BrotherSound

The SABAM Repertoire database has some exact timings for music in the film, adding up to about 42 minutes, so not terribly much for a 2-hour film. If I understand correctly, looks like there’s 14:36 based around ‘Nice To Have Be Around’, 7:46 with ‘Wednesday Special’, and 19:54 of other John Williams scoring:

Yep: the last note of 1M6 is a D, the same as the first note of ‘Journey to Exegol’, which strengthens the case for the opening of the track being 1M7.

Let's see: 1M3 Opening Credits [unreleased section replaced by insert] 1:00 1M6 They Want To Believe The President 1:15 1M7 It’s The Lie 3:00 3M1 Did I Approve 0:20 3M3 T.V. Debate 0:30 3M4 Election Results 1:30 3M5 I Hate Losing 2:30 4M1 Mother’s Faithful Dog 1:00 4M2 Sound Like Mother 1:00 4M4 Football In Whittier 0:15 4M4R Football To Campaigning 0:45 4M7ABC Early Days (Pat And Dick Theme) Alternate Version 2:45 4M8 I Want A Divorce 1:20 7M1 Johnson's Farewell [unreleased opening] 0:35 8M7 Talking With Lincoln 1:20 9M1 Harold’s Death 1:15 10M3 Meeting On The Potomac 2:45 12M2 Family Chat 3:30 12M5+6 It’s The Lie 3:30 13M4 Hoover’s Death And The Jones Ranch 3:45 17M2 Nixon To The Hospital 1:15 17M4 Back To Life 0:45 21M1 Praying 2:15 Tape Machine Motif 0:30 Those are estimated timings based on the sheet music. That's approximately 38 minutes of unreleased underscore. The OST is actually surprisingly short at 47 minutes! So, definitely enough score to require 2 CDs, but with plenty of leftover space, so I imagine the OST assembly should be included, especially since it's been out of print for a number of years now. There's also a couples minutes of unreleased source: 5M3/6M1 Camelot Overture [composed by Frederick Loewe] 2:00 Funeral Cortège Drums 0:15 The beefed-up brass section used for the most dramatic cues (Trailer, Love Field, The Miami Convention) also anticipates the prequel scores:

Restored a bit of 7M2 Rey Meets Luke, with a much more subdued rendition of the Force theme than the insert that replaced this section, 6M20 Sabre Toss. This portion is tracked into the tunnel scene with the giant snake. https://drive.google.com/file/d/1ijoITO1yTd0x3c4PhNEVsW3Bg-DBRCds/view?usp=drivesdk

The most notable tracking is the ‘Susan Speaks’ scene, tracked with ‘The North Star’, but surprisingly the entire ‘Susan Speaks’ cue is still heard in the film, just in the preceding scenes. More than tracking, there’s a fair amount of partially dropped cues: only the first 40 seconds of 8M3+4 The Death of Gabriel is used, but I’d estimate the complete cue at more than 4 minutes. 6M6 To Gullah Maroon was edited to remove the middle, shortening the cue from about 2 minutes to 1 minute. A bit more (but not all) of this cue is restored in the extended cut.

So, confusingly, there is an ‘Anthem of Evil’ concert arrangement, part of the 4-movement Suite from The Rise of Skywalker, but the ‘Anthem of Evil’ track on the OST is not that concert arrangement (which apparently works in some Kylo material), though we still haven’t identified all of it: 7 Anthem of Evil 3:24 0:00-1:48 unknown 1:48-2:00 1M8 Approaching the Nursery 2:00-2:48 unknown 2:48-3:07 6M12 Six Twelve 3:07-end unknown

This one (The Maestro’s Finale), about 3 minutes in:

I think the later is probably right, especially since the documentary includes footage of this cue being recorded, and as Yoda’s theme is heard, Maz and Chewie appear on the monitor, same as in the finished film.

Oh, it’s certainly possible! What we don’t know about this score could fill a book, and hopefully it will one day. We could definitely use a Star Wars equivalent to the Douglas Adams book for the Lord of the Rings scores, or Jeff Bond’s for Star Trek.

