Dixon Hill 4,234 Posted December 22, 2015 Share Posted December 22, 2015 I think this piece is so much better than everything else he's done in this same vein. Like I already said it's always been one of his least interesting modes for me, but this is a massive exception. Link to comment Share on other sites More sharing options...
nightscape94 965 Posted December 22, 2015 Share Posted December 22, 2015 3 hours ago, Bowie said: lol well my laptop is out for the count at the moment so I had to resort to more traditional methods (if taking a photo and uploading from one's phone can be considered traditional). Come on, no one uses pencil and paper anymore....... Link to comment Share on other sites More sharing options...
Jay 37,364 Posted December 23, 2015 Share Posted December 23, 2015 Sometimes I get March of the Resistance stuck in my head, but it always shifts over to a different melody there. I finally realized what it was - The Flag Parade from TPM. Anybody else see a similarity between these two pieces? Mari 1 Link to comment Share on other sites More sharing options...
armorb 9 Posted December 23, 2015 Share Posted December 23, 2015 3 hours ago, Jay said: Sometimes I get March of the Resistance stuck in my head, but it always shifts over to a different melody there. I finally realized what it was - The Flag Parade from TPM. Anybody else see a similarity between these two pieces? This is happening to me constantly. I'll be humming the March, and then realize that I transitioned into that ascending brass section of Flag Parade (say, 00:13-00:22 of that cue). Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted December 23, 2015 Share Posted December 23, 2015 Link to comment Share on other sites More sharing options...
Loert 2,511 Posted December 23, 2015 Share Posted December 23, 2015 4 hours ago, Jay said: Sometimes I get March of the Resistance stuck in my head, but it always shifts over to a different melody there. I finally realized what it was - The Flag Parade from TPM. Anybody else see a similarity between these two pieces? Yes, it is quite similar. Obviously both are based off some popular folk song in the Star Wars universe. Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted December 23, 2015 Share Posted December 23, 2015 Link to comment Share on other sites More sharing options...
Jilal 569 Posted December 23, 2015 Share Posted December 23, 2015 They're both written in minor mode. And they feature an orchestra! Yup, very similar. Link to comment Share on other sites More sharing options...
mrbellamy 6,287 Posted December 23, 2015 Share Posted December 23, 2015 I may have done at first but I'm pretty much past the point of no return with "March of the Resistance". It's way in my head, I could never mistake it with anything else. Link to comment Share on other sites More sharing options...
KK 3,307 Posted December 23, 2015 Share Posted December 23, 2015 Again, it draws from a lot of Williams' marches, so it isn't so surprising that it might remind you of a couple of others. Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted December 23, 2015 Share Posted December 23, 2015 I love the march more with each listen. Especially hearing it scattered here and there before the big main march piece. Like how it's teased innocently in 'Rey Meets BB-8.' It's stuck firmly in my head now along with many of his others from the previous 6 films, including his Droid March played throughout the prequel trilogy, which is a favourite of mine. (And that always flows in my brain uncontrollably into his villain march from The Last Crusade too) Link to comment Share on other sites More sharing options...
nightscape94 965 Posted December 24, 2015 Share Posted December 24, 2015 8 hours ago, armorb said: This is happening to me constantly. I'll be humming the March, and then realize that I transitioned into that ascending brass section of Flag Parade (say, 00:13-00:22 of that cue). I segue it into the droid invasion music from TPM in my head from time to time. Link to comment Share on other sites More sharing options...
mrbellamy 6,287 Posted December 24, 2015 Share Posted December 24, 2015 On 12/22/2015 at 1:38 PM, Bowie said: For those interested, this is what I was referring to by an additional statement of the theme before it ventures off. As it's currently written it still feels unfinished as a melody. Actually seeing it written out as a "normal" theme with that kind of A statement just makes me like the way he did it even more. aviazn 1 Link to comment Share on other sites More sharing options...
