ragoz350

The Rise of Skywalker again...
 
This time I tried to "restore" the full cue 1M8 Approaching The Nursey (orig: Approaching The Emperor). In fact, this cue is still partially used in the movie in the right scene, though with a lot of editing. Also, in a very abbreviated form, this cue is present in the second part of the first track of the OST.
The scene has undergone many changes, in particular, the Palpatine's speech has been shortened, and his off-screen lines (in the first half of the scene) doesn't match the sync hints in the JW's sketch. 
Also, it looks like some shots of the fleet in the middle of the scene have been added (in the movie Imperial March from 1M15 Vader's Castle sounds).
The second half of the scene is difficult to reconstruct, since the material was obviously re-shot/re-edited/re-dubbed, so I decided to leave almost only the sync hints (sorry for such kind of "restored" video, but this is a TROS).
Interestingly, the first appearance of the Psalm of the Sith in the unused part of the cue can be found. There is a similar but abbreviated string rendition in the "Join Me". The next rendition (horns and low string tremolos) is in the "Anthem of Evil" (I don’t know what cue it actually is).

The Rise of Skywalker again...
 
This time I tried to "restore" the full cue 1M8 Approaching The Nursey (orig: Approaching The Emperor). In fact, this cue is still partially used in the movie in the right scene, though with a lot of editing. Also, in a very abbreviated form, this cue is present in the second part of the first track of the OST.
The scene has undergone many changes, in particular, the Palpatine's speech has been shortened, and his off-screen lines (in the first half of the scene) doesn't match the sync hints in the JW's sketch. 
Also, it looks like some shots of the fleet in the middle of the scene have been added (in the movie Imperial March from 1M15 Vader's Castle sounds).
The second half of the scene is difficult to reconstruct, since the material was obviously re-shot/re-edited/re-dubbed, so I decided to leave almost only the sync hints (sorry for such kind of "restored" video, but this is a TROS).
Interestingly, the first appearance of the Psalm of the Sith in the unused part of the cue can be found. There is a similar but abbreviated string rendition in the "Join Me". The next rendition (horns and low string tremolos) is in the "Anthem of Evil" (I don’t know what cue it actually is).

Made a mini-mockup of a small cue 3m23 No, No... No! from TFA. This cue is completely cut from the film, but some bits remain in one of the documentaries.
The cue is intended for the scene where Rey and Finn are trying to fix the ship and Finn talks about "his" base.
One interesting thing about this cue is the nice "quiet" use of the Pursuit theme in a slightly ironic context.
There are at least two versions of this cue - but the "revised" version is a slightly abridged version of the original, adapted for new cut. Something like this would look like a scene with this music (here I used the "Revised" version, but I had to adapt some shots, since the cue was even shorter than the scene).

 
And here is the original version separately, if anyone is interested.

ragoz350 · TFA 3M23 No, No... No!  

Now The Rise of Skywalker...
 
Here is the mockup of the 2M1 Cockpit Dialogue, which was one of the first cues written for the film. It's believed that the cue is an early version of the Falcon Flight, and I thought so too, but judging by the sync hints in the sheets, this is not quite the case.
I, of course, cannot be sure, but it looks like in the early cut (when there were 9 reels) there was some scene with a Poe and Finn's flight BEFORE getting the spy's message and lightspeed skipping. At the same time, Skipping itself, apparently, was cut out at that moment. Then they decided to greatly reduce this scene, but return the chase. Again, this is speculation, but I like this theory.
Anyway, Williams moved some ideas into the Falcon Flight (same tempo, tremolo strings, Heroics theme). At the same time, 2M1 cue seems to have been recorded, since some bits can be heard in the film. In this case, it turns out that the Falcon Flight had 2 versions, and 1 insert, and they were all recorded for the first reel.
Unfortunately, I have no idea how to fill in a lot of the missing video material, so I just inserted the hints from the sketch. Also, towards the end, some shots don't sync well (in particular, when TIEs arrive).
 

 
Also, many thanks to @BrotherSound for breakdown the cues, and their hypothetical chronological order.

The Rise of Skywalker again...
 
