artus_grayboot

So glad he put it back up! Here’s the link: https://app.box.com/v/jedisurvivor

Really cool considering that Kanan is about to fall off the cliff, and that score from Williams is influenced by Herrmann. Reminds me of the Vertigo chord in DM to Abm

Just wanted to check in and see if there were any updates on this? Just very excited to dive into this material - really have enjoyed all the Clone Wars themes so far. Also while I'm here, I wanted to posit a possible Dooku/Serenno theme I've not seen posted about yet. To clarify, this is not the mystery theme in Attack of the Clones, nor Dooku's theme in Tales of the Jedi:

- this video is the best explanation from him that I’ve seen, and even then it’s still pretty vague (more vague than I remember it being). But it does confirm your point about it not being about time travel. I personally think that things are and always will be in Star Wars - Ahsoka for example always ends back up on Malachor, and we saw that as far back as season 2 when she’s walking down the stairs. It’s all very interesting food for thought.

For the fourth episode, Kevin Kiner and the music team really make it feel like a Star Wars TV show, embracing the Ludwig Göransson feel established in Mando; but then bringing their own sensibilities to it too. Hints of Williams, hints of solo string writing I’ve heard in Rebels and Clone Wars… it’s cool to witness. And it must be a thrill for them to be upholding the legacy.

Sounds like they referenced the Ghostbusters score (right when they look and see enemy fighters inbound I believe) - specifically the Gozer theme/that kind of mysterious, atonal-ish “two-note” progression. One of the editors from Ghostbusters: Afterlife, Dana Glauberman, works on the show (not this episode) but I have to imagine that or the Afterlife score are part of the temp tracks they’re using. This track specifically, going from 0:39 to 0:41. That sound is almost exactly what I heard in this episode. Could be coincidence. I agree - really really excellent stuff. Reminded me a little of Gordy Haab’s action writing. Excellent playing too. And it really enhanced the action/suspense. That whole action sequence (and this episode in particular) was Star Wars at some of its best!!

Got to see it last weekend in LA with friends and it was just amazing. We’re all 20-somethings trying to make it in the entertainment biz, having all moved away from home to pursue our passions. The film really spoke to us. I agree with @Molly Weasley that there’s a universality to the movie. It’s actually really incredible that something so personal and specific could be so relatable - Spielberg is so good at that.

I wonder which show will be the straw that breaks the camels back. This one seems to have gotten a lot of criticism from people on the Internet (many comments on the music and shaky cam work that is reflective of the worst productions in audio-visual media today). I am curious what direction things will go in the next few years.

Holt’s material reminds me a lot of Horner and Silvestri, as well as Giacchino and Kiner.

I am glad that Vivienne Lee Blair is not getting anything like that. She did wonderful work and should not be thrown under the bus at all.

Finished listening to it the other day, and yes the two approaches are in conflict with one another. You hear a subtle Imperial March statement in a Holt cue before hearing the Ross Nu-Vader theme later, and then the full statement of The Imperial March after the discussion with the Emperor. In my mind, the seeding should go in this order: the Holt two note to the Ross Nu-Vader to Imperial March/Holt Imperial motive? But it seems to me that it overall went to a more orchestral or classical Hollywood bent as it got closer to the end. Hangar Escape from Holt is a good example. But then you have that Ross cue that sounds like Zimmer when Obi and Vader fight. So it’s all over the place in terms of musical approach. The choir sounds so small or mixed poorly for that one, almost sounds synthesized. But you know overall that cue is good on Ross because it shows his versatility. Could hear more of the seeding that Holt was talking about. Perhaps though the fact that each episode is an hour long it makes all of that less obvious? I don’t know. Also, the Holt stuff isn’t terrible. As others are saying, it’s just not Star Wars. It was never meant to reflect modern trends at all. - this is great

Been listening to some of it today - the last one I listened to was Some Things Can't Be Forgotten, so I'm about half-way I think. I am warming up to the Holt material. As some have already said, she does well with the more lyrical passages - I actually think they're pretty good. And overall, her music is Zimmer-like but not as terrible as perhaps I thought it was - while I don't like Zimmer usually, this wasn't as "one-note" as I originally thought. I think the lack of themes, production value and plot/story things really distracted me from this, however. It's like the Holt cues quote but don't quote them and the harmonies (same with Ross, but a little clearer due to orchestration perhaps) - it's like writing cryptic words that are vague enough to be interpreted in so many different ways that it can't be considered "wrong." It's not direct in what it's wanting to say, and that is perhaps more a function of the directors/producers than the composers. Tin foil hat time: there's a meandering theme I wanna say I keep hearing (maybe it's just the key) that makes me think this was the original Obi theme or the basis of it, and then perhaps Williams worked around that with the key or whatnot for what we now know as the Kenobi theme. Crazy theory but I dunno. I think it was in Daiyu that I picked up on this. Need to listen to it again though. I really like the Mapuzo cue with it's groove sensibility, and the nose flute + strings trading off that melody. I'm a sucker for world music like that which sets the stage for the new place/planet, and is just grand/sweeping like that. Cool harmonies too. The Ross material is certainly superior overall though. I actually really like the fact that it's a smaller ensemble and doesn't use a lot of the themes as it makes for a cool entry point to study Star Wars music/make some transcriptions for piano. Just my quick thoughts so far! Hope y'all are enjoying the music.

Random but wanted to share this. Uses Across the Stars

Appreciate it, thanks for your insight.

Am taking some of what's said on here with interest, as I had no idea there was a situation with Rogue One. Anyone care to cite some sources for this? This is the first I'm hearing of it. But I do agree that there are some weird sentiments being expressed in these Obi-Wan interviews. Why not just check to see if the John Williams material can be used?