For what it’s worth, there’s already some slow-mo present for the shot from the Mustafar scene used in the teaser, from April 2019: Also, it’s impossible to unsee this once you know it’s there, but I guess they decided Rey fighting the guards was over too quickly, because they actually repeated the action of her taking out the same four (I think) guards twice, just using the same shots from different angles!

Could be, but how would you explain the ‘Ready To Be A Jedi’ title? Doesn’t seem to fit that scene at all. Every once in a while he’ll have a title that doesn’t make much obvious sense (‘Rescuing Luke’ from TLJ, for example), but usually not. Also worth noting that this scene was apparently quite different at one point, without the lightsaber handoff and Kylo fighting the Knights off using only the Force.

Got another speculative score restore video. Surprisingly, some of the music for Kylo on Mustafar appears (based on work codes from GEMA) to be titled ‘Ready To Be A Jedi’. This is the section from about 0:51–1:42 in the ‘Journey to Exegol’ track. Based on that title, and what sounds to me like an appearance of the Knights of Ren motif, I’m wondering if this could be an early version of the Kylo/Knights of Ren fight from much later in the film. All the known cues to feature the redeemed Ben variant of the theme appear to be revisions, so maybe Williams was originally planning to use the Kylo theme for Ben unchanged? https://drive.google.com/file/d/1SfqdFFWkxRdQ1xCTxfRbeSMDpFgwaCGA/view?usp=drivesdk

@Jay@crumbs@Falstaft@Ludwig@ragoz350 So, I think I may have figured out one oddity in the TROS cue list. I was having trouble imagining how the big ship would blow up in 8M7 Big Ship Blows Up, but then Finn and Jannah’s fate is seemingly left unresolved until several cues later in 8M10 Success and Sliding. 8M1 Approaching the Emperor #2 8M4 Psalm of the Sith 8M5 Jumping The Chain 8M7 Big Ship Blows Up 8M8 On Their Knees 8M10 Success and Sliding I think 8M7 may instead actually be an early version of 7M36 Dunkirk, for the scene where Lando and the giant fleet show up. (It’s listed as ‘The Dunkirk Shot’ in the databases. Same thing, or was it revised again?) The scene does in fact also feature a big ship blowing up: 8M9 would theoretically be an early version of 7M38 I Am All The Sith. And then one can discern the same basic flow of events as the final cut in the list of cues above. The missing 8M2 and/or 8M3 would be an early version of 7M30 More Action. The thing that was tripping me up is that 8M7 (or part of it, more likely) is used later on in the November 11th cut, but there’s such an enormous amount of tracking it wouldn’t surprise me to learn this wasn’t the place it was intended for.

I’ve got a couple brief restored score videos for fragments of The Rise of Skywalker cues that got tracked into different scenes. First up is ‘Filial Fencing’ (1M2?). The Luke and Leia duel flashback was apparently the original opening of the film and lasted considerably longer; the documentary shows several shots for this sequence that didn’t make the final cut being filmed. ’Filial Fencing’ is tracked into the scene where dark Rey appears, but I believe it was intended for this original opening, and the more threatening tone makes sense given that we wouldn’t initially know this was Luke and Leia. https://drive.google.com/file/d/1rbkgM0IhnARLaM5WHbFFORl9u_6OBxH2/view?usp=drivesdk A cue titled ‘The Feeling’ is tracked where Rey realizes Chewbacca is still alive. It seems most likely intended for this scene of Finn and Jannah which prominently features the phrase “a feeling” in the dialogue (ultimately tracked with music from The Force Awakens): https://drive.google.com/file/d/1lQJluM0CoKRBb_kDARrwBC1tzms6oLbz/view?usp=drivesdk

It’s not just that the themes repeat, it’s that many of the repetitions are note-for-note the same, down to even reusing multiple full score pages for large sections of some cues. It would certainly be the least interesting expansion of the Oliver Stone scores, not that I wouldn’t snatch it up anyway!

