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Ludwig Göransson & Joseph Shirley's THE MANDALORIAN (2019-present)


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1 hour ago, Jay said:

 

Wait a minute... did you think that the composer working under Goransson for the past 8 years was the Batman: TAS composer, who'd be almost 80 now if she was still alive, or did you know it was an up-and-coming young person, but just typed the wrong name? 

I just mixed them up. Since Shirley is in Joseph Shirley's name, I don't know why my mind immediately jumped into Shirley Walker and I hadn't realized my mistake until you pointed it out.

 

But of course I know who she is, and that she's sadly dead. Her work for Batman is some of my favorite superhero music ever, and I think her theme is on par with Elfman's! I also know her from her work with John Carpenter on the sequel to Escape from New York! 

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58 minutes ago, Knight of Ren said:

I just mixed them up. Since Shirley is in Joseph Shirley's name, I don't know why my mind immediately jumped into Shirley Walker and I hadn't realized my mistake until you pointed it out.

I have the same problem, my mind can't get these two names apart

 

4 hours ago, Knight of Ren said:

Also, the music for the Purrgils was quite lovely and I hope that's one of the cues that appears in the album.

Agreed. Though in the back of my mind I remembered they already had a theme in Rebels.

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Hi All,

Tune in to a new Film Music Live on Monday, March 6 at 1PM (4PM EST) as CREED III composer JOSEPH SHIRLEY (The Mandalorian, The Book of Boba Fett, Jackass Forever) gets into the videocast ring to pull no punches on talking about what it takes to don the musical mantle of Hollywood’s famed legacy characters. Be at the ropes to ask your questions for a new generation’s rising score powerhouse.

https://www.youtube.com/watch?v=mws6FRhvA4c

Thanks as always for tuning in to the show where you get to ask your questions to today's top composers!

Daniel Schweiger
Host, Film Music Live

 

https://filmscoremonthly.com/board/posts.cfm?threadID=150631&forumID=1&archive=0

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There was some nice stuff in the score. Felt more traditional in many places than the previous seasons which really surprised me.

 

Karol

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10 hours ago, crocodile said:

There was some nice stuff in the score. Felt more traditional in many places than the previous seasons which really surprised me.

 

Karol

I was thinking the exact same thing. Shirley is definitely off to a good start this season.

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I really liked the score to the first episode of season 3!

 

I can't say I picked up on everything going on on first watch of course, but two things I took notice of was: Some really cool new variations of IG-11's theme, and some awesome action music during the asteroid chase.

 

BTW, I thought during the end credits I noticed an update to the normal end credits music, like an extra instrument added to the mix.  Anyone else notice this, or am I mistaken?

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I don't think so.  I've never heard this before I don't think, or if I did I don't remember it - but that section where he plays the piano in the video sounds completely different from anything I've heard in the show or on any album.  Then there's vocals and some synth stuff later that I don't recognize.


I'd have to fire up Disney+ to listen to the end credits in the episode again, but I thought it was the same "base" recording as always, just with like an extra synth bit in the mix I hadn't ever heard - or just hadn't noticed - before.  I dunno.

 

Where's our experts on this - @The Illustrious Jerry ? @Knight of Ren ?

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I don't know which part of the track are you exactly referring to. I went back and listened to the end credits and to me it sounded the same as it did in previous seasons. Could be wrong, but I didn't noticed anything different, I don't know...

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The end title sounded 100% verbatim to the standard one they've used. They've only deviated from it a couple of times and in those cases it was the orchestra-only version for season 1 episode 7 (same as the one Goransson conducted at the season 2 premiere livestream with the socially-distanced musicians) and the strings-only version in the season 2 finale. 

 

 

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7 hours ago, Jay said:

 

BTW, I thought during the end credits I noticed an update to the normal end credits music, like an extra instrument added to the mix.  Anyone else notice this, or am I mistaken?

I thought the same thing! But winds instead of synth

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On 3/3/2023 at 9:08 AM, Laserschwert said:

To me, the asteroid chase music sounded VERY "traditional", in that the brass had that blaring quality to it, which I usually associate with 70s-80s recordings.

 

 

On 3/3/2023 at 12:53 PM, crocodile said:

Yeah, the asteroid scene in particular sounded like a stylistic bridge between Goransson and Williams.

