leeallen01 2,136 Posted December 19, 2017 Share Posted December 19, 2017 Whenever I hear this little thing a few times throughout the score: 2.29 I think of how Williams ends his Force Theme sometimes: 0:21 Link to comment Share on other sites More sharing options...
artguy360 1,843 Posted December 19, 2017 Share Posted December 19, 2017 ^ Please use timestamps to make catching small musical moments easier for everyone. Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted December 19, 2017 Share Posted December 19, 2017 Just now, artguy360 said: ^ Please use timestamps to make catching small musical moments easier for everyone. I try but have no idea how. I was told but it still doesn't make sense. I'm retarded when it comes to this stuff. Link to comment Share on other sites More sharing options...
artguy360 1,843 Posted December 19, 2017 Share Posted December 19, 2017 On Youtube, when you hit the share button there is a small box for you to check that says something like "start at" right under the url. Set the right time for the music you want us to hear. Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted December 19, 2017 Share Posted December 19, 2017 There has never been that option on my phone at all. I've never seen anything like that. Link to comment Share on other sites More sharing options...
Holko 9,526 Posted December 19, 2017 Share Posted December 19, 2017 THAT's the problem, you're using the horrible Youtube app or the mobile site instead of the (mostly) properly working desktop browser version. Of course you're going to strip yourself from options that way. Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted December 19, 2017 Share Posted December 19, 2017 Because I'm on my phone. I don't have a pc or laptop. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,367 Posted December 19, 2017 Author Popular Post Share Posted December 19, 2017 On 12/14/2017 at 3:13 PM, bondo said: how about the chronological track order? Does it seem to be mostly in order, or all over the place? On 12/16/2017 at 5:28 PM, Panama Jack said: So is the official soundtrack tracklist already in chronological order more or less, assuming I didn't want to have to do any editing to the tracks themselves? 23 hours ago, mstrox said: Does anybody know if the album is mostly chronological? I didn't see a chrono playlist as I was blipping through this thread this morning. 01 Main Title and Escape (7:26)02A [0:00-1:44] "Luke Meets Rey" (1:44) 03 Revisiting Snoke (3:29)02B [1:44-end] "Luke's Daily Routine" (2:39) 04 The Supremacy (4:01)06A [0:00-2:00] "Luke and R2" (2:00) 05 Fun with Finn and Rose (2:34)06B [2:00-end] "Luke and Rey to Cliffside" (2:29) 08 Lesson One (2:10) 09 Canto Bight (2:38) 10 Who Are You? (3:04) 11 The Fathiers (2:42) 12 The Cave (3:00) 13 The Sacred Jedi Texts (3:33) 14 A New Alliance (3:13) 15 “Chrome Dome” (2:03) 16 The Battle of Crait (6:48) 17 The Spark (3:36) 18 The Last Jedi (3:04) 19 Peace and Purpose (3:08) 20 Finale (8:28) Concert arrangement: 07 The Rebellion is Reborn (4:00) bondo, Chen G. and Panama Jack 2 1 Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted December 19, 2017 Share Posted December 19, 2017 Thank you! Have we any idea from what cues in the movie the concert arrangement was edited? Because I'm pretty sure it wasn't composed as a standalone suite. Link to comment Share on other sites More sharing options...
Jay 37,367 Posted December 19, 2017 Author Share Posted December 19, 2017 You two sentences are completely contradictory to each other It's not edited film cues, its a pure concert arrangement. Link to comment Share on other sites More sharing options...
