Taikomochi

No, not surprising that they DIDN'T record the chorus in isolation.  Here is why.  JW is the undisputed pinnacle of the industry.  When you hire him, you are asking for perfection, not efficiency, not economy.  This is a connoisseur who is saying I only want Viennese boys choir for that one scene and a director will make that happen.  It is true that an LA chorus can simulate the Vienna boys choir, but that is a bit of a hack.  When you bring in the top level connoisseur, the precision matters.  Conrad Pope mentioned this about JW.  In the movie AI, there is a brief moment where Gigolo Joe plays a vintage 1930's era song while seducing someone.  JW composed a piece using authentic 1930's instrumentation.  The rules of that instrumentation violate modern instrumentation and JW corrected Conrad Pope in his orchestration saying that wasn't authentic and true to the style.  The point is that Conrad understood that JW had an encyclopedic knowledge of styles and how to make them authentic that an expert like Pope didn't have.  This was a very minor scene and a throw away moment but demonstrated the extent to the stylistic knowledge of random styles JW acquired that applies to ethic music too.

Was any of it without the orchestra?  If so that can record faster.  Think of it this way, in a regular action cue, you might have a 5 minute cue with 30 seconds of choir.  The chorus will be there the whole time and make their own mistakes and require alot of fine tuning so very slow process for the vocal moments.  If you have a 30 second unaccompanied choral cue, you only focus on that music and can fine tune that without worrying about getting the orchestral performance fine tuned so that can go faster.  Also, in a big budget movie, this isn't that expensive.  A large 48 piece chorus (on the upper end of a film score) for an entire six hour day is only $50,000.  The entire music budget is millions so that is a very small line item to the overall fee but might amount to around 12 minutes of choral music at maximum and even that is hard to imagine in any score.  So if you imagine a huge budget action sci-fi score, you might record for 10 days.  The chorus at most might be involved for 1 day (max of 6 hours).  You would use a relatively small orchestra for 1/3 of the film, a medium orchestra for 1/3, and a large orchestra for 1/3. So roughly 3 days spent with a 60 piece orchestra, 3 days with an 80 piece orchestra, and 3 days with a 100 piece orchestra with one day usually with the 100 piece orchestra plus 48 piece chorus.  This would result in around 120 minutes of final score with around 10 minutes or so of chorus.  This isn't so much the situation with JJ Abrams Star Wars era since they seem to have infinite budget and infinite recording time where they'll have multiple sessions spread out over months but it will be more like 12 hours in a week then a month break type of thing.  They'll end with the same results but would have to double the recorded music due to various edits of the film.  So you might be looking at a final budget of 100k for chorus and 500k for orchestra spread out over a few months of sessions.  If your movie is two or three hundred million dollars as Star Wars will be, this is still a very, very small line item in the overall budget.
 
I worked with a professional JW level chorus and was surprised how slow it went.  It wasn't a reflection of the musicians but rather the infinite possibilities of the voice.  Having a solo vocalist was even slower because they were so exposed and this was literally the same singer JW used on Munich.  The director who was present wanted to micromanage the vocals and that ended up with three hours spent on a three minute cue that was ultimately rejected.    All the musicians thought she was fantastic but the director had a different idea of what he wanted and nothing she could do would fit what he wanted.  He was dictating where each vocalized inflection went so you can imagine the infinite possibilities at play with vocalists until we ran through the budget.  Sadly, I have her version of the song but no one will ever hear how wonderful it was since it was rejected.  This was my singer:
 

