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The Rise of Skywalker - For Your Consideration (FYC) Album Discussion

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1 hour ago, Blumenkohl said:

2000s Howard Shore is better at closing a franchise than 2010s John Williams. The jump in tone from FotR to RotK compared to TFA to TROS.

Those scores were one large story written over a few years opposed to the staggered 40 year casual engagement Williams went through with the saga. I get a sense (based on the FYC) that RoS does a better job concluding the ST instead of the entire nine films.

 

I had imagined in that instance that we would hear a long concert suite end credits weaving the many themes of all nine together, but that remains to be seen and a dream that's unlikely to come true.

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2 hours ago, Blumenkohl said:

2000s Howard Shore is better at closing a franchise than 2010s John Williams. The jump in tone from FotR to RotK compared to TFA to TROS.

 

You only have heard FYC and not seen this film? You were wanking same time when you gave this one star?  Bitter of something?

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Honestly I won't be very surprised if this FYC promo is not the actual FYC promo CD. Clearly someone failed at his job leaking it before its time, so this could be even a first assembled promotional rather than the final version. I just say this because the tracks seem very short and more like portions of a complete album. Anyway, I liked quite a lot. I need to listed to more music and see it in context but it makes me think that I'll enjoy the movie.

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7 hours ago, Arpy said:

Those scores were one large story written over a few years opposed to the staggered 40 year casual engagement Williams went through with the saga. 

 

He was talking about the development between TFA and TROS, not the last 40 years, clearly. 

Of course this trilogy doesn't come close to 2000s Shore.

It's not nearly poignant and interesting enough. 

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25 minutes ago, gkgyver said:

 

He was talking about the development between TFA and TROS, not the last 40 years, clearly. 

Of course this trilogy doesn't come close to 2000s Shore.

It's not nearly poignant and interesting enough. 

Apples and Oranges...

 

Different stories and films that required different scores; The Lord of the Rings in my mind isn't exactly three separate scores but one long narrative. The development between these three Star Wars films is clear and the FYC, as incomplete a picture it represents, still conveys that. 

 

I sense this bitterness from you is more from expectations that weren't met and not the quality/effectiveness of the the scores themselves. What makes something poignant is dependent upon whatever attachment one makes to the story, characters, music etc. So in your case I guess this last score could never deliver what you want if you weren't attached to the first two to begin with. 

 

Also shame on you for forcing me to pit both my favorite composers against one another!

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34 minutes ago, Taikomochi said:

Some people here are more interested in trolling others for liking the music than they are in the music itself, and it’s sad.

Sometimes that's true, but I also understand gkgyver's take, in some way as JWFanners we all have these heavenly expectations and I won't say I wasn't a little underwhelmed with all three scores. Time, listening and experience have all managed to make me appreciate these scores more and I know the same will happen when the proper OST drops next week!

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Have had that “A New Home” motif stuck in my head all morning

 

Also not sure if this was mentioned, 2:50-3:05 of “Farewell” is a veiled reference to the theme in “We Go Together” right? Maybe some evidence it’s related to the “Farewell” theme. 

 

My prediction for now is the WGT theme is like a “group/final adventure” theme that we’ll hear in the first part of the movie, then the “Farewell” one will take over towards the end as a general finale theme. That’s the vibe I’m getting anyway. I’m really digging both, they really work well in their emotional and action versions in this FYC, hope there’s a lot more of them in the score.

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I am absolutely in love with the swelling strings and rich chord changes of Farewell 3:30-end. Hits me in the same emotional spot as Anakin's Theme 1:30-2:00, Across the Stars 2:00-2:30, and the transition out of Marion's theme in Washington Ending/Raiders March 4:20-4:40. I'm a sucker for that stuff. 

 

Am I hearing things, or is that section in Farewell a major interpretation of the Kylo Ren motif?

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Is anyone else thinking about the 2 rising notes JW adds to the end of Kylo Ren's theme in various places throughout the music? Or at least I believe that is what he has done. The addition adds a hopeful note but also an abruptness to the end of Kylo's fanfare. Anyone else notice this?

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10 minutes ago, artguy360 said:

Is anyone else thinking about the 2 rising notes JW adds to the end of Kylo Ren's theme in various places throughout the music? Or at least I believe that is what he has done. The addition adds a hopeful note but also an abruptness to the end of Kylo's fanfare. Anyone else notice this?

 

"Parents" comes to mind, but can you point out other examples?

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29 minutes ago, Disco Stu said:

 

"Parents" comes to mind, but can you point out other examples?

It happens again at the beginning of Come Together. I'm not sure where else off-hand but I feel like there are more string and brass statements of it somewhere in the FYC.

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I’m waiting until after seeing the movie to actually dig into it. I’ve only listened through fully once and my individual faves a few extra times. 

 

On the 18th I’ll give the OST a full listen once then try my best to stay away from it altogether until I see the film Saturday.

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22 hours ago, Jim Ware said:

There's an oblique reference to Luke and Leia in We Go Together.

 

20 hours ago, Jay said:

Anyone else know what he's talking about?

 

20 hours ago, Johnny Baby said:

I heard it also, I assume hes referring to 0:30 to 0:37 in We Go Together.

