Taikomochi

Yeah, Fallout is more thematically complex than it seems on a first listen, and hearing it in context made me appreciate it a lot more. Same thing happened with Three Body Problem. Both are really good scores that are better appreciated in context first. And there are a couple of memorable themes in both of those scores!
 
 
Been meaning to listen to this, but the 9 hour presentation is a bit too much to get through. Will probably listen disc by disc when I have time, but if you manage to create a shorter presentation

The OST is missing the JW/Strauss cue. Unforgivable. 

My Top 10 (JWbis) scores:
 
1. The Empire Strikes Back
2. Star Wars
3. The Force Awakens
4. E.T. the Extra-Terrestrial
5. Revenge of the Sith
6. Temple of Doom
7. Superman
8. The Adventures of Tintin
9. War Horse
10. Raiders of the Lost Ark
 
Runners up: Star Wars (I, II, VI, VIII, IX), The Last Crusade, Jurassic Park (I & II), Jaws, Saving Private Ryan, Star Trek: The Motion Picture, Harry Potter (1,2,3)

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:
 
 
 
 

Obviously, he is going to say he was very happy with it lol

It's not self-funding in general that's discouraged. You're supposed to estimate your requirements and then divide them up between what you can fund yourself and what you need to crowdfund. Then you start your campaign for the crowdfunded part, i.e. you should already have subtracted what you can reasonable contribute yourself from your campaign goal. It's still important to select a fitting goal based on how much you need at the very minimum to (hopefully) reliable deliver, and what you'd like to have to provide more than just the minimum viable product. And of course stretch goals can encourage backers to go far beyond your basic goal.

And the goal is met

And the goal is met

And the goal is met

And the goal is met

And the goal is met

And the goal is met

And the goal is met

And the goal is met

And the goal is met

Wow, thanks everyone!  Obviously, the most important question to address is how I got those italics. Simple! https://lingojam.com/FacebookFonts 

As for the timeframe: I have over a year to hand in the finished manuscript, but my goal is to have it completed well before that. It's a big book, and publishing is a very slow process. But everything so far is proceeding as I have forseen...
 
It's not a guide to the scores really, but something more holistic, with each chapter looking at cues from all three trilogies from some angle: musical referentiality, thematic transformation, concert arrangements, and so on. There will be a ton of music examples (all my own annotated transcriptions as usu.), hopefully presented in an accessible way that draws in people who can't read sheet music. I know notation and music-theory jargon can be intimidating, and I'm hyper-aware of the potential gatekeeping effect it could on an already niche readership. But at the same time, I think we can all agree this music warrants deep and serious analysis! It's a balancing act for sure... 
 
Alas, I don't have special access to recordings, and can't speak to official expanded album releases, as amazing as they would be! 
 
Incidentally: I don't see it trumpeted nearly enough on these boards but Chloé Huvet came out with a book on SW music (mainly the OT and PT) a couple years ago that is absolutely brilliant and similarly synthetic in approach. The book is in French, which limits the audience, but it's worth getting your hands on if only for the fantastic music examples and charts.  The amount of insight in her prose is incredible too, and it's been a major source of inspriation to me. 

Ah nice, so we can read about it, just not hear it.

I meant more along the lines that in terms of content for that we don't need anything from Disney. If you really wanted an official pressed CD with all the FYC material so that it's all 'official', fine I guess. We should be aiming our sights far higher than that though.
 
 
Given that JW will ruin something with eventual expansions, and I hear talk of people wanting literally everything JW recorded, isn't a session dump actually what you want?  
 
Problem is, what you really want is a tightly curated, MM-produced, JW-rubber stamped set in an embossed, deluxe box set, but I'd say it's almost certain such a set would omit something, particularly as JW has a tight hold over what he wants released. I don't think one product will deliver both wishes.

Travelling this morning and listening to John Williams' pastoral trilogy (of sorts): Heidi, Jane Eyre and The River. All quite lovely, I might add, but you all already knew that.
 
Also listened to @Taikomochi's excellent edit of Dial of Destiny. 
 
Karol

Huh? You don't mean literally merging the OSTs and FYCs and pressing a disc do you? What a pointless exercise - any of us can do that.
 
At a minimum they should release expanded prequels - surely not too much editing or mastering needed, relative to the work involved for the OT.

And an expanded release session dump of Rogue One!

Per Cinema Herald:
 
Legendary composer John Williams has been tapped to score Oliver Stone's upcoming film, "Donald Trump," set for release in 2027. The film will explore the life and presidency of Donald Trump. Stone, known for his provocative and politically charged filmmaking style, is expected to bring his unique perspective to this highly anticipated project.
 
Williams expressed his excitement for the collaboration, stating, "Working with Oliver Stone is always a creatively fulfilling experience, and I am thrilled to be a part of this project."
 
Williams revealed that he has already written the main theme. “Oliver wanted me to write an ambiguous theme that could be played in either a major or minor key, depending on the context. So I wrote a motif that goes up a major second, down a perfect fifth, and then up a perfect fourth. Hopefully, I’ve written something that might contribute in some way to the audience’s listening experience, if only on a subconscious level.”
 
This collaboration is set to deliver a captivating musical narrative, leaving fans eagerly awaiting the film's release.

Please provide a source before Jay comes in and asks for it!

No jokes today, just an unfortunate apparent reality.