Tom

Does anyone know if they have been recording this week or just last week?

I rank the Asteroid scene as the best marriage of film to score out there (yes, even better than the finale to ET).

http://thecantina.starwars7news.com/index.php?threads/soundtrack-names.2944/ I cut certain details from the posts due to major spoilers. I must stress again, to take this news (?) with several grains of salt. Definitely take this with a grain of salt. I find it curious that the musician of the instructor of the person who posted it (definitely an unreliable chain right there) apparently knew the entire score and how it sounds a week before the scoring sessions and before individual parts were even given out. The claim of a theme throughout the score in several variations is just vague enough to be true. Probably more trustworthy - but I still approach it with skepticism - is the update given after the musicians received their parts. Now, I haven't been disappointed about any SW7 score news until this point (I don't even care about Ross conducting). But the presence of "some of the attack music from the OT" is a bit of a let down. I want certain themes from the OT to reappear as needed, but recycling "attack music" (a la ROTJ?) is kind of a let down for me. Action music is something I want to be fresh and new to fit the new action situations. If this rumor (and it is nothing more as far as evidence goes) is true, I really hope it's not *another* rehash of the TIE Fighter Attack cue used for the scenes we've seen in the two trailers of the Falcon being pursued by TIE fighters through a crashed ship (again, a la ROTJ). Even if the rumor is true (and by that, I mean some musician involved in recording did say this), why would anybody think it is a pure cut and paste job. It is probably just music in the style of OT attack music (and, again, the same "style" in the mind of the musician in question).

I just listened to this piece again, which I have not heard since last summer. The energy and vitality (and bizarreness) of the piece are so infectious.

Of course it is sad. However, expressions of sadness are not what I have been picking up on this topic. People have been acting as if they are not getting a "true Williams score" if he is not conducting, and that is ridiculous.

The comparisons with COS are a bit odd. Williams was not there during those sessions. In this case, he is sitting right there listening and giving feedback.

This is a non-story. Williams is composing the music, which is 99.99% of what we (okay, I guess maybe just myself) want. He is getting too old to conduct anymore, particularly rigorous all day sessions. this is how it will be from here on out--deal with it.

Compared to the previous three SW movies and, perhaps, any of Williams-scored movies, the composing schedule has been/will be insanely long. He says he began working on it at the beginning of the year and will finish recording in August or even September. It will be interesting to hear the themes and their orchestration and compare them to previous efforts. I wonder if we will find more complex orchestrations and whatnot.

What's the source for this anyway? Are we 100% sure that they're not derived from unused/alternate material or sketches Williams made for the film originally? I guess I don't have any direct proof. The Flyer and horserace pieces have the late 70s/early 80s Williams sound, which the movie itself does not have.

I remember listening out for some of these sections when I last watched the movie but they did not show up where expected (e.g. the climactic horse race, where the music is quite different from that heard in the narrated suite). I therefore assume that Williams composed those portions specially for the suite. Can anyone who's seen the film tell me if the two main new pieces composed for the suite "replace" music that's on the soundtrack as well, or just music that's in the film? In other words, are there corresponding cues on the soundtrack? Or are the pieces they replace not on the soundtrack anyway? - Would the piece at 3:05 in the suite 'replace' "The Winton Flyer" in track 1 of the soundtrack, or is it inspired by another Winton Flyer section in the film? - What is the music for the final horse race on the soundtrack? "Lucius Runs to Carrie"? Or is that particular music unreleased? (Or that scene unscored?) (The horse race music starts at 14:35 in the suite.) The Winton Flyer and Horse Race pieces are brand new for the concert piece, which was composed 10 years later for his installation in Boston.

Is the picture of Williams composing new? What a perfect image.

I think it will be a longer form piece that gives various members of the orchestra a chance to shine.

The title refers to the directions to Tanglewood (or, it could be just an amazing coincidence).

I don't know if one has been--that is not the point. The point is the JJ could have gone that route. I was worried about such things after the LSO and intermittent scoring sessions announcement.

"Just do your thing" is the best instruction Williams could have possibility been given. JJ knows what he is doing. Williams does not need to be micromanaged. This will be the freshest SW score since TPM--perhaps even the freshest score period. I'd bet the proportion of old themes to new will be about the same as TPM as well, which I thought was just about right.

Not if it is a chronic problem, and we have strong evidence that it is a chronic problem.

To those who have tickets, yes it sucks. But go and enjoy the concert. Boston will always be Williams's spiritual home, so being there offers that connection. Also, the program and performance will be top-notch.

So, this seems like a potentially stupid question, but for those jazz lovers out there, is the Odyssey piece good? It sounds nice, though I am not blown away by it, but I don't have a good appreciation of the genre.

And by "nerd" you mean "a person with minimal observation skills?"

soundings runs about 15 minutes. The version on youtube edits out the first part.

I was worried that we would not get Soundings, so I am happy (though the Tintin montage would have been nice).

I am sure that there is part of Williams thinking he is too old to have to deal with Abrams staggered scoring/recording wishes. However, he has be happy that he will be scoring edited footage that will not (likely) be reedited post scoring. I listened to TPM ost yesterday, which reminded me of how hacked up the music is in the film, and it is the least problematic of the prequels.

According to the following article, K. Kennedy says the recording of the score begins in June and will run throughout the summer. http://www.bbc.com/news/entertainment-arts-32382844

I like that the program contains a nice selection of his fully fleshed out concert versions of film scores. The three pieces from Schindler's and Catch Me form small concertos. I would have like the Lincoln pieces thrown in, but we do get a nice definitive-type concert program for legacy purposes.

One of the many issues in life where the practical implications for all of us are exactly the same regardless of which position is true.