Docteur Qui

Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.

Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.

This was yesterday when I went to see Dial Of Destiny at my local theater, of course I had to dress as Indy for the occasion. What do you guys think?
 
I absolutely loved the movie and the score very much.

 
Me as Indiana Jones

Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.

Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.

After listening to the OST a few more times, I really appreciate the Antiquity and Archimedes' themes now. 
 
I love how authentic the Antiquity theme sounds. If I didn't know the score and someone played to me Centuries Join Hands from 0:23 to 1:00 saying that it was a rejected cue from Alex North's Spartacus or one of Miklos Rosza Roman epics, I'll surely believe it. It's the closest Williams got to scoring something involving the Ancient Greeks/Romans, and he used it as an opportunity to bring back the sound of the old epics.
 
The Archimedes' theme is filled with wisdom, but still imponent, stern and even a little distant. It's kinda like JW's lost Dumbledore theme had he scored the latter Potter movies. 
 
Both themes are great, and proof that our Johnny remains filled with creativity even at such an advanced age.

It'd be nice to see Holdo's theme from TLJ being developed in a concert suite.

Aside from the violin theme, I think the album benefits from a strong narrative. Is it too short? Are there cues I wish we’d gotten too? Yes and yes, but what’s here tells a coherent story. Not all Williams albums can say the same, especially TROS.

You simply overestimate the amount of people in any culture who are taking interest in film scoring.
People leave during every credits, not just IJ.

You know what, I just let enjoy people whatever they like. But yes, it is a shame so many people don't connect with it, especially knowing it "might" be the last thing they'll hear from him in terms of big blockbuster scores like this. But then, I do remind myself that having been around this forum for about 21 years now, every new work he's done since then tends to grow on people over time. I can remember people complaining about the first Harry Potter being Williams on autopilot and Across the Stars being the least inspired thing he's ever written. Not to mention his highly inventive action music from the prequels was branded bland and boring. The expectations are so high every time that nothing short of second coming of Christ will do. But I am fairly confident people will look more fondly at this music in the future. So all is good.
 
I am not surprised at any aspect of the score because Williams has being going through this creative "retrospective" (for lack of a better work) for the past 18 years. You can tell he feels content with how the things are and doesn't feel pressure anymore to reinvent himself (that ended with Geisha and Munich, more or less). I am sure he does the film if he feels like it and does it out of pure joy of collaborating with younger filmmakers. Which, at his age, must be a source of great joy for him. To see his "Swiss watch-like" artistry applied to anything new these brings me a lot of pleasure on its own terms. He absolutely doesn't  need to feel any pressure to bring that smirk to my face, and yet he does waste his precious time and energy to do just that. I feel quite blessed.
 
Karol

Right there with you! Luke's exile theme is my favourite element in the score to The Last Jedi and Archimedes' theme is quickly becoming a highlight for me.
 
How dissapointing that so many 'regular' fans tend to dismiss Williams' later work. His current musical styles is far more understated than before but I think it has a lot more going on emotionally. But this is very hard to express to the layman who desires so-called memorable themes. (If Rey's theme isn't memorable, I don't know what is.) 

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

It’s a reference to Brahms’ Academic Festival Overture.

This is so brilliant!
 
Another short musical moment, at time 0:50 it's a wasted chance to make a nostalgic theme with some new sub-theme. I would like something more with this orchestration of Raider's March. 
 

The beginning of this makes me cry every time. My wife said to me that he is so ingenious.

I have a hunch that this was the influence. Even some of the same chords here and there, particularly closer to the end.
 
 
comparison.mp3  

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

I'm falling quite in love with the Archimedes theme. At first I brushed it off as just Williams doing his usual modal mystery style and lamented the lack of bells and whistles in its orchestration, just the usual kind of thing that you'd hear in the dénouement of a Williams score. But the more I listen to it the more it reveals itself, and it's quite sublime. The noble but ghostly orchestration; the ethereal nature of it, the unexpected melodic shifts and how it opens up into something more romantic and beautiful... The modal shift in the horn phrase that begins at 4:28 of Prologue just gives me chills. 
 
It reminds me a little of Luke's exile material in TLJ, which did a similar thing for me - what I thought initially was meandering underscore was in fact a very subtle and intentionally structured theme.
 
I also love how he ends the Prologue track with the theme, melancholic and sinister... I can't help but think of the carnivore motif rounding out the end credits of Jurassic Park.

Cool! It's great to get these things down on paper.
 
I'm currently figuring out the harmonies in preparation for a piano arrangement of Helena's theme. Most of your labellings look correct to me, though I hear some things differently. For line 2, I hear something like:
 

 
So bar 2 I would say is Ab9 -> Em/G
And bar 4 I think is just Ab diminished -> D.
 
As for line 3 bar 4, is the 2nd beat F(b6)? (b6 as in Db?) I just hear F (or FMaj7 at most).
 
I also agree with @filmmusic that A is leading up to the main "first subject" which is A'.
 
(P.S. I just love the elusive, luscious harmonies in this theme...JW knocked it out of the park as far as I'm concerned)
 

Not sure if this warrants its own thread or not, but I've done a first pass at transcriptions of the new themes from DoD. I don't know if we've come up with consensus labels for all of these, besides the obvious for Helena and Voller. Also have little confidence that the Archimedes theme is transcribed rhythmically 100% accurately, or the tertiary Nazi theme harmonically.
 
 
Helena (transcribed from arrangement that premiered last year):

 
 
 
 
Antiquity/Antithykera Mechanism (transcribed from "Prologue")

 
 
 
Antithykera Mechanism (transcribed from "Archimedes Tomb")

 
 
Antikythera Piano Figure (transcribed from "Battle of Syracuse")
 

 
 
 
 
 
Archimedes (Transcribed from "Prologue")

 
 
 
Nazis 0 "Voller" (transcribed from "Airport")

 
 
 
 Nazis 1 "Spirit" (transcribed from "Prologue")

 
 
 
Nazis 2 "Supremacy" - exotic and furtive (transcribed from "Prologue")

 
 
 
Nazis 3 "Might" -- chorale(transcribed from "Prologue")

 
 
 
Nazis 4 "Determination" -- Transcribed from "The Airport"

 
 
 
 
Syracuse -- Transcribed from "The Battle of Syracuse"