In LA (so TROS), vocalists are not musicians but actors with the SAG.  They have a whole different (and better) union scale.  I think the reason for this is in early hollywood, they had a lot of musicals where the actor would start singing so singing was an acting duty for decades before it was used as score.  They are blocked in 3 hour sessions with very expensive overtime and overdub regulations.  Meaning it might be cheaper to hire 24 vocalists than 12 vocalists and overdub them.  The idea being each singer is performing the work of two singers and is sort of anti-union since you are unemploying a vocalist so must pay for that rather than exploit that.  In a triple A budget feature film like Star Wars, the cost per singer might be $175 per singer per hour with a three hour minimum so all vocal music would be recorded at the same time.  It's pretty much the same for musicians but the vocalists will have a better maximum cap (like each hour they won't record more than three minutes of recorded singing otherwise additional fees apply), mandatory breaks, etc.  Choral music is very slow to record and it is hard to get more than three minutes recorded in an hour.  The easiest type of singing is vocalized vowels like ooh's and aahhs.  Foreign languages much harder, soloists harder, etc. 
 
In london, they might have had a deal to use the London Symphony Chorus as a part of the London Symphony ensemble so 10 seconds in Empire might have been part of the orchestra fee with additional members rather than a multi-hour minimum. 
 
Question: what was JW's first use of choir?  Was it Empire?  If so, he might have realized how good it works for sci-fi/fantasy and opted for more frequent use in subsequent films with Empire being a very small/minor role for them.

HELLO Crumbs. As a Tenor I was only required to sing my line and ostensibly wouldn't have been involved with singing the Palpatine music when Dooku meets up with him. Also it's the only example of a Solo Soprano Vocalise in the entire Canon of music. I was so jealous Lucy Ballard got it. I wanted to swoop up there! Anyway Maestro Williams invited all the Gents to join in the Bass choruses anyway so yes I'm grumbling away the best I could on the soundtracks. Totally out if my range but hey ho. Just gave a bit of added weight with all 30 Gents singing. This was a 60 piece choir I think. Every one a trained Opera Singer. 
        I've heard the mock up before so thankyou Jay. Maybe the real thing will see the light of day soon. 

As Spencer was no longer around. His style was "dryer" than Conrad Pope etc where the orchestrational feel is much more "glossy" and thick now. I guess like any composer Williams style just changed. Much like Goldsmith's more sleek and streamlined style of the 90s. 
Dear all. We all love Williams which is the bottom line. The prequel scores were blazing genius compared to most of what was being written by other composers in the 90s. I guess I was just comparing them to the OT scores which were orchestrated in a different way. 
      As far as fees were concerned film work is easily the most lucrative for a choral singer. It is very closely jealously guarded work. Remember this was £225 for 3 hours 20 years ago which included the buyout. God knows what they are being paid now. 
      I can tell you there was no choral music at the moment you described which was unfortunately replaced with the Imperial March. I just sat there dazzled with those gigantic unearthly chords blasting from the LSO which I described at the time as a "massive orchestral blowout" or something. This was the apex of the entire score as far as I'm concerned and it was cut! The full sequence isn't even available anywhere. Maybe one day we will see this box set of all nine scores we so desparately want. I would also love a complete release of the excellent Rogue One score by Giacchino and the material Powell wrote for the terrible Solo movie. Will this ever happen do you think? 

