The Rise of Skywalker First clip from Rise of Skywalker - New music!

[mrbellamy 6,272]

35 minutes ago, gkgyver said:

More excited for Song Of Names, to be honest. 

 

I'm excited for both, to be honest.

 

Though still doesn't match how hyped I was when Hateful Eight and Force Awakens were coming out the same time. I'm pretty sure that's the most excited I'll ever be to hear movie music.

[Arpy 4,145]

No, Jay! Williams must write a new theme for each scene or it's a dull score! 

 

Each clip they release has to include these thematic statements!

18 minutes ago, Jay said:

 

Thanks so much for making this!!!

 

Dunno why anyone would complain about this music.  It's 30 seconds of a clearly much longer cue.  You can find 30 second sections of many film music compositions that don't tell you much about the composition as a whole.

 

I don't think anybody should have been expecting JW to come up with an entirely brand new way to score a chase scene in a Star Wars movie 9 films in.  This music isn't groundbreaking but there's nothing wrong with it at all.  Bring on the whole cue!

 

[Thor 7,465]

Geez, don't get your panties in a twist, folks. I was only judging the 30 seconds of music in the clip. As I said, I hope the rest of the score has a more defined character (and thematic ideas). Though the 'hope' in question is faint.

[mrbellamy 6,272]

2 minutes ago, Arpy said:

No, Jay! Williams must write a new theme for each scene or it's a dull score! 

 

Each clip they release has to include these thematic statements!

 

I dunno why he didn't write a big thematic statement for the jetpack Stormtroopers tbh. That's a really important moment.

[crumbs 14,300]

There should be a theme for people firing blasters, a theme for troopers talking into walkie talkies, and a motif for each vehicle involved in the chase! Such a wasted opportunity, Williams is just phoning it in! 

[mrbellamy 6,272]

Anybody else agree that John Williams is probably the least interesting he’s been since he started scoring these kinds of movies AND that these new scores kick ass?

[Tydirium 1,166]

54 minutes ago, mrbellamy said:

 

I dunno why he didn't write a big thematic statement for the jetpack Stormtroopers tbh. That's a really important moment.

How is it a really important moment?

[mrbellamy 6,272]

Because they have jetpacks.

[crumbs 14,300]

I'm sure the cue (and score) will be overflowing with loud brass fanfares. I thought the strings underscoring that reveal worked really effectively. Reminds me a bit of his scoring in Hyperspace, with the change in energy and orchestration ramping up the excitement. 

[Tom 4,634]

1 hour ago, mrbellamy said:

Anybody else agree that John Williams is probably the least interesting he’s been since he started scoring these kinds of movies AND that these new scores kick ass?

There is something to this point.  Rey's theme, though, makes VII competitive with the previous.  I also think this score will be the best of the sequels with several big thematic moments and a couple of big new themes (I am convinced the bad guy march in the other thread is Williams). 

[Remco 685]

I’m hearing woodwinds on top of sound effects!

 

 

Seriously though, I hope the dry mix from TFA doesn’t return. But it sounds like it... wonder how that will be combined with the inevitable choral forces at the end of the movie.

[crumbs 14,300]

It does sound drier than TLJ, but not quite as dry as TFA. I just hope the mix isn't brass heavy again. It's fine if the recording is dry but the mix needs to be balanced. 

[Remco 685]

At least the music doesn’t drop noticeable in volume when the sfx come in - as in TFA.

[ocelot 508]

12 hours ago, mrbellamy said:

 

Now THAT is Star Wars music...... Thank you!

[crumbs 14,300]

JJ said work is now officially finished on the film, which means everything JW recorded last week was the last thing added to the mix (and should be intact, without any more picture edits).

[Bayesian 1,359]

A locked edit? In the can? That’s great news! And in time for thanksgiving, which everyone working on post will be able to take off. That’s especially nice. 

[Tom 4,634]

27 minutes ago, crumbs said:

JJ said work is now officially finished on the film, which means everything JW recorded last week was the last thing added to the mix (and should be intact, without any more picture edits).

This guarantees one unedited cue (and at this point, I will take it).  

