The Rise of Skywalker The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!

[Demodex 557]

The concert arrangement of Anthem of Evil just seems like random, forgettable melodies. 

 

I agree that it should have been introduced in Episode 7. 

[Chewy 2,376]

1 hour ago, Demodex said:

The concert arrangement of Anthem of Evil just seems like random, forgettable melodies.

This is so wrong really, I personally love that track.

[BrotherSound 2,242]

@crumbs Continuing the game of deciphering little glimpses of sheet music:

 

 

Here's a shot of part of the first page of the 8M4 'Psalm of the Sith' cello part, too. Rather blurry, but might provide some insight as to what the first section is. The last three lines appear to be that section from 'Join Me'.

 

The part before that doesn't seem like anything we've heard, though. Recognize that from anywhere, @Falstaft?

 

Also, I believe this is the trumpet part from 'Parents':

 

The redeemed transformation of the Kylo Ren motif is on the 3rd line from the bottom. It's hard to tell for sure, but it appears from this part that the full version of this cue continues on a bit longer than what's heard on the FYC and in the film. The end of the cue appears to be on the 3rd line of the second page, whereas the film version ends around the end of the first page or beginning of the second.

 

[Falstaft 2,132]

20 hours ago, BrotherSound said:

@crumbs Continuing the game of deciphering little glimpses of sheet music:

 

 

Here's a shot of part of the first page of the 8M4 'Psalm of the Sith' cello part, too. Rather blurry, but might provide some insight as to what the first section is. The last three lines appear to be that section from 'Join Me'.

 

The part before that doesn't seem like anything we've heard, though. Recognize that from anywhere, @Falstaft?

 

 

Yikes, that's tricky. I don't suppose you or anyone else could take a super-high res screengrab of that specific frame around 4 seconds in? Perhaps in 4K or UltraHD or whatever? 

[crumbs 14,301]

27 minutes ago, Falstaft said:

 

Yikes, that's tricky. I don't suppose you or anyone else could take a super-high res screengrab of that specific frame around 4 seconds in? Perhaps in 4K or UltraHD or whatever? 

 

 

 

@Falstaft does this help?

 

Note that you can partially see pages 2 and 3, which might be helpful in identifying this.

[BrotherSound 2,242]

Thanks, @crumbs! That’s quite a bit more detailed. I can make out most of the notes now, but I still don’t recognize anything in the first four lines.

 

2 hours ago, crumbs said:

Note that you can partially see pages 2 and 3, which might be helpful in identifying this.

Those other pages appear to be from different cues. Nearly the entirely ‘Psalm of the Sith’ violin part was visible, and nothing on either of these pages aligns with that.

[Falstaft 2,132]

7 hours ago, crumbs said:

 

 

 

@Falstaft does this help?

 

Note that you can partially see pages 2 and 3, which might be helpful in identifying this.

 

The images are much better, but I still can't make heads or tails of this. There's a nice, snakey chromatic bass line starting on the fourth system, apparently to be played "dark," but there's not very much to go on in terms of motivic or harmonic clues. It's not part of the Anthem of Evil track, that much is clear.

[Falstaft 2,132]

Speaking of "Join Me," there's a cute little detail which may be the first instance I know of where micro-editing actually strengthens the motivic integrity of these scores. @BrotherSound I know you'll appreciate this!

 

On the OST, the lugubre string statement of the Anthem of Evil theme ends at 1:18 with a little melodic figure in Eb-min, Cb5-Bb4-Eb4-Bb3. 

 

 

On the FYC, that same passage cuts to a few measures later (or has an alternatively composed ending?) at 1:08.  Regardless of how it arose, the figure is now Cb5-Bb4-Eb4-Gb4. AKA Kylo Ren's diatonic "redeemed" motif.

 

 

 

 

[Jay 37,287]

21 hours ago, Falstaft said:

On the FYC, that same passage cuts to a few measures later (or has an alternatively composed ending?) at 1:08.  Regardless of how it arose, the figure is now Cb5-Bb4-Eb4-Gb4. AKA Kylo Ren's diatonic "redeemed" motif.