Williams was very easy to work with because there was absolutely no ego. The important thing is he is a composer/conductor as well as an instrumentalist so he's a polyglot. He UNDERSTANDS the musician and all of the demands required of him or her. 
       Celebrity Conductors like JEG are megalomaniacs and they hide their insecuruty with unpleasantness and POWER. Have a look on YouTube of a rehearsal with Celibidache rehearsing  Bruckner with a top German Orchestra. He is so patronising and they fuckin hate him. 
         Williams doesn't need to bully anyone. That behaviour is beneath him. After all he is a composer not only of film scores but also concert music and an example of how HUMAN he is is that he has concentrated almost exclusively on the Concerto as a format? Why? I guess because he loves people and gifts not only the orchestra but also the Soloist with his gentleness and wisdom. 
            The only other conductor I can think of that I worked with (in a choral capacity of course) to match Williams humility was Rattle when I sang with European Voices (it was either them or I was depping for the Arnold Schonberg Chor or something) when we did a tour of Mozart's Idomeneo with the Berlin Philharmonic. There is wonderful music for chorus in that Opera. My claim to fame with Rattle was my conversation with him after a rehearsal when he confirmed my idea that Idomeneo was Mozart's one and only use of the Piccolo, which as an instrument was in its infancy in Mozart's Day. Rattle was VERY down to earth. 
          I worked with the screaming skull only once. Solti conducted us as students when I was in 2nd year at RCM in Parsifal I think it was. Then about two days after the concert he snuffed it! I remember Stephen Cleobury as being desperately dull but a very worthy musician. I worked with Richard Hickox only once with his group Collegium Musicum 90 and he really Impressed me as a great musician. Jan Pascal Tortelier was also a delight to work with I remember. I worked with Rattle again at the Proms in another production of Parsifal, then one last time in what is known as a "bumping" job when professional singers are paid to bolster the sound of an amateur symphonic chorus like the LSO chorus. We recorded the ballet "Harnasie" with the CBSO in Birmingham... In Polish! 
          I sang in all the Haitink Galas at Covent Garden but I don't remember much about him. Generally with Opera conductors the chorus are a hindrance. It takes them all their time to look up at us from the podium because this breed are interested in only one thing...the Orchestra. 
         I remember in Salzburg once I sat in on a rehearsal of Katia and Marielle Labeque playing through the Double Concerto of Francis Poulenc with the Vienna Phil and I thought to myself "Christ how lucky am I to get paid for this?" I think we were singing Stravinsky's Oedipus Rex or something. This is like 20 odd years ago so I can't remember cos I've done a fair bit. 
          I can say with confidence that John Eliot Gardiner was the finest choral trainer I ever worked with. But as a human being? Well I won't go into it. I remember once we had a gig where he used us in the Montervedi Choir to sing in Ravel's Daphnis et Chloe and because it wasn't his "Fach" the whole thing nearly collapsed. "Period Instrument" conductors like Gardiner (or Minkowski and Norrington both of whom I've also worked with) concentrate a lot on Baroque repertoire which very often doesn't have a great deal of rubato or time signature changes (in fact none) so things naturally become more motoric and fixed. Certainly rhythmically more foursquare. However with something like Daphnis it's all over the place. 
        I'm telling you now if some of these big name classical conductors walked into a Hollywood sound stage and had to conduct something to order when time is MONEY they'd have a job on their hands. Korngold was looked down upon for his move to movie music. But like Williams he was triumphant because he drew on his enormous musical wealth and HUMAN FEELING. Truly great ARTISTS don't need to shout. Often their whispers are more deafening. 
       

Yes the Original Soundtracks. We recorded at Abbey Road (where I also recorded there) music by Lili Boulanger (great composer who died at age 24 and was sister of the great pedagog Nadia) Stravinsky's Symphony of Psalms and his Opera The Rakes Progress. We recorded Bruckner Motets there also I think all under John Eliot Gardiner who compared to Williams was a piece of shit. I also recorded Dave Brubeck's Jazz Cantata "The Gates of Justice" there as well as Goldsmith's "Christus Apollo" As well as those modern works we also recorded material like Schumann's "Scene's from Goethe's Faust and" Das Paradies und die Peri" all with the Montervedi Choir. I worked with them for 5 years and toured the globe  until I was unceremoniously dropped after standing up to Jiggy as he is known in the business. We performed Beethoven 9 in LA and I even had the chance to visit the old offices of FSM where I bought some CDs from them whilst renewing my subscription to the print magazine. This was in 1999. I sing 2nd Tenor for Scottish Opera Chorus now in Glasgow. We just finished Tosca (which is like one big film score with singing) and we start rehearsing Nixon in China by John Adams this Thursday. Generally in chorus I just stand at the back holding a farmyard implement. It's easier! 
Yes the Original Soundtracks. We recorded at Abbey Road (where I also recorded there) music by Lili Boulanger (great composer who died at age 24 and was sister of the great pedagog Nadia) Stravinsky's Symphony of Psalms and his Opera The Rakes Progress. We recorded Bruckner Motets there also I think all under John Eliot Gardiner who compared to Williams was a piece of shit. I also recorded Dave Brubeck's Jazz Cantata "The Gates of Justice" there as well as Goldsmith's "Christus Apollo" As well as those modern works we also recorded material like Schumann's "Scene's from Goethe's Faust and" Das Paradies und die Peri" all with the Montervedi Choir. I worked with them for 5 years and toured the globe  until I was unceremoniously dropped after standing up to Jiggy as he is known in the business. We performed Beethoven 9 in LA and I even had the chance to visit the old offices of FSM where I bought some CDs from them whilst renewing my subscription to the print magazine. This was in 1999. I sing 2nd Tenor for Scottish Opera Chorus now in Glasgow. We just finished Tosca (which is like one big film score with singing) and we start rehearsing Nixon in China by John Adams this Thursday. Generally in chorus I just stand at the back holding a farmyard implement. It's easier! 

