Ludwig Göransson's THE MANDALORIAN - Both Season 2 OST Albums now available (2020)

[Luke Skywalker 710]

That should have been lukes theme.

.oh wait, its the falcon theme now so...

 

[MedigoScan 150]

6 hours ago, Jay said:

Isn't the theme that opens "The Seeing Stones" a theme for Grogu and Mando's relationship?  If it's not what it is, just a theme for Grogru himself?

Pretty sure thats the same theme Yannick mentioned earlier.

[Knight of Ren 104]

Just finished listening to the whole album and while there are some nice music missing (especially from chapter 15) is a really great presentation with the major highlights of each episode

 

Dark Troopers and Activated are insane! Bobba's theme in Capture the Flag is so cool and badass. I love Ahsoka Lives with the recorder riff and the full rendition of Ahsoka's Theme

 

And the end of the album is close to perfection and really emotional, building up tension and expectation with A Friend, releasing it and giving some closure with Open The Door, and then Come With Me serves as an excellent coda to not just the album but the whole season

 

Goransson outdid himself with some of these tracks, especially in the last chapter.

 

Also, I wonder who will composer The Book of Bobba Fett but it could be really cool that if it's not Goransson, whoever is uses Bobba's theme from The Mandalorian as it is so cool and fitting for his bad-ass persona

[Falco 2351]

5 hours ago, Luke Skywalker said:

That should have been lukes theme.

.oh wait, its the falcon theme now so...

 

The Force theme is Luke's theme since TFA

[The Illustrious Jerry 2843]

12 hours ago, Jay said:

Isn't the theme that opens "The Seeing Stones" a theme for Grogu and Mando's relationship?  If it's not what it is, just a theme for Grogru himself?

hehe I had just mentioned that a few posts above you there. You're correct! 

 

15 hours ago, The Illustrious Jerry said:

You're on the right track! That is, as far as we've been able to tell, the theme for Mando & child, as it has essentially charted their relationship from early on in Season One. 

 

There have been a few more allusions to it this season as well, such as in Vol. 1's Experiment as well as in Vol. 2's The Seeing Stone.

 

[Bespin 4243]

I must admit it was a shame to assist to The Return of...

Spoiler

The Luke!!!

 

...without hearing the.. 

Spoiler

Star Wars Main

...Theme.

 

At least he gaved us a little bit of The...

Spoiler

Force

...Theme at the end.

[Tydirium 465]

Thoughts? (I think it’s a bit of a stretch. It’s just 3 notes… But idk.)

 

https://www.reddit.com/r/StarWarsLeaks/comments/kg3was/jedi_steps_theme_in_lukes_hallway_scene/

[DarthDementous 252]

I could also hear hints of the Star Wars main theme playing during that sequence

[Jay 18379]

12 hours ago, Tydirium said:

Thoughts? (I think it’s a bit of a stretch. It’s just 3 notes… But idk.)

 

 

Hmmm, could be!

[D_A_R_T_H 9]

 

"This video received a copyright claim for sounding too close to the original so I had to trim out a few segments in the first half. Please start the video from 1:55 and you will be able to play the entire piece! Thanks for listening!"

[Obi 302]

The Brad Fiedel's theme from Terminator in "A Friend "disturbe me.

[Jay 18379]

The new Season 2 volume 2 OST album is GREAT!

 

There are a number of reasons for this

 

One is that the scores for episodes 5-8 just happened to be overall better than the scores for episodes 1-4 (IMO)

 

Also, it seems as the season went on ratio of new music compared to tracked season 1 music got better and better, with the finale being all original music, from what I noticed watching once anyway... and so, the Vol 2 album is longer, which is great, as the ideas get more room to shine and develop

 

And finally, a big problem I had with the Vol 1 album was that it had no ending, there was no "big finish" or anything, the album just kind of went along its way building and building, and then just stopped.  This is completely irrelevant now, because if you simply listen to both albums back to back as if it was one single album, you get an extremely satisfying album experience with nothing unusual about its structure or pacing at all.  Basically, if they had just released Season 2's minute as a 109 minute album after the whole season was over instead of splitting it in two volumes, it would have done a better service to the music, IMO (though, it was nice getting half of it a month earlier!)

 

I've already listened to this album many times since Friday!  This (double) album is one of my favorite film score releases of the year!

[Jay 18379]

Does Ashoka Lives remind anyone else of Leeloo's theme from The Fifth Element?