 

Holy cow, nice catch!  Listening closely, it seems that brief statement of the redeemed theme could be edited in?  Hmm

[BrotherSound 2,242]

JWFan’s own @Falstaft (“the Star Wars music Yoda”) gets a shoutout in this new video, which despite the title, is more critical of the filmmakers and music editors than Williams:

 

There’s definitely a fine line between appropriate callbacks and cheap nostalgia. I personally didn’t mind the use of the main theme that he complains about, but I did dislike the tracking of the Vader’s Death cue, because in my opinion, it takes a way a bit of the uniqueness and poignancy of that moment.

[kelliwisethebrave 54]

I started watching the video but stopped when I realized it wasn't going to make me feel better about anything.

There are things I love in the movie, there are things I hate in the movie (and I've been complaining about them myself for the last four months). Still being able to love the things I do enjoy instead of throwing the whole thing away is important to me after being obsessed with the sequel trilogy for over 4 years. A big part of that is of course the soundtrack.

 On that note, I'm curious, @BrotherSound what was the main theme he complained about?

[Faleel 5,340]

6 minutes ago, kelliwisethebrave said:

I started watching the video but stopped when I realized it wasn't going to make me feel better about anything.

There are things I love in the movie, there are things I hate in the movie (and I've been complaining about them myself for the last four months). Still being able to love the things I do enjoy instead of throwing the whole thing away is important to me after being obsessed with the sequel trilogy for over 4 years. A big part of that is of course the soundtrack.

 On that note, I'm curious, @BrotherSound what was the main theme he complained about?

The Star Wars Main Title theme I would assume

[TheAvengerButton 175]

I just came to talk about this video. I started watching it but, I just can't stand listening to people complain about Star Wars anymore. Even though I dislike plenty of things about the Star Wars films (and the new films especially since they are so fresh in my mind), I at least can tolerate my own thoughts about it because I'm not so hyperbolic and manic--and a lot of that could probably be attributed to the format, because Youtube personalities tend to come across as more manic to make their videos energetic.

 

It's just annoying imagining the people who leave behind comments or make manic-energy Youtube critiques actually watching the film. Like, do the commenters actually get so worked up over something they dislike? Maybe it's just because I have the emotional capacity of a dead fish, but I just don't understand wasting my energy on such endeavors. But to each their own.

[Bofur01 245]

I thought it was funny how he liked JW’s use of Kylo Ren’s theme over that shot of Rey saying no-one knew who she was, when it was really tracked in from TFA

[kelliwisethebrave 54]

8 minutes ago, Fal J. M. Skywalker said:

The Star Wars Main Title theme I would assume

Oh, so I'm guessing it's the part where all the small ships, etc show up on Exegol. I don't remember any other prominent examples.

I suppose I agree that something else there might have been better.

[BrotherSound 2,242]

30 minutes ago, kelliwisethebrave said:

On that note, I'm curious, @BrotherSound what was the main theme he complained about?

 

I mean the Star Wars main title theme a.k.a. Luke's theme.

 

11 minutes ago, kelliwisethebrave said:

Oh, so I'm guessing it's the part where all the small ships, etc show up on Exegol. I don't remember any other prominent examples.

I suppose I agree that something else there might have been better.

 

That's definitely the most prominent use, but it does show up several other times: like when C-3P0 says goodbye before the memory wipe, during the Rey and Luke scene, once for Chewbacca, during 'Battle of the Resistance', etc.

[Not Mr. Big 4,639]

Dumbass video

[Arpy 4,145]

Sooooooo sick of these 'video essays' that try to pick apart every aspect of these films. It's preaching to the choir too - an audience who already doesn't care for the music in the slightest, adding another thing to their dislike checklists. 

 

Will this guy do a video on the gazillion other scores which are bland, lifeless slogs? He probably praises Dunkirk as a score wity emotion and integrity.

 

[Disco Stu 15,495]

The YouTuber is almost certainly at least a lurker here

 

[Not Mr. Big 4,639]

15 minutes ago, Disco Stu said:

The YouTuber is almost certainly at least a lurker here

 

Fuck you! (not you, him)

[Faleel 5,340]

30 minutes ago, Arpy said:

Sooooooo sick of these 'video essays' that try to pick apart every aspect of these films. It's preaching to the choir too - an audience who already doesn't care for the music in the slightest, adding another thing to their dislike checklists. 

