Faleel 5,350 Posted September 24, 2020 Share Posted September 24, 2020 Clone Wars even had Ahsoka's theme on bass flute..... Link to comment Share on other sites More sharing options...
Knight of Ren 789 Posted September 24, 2020 Share Posted September 24, 2020 That's right! Imagine a mix of Ahsoka and Mando's theme with a bass flute... But seriously, I think that the music for those two shows is a bit underrated. I mean, it's not Williams, but apart from that, it has some great themes and development of them, and I think Ahsoka's theme is quite memorable, at least in terms of how its used in the series So if it appears in Mandalorian, I'm going to be very happy Link to comment Share on other sites More sharing options...
Evanus 217 Posted September 24, 2020 Author Share Posted September 24, 2020 Since he didn't use any established themes for S1, I doubt he'll use anything from Kiner. Would be cool though Link to comment Share on other sites More sharing options...
Jay 37,368 Posted September 24, 2020 Share Posted September 24, 2020 I'd prefer Goransson to score the entire show with only his own themes Anybody else always forget if his last name has 2 ns and 1 s or 1 n and 2 ss? Granted I always forget for Scarlet Johansson's name too Maybe I'll always remember now that I've typed out my confusion Holko and Disco Stu 2 Link to comment Share on other sites More sharing options...
Knight of Ren 789 Posted September 25, 2020 Share Posted September 25, 2020 If he ends up not using them it would be okay because his material is already really great on its own. The things is that the first season didn't called for any thematic reference, maybe aside of The Force Theme with some Baby Yoda scenes, but I think this season is going to make more references to previous characters and events, so it would make more sense to accompany them with previously established themes. But whatever happens, I will be happy with as long as we get more Star Wars music! Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted September 25, 2020 Share Posted September 25, 2020 Finally catching up on this show. Göransson is the best thing to happen to Star Wars since Williams. Link to comment Share on other sites More sharing options...
A. A. Ron 1,742 Posted September 25, 2020 Share Posted September 25, 2020 43 minutes ago, BLUMENKOHL said: Finally catching up on this show. Göransson is the best thing to happen to Star Wars since Williams. No, that would be John Powell. Göransson's work is great though and appreciably fresh. Pieter Boelen and Bofur01 2 Link to comment Share on other sites More sharing options...
Faleel 5,350 Posted September 25, 2020 Share Posted September 25, 2020 So it begins..... Link to comment Share on other sites More sharing options...
Popular Post Knight of Ren 789 Posted September 26, 2020 Popular Post Share Posted September 26, 2020 I think Powell is the best in terms of how he imitates Williams music and integrates it with his own voicde, making it feel natural and organic, and not copy-paste at all. Goransson on the other hand did his own thing which is also really great, and also fitting for the star wars universe crumbs, Pieter Boelen and greenturnedblue 3 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted September 26, 2020 Share Posted September 26, 2020 These scores are a bit over-hyped. Link to comment Share on other sites More sharing options...
Romão 2,274 Posted September 26, 2020 Share Posted September 26, 2020 I agree. As is the show Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted September 26, 2020 Share Posted September 26, 2020 If it’s not for you, it’s not for you. I enjoy both the score and the show immensely. Link to comment Share on other sites More sharing options...
Jay 37,368 Posted September 26, 2020 Share Posted September 26, 2020 I agree with Disco Stu Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted September 26, 2020 Popular Post Share Posted September 26, 2020 I'll be honest when I say that the score to Chapter 5 was not as immediately keeping as the episodes prior, but over time I have come to appreciate the progression it marks in the series. It's hardly a musical turning point, but there are certainly some new tones that appear in passing as the mid-season one-off adventure permits. Considering how diverse the sound palette of the show is, this particular chapter features some of the strongest mismatching of ideas, ranging everywhere from a brass-led space dogfight to a dynamic twangy guitar setpiece. Interestingly enough, Chapter 5 boasts the shortest runtime of all the mini-albums, clocking in at twenty minutes, with less than two minutes of unreleased music, as I'll discuss further (note that after Chapter 4 I have not rewatched with unreleased music in mind, so I'm leaning on CGCJ's fantastic spreadsheet at this point). Let's give it a shot! Unfortunately, we don't hear much of Warm or Cold in the episode