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Cool Teaser poster as well...
Love this poster, love this trailer - and the music was wonderful as well.
A new John Williams-score for Star Wars - what a hopeful prospect in a dangerous, scary year.
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Wow. Some amazing scoring in that trailer. Even better than the work Williams did for the Force Awakens teaser!
It sounded like the same kind of Mannheim Steamroller covers of Star Wars themes that were slopped all over the later FORCE AWAKENS trailers to me. John Williams didn't have anything to do with this new trailer music, did he?
There's some abrupt music editing here but there's also some nice superimposition of Rey's Theme over The Force theme with Williams' patented measured trem strings that might suggest this was (or partly penned) by Williams since it's stylistically very consistent with some of the material he introduced in The Jedi Steps.
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I prefer THIS thread!!! 
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This article is interesting…
http://www.finalemusic.com/blog/may-the-fourth-spotlight-on-joann-kane-music/?utm_content=buffer500b5&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
Very illuminating, thanks. I was rather surprised by this statement...
"On the prequels, these sketches went to orchestrators. The orchestrators would write pencil scores and we would copy parts into Finale.
But for the past six or seven years, John has just sent the sketches directly to us. We put them straight into Finale. I’ve kind of edited them, checked them out myself, and then we’ve used them at the stage for recording."
So it would appear Williams is not using an orchestrator at all at this point.
Hmm someone might want to check with Conrad Pope on this. Something in this article didn't make sense because it's not simple copying prep work when you go from Williams 8 stave short scores to a fully fleshed out conductors score with parts. Unless this organization simply acts as an umbrella for all orchestrators and copyists alike...
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I knew that John Williams on Star Wars 7...Had all the time in the world to compose...as with Star Wars 8. In fact, in Dec of 2016...Williams Started Composing the Film and Sneak Peeks. It would seem that Williams prefers this non fast approach. When composing for the other Star Wars, because The LSO would have a very limited amount of time. IT was an extremely fast pace..sort like a one shot deal.
And with Crazy George Lucas EDITED to the last moment, on the pre Star Wars...Williams had zero time to do re scores to accommodate Crazy George's endless shifting and editing.
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Hmm someone might want to check with Conrad Pope on this...
Um, why? His statement is pretty self-explanatory. Pope has said something to similar effect, that "orchestration" for John Williams is little more than copying/checking because his sketches are so remarkably detailed. And he hasn't been on a Williams flick in years...
It's a little more than that sir. In a very detailed interview Pope gave to ScoreCast, he explained how Williams wanted him to orchestrate 16 bars per day for Jurassic Park so he could really think about the orchestration.
Yes, Williams' sketches are far more detailed than most short scores but it still takes a skilled orchestrator to transcribe and ensure the end result is to Williams' liking. And this very well may be the role this firm plays in the score prep. I wasn't saying they don't and after checking Pope's IMDB, it has been actually a while since he orchestrated a Williams score so it's probably consistent with what this article declares.
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I heard from different (reliable) sources that Williams asks the orchestrators to enhance certain blends. John Neufeld is apparently a whiz at woodwind writing, and Williams called on him to spruce-up those "colors" on a number of occasions. Likewise Williams wanted a British romantic-style string orchestration in a few places in Star Wars, and called on Angela Morley to provide it.
That Williams now bypasses orchestrators and has the copying service transcribe his sketches would seem to be what that interview is getting at -- but it would be a radical departure from the way he's been doing it for over fifty years.
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http://www.filmscoremonthly.com/articles/2003/19_Mar---Conrad_Pope.asp
I would imagine it varies from project to project. Nowadays when he takes an entire year or more per film I can't see his shorthand leaving anything to the imagination...
Regardless it isn't orchestrating in the sense of taking 4-part harmony and turning it into an orchestral score.
It's not as black and white as you make it seem. Yes, Williams writes more detailed short scores than probably anyone in the biz, but they are still in need of being fleshed out from 8 stave reduced parts to full scores. Copyists just transcribe literally what's on the page and make it legible for the instrumentalists to perform. Orchestrators apply skill sets they've acquired as well as communication with the composer as to what is supposed to appear in the full score. I've seen JW hand written short scores and they aren't as cut and dried as you'd think. Writing tutti winds still means the orchestrator has to know what voicing and range the ww need to be put in and what is consistent with the composer's style (Williams has very specific voicings for his harmonies).
This article actually says it all. When the bit about how Williams expected strings even though he didn't originally indicate them on his score- do you think someone like Herb Spencer or Conrad Pope would have just missed that? Nope. If they were in doubt or it didn't look right, they would have asked Williams what he meant rather than scrambling during the orchestra session to cobble something together. That's what you get when you have a dedicated orchestrator filling that role and not some music service who will just do what's in front of them like a courtroom stenographer.
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