This time I tried to "restore" the full cue 1M8 Approaching The Nursey (orig: Approaching The Emperor). In fact, this cue is still partially used in the movie in the right scene, though with a lot of editing. Also, in a very abbreviated form, this cue is present in the second part of the first track of the OST.
The scene has undergone many changes, in particular, the Palpatine's speech has been shortened, and his off-screen lines (in the first half of the scene) doesn't match the sync hints in the JW's sketch. 
Also, it looks like some shots of the fleet in the middle of the scene have been added (in the movie Imperial March from 1M15 Vader's Castle sounds).
The second half of the scene is difficult to reconstruct, since the material was obviously re-shot/re-edited/re-dubbed, so I decided to leave almost only the sync hints (sorry for such kind of "restored" video, but this is a TROS).
Interestingly, the first appearance of the Psalm of the Sith in the unused part of the cue can be found. There is a similar but abbreviated string rendition in the "Join Me". The next rendition (horns and low string tremolos) is in the "Anthem of Evil" (I don’t know what cue it actually is).

The Rise of Skywalker again...
 
This time I tried to "restore" the full cue 1M8 Approaching The Nursey (orig: Approaching The Emperor). In fact, this cue is still partially used in the movie in the right scene, though with a lot of editing. Also, in a very abbreviated form, this cue is present in the second part of the first track of the OST.
The scene has undergone many changes, in particular, the Palpatine's speech has been shortened, and his off-screen lines (in the first half of the scene) doesn't match the sync hints in the JW's sketch. 
Also, it looks like some shots of the fleet in the middle of the scene have been added (in the movie Imperial March from 1M15 Vader's Castle sounds).
The second half of the scene is difficult to reconstruct, since the material was obviously re-shot/re-edited/re-dubbed, so I decided to leave almost only the sync hints (sorry for such kind of "restored" video, but this is a TROS).
Interestingly, the first appearance of the Psalm of the Sith in the unused part of the cue can be found. There is a similar but abbreviated string rendition in the "Join Me". The next rendition (horns and low string tremolos) is in the "Anthem of Evil" (I don’t know what cue it actually is).