 

Will this guy do a video on the gazillion other scores which are bland, lifeless slogs? He probably praises Dunkirk as a score wity emotion and integrity.

 

He has videos on why Disney Live Action Remake scores suck, how Phil Collins ruined Tarzan, Why Nostalgic Reboot Scores Suck, What the Score to Transformers could have been,....

[Not Mr. Big 4,639]

10 minutes ago, Fal J. M. Skywalker said:

He has videos on why Disney Live Action Remake scores suck, how Phil Collins ruined Tarzan, Why Nostalgic Reboot Scores Suck, What the Score to Transformers could have been,....

Phil Collins didn't "ruin" Tarzan.  What a fucking tool

[crumbs 14,301]

Started off like an intelligently presented discussion about why the film doesn't work, finishes like a raving man-child, indistinguishable from thousands of other clickbait videos on these movies.

 

A shame because there's some interesting points but it goes off the rails and devolves into childish nonsense, also not particularly well researched. At least half a dozen examples were instances of tracked music (the Vader references, Force theme for Lando, Han & Leia for Leia's sacrifice, etc). He even mentions the leaked spreadsheet, which specifies these tracked cues.

 

It got tedious when he started ranting about (arguably) the film's strongest musical moment, the Rey/Force themes at the end. Why is Rey's Theme a bad choice when she's calling out to the Jedi, but the Force Theme is also a bad choice when she harnesses the Force and destroys Palpatine? The two moments are thematically interchangeable -- you could make the argument for either theme at either moment (personally I thought this was a missed opportunity for Williams to reprise the Rey/Force theme in counterpoint, like in TFA's credits).

 

And even though it's tracked, Han & Leia's theme for Leia's decision to contact Ben makes sense. He's the product of their relationship and Han died trying to save him. Leia's decision is the culmination of that relationship and her final act as Ben's mother. That said, I am curious how Williams originally scored that moment.

 

He also didn't make it clear that many of his points were a result of bad music editing than bad scoring. He cherry-picked re-contextualized musical moments in TROS while ignoring similar instances in films past (Emperor in TLJ, Luke's Theme for a random action scene in TPM, Luke's Theme tracked into random action nonsense in AOTC, The Duel for Yoda vs Palpatine in ROTS, etc).

 

It would be refreshing to hear a reasoned, calm discussion about the application of music in this film. If that's what you're after, this isn't the video you're looking for.

[Arpy 4,145]

Yeah, unless you're anal Williams' fans, like us, who scrutinize, and I don't know... FUCKING CARE ABOUT THE MUSIC, you're going to mistake the shortcomings of the score as Williams' fault, not the editing process post-Williams.

 

Ah well, the mainstream audiences don't care about thematic integrity or the subtleties this score offers, they can only recall childishly that they love Rey's Theme and that's all Williams was good for this entire trilogy. Fuck them, and fuck this video for misinforming their audience of why these scores suffered as a consequence of EDITING and not compositional prowess.

[DominicCobb 194]

Couldn't make it through the whole video. Seems like there's a lot of basic facts about the music he doesn't understand.

[crumbs 14,301]

What point was he trying to make about Duel of the Fates? He started off by saying it was "the most upsetting thing" about the score, seemingly referring to its absence. He then cites a trailer remix of DOTF, as if it were Williams music that got dropped from the film (with no supporting evidence).

 

He then laments that no prequel music was reused in the sequel trilogy (not strictly accurate, but I digress). Why would prequel themes reappear in a trilogy set ~60 years later, when those characters are long dead? Doesn't that directly contradict his earlier argument about re-contextualising older themes where they don't belong, just because they sound cool?

 

That was the moment I realised this video was like a YouTube comments section come to life. You know, those same people who complain that the trailer music sounded cooler than the actual scores, that the sequel trilogy had no memorable themes, etc.