mstrox 6,651 Posted December 19, 2017 Share Posted December 19, 2017 Thanks, Jay! Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 19, 2017 Share Posted December 19, 2017 4 hours ago, Chen G. said: Yes, but that he so often stuck so close to the temp-track rather than come up with something fresh, is telling. It is if you decide its telling. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted December 19, 2017 Share Posted December 19, 2017 2 hours ago, Chen G. said: Thank you! Have we any idea from what cues in the movie the concert arrangement was edited? Because I'm pretty sure it wasn't composed as a standalone suite. It seems to be arranged very much like a concert suite: Rose's Theme and Luke's new theme which intertwine and intermingle, arguably two new major 'Rebel' Themes. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,367 Posted December 19, 2017 Author Popular Post Share Posted December 19, 2017 Here's the make-up of the end credits (OST track) 0:00-1:05 (1:05) = final scene of the movie 1:05-1:50 (0:45) = '77 end credits opening 1:50-2:40 (0:50) = Rose's Theme 2:40-2:56 (0:16) = Leia's Theme on piano 2:56-3:44 (0:48) = new Luke/Rey/Island Theme 3:44-4:40 (0:56) = a section of "The Battle of Crait" (includes material not in the OST track) 4:40-5:33 (0:53) = Yoda's Theme 5:33-6:25 (0:52) = a section of "Holdo's Sacrifice" (unreleased film cue, chronologically this goes between "A New Alliance" and "Chrome Dome" if you want to edit it out and put it there) 6:25-7:27 (1:02) = a section of "The Battle of Crait" (includes material not in the OST track) 7:27-End (1:01) = Rey's theme ending Here's the make-up of the end credits (in the film) 0:00-0:58 (0:58) = final scene of the movie 0:58-1:44 (0:46) = '77 end credits opening 1:44-2:34 (0:50) = Rose's Theme 2:34-2:49 (0:15) = Leia's Theme on piano 2:49-3:59 (1:10) = new Luke/Rey/Island Theme 3:59-5:15 (1:16) = a section of "The Rebellion is Reborn" 5:15-8:08 (2:53) = a section of "The Battle of Crait" (includes material not in the OST track) 8:08-End (1:01) = Rey's theme ending Obi, Taikomochi and idril 2 1 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted December 19, 2017 Share Posted December 19, 2017 That's a clusterfuck! Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted December 19, 2017 Share Posted December 19, 2017 Another great "genuine" End Credits. I assume the "music editor" of Rian Johnson completely created it, without even asking John Williams to write one. "Good, good... less work for me" - John Williams. Joni Wiljami and Chewy 2 Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted December 19, 2017 Share Posted December 19, 2017 I think the final moment of 'Finale' may be my favourite ending to an end credits in all of Star Wars. Joni Wiljami and idril 2 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 19, 2017 Share Posted December 19, 2017 In regards to an editor constructing the credits, that's certainly not the case considering how much unique material is heard in the credits. I'm not saying it's all recorded for the credits, but everything until the Battle of Crait starts is unique, and the Rey's theme at the end is unique. Not to mention, the Battle of Crait segments have very carefully done transitions that suggest Williams intended them to make up the credits, even if he only recorded the transitions as inserts. Link to comment Share on other sites More sharing options...
Joni Wiljami 1,206 Posted December 19, 2017 Share Posted December 19, 2017 11 minutes ago, leeallen01 said: I think the final moment of 'Finale' may be my favourite ending to an end credits in all of Star Wars. Oh yes, now its starting... Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 19, 2017 Share Posted December 19, 2017 5 minutes ago, hornist said: Oh yes, now its starting... The-Last-Jedi-aissance? Link to comment Share on other sites More sharing options...
Joni Wiljami 1,206 Posted December 19, 2017 Share Posted December 19, 2017 Sorry my english skills are limited but probably yes?!! 😊 Link to comment Share on other sites More sharing options...
crumbs 14,317 Posted December 19, 2017 Share Posted December 19, 2017 At least he was mindful of not repeating too much music from the OST proper for the credits. This is hardly a Mischief Managed situation. And we got the cue that most people were clamoring for in the OST proper (Holdo). Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 19, 2017 Share Posted December 19, 2017 2 minutes ago, hornist said: Sorry my english skills are limited but probably yes?!! 😊 That's ok! "-aissance" at the end of a word is often used to suggest the word "renaissance," as in "is this the renaissance of popular opinion turning in favor of the score to TLJ?" as in "Are people starting to see the true brilliance of TLJ?" Joni Wiljami 1 Link to comment Share on other sites More sharing options...
Joni Wiljami 1,206 Posted December 19, 2017 Share Posted December 19, 2017 YES!!!! Link to comment Share on other sites More sharing options...