The following music can be heard in the film, yet is not on the LLL, the OST album, or any leak/boot (times taken from Amazon Prime display):
0:00:48-0:01:50 = the unreleased portion of the Mike Lang piano solo that underscores the Peter Pan play {1M2?} 0:08:10-0:09:15 = "God Rest You Merry, Gentlemen" heard sung by carolers outside Granny Wendy's house, not written by Williams but recorded by him for the movie 0:38:35-0:39:18 = three different vocal overlays ("Hook! Hook!", "Hook, Hook, Hook Hook!" and "Hook, Hook, Show Us The Hook! Hook, Hook, Give Us The Hook!" mixed on top of 5M5 Show Us The Hook {one of the overlays turned up on the leak, but I don't know if it is a film take or an unused take} 0:51:40-0:51:42 = a vocal overlay mixed on top of 7M2 To Neverland 0:56:26-0:56:57 = a drum insert (or alternate take?) for the basketball scene during 7M5 The Lost Boys Ballet 1:06:06-1:08:16 = "Pick 'Em Up", a song by Williams with lyrics by Leslie Bricusse 1:16:33-1:17:14 = 9M4 Insert (the film version of the Neverfeast insert; the old boots had a slightly different insert) 1:26:25-1:27:58 & 1:28:15-1:28:52 = "Take Me Out To The Ballgame", not written by Williams but recorded by him for the movie {the leak has some kind of partial take of just the backing part, without the lead} 1:47:57-1:48:15 = 13M2 Insert Bar 37 (the insert for the moment Peter shows up) 1:50:24-1:50:29 = 13M3 Insert (the insert for the moment The Lost Boys show up) And in a general sense, all the correct film take portions for many cues in the film where the boot/leak/LLL presented unused take portions instead The following music turned up in leaks/boots, but is not in the film, or on the LLL CD, or on the OST album:
A take of the celeste solo in 4M4 The Arrival Of Tink played at a higher octave (making it sound more ethereal than the film/album/LLL version) A take of 5M6/6M1 Hook's Entrance that has the fanfare (heard on the LLL take) taceted out (the film uses no music for this bit) The full ending of 7M4 Enter Rufio, which is missing on the LLL for some reason The full ending of 9M3 The Banquet, which is faded down early on both the OST and the LLL A super important portion of 15M2 The End of Hook that Spielberg dialed out of the final film (the climax of the score!) Tiny portions of some of the reel 14 and 15 cues that were edited down in the final film and only presented on the LLL from the film's music stem And in a general sense, a bunch of alternate take portions, though there's of course no need to an official album to include any of these The following music was edited down in the only version released, meaning the full unedited cue is unreleased
Potentially more of the Peter Pan play music (1M2?), if it was edited down for the film (with no sheet music, we don't know if it was or not) 1M4 Yuppie Sounds ("Banning Back Home" on the OST album) - the sheet music reveals where the cuts are and how much is missing Potentially more of 1M4 Yuppie Sounds (Revised Version) ("Banning Back Home (Film Version)"), if it was edited down for the film (with no sheet music, we don't know if it was or not) The following music was on the OST album, but was not included on the LLL album
The original ending of 4M5/5M1 I Don't Believe In Fairies (in the track "The Arrival of Tink and the Flight To Neverland"), which was replaced in the film & LLL with a New Ending The full ending of 7M3 Lost Boys Appear (in the track "From Mermaids to Lost Boys"), which was omitted from the LLL track for some reason The actual film version of 7M6/8M1 The Face Of Pan (in the track "You Are The Pan"), which does not use choir (the LLL release included an unused version with choir instead) The following material can be seen in sheet music leaks, and was most likely not recorded, but you never know!
The original version of 5M5 Show Us The Hook, which used the Low Below theme throughout instead of switching to the Stick With Me theme The original version of 13M2 To War!!, which has a section replaced by Alternate Insert 37-39 (which is different than the Insert Bar 37 that replaced it in the final film) The original version of 15M2 The End of Hook, which had a section replaced by 15M2 Insert Bar 28 The original version of 15M4 The Next Morning, which had a section replaced by 15M4 Insert The following additional songs were mentioned by Dan Schweiger in the LLL liner notes
Believe (potentially never recorded or filmed) Childhood (probably recorded as the lyrics turned up in a lyric book, unknown if filmed or not) Low Below (recorded and filmed - pictures here and video footage w/ audio here) Stick With Me (potentially never recorded or filmed)  
 
And that's not even considering the proper separation of cues that are still overlapped on the LLL, proper sourcing of music that was pulled from the film's music stem on the LLL, properly presenting the trailer cue ("Prologue") at the right speed...

Hey, @Falstaft: no idea what exactly it is yet, but the first movement is titled ‘Psalm of the Sith’!
 

Made a mini-mockup of a small cue 3m23 No, No... No! from TFA. This cue is completely cut from the film, but some bits remain in one of the documentaries.
The cue is intended for the scene where Rey and Finn are trying to fix the ship and Finn talks about "his" base.
One interesting thing about this cue is the nice "quiet" use of the Pursuit theme in a slightly ironic context.
There are at least two versions of this cue - but the "revised" version is a slightly abridged version of the original, adapted for new cut. Something like this would look like a scene with this music (here I used the "Revised" version, but I had to adapt some shots, since the cue was even shorter than the scene).

 
And here is the original version separately, if anyone is interested.

ragoz350 · TFA 3M23 No, No... No!  

A.I. Artificial Intelligence (2001)
 
"I'm sorry I didn't tell you about the world."
 
I've always felt there was an important piece missing from my understanding of Spielberg's filmography. I could never quite figure out what it was, and I certainly didn't expect the answer to come from a film that had already been made. While there remains a handful of holes in my viewing of his work (A.I. being one of them for the longest time), I had long thought it likely that this void might only ever be filled by a new Spielberg project, a coda that had the opportunity to convey something truly and deeply retrospective (The Fablemans perhaps?). Nonetheless, I now realize that this unexplained absence I had once felt was merely an oversight on my part, and has been wholly remedied by what is surely one of the most reflective and rewarding films of Spielberg's career.
 
