The Requiem thing in the prequel contains a signature Williams chord connection virtually in every Williams score, a major chord (often with the third in the basses) with a lydian fourth on top which is resolved into the third.
The #4-3 appogiatura is present in a few of Williams's drama scores (i.e. Cadillac of the Skies from EMPIRE THE SUN or the Main Title from PRESUMED INNOCENT) but it's a bit of stretch to say it's in virtually every Williams score. In the SW universe I definitely associate it with the prequel Requiem and the Order 66 Lament from ROTS (which is itself derived from that Requiem, and the #4-3 figure appears throughout that score to evoke heartbreak).
The Requiem thing in the prequel contains a signature Williams chord connection virtually in every Williams score, a major chord (often with the third in the basses) with a lydian fourth on top which is resolved into the third.
The #4-3 appogiatura is present in a few of Williams's drama scores (i.e. Cadillac of the Skies from EMPIRE THE SUN or the Main Title from PRESUMED INNOCENT) but it's a bit of stretch to say it's in virtually every Williams score. In the SW universe I definitely associate it with the prequel Requiem and the Order 66 Lament from ROTS (which is itself derived from that Requiem, and the #4-3 figure appears throughout that score to evoke heartbreak).
oh it is virtually everywhere. In Hook (you are the Pan), in Nixon, in The Patriot, in Harry Potter, in Amistad, in Jurassic Park... Sometimes it is not used prominently, but it is a Williams signature chord.
the transition from the beginning to Vaders helmet, I meant it is suddenly too homophonic. Williams would have smoothed that by gradually shifting over in the orchestrations to that homophonic section.
Did anybody go to Star Wars In Concert? One of the titles was beginning exactly the same way as the trailer. Is that on the dvd which came with Revenge of the Sith soundtrack?
Mmm, Sharky, I think I do not agree that those bits are really deconstructions of the themes. Because the reference is not strong enough due to different melodic lines basically. The harmonic grounding is similar, but then this harmonic grounding is quite a basic formular, so it says that you are seeing it there, but not necessarily that it is there on purpose. You know what I mean? I mean not every piece of music alternating between I and V is a deconstruction of Mozarts Jupiter Symphony. This example is a bit exaggerated, but my intuition here is along those lines. That is why I think it just might be a coincidence, just solemn music.
Especially since the continuation of the music when Luke touches R2 is going in different territory harmonically which is nowhere in the force theme surroundings as far as I recall.
And also Yoda's theme, I am not sure this is so related to Yoda.
This is a quote from Kathy Kennedy from the 4 Day Star Wars Convention in Anaheim....You all can find the many links to this quote...
"It's not quite assembled., " admits Kennedy. "JJ [Abrams, the director] is editing the third act as we speak. We'll probably take a look at the film early summer. We've been working on effects as we've been moving along. We'll score the movie a little bit in June, and then throughout the summer. So it'll be a process as it comes together. But everything I've seen has been fantastic. I mean it just gets better and better and better as it all comes together."
Oh, definitely. Vanity Fair might have been given access to all the trailer cues he's recorded so far, perhaps. Or it could just be generic stock music *shrug*
Recording of the score proper begins in June - Kathleen Kennedy said "We'll score the movie a little bit in June, and then throughout the summer."
From the Vanity Fair newsletter that went out to subscribers yesterday:
VF: Tell me about what it was like working on the new film both as its writer-director and as a hard-core Star Wars fan going back to your childhood.
Abrams: Maybe the weirdest moment, which came months after production, was the first time I sat down with John Williams to show him about a half an hour of the movie. I can’t describe the feeling. All I will say is, just to state the facts of it: I am about to show John Williams 30 minutes of a Star Wars movie that he has not seen [and] that I directed. That’s probably as surreal as it gets in my professional life experience.
From the Vanity Fair newsletter that went out to subscribers yesterday:
VF: Tell me about what it was like working on the new film both as its writer-director and as a hard-core Star Wars fan going back to your childhood.
Abrams: Maybe the weirdest moment, which came months after production, was the first time I sat down with John Williams to show him about a half an hour of the movie. I can’t describe the feeling. All I will say is, just to state the facts of it: I am about to show John Williams 30 minutes of a Star Wars movie that he has not seen [and] that I directed. That’s probably as surreal as it gets in my professional life experience.
I love how much respect is being shown to Williams on this film. I mean he's singled out with J.J. Abrams and Kathleen Kennedy as part of the key creative team for this film... when was the last time a composer was included in a group like that? Plus, it sounds like they're doing their best to give him a good long time to compose and to make sure that he's got footage with completed effects to work with. It's a considerable step up from how he was treated with the prequels.
Here's hoping we get a phenomenal score out of him on this one.
What was reported months earlier was not the truth after all. Sometimes The Hollywood Press Machine by Studios Lie.
IT was all about scheduling...as I said before.
Over at JW Fan Site...there be pictures of John Williams Talking with the LSO in LA. Since Star Wars score will be done over the summer from June onward...and take three months..it was all about Scheduling. Not that John Williams would not go over to conduct the LSO. Mainly because Disney has always used American Union Players to perform their scores to their films.
You can go on LSO Tweet Site and see John Williams with the LSO In LA. There are several tweets from LSO and how much they are bummed out...that John Williams will not using the LSO for the new Star Wars Film. IT was all about Schedule. Nothing Else.
London Symphony Orch ?@londonsymphony @BLOWFISHNation it's not health issues, it's scheduling. They're recording the score over 3 months in LA. Impossible for us.
@Maxinekwokadams @Parqueros @ClassicFM @starwars JW was devastated and wrote us a lovely letter.
This is a picture of John Williams Meeting with LSO in LA at Disney Hall.
Donald Foster. The April 20 article said sessions were beginning that month, and to span months.
There seems to be a conflict. Didn't Kennedy say the sessions were to start in June? But they really started in April?
Well If memory serves me right..John Williams has to write the score first. JJ did say he has shown Williams 30 minutes of the film. And during the Star Wars Celebration it was told that JJ was editing the last 3rd of the the film.
I know...that all the Trailers had new music re scored. JW fan site has the exact time and what was used for the Trailers.
All I have been saying from the get go...John Williams was not sick, or nothing like that. It is this. Star Wars is requiring a ton of new music...and themes..even JJ Abrams has said that in the past. And what i heard through the Music Scoring Grapevine is that...Kathy Kennedy and JJ...want to give enough time and space for John Williams to rescore...if need be...Where as Lucas didn't give John Williams anytime to re score all the massive re edits, that Lucas did right before the release of the first three Star Wars.