The photo of myself and the Maestro is a treasured possession. I had the temerity to go up to George Lucas and as for Williams photo. I wasn't interested in being photographed with him! Lucas said "I don't think that's possible. Mr Williams is so busy". During a break I took a chance and walked up to the podium where the Maestro was looking at his score. I asked for a photo and he was extremely gracious. I was so nervous I forgot to shake his hand to my eternal regret. I told him how I came from a background of poverty and violence in Glasgow in the 70s and how his music eventually led me to win a scholarship at the RCM. I then stayed that his music would last for centuries. He replied "Ah but will we?". Christ I was so slim in that photo haha! 
Yes I agree with you. I love the Sequel scores because as you say they are closer in some way to the OT music. I consider Williams music for these 9 films to be the modern day equivalent to Wagner's Ring Cycle. Opera was the medium of the day in Wagner's time. Now its Cinema. 
         Don't get me wrong there are wonderful moments in the prequel scores of course. But with trying to marry the quagmire of the Taxation of Trade Routes with what is basically a kids movie I think Williams wrote music which mirrored the artifice of what was on screen. That is how great a composer he is. He can't helped morphing into whichever project he tackles. Seamlessly. 
            Yes Williams spoke to us but this was nearly 20 years ago now when I sang on those movies. The thing about film music gigs in general is that they are a gift for choral singers because (apart from the Sanskrit material) it's all mostly just "oohs and aahs" and generally harmony is firmly tonal. Compare this with works that I've been part of like Poulenc's A Capella Cantata "Figure Humaine", Reich's "Desert Music" or something like the Ligeti Requiem which are impossibly difficult. A lot of Renaissance repertoire came my way also in those days incl the "Missa et Ecce Terrae Motus by Antoine Brumel or the 19 part Motet" O Bone Jesu"by the Scottish Renaissance master Robert Carver. Film music is a walk in the park compared with this stuff which is modal (written before the invention of the bar line) and rhythmically mist complex. 
I wasn't aware that Williams wrote four scores that in one year. Surely his most prolific year by far? 

Mattris, O' MATTRIS come out of your spot!

TFA and TLJ took me time to unpack. This is instant, unconditional adoration. It's just gorgeous. I haven't heard anything like this from him in a long time.

Hear, hear! Gonna hold off until the movie to hear the score, but it's great fun reading these early reactions from you all. I'm trying to appreciate and savor this current buzz because who knows if these forums will ever be witness to another large JW score event like this. I'm very appreciative of being able to share in this excitement with you all in these final days. Love you all. 

One last hurrah eh gents?  Glad to be here for it. 

I think that "Farewell" is the actual final cue of the film.
 
And "A New Home" is actually a portion (perhaps the very end?) of the End Credits, with the bulk of the end credits not appearing on this album at all.

The last track (which is wonderful in what it does to Rey's theme) feels to me as though its part of the end-credits. The next-to-last track feels like the end of the movie proper.
 