Popular Post crocodile 8,017 Posted December 20, 2017 Popular Post Share Posted December 20, 2017 One interesting thing I've noticed while listening to the album today is that Williams never rarely (if ever) states the second part of Rey's theme in this score, almost as if to mirror how lost she feels in this part of journey. The theme, while, frequently used, doesn't get to resolve itself easily this time. Gone seems to be also her meandering "scavenger" sub-theme. Only at end of end credits her theme reaches cathartic resolution. But it is slightly different... wiser, more emotionally charged and... somewhat less youthful. The second sub-theme closes the score with new-found optimism but even that sounds more mature this time. She's grown as a character and the fate of entire galaxy rests in her hands now. She's not a lost little girl anymore and has a purpose. The new waltz-like training theme also seems to be somewhat related to her theme. Or maybe I'm reading too much into it? Karol Cerebral Cortex, Damien F, Holko and 3 others 4 2 Link to comment Share on other sites More sharing options...
Taikomochi 1,136 Posted December 20, 2017 Share Posted December 20, 2017 I think that's reasonable. On the other hand, I notice Williams almost never uses the 6-note short hand for Rey's theme that was very prevalent in TFA, think "The Ways of the Force," instead usually opting for the whole first phrase. I take that as well to suggest Rey's growing maturity, crocodile 1 Link to comment Share on other sites More sharing options...
Darth Mulder 154 Posted December 20, 2017 Share Posted December 20, 2017 Leia's flying in the universe...and Williams don't used Superman theme? WHY?! I am disappointed! Bespin and pete 2 Link to comment Share on other sites More sharing options...
crocodile 8,017 Posted December 20, 2017 Share Posted December 20, 2017 1 minute ago, Taikomochi said: I think that's reasonable. On the other hand, I notice Williams almost never uses the 6-note short hand for Rey's theme that was very prevalent in TFA, think "The Ways of the Force," instead usually opting for the whole first phrase. I take that as well to suggest Rey's growing maturity, That is also true. Karol Link to comment Share on other sites More sharing options...
Jay 37,367 Posted December 20, 2017 Author Share Posted December 20, 2017 30 minutes ago, crocodile said: One interesting thing I've noticed while listening to the album today is that Williams never rarely (if ever) states the second part of Rey's theme in this score, almost as if to mirror how lost she feels in this part of journey. The theme, while, frequently used, doesn't get to resolve itself easily this time. Gone seems to be also her meandering "scavenger" sub-theme. Only at end of end credits her theme reaches cathartic resolution. But it is slightly different... wiser, more emotionally charged and... somewhat less youthful. The second sub-theme closes the score with new-found optimism but even that sounds more mature this time. She's grown as a character and the fate of entire galaxy rests in her hands now. She's not a lost little girl anymore and has a purpose. Excellent analysis! Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted December 20, 2017 Share Posted December 20, 2017 "Never rarely"? What? Link to comment Share on other sites More sharing options...
rjamerson 0 Posted December 20, 2017 Share Posted December 20, 2017 9 hours ago, Stefancos said: It is if you decide its telling. How would anyone know if JW stuck to the temp track unless you have a copy in your possession? Link to comment Share on other sites More sharing options...
Faleel 5,350 Posted December 20, 2017 Share Posted December 20, 2017 7 hours ago, Jay said: Here's the make-up of the end credits (in the film) 0:00-0:58 (0:58) = final scene of the movie 0:58-1:44 (0:46) = '77 end credits opening 1:44-2:34 (0:50) = Rose's Theme 2:34-2:49 (0:15) = Leia's Theme on piano 2:49-3:59 (1:10) = new Luke/Rey/Island Theme 3:59-5:15 (1:16) = a section of "The Rebellion is Reborn" 5:15-8:08 (2:53) = a section of "The Battle of Crait" (includes material not in the OST track) 8:08-End (1:01) = Rey's theme ending What do the timings line up to? the OST? or did you get it from watching the film? (using a stopwatch and math?) Link to comment Share on other sites More sharing options...