It’s all the same 9M85 cues as the OST: 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A New - Rey Looks 9M85 Finale Part I [m 70-end]

The film also uses the 9M85A New - Rey Looks insert, but it's not part of the FYC selections. This is definitely going to be a challenge for Mike Matessino to (hopefully) tackle one day! Some of the inserts are even written to replace parts of other inserts. We’re not certain all these variations were actually recorded, but here’s the general evolution of this sequence, from December 2016 to June 2017: 12/2/2016 9M85 Finale Part I Or 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85 Finale Part I [m 57–end] Or 9M85 Finale Part I [m 1-32] 9M85 Insert 2 9M85 Finale Part I [m 57-end] Or 9M85 Finale Part I [m 1-62] 9M85 Alt Insert 9M85 Finale Part I [m 68-end] 3/30/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A Luke Looks 9M85 Finale Part I [m 70-end] 5/13/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A Luke Looks [m 1-15] 9M85B Between Luke and the March 9M85 Finale Part I [m 72-end] 6/14/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A Luke Looks [m 1-13] 9M85C Island to March 9M85 Finale Part I [m 70-end] 6/16/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A New - Rey Looks 9M85 Finale Part I [m 70-end] Basically, several variations of the reveal of Luke’s projection were written, then several variations of Luke’s death.

Just wanted to add a few notes for the truly nerdy: This version uses the cue Williams wrote for the original opening, 1M2 Finn Wakes Up, but we don’t yet know if it was ever recorded. The deleted scene doesn’t use it, but there’s a couple deleted TFA scenes that definitely had music recorded, but aren’t presented with it. 1M2A is the untitled cue that provides the score for the revised opening. There’s also a 1M2A Fix titled Son of Starry Night with a different version of the music immediately following the crawl, but it wasn’t used and it’s unknown if it was recorded. I don’t know if @crumbs referenced it, but the novelization exactly matches this ordering of events, which must have been what Williams scored before things were shuffled around. The ending is a bit of a mystery. 1M8 We Lose Girl Ace, the final cue here, actually ends with a short note and an overlap indication, with the note that we “cut back to battle” here. Did the battle originally continue even longer? Judging from the spectrograph, the long final note appears to have grafted on for the album, and the film instead uses tracked music here and for the short Snoke scene that follows. What he intended to overlap here, and if it was ever written, is unknown. 1M9 is Revisiting Snoke, and it certainly doesn’t work to overlap those two. There’s a tiny bit of known music missing from the leak, so I guess it’s possible there’s a 1M8A or something that’s missing, but I thought it was odd.

I’m not sure exactly when the shift occurred, but Home Alone had handwritten individual parts (the original parts are actually reused for the LTP) and The Phantom Menace had parts (but not full scores, with the sole exception of Anakin’s Theme) done on computers.

Spielberg mentioned in the liner notes of Hook that JW started scoring that film with only 47 minutes of edited footage:

Those "Reel 0" cues for TROS and (especially) TLJ seem to indicate he scored some scenes before a complete cut of the film was assembled.

Found an entry for something called “Gongs” by David Arthur Fanshawe, which is listed as used in the film in the SABAM database. Maybe this is that main title music? https://eservices.sabam.be/pls/apex/f?p=1050:2::::RP,2:P2_WRK_ID,P2_WRK_ID_AV:4095769,NULL&cs=3dZ3X2Gp51Tb6iBngTlA8htPatrvdy2U071UG-aN_5J0APUQ7-2-EWuhRnUaoA6jt_MdkfnTUei7zAD6sQTSglA

I believe that list only contains cues used for the OST and isn’t actually complete. And unfortunately, the repertoire databases don’t seem to have any cue information for this score.

Oh wow, weird! I'd convinced myself it was the other way around.

Nah, “The Rescue” definitely goes before “More Rescue”. Presumably “The Rescue” would really be 8M1 in the new numbering. Oops, had that wrong! The alternate “Lost R2” is 3M2R.