[Manakin Skywalker 4,891]

I just came here to say that I haven't seen the video, nor do I intend to. Stupid people making inaccurate observations gets me all riled up, and I want to be able to sleep tonight!

[Not Mr. Big 4,639]

Is this is the same guy who said Pixar music is "secretly brilliant" because they play happy music at the sad parts?

[kelliwisethebrave 54]

Glad to see that a bunch of you feel similarly. I went back and checked and I only got 2 minutes in, and it looks like I made the right choice in not watching any further. 

[Cerebral Cortex 3,357]

Watched the video after being recommended it on YouTube (always a mistake) and then came here to share my thoughts before finding (as I should have known) that you all had already torn this apart and summarized my feelings more succinctly than I myself could.

More than anything, I walk away from this video reminded of my appreciation for JWFan, for without it, I would be forced to try and make the stranger next to me on the bus my outlet for sharing my grievances about a Star Wars soundtrack video on YouTube. Coming here is much more preferable. 

 

Edit: On further reflection, this video feels equivalent to a school presentation where you wait until the very last minute to start working on it and so you do a bunch of research super quickly before giving your presentation. To make up for your lack of thorough research, you confidently assert all your points in an effort to come across like you did in fact do thorough research, but most of your points are founded on a lack of complete understanding. Because the people you are giving your presentation to largely don't know enough about your niche subject to engage with (or care about) the subject matter of your presentation, they largely assume you are correct and you end up getting a good grade regardless.  

Edit2: I like how he talks about the wrongful re-contextualization of Luke's theme while showing a clip of the scene where Obi-Wan dies and Williams plays Leia's theme. 

[crumbs 14,301]

53 minutes ago, Cerebral Cortex said:

Edit2: I like how he talks about the wrongful re-contextualization of Luke's theme while showing a clip of the scene where Obi-Wan dies and Williams plays Leia's theme. 

 

I like the part where he described how, "the theme for the Empire became associated with Darth Vader," like it wasn't his theme all along.

[mrbellamy 6,272]

1 hour ago, crumbs said:

He then laments that no prequel music was reused in the sequel trilogy (not strictly accurate, but I digress). Why would prequel themes reappear in a trilogy set ~60 years later, when those characters are long dead? Doesn't that directly contradict his earlier argument about re-contextualising older themes where they don't belong, just because they sound cool?

 

Yeah I mean, it’s really more a fault (or merely a fact) of the films that there’s not as much of a conversation happening with the prequels. And even then Williams reached back in some surprising ways, not just melodically but stylistically the sequel scores often have a lot in common with the prequels, since there’s obviously a direct line in his development as a composer from Sith to Awakens.

 

I won’t watch the video. The Star Wars scores are not infallible. There are plenty of things to criticize compositionally beyond whatever was out of JW’s hands. What’s nice about coming here instead for those conversations is I can always expect that we’re all coming from an awareness of what John Williams was and wasn’t responsible for, and basic respect for what he’s done and tried to accomplish through nine ambitious scores for movies that gave him the grand canvas but — to be nice about it — weren’t always the best conditions possible for masterpieces. Either on a score-by-score basis or within the larger framework.

[Cerebral Cortex 3,357]

@crumbs Yes, exactly! Was thinking the exact same thing. And him saying that the Force theme was originally exclusively Obi-Wan's theme in ANH and that it later became the Force theme isn't really entirely correct, right? My understanding was that Williams interchangeably wrote "Force theme" and "Obi-Wan's theme" on the sheet music for ANH, which makes sense because Obi-Wan is almost exclusively our entire window in that film into learning about the Force. As such, Obi-Wan and the Force are almost interchangeable entities both musically and within the film itself, I feel, so that's always been a nonissue to me. 

[DominicCobb 194]

28 minutes ago, mrbellamy said:

 

Yeah I mean, it’s really more a fault (or merely a fact) of the films that there’s not as much of a conversation happening with the prequels. 

 

Even if the films had incorporated prequel elements more directly, there's not much that there would have been to quote. Even if you look at ROTS the only theme from TPM or AOTC that gets major usage is DOTF. Hard to imagine much crossover regardless.