[MedigoScan 150]

The final episode did play recycle 'Warm or Cold' from season 1's OST.

But since that season1 episode didnt actually use the track, it can be forgiven.

[Jay 18379]

Ah, good to know!

[The Illustrious Jerry 2843]

Edited 7:10pm Monday

 

I've decided to continue with the isolated score videos (available with a handful of Ch. 8 cues in this Drive folder), this time with three notable moments from Season 2. Note that for most of them you can change the video quality to be higher than the default. 

 

Unfortunately, all of these play out differently on album than they do in episode, which means that whatever you hear in these clips has been subjected to my editing, having been patched together with extracted audio from the episode as well as the OST tracks to sync up with the images. OBVIOUSLY, these videos contain spoilers. 

 

Ship o hoj, Mandalorians! (contains brief SFX)

A Friend

Open the Door (Album Version) (cleanest version)
Open the Door (Edited Version) 

Open the Door (Film Version) (contains some SFX)

 

Explanations on the editing process:

Spoiler

Ship o hoj, Mandalorians: In this case, I had to use two small inserts from within the episode, which is why there are very brief SFX and inconsistencies in the volume within the first minute or so (be mindful of your audio). Of course, all of this had to be done in order to recreate the cue as heard in the chapter, otherwise the idea of the isolated score doesn't really work.

 

A Friend: Very little editing was required. I merely separated the track into a few parts (as some brief pauses allowed) and aligned everything like so. It's probably the most seamless of this latest batch. 

 

Open the Door: I did multiple versions of this. First there's the edited version, which combines the album and film extracts in a way that best aligns to the picture. There's also the film version, which contains a section of muffled dialogue but varies quite a bit from what's heard in the track proper, and makes sense for archival purposes I guess (i.e. a second half-statement of the Force theme and not as much Mando & child). I think the best one is the album version, which was still edited and shifted around, but plays out in its entirety and without any inconsistencies or SFX. None of these are exactly ideal, but the cue was so impactful that I had to give it a shot one way or another. 

 

I had wanted to do some more (especially Activated et al.) but I realized that the "film" versions were far too different that it wasn't worth the editing trouble. Pity! Should there ever be a sessions leak or more complete release in the future I will revisit these. I'll dump some more thoughts here soon. Thanks!

[Knight of Ren 104]

This videos are great! I love seeing how the music syncs up with scenes and the Nite Owls attack for example fits perfectly. I love that cue.

 

I noticed that there is a little string motif (similar to The Client's theme) that plays two times when the cockpit with the Imperial Officers is seen so maybe its a secondary motif for the Empire, but I'm not sure, as I don't know if it played elsewhere

 

Also, I realizaed that "A Friend", at least part of it it's just an epic variation on the Mando & Grogu Motif, right? The one that sounds like Kylo's theme

[The Illustrious Jerry 2843]

1 minute ago, Knight of Ren said:

I noticed that there is a little string motif (similar to The Client's theme) that plays two times when the cockpit with the Imperial Officers is seen so maybe its a secondary motif for the Empire, but I'm not sure, as I don't know if it played elsewhere

I wondered that too but no other examples came to mind. I'll keep an ear open though!

 

2 minutes ago, Knight of Ren said:

Also, I realizaed that "A Friend", at least part of it it's just an epic variation on the Mando & Grogu Motif, right? The one that sounds like Kylo's theme

Could you timestamp that for me perhaps? I've been having trouble picking up on any references in that cue thus far. Thank you!

[Knight of Ren 104]

8 hours ago, The Illustrious Jerry said:

Could you timestamp that for me perhaps? I've been having trouble picking up on any references in that cue thus far. Thank you!

These are the most prominent ones. For me it sounds like a variation on that theme, with the last two notes swaped, so instead of going down then up, they just go down.

 

 

Also could be a coincidence and this is just a new theme for Luke maybe?

The opening riff  in A Friend is the same as the opening in Open The Door, so there's definetly some material Goransson created for Luke

 

 

But apart from that, A Friend felt like brand new music to me when I first listened

[Jay 18379]

OK which one of you madlads did this

 

 

[Henry Sítrónu 279]

Happy Holidays!

 

OpenTheDoor.pdf

[Jurassic Shark 6302]

Great, Henry!