[Balahkay 627]

I’m wondering if the first 5 seconds of the clip isn’t the tail end of something themetic?

[King Mark 3,625]

1 hour ago, Remco said:

At least the music doesn’t drop noticeable in volume when the sfx come in - as in TFA.

 and dialogue, so yeah , that scene is better mixed than TFA and the Prequels

 

I actually hear the music at OST listening levels with all the instruments and  clearly separated from the SFX and dialogue

[crumbs 14,300]

 

Film was locked yesterday so yeah, whatever was recorded in those final sessions was mixed and inserted into the sound mix within a few days. Pretty impressive.

 

Should mean no edits for those sections (but they could be inserts covering other edits for all we know).

[MikeH 768]

We need an edit with a slide-whistle over the stormtroopers’ launching!

Both Chewie and C3PO’s reactions were genuinely hilarious, they should’ve left the gag at that. 

[crumbs 14,300]

Does the recording of Main Title in that video above sound different to anyone else? Definitely not the TFA or prequel version...? 

[artguy360 1,843]

I like the music at the beginning of the clip! It sounds vaguely melodic and not just more xylophone music.

[Kasey Kockroach 2,343]

Were there xylophones in TLJ? I was too asleep to notice. 

[crumbs 14,300]

9 minutes ago, Kasey Kockroach said:

Were there xylophones in TLJ? I was too asleep to notice. 

 

Not that I can recall. It seems like an instrument he relies on when writing this style of modular music which can be easier edited for the final cut (much easier to chop a bunch of xylophone hits in half than 4 bars of trumpets or strings).

 

But that's just my theory. It was certainly prevalent in that 2002 AOTC action writing phase. 

[Kasey Kockroach 2,343]

But that music was actually fun (by Star Wars standards, at least)!

[Unlucky Bastard 7,782]

Zzzzzz...

[Kasey Kockroach 2,343]

Just now, Thekthithm said:

Zzzzzz...

Hey, wake up, ya lazy bum! We're discussing IMPORTANT things here!

[DarthDementous 1,059]

2 hours ago, MikeH said:

We need an edit with a slide-whistle over the stormtroopers’ launching!

Both Chewie and C3PO’s reactions were genuinely hilarious, they should’ve left the gag at that. 

huh yeah that does sound quite different, did they finally record a new version of the theme?

or rather, did they finally record a new version of the theme and not forget to put it in the movie -.-

[MaestroUE 29]

2 hours ago, Kasey Kockroach said:

Were there xylophones in TLJ? I was too asleep to notice. 

I believe there was, mostly just in certain action sequences (I definitely recall some passages in “Main Title and Escape” and “The Fathiers”) but the audibility of the instrument highly depends on the mixing. The brilliant mixing of prequel soundtracks (Apart from parts of ROTS maybe) allowed the instrument to be very audible and shown its role in the orchestration. For example, in “The Falcon” from TFA, JW uses in the instrument (although it can also be marimba, not sure), mostly supporting the main melody in and underlying manner but the mixing is so dry and bad that you can barely hear the wonderful amalgamation in the orchestration. For TROS though, due to revisiting old cues for the final movie of the saga, JW might nod to the heavy use of percussion in prequel scores in parts. 

[crumbs 14,300]

1 hour ago, MaestroUE said:

I believe there was, mostly just in certain action sequences (I definitely recall some passages in “Main Title and Escape” and “The Fathiers”) but the audibility of the instrument highly depends on the mixing. The brilliant mixing of prequel soundtracks (Apart from parts of ROTS maybe) allowed the instrument to be very audible and shown its role in the orchestration.

 

Ah, you're right. It's subtle but you can hear it backing the strings in a few places at the start, here:

 

 

As you say, it's a wonderful amalgamation of orchestration where all these different textures blend seamlessly and create a pleasing, even sound.

 

... then you compare it to the 'whack you over the head' subtlety of TFA's mix:

 

 

It's just so... uneven. There's no warmth to the recording and everything sounds disparate. I know some people prefer this style but it's not my cuppa tea. It sounds like an unfinished master that hasn't been balanced properly, with percussion/brass mixed too hot and way too much separation between instruments.