While many will revisit what may be one of our greatest director's most misunderstood films for its 20th anniversary this year, this was a first time viewing for me. It's hard to articulate the impact inherent in the nature of the material, so I will avoid diving too far into the many philosophical questions the film raises, but the endlessly captivating presentation is perhaps the single finest delivery that one could hope for. Spielberg, Williams, and Kaminski manage to communicate such immensely rich and complicated concepts in perfect synthesis, achieving a pure combination of music and images to create what some have described as "a glimpse into eternity" (such a phrase may read as cheesy hyperbole, but I doubt it has ever been more true).
 
As always, John Williams' contribution is nothing short of masterful. In many ways, A.I. is one of his finest works; a tone poem worthy of the concert hall. Williams' instrumentation is particularly dynamic, with piano, cor anglais, and wordless choir all playing vital roles that stand above comparison in his vast body of work. I'm not skilled enough to wax lyrical about the countless masterstrokes present throughout this score, although I would very much like to be able to. I will say, however, that Abandoned in the Woods is my personal favourite cue, as it splendidly accentuates a heartbreaking scene with equal parts tension and emotion. The way Williams' develops his leitmotifs really lends well to scoring moments such as this, as there is a remarkably effective sincerity to the emphasis his music provides that ultimately marks the argument of manipulation as void. His ability to develop thematic material in this manner has never been more subtle, and yet all of the power that would be expected in a more overt approach is completely retained, if not multiplied, as this fascinating catalogue of motifs weaves together to form one of Williams' greatest tapestries.
 
Janusz Kaminski gets a lot of flack for his work in the early 2000s, with an aesthetic typically defined by bright white lighting and intense bloom. With A.I., however, there's a clear and consistent visual purpose to nearly every scene, solidifying it as a definitive high for Spielberg's longtime cinematographer. DPs and directors can go their whole career without ever coming close to the superb symbolism constantly on display here. For example, the image of David's confused and estranged face framed through the empty eye of his replica (see top left); the same manufactured shell, yet seen through an entirely different set of eyes. Further emphasis on David's multiplicity is made apparent by another striking shot (see top right), with the camera constantly refuting his hopes for human individuality by repeatedly reinforcing that he is still one of many. A dinner scene offers yet another vivid image to dissect (see bottom left): a halo over David echoes the manufacturer's marketing of the boy as "the perfect child", yet it is the same thing that separates him from his adoptive parents in the shot. The depth of these stills alone is unmatched. The lonely and isolated image of David abandoned in the woods (see bottom right) is a lasting one, and it is important to note that it is seen not through the eyes of Monica, but through the soulless reflection of the car's side mirror. There is no other perspective to turn to, as Monica cannot bring herself to look back. 
 
I do not possess the ability to unpack in mere words the philosophical wellspring that is so crucial to this wondrously provocative narrative, and while there are certainly several equally valid interpretations to be compared and analyzed, the film ultimately requires a more independent and personal understanding. Nonetheless, there's no doubt in my mind that the efforts of all involved combine to create a truly astounding and transcendent experience. I look forward to seeing how my relationship with this film changes as I grow older, as I'm certain new nuances will come to the fore with age.
 
"Make a wish."
"It came true already."
 
NOTE: I wrote about this film two months ago and for whatever reason I never posted about it here. Better late than never I suppose.

Made a mini-mockup of a small cue 3m23 No, No... No! from TFA. This cue is completely cut from the film, but some bits remain in one of the documentaries.
The cue is intended for the scene where Rey and Finn are trying to fix the ship and Finn talks about "his" base.
One interesting thing about this cue is the nice "quiet" use of the Pursuit theme in a slightly ironic context.
There are at least two versions of this cue - but the "revised" version is a slightly abridged version of the original, adapted for new cut. Something like this would look like a scene with this music (here I used the "Revised" version, but I had to adapt some shots, since the cue was even shorter than the scene).

 
And here is the original version separately, if anyone is interested.

ragoz350 · TFA 3M23 No, No... No!  