 

Karol


It was just this track reused from S1…

 

 

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Actually, it starts with Warm or Cold, but then moves on into new material, with some cool Recorder Riff action variations right before Mando encounters the big pirate ship. It's kind of funny that it was released with chapter 5's album, bu it went unused and has been tracked twice after that, once in each season.

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I already shared my thoughts on the episode as a whole in the other thread, but I will use this post to talk a bit more about the music. It relied a bit too much on tracking for my taste, especially in the first half, and I was that for example for Bo Katan's action sequence Shirley had done a new variation on her theme, instead of just tracking the Season 2 track, Ship o hoj, Mandalorians!

 

Apart from that, there were some cool moments, especially in the escape sequence with Grogu, which had some great action variations on the Child's theme, and also what it seems to be a new theme for the city of Mandalore, which has some nice variations intermingling with softer arrangements of Bo Katan's own theme.

 

In case anyone is interested in reading a bit more about the music in this episode, I leave here my analysis of the score from my blog, so feel free to check it out and leave your thoughts on it. Cheers!

 

Chapter 18 - The Mines of Mandalore

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Nice blog, but I'd change the font color of the title of the blog post so it doesn't blend with the background image.

 

On 05/03/2023 at 5:52 PM, crocodile said:

To me, it sounded more like the version they used for this music video:

 

 

Karol

 

That's some bad piano playing.

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29 minutes ago, Jurassic Shark said:

Nice blog, but I'd change the font color of the title of the blog post so it doesn't blend with the background image.

Thanks! Yeah, the title has always been a bit of a problem, and the platform doesn't let me change the color of the title itself, so I tried to add a soft background to highlight it a bit more, but I will try to change it a bit more during this week. But thanks for the heads up on that!

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59 minutes ago, Knight of Ren said:

Thanks! Yeah, the title has always been a bit of a problem, and the platform doesn't let me change the color of the title itself, so I tried to add a soft background to highlight it a bit more, but I will try to change it a bit more during this week. But thanks for the heads up on that!

 

You're welcome. I'd also change the blog title to A Note too Far or Too Many Notes, or perhaps Note with my Vinyl, you don't!

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I didn't notice any specific cues in episode 2 I want to hear later, but that is probably mostly due to just being so absorbed in watching the episode itself!

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For anybody who has found the time to watch that video interview, can you share anything interesting he said about scoring Mando season 3?

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Nice musical candy in this episode. There is also a sweet reference to ROTS: those low male vocals we hear when the scientist makes his decision are referenced to the space Opera scene from ROTS!

You could even interpret a meta meaning to that, but I won't!

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1 hour ago, Michael Grigorowitsch said:

Nice musical candy in this episode. There is also a sweet reference to ROTS: those low male vocals we hear when the scientist makes his decision are referenced to the space Opera scene from ROTS!

You could even interpret a meta meaning to that, but I won't!

 

Not to mention a recollection of this motif from Snoke's boudoir in TLJ, around when Pershing decides to resume his work.

 

77 Snoke's Budoir.png

 

So we have now, among other things, a diegetic calliope version of the March of the Resistance, another return to Snoke's low male chorus, and yet no nod to "Themes by JW" in the end credits! :P

 

The odd background music during the not-mind-flayer rehab scene feels like a possible reference too; anyone hear it clearly enough?

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38 minutes ago, Falstaft said:

 

Not to mention a recollection of this motif from Snoke's boudoir in TLJ, around when Pershing decides to resume his work.

 

77 Snoke's Budoir.png

 

So we have now, among other things, a diegetic calliope version of the March of the Resistance, another return to Snoke's low male chorus, and yet no nod to "Themes by JW" in the end credits! :P

 

 

 

 

I might be wrong, but is there the actual same melody as in TLJ are those two melodic lines just part of the same harmonic identity? (timestamp: 30:16?)

 

I guess the intention was rather focused on referencing this, the melody is just part of the same harmonic identity.

 

38 minutes ago, Falstaft said:

The odd background music during the not-mind-flayer rehab scene feels like a possible reference too; anyone hear it clearly enough?

I heard subtle hints of Jabba's Baroque Recital, however, I am also not sure whether this is actually an intended reference here.

Maybe that's just the way composers think when they are being asked to compose bizarre sci-fi music.

38 minutes ago, Falstaft said:

and yet no nod to "Themes by JW" in the end credits! :P

 

there is also no credit on IMDB https://www.imdb.com/title/tt13665846/fullcredits/?ref_=tt_cl_sm

I wonder if he gets royalties for that?