Bowie 45 Posted December 25, 2015 Share Posted December 25, 2015 10 hours ago, mrbellamy said: Actually seeing it written out as a "normal" theme with that kind of A statement just makes me like the way he did it even more. How do you figure? Link to comment Share on other sites More sharing options...
Marcus 390 Posted December 29, 2015 Share Posted December 29, 2015 The reason it is written as it is, is that the theme is intended to serve as the subject of a fugue. As such, the theme consists of a number of prominent motifs that get a good work out in the concert arrangement (and feature significantly as leitmotivics throughout the underscore). Had the theme been longer and more "complete" in shape, it would have been much less malleable in countrapuntal terms. steb74 1 Link to comment Share on other sites More sharing options...
Sithoid 1 Posted December 30, 2015 Share Posted December 30, 2015 Hi everyone! I'm new here, but I'm a lifelong Star Wars fan who loves to research behind-the-scenes stuff The more I listen to the TFA soundrack, the more it seems different from the previous Star Wars pieces. It sounds fresh, but also closer to the "real" classical music than to the film scores. I feel like there's more to this score than Holst or Stravinsky or Newman influences; 'The Resistance March' sounds like it's from the XIX century, not XX, but I can't quite tell why. Sadly, I lack conservatory education to analyse classical composers' orchestration and harmony. Maybe you can give me some tips where to look for the possible sources of inspiration? To have something to start with, I tried to write the March down, basing off your photo, and found some curiosities - like an augmented 4th (I actually had no idea it was legal in classical music), phrases ending with sharp 7th, LOTS of key changes and that pseudo-Phrygian motion in bars 20-21. I only did the beginning before starting to lose rhythm, but I hope this will be helpful - or maybe some of you will have some ideas which composers to research. I tried to google the use of augmented 4th, but it seems like it's a part of some larger harmonic patterns, and that's an area where I'd appreciate some tips... Thanks in advance! Resistance_March.mscz Oboejdub 1 Link to comment Share on other sites More sharing options...
Bowie 45 Posted December 31, 2015 Share Posted December 31, 2015 On 29 December 2015 at 1:28 AM, Marcus said: The reason it is written as it is, is that the theme is intended to serve as the subject of a fugue. As such, the theme consists of a number of prominent motifs that get a good work out in the concert arrangement (and feature significantly as leitmotivics throughout the underscore). Had the theme been longer and more "complete" in shape, it would have been much less malleable in countrapuntal terms. I don't agree. The fugato (it's not really a fugue), as is, would work fine either way. The overall structure of the piece is fine, with appropriate development and truncation here and there, but I'm just saying, personally, I feel the theme sounds truncated already; he doesn't establish the same solid melodic foundation he does in basically all of his other marches and indeed theme suites in general. It's not "wrong," it just doesn't sound "inevitable" in my opinion, which is something he is known for. Link to comment Share on other sites More sharing options...
Marcus 390 Posted December 31, 2015 Share Posted December 31, 2015 It sounds inevitable enough to my ears. But its fugal nature does naturally imply a certain element of truncation (fugato/fugue is simply a matter of overall formal scheme). There's a reason why Bach's subjects are typically short; longer, more sing-songy subjects are usually unwieldy, and one typically ends up truncating them in the process. I think Williams set himself this particular challenge right from the start, and composed the material accordingly. As with any good fugal subject, it's all about getting the motivic "hook" right, and I certainly think he does. Link to comment Share on other sites More sharing options...