proper. Fortunately, the cue is included in its entirety on the OST. Surprisingly, this is the first taste of space battle music, as any other flying scenes have acted as transitions thus far (aptly underscored by that wavy synthesizer). Suspended strings run up and down as the fanfare gets stretched and pulled across the orchestra. As the stakes heighten, the utility theme walks a tightrope and delivers a strong sense of danger. A short intro segment sounds confidently as the tables turn, and leads into a verbatim Western title card. Dead Heads is a forty-second unreleased cue that, if I recall correctly, largely features a drum pattern used multiple times throughout the series. Bright Eyes is most certainly a delectable little nugget in the grand scheme of the score. An uncertain opening of eerie synths make way for a lighthearted pizzicato and woodwind serenade, with dressings from harp and a certain "marimba"-esque synth that should ring familiar for those who read my write-up on Chapter 4. This cheery, bouncing excerpt takes the cake over the off-kilter Jawa motif (we'll get there in a moment) for the most Prokofievan melody in the show, embodying that playful innocence that Williams' tapped into with the Ewoks. It's certainly a unique passage in the score, standing above comparison to any other cue. Stuck With Me Now, to me, is fairly standard underscoring. We hear a deep, dark string line, foreshadowing the changing fate of the newly introduced rookie bounty hunter, but there's little else of note present here. Speederbikes is a short cue, but centre stage of the episode nonetheless. From the get-go the rhythm of the Jawa motif is borrowed and reshaped, this time taken up by full orchestra, ringing out joyously from the trumpets. A "surfing" guitar and familiar percussion bring in the new idea of the episode, which has both multiple parts and, in turn, multiple uses. Desert Raiders, only heard in episode, is fairly similar, but works out the new motif immediately. Raiders is a rather intriguing cue for being, again, so short. The overlapping muted trumpets outline the very last notes of the fanfare, evoking a sound that reminds me of something out of Star Trek (cannot put my finger on it exactly, but I think you'll understand what I mean). The rest of the track is a soundscape dominated by pattering drums and a very wild (and unorthodox) woodwind of some sort. I have no recollection of hearing the next cue, First Watch, and given that it's no longer than half a minute, I'd wager it's not especially integral. Night Riders offers a bit more space for the speeder motif, intermixed with cutting electronics that signal the rush of the bikes across the sand and the path of the flares in the night sky. A solo oboe ends the cue, which picks up again in The Hangar. Decidedly pretty winds and harp rise and fall before atmospheric strings take the reigns. That same brooding line from Stuck With Me Now comes full circle. As a last little Easter egg (emphasis on egg, hehe) the snooping synth from Chapter 2's The Egg reappears, and not for the last time either. In Farewell, the Child's theme makes a rare but gorgeous appearance, reaching upwards on solo flute with a lovely harp accompaniment (John Barry, is that you?). The fanfare picks up with a bopping synth, and a full orchestra (and recorder) mark the end of the episode with the riff. The track ends with some dark, menacing elements for a brief tease at what must be a Season Two revelation. We'll know soon enough! Glad I was able to follow up so soon. I aim to wrap it all up in the coming weeks and make all my notes and analysis available in a neat PDF, to keep things in one place. I am considering going back to Chapters 6, 7 and 8 as there's a lot more unreleased music there that I'd like to bring to light (twelve cues!!!). As always thank you for reading and cheers! Holko, CGCJ, Disco Stu and 2 others 5 Link to comment Share on other sites More sharing options...
TheAvengerButton 175 Posted September 27, 2020 Share Posted September 27, 2020 I wish I'd known about 7digital before I bought all of these soundtracks off of Amazon. Quality maxes out at 256kbps according to Spek, and just as I've transitioned into wanting to collect everything in CD-Quality of higher audio. Oh well. I'll rebuy them because I want to support the artists and the format. It's just going to take a while because my wife doesn't let me buy anything. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Wojo 2,453 Posted September 27, 2020 Share Posted September 27, 2020 Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted September 29, 2020 Share Posted September 29, 2020 The show is waaaay over-hyped. The music is not. The dryness of the recordings is I think what Star Wars would sound like if you sent modern recording equipment back to 1977. Really nice touch. Not Mr. Big 1 Link to comment Share on other sites More sharing options...