 

So yeah, the dry brass and loud xylo is pretty disconcerting from this clip (especially if JJ asked them to revert to a TFA-style mix). When you compare it to the recording acoustics of the prequels, there's just no comparison in terms of orchestral balance. The xylo is allowed to be front and centre but all the different sections (flute, trumpets, timpani and xylo) are given equal weighting in the mix:

 

 

A

[Jay 37,287]

16 hours ago, Thor said:

I'm hoping for a few more thematic ideas here than TLJ. One month to go!

 

16 hours ago, Jay said:

TLJ is full of thematic ideas, though.  Did you not notice Holdo, Rose, and Luke all got new themes? And that Rey's theme and the Resistance March go through tons of new permutations?  Granted a lot of this stuff isn't on the album, but it's all heard in the film

 

15 hours ago, Thor said:

Geez, don't get your panties in a twist, folks. I was only judging the 30 seconds of music in the clip. As I said, I hope the rest of the score has a more defined character (and thematic ideas). Though the 'hope' in question is faint.

 

Why didn't you answer my question, Thor?

[Thor 7,465]

The only new thematic idea that IMO had any kind of presence in TLJ was the Rose theme, and even that sounded like 'bridge material' that ended up on the cutting room floor of a Harry Potter film. Now I'm sure you'll list all kinds of other, new themes in the film, but none of them made any impact on me. Nor did the non-thematic material, for that matter. Best parts about it were the appearances of Rey's theme and the March of the Resistance (and any original trilogy cameos). I'm impressed he managed to squeeze out such a big score at his age, with all those notes and flourishes, but I think it's his weakest STAR WARS score by far. In fact, I think I've played it all but 5 times since I got it, hoping to find some redeeming value each time, but having to search high and low to find it.

 

I'm expecting this score to be the same (i.e. 70+ minutes of what we hear in this clip), but hoping it isn't.

[Jay 37,287]

I don't know how you can listen to that album or watch that film and think Rose's Theme had more "presence" than the Luke in Exile theme.  That theme is far more up front, and prominent, and scores the main character.  Rose's theme is used a few times for a minor character.

[Thor 7,465]

Ha, ha....I admit I haven't played the soundtrack in about half a year or so. I'll pay better attention to the socalled Luke in Exile theme the next time I play it; which track would that be?

 

Oh yeah, I just remembered -- the "Canto Bight" theme was kinda cute.

[Jay 37,287]

The Luke in Exile theme is the giant prominent theme heard in Ahch-To Island, The Rebellion is Reborn, and the End Credits (and additional scenes in the film, that aren't on the OST)

[Thor 7,465]

OK, thanks. This discussion spurred me to put it again just now.

[Jay 37,287]

You might enjoy this as well

 

Quote

Luke in Exile

Luke is given a new theme for his self-imposed exile on the island of Ahch-To.

 

 

Given that Luke is the hero of the original Star Wars trilogy, it is significant that this theme does not derive from or otherwise relate to either his own theme from those films (which is also the Star Wars main theme) or the Force theme, the two themes with which he was most associated. This is appropriate since Luke has evolved into quite a different character in this film and (for the most part) has even cut himself off from the Force.

 

The new exile theme is very different in its construction. To begin with, it is set in triple time, not the march-like quadruple time of the old themes for Luke and the Force. Second, as triple times go, the tempo is moderately slow. And third, there is consistent emphasis on the second beat of the bar by placing the longest note of the motive there. These qualities all suggest the traditional baroque dance known as the sarabande, which projects a serious and stately quality that corresponds with Luke’s status as a living legend.

 

The theme’s melody and harmony also suggest much of Luke’s emotional state. The trajectory of the theme’s melody is one that winds downward from scale degree 5 to the tonic 1, which, together with the theme’s minor key, implies a negative frame of mind. Compare this to the several large upward leaps in Luke’s old theme suggesting heroism, and the slowly rising line of the Force theme that suggests a gradually succeeding endeavor. The entire melody is based on a single motive, suggesting a kind of obsessive state that one is unable or unwilling to break out of. The harmony follows this idea as well as there is never any motion away from the bass line’s tonic pedal, a device that lends the theme a feeling of inertia, which mirrors Luke’s desire to be disengaged from the fighting and lead a solitary life on the island.

