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Falstaft (hiatus til TROS)

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Falstaft (hiatus til TROS) last won the day on November 16 2019

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About Falstaft (hiatus til TROS)

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    Tufts University

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  1. Yep! It's the Death Star motif, which doubles as a triumphant heroes-blow-up-a-ship motif. One of many such wonderful details in ROTJ's score that makes it so rewarding to revisit over and over.
  2. I can assure you, the cue list is genuine. I would never make cue numbers up, I take this really seriously! Sure thing! Like I say in my catalogue, the score is quite a mess! End Credit Rose's Turn End Credit Part 3 Rev End Credit Part 4 Opening 0m1 Tossing the Sabre 0m1 Insert Rey Looks Back 0m1 Rev Tossing the Sabre 0m2 Thought Connection 0m2A The Cave Scene 0m2A Insert Place to Place 0m3 Learning the Force 0m3 Insert Learning the Force 0m4 Rey + Luke 0m5 Fathiers 0m5 Fathiers (with fixes) 0m6 Fathiers Charge! 0m7 Crashing the Party 0m8 Saying Goodbye to Fathier 1m2 Finn Wakes Up 1m2A [No Title] 1m2A fix Son of Starry Night 1m3 Welcome Poe and Hux 1m3 Insert David and Goliath 1m4 He's Insane 1m5 Resistance Force 1m6 We Can Do This 1m6 Insert Theme In 1m7 Fighter Down 1m8 We Lose Girl Ace 1m9 Revisiting Snoke 2m10 We Need Your Help 2m12 We Need A New Base 2m13 Prep for Battle 2m14 Leia Saved! 2m14 fix Leia Saved! 2m16 Luke's Breakfast 2m17 Old Books 2m18 Admiral Holdo 2m18A Holdo's Secret Plan 2m19 Rose Catches Finn 3m20 Luke in the Falcon 3m20 Insert Watch The Language 3m20 Insert 2 [No Title] 3m21 Rose Appears 3m22 Fun with Rose and Finn 3m22 Rev [No Title] 3m24 [No Title] 3m25 Sun Shot 3m28 Rey Awakens 3m29 Lady Officer and Poe Conspire 4m30 The Connection 4m31A Worst People in the Universe 4m31B Party Music 4m31B (add) More Party Music 4m31C R.T. Shore 4m32 Rose's Fathiers 4m32 Insert Finding the Code Breaker 4m32 Insert 2 [No Title] 4m33 Rey's Training 4m33 Rey's Practise 4m33 Rev Rey's Training 4m36 Luke and Rey 4m37 Place in the World 4m37 Insert Six Hours Left 4m38 Codebreaker…Thief 5m43 Saving Leia 5m44 Encounter Before the Dream 5m45 Mirror Scene 5m46 You're Not Alone 5m46 Insert You're Not Alone 5m46 Insert 2 Touch 5m47 Young Ren Is Awakened 5m48 Yoda Appears 5m48 Insert [No Title] 6m50 Not Enough 6m51 Traitor! 6m52 Eavesdropping 6m52A Mutiny 6m55 I'll Help You 6m56 Working Switches 6m56 Insert Dread 6m57 Ladies Parting 7m60 Come Closer, Child 7m61 Poe Wakes Up 7m63 Big Fights 7m63 Big Fights 7m64 Finn, Rose and Hux 7m65 Fighting Together 7m66 Join Me 7m67 Holdo's Resolve 7m67A Important Scene 7m67A Insert [No Title] 7m68 Rose and Finn Escape 7m68 After the Big Explosion 7m68A Finn Fights Phasma 7m69 Rose and Finn Escape 7m69 Insert Chrome Dome 8m70 Hux and Ren 8m71 What 'cha Got? 8m73 Troops and Plains 8m74 Mechanical Trouble 8m75 Here They Come, Again 8m76 To The Target 8m76 To The Target (w/ Insert) 8m77 Finn's Attempted Sacrifice 8m78 The Kiss 9m80 Luke & Leia Together 9m81 Rescuing Luke 9m82 Follow Him 9m85 Finale Part I 9m85 Alt Insert [No Title] 9m85 Insert [No Title] 9m85 Insert [No Title] 9m85 Insert 2 Finale Part I 9m85A Rey Looks 9m85A Luke Looks 9m85B Between Luke and the March 9m85C Island to March 9m86 Old Friends 9m87 Finale, Pt. III 9m90 End Credit Part 2
  3. Hmm, that I'm not sure about. My guess is that the "Psalm" part refers at the very least to the (unused) the acapella, psalm-y choral part that begins the "Anthem of Evil" OST track, though that lasts 1:41 rather than the 0:43 listed here. In terms of ordering, 8M04 is especially confusing since it comes after 7m38 "I Am All The Sith" in this list, which would be the last big statement of any of the evil-associated music in the film, right?
  4. This is fantastic, and fully accords with the (limited but reliable) scoring session info I've been privy too as well. Thanks for sharing this @Jay, you're a mensch. One thing of note: I'm pretty confident "Psalm of the Sith" was Williams's original, intended name for the "Anthem of Evil." So, so much better as a title!
  5. I definitely remember hearing real orchestral snatches of the ending before it transitions into ATS (~4:40) floating around at some point, probably from a DVD menu or Video Game or some such. So pretty sure it was recorded. But someone else can probably confirm.
  6. Purely on the basis of the End Credits: 1. ANH - the gold standard, perfectly constructed 2. ESB - three all-time-thrilling statements of principle themes, but not as balanced or iconic as ANH 3. TFA - a thrilling recap of the score 4. TROS - a genuinely new and extended treatment of Anthem of Evil & partially new treatment of Rise of Skywalker themes count for a lot to me 5. ROTJ - lovely transition into L&L, integration of Throne Room into coda. But not in same league as the others. 6. TLJ - not great, but not nearly as poor as people make it out to be. 7. AOTC - the only PT score that has any novel music in the Credits, namely that tiny little coda that alludes to Anakin's theme) 8. ROTS - nothing new besides an embarrassing transition into and out of BoTH 9. TMP - nothing here besides concert arrangements I judge the End Credits mostly on whether they present a genuinely new twist of their respective themes, vs. if it's just music that can be heard in stand-alone concert arrangements. As far as Finales go, I guess it depends on how far you're willing to stretch into the film itself. I don't rank Jedi Steps especially high, esp. not as a finale b/c of the warmed-over ROTS Force Theme ending, but if I include the "Farewell & the Trip," it suddenly becomes like my #1 or #2. But, just in terms of the minute or two of music immediately before the End Credits, my finales are 1. ESB - Finale 2. AOTC - Finale (final version) -- spectacular 3. ANH - Throne Room 4. ROTS - A Home for the Twins 5. ROTJ - Victory Celebration 6. TROS - A New Home (actually prefer this to Jedi Steps, think it's more interesting musically) 7. TFA - Jedi Steps 8. TPM - The Big Parade 9. TLJ - Finale 10. ROTJ - Yub Nub (sorry)