TheAvengerButton 175 Posted October 1, 2020 Share Posted October 1, 2020 I actually tend to like drier orxhestras for some reason. Maybe why I like listening to the original soundtrack for Star Wars so much. Also The Force Awakens. But these show soundtracks are pretty great for that. Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted October 5, 2020 Popular Post Share Posted October 5, 2020 After a week-long hiatus (*gasp*) it's time to dig into the next episode! Chapter 6, the last of the self-contained adventures in Season 1, features a plethora of new textures and techniques to take in, creating an entirely different world of sound that still feels very much at home with the rest of the show. I wasn't entirely sure I'd return to these next few for a closer look at the unreleased music, but eventually decided it was best to be thorough and went for it. Enough of an introduction, let's go track for track! Welcome Back sets us up for what we can expect from the rest of the album; a grungy hip-hop landscape brimming with electronic effects, befitting the changing environment and the strange new characters introduced to the audience. Familiar themes are thrown into the mix, and Goransson provides no shortage of those "I don't know what I'm hearing but that's a really cool sound" moments. We get a small motif for the ragtag gang, heard as a bopping, almost plucky synthetic patch here. The Gang drives us deeper into this unique atmosphere, and a sharp and jagged violin enters the conversation, seemingly representing the Twi'lek character as both dangerous and delicate at the same time. A hip-hop mode for the title motif rounds out the cue. A neat little tidbit is that Chapter 6 and Chapter 8 are the only albums that contain the title card in the second track. Ghost Ship, heard only in episode, is an unchanging continuation of some synthesizer ideas presented in Welcome Back. It runs just over a minute and underscores the outlining of the heist by Mayfeld. Greatest Warriors in the Galaxy largely features the recorder riff in a highly distorted setting, with various pitches overlapping each other to create a strange echo-y sound. Naturally, a beat and several electronic elements run complimentary here. Let's Just Do It is comprised of high, distant-sounding strings with synthetic dressings. What Is That?, unreleased, features some bass-shaking ideas presented earlier in The Gang. Hyperspace and Little Mousey are the two noteworthy cues of this chapter, the former sampling some teamwork between the strings and electronics for a surging rendition of the gang motif. The recorder riff returns with familiar spaghetti western furnishings (see Chapter 1's Face to Face), as does the wild solo violin. Little Mousey introduces us to the hip-hop oriented integration of Bach's Toccata and Fugue, which works in and around a distinctly woodblock-esque sound. The second half of the cue moves into a entirely new territory, as it features a remarkable fusion between orchestral effects (dissonant descending slides and a rushing repeated line for strings) and hard electronics to underscore a fight scene between Mando and the prison guard droids. Tracking Beacon employs pizzicato strings, and a pair of repeating lines build opposite each other, one in middle range while the other is taken up in the lower end by cellos. The Toccata theme and jagged violin are run through, and the fanfare outro close eerily on suspended strings. Immediately following but unfortunately not present on the album, Shut Up features the gang theme on punchy synth with a quickened tempo. My Saviour features some synthesizer rumblings before opening up to a full-on rendition of the Toccata theme for strings, this time supported against a single-use horn line. Mando on the Move reshapes the recorder riff, opening with a fairly standard statement (see Chapter 1's Hey Mando!) and mutating over a beat from there. Nice Family leans towards horror writing at times, as active strings take on the gang theme and a heartbeat sound pounds underneath. More pizzicato appears, igniting a call and response between the Toccata and the electronics. The horns even things out, and we hear another reference to Chapter 2's The Egg (still not the last!!!). Mando's Back is not technically a suite, but it is summative in nature, serving as a culmination of the very best elements heard in the episode thus far. The woodblock beat returns over a flurry of electronics, and we hear familiar bits and pieces take the stage in quick succession; the solo violin, sections of Little Mousey, a section for snare and strings, more of The Egg, overlapping orchestral lines with pounding drums and synth-blasts, and a classic recorder theme at the end. The very last bit of music heard is a meandering little wind figure that sounds a lot like the Jawa motif from Chapter 2 (specifically the beginning of Jawas Attack or The Egg). I did notice that this specifically underscores the moment when Baby Yoda playfully raises his hand when the gang's droid finds him in the closet, similar to the scene in Chapter 2 where he tries to reach out and heal Mando's wound. The latter is scored by nearly the exact same phrase, so that's an interesting item of note. The final two cues tally up to just over three minutes, all of which go unreleased. The first, No Questions, opens with the skeletal recorder theme for strings and winds, which segues into the fanfare, whose natural conclusion is interrupted by an especially dramatic interpretation of the Toccata for overlapping trumpets. Minimalist electronics are met with a solo rendition of the Toccata for clarinet. Dramatic swells in the orchestra signify danger for Mando, but tension releases as X-wings intervene. That Was a Bad Idea is comprised of what may as well be tracked quotes of the skeletal theme and the sharp violin. It's easy to draw similarities between passages in Chapter 6 and some of the more computerized efforts in Goransson's recent filmography, namely Death Wish and Tenet. Unfortunately, neither of these scores is up to snuff with what he offers here. I think it would be an interesting experiment to track isolated segments from Chapter 6 (and perhaps other fitting examples throughout the show) into Tenet once it gets a home media release, and see how it compares, because there's quite obviously a difference in the techniques at work, despite being within a general range of each other. I'd also like to try my hand (or extend the invitation to others) at some companion videos for Stu's isolated score showcase on Chapter 4. We'll see what happens, but I'll definitely be wrapping up with parts 7 and 8 soon enough. The "all in one place" PDF is still in the hopper, obviously, but I'll make that available to view and download as soon as it's ready. Cheers and good things! Holko, CGCJ, Cerebral Cortex and 2 others 5 Link to comment Share on other sites More sharing options...
Jay 37,368 Posted October 5, 2020 Share Posted October 5, 2020 Haven't had time to read these yet, but every time you post one I get more and more pumped for season 2! The Illustrious Jerry and Yavar Moradi 1 1 Link to comment Share on other sites More sharing options...