[crumbs 14,301]

 

1 hour ago, Cerebral Cortex said:

As such, Obi-Wan and the Force are almost interchangeable entities both musically and within the film itself, I feel, so that's always been a nonissue to me. 

 

And as you point out, Williams has been liberal with his application of themes from film one. You could find at least one instance in every film where a theme or cue is used beyond its intended purpose. Sometimes adding a new context to an existing theme provides a deeper richness to what that theme represents.

 

The only 'Nazgul Theme'-esque moment for me is Luke & Leia underscoring the conversation between Lando and Jannah. However, that entire sequence was truncated and restructured after Williams scored it. Poe's Theme was deleted (which probably underscored his reunion with Finn) and for all we know the ESB Yoda music was intended for Lando (the B theme is tonally similar to Lando's Palace). The editing always felt jarring there, bizarrely placed between Rey's arrival and the reunion.

 

My theory is Luke & Leia originally underscored a scene between Rey and Luke/Leia's Force ghosts. In the October leaks (which proved accurate), Rey visited the Lars Homestead with everyone watching from the Falcon. Originally she was turning to smile at Finn/Poe/Jannah/etc. at the end, not Force ghosts of Luke and Leia. Make of that what you will...

[Smeltington 1,436]

10 hours ago, crumbs said:

My theory is Luke & Leia originally underscored a scene between Rey and Luke/Leia's Force ghosts. In the October leaks (which proved accurate), Rey visited the Lars Homestead with everyone watching from the Falcon. Originally she was turning to smile at Finn/Poe/Jannah/etc. at the end, not Force ghosts of Luke and Leia. Make of that what you will...

 

What you're saying is that, if Luke and Leia's ghosts weren't in the homestead scene in the earlier cut, then they might instead have turned up during the victory celebration scene that was underscored by "Reunion?"

[crumbs 14,301]

6 minutes ago, Smeltington said:

 

What you're saying is that, if Luke and Leia's ghosts weren't in the homestead scene in the earlier cut, then they might instead have turned up during the victory celebration scene that was underscored by "Reunion?"

 

Yes. 

 

And that's pure speculation based on the fact their theme is wedged between Rey's Theme and the Friendship Theme, and Luke/Leia seemingly weren't in the Tatooine sequence as late as October. 

 

If the sheet music ever leaks for Bows, we'll know for sure (there should be stage directions that indicate what each theme correlates with on screen). 

[Smeltington 1,436]

Seems plausible. If that's ever confirmed to be true, it would be satisfying to know Williams used the theme for that reason. And excruciating to know his intention was changed.

 

The presence of Yoda's theme still makes the whole thing questionable though. It's hard to imagine there being a similar explanation for that theme. Even if Yoda's ghost showed up, would the film really stop to focus on him for as long as his theme plays?

 

And what do we think of the cue title "Bows"? It does kind of imply that a lot of characters pop back up to make a final appearance (take a bow) which would be appropriate if Force ghosts were involved in the scene. Is there anything else Williams might have meant by that title?

[Falstaft 2,132]

4 hours ago, Smeltington said:

And what do we think of the cue title "Bows"? It does kind of imply that a lot of characters pop back up to make a final appearance (take a bow) which would be appropriate if Force ghosts were involved in the scene. Is there anything else Williams might have meant by that title?

 

It may just as easily be referring to themes taking a final bow, more than characters. Like Williams was offering one last curtain call for the Main, Poe, Yoda, L&L, and Friendship leitmotifs, as it were.

 

More generally, I worry that people are getting the idea that this film score is some sort of artistic failure. I'm as miffed as anyone by the lazy and sometimes symbolically inexplicable* reliance on tracking and dramatically weightless callbacks in the TROS soundtrack Frustrations aside however, the vast majority of the score -- the new stuff and the transformations of old -- is what really matters, and on a whole I feel it's simply stellar. I wish we were hearing more about that, outside this forum. How can anyone listen to something like "We Go Together" or "Farewell" and not think Williams poured his whole heart into Ep. 9...

 

Hopefully time will lead to a reevaluation and deeper appreciation of TROS's music, as I think it did for the Prequel Trilogy scores in general. 