Made a mini-mockup of a small cue 3m23 No, No... No! from TFA. This cue is completely cut from the film, but some bits remain in one of the documentaries.
The cue is intended for the scene where Rey and Finn are trying to fix the ship and Finn talks about "his" base.
One interesting thing about this cue is the nice "quiet" use of the Pursuit theme in a slightly ironic context.
There are at least two versions of this cue - but the "revised" version is a slightly abridged version of the original, adapted for new cut. Something like this would look like a scene with this music (here I used the "Revised" version, but I had to adapt some shots, since the cue was even shorter than the scene).

 
And here is the original version separately, if anyone is interested.

ragoz350 · TFA 3M23 No, No... No!  

Nice work! It’s a fun variation of the Finn/chase material, and when an expansion finally comes out, I’m sure our great-great-grandchildren will enjoy it very much. 🤷‍♂️

Just wanted to link to the bit of the cue that’s leaked:
 
 

Made a mini-mockup of a small cue 3m23 No, No... No! from TFA. This cue is completely cut from the film, but some bits remain in one of the documentaries.
The cue is intended for the scene where Rey and Finn are trying to fix the ship and Finn talks about "his" base.
One interesting thing about this cue is the nice "quiet" use of the Pursuit theme in a slightly ironic context.
There are at least two versions of this cue - but the "revised" version is a slightly abridged version of the original, adapted for new cut. Something like this would look like a scene with this music (here I used the "Revised" version, but I had to adapt some shots, since the cue was even shorter than the scene).

 
And here is the original version separately, if anyone is interested.

ragoz350 · TFA 3M23 No, No... No!  

I finished up my attempt just yesterday. I had wanted to do the Westworld one last time but never finished what I started. 
 
 

@Permanent WavesI did! I finished mine a week ago and I forgot to mention it here. I like your melding of electronics, sound design, and the orchestra. It sounds almost alien and distinctive.
I did mine in a more traditional superhero style:
 

Now The Rise of Skywalker...
 
Here is the mockup of the 2M1 Cockpit Dialogue, which was one of the first cues written for the film. It's believed that the cue is an early version of the Falcon Flight, and I thought so too, but judging by the sync hints in the sheets, this is not quite the case.
I, of course, cannot be sure, but it looks like in the early cut (when there were 9 reels) there was some scene with a Poe and Finn's flight BEFORE getting the spy's message and lightspeed skipping. At the same time, Skipping itself, apparently, was cut out at that moment. Then they decided to greatly reduce this scene, but return the chase. Again, this is speculation, but I like this theory.
Anyway, Williams moved some ideas into the Falcon Flight (same tempo, tremolo strings, Heroics theme). At the same time, 2M1 cue seems to have been recorded, since some bits can be heard in the film. In this case, it turns out that the Falcon Flight had 2 versions, and 1 insert, and they were all recorded for the first reel.
Unfortunately, I have no idea how to fill in a lot of the missing video material, so I just inserted the hints from the sketch. Also, towards the end, some shots don't sync well (in particular, when TIEs arrive).
 

 
Also, many thanks to @BrotherSound for breakdown the cues, and their hypothetical chronological order.

Made a mini-mockup of a small cue 3m23 No, No... No! from TFA. This cue is completely cut from the film, but some bits remain in one of the documentaries.
The cue is intended for the scene where Rey and Finn are trying to fix the ship and Finn talks about "his" base.
One interesting thing about this cue is the nice "quiet" use of the Pursuit theme in a slightly ironic context.
There are at least two versions of this cue - but the "revised" version is a slightly abridged version of the original, adapted for new cut. Something like this would look like a scene with this music (here I used the "Revised" version, but I had to adapt some shots, since the cue was even shorter than the scene).

 
And here is the original version separately, if anyone is interested.

ragoz350 · TFA 3M23 No, No... No!  

Made a mini-mockup of a small cue 3m23 No, No... No! from TFA. This cue is completely cut from the film, but some bits remain in one of the documentaries.
The cue is intended for the scene where Rey and Finn are trying to fix the ship and Finn talks about "his" base.
One interesting thing about this cue is the nice "quiet" use of the Pursuit theme in a slightly ironic context.
There are at least two versions of this cue - but the "revised" version is a slightly abridged version of the original, adapted for new cut. Something like this would look like a scene with this music (here I used the "Revised" version, but I had to adapt some shots, since the cue was even shorter than the scene).