Popular Post Nick Parker 3,040 Posted October 10, 2020 Popular Post Share Posted October 10, 2020 Reposted from another thread for sake of better relevance: 9 minutes ago, Nick Parker said: I've made this argument before, but I will continue to do so: I find scores such as The Mandalorian to be infinitely closer to the spirit of John Williams' approach to Star Wars--and indeed his creative spirit as a whole--than the efforts of the Gordy Haabs et al. In practically every aspect, Star Wars has always been a melange of countless and far-reaching influences and elements, some contemporaneous, some from the past. For me the end result of The Mandalorian, its cocktail of Western guitar twangs, ethnic instruments, modern and vintage electronics, traditional orchestral instruments and idioms, create a sonic world that I've never heard before. Not Mr. Big, Cerebral Cortex, The Illustrious Jerry and 2 others 5 Link to comment Share on other sites More sharing options...
Faleel 5,350 Posted October 20, 2020 Share Posted October 20, 2020 Even Mando is getting the trailer house treatment! Link to comment Share on other sites More sharing options...
Jay 37,368 Posted October 20, 2020 Share Posted October 20, 2020 Roger Feigelson is "twisting arms" to get to do a physical CD release through Intrada From the Solo thread on FSM Quote Quote I suppose there is a chance that Intrada might be able to get a CD release at somepoint in the future. However, we're probably more likely to see Disney give a physical release to Mono for Vinyl release as with The Mandolorian rather than giving it to Intrada for CD. That said i will be buying the digital so long as a) it's available lossless and b) it's available in the UK. I will happily buy a CD release as well, should one be forthcoming in the future. This looks great. I'm twisting arms for CDs on these, so who knows! https://filmscoremonthly.com/board/posts.cfm?threadID=141620&forumID=1&archive=0 Cerebral Cortex and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
Dr. Rick 1,157 Posted October 21, 2020 Share Posted October 21, 2020 I’d definitely be in line to buy CD releases of Mando and Solo, make it happen Intrada!!! 😂 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted October 21, 2020 Share Posted October 21, 2020 Yes to both, I think both releases deserve to be on CD. Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted October 22, 2020 Popular Post Share Posted October 22, 2020 Unfortunately, these next two posts were a bit of a longer time coming than I would have hoped. Fortunately, I now have them ready to go, and just before Season 2 drops next Friday no less! I will mention that I did not spend a great deal of time sifting through the episodes for unreleased music, as I am swamped as is. If I have time to go back later I may add to both these and all my reviews before collecting them in PDF form for anyone to access at any time, all in one place. I will also be updating the timestamp catalogue with some revisions to specific names, most notably the chime motif to rhodes motif, as per a behind the scenes video, and the Western motif to be further labeled as the title card theme. I also started to work on an isolated score for a certain episode (hint: the only one I haven't posted about yet ). I will be sharing that at a later date! That being said, let's get a move on into Chapter 7! Man of Honour opens this episode of reckoning with the child's guitar, playing overtop some uncertain strings that foreshadow the forthcoming trials for Mando and company. Synth and orchestra plastering moves in and around before releasing into a big statement of the intro motif, complete with badbrass (see badass brass) and an especially pronounced triangle (?) hit. Three short cues, one being a cantina source (Country Pub), follow. I'm In features string clusters and metallic clangs, whereas Return to Agnot reprises ideas from Chapter 2's Trashed Crest edited together differently. Reprogram offers the first taste of a theme for IG, marking his new role as a nurse droid in a very sweet and well-measured montage. A particularly ethnic sounding wind instrument takes the helm, surrounded by steady percussive hits. The theme as presented here is taking its first steps, mirroring IG's shaky legs with the slightest edges, before being joined by more members and gathering strength. As a setpiece, the development is quite good, although it is merely the first part of a fantastic thematic journey, and not the last one to take the stage in this chapter either. The pizzicato version of the skeletal main theme that bridges the two big statements is a particularly intriguing excerpt from a sonic perspective. Kuiil, sweetly misspelt as Quill in the original cue title, riffs on the organic, soulful recorder (at this point I'm assuming its one of the ones Goransson got in his set) that was present in Chapter 1' s You Are a Mandalorian, which leads into the rhodes and a rousing but ultimately brief shout of the fanfare, pumping synth hopping below. Skill of Hands, unreleased, comes before The Standoff, which opens with sets of the western motif and timpani rolls, plays around with some unique sounds, but only really gets interesting when Mando and company walk through the lava plains. A catchy percussive beat takes over, punctuated by echo-y wind sounds. To me this is one of the coolest sounding stretches in the episode. Interestingly enough, the entire standoff cue is about a minute longer in episode, beginning with the utility motifs as opposed to the sudden da-dum. Black Skies rips right through the silence of the fading ending of the previous cue, blasting synth and tribal drums for a surprise attack at the campfire. Around 0:17 specifically you can hear a cluster of aleatoric strings and woodwinds likely touched up in the mixing process, a very neat nugget of an effect that may go unnoticed, but ultimately adds to the freneticism of the moment. The brass joins the electronics for a few outbursts before the cue settles. We hear a short wind idea potentially denoting the injured Greef Karga, as it also plays over his