If it is, from the FYC alone, this score strikes me more as a culmination of the sequel trilogy's material than of the series as a whole, which is NOT a bad thing. In terms of material that dates to before this trilogy, I'm mostly picking up some Emperor stuff (strangely, I'm not feeling the choir here), a bit of the Imperial March, and obviously The Force (less Binary Sunset-y this time, thank god) and the Rebel Fanfare (obviously for the Falcon).

The "entire" score.... LOL
 
 
 

Initial reaction through four tracks so far...
 

Without listening, it doesn’t look like there’s an end credits suite in the FYC. Wonder if that suggests they omitted it because it will be mostly reused material a la ROTS and therefore not eligible for Academy consideration.

Star Wars: The Rise of Skywalker - For Your Consideration (FYC) Album
 
01 Prologue (1:45)
02 Falcon Flight (2:22)
03 We Go Together (2:10)
04 In the Desert (2:26)
05 A Prisoner (1:23)
06 To Kimiji (1:37)
07 Fleeing from Kimiji (1:53)
08 Hallway Shooting (2:11)
09 Hard to Get Rid Of (2:19)
10 Join Me (2:21)
11 The Old Death Star (2:14)
12 Off the Waterfront (1:03)
13 Final Saber Duel (1:38)
14 Healing Wounds (2:49)
15 Advice (1:54)
16 Battle of the Resistance (1:54)
17 Approaching the Throne (4:16)
18 Parents (1:57)
19 Coming Together (1:44)
20 Seeing Sights (3:17)
21 Rescue (1:10)
22 Farewell (4:27)
23 A New Home (1:42)

TOTAL TIME - 50:32
 
 
F.A.Q.:
 
FYC? What's that stand for?

For Your Consideration.  Basically, Disney setup a website where eligible voters for the various awards that are given out around the end of the year could learn where they could attend a screening of their films, see which awards the films were pushing for, and listen to selections of the score for Best Score nominations.  For the films that had score selections, they are exactly what is heard in the film, and sometimes include music not on the commercial soundtrack albums!
 
So the music here is different than the album?

Yes!  Some tracks are almost the same, but the structure of the FYC program is fundamentally different; It is a selection of music from the movie exactly as it appears in the final cut of the film, even if the music used in the film was edited from Williams' original intentions.  This could mean that a track might contain an Insert Williams later wrote, where the OST presented his original version; or a track might contain less music than its OST counterpart of the scene was re-edited after the recording of the music, or even a track might contain some music artificially looped or stretched if a scene got lengthened after scoring.  The FYC always reflects these non-intended conforms to final picture from start to finish.
 
So does the FYC contain the complete score?

Certainly not.  The FYC is only 50 minutes long.
 
Which tracks contain music that is not on the OST album?
 
We won't know that until the OST album is available to hear.
 
Where can I find this FYC?
 
https://disneystudiosawards.com/star-wars-score.html
https://disneystudiosawards.com/star-wars-rise-of-skywalker/score
 
In case Disney later removes this page, it is archived permanently here:
 
https://web.archive.org/web/20191210202934/https://disneystudiosawards.com/star-wars-score.html
 
I don't see a download link there; How do I download the files from Disney's site?
 
 
 
 
In case Disney ever takes the files down, they are archived permanently here:
 
 
 
The files on Disney's site have really low bitrate of 192kbps; Is there any chance its available uncompressed somewhere?
 
Disney should be mailing out pressed physical CDs with the FYC program to Academy music department voters sometime soon.  Usually not long after that, they begin turning up on ebay, and not long after that, lossless rips appear online.  NOTE: It is against the board's rules to ask for a lossless rip in the public forum.  Use the PM System or go to other websites for that discussion!  Posts asking for illegal downloads will be deleted!
 
 
 
Alright, so what's on the FYC album that is not on the OST album?
 