Popular Post karelm 2,913 Posted December 31, 2015 Popular Post Share Posted December 31, 2015 On 12/30/2015 at 3:25 PM, Sithoid said: Hi everyone! I'm new here, but I'm a lifelong Star Wars fan who loves to research behind-the-scenes stuff The more I listen to the TFA soundrack, the more it seems different from the previous Star Wars pieces. It sounds fresh, but also closer to the "real" classical music than to the film scores. I feel like there's more to this score than Holst or Stravinsky or Newman influences; 'The Resistance March' sounds like it's from the XIX century, not XX, but I can't quite tell why. Sadly, I lack conservatory education to analyse classical composers' orchestration and harmony. Maybe you can give me some tips where to look for the possible sources of inspiration? To have something to start with, I tried to write the March down, basing off your photo, and found some curiosities - like an augmented 4th (I actually had no idea it was legal in classical music), phrases ending with sharp 7th, LOTS of key changes and that pseudo-Phrygian motion in bars 20-21. I only did the beginning before starting to lose rhythm, but I hope this will be helpful - or maybe some of you will have some ideas which composers to research. I tried to google the use of augmented 4th, but it seems like it's a part of some larger harmonic patterns, and that's an area where I'd appreciate some tips... Thanks in advance! Resistance_March.mscz Welcome, Sithoid. Excuse this very lengthy response but first a couple of points… Regarding what is ”legal” in classical music, this simply means musical styles are derived from adhering to time honored convention. Think of it as rules of grammar. Just as grammar has rules, these rules evolved over time so if we applied the rules of Shakespeare’s time to modern writing, it would seem extremely dated. If we want to write a story that takes place in Shakespeare’s time, loosely following the rules of that era would help immerse modern audiences but following old English rules too strictly and it might not sound right since that would ignore the conventions we have become used to. So this is in a broad definition what is meant by the rules of music. It is a set of conventions that were adhered to during specific times (and places) but have evolved and developed with the ingenuity, creativity, and rebelliousness of successive waves of composers. Rules are ultimately subjective but when learning them, teachers might insist on adhering to the rule to gain a mastery of the material and the expectation is the student will just add it to their comprehension of the material rather than follow it ad nauseam. In my experience, teachers did not mind if I broke a rule if it was done intentionally rather than out of ignorance to the rule. Rules are also genre specific and many times modern composers borrow from different styles or regional rules as well. For example, the 20th century composer Stravinsky also wrote neo-classical music referring to music of the classical era though usually would insert his style. The tritone (augmented 4th) was a forbidden interval through the Middle Ages because it was considered unstable and difficult to sing (the devil in music) but in Baroque and classical eras, is common as tension and release became an important part of the developing musical vocabulary. In jazz or contemporary music it is very common. Also an important distinction needs to be made regarding historical (western classical) music and film music. Generally speaking, in classical era, musical movements tend to end with a cadence or some clarity to their ending. In film, you might not want clarity since the musical drama should support the theatrical drama. For example, in “The Force Awakens” OST track called “The Abduction”, it ends with a suspension (sus-4) which wants to resolve to the 3rd of the chord. It feels incomplete as it is. This makes total sense dramatically because the heroine, Rey, was just kidnapped so to add to the helplessness of the situation, JW ends the cue on the sus-4 with a yearning quality. Raising the 7th (the sharp 7th) is very common since that is the leading tone. There is nothing unusual about that and is frequent in music. It also helps establish key changes since the 7th can act as a leading tone to the new tonic it will help reinforce harmonic changes. The way I would see the intro of this cue (using the OST as reference) is the key starts in A minor then descends a perfect fourth to E minor then descends a 4th to B minor which has an F# as leading tone to G minor which is where the theme begins at bar 14 of your sketch (or at 0:15 seconds on the OST track). The first three chords are a fifth apart (down a perfect forth) so when starting in A minor (A-C-E), the fifth is E and the inverse of the fifth is down a fourth so from A minor go down a perfect fourth to E minor (E-G-B). The B is the fifth of E so down a perfect fourth (the inverse) to get to B and now you have a leading tone of F# to the tonic of the music, G minor. Why does JW do that? Why not just start at G minor? First, the first phrase of the resistance theme ends on the fifth which is a strong interval (Star Wars first two notes for example and about a gazillion other examples), so JW is setting up a sequence where each time we land on the important fifth, we've shifted to that new dominant key and restate the phrase now in the new key. This is a romantic era convention of emphasizing the tonic by dancing around to heighten the impact when we ultimately land on it resulting in an increasing level of climactic build up. Quick music lesson follows…Beethoven’s Symphony No. 9 is in D minor but begins with A (without the third). More instruments are added as the A and E are sustained with arpeggios coming all around. The listener is not sure if the opening is minor or major leading to a prolonged tonal ambiguity as the build continues with great power as we arrive at the tonic of D minor well into the movement. This makes the opening feel like A minor since it acts as the dominant key to the tonic. So this reinforces and sets up the tonic when it finally arrives. This demonstrates Beethoven's dramatical skills...he doesn't just give you the main character, he first sets up the troubled environment where the main character exists. So if we used Beethoven as the model for “March of the Resistance” we would start the opening on the dominant of D minor. JW is doing the equivalent of this here but adding more repeats of the sequence. Dixon Hill, Sithoid, Loert and 1 other 4 Link to comment Share on other sites More sharing options...