 

*TBF, the majority are perfectly explicable, and dramatically effective enough I suppose...

 

[Smeltington 1,436]

I think Williams' scores from the 2010s, including the Star Wars sequels, were generally more subtle than his best-known earlier work. You kind of have to be paying attention now, more than before.

 

If it's any comfort to you, I LOVE the TROS score!!!!!!  I didn't like the theme rehashes at the end of the film, but I've edited most of them out lol, so I don't have to focus on that anymore. But even as a Williams fan who was going to enjoy the score in any case, I was pleasantly surprised by how inspired Williams sounded, the number of new ideas, and how colorful the score turned out. I'll always remember the fun of hearing the music in IMAX and listening to the OST for the first time (which was extra special with the big surprises of the brass riff from Speeder Chase and the choir from Anthem of Evil).

[dylanskie 104]

13 hours ago, crumbs said:

He then laments that no prequel music was reused in the sequel trilogy (not strictly accurate, but I digress). Why would prequel themes reappear in a trilogy set ~60 years later, when those characters are long dead? Doesn't that directly contradict his earlier argument about re-contextualising older themes where they don't belong, just because they sound cool?

 

Off the top of my head, I can only think of two times in TROS when prequel music made an appearance: the "every voice inside your head" scene with that tiny section of Palpatine's Seduction, and then that brief passage from Battle of the Heroes when Rey is training. (Both have been posted here.) Has anyone found any other appearances? Forgive me if this has been stated before.

 

I always find "analysis" videos like that one truly unbearable. If the guy had decided to publish an article instead of record his voice, I believe it would've been different. When someone speaks about something they're passionate about, there's always the tendency to get carried away and forget about what you're trying to say in the first place. Writing an article forces the person to think much more about the issue being discussed. That's all I'll say about that video.

[MedigoScan 324]

That guy has done more interesting videos, I can give him that at least. (I liked his stuff about Avatars disappointing soundtrack)

He's far from the worst youtubers.

[Ludwig 1,120]

2 hours ago, Falstaft said:

Hopefully time will lead to a reevaluation and deeper appreciation of TROS's music, as I think it did for the Prequel Trilogy scores in general. 

 

I think this will turn out to be the case, especially as TFA is highly regarded in the general population as well, and TROS caps off nonology that is already Williams' most prominent legacy. Probably many were still expecting a return to the OT musically, but the film's treatment and mixing of the music I think makes it hard for the casual enthusiast to really appreciate the quality of what Williams provided. Even so, that we have been fortunate enough to receive this kind of score in today's film music landscape is a gift that I think will become even more evident as time goes on.

[Fabulin 3,510]

6 minutes ago, Ludwig said:

Even so, that we have been fortunate enough to receive this kind of score in today's film music landscape is a gift that I think will become even more evident as time goes on.

What a depressing prospect.

[Ludwig 1,120]

2 minutes ago, Fabulin said:

What a depressing prospect.

 

That's not to say that what he and other older composers incorporated into their music can't be broken down and reassembled into something new and engaging by another composer down the line. Indeed, that's precisely what Williams himself did in creating his Star Wars style. It wasn't Steiner or Korngold, but that kind of music informed by the newer musical currents of jazz and modernism in particular. Besides, Hollywood is now so bent on nostalgia trips that old-fashioned-type scores are bound to remain an option again and again, if refracted through the lens of the whatever the current trends may be.

[Fabulin 3,510]

.

[JohnnyD 1,220]

Just noticed a few of you were talking about this video (I have not watched it, nor will I waste my time, as the person who made the video clearly was no idea what he is talking about nor has any conceivable knowledge). Why not gather together and "dislike" the video while bombarding the person with comments and personal messages pointing out the flaws of the video as well as evidence to the contrary.

 

Anyway, getting back to the real and positive, I imagine that an eventual expanded and definitive release of the score would amount to three CDs of music, right? Given that 226 minutes of music was composed and conducted by the Maestro. Am I right on that assessment, or would it be four discs?