Popular Post Ludwig 1,120 Posted December 20, 2017 Popular Post Share Posted December 20, 2017 11 hours ago, crocodile said: One interesting thing I've noticed while listening to the album today is that Williams never rarely (if ever) states the second part of Rey's theme in this score, almost as if to mirror how lost she feels in this part of journey. The theme, while, frequently used, doesn't get to resolve itself easily this time. Gone seems to be also her meandering "scavenger" sub-theme. Only at end of end credits her theme reaches cathartic resolution. But it is slightly different... wiser, more emotionally charged and... somewhat less youthful. The second sub-theme closes the score with new-found optimism but even that sounds more mature this time. She's grown as a character and the fate of entire galaxy rests in her hands now. She's not a lost little girl anymore and has a purpose. I agree with Jay, that's a great observation. And there's actually a parallel between Williams' use of Rey's theme in moving from TFA to TLJ, and Luke's in moving from ANH to TESB. In ANH, Luke's theme reaches the end of its first phrase plenty of times in the film, but in TESB (aside from the main title and end credits), there is only one time it reaches that far into the theme - when Luke is arriving at Cloud City to rescue his friends, possibly suggesting his determination at this point (doomed though he is). Incredibly, all other statements of Luke's theme don't make it that far, stopping before reaching the distinctive cadence, and many are played slowly and in minor keys. Both of these features suggest Luke's struggle in trying to become the Jedi he is supposedly destined to be. Much like Karol's observation of Rey's theme suggesting something of that character's growth, the change in Luke's from Episode IV to V seems to suggest Luke's difficulties with transitioning from an impetuous adolescent to a responsible adult. The difference, of course, is that Rey's transition seems to be going smoothly while Luke's certainly was not. Still, there is a nice symmetry between the more abbreviated use of each main character's theme in moving into the second film of the trilogy. What's most interesting is that Williams has retained a similar response to growth in Star Wars protagonists even almost 40 years later. artguy360, Sharkissimo and crumbs 3 Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted December 20, 2017 Share Posted December 20, 2017 6 hours ago, Denise Bryson said: "Never rarely"? What? It's another way to say "often". Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted December 20, 2017 Share Posted December 20, 2017 10 hours ago, Taikomochi said: That's ok! "-aissance" at the end of a word is often used to suggest the word "renaissance," as in "is this the renaissance of popular opinion turning in favor of the score to TLJ?" as in "Are people starting to see the true brilliance of TLJ?" I noticed the brilliance on first listen. What fool wouldn't? Has anyone said what they think this is at 4:52 in Battle of Crait? Sounds to me like a variation on Kylo's tragic descending theme. And is 2:53 a variant on the same brass motif? Also 5:24 - 5-28 in Battle of Crait is the resolve of the Resistance March at 2:24 Link to comment Share on other sites More sharing options...
artguy360 1,843 Posted December 20, 2017 Share Posted December 20, 2017 Does anyone else think JW might be exploring a new stylistic approach to scoring big, dramatic, climatic scenes in Star Wars? Listening to TFA and TLJ I notice a similarity in how JW scores the big moments in the 3rd act of each film. Consider Torn Apart and the build up to Kylo Ren killing Han, The Spark as Luke walks out to confront Kylo Ren/ the First Order, and The Last Jedi with whatever is happening on screen as the second half of the track finishes. Without any musical terminology to guide me, all three have non-thematic music with a very clear use of repeated string figures over the top of building brass. Specifically it's the non-thematic part, the use of strings, and the focus on rhythm instead of melody that I find so interesting. I know JW has written similar music before, but I've never heard this approach used so consistently for similarly climatic scenes and never like this in a SW score. Here are the moments in question, from TFA: And during The Spark from TLJ: And from TLJ: So what do y'all think? Is there an interesting similarity across all three that might be of note? Or am I just losing my mind? Will and ocelot 2 Link to comment Share on other sites More sharing options...