Oboejdub 22 Posted December 31, 2015 Share Posted December 31, 2015 The augmented 4th may have been disallowed in early vocal music fof voice leading purposes, but those rules hardly apply anymore. even Bach back in the 1700s redefined and twisted the rules in such incredible and progressive ways, you'd see tritones and wicked modulations that others would not dare. With the tritone, he's kind of implying an F7 leading us to B flat, a harmonic pattern that is entirely traditional within g minor, although he may not actually complete the chords in the orchestra. The melody ending on the leading tone is part of the cadential figure. On those two eighth notes we get a iv-V (c minor-D major), and the bass instruments use their little run to give V-i, a very standard cadence. The harmonies are surprisingly traditional throughout this piece, and stylistically it stands out from the rest of the soundtrack. I am reminded of romantic composers writing a fugato in the development section of a symphony movement, and in that sense i agree with 19th century influences. Because this is a concert version and not just a movie cue, it means the form and structure are self-contained, not interwoven with on screen action. I'm trying to continue the transcription... got most of the way into the fugato Sithoid 1 Link to comment Share on other sites More sharing options...
Cerebral Cortex 3,357 Posted December 31, 2015 Share Posted December 31, 2015 On 12/20/2015 at 0:38 PM, Stefancos said: It's just fucking awesome! Absolutely. Probably one of my favorite bits of the entire film is when Han says "It's the Resistance!" and then it cuts to the X-Wings flying across the water with The Resistance cue blaring. It's one of those moments that is so brilliantly scored that you just want to get up out of your seat and yell "HELL YEAH!" (as is the case most times when both Star Wars and Williams are firing on all cylinders). Link to comment Share on other sites More sharing options...
Sir Hilary Bray 235 Posted December 31, 2015 Share Posted December 31, 2015 2 hours ago, Cerebral Cortex said: Absolutely. Probably one of my favorite bits of the entire film is when Han says "It's the Resistance!" and then it cuts to the X-Wings flying across the water with The Resistance cue blaring. It's one of those moments that is so brilliantly scored that you just want to get up out of your seat and yell "HELL YEAH!" (as is the case most times both Star Wars and Williams are firing on all cylinders). Must confess when that moment happened, the sight of the X-wings skimming the water I thought of Harrison Ford's exclamation in Air Force One when the US jets arrive: "The good guys are here!" Glorious moment musically (in Force Awakens). Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted January 1, 2016 Share Posted January 1, 2016 I love how Williams develops the march through the film. Like in 'Rey Meets BB-8' you hear an innocent little snippet that ties BB-8 to the resistance, then you hear it more serious and militarised in 'Han and Leia' and then it becomes it's full self in 'March Of The Resistance.' Great thematic development. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted January 1, 2016 Share Posted January 1, 2016 Actually, in the film that short snippet is used in Maz's place, for when a droid reconized the group and alerts the Resistance. There is is no connection to BB-8 Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted January 1, 2016 Share Posted January 1, 2016 14 minutes ago, Stefancos said: Actually, in the film that short snippet is used in Maz's place, for when a droid reconized the group and alerts the Resistance. There is is no connection to BB-8 Do they not say they have found the droid? And that woman doesn't she also say that they have found the droid that the first order is looking for? Not sure but I thought that scene was still about the recognition of BB-8. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted January 1, 2016 Share Posted January 1, 2016 6 hours ago, Cerebral Cortex said: Absolutely. Probably one of my favorite bits of the entire film is when Han says "It's the Resistance!" and then it cuts to the X-Wings flying across the water with The Resistance cue blaring. It's one of those moments that is so brilliantly scored that you just want to get up out of your seat and yell "HELL YEAH!" (as is the case most times both Star Wars and Williams are firing on all cylinders). Yeah, but no one noticed the score and it isn't memorable and Hans Zimmer should have scored it, right? Link to comment Share on other sites More sharing options...
