ragoz350

Ok. Even then, this holy americana sound is mostly really not my thing.

@mosabri2 I think you're vastly overstating HZ's pianistic deficiencies. Your point would make more sense if you were talking about, like, the E.T. end credits or the solos in Snowy's theme—something that could only be written by someone intimately familiar with the repertoire and with the sounds an excellent pianist can produce.
 
But the feather theme is super simple. Totally diatonic, not fast, with easy pop chord changes and a melody consisting of three-note scale fragments and basic arpeggios. It's great because of its simplicity.
 
Silvestri didn't need to be a virtuosic pianist. He "just" needed to be really, really great at a much rarer skill: the ability to craft a tune that sounds totally inevitable, that gives the right feels, and that lingers in your ear and heart. And I'd argue that HZ has written some tunes like that as well, albeit very different in style.

Really puzzling allegations here. HZ got his start as a keyboardist. He may not be a world-class virtuoso, but I'm sure he could get his fingers around something basic like the feather theme. (It's a great theme, but not remotely difficult to play.) And I believe Djawadi started with guitar, graduating summa cum laude from Berklee, so he's probably not the world's worst musician either.

So I've been listening to this release a whole lot, and thanks to the cue information in the CD booklet and Jay's amazing spreadsheet resource, I think I'm getting my head around all the cues and where they belong.
 
I did make an interesting (I hope) observation. I noticed that all the cues which contain Barbara Bonney's vocal solos were recorded on the same day: 15th March 2001. While there's nothing uncommon about the practice of allocating the recording of certain cues requiring the presence of vocal/instrumental soloists to particular day/time, what interests me is that 15th March seems to be the very LAST day of recording sessions for the film. Additionally, 2 key cues Bonney ultimately appeared in had already been recorded at earlier sessions WITHOUT her: 7m1+2 Finding the Blue Fairy (Alternate) was recorded on 12th February, featuring a completely instrumental version of the Blue Fairy theme, and 7m5 What Is Your Wish? was recorded on 7th March, featuring full choir and no solo vocals. 8m3 End Credits (Where Dreams Are Born) and A.I. Theme No. 2 (Vocal Version) were also recorded on 15th March, and they have no earlier versions to my knowledge - Perhaps they were the last things Williams wrote once he knew he would have access to a vocalist?
 
My question is: Was the idea to feature solo vocals as a key motific/emotional element in this score a last minute decision, one that came about only when Williams was asked/chose to revise certain cues?
 
If anyone has any insight to share on this, I would be grateful. I love this score and it is fascinating to imagine that there might once have existed a version of it that didn't feature solo female voice, given how impactful that element of the score is in the finale of the film.

First ever listen to El Cid (Tadlow), never seen the movie or heard anything besides highlights from it. I don't know how Rózsa did it but his 2.5 hour scores just don't feel their length, they flow well, take needed breaks from loud action and fanfares, tell a story.
Of course inevitably comparisons with Ben-Hur started popping up with the references/"ripoffs" in there, and of course that one comes out on top with its massive and diverse but easily identifiable and emotionally clear theme library and perfect structure with every cue doing something with those themes for the narrative, but there's not many scores it could lose against. Cid's a bit more "film score-ey" - "hey let's put a minute of music here too" "sure I'll do some fanfare and reprise a theme" "whoops dropped it, it was just some throwaway anyway".
I really love the hero themes and the love theme and their development, but on this first time couldn't latch onto others even by reading along with the booklet - but this was the first time, I'm sure they'll come. There are definitely highlights outside those main themes that stand out like Entry of the Nobles and especially the material for the twins!

Just listening to Desplat's "Deathly Hallows Pt. 1". And when you got over the fact, that this is not on a level with the Williams HP scores and that the score has hardly something that you could call "themes" like there are so many in Williams' HP scores, then this is really a good moody listen. A lot of ostinato, a lot of drama and emotion. 
I am already happy listening to a Desplat score, that I can enjoy musically.

The abrupt ending is indeed the way it was written for the film. There's an optional ending "(for CD) if wanted" that adds a long note in the bass instruments to give it a more final conclusion, presumably written before he wrote the DVD versions with a more elaborate ending. We don't know yet if this optional short ending was recorded.

Yup lots of weird glitches in the uploaded version
 
 

 
Interesting that everything inside this box was clearly photocopies and not the originals
 
 
Alien 3
 

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.

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.

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.

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.

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.

Decided to take a little dip into Tintin.
 
The old version of Sir Francis and the Unicorn.

As with many other scenes in the film, JW wrote two versions of the cue for Haddock's first vision (in the desert). 
In fact, the visions were originally organized in a different way: apparently, at first we were just shown two ships, and Francis giving orders [cues The Unicorn (unnumbered) and 1m20A Sailing with Sir Francis, recorded in 2010, were written for this version]. And already in the next vision (in the hospital) we were shown the fight with the pirates, the appearance of Rackham and the beginning of the confrontation [cue 1m21B Old Enemies Meet was written for start of this sequence]. This version can be seen in the featurette about music. 
That's why the old version is much shorter than the final version. In this version also interesting the pulsation of the drums throughout the cue (3 hand drums and 1 with sticks, dubbed by synth are indicated). The syncing in my video is very uncertain: I'm pretty sure that most of the shots have been redone over the year, but here's my rough attempt.

