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THE LAST JEDI - Score as heard in the movie thread - SPOILERS ALLOWED

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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.

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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.

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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.

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You two sentences are completely contradictory to each other :lol:

 

It's not edited film cues, its a pure concert arrangement.

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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.

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Another great "genuine" End Credits. :sarcasm:

 

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.

 

 

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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.

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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...

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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).

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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?"

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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,

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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

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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!

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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?

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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?)

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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

 

  

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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?

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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.

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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."

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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.

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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.

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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!

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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.

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