  7. Here's another curiosity: The statement of Rey's Theme (the "sweeping" variant, specifically) on Ahch-To is a single semitone higher in the film than it is on the album. Film version is in F-minor, album version in E-minor. Listen here: https://drive.google.com/open?id=19v6aSiPphw4orLVYBStiSmNUhW9N12rj This is another case where, because of the poor sound quality we currently have, it's hard to tell if it's tracked-and-pitch-adjusted or an actual alternate cue. If it's tracked, it would seem to be overlain with a high sustained string pitch A‚ô≠6 for the first four seconds or so. Whatever the case, it speaks to the fact this was a heavily edited and continuously reshaped sequence, something already suspected by many of us.
  8. Between the approving comparisons of writers for the Washington Post -- a "dirt sheet" to which I now proudly count myself as a contributor! -- to literal Nazis, to what I can only interpret as a mocking emulation of a gay lisp in several above posts, this thread is getting really gross. I mentioned it up-thread, but when you see yourself implicitly compared to Joseph Goebbels, when that man was in fact responsible in part for murdering members of your family, then you begin to wonder whether this is an online community you want to participate in. The article in question is misguided and intellectually embarrassing enough as it is without these shit-posts. There's plenty of solid dismantling of its stupidity done a rhetorically responsible way in this thread and for that I'm grateful. You can criticize bad music analysis without resorting to infantile homophobia or your personal political axe-grinding.
  9. There's a quote from Richard Taruskin at the beginning of his History of Western Music from 2005 that has always stayed with me. He calls Adorno "preposterously overrated" and laments that musicians and scholars are still engaging with his screeds. Adorno's hostility towards anything other than Beethoven, Schoenberg and a few select others is legendary, particular his distaste for jazz, popular music, and film music. Star Wars would be absolute anathema to him, on every conceivable level. Still, he was a brilliant music critic and hugely influential social theorist; his book on Wagner is especially a tour de force. It's just that no one especially wants to read him any more, most musicologists included...
  10. And the examples he doesn't ignore, he gets wrong! I mean, Darth Maul has a motif, but it's not Duel of the Fates, which is an action set-piece -- an apocalyptic one, for sure, but not an explicit portrait of "evil." Maul's actual theme is a growly chromatic thing that is thoroughly Western in compositional sensibility. As are all the themes for all the other main villains: Vader, the Emperor, the Death Star, the Imperial Motif, the Droid Army, Gen. Grievous, Kylo Ren, the First Order, and on and on. The only villain to get a vaguely exotic-sounding theme is Jabba, and his musical characterization is probably more saliently made by his source music, which is a twisted Baroque minuet, than his tuba theme! If anyone is interested in actual good film music cultural criticism, there's plenty out there. In particular, if you want an essay on how good & evil are conveyed stylistically in this series, the standard is still James Buhler's 2001 article "Star Wars, Music & Myth." It was written pre-prequels, and there are parts you may disagree with, but on the whole it's the model for sensitive, musically-literate analysis of the broader social and political implications of Williams's music.
  11. Like I said, if it is tracked, it's been pitch adjusted up a minor third for no clear reason. The statement in Falcon Flight is in Bb major, the statement after "they fly now" is in Db-maj. Extremely hard for me tell whether it's a new performance/arrangement beyond the difference in key, given the quality of the recordings we have.
  12. I was wondering when this article was going to come up on this message-board. I'll say this: film music is a perfectly valid target of cultural & political critique, but it's gotta be, you know... at least minimally engaged with what's been said before. What bothers me so much about this article is that it is so technically inaccurate, and in making its superficial and selective claims, fails to acknowledge any scholarly or critical discourse around these scores whatsoever. Excuse me? Is this supposed to be some kind bad joke, @Josh500? As someone who has family that perished in the Holocaust, this is about the most repulsive and irresponsible thing I've seen in days. Please consider taking it down.
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