attempt to reason with Mando in Chapter 3, despite appearing nowhere else in the show. The child's guitar and strings get an especially rousing turn, hinting at future sweeping statements to come. As Kuiil speaks, his whistling resumes, and the gang walks along to a dynamic go at the recorder riff, dressed with familiar beats and patches. At 3:13 a really fun, bumping bunch of notes are played by muted horns, another short athematic moment that plays out really well to the ears. A distant vocalized synth (some futuristic Vangelis nod?) and the well-known tweeting synth from Chapter 2's The Egg round out the track. I think it's safe to say that Black Skies covers the most ground of any cue in the show in terms of range of moods, sounds, volume and style. Putting all the elements together in mind, it's really quite something! Verbatim recorder riff opens This Is It, and as the gang sets out on the mission the strings confidently usher in the fanfare for a triumphant but not necessarily victorious variation. Elements of the main set of themes intermix in quick succession before the cue dies down. The Arrival is without a doubt a fantastic introduction cue for any villain, and in the case of Moff Gideon, I'm really excited to talk about the inner workings of his multi-faceted theme as we continue. For one, this track is yet another example of a proper score cue sort of doubling as a suite of sorts. The progression to the biggest statement is clearly marked and every individual aspect takes the spotlight at one time or another. I especially love how the space clears at 0:08 for the bass note and strings, symbolic of the way the character enters into the story. The drum machine adds an unrelenting quality to what *might* otherwise be a fairly standard villain theme, and Goransson's later development of the material further proves that this is no pastiche. The hip-hop qualities that enter at 0:30 are shaped to the Moff's confidence and comfort: this is a character who knows he has the upper hand, and it is apparent through the music. At 0:41, the second part of his theme plays, a dangerous little string line often used to represent the uneasiness and growing panic of our trapped heroes. The lower strings play a counter melody which is a reshaping of the A section, before rejoining full orchestra for part B. The bass note clears the freneticism before a repeating string swirl accompanies the A section for a strong running. The little repeat of those strings at 1:33 accompanied by the changing of the beat is a REALLY cool moment, in my opinion. Deep strings reprise their role at the beginning of the track before electronics and effects take us to the acoustic guitar outro. Those final shots (some of the best in a well-directed episode) are forever linked to those last few strums heard here: it's a spot-on moment all around. An orchestral version of the end credits, sans the recorder theme, closes the album, providing an opportunity for a closer listen at the orchestrations and layered writing. It works really well as an overture for a highlights playlist, with the original version easily taking the final slot as a reprise (good call, Holko!). As always thank you for reading and I anticipate wrapping it all up with Chapter 8 very soon! Of course, Season 2 is just around the corner, so you can bet there will be no shortage of new discussion and a continuation of the thematic analysis in the coming weeks. I'm looking forward, and I hope you are too! I encourage your participation in these upcoming conversations, as there is no opinion, perspective, realization, tidbit or random thought that hasn't proved useful and/or constructive thus far! Cheers! CGCJ, Cerebral Cortex, Jay and 4 others 7 Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted October 26, 2020 Popular Post Share Posted October 26, 2020 With Season 2 starting next Friday, it's time to wrap up with the final part of this analysis by digging in to Chapter 8. Holko and I had discussed how Chapter 7 can tend to wander into patchwork territory (NOTE: not a slight, but an observation), often drawing on pre-existing forms or small moldable ideas as utilities to bridge between the new material, as if to save up for something bigger. And indeed, Chapter 8 is easily the most noticeably spotted in the show (and the strongest album to boot!), presenting no shortage of long music-driven stretches, highly intensified development and general badassery to delight in. It's telling (and spot-on) that Redemption was the specific episode for which Goransson won the Emmy. The musical core of this finale is really about developing three themes that are still rather green for the most part. Now without further ado, let us begin! Check Point whirs in to that comfortable hip-hop climate of Moff Gideon's, this time picking up with the two scout troopers sent to capture "the asset". Overlapping brass and strings join forces to announce full statements of the two-part Gideon motif. Computerized percussion bridges these iterations with the deep closing string line, the Moff's theme in its simplest form. Nurse Droid is the first taste of IG's theme in this episode. Although limited to that single montage in the previous episode, Goransson is really sure to stretch out plenty of development for IG over the course of this finale, progressing upon the introductory Reprogram track by incorporating new variants right off the bat. One thing that is similar with this continuation is the echo that lingers just after each note in the opening of the cue. The effect is increased here, adding to the mysterious, even eerie sound provided by the already eclectic instrument used. Minor dressings from the harp allow the cellos to briskly pick up after the solo, before we hear a full hip-hop takeover, one of the most unabashed of such moments in the entire show. To close, the strings take up the theme with a strong sense for the heightened strakes, the end note lining up with the first downbeat of a bombastic title card. By this point, it's quite clear that this is indeed the episode of redemption. As if the opening 2.5 minutes were not already a smashing display, The Ewebb marks the first "movement" in a string of successive setpieces that make up the meat of the chapter. Gideon's drum machine opens without hesitation, accompanied by that space-clearing alarm. We hear the Moff in control, suspended strings continuing to play into the contrasting panic of the cornered gang. At 0:19 the recorder riff makes an appearance, neatly descending at 0:25 before weaving between permutations of a very flexible and highly complimentary Moff Gideon setting. More severe statements of the the B section roll in at 0:39, with more noticeable backing from the brass. 