01 Prologue (1:45)
[0:00-0:07] (0:07) = alternate mix of OST 02 Journey to Exegol [0:47-0:50] [0:07-0:26] (0:19) = OST 02 Journey to Exegol [1:02-1:20] [0:26-0:28] (0:02) = OST 02 Journey to Exegol [1:24-1:25] [0:28-0:36] (0:08) = OST 02 Journey to Exegol [1:31-1:40] [0:36-0:56] (0:20) = OST 02 Journey to Exegol [2:13-2:33] [0:56-1:28] (0:32)  = NOT ON OST (Tracked music, an alternate for Rey arriving at Exegol late in the film) [1:28-1:37] (0:09) = tracked music from OST 01 Fanfare and Prologue [1:44-1:52] [1:37-end] (0:07) = NOT ON OST (Tracked music from Hard To Get Rid Of 1:58-2:01) 02 Falcon Flight (2:22)
[all] = NOT ON OST 03 We Go Together (2:10)
[all] = OST 09 We Go Together [0:00-2:33], with minor edits, but a proper clean ending 04 In the Desert (2:26)
[all] = NOT ON OST 05 A Prisoner (1:23)
[all] = NOT ON OST 06 To Kimiji (1:37)
[all] = NOT ON OST 07 Fleeing from Kimiji (1:53)
[0:00-1:35] (1:35) = OST 08 Fleeing From Kijimi [0:00-1:33], with minor edits [1:35-end] (0:18) = NOT ON OST (Full clean ending of the cue) 08 Hallway Shooting (2:11)
[all] = NOT ON OST 09 Hard to Get Rid Of (2:19)
[all] = NOT ON OST 10 Join Me (2:21)
[0:00-1:48] (1:48) = OST 10 Join Me [0:00-2:05], shortened in numerous places [1:48-2:03] (0:15) = tracked music from The Battle of the Resistance [2:03-end] (0:18) = OST 10 Join Me [3:17-end] 11 The Old Death Star (2:14)
[0:00-1:14] (1:14) = OST 04 The Old Death Star [0:00-1:19], with minor edits [1:14-end] (1:00) = NOT ON OST, either tracked in from something or a replacement insert for what's on the OST from 1:19-2:21 12 Off the Waterfront (1:03)
[all] = OST 04 The Old Death Star [2:21-end] 13 Final Saber Duel (1:38)
[0:00-1:10] (1:10) = OST 12 The Final Saber Duel [0:00-1:05], with minor edits [1:10-end] (0:27)  = NOT ON OST (The proper full ending to the cue) 14 Healing Wounds (2:49)
[0:00-0:31] = NOT ON OST, definitely a replacement insert for what's on the OST from 1:05-1:42 [0:31-end] = OST 12 The Final Saber Duel [1:42-end] 15 Advice (1:54)
[all] = NOT ON OST 16 Battle of the Resistance (1:54)
[0:00-0:02] (0:02) = OST 13 Battle of the Resistance [0:04-0:08], shortened [0:02-end] (1:52) = OST 13 Battle of the Resistance [1:12-end], with minor edits 17 Approaching the Throne (4:16)
[all] = OST 14 Approaching The Throne, with minor differences (including a pitch-shifted opening and a different ending [a different choral performance with less orchestra under it]) 18 Parents (1:57)
[all] = NOT ON OST 19 Coming Together (1:44)
[all] = NOT ON OST 20 Seeing Sights (3:17)
[all] = OST 15 The Force Is With You [0:00-3:02], with minor difference (including a clean ending) 21 Rescue (1:10)
[0:00-0:15] (0:15) = OST 15 The Force Is With You [3:02-3:16] [0:15-0:30] (0:15) = NOT ON OST (A nice section he chose to microedit out of the OST program) [0:30-end] (0:40) = OST 15 The Force Is With You [3:16-end] 22 Farewell (4:27)
[all] = OST 16 Farewell [0:48-end], with minor edits 23 A New Home (1:42)
[all] = OST 18 A New Home  
If I'm adding that up right, that's 21:10 of unreleased music!
 
 
 
 
Great!  Now what if I want to combine both albums together into a long expanded album?
 