idril 86 Posted December 20, 2017 Share Posted December 20, 2017 I think there is a little bit of a pattern there - and I have to say I like it! I find it very dramatic. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted December 20, 2017 Share Posted December 20, 2017 55 minutes ago, artguy360 said: Does anyone else think JW might be exploring a new stylistic approach to scoring big, dramatic, climatic scenes in Star Wars? Listening to TFA and TLJ I notice a similarity in how JW scores the big moments in the 3rd act of each film. Consider Torn Apart and the build up to Kylo Ren killing Han, The Spark as Luke walks out to confront Kylo Ren/ the First Order, and The Last Jedi with whatever is happening on screen as the second half of the track finishes. Without any musical terminology to guide me, all three have non-thematic music with a very clear use of repeated string figures over the top of building brass. Specifically it's the non-thematic part, the use of strings, and the focus on rhythm instead of melody that I find so interesting. I know JW has written similar music before, but I've never heard this approach used so consistently for similarly climatic scenes and never like this in a SW score. Here are the moments in question, from TFA: And during The Spark from TLJ: And from TLJ: So what do y'all think? Is there an interesting similarity across all three that might be of note? Or am I just losing my mind? The Spark has a tremendous impact in the film. The sequence of Luke walking out is largely wordless and the music makes it very dramatic. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 20, 2017 Share Posted December 20, 2017 It's awesome. I was hoping that would be on the OST when i saw the film Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted December 20, 2017 Share Posted December 20, 2017 It's almost like he is going beyond separate character themes and instead writing singular dramatic pieces for a major climactic moment to show how important and perhaps 'out of character' they are. Then we ask Williams himself and he says "no baby, oh not at all. I just liked those notes and used them." artguy360 1 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted December 20, 2017 Share Posted December 20, 2017 Love the little motif from TFA's 'Inside Starkiller Base' brief reappearance. Can't remember where in TLJ though off the top of my head, but it's related to Kylo. Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted December 20, 2017 Share Posted December 20, 2017 55 minutes ago, leeallen01 said: It's almost like he is going beyond separate character themes and instead writing singular dramatic pieces for a major climactic moment to show how important and perhaps 'out of character' they are. Williams always had a knack for writing material unique to a specific set-piece. Link to comment Share on other sites More sharing options...
gkgyver 1,645 Posted December 20, 2017 Share Posted December 20, 2017 Yes, and I'd have liked that Williams very much in something like Battle Of Crait, instead of reheated OT material. Link to comment Share on other sites More sharing options...
Popular Post TheUlyssesian 2,478 Posted December 20, 2017 Popular Post Share Posted December 20, 2017 I listened to The Spark a bunch of times today on loop. The ending is really monumental. That entire section with the repeated figure is so insistent and portentous. It is one of the most overt storytelling gestures Williams has made in some time, not afraid to double underline this moment in the film. And Williams isn't overselling the moment, it really is kinda the biggest scene in the film. Even just listening to it on the album it's mighty clear that something very major and super dramatic is happening on screen. It is a superb piece of film scoring. DarthDementous, crumbs, Tiburon and 5 others 8 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted December 20, 2017 Share Posted December 20, 2017 Yes! Link to comment Share on other sites More sharing options...
wooten 2 Posted December 20, 2017 Share Posted December 20, 2017 1 hour ago, TheUlyssesian said: I listened to The Spark a bunch of times today on loop. The ending is really monumental. That entire section with the repeated figure is so insistent and portentous. It is one of the most overt storytelling gestures Williams has made in some time, not afraid to double underline this moment in the film. And Williams isn't overselling the moment, it really is kinda the biggest scene in the film. Even just listening to it on the album it's mighty clear that something very major and super dramatic is happening on screen. It is a superb piece of film scoring. I love this underlying cue more than most on the soundtrack. It was featured in some of the trailers as well. It has elements of the Imperial March and is similar to the Droid Army motif used in TPM. Would love to hear it more front and center! Link to comment Share on other sites More sharing options...