0:49 opens a stretch of development that twists and turns in so many different directions, sampling some of the strongest riffing on any theme in the show while boasting delicious orchestrations (for example, the little brass reinforcement at 0:53). It's a definitive highlight passage that always makes me jump with excitement. The B section returns in proper form at 0:59 before twisting higher and higher up, eventually leading into that same string version of the recorder riff before settling down. Whistles from unorthodox winds and hits of the snare punctuate lines of the A section on low strings. At 1:48 a backing ostinato, reminiscent of Attack of the Clones, enters and plays underneath trombones. The strings take up the melody again at 2:20 for call and response with a clarinet. The orchestra unites for the climax, violins swirling around while horns take up the A section with an electronic touch. The stutter of the strings on that one small line at 3:11 is a really cool moment that segues into pounding drums and yet another modification of Moff Gideon's theme. Bustling strings close this cue, which is without a doubt one of my favourites due to unmatched complexity and an enormous amount of vastly unique development over a short time span. In short, it's a gem, and hardly the last one at that. A Thousand Tears fades in from the ending of The Ewebb in episode, opening a fantastic four minute sequence with no dialogue and mostly muffled sound effects. Goransson naturally seizes this opportunity and delivers the final piece in the three-part forging sequence thread, quite different from the previous two entries yet gathering all the same key traits for a glorious and highly emotional conclusion. Each trademark element converges into a chilling musical fabric that never fails to give me goosebumps. An electronic zing and the Forge beat begin, first supporting long-winded swells, with the percussion gradually growing in strength. When the Forge motif properly appears its chant qualities are manipulated to play out as a lament, the third statement at 1:01 featuring a fully united string section and marking the height of the theme's power in this regard. The chant dies down briefly but remains present, as guitar, piano and exotic woodwind take center stage. Highlighting the particular stretch at 1:30, one can really hear shades of the Creed scores coming to the fore (in terms of the tender material, see Family Visit from Creed II for example). The way this cue is edited on album is not the way it appears in the film, with the rumbling electronics for the explosion being extended, with lengthened silent spaces. The start of the danger-signaling strings at 1:48 ended up being the first cutting point for my isolated score attempt (videos forthcoming), as I was not able to replicate what was heard in the episode effectively. Picking up at 2:11, an otherworldly go at the riff by way of electric guitars sends us into the second half of the cue. The Mando group motifs get their biggest showing, and we hear the recorder play in fairly standard form, the ending featuring some interplay with other woodwinds. Next up is Nurse and Protect, which sees IG go on a rampage through both the village and the orchestra (and Goransson's studio!). The fresh beat-electronic combo carries the track and kicks off immediately, first hosting a familiar statement of IG's theme, dying down for a second go, and carrying on with a quick flute whistle and a full orchestral variation, the strings playing to the beat and the trumpets accenting the melody (see 0:59). Shortly after the minute mark the string ostinato repeats as it jumps up the octaves and increases tension, climbing towards a release at 1:17, with electronics at the head of the foray. The particular synth effect at 1:28 adds an especially snappy pop edge. The Western motif turns action-oriented to hold up the middle section, strengthened by a repeating idea for hurried strings and eventually high trumpets. The drums hold over for a brief interlude, and the motif continues, this time spaced between bold brass statements of an idea that appears multiple times throughout the show (yet nowhere in my catalogue, woops). I especially love the brass triplets that ring out all over this cue; I find they do well as exclamation points to these already powerful phrases. A wildly original phantom version of Moff Gideon's theme cuts through the excitement (what a moment!), and his material hijacks the cue as the upper hand swings back to the baddies. The soundscape from 3:19 onward symbolizes the shock of the blow that knocks Mando off his feet. We take a break from the action in A Warrior's Death with a lento introduction of the Child's theme. Moff Gideon's theme twice appears at its most imposing over shots of a flametrooper, expanding the association towards not just the character but his forces too. Then comes the return of the Mando and child theme, beginning on horns and gathering triumphantly for a fantastic, full-fleshed presentation. This moment alone is a testament to the direction they opted for with the show and its music, as its quite clear that in any other case this would be a cut and dried Force theme drop. Incidentally, the initial similarity of the motif in question to Kylo Ren's theme is particularly interesting, as both received major key resolutions in December of 2019 . We take a break for a pair of cues that mix and match beats, sounds and motifs related to the underground