Here is a quick and dirty playlist to get the most total music possible, without using a WAV editor, just combining tracks from both into a playlist
 
OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09 We Go Together 3:17 OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08 Fleeing from Kijimi 2:51 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 10 Join Me 3:42 OST 04 The Old Death Star 3:16 OST 12 The Final Saber Duel 3:57 FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 OST 13 Battle of the Resistance 2:51 OST 14 Approaching the Throne 4:16 FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15 The Force Is with You 3:59 OST 16 Farewell 5:14 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51
SCORE TIME - 1:26:44
BONUS TRACKS OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18
BONUS TRACK TIME - 7:41  
GRAND TOTAL TIME - 1:34:25
 
 
Here is a more detailed editing guide, which you have to use sound editing software to make.  
 
THE FILM SCORE
OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09A We Go Together [0:00-2:33], with the clean ending from FYC 03 We Go Together 2:10 OST 09B Arrival at Pasaana [2:33-end] OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08A Fleeing from Kijimi [0:00-1:33], with the clean ending from FYC 07 Fleeing from Kimiji 1:53 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 08B I'm The Spy [1:33-end] 1:19 OST 10 Join Me 3:42 OST 4A The Old Death Star [0:00-1:19], seguing into the revised version of the rest of the cue heard in FYC 11 [1:14-end] FYC 12 Off The Waterfront 1:03 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 4B [2:21-end] instead) OST 12A The Final Saber Duel [0:00-1:05], with the full complete ending from FYC 13 Final Saber Duel 1:38 FYC 14 Healing Wounds 2:49 [0:00-0:31] seguing into the rest of the cue from OST 12B [1:42-end] FYC 15 Advice 1:54 OST 06 Destiny of a Jedi 5:12 OST 11 They Will Come 2:50 FYC 01 [0:56-1:28] Rey Arrives at Exegol OST 13 Battle of the Resistance 2:51 OST 14 Approaching The Throne 4:16 (FYC 17 features a slightly different choral ending if you prefer that) FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15A [0:00-3:02] Seeing Sights, with the full clean ending from FYC 20 Seeing Sights 3:17 FYC 21 Rescue 1:10 (If you are feeling up to it, you can attempt to segue from the FYC's clean opening into OST 15B [3:02-end] instead, but you also have to restore the 15 seconds microedited out of the OST version at 3:16) OST 16 Farewell 4:27 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51
Alternates: OST 04A [0:00-2:21] The Old Death Star (Alternate) (2:21) OST 12B [1:05-end] Healing Wounds (Alternate) (2:52)
Concert Arrangements: OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18  
 
And finally here is a Google Doc with all this information, if you prefer to look at it that way:
 
https://docs.google.com/spreadsheets/d/1VWApmUMfiSF9gvXb3LW9QloZO-St-ITFMF-qYaNN0fw
 
 
 
Additionally, here's a theme list I started before the OST came out, that may be a bit outdated now, but hopefully I can keep it updated at some point.
 
 
 