 

So for the entire Saga, that would be two CDs for Episode I: The Phantom Menace (two hours and 30 minutes of music), two CDs for Episode II: Attack of the Clones (two hours and ten minutes of music), two CDs for Episode III: Revenge of the Sith (two hours and 15 minutes of music), two CDs for Episode IV: A New Hope (an hour and 32 minutes of music), two CDs for Episode V: The Empire Strikes Back (two hours and five minutes of music), two or three CDs for Episode VI: Return of the Jedi (two hours and 40 minutes of music), three CDs for Episode VII: The Force Awakens (2 hours and 56 minutes of music), three CDs for Episode VIII: The Last Jedi (three hours and three minutes of music) three or four CDs for Episode IX: The Rise of Skywalker (three hours and 46 minutes of music).

 

That's correct, right?

[Manakin Skywalker 4,891]

19 minutes ago, JohnnyD said:

Just noticed a few of you were talking about this video (I have not watched it, nor will I waste my time, as the person who made the video clearly was no idea what he is talking about nor has any conceivable knowledge). Why not gather together and "dislike" the video while bombarding the person with comments and personal messages pointing out the flaws and evidence to the contrary.

 

Anyway, getting back to the real and positive, I imagine that an eventual expanded and definitive release of the score would amount to three CDs of music, right? Given that 226 minutes of music was composed and conducted by the Maestro. Am I right on that assessment, or would it be four discs?

 

So for the entire Saga, that would be two CDs for Episode I: The Phantom Menace (two hours and 30 minutes of music), two CDs for Episode II: Attack of the Clones (two hours and ten minutes of music), two CDs for Episode III: Revenge of the Sith (two hours and 15 minutes of music), two CDs for Episode IV: A New Hope (an hour and 32 minutes of music), two CDs for Episode V: The Empire Strikes Back (two hours and five minutes of music), two or three CDs for Episode VI: Return of the Jedi (two hours and 40 minutes of music), three CDs for Episode VII: The Force Awakens (2 hours and 56 minutes of music), three CDs for Episode VIII: The Last Jedi (three hours and three minutes of music) and three or four CDs for Episode IX: The Rise of Skywalker (three hours and 46 minutes of music).

 

That's correct, right?

 

Pretty much, yes. Give or take depending on the amount of alternate takes they'd include. Some people say TPM would need 3 discs, but honestly as long as they don't go overboard with the alternate takes, they could easily fit the entire score plus several alternates/film versions on 2 discs. ROTJ might need three discs depending on if they located or are able to locate the missing source material.

[Ludwig 1,120]

56 minutes ago, Fabulin said:

What I reacted to is that your comment sounded like a suggestion that miserable future of the industry will make TROS look great by contrast.

 

Ah, no. Just that we're at the end of the Williams-style SW score and that given that the style can't really be duplicated that it will become more appreciated for that reason. There are no other film music dinosaurs like him!

[Fabulin 3,510]

25 minutes ago, Ludwig said:

Ah, no. Just that we're at the end of the Williams-style SW score and that given that the style can't really be duplicated that it will become more appreciated for that reason. There are no other film music dinosaurs like him!

The problem is, every biologist must come to terms with the fact that dinosaurs were not inferior creatures to modern elephants or lions. If not for an external circumstance (a fiery rock from space falling on their head), they would be doing great for much longer, if not "forever", just like crocodiles for example. Similar story with Williams. His music is not obsolete by any means!

 

I've just watched the newest Clone Wars episode, where operatic ROTS music is quoted in a synthetically veiled form, and interspersed with electronic spy-thriller sound design. It worked great, and reddit is full of appreciation for Williams' music as an amplifier of the experience of watching. I don't know if the score would be as effective, less effective, or more effective, if some electronic moments were substituted by appropriate bassoon / contrabassoon / violas / cornets / Wagner tubas writing, for example.

 

I hope some musical sharks will come to Hollywood, who will be as armed to the teeth with both electronic and acoustic means, as Williams, Goldsmith, or Herrmann, and will just choose what works best---not what is the most recent trend.

 

In this sense nostalgia that you mentioned, as a form of loyalty that transcends fashions, could help.