[The Illustrious Jerry 2843]

 

For all the challenges that 2020 brought us, the two albums for the second season of The Mandalorian were an encouraging reward at the tail end of an...interesting year. The music was, for me, love at first listen (no surprise), but I am still warming up to the presentations of the two volumes. Of course, at this point I understand why they were released this way, but certain omissions (some more glaring than others, especially considering a few, let's face it, mediocre cues have seen the light of day) have me hoping for some sort of deluxe edition. Up to this point no Goransson score has really needed a bigger release (Black Panther was pretty full and the sessions have since leaked, the two Creed OSTs were well and covered). Tenet was rereleased with bonus tracks, so I'd hope for something similar in the future, but in the meantime I'm more than content with the music we have now.

 

The second half of the season presented plenty of opportunities for unique musical moments, including several classily-integrated callbacks and a heap of new motifs and sounds. All of this comes in anticipation for the final episode, where we knew in advance that the full(er) orchestra had been able to record for that chapter exclusively. I'll try my best to make this an easy-to-read-and-follow breakdown. Let's take a look! 

 

01. The Sorcerer (3:32)

A decent album opener, although not as immediately punchy as Volume 1's Mando is Back. There's a lot of running percussive rhythms here, underneath sliding electronics and whistles, including one sound that evokes a sort of lightsaber effect (appropriately). Essentially, it's a new environment, and that's abundantly clear in the music. Kiner's Ahsoka theme comes to the fore and the title card runs, upheld by slightly moody strings. There's some really cool unreleased music that directly follows this in-episode for the arrival at Corvus, but no cigar.

 

1:35  Ahsoka's Theme (Kiner)

3:06  Western Motif (downbeat)

3:12  Western Motif (downbeat)

3:18  Western Motif (downbeat)

3:23  Western Motif (downbeat)

 

02. The Story (6:48)

A thoughtful playground for recorders, strings and modest percussion. We hear everything from some expansions of Kuiil-esque soulfulness, to solo cello renditions of the fanfare, a brief glimpse at Yoda's theme, the return of the Child's mysterious motif from Season 1, and a peek at a semi-familiar Seeing Stone idea, which is essentially derived from several overlappings of the Jawa woodwinds (see Chapter 2's Jawas Attack). Towards the end there are some clear ethnic influences in percussion, as if to play into the samurai style that pervades the episode. A lot of that teamwork for strings and drums feels not too far off from something Greenwood might do. 

 

0:56  see Chapter 1's You Are a Mandalorian 

1:20  Rhodes Motif

1:27  Fanfare

2:00  Yoda's Theme (Williams)

2:36  The Child (Mystery)

4:02  The Seeing Stone

4:09  Western Motif (downbeat)

4:16  Recorder Riff (skeletal/outline)

4:39  Western Motif (downbeat)

          Recorder Riff (skeletal/outline)

 

03. A Mandalorian and a Jedi (1:57)

This is a brief action cue, opening with a guttural, thunderous set of rolls, and connected by a percussive through line (which still reminds me of Greenwood for whatever reason). Ahsoka's theme returns amongst the lightsaber sound and upbeat drums, extending itself up into the atmosphere. 

 

0:59  Ahsoka's Theme (Kiner)

 

04. Ahsoka Lives (3:43)

This is certainly the standout track of Chapter 13, and one of the best from this half of the season. The first half of the cue is a recorder fugue that dances between the riff and the fanfare, as well as several connecting ideas. These are both intertwined and constantly working around each other, so I will not specifically timestamp the themes present in that section. The second half of the track features a strong development on Ahsoka's theme, starting with that higher, distant effect and growing into a fuller variation. Goransson really owns it.

 

0:00  Recorder Fugue (contains shades of riff and fanfare)

1:33  Ahsoka's Theme (Kiner)

2:09  Ahsoka's Theme (Kiner)

2:45  Ahsoka's Theme (Kiner)

3:16  Ahsoka's Theme (Kiner)

 

05. The Seeing Stone (2:12)

A number of familiar ideas reemerge for the first Chapter 14 cue on the album. The Seeing Stone idea returns, along with some fluttering synths, and a quick title card sets us on the way for a brisk, action-packed episode. Unfortunately this particular intro isn't as varied or interesting as the two chapters that follow, both of which did not make this release. No matter.

