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BrotherSound

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  1. Oh, I forgot about this one! For anyone keeping track (cc @Jay @Falstaft @crumbs), despite the onscreen “Peace and Purpose” title, the cue starting at 4:10 of Scoring the Last Jedi is the unused insert 9M85A Luke Looks. The ending would have overlapped the “march”.
  2. Since we’re dreaming anyway, how about that on a bonus disc including the Bill Ross arrangements for Galaxy’s Edge, ‘Adventures of Han’, and the Solo demos? 😁
  3. Omni Music Publishing just released a complete full score for North By Northwest, the first time any complete (written) score by Herrmann has been published. I’m excited to pick this one up! https://omnimusicpublishing.com/product/bernard-herrmanns-north-by-northwest-full-orchestral-score/
  4. I just can’t imagine the entire Star Wars series would ever be put out as single release. Mike Matessino mentioned that this would be a Disney release (rather than Intrada, etc.) if and when it actually happens. Perhaps it might be sold as a single collection after the fact, like this 28 CD box of the Disney Legacy Collection releases: The biggest single Disney release I could find is a 10 CD set released in Japan only. Otherwise, doesn’t look like Disney goes past 4 or 5 discs per set. So, my money’s on individual releases.
  5. So, how soon should we start the Kickstarter to book the LSO to record all the interesting bits that never made it to the sessions? 😜 (Let’s have them do the alternate “Trip to Earth” from Superman while they’re at it, too.)
  6. Made a visualization, just for the hell of it: You could fit a couple slices of IV into space of the IX, and still have plenty left over.
  7. The 1997 special edition release is the one that has the raw Main Title takes. Even though it’s all the same cue, there must have instructions from the podium to take out instruments and the pickup beat between takes, as well as some major differences in the mixing. I’m glad it was able to be included then, but I suspect it wouldn’t happen now: it sounds like John Williams is much more involved with approving expanded releases than at that time. Anyone know if he signed off on those releases (or the Anthology box set, for that matter)?
  8. Oh, that figure would definitely not be all the raw takes. Very often cues are assembled from more than one take anyway. Sandy DeCrescent (orchestra personnel contractor) mentioned JW usually gets down something like 10-15 minutes of finished music per session, which is actually a lot considering the complexity of a lot of it and allowing for rehearsal time. So, Mike Mattesino mentioned in his recent Legacy of John Williams Podcast interview (shoutout to @TownerFan!) that they often just keep recording between takes at these sessions, capturing comments from the podium, false starts, etc. He mentioned he’d love to include some of that in expanded releases, but Williams is opposed, and there’s complications with the union contracts involved (which also comes up with session video footage and photos). Even those Beatles sets don’t include every last take, just ones that are different enough that they’re basically the equivalent of alternates.
  9. It really is! The amount of unheard music is roughly as long as the entire Episode IV score. We actually have exactly total lengths of the music recorded for all 3 sequel trilogy films. The TROS number is directly from JW, during his KUSC interview earlier this year: The Force Awakens 174 minutes (2h 54m) The Last Jedi 183 minutes (3h 3m) The Rise of Skywalker 226 minutes (3h 46m) Sequel Trilogy total: 583 minutes (9h 43m) I’m not sure if the TFA figure includes the JW trailer scores recorded in November 2014 and April 2015. Due to tracking, it’s difficult to get exact numbers, but if the Disney soundtrack gods ever decide to smile upon us, we can expect about 50 minutes more TFA (though bits of some unused cues already turned up in bonus features), 35 minutes of TLJ, and 90 minutes for TROS. This would be a combination of completely unused cues, bits of released cues that were edited out, and alternates. All three ST scores would require 3 CDs each to fit everything!
  10. For better context, I’ve added a few seconds before and after the music I mocked up written for the deleted Vader scene from Star Wars Episode IV. The rest of the unrecorded early version of the cue (5M6 Inner City) is identical to the final version 5M6R Inner City.
  11. So, I’ve added a few seconds before and after the deleted bit to provide better context how it would have fit: And here’s the raw original scene without music, including with Vader dialog still spoken by David Prowse and some very squeaky droids wheeling about: This footage ended up being repurposed for the infamous Star Wars Holiday Special, for which James Earl Jones recorded new dialog.
  12. That’s basically what he did, though! There’s an instruction in the “unfilled” full score of the 5M6 revision to make old measure 36 the new measure 25 and copy the rest to the end: Other than an added trombone chord in the first bar after the cut (shown above), everything else stayed exactly the same.
  13. I also shared this on the ‘Restored Isolated Score: Star Wars Saga’ thread, but since it’s a mockup, it seems appropriate to also share it here. There was music written in the original version of the cue 5M6 Inner City for a brief deleted scene from the original 1977 Star Wars of Darth Vader and an officer walking down a Death Star hallway. This scene would have been placed exactly where the Jabba scene ended up in the special edition of the movie. However, by the time the cue was recorded the scene was out and so the cue was revised to excise this section.
  14. FYI: This would have been placed within the scene where Luke and Obi-Wan are preparing to leave Mos Eisley in the same spot as the Jabba scene in the special edition, just after the alien spy reports spotting them and just before “If the ship’s as fast as he’s boasting, we ought to do well”.
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