the cue (1M6AltR One Quarter Portion) is used in the movie, and it's shorter in length because it starts at the end of the portion scene. Interestingly, at the end of the "revised" new version of The Scavenger (1M5Alt2R) there is a sync hint "The Commissary Man", so the scene with Rey working was at one point meant to be abandoned completely, but returned in an even shorter form.
  12. ragoz350

    Hook

    very tempting to find out what's in there, after that page...
  13. It's hard for me to choose between the first year and the third year. The first one is a good blend of different themes, as well as a few "action ideas" well used throughout the long scene. The third is interesting as a not-so-usual example of a modern action cue by JW with an bright original theme (that "polyphony" at the beginning!). This theme could have made a great fugue! Also love the ending with underscoring of Harry's fall. Tough choice, voted for third!
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