 

0:00  Mando & Child Motif

0:51  Western Motif (downbeat)

0:56  Western Motif (downbeat)

1:00  The Seeing Stone

1:11  The Child (Mystery)

1:56  Western Motif (downbeat)

 

06. Capture the Flag (5:38)

This the first real set piece on the album, and it's certainly a kicker. Shades of the Seeing Stone are interspersed throughout a fascinating mixture of electronic and organic elements, introducing old and new motifs in prime Goransson fashion. This of course brings us to Boba Fett, who gets a motif of his own, used in both following episodes in unreleased cues (you have to wonder if it will carry on into the new show, and more importantly, if Goransson will take the helm, especially with Mando S3 seemingly further down the line). Fett's musical treatment is similar to Mando's in terms of the earthy elements offered by the set of recorders. In this case, however, they are tougher and more aggressive, and ultimately more befitting of the character. The semi-vocal underlayment for his motif sounds like a beefed-up, lumbering approximation of some excerpts of Black Panther. It's super cool, but it's also hard to trace where it stops and starts, so the beginning of each section is all that I'll timestamp. We also hear a number of shimmery references to Moff Gideon's theme, as well as stellar statements of the heroic utility motif and the fanfare, both in action mode.

 

0:07  The Seeing Stone

1:01  Moff Gideon A

1:09  Moff Gideon A

1:41  Boba Fett Motif

2:09  Heroic Motif

          Western Motif (downbeat w/ interlude) (underneath)

2:15  Western Motif (downbeat w/ interlude) (underneath)

2:26  Boba Fett Motif

2:50  The Seeing Stone

3:53  Fanfare

         Heroic Motif (underneath)

4:54  Boba Fett Motif

5:12  Boba Fett Motif

 

07. The Armor (2:43)

This is a fine cue, although it certainly wasn't one that I especially picked up on in-episode. The riff and Mando & child motif are glanced at, and a strange guitar theme variant picks up in the middle, later carried on by strings and synth. 

 

0:03  Recorder Riff

          Mando & Child Motif (underneath)

 

08. Invaders on Their Land (2:48)

This is yet another fine cue, athematic in nature but still quite punchy, what with a Tenet-y synth backdrop, electric guitar and percussion, with the strings aiding in the back half. When the cue titles leaked I was near certain that this would be the great 6-7 minute pirate set piece that follows in-episode, and so while I was greatly disappointed at that (IMO) huge omittance, I still very much like this track for what it is.

 

09. Brown Eyes (2:51)

This is a cue that really leaves me wondering. If the score was released like it was last season, I'd welcome a little tension builder like this on the mini-OST, but in the case of two fairly limited albums, I really don't see how a track like this gets by. In any case, it does exactly what it needs to in one of my favourite scenes of the series, so there's that.

 

10. Rest in Peace (2:44)

Another cute track title from Goransson, this one because it completely threw us off when it leaked. The RIP is in reference to Bill Burr's character and the conclusion that he's "off the grid" (or killed in an explosion, as the cover-up goes). Again, this track is just fine, but I would take that action set piece over it in an instant. Enough moping though! It's a fairly relaxed and bouncy cue, with non-descript approximations of...some theme (?) coming in the first minute. A short bit starting around the minute mark reminds me of the electronic part of Oksana Floren (...) off the Solo Deluxe Edition. The cue ends with a cut to Gideon, and a tracked segment of the recorder riff from Chapter 6 is the final word.

 

1:33  Heroic Motif

         Western Motif (downbeat)

         Recorder Riff (skeletal/outline)

2:06  Recorder Riff

 

11. Activated (6:08)

Goransson finally had a bigger orchestra to work with in the finale, and he held nothing back, making full use of the increased strings and the addition of winds and brass. This track is an album edit, but it works well all the same. It's a symbiosis of hard electronics and delicious orchestrations. There are a number of really great ideas passed around here, some familiar and others really fresh. This episode in particular had a lot of great prominent stretches for the wind section, which I really enjoyed. As far as new motifs go, it's kind of hard to put a finger on just what exactly qualifies for the dark troopers, but one thing is for sure- they have their own sound, and that is dubstep. A little easter egg is the drip-drop The Egg synth that appears two times throughout, as well as on numerous occasions elsewhere in the show. There's just a lot of cool things overlapping and working alongside each other- it takes a couple listens to really wrap your head around all the different elements at play!