mrbellamy 6,287 Posted January 1, 2016 Share Posted January 1, 2016 I honestly have no idea how so many people say there were no standout musical moments when that bit exists. Really weird. Not Mr. Big and Taikomochi 2 Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted January 1, 2016 Share Posted January 1, 2016 6 minutes ago, mrbellamy said: I honestly have no idea how so many people say there were no standout musical moments when that bit exists. Really weird. But their,res no epic chore theme song Taikomochi 1 Link to comment Share on other sites More sharing options...
Popular Post Dixon Hill 4,234 Posted January 1, 2016 Popular Post Share Posted January 1, 2016 Yeah, we need more themes for epic chores! Sweeping, fuck yeah! Not Mr. Big, leeallen01 and Cerebral Cortex 3 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted January 1, 2016 Share Posted January 1, 2016 Fuck Rey's theme! Epic songs with choir plz! You know, like the trailer! Not Mr. Big 1 Link to comment Share on other sites More sharing options...
Cerebral Cortex 3,357 Posted January 1, 2016 Share Posted January 1, 2016 4 hours ago, E.T. and Elliot said: Yeah, but no one noticed the score and it isn't memorable and Hans Zimmer should have scored it, right? I think that's the main thing we all should ultimately take away from this discussion, absolutely. Link to comment Share on other sites More sharing options...
Sithoid 1 Posted January 1, 2016 Share Posted January 1, 2016 Quote This is a romantic era convention of emphasizing the tonic by dancing around to heighten the impact when we ultimately land on it resulting in an increasing level of climactic build up. Thank you! That's what I was hoping to learn - harmonic patterns of certain periods and composers. Now I see why the middle part of the March sounds so dynamic, and also why I couldn't hear a third (C/C#) in the first chords of the March. It's all there in the 9th! Maybe Beethoven (and his era) is the influence I was looking for Quote The melody ending on the leading tone is part of the cadential figure. On those two eighth notes we get a iv-V (c minor-D major), and the bass instruments use their little run to give V-i, a very standard cadence. I tried to harmonize the first bars a bit, using the bass line (tubas?) and your explanations as a reference. The Iv-V-I cadence fits perfectly, though I believe there might be a substitute (VI-V-I). You're right, the beginning sounds so traditional that after harmonizing bars 12-14 I thought I was listening to "The Pianists" by Saint-Saens Now I'm beginning to understand why... Quote With the tritone, he's kind of implying an F7 leading us to B flat, a harmonic pattern that is entirely traditional within g minor, although he may not actually complete the chords in the orchestra. That's the part I didn't quite understand. How does a d-c#-d move (or even с#-c-c# in further variations) imply F7 (f-a-c-e)? I'd expect something to support the first eighth (probably a tonic in the first case and maybe A major in the second case which would be a nice transition to B flat). B flat is there in the bass line, but what I hear is a straight transition from Gm to Bbm. Attached is some further progress on transcribing the March (got to ~1:24 and tried to make sense of the harmony a bit). Can you show us your version so that we could check and combine our results? Resistance_March.mscz Link to comment Share on other sites More sharing options...