 

20 hours ago, Jay said:

Isn't that the B section of NEW THEME #2?

 

Or are you saying all of these is actually Luke and Leia's theme?

 

03 We Go Together (2:10)

  • 0:30 NEW THEME #2 (Anakin's Theme-esque B section?)
  • 1:58 NEW THEME #2 (Anakin's Theme-esque B section?)

20 Seeing Sights (3:17)

  • 0:24 NEW THEME #2 (Anakin's Theme-esque B section?)

 

 

What's the final verdict on this?

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2 hours ago, Jay said:

Any else getting more and more annoyed by how choppy this presentation of the music is, and kinda leaning towards waiting till the OST album comes out to dig back into this score?


Modern film making. 

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Nah it has nothing to do with that.  Clearly some of these tracks "end" where they would segue directly into more music in the film itself, but are "cut short" here if that cue would involve straight up presentations of old themes or heavy edits.  The result is this doesn't work as an album.  It doesn't have a beginning or end.

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Is the editing worse than the FYCs for the first two ST films? Feels like it. I'm two listens (only one full volume, undistracted) and am stopping until... 18th or 20th can't decide. Want the full quality audio, but fomo on the discussions. Won't see the film probably until around New Year's.

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yeah, I can tell there are some clear edits and some abrupt moments.

 

I wonder if any of these queues is segued to from the Main Title? I don't hear one that would sound obvious.

 

I also wonder if the cue that segues to the End Credits is a life of existing material and perhaps is why it's not on the FYC.

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To me it seems certain that where A New Home "ends" here is where in the film itself it will segue into Binary Sunset yet again, and that will end the film.

 

And I think Prologue is a small chunk of a long cue that flows out of the main title.

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1 minute ago, MrJosh said:

I wonder if any of these queues is segued to from the Main Title?

 

The FYC has to be in chrono order, so if it was going to be one of them it would have to be first one.  And it doesn't sound like it could naturally flow out of the end of the main title without more transitional material.

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1 minute ago, Jay said:

To me it seems certain that where A New Home "ends" here is where in the film itself it will segue into Binary Sunset yet again, and that will end the film.

 

And I think Prologue is a small chunk of a long cue that flows out of the main title.

You're right, I can certainly hear Binary Sunset in my head starting right there...

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6 minutes ago, MrJosh said:

yeah, I can tell there are some clear edits and some abrupt moments.

 

I wonder if any of these queues is segued to from the Main Title? I don't hear one that would sound obvious.

 

I also wonder if the cue that segues to the End Credits is a life of existing material and perhaps is why it's not on the FYC.

 

It's probably because it's Binary Sunset for the nth time, and the Academy doesn't like retreads like these. 

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Update after a few listens:

 

Overall i like the writing, the orchestration and the energy in this, as i said before, especially the action writing and the underscore but the more i listen to it, the more i find things that disturb me. First of all, i know many people have pointed out the new "themes" but considering the fact that this album should represent the new material in the score, i'm greatly disappointed. If this turns out to be true, i believe this will be something i've never witnessed in a JW score. There are a couple of motifs, that don't really feel like themes, maybe except for the ending of "Farewell" and the mid-part of "Approaching the Throne". Even Rose's Theme sounds more complete and more exciting. The mixing is good, except for louder tutti string/woodwind & timpani passages. Although this could be due to the lower quallity of the audio, it's still not as good as it was in TLJ i believe.

 

The whole album sounds very underscory, which is brilliantly written, much better than TFA and TLJ, but it doesn't really deliver a solid listening experience. The frequent tutti-crescendi/cluster passages with the purpose of creating suspense kinda gets boring after a while. This surely is gonna be somewhat fixed in the complete score but i kinda have started feeling a little pessimistic about the fulfillment of the complete score. If there were major new themes, they probably would've been represented in the FYC, which is the purpose of the album, otherwise who would prefer underscore to thematically well written new cues?

 

Questions after questions in my mind.. I've already given up on hearing major new themes in the complete score but i'm holding onto my hope of a better listening experience.

 

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33 minutes ago, MrJosh said:

He should re-work Reunion of Friends, have it lead up to Rey's theme in Lydian mode segueing into 'End Credits and Rey's Wonderous World'

 

Ha - I wonder if that would work as well as it did with Hedwig's theme, in terms of the intervals sounding Lydian if you placed the tonic on the sixth degree. (I actually just tried it out in my head). Certainly the Phrygian dominant version of Rey at the end of TLJ Finale is quite lovely.
 

 

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15 minutes ago, Jay said:

Listening to the end of Approaching The Throne.. it is suspicious!  Almost like it's possible that they muted the orchestra after 4:08, only leaving the choir continue on to finish, because in the actual film, the orchestra continues on from there with Duel of the Fates backing.  Who knows, it's possible though.


I was thinking the same thing. Also the end of the piece itself does not sound like how JW would end such a climactic moment. It’s possible that there’s recurring themes, possibly DotF, before and after that choir moment so they might have decided to cut it out.

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I think We GoTogether might be the cue that leads to the End Credits.  There's the Force theme followed by a passage that  sounds like it's meant to segue into the End Credits

 

so it might be A New Home and We go Togheter on the OST

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