 
And here is the original version separately, if anyone is interested.

ragoz350 · TFA 3M23 No, No... No!  

Glad to see such a positive response! I can't promise it'll be quick, but I will try put together a similar listening guide to the other three movements. 
 
Until that point, here's something that ought to be quite useful: my attempt at a transcription of the main theme of the whole concerto, the one that occurs prominently in the second and fourth movement, and which some reviewers missed (?!). This particular iteration comes from Mvt. 4, and goes up until its little internal modulation from C to Eb. My rhythmic transcription is a little iffy in places, but the pitches are right, I believe. Top part is solo violin, bottom accompanying harp & strings. Putting this down on paper, I'm struck not only by its affinities with "Moonlight" but also JW's Elegy for Cello and, oddly, Always, with those turn figures in measure 5. Gorgeous music.
 
 

 

Hi everyone. I thought it might be useful to put together a listening guide of sorts for Williams's second violin concerto. This struck me as appropriate given how it's going to be heard in performance again fairly soon. Also, the piece, particularly its first movement, is fairly difficult to grasp on first listen!
 
I've only put together a guide to the first movement (by far the most challenging), but if this is indeed helpful I'll consider doing the other three--or maybe someone else would like to. It's quite difficult to do this without a score, to put it mildly, so take everything here as provisional. I'm surely missing quite a lot of important details...
 
 
Listening Guide for John Williams, Violin Concerto 2
 
MOVEMENT 1: "PROLOGUE" 
Overall, the most formally loose and spontaneous-seeming movement, fitting given Williams's striving for a "quasi-improvisatory" character. Not a truly non-repetitive piece, however: there are both aspects of inner-movement unity and some subtle prefiguring of material to come, particularly the concerto's principle "leitmotif" introduced in the 2nd Movement. The unpredictability of the music on a measure-to-measure level is compensated by an extremely clear division of 6 large-scale sections, summarized below.
 

 
More in-depth account:

SECTION 1 – INTRODUCTION 
0:00    Quiet, slow introduction showcasing harp, supported by bed of strings. Shape of opening harp melody (D3-E3, D3-E3-C3-A3-D3) vaguely anticipates some later motivic details. First harp-based subphrase tonally centered on B♭-lydian, with contrasting Gm6(♭13) in middle.  Second, string-based subphrase more dissonant, melodically disjunct. The third, once again harp-based subphrase coalesces on Dmaj6/min chord. 1:11    Introduction of soloist. Violin begins with repetition of note F4, giving bluesy quality to faint D-major tonality maintained by strings/harp. Melodic D tonic flanked by tritones A♭4 & G♯3 above and below. Progressively expands range upward, with what will become a quasi-motivic repeated note figure, here on B♭4 and E♭5. Thinner texture and new harmonies (F♯m and A-dim) and octatonic scale-fragment in violin at 1:50, followed by downwards chromatic cascades and melodic peak of E♭6. Unaccompanied violin sags glumly back downwards.  
SECTION 2 – FAST AND TURBULENT 
2:24    Pulsing, agitated pattern in orchestra midrange on dissonant harmony (A3+B♭3+C4+ D♭4), supported at unpredictable intervals by rising bass-figure starting on low D. Violin gathers energy with repetition of Eb4, proceeds to a flowing, unpredictable musical thought, up to the first of several big orchestral swells marked by dissonant chord and percussive punctuation that swallows up soloist. 2:46    Violin reasserts itself over motivic rising bass-figure. Pace of textural and melodic change speeds up considerably, and music becomes increasingly key-less, violin and orchestra exchanging frenzied, short-lived ideas. Particular prominence to harp, timpani, clarinet. Low-strings trace downwards arpeggio of important Gm9 chord, echoed by violin (3:09), and Em9♭5, F♯dim7. 3:16    Lighter but more dissonant texture. Spiky, progressively accelerating violin writing against unpredictable staccato wind and pizzicato bursts. 3:33    Arpeggiating eighth-note figures in low strings resume, now upwards (D2-B♭2-D3-G2-C3-E♭3, etc.), quickly losing tonal focus as another dissonant tutti swell overtakes violin, followed by brief timpani solo (3:44). 3:46    Purely orchestral climax. Dissonant pitch pyramid assembled over B pedal. Similarly vaulting bass figures under now unified upper strings in octaves on urgent melody, arching upwards in successive swells. Pulsing/sustained brass and string melody help refocus tonality onto D, and downwards chord progression (D--C--B), while dissonant, can be referred to D-center. Ends on a shrieking tutti cluster, similar to opening sonority of section but greatly intensified.   
SECTION 3 – SLOW  AND TRANSPARENT 
4:23    Dreamy extended-tertian sonorities, starting with and centered on Gm13 (chord anticipated at 3:11, arpeggiated texture anticipated at 3:33). Violin enters with comparatively lyrical theme with pronounced downwards-moving trajectory. Tonality shifts to Dm, moving stepwise to Fm. Melodic shape heard in passing at 5:00 (F5-E5-G♯5-C5) seems to anticipate the recurring “leitmotif” of movements 2  & 4 -- you know, the one that sounds a bit like "Moonlight" from Sabrina. 5:10    Clear sense of tonality dissolves, violin becomes more agitated, emphasis on dotted rhythms, brief mini-solo of dissonant stops (5:18-5:22). Followed by dense, highly dissonant wind-ensemble writing, drawn from immediately preceding violin solo and segueing back into it. 5:39    Deep, dark minor chords (C♯m--Caug) prepare a catchy but ominous melody for solo violin built on double-stops (parallel minor 6ths), again with contour (A♭4-A♭4-G4-B4-C4) that anticipates shape of recurring leitmotif from mvts 2 & 4.  5:50    Busily spinning passagework for violin and glittering accompaniment, foreshadowing movement 2, recedes to background to allow brief flute solo (B♭4-A4-E5-G5-F♯5-F♯4) in E-minor, suggestive but as far as I can tell not motivically derived from anything else. Violin follows-through with flute melody, seamlessly moving to a… 6:20    Pre-cadenza for violin and harp, again with elements of flute melody (G6-F♯6-A5…B♭5-D♭6-C6-C5)  
SECTION 4 – CADENZA
6:50    Succession of contrasting technical and expressive ideas, not a huge degree of thematic connectivity with preceding sections though fairly consistent within its own scope. (Substructure: Downwards Em/B♭ chords—leaping octave pairs—compound melody (E6-D♯6-B5-A♯5, D♭6-C6-A5-G♯5)—trills—resigned droop—gathering energy—ascending melody over pedal—arpeggios—trills—melody reminiscent of VC1—ascending passagework maxing out at A6—descending, harsh stops, ending with repeated D4.)
 
SECTION 5 – BROAD AND CLIMACTIC
8:38    Rather spooky melody for violin (F♯4-D5-B♭6-F♯5) over brief suggestion of B-minor.  Quickly yields to new material for orchestra, with massed brass, strings in octaves, and thick, repeating wind quasi-fanfares, all grounded over low C-pedal (C-A♭-D♭-G chord?). Classic JW concert music stuff (c.f. For Seiji, Soundings, Heartwood, etc.). Much of this seems to respond vaguely to material introduced in the Cadenza. 9:00    Almost aleatoric sounding passage for harp, solo high winds, pizz strings. 9:09    Emphasis on low winds and strings. Recollection of ascending bass figure from 3:33 (now E2-B2-D3, F♯2-B2-E3) 9:14    Climax building really starts in earnest. Wind chords seem to outline violin’s spooky melody from start of section, against aggressive massed-string section counterpoint, ending on bright, dissonant wind chord.   9:25    Violin solo reasserts self, now more actively interacting with rest of orchestra. Strong sense of rhythmic and harmonic acceleration, climax building pauses after timpani interjection (9:40). 9:48    Final, rapidly attained climax, fastest solo violin writing; impression of huge sweeping motions from whole orchestra, culminating on a huge tutti chord of characteristically JW-dissonant flavor (A-C-E- F-A♭-C♭)  
SECTION 6 – AFTERMATH AND CODA
10:11    Instantly quiet, clear duet for harp and violin. Clear reminiscence of beginning of Section 3, via repeated harp arpeggio of extended triadic sonority, this time F♯m11(b♭13) instead of Gm11(nat13). Meditative violin solo above, not clearly connected to previous themes. 10:40    Quiet upwards scurrying from violin, reaching high B6, followed by abrupt, staccato motif (second phrase accompanied by four dissonant pizzicato chords from rest of string section). 11:03    Violin settles on sustained low A♭3, against resonant F2-A1 bass support on harp. Full fade-out by 11:16.