01 Prologue (1:45)
0:08 Kylo Ren's Theme 0:43 Wayfinder Theme 0:48 Kylo Ren's Theme 0:57 Anthem of Evil 1:17 Rey's Theme 02 Falcon Flight (2:22)
0:20 The Emperor's Theme 0:31 March of the Resistance 0:48 March of the Resistance 0:57 The Rebel Fanfare 1:13 We Go Together 1:30 March of the Resistance 1:47 Hyperspace from TESB moment 1:53 Heroics 2:05 The Rebel Fanfare 2:09 The Death Star is about to blow up from ANH moment 03 We Go Together (2:10)
0:14 We Go Together 1:07 Rey's Theme 1:21 The Force Theme 1:45 We Go Together 04 In the Desert (2:26)
0:24 March of the Resistance 05 A Prisoner (1:23)
1:01 We Go Together 06 To Kimiji (1:37)
0:17 We Go Together 0:31 We Go Together 0:40 The Knights of Ren Theme 1:12 Rey's Theme 07 Fleeing from Kimiji (1:53)
0:00 Heroics 0:23 Kylo Ren's Theme 0:34 Kylo Ren's Theme 1:17 We Go Together 08 Hallway Shooting (2:11)
1:22 March of the Resistance 09 Hard to Get Rid Of (2:19)
1:29 The Emperor's Theme 10 Join Me (2:21)
0:57 Anthem of Evil 1:16 Kylo Ren's Theme 1:28 Rey's Theme (dark again) 1:53 Luke's Theme 2:07 Rey's Theme 11 The Old Death Star (2:14)
0:58 The Imperial March 1:46 Poe's Theme 1:57 March of the Resistance 12 Off the Waterfront (1:03)
  13 Final Saber Duel (1:38)
0:43 Kylo Ren's Theme 14 Healing Wounds (2:49)
0:40 The Force Theme 1:47 Leia's Theme 15 Advice (1:54)
1:18 sounds kinda like Rey's Theme? 16 Battle of the Resistance (1:54)
0:09 Luke's Theme 0:38 The Force Theme 1:19 The Force Theme 17 Approaching the Throne (4:16)
1:22 Rey's Theme (the dark variant again) 2:07 Wayfinder Theme 3:18 Victory Theme 3:33 March of the Resistance 18 Parents (1:57)
1:19 Kylo Ren's Theme 1:33 Kylo Ren's Theme 19 Coming Together (1:44)
0:00 The Emperor's Theme 0:11 Kylo Ren's Theme 0:22 Knights of Ren Theme 1:18 The Force Theme 20 Seeing Sights (3:17)
0:24 We Go Together 0:42 Rey's Theme (on piano!) 1:44 Rey's Theme 1:57 Kylo Ren's Theme 2:20 The Emperor's Theme (with bad-ass choir!) 2:49 The Force Theme 21 Rescue (1:10)
0:02 Victory Theme 0:39 The Rebel Fanfare 0:47 The Rebel Fanfare 22 Farewell (4:27)
0:13 Kylo Ren's Theme 0:48 sounds like a sad variation of Rey's Theme 1:27 sounds like a defeated version of Kylo Ren's Theme 1:44 Rey's Theme 2:35 sounds like... something? 3:32 Victory Theme 23 A New Home (1:42)
0:19 Rey's Theme  
Big thanks to @thx99 for first posting the link here.  Head over there and give him a big LIKE, will ya?

I think Joker or 1917 are the favorite. Sorry to say this but I think Joker will win because the composer is a woman and the globes haven't nominated a woman for director or screenplay. So they might feel they have to make it up somewhere else.

It doesn’t offend me that people dislike the score. I think that is a valid opinion. What I find fucking infuriating is the people who feel the need to come into every thread and denigrate not just the score but also the people who like it, that there is no explanation that they like it except that they have no taste or they are in denial.  Everyone is entitled to like or dislike the score.
 
Piss off with that absolutist bullshit.

It looks like that bot already exists

The Nativity Story by Mychael Danna
 
Home Alone by John Williams
 
The Lost World: Jurassic Park by John Williams
 
Congo by Jerry Goldsmith
 
Across the Stars by John Williams (+Anne-Sophie Mutter)
 
Indiana Jones and the Kingdom of the Crystal Skull by John Williams

I don’t think I’ve ever been so excited for anything (or had my hype so satisfied) as the days leading up to getting the score to TFA. Love re-reading that thread.

Knowing about the Yoda theme didn’t really ruin anything for me, but maybe that’s because my attachment to that theme is not so strong. It wasn’t even about having plot details spoiled. My attachment to the Luke and Leia theme is so strong; I think it’s one of Williams’ best. I think I would have sobbed in that theater had I not known, hearing a new rendition of that theme for the first time in decades, as sober and lovely as it was.
 
My thought in listening first has been so I won’t be as disappointed by the cues not on album as I would be trying to hunt down my favorite moments heard in the film after the fact.