cult of Mandalorians on Nevarro. What Remains in the Tunnels bears the most similarity to those Chapter 1 and 3 cues, branching off around the one minute mark for sorrowful strands of the recorder and synth choir. Drawn out high strings replay the utility counterpoint to wind the cue down. From there, Clan of Two continues with a subdued recollection of the Mando culture themes, the most interesting take for woodwinds starting at 1:05, and again similarly at 1:54. The mission continues, and IG's theme prepares for its conclusion with hints at an end objective. Orchestral hits and wavy synth signal pending danger. Sacrifice, as the title suggests, signifies the end of IG's thematic journey, showcasing the theme one last time with a renewed sense of purpose. The track begins with a smattering of synths, an electro-pizzicato fusion beat taking the helm. This repeating tune reveals itself as the rhodes motif in disguise as it picks up at 0:58, with IG's theme preparing to join it. Several partial passes work their way up to the rousing last word from the full orchestra as IG makes his heroic last stand. We are quickly reminded that the gang is not yet out of trouble, as Mando Flies opens with aleatoric busyness, cleared effectively by the "Gideon alarm" at 0:35. The drum machine returns, as does the cool and collected beat, suggesting the fight isn't over. The remainder of the cue plays out essentially like the expansion of the B section as heard earlier in The Ewebb as Mando grapples with Gideon's TIE fighter and wins the day. The victory won (for this season at least), the recorder riff earns a standard statement, once again interplaying with other woodwinds over top of the violins. A solemn solo horn recalls the Mando and child theme, which soon swells up in the string section and plays out splendidly. The chiming motif bridges into the skeletal recorder riff, here evoking a true sense of graceful happiness. The fanfare appropriately caps the cue, sending Mando off to the stars and us into a long wait for Season 2 (its much shorter now!). Well, well, well! So ends "part one" of our journey through the music of The Mandalorian, and not five days off from the start of the next season. I assure you that both the catalogue and the analysis will continue upon the conclusion of the second season, with the discussion that occurs in the next eight weeks helping to form the basis for future writing and timestamping. I will post isolated score videos for Chapter 8 sequences as soon as I can, and otherwise look forward to listening and conversing with you all very soon! If you haven't had a chance to chime in thus far, it'd be great to hear your opinion, observation or suggestion, as that's how a good back-and-forth is started. I'd love to see such a conversation take place in the very near future and strongly encourage participation from all interested members! Thank you for reading all of these, or at least planning to set aside time to revisit the music with my supplementary notes (probably the best way to appreciate it)! Cheers, cheers and cheers again! CGCJ, Holko and Cerebral Cortex 3 Link to comment Share on other sites More sharing options...
Faleel 5,350 Posted October 26, 2020 Share Posted October 26, 2020 @The Illustrious Jerry have you thought about collecting all of these track by tracks, and putting them into a thread in the review forum for easy access? The Illustrious Jerry and Holko 2 Link to comment Share on other sites More sharing options...
Holko 9,526 Posted October 26, 2020 Share Posted October 26, 2020 Finally revisited the whole thing in preparation, after listening mostly just to my own album. I quickly made up my mind to tack some "bonus tracks" onto it, I left some great stuff off! And while I was at it, I finally read Jerry's excellent notes while listening and loved them! Link to comment Share on other sites More sharing options...
Knight of Ren 789 Posted October 27, 2020 Share Posted October 27, 2020 This write-ups have been amazing and helped me discover some details I missed on my listenings! I have been revisiting the show and the music in preparation for the Second Season and I found a little motif that reocurs through at least 2 tracks, altough I don't know if it's coincidence or it was intentional It's the high descending line, which sound svery similar in both tracks, so I don't know if it's a small action motif or what. It could also be a variation on the Mando Utility/Dramatic Motif as @The Illustrious Jerrycalled it, but I'm not sure Holko and The Illustrious Jerry 2 Link to comment Share on other sites More sharing options...
Popular Post The Illustrious Jerry 3,356 Posted October 27, 2020 Popular Post Share Posted October 27, 2020 2 hours ago, Knight of Ren said: I have been revisiting the show and the music in preparation for the Second Season and I found a little motif that reocurs through at least 2 tracks, altough I don't know if it's coincidence or it was intentional Wow, what an amazing find!!! I would never have noticed this so thank you so much for bringing it up, as this is exactly what I was hoping for in terms of opening up the discussion! Will be on the lookout for any other instances out there now. Great ear! On 10/25/2020 at 10:38 PM, Spider-Fal said: have you thought about collecting all of these track by tracks, and putting them into a thread in the review forum for easy access? Instead of making a new thread I've been assembling a handy dandy little companion guide to the scores that will be available to view and/or download as a PDF as soon as possible. It will be linked to in this thread as well as my profile. I'm still working away at it but here's a peek: --- All these little discoveries and a general air of excitement for Season 2 had Holko and I talking about what the moment I highlighted in Nurse and Protect might be. Well, I tracked down other examples and can currently assume that it's associated with IG. Take a listen to the strings here and the brass in the next two: Holko, Cerebral Cortex and Knight of Ren 3 Link to comment Share on other sites More sharing options...