Now The Rise of Skywalker...
 
Here is the mockup of the 2M1 Cockpit Dialogue, which was one of the first cues written for the film. It's believed that the cue is an early version of the Falcon Flight, and I thought so too, but judging by the sync hints in the sheets, this is not quite the case.
I, of course, cannot be sure, but it looks like in the early cut (when there were 9 reels) there was some scene with a Poe and Finn's flight BEFORE getting the spy's message and lightspeed skipping. At the same time, Skipping itself, apparently, was cut out at that moment. Then they decided to greatly reduce this scene, but return the chase. Again, this is speculation, but I like this theory.
Anyway, Williams moved some ideas into the Falcon Flight (same tempo, tremolo strings, Heroics theme). At the same time, 2M1 cue seems to have been recorded, since some bits can be heard in the film. In this case, it turns out that the Falcon Flight had 2 versions, and 1 insert, and they were all recorded for the first reel.
Unfortunately, I have no idea how to fill in a lot of the missing video material, so I just inserted the hints from the sketch. Also, towards the end, some shots don't sync well (in particular, when TIEs arrive).
 

 
Also, many thanks to @BrotherSound for breakdown the cues, and their hypothetical chronological order.

Now The Rise of Skywalker...
 
Here is the mockup of the 2M1 Cockpit Dialogue, which was one of the first cues written for the film. It's believed that the cue is an early version of the Falcon Flight, and I thought so too, but judging by the sync hints in the sheets, this is not quite the case.
I, of course, cannot be sure, but it looks like in the early cut (when there were 9 reels) there was some scene with a Poe and Finn's flight BEFORE getting the spy's message and lightspeed skipping. At the same time, Skipping itself, apparently, was cut out at that moment. Then they decided to greatly reduce this scene, but return the chase. Again, this is speculation, but I like this theory.
Anyway, Williams moved some ideas into the Falcon Flight (same tempo, tremolo strings, Heroics theme). At the same time, 2M1 cue seems to have been recorded, since some bits can be heard in the film. In this case, it turns out that the Falcon Flight had 2 versions, and 1 insert, and they were all recorded for the first reel.
Unfortunately, I have no idea how to fill in a lot of the missing video material, so I just inserted the hints from the sketch. Also, towards the end, some shots don't sync well (in particular, when TIEs arrive).
 

 
Also, many thanks to @BrotherSound for breakdown the cues, and their hypothetical chronological order.

Sample libraries. In fact, mixing skills (of which I have few) are also very important.

Now The Rise of Skywalker...
 
Here is the mockup of the 2M1 Cockpit Dialogue, which was one of the first cues written for the film. It's believed that the cue is an early version of the Falcon Flight, and I thought so too, but judging by the sync hints in the sheets, this is not quite the case.
I, of course, cannot be sure, but it looks like in the early cut (when there were 9 reels) there was some scene with a Poe and Finn's flight BEFORE getting the spy's message and lightspeed skipping. At the same time, Skipping itself, apparently, was cut out at that moment. Then they decided to greatly reduce this scene, but return the chase. Again, this is speculation, but I like this theory.
Anyway, Williams moved some ideas into the Falcon Flight (same tempo, tremolo strings, Heroics theme). At the same time, 2M1 cue seems to have been recorded, since some bits can be heard in the film. In this case, it turns out that the Falcon Flight had 2 versions, and 1 insert, and they were all recorded for the first reel.
Unfortunately, I have no idea how to fill in a lot of the missing video material, so I just inserted the hints from the sketch. Also, towards the end, some shots don't sync well (in particular, when TIEs arrive).
 

 
Also, many thanks to @BrotherSound for breakdown the cues, and their hypothetical chronological order.