 

0:42  Recorder Riff

1:22  The Egg Synth

1:40  Fanfare

2:03  Heroic Motif

2:49  The Egg Synth (underneath)

 

12. The Sword (3:07)

Another great cue, this time with references to Moff Gideon's material, with plenty of variety as his theme slowly phases out towards the end. I particularly like that col legno (hit with the bow) slap that accompanies the swirling strings after 0:19, as well as the woodwinds that space out the marks of the skeletal riff after 1:17.

 

0:19  Moff's Frenetic Strings 

0:27  Moff Gideon A (continues interspersed)

0:33  Moff Gideon B (continues interspersed)

1:17  Recorder Riff (skeletal/outline)

2:23  Moff Gideon B (partial)

2:46  Moff Gideon B (partial)

 

13. Troopers (2:33)

This track certainly defines the dark trooper sound further, going full in on the electronic side of things, but carrying through with highly complimentary orchestral furnishings to fill the space and round things out. Strings tend to be easiest as a counterpart to the dubstep, and they have plenty of great teamwork moments here. 1:36 might be the closest the troopers get to a motif of their own, but I think it's clear that they're most easily represented by a generally mechanical sound.

 

1:18  The Egg Synth

1:25  Recorder Riff

 

14. A Friend (3:52)

As we reach these last three tracks, each of which features some of Goransson's best work to date, I find I already have an immediate emotional response to each of them. In short, I'm of the mind that the final 10 minutes of the episode are perfectly scored. This cue is unlike anything else in the Mando repertoire up to this point, and rightfully so. A choral effect carries on throughout, and what starts out as a darker, more mysterious idea for the hooded hero quickly turns triumphant and magical. It makes way more sense than Luke's theme, especially considering even Williams rarely considers it in that context anymore. There are so, so many masterful strokes here that solidify this sequence for me, and I'll touch upon a few of them. The oboe (?) at 1:41 syncs up perfectly with a slight hand movement from Grogu as he's drawn in to the security footage (see the isolated score video up the page). It's a small touch, but it works so well. As the troopers prepare to face the lightsaber wielder at 1:57, there's an absolutely splendid blending of all the sounds: the dubstep working with the choir effect and strings to create a powerful build-up, leading into a release at 2:33 with a reprise of the "friend" idea. The end of the cue features some dissonant textures between strings and winds. From start to finish, it's a fantastic sequence of musical storytelling, and even within these 4 minutes, Goransson's development as a composer is quite apparent.

 

3:29  Fanfare (ascending closing figure)

 

15. Open the Door (4:52)

It's crazy to think about just how many great themes and memorable ideas Goransson has delivered for the show in the last two years, and what's crazier is that at least four or five of them reach their highest points one after the other in this next cue. The track opens the same way as A Friend, a little repeating figure that kind of feels like a touch-up of Binary Sunset, which makes sense because it does in fact lead into the Force theme here, complete with the second phrase. The Mando & child motif makes a touching return in similar fashion to the emotional climax of last season, before giving way to the glittery Grogu synths that came as such a sweet surprise not but a few weeks ago. From the chiming theme to the bright eyes portion, up to the strings and then eventually on brass with counterpoint, it's a perfect incarnation of the material and a beautiful resolution in so many ways. I hate to make the comparison to E.T., but the music garners a similar response from me, as I think both ending scenes are similar in a lot of ways as is. The fanfare and riff appear on glorious brass before an uplifting and highly fulfilling ending closes out the season. This track feels like such a definitive conclusion to this part of the Mando story, and I don't think it could be any better than this. It's clearly one of Goransson's best.

 

0:13  Force Theme (Williams)

0:42  Mando & Child Motif

1:19  Mando & Child Motif (B section)

2:08  Grogu/Snacks 

2:29  Grogu/Snacks

2:56  Bright Eyes

3:07  Grogu/Snacks

3:20  Bright Eyes

3:34  Bright Eyes 

3:51  Grogu/Snacks

4:02  Grogu/Snacks

4:16  Fanfare

4:30  Recorder Riff

 

16. Come with Me (2:45)

And then this lovely surprise- a brand new credits piece derived from the recorder fugue in Ahsoka Lives, playing out the end with bittersweet joy. It starts with the riff and then goes into the piece proper, the riff, fanfare and western motif fused together by strings, and some winds (see 1:42).

 

0:00  Recorder Riff

0:25  Recorder Riff

0:51  Recorder Fugue

 

...