 

Also notice that, in the first bar, the melody rises stepwise in the theme’s minor key from scale degree 5 to scale degree 6 and back again. This motion of 5-6-5 is one that has long been associated with expressions of deep sadness. Williams even emphasizes this feature by placing the 6th degree on the lengthened note on beat 2, and by sounding scale degree 5 at the same time as 6, producing a striking semitone dissonance that seems to cry out in pain. This same dissonance is also found in some statements of the Force theme in the film that accompany Luke as he continues to be in low spirits.

 

Simple though this theme sounds, it paints quite a detailed and emotionally powerful picture of Luke in his exile on Ahch-To.

 

http://www.filmmusicnotes.com/new-musical-themes-and-their-meaning-in-the-last-jedi/

 

But note that what he calls the Desperation theme on that page is really Holdo's theme.

[mrbellamy 6,272]

17 minutes ago, Jay said:

I don't know how you can listen to that album or watch that film and think Rose's Theme had more "presence" than the Luke in Exile theme.  That theme is far more up front, and prominent, and scores the main character.  Your brain works in an interesting way sometimes I suppose.

 

To be fair, Rose's Theme is used all throughout the film whereas the Exile theme completely disappears after Luke and Rey head up to the first lesson (minus end credits of course). I guess the montage of Luke on the island is a more extended and prominent thematic statement than any of Rose's, though.

 

I think it's open to debate whether or not that Holdo theme is really hers or just a more general theme for desperation or struggle. It's interesting that the big battle motifs heard in Escape and Battle of Crait are related. 

[Thor 7,465]

Ah, the bit that starts at 1:02? Somehow, I always thought that was from THE FORCE AWAKENS, the "Jedi Steps" or whatever it was called. Goes to show how much I've invested in tracking these new SW scores, LOL!

[Jay 37,287]

6 minutes ago, Thor said:

Ah, the bit that starts at 1:02? Somehow, I always thought that was from THE FORCE AWAKENS, the "Jedi Steps" or whatever it was called. Goes to show how much I've invested in tracking these new SW scores, LOL!

 

No.  Assuming you're talking about the track "Ahch-To Island", the Luke In Exile theme plays from 2:55-end, with the loud prominent part from 3:33-end.

 

In The Rebellion is Reborn, you'll hear it from 0:50-1:00 and 1:20-2:55, etc

[Thor 7,465]

I see. I now understand why it's never made an impact on me. Sounds more motivic, more like 'tissue material' than any extrovert theme.

[aviazn 273]

I agree, the Luke in Exile theme never made much of an impression on me either, and feels like a watered down version of its model in Sibelius’ second symphony.

 

But Holdo’s theme, on the other hand—that one has always been a winner for me, and is where a lot of the battle motifs are derived from (as well as arguably that Battle of the Heroes-sounding line from Paige’s sacrifice).

[Jay 37,287]

Yea that music for Holdo's sacrifice is amazing and I don't know what JW was thinking by only including it in the end credits medley and not as a big narrative moment in the album proper.  It was very wise to include it on the FYC album.

[fommes 153]

Always thought more of the theme as a training/relation theme for Luke & Rey rather than 'Luke in exile'.

[Jay 37,287]

She's not really training when she's watching him hop on his stick and milk his livestock

[publicist 4,643]

The concert piece pitching the two 'TLJ' themes together is one of the strongest modern SW pieces, for what its worth. 

[Edmilson 7,388]

My favorite performance of Holdo's theme is not on Holdo's Resolve, but on this track, when the character is introduced. The noble horns reminded me a little of Shore's LOTR scores, specially the Gondor material:

 

 

[Holko 9,499]

And then it moves into the most different MotR rendition yet!

[Jay 37,287]

YES!  Amazing cue.  Should have been on the OST!