Knight of Ren 789 Posted October 28, 2020 Share Posted October 28, 2020 That companion guide looks great and I cannot wait to take a look at it! And I'm glad I helped you discover this little detail About that motif you mentioned, I think it could be a motif for the group preparing their final standoff, as I think the time it plays in This Is It has nothing to do with IG. But then again, I could be wrong, as I don't remember exactly how the music synced up with that scene, so it could be a part where IG is on-screen BTW, just two days left before the new season. Cannot wait! The Illustrious Jerry 1 Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted October 29, 2020 Share Posted October 29, 2020 Apologies if I missed this, but do we know for sure whether or not this season will have weekly soundtracks like last time? As in, should we expect a soundtrack late tonight? I’m hoping so. Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted October 30, 2020 Share Posted October 30, 2020 8 minutes ago, Tydirium said: Apologies if I missed this, but do we know for sure whether or not this season will have weekly soundtracks like last time? As in, should we expect a soundtrack late tonight? I’m hoping so. While it has not been officially confirmed, it is safe to assume that the album will drop roughly alongside each episode (8am UTC) as per usual. Having set the precedent with Season 1, I would be very much surprised if anything to the contrary were to occur. Either way, we'll know in a few hours! Tydirium 1 Link to comment Share on other sites More sharing options...
Faleel 5,350 Posted October 30, 2020 Share Posted October 30, 2020 The soundreacks usually went up at midnight ET... Tydirium 1 Link to comment Share on other sites More sharing options...
crumbs 14,317 Posted October 30, 2020 Share Posted October 30, 2020 Isn't it 12:04am US EST? No soundtrack on Apple Music yet. Tydirium 1 Link to comment Share on other sites More sharing options...
Faleel 5,350 Posted October 30, 2020 Share Posted October 30, 2020 I found this .. Link to comment Share on other sites More sharing options...
Holko 9,526 Posted October 30, 2020 Share Posted October 30, 2020 Nothing yet The Illustrious Jerry and Tydirium 1 1 Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted October 30, 2020 Share Posted October 30, 2020 Still nothing... Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 30, 2020 Share Posted October 30, 2020 No soundtrack?! In the immortal words of Anakin Skywalker, “This is outrageous!” Link to comment Share on other sites More sharing options...
Holko 9,526 Posted October 30, 2020 Share Posted October 30, 2020 It is! Ep1 had some really good stuff beside the couple reused or minorly reorchestrated cues! Link to comment Share on other sites More sharing options...
crumbs 14,317 Posted October 30, 2020 Share Posted October 30, 2020 Yeah there was some noticeable repetition but it's not like Williams didn't do the same throughout his films. Link to comment Share on other sites More sharing options...
Jay 37,368 Posted October 30, 2020 Share Posted October 30, 2020 Not sure when I'll watch the new episode, but I decided to listen to the eight season 1 OSTs this morning. Just at the end credits track of episode 1 now. Overall, I felt this album was off, like it's too short. Is this the album missing the most amount of cues from its episode? It felt like just when it was getting going, I was already at the end credits. Maybe as he went on he decided to include more and more cues from each episode in the OST albums? Or is it all in my head Link to comment Share on other sites More sharing options...
Holko 9,526 Posted October 30, 2020 Share Posted October 30, 2020 Ep1 only has 2 short cues from early in the episode that are unreleased. Link to comment Share on other sites More sharing options...
Jay 37,368 Posted October 30, 2020 Share Posted October 30, 2020 Ah OK. I guess the first ep just doesn't have a lot of the big signature moments I remember from the whole season. I haven't listened to the full OSTs in a while, I mostly listen to your arranged season edit! Holko 1 Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted October 30, 2020 Share Posted October 30, 2020 15 minutes ago, Jay said: Just at the end credits track of episode 1 now. Overall, I felt this album was off, like it's too short. Is this the album missing the most amount of cues from its episode? Here's an approximate breakdown of released and unreleased music for each episode: --- Still no news about Chapter 9's score after a few hours... Link to comment Share on other sites More sharing options...
Jay 37,368 Posted October 30, 2020 Share Posted October 30, 2020 Thanks for that! Almost at the end of the episode 2 OST album now. Overall a much more fulfilling album than 1! Link to comment Share on other sites More sharing options...
mstrox 6,651 Posted October 30, 2020 Share Posted October 30, 2020 I think there was an intentional build-up of music over the first season. Holko 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 30, 2020 Share Posted October 30, 2020 It sure would be nice to have any kind of official announcement of their plans for season 2 music. Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted October 30, 2020 Share Posted October 30, 2020 https://variety.com/2020/music/news/mandalorian-music-composer-ludwig-goransson-interview-1234819443/ Quote Disney Music is expected to release the new “Mandalorian” soundtrack sometime in November. Disco Stu 1 Link to comment Share on other sites More sharing options...
Recommended Posts
Create an account or sign in to comment
You need to be a member in order to leave a comment
Create an account
Sign up for a new account in our community. It's easy!
Register a new accountSign in
Already have an account? Sign in here.
Sign In Now