 
Later, a full-length battle was created, as well as a teasing appearance by Rackham at the end. So in 2011 an insert was written for the end of The Unicorn (4m20R The Unicorn) and a new cue 4m19C Sea Battle. JW strategically adapted material from 1m21B Old Enemies Meet (1:00-1:25 in the video), and used a snippet from the old version (1:42-1:52), but everything else is original material. 
In fact, the percussion is also noteworthy here: the pulsation now indicated as 3 'pirate' drums was still to be heard a lot, and should even have appeared in the middle of 4m20R. However, apparently, they were already abandoned during the recording, and so the last bars of the insert were retimed, and even recorded without the click track (because the pulsation is now gone). @TheUlyssesian did a video with synced OST version, and I tried to restore this along with drums and other bits: the chime hit for the pirate flag, the glisses of the harps when the pirates descend, the flutes during the piano solo...

Alright, who's going to "ENHANCE!" this so we can speculate wildly on his current project:
 

I don't get the hate for Görannson's Oppenheimer. I think it's a good score, and good music - for a modern score for a dialogue-heavy, action-light drama, there's refreshingly more to the music than just wallpaper sound design. One may dislike the approach Nolan and Göransson took (I don't), but at least it's a deliberate creative choice, and certainly not just Göransson's own. And therefore I'd say, yes, it's surely the more original of the two scores. Because wherever you may rank DoD among Williams's output - musically, even his lesser scores these days are miles ahead of almost everyone else working in this field these days. But original isn't an attribute I'd use to describe it.

With difficulty - haha! The term has been used so much it’s grown far beyond Copland and it’s a collection of different sounds/styles - hymnal, pastoral, heroic, patriotic, stark - rather than one consistent thing. Nor are any of these sounds purely attributable to Copland either, Williams has done much for their popularity alongside other composers of westerns + Hugo Friedhofer, Jerome Morros, Elmer Bernstein, Virgil Thompson etc. 
 
But I think JW’s Coplandesque scores - the really good ones: like The Cowboys, Lincoln, SPR - go beyond just co-opting a Copland sound, but rather blend together all of these influences/traditions. It’s just that Copland has become the de facto frame (that’s not to say an inappropriate one!) through which we discuss this sound that it’s hard to address any musical Americana without citing him (see title of this thread as proof 😂)
 
 
@Trope & @Jurassic Shark btw, great (& short) video essay on Williams and Copland (& Horner) here:
 
It also speaks to some of the distinctions/separations of AC sound which @Thor alluded to. 

I just stumbled on this wonderful interview with Chris Malone about the Empire Strikes Back soundtrack. He goes over a lot of what he talks about in his old pdf document and also corrects some mistakes he made. I'm only like 40 minutes into it but I've learned a ton about the exact formats that the OT scores were recorded onto, I'd highly recommend giving this a listen

I wonder if those concert arrangements are basically what we hear in most of the prologue track.

This is so cool. Notice that JW does call for "drs", i.e. drums, i.e. snare or field drums, along with the timpani. I always wondered about that, since you pretty much just hear timpani in the ANH recording. There isn't any (audible) snare drum until later recordings.

OMG! 
 
It's real!!! 
 
https://www.rrauction.com/auctions/lot-detail/348366007074046-star-wars-john-williams-original-handwritten-music-manuscript-for-the-opening-star-wars-main-title-theme

How wonderful would it be to get an album of JW's Star Wars music written or adapted for the parks? You could include:
Star Tours 2.0 queue (Ross) Star Tours 2.0 queue (Giacchino) Original Star Tours ride music (Bellis) Original Star Tours exit music (Bellis) Hyperspace Mountain (Ross) Galaxy's Edge (JW's suite) Galaxy's Edge lightsaber building music (Ross) Galaxy's Edge entrance music (Kerber) Any other Galaxy's Edge recordings by Ross (e.g. for the rides and show moments) Disneyland Band SW medley There's got to be more. Maybe the main theme excerpt as recorded for Remember...Dreams Come True?
 
Anyway, I'd buy it!

Additionally here's a TLJ spreadsheet:
https://docs.google.com/spreadsheets/d/1Vpq5zjRXngkW0GfCsna4ZM4xVX7UNgRCTYprn5HePbM/edit
 
This one is pretty much complete, I still haven't finished writing in the track names and lengths and stuff for the isolated on the complete score tab but otherwise all the info is in there. There are just a couple unknowns in the isolated score tab if anyone wants to help with those, but the rest is accurate.
 
And here's a TROS one:
https://docs.google.com/spreadsheets/d/1X-HjbqyhRfq5f8w-2DNUYoGWtBf9CbmfTu_RrtWhdfM/edit
 
For the TROS one there is currently only an FYC breakdown and the final cut breakdown, which were taken directly from information kindly provided by @BrotherSound. I do also plan on porting over the Nov 11th cut info from Jay's spreadsheet, I just haven't gotten around to it yet. I opted not to include an OST breakdown yet as it's mostly just guesswork without the sheets and likely inaccurate.

Question: In 20 years from now, what will still be heard in the classical concert halls in the world?
A suite of Ludwig Göransson's Oppenheimer score or
Helena's Theme of John Williams?