ragoz350

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

I realize I put it poorly, I just find the comparisons to The Chamber of Secrets, which came out in 2002, odd. In the case of the Obi Wan series, Ross still had more freedom, because although he got to use Williams' theme, he got to replace some of the older material first, using, roughly speaking, a more traditional orchestral approach, without the rigid tempo-tracking of JW's music. In the case of the SW sequels, Ross wasn't doing as much, and he had, in any case, the (large) amount of original JW's material written for those movies. In the case of DoD, however, the decision to keep John Williams as composer is important (as in SW), the style of music should be the same as in past films of a significant franchise. And I think the decision to rely heavily on a temp-track with JW's music is reasonable under these circumstances. Hiring other composers to "assist" John would have countered that decision, since the movie needs to show its cohesiveness with the previous films in every way possible. But I'm glad that in such a large (and pointless) project with such strict formalities (JW's music must be there, even if it's not written by JW) we were able to get an amazing score that, though not big in length, takes its place of honor as the last major film work of composer.

I'd even factor in Ross' age. Chamber of Secrets was 20 years ago, now a 75-year old assistant would (at least initially) have to score almost the entire movie (!), and obviously for the sake of JW-style coherence, it would be easiest for him to quote the temp-track verbatim. The situation could have been better if JW would have written more material right away (before re-edits), leaving Ross with less work to do...

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Also, Haab says that his music was sent to Disney for approval and then to John Williams himself (and it was all mockups). It was a long process, but starting with Battlefront 2 it was sped up (though John hasn't been involved since). [Giacchino seems to have been doing revisions to his Rogue's score even before recording, based on comments from Disney management and JW himself]. I thought he was talking about temp tracks consisting of Desplat's existing music (which is even more comical, since Haab wanted to hear the music so he could later write in the appropriate style for the DLC). It's hard to imagine Desplat starting work long before release.

DID JOHN WILLIAMS COMPOSE THE IJ DIAL OF DESTINY Star Wars: The Story in music concert TRAILER MUSIC?

Didn't expect such a "suite" ending here. It would have been strange to perform this as a separate piece, but paired with The Rise of Skywalker it would have been excellent at a concert.

There is also an alternate version of Reunion of Friends, in which some quoted bars from Leaving Hogwarts (HP1) are simply repeated again (to match the length of the final shot). Either JW was unsure of his own expansion of the material, or Ross made two versions, both were orchestrated and then JW chose one of them. Riddle and Harry's long dialog doesn't look very easy to use tracking from SS. The editors found only two suitable snippets, and played around with them for several minutes (including a little overlap that is even recreated in the LtP version). Although it's possible that this scene simply wasn't originally planned to have music in it.

Disruption of flow is indeed a main problem of revisions, though sometimes the new material is more interesting than the old. Even here, without revisions, we would get a cue 7m68 containing not big (and rather abruptly interrupted) rendition of the Force theme with trumpet's decorations that sounds less "climactic" than in the extended form of 7m68A.

In the original version, I really like the fragment after the dialog when Rey begin attacks Ren. Gradual build up of clusters, then a big "fall" of horns. And how the major chord of the Force theme synchronizes with Ren's "last" fall... The new version here sounds more restrained and "heroic".