 

I'm preparing some "resources" using an easy-to-access medium that should clear up any questions/confusion there might be as to which theme or motif is which and such. Basically, I've set up a blog site where I will collect revised versions of my write-ups for Season 1, album analyses for Season 2 and much more in that regard, and probably the most useful part; a comprehensive guide to all the recurring musical ideas in the show (as far as I understand them ). It's a major work in progress, but fortunately it is also a passion project, so I look forward to sharing it here for anyone who may be interested! 

 

 

What a ride! Goransson has really impressed me this season, both in how he made do during the pandemic and with how he has progressed in the writing itself. I do wonder when we might start to get announcements about composers for the other upcoming shows. Depending on the scheduling, I'd be willing to bet Goransson might just be able to stick around for some of the other Mando timeline projects, especially if Mando S3 doesn't go into production until sometime after The Book of Boba Fett is completed. Who knows. Wishful thinking, and it's too soon to tell, but I look forward to hearing how it works out.

 

Thank you for taking the time to read my writing, and for all the discussion and shared excitement of these past two months! I'm looking forward to a good year ahead, what with all the music I have to keep busy with until next time. Cheers and happy new year! 

[Jay 18379]

Post of the year! 

[MedigoScan 150]

I am still sad that we didnt even get one action setpiece from episode 7.

[Knight of Ren 104]

That's a great breakdown! I also hope we would get some additional cues, especially the action set-piece from Chapter 15, but I'm not complaining since we got some really great cues

 

I think Open The Door might be one of my favorite Goransson cues he has ever done. I love how he takes a couple of his own motifs and develops them in their most emotional statement yet, making for a really ET inspired finale!

[The Illustrious Jerry 2843]

Was randomly skipping through some Season 1 cues when I made a really neat discovery! I know that the Bright Eyes motif first appeared in the Chapter 5 track of the same name, although it was then completely isolated. Well I just realized that later that episode, in Farewell, the complimentary motif, which I've dubbed Grogu/Snacks, makes a brief appearance on strings over the fanfare. This is long before it became it's own thing! Check it out (1:10):

 

 

And just an example to clarify/compare what this becomes in Season 2 (0:08):

 

 

[Jay 18379]

Neat! 

[Jay 18379]

Any JWFanners out there besides me really liking listening to the Season 2 OST albums, like a lot?

[SilentWraith360 1]

Yes! "The Story" in particular is getting a lot of attention from me. I love the development of the Kuiil flute and chimes motif throughout as well as the quick rendition of Yoda’s theme. Such a calming track. I can’t get enough of this album.

[Jay 18379]

I just listen to both volumes as one long album and holy hell is it satisfying every time!

[The Illustrious Jerry 2843]

 

Hey folks!

 

I've spent the last few months updating my writing and getting to know the ins and outs of a basic website, and I'm now ready (and super excited ) to share the first few posts from The Music of The Mandalorian, a collection of write-ups on Goransson's score in standard blog format. 

 

The first round of posts includes a (hopefully) comprehensive thematic catalogue, covering 44 different musical ideas, as well as the isolated score videos for Chapter 8, Chapter 11, and Chapter 16. There's still a lot of editing required before the timestamps and other write-ups are up to date, but I think this is a pretty good start.

 

Of course, I'm still getting accustomed to the technical aspect, which was hardly my forte to begin with. Fortunately, something like this doesn't entail too many complications! I'll post about any updates here as they happen. If you're a fan of the show and score (or know someone who is), feel free to take a look. Feedback is always welcome. 

 

Thanks! 

[mxsch 67]

16 minutes ago, The Illustrious Jerry said:

 

Hey folks!

 

I've spent the last few months updating my writing and getting to know the ins and outs of a basic website, and I'm now ready (and super excited ) to share the first few posts from The Music of The Mandalorian, a collection of write-ups on Goransson's score in standard blog format. 

 

The first round of posts includes a (hopefully) comprehensive thematic catalogue, covering 44 different musical ideas, as well as the isolated score videos for Chapter 8, Chapter 11, and Chapter 16. There's still a lot of editing required before the timestamps and other write-ups are up to date, but I think this is a pretty good start.

 

Of course, I'm still getting accustomed to the technical aspect, which was hardly my forte to begin with. Fortunately, something like this doesn't entail too many complications! I'll post about any updates here as they happen. If you're a fan of the show and score (or know someone who is), feel free to take a look. Feedback is always welcome. 

 

Thanks! 

Hell yeah! Thank you so much!

[Knight of Ren 104]

This is really great! Thanks for sharing it.