Loert 2,511 Posted January 1, 2016 Share Posted January 1, 2016 Recheck measures 12-14. The actual cadence used is not so obscure. If you figure that out, measure 18 should become obvious too. Sithoid 1 Link to comment Share on other sites More sharing options...
Sithoid 1 Posted January 1, 2016 Share Posted January 1, 2016 31 minutes ago, loert423 said: Recheck measures 12-14. The actual cadence used is not so obscure. If you figure that out, measure 18 should become obvious too. Hmmm... Unfortunately, I know little about musical tradition (which cadences are traditional and which ones are obscure) - that's why I came here in the first place. I'll try to figure it out though... I can't help but hear b-c-a-f# in the bass line in 11-13. If we're still in E minor by that point, that's V-VI-IV-II. The only substitute I can think of without violating the TSDT rule is VII instead of II (D major) - and that really does sound better! Now the 18th is trickier... The bass line gives us D-Bb, which is V-III, but I can't put D or Bbm there because of the E flat in the leading voice. Maybe I'm wrong about the bass line (it might be C-A), that can give me that F7. Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted January 1, 2016 Share Posted January 1, 2016 I feel like I've just moved to a different country and regret not learning the language. Link to comment Share on other sites More sharing options...
Loert 2,511 Posted January 1, 2016 Share Posted January 1, 2016 6 hours ago, Sithoid said: Hmmm... Unfortunately, I know little about musical tradition (which cadences are traditional and which ones are obscure) - that's why I came here in the first place. I'll try to figure it out though... I can't help but hear b-c-a-f# in the bass line in 11-13. If we're still in E minor by that point, that's V-VI-IV-II. The only substitute I can think of without violating the TSDT rule is VII instead of II (D major) - and that really does sound better! Now the 18th is trickier... The bass line gives us D-Bb, which is V-III, but I can't put D or Bbm there because of the E flat in the leading voice. Maybe I'm wrong about the bass line (it might be C-A), that can give me that F7. No no no, forget rules...you need to identify the pitches correctly first. Do not deduce harmonies from bass notes alone. Do not treat bass notes as root notes. D-Bb does NOT imply V-III. B-C-A-F# does NOT imply V-VI-IV-II. Erase that notion from your brain. Firstly, get the right hand runs between measures 12-14 right, because they're the most obvious. That will help in identifying the left hand. Now, the 18th is easier...trust me. Get the bass notes right, and hopefully that will help you make sense of the chords in the bass at measure 19. Finally, if you're going to make an arrangement of this piece, you should make the fugato a fugato. Link to comment Share on other sites More sharing options...
Oboejdub 22 Posted January 1, 2016 Share Posted January 1, 2016 here's my go at it. Got to the end of the fugato exposition (if that's the right descriptor). I am sure I made mistakes (particularly inner voices) and some of my writing is a little disorganized (when 3 voices are moving at once it's tough), and I feel like there must be some suspensions or something that I missed during the last D minor bit. March_of_the_Resistance.pdf Sharkissimo 1 Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted January 1, 2016 Share Posted January 1, 2016 Wowserz, that's complicated. Was any of his writing in the OT so complex? Link to comment Share on other sites More sharing options...