Popular Post TownerFan 4,983 Posted December 20, 2017 Popular Post Share Posted December 20, 2017 As I said in the movie thread, I think the film is a complete misfire on many levels. The music somehow suffers from the film's issues of structure, pacing and tone, but this is not something new for Williams when it comes to Star Wars, of course. He confronted very similar problems in the prequels as well. He was able to work around these issues once again and delivered another excellent score. Yes, there is a lot of leaning on to previous established themes and even set-pieces (such as Here They Come), maybe a tad too much here and there, but this is his eighth Star Wars score, so in many ways it's somehow inescapable and perhaps even a way for JW to survive through the process. Here are some scattered thoughts: I think Williams scored the film brilliantly. I was very impressed by the sheer energy and vigour he put all throughout, as if he was sincerely engaged by the challenge (and I'm sure he was). In this sense it reminded me of Revenge of the Sith, where he poured so much energy all throughout the score from the very beginning to the end. He's still scoring movies the same way he did 40 years ago, so it's still pretty exciting to see he jumps on board with this kind of enthusiasm. The new thematic ideas are imho very well crafted. Rose's theme is a lovely Lydian theme in the vein of his Amazing Stories writing. I think Williams purposed this theme also as a melodic identification of the "new Rebellion" (and the concert arrangement's title seems to indicate that), something that could be worked for the future generation of Rebels/Jedi Knights kids we see at the end of the film. In this sense I wish Williams used this theme to cap off the film instead of retreading once again the Binary Sunset arrangement of the Force Theme. I truly LOVED the new Luke/Rey theme, which has strong shades of Sibelius' Second Symphony. It seems to be born out of the Jedi Steps theme, but it has a more quest-like, purpose-driven character. It truly deepens the mythological aspect of the story (which is sadly completely absent from the film itself). I thought about the Sibelius connection--it's probably unconscious from Williams' part, but it's pretty clear imho. I thought that perhaps the island scenery inspired Williams to give the music a kind of "Nordic mythology" flavour, as if he saw Luke as a kind of modern Lemminkäinen. This is one of my favorite aspects of Williams: he seems to take the best ideas out of the narrative and give them musical gravitas and purpose. The usage of classic trilogy themes is probably the most difficult aspect of the score. I think part of that generated from the clear instructions Williams got from the temp track (but again, this isn't the first time in Star Wars films), but it's also a "damned if you do/damned if you don't" situation. I think he relied a tad too much on the Force Theme in a few scenes, to the point that he probably can do only this amount of variations/permutations around this specific musical subject. I loved however how he treated Leia's theme throughout the score and his music saved one of the film's most awkward moment, i.e. flying Leia. Also, albeit he reprised Here They Come almost verbatim, it's pretty darn exciting to hear that music scoring space dogfights in full blast. I also liked how he treated the themes established in TFA (Rey, Kylo, the Resistance march, Poe), which are all presented and varied with panache and intelligence throughout the narrative. DolceMecha, Will, Tiburon and 4 others 6 1 Link to comment Share on other sites More sharing options...
Joni Wiljami 1,206 Posted December 20, 2017 Share Posted December 20, 2017 I do agree most of it and great that someone other notices the Sibelius 2nd😉 TownerFan 1 Link to comment Share on other sites More sharing options...
Jay 37,367 Posted December 20, 2017 Author Share Posted December 20, 2017 14 minutes ago, TownerFan said: I truly LOVED the new Luke/Rey theme, which has strong shades of Sibelius' Second Symphony. It seems to be born out of the Jedi Steps theme, but it has a more quest-like, purpose-driven character. It truly deepens the mythological aspect of the story (which is sadly completely absent from the film itself). I thought about the Sibelius connection--it's probably unconscious from Williams' part, but it's pretty clear imho. I thought that perhaps the island scenery inspired Williams to give the music a kind of "Nordic mythology" flavour, as if he saw Luke as a kind of modern Lemminkäinen. This is one of my favorite aspects of Williams: he seems to take the best ideas out of the narrative and give them musical gravitas and purpose. Well said my man! The entire paragraph, but especially the parts I bolded. TownerFan 1 Link to comment Share on other sites More sharing options...
Popular Post Damien F 1,742 Posted December 20, 2017 Popular Post Share Posted December 20, 2017 19 minutes ago, TownerFan said: I truly LOVED the new Luke/Rey theme, which has strong shades of Sibelius' Second Symphony. It seems to be born out of the Jedi Steps theme, but it has a more quest-like, purpose-driven character. It truly deepens the mythological aspect of the story (which is sadly completely absent from the film itself). I thought about the Sibelius connection--it's probably unconscious from Williams' part, but it's pretty clear imho. I thought that perhaps the island scenery inspired Williams to give the music a kind of "Nordic mythology" flavour, as if he saw Luke as a kind of modern Lemminkäinen. This is one of my favorite aspects of Williams: he seems to take the best ideas out of the narrative and give them musical gravitas and purpose. Rose's theme had much more of an initial impact for me but as I've listened more and more to the album, I think I now prefer that Luke/Rey theme more for exactly the reasons you describe. There is such a cool weightiness to it. I mean, Luke is carrying a comically large fish on his shoulders but the music makes it sound like such an epic and important moment in his life. It's awesome! DarthDementous, John and TownerFan 3 Link to comment Share on other sites More sharing options...
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