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6 minutes ago, Michael Grigorowitsch said:

I might be wrong, but is there the actual same melody as in TLJ are those two melodic lines just part of the same harmonic identity? (timestamp: 30:16?)

 

I think probably all these little motifs are of a kind, rhythmically and in terms of their pitch content. Transposing everything to C, the one from today's Mando is:

G-F#-Ab-G-B, G-F#-Bb-Ab-D

 

Snoke's chamber one is:
G-Ab-Eb-D-B-Eb-D, G-Ab-Eb-D-B

 

Palpatine's big pitch one is:

Ab-G-Eb-B-Ab-Eb...

 

 

6 minutes ago, Michael Grigorowitsch said:

I heard subtle hints of Jabba's Baroque Recital, however, I am also not sure whether this is actually an intended reference here.

Maybe that's just the way composers think when they are being asked to compose bizarre sci-fi music.

 

That's what I'm feeling too. A nice, weird touch, whatever the cue was modeled on.

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Shirley's music this episode was great and I particularly loved his new Coruscant theme, as well as the development of a motif from previous episode, that now it's starting to seem like it represent's Bo Katan's journey for redepmtion.

 

The carnvial-arrangement of the March of the Resistance was quite unexpected but so much fun, and I love all the other subtle references to Williams music, especially with that low male choir representing the Dark Side of the Force like it did with Palpatine and Snoke. What @Michael Grigorowitsch and @Falstaft are referring as the motif from Snoke's Boudouir is actually a motif representing Werner Herzog's character in Season 1, and that has been used a couple of times to represent the darker side of the story. 

 

In case anyone is interested, I did a short analysis of the soundtrack of the episode, which you can check out on my blog. Feel free to check it out and share your thoughts. Enjoy!

Chapter 19: The Convert

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21 minutes ago, Knight of Ren said:

Shirley's music this episode was great and I particularly loved his new Coruscant theme, as well as the development of a motif from previous episode, that now it's starting to seem like it represent's Bo Katan's journey for redepmtion.

 

The carnvial-arrangement of the March of the Resistance was quite unexpected but so much fun, and I love all the other subtle references to Williams music, especially with that low male choir representing the Dark Side of the Force like it did with Palpatine and Snoke. What @Michael Grigorowitsch and @Falstaft are referring as the motif from Snoke's Boudouir is actually a motif representing Werner Herzog's character in Season 1, and that has been used a couple of times to represent the darker side of the story. 

 

In case anyone is interested, I did a short analysis of the soundtrack of the episode, which you can check out on my blog. Feel free to check it out and share your thoughts. Enjoy!

Chapter 19: The Convert

Great find! And this is why you don't speculate on something you don't have extended basic knowledge of, 😆. Also shows that there is more "classic" star wars musical identity than one thinks at first glance in this fantastic series! GREAT blog entry!

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35 minutes ago, Knight of Ren said:

 

In case anyone is interested, I did a short analysis of the soundtrack of the episode, which you can check out on my blog. Feel free to check it out and share your thoughts. Enjoy!

Chapter 19: The Convert

 

Awesome, thank you @Knight of Ren!

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Was anyone able to identify tracks from the soundtracks with music identification apps?

In season 2 it worked even before the fourth episode of the soundtrack volume was released

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3 hours ago, vorenij said:

Was anyone able to identify tracks from the soundtracks with music identification apps?

In season 2 it worked even before the fourth episode of the soundtrack volume was released

I've been trying since the first episode and nothing is being detected so far.

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12 hours ago, vorenij said:

Was anyone able to identify tracks from the soundtracks with music identification apps?

In season 2 it worked even before the fourth episode of the soundtrack volume was released

 

8 hours ago, CGCJ said:

I've been trying since the first episode and nothing is being detected so far.

 

If there is a is a "Volume 1" OST album dropping this Friday, it might just be showing up in their database around now, maybe not even until a few days from now though.

 

There's no chance it would have been in there at any point before this week

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This episode really allowed Shirley to shine with lots of many great variations on previosuly established themes, as well as some interesting developments on his new themes for the season. The Mandalore / Redemption theme is slowly cementing itself as a new identity for Bo Katan's emotional journey for this season, and we also get a brief nod to the Mythosaur theme that played at the end of episode 2, when she saw the creature under water.

 

If you want to read a more in-depth analysis on the music of the episode, feel free to check out my blog post, and feel free to share your thoughts on it. Enjoy!

Chapter 20: The Foundling

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