Oboejdub 22 Posted January 2, 2016 Share Posted January 2, 2016 I'd say that most of his stuff is more complex harmonically and rhythmically than this. but the advanced counterpoint stuff only shows up occasionally. Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted January 2, 2016 Share Posted January 2, 2016 Bravo @mrbellamy fighting the good fight in the youtube comments. Pleased to see a JWFanner show up in the top comments. Cerebral Cortex and mrbellamy 2 Link to comment Share on other sites More sharing options...
mrbellamy 6,287 Posted January 2, 2016 Share Posted January 2, 2016 Taikomochi 1 Link to comment Share on other sites More sharing options...
karelm 2,913 Posted January 2, 2016 Share Posted January 2, 2016 20 hours ago, crumbs said: 20 hours ago, crumbs said: Wowserz, that's complicated. Was any of his writing in the OT so complex? Wowserz, that's complicated. Was any of his writing in the OT so complex? Absolutely! JW balances thematic simplicity with structural complexity. A few vintage examples: (starting at around 2:35 to the end for some serious writing) http://www.youtube.com/watch?v=SWOb4gTTWBI (0:24 seconds in) ...alot of other examples but you get the point. Oboejdub 1 Link to comment Share on other sites More sharing options...
Datameister 2,043 Posted January 2, 2016 Share Posted January 2, 2016 This theme is ridiculously bad-ass in its first big statement. It immediately caught my attention in the theater and I loved (finally) listening to it on the FYC for the first time today. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted January 2, 2016 Share Posted January 2, 2016 Yes! Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted January 2, 2016 Share Posted January 2, 2016 It sounds like vintage Williams. Cerebral Cortex and mrbellamy 2 Link to comment Share on other sites More sharing options...
Balahkay 627 Posted January 2, 2016 Share Posted January 2, 2016 It's very catchy, too. Link to comment Share on other sites More sharing options...
Quintus 5,399 Posted January 2, 2016 Share Posted January 2, 2016 1 hour ago, E.T. and Elliot said: It sounds like vintage Williams. It actually does; albeit not vintage 'Star Wars' Williams. Which is weird and brilliant at the same time... Oboejdub 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted January 2, 2016 Share Posted January 2, 2016 Yep. While I would actually argue that a lot of the score is most certainly modern, or post-1990 Williams in sound and Rey's Theme is very Potter-esque, the Resistance March is the Williams that did Black Sunday or the NBC News music. The villain theme (or motif?) is reminiscent of Williams of that era as well. It's for me what contributes to making this score incredibly fascinating, for as derivative and unremarkable as much of it is, it's like a ridiculously entertaining eclectic hodgepodge of Williams styles from different eras. Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
steb74 53 Posted January 2, 2016 Share Posted January 2, 2016 Yeah, count me in as another huge fan of this track! It really reminds me of Qui-Gon's theme and the type of track that Williams could have written for him had he been featured and developed more. Many elements of Rey's theme also remind me of Qui-Gon too ....maybe she's his granddaughter? ha I quickly threw the track up against the final lightsaber fight between Qui-Gon, Obi-Wan and Darth Maul and for me there's almost an infinite improvement in the energy of the scene. https://vimeo.com/150551798 I've never been a fan of this particular fight and while I'm a fan of Duel Of The Fates as a piece of music it doesn't really fit my aesthetic of SW, except for a handful of times and in particular when it's used during the destruction of the Trade Federation ship and elements of it play alongside the force theme. For me DOTF is the wrong music for the scene, add that to the over the top choreography and I just feel no excitement or tension, too light and balletic. MOTR though with its fugue style works wonderfully for me, the independent musical voices working together or against each other makes so much more emotional and dramatic sense ....dare I say that this scene might actually feel a little exciting now and worthy of a little emotional investment, I never thought I'd say that!!! It's just a shame that as the music is reaching some of its glorious peaks the bloody energy shield kicks in! Link to comment Share on other sites More sharing options...
Red 75 Posted January 3, 2016 Share Posted January 3, 2016 The Resistance theme is one of my favorite elements of the new score. And story wise I think it's really interesting that this time around the (ostensible) good guys have their own march. Traditionally in Star Wars the bad guys get the marches, be it the Trade Federation or the Empire. The good factions get the shorter motifs but here it is the other way around. It's a salient reflection of the the way the galactic powers are setup in the films. Cerebral Cortex and Jay 2 Link to comment Share on other sites More sharing options...
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