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John Williams – Across the Years Festival, April 1, 2023.
Photographer: Sakari Manninen.
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glitterygalaxyguy · 1 year
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John Williams 
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batfamfiction · 11 months
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citizenscreen · 2 months
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Happy birthday, John Williams 🎹 🎼
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lauriemarch · 6 months
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music is one of the only constants in this world. everyone say thank you to music for holding us and celebrating us and making us feel everything we've ever felt
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thesolarangel · 9 months
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Here are some of my favorite soundtracks. Choose one or tell me in the tags which one I should definitely listen to!
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whosebirthdayisit · 2 months
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john williams
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john williams was born this day (february 8) in 1932
john williams is a composer and conductor responsible for many iconic film scores, such as star wars, indiana jones, and et the extraterrestrial
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dduane · 3 months
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We're taking a late evening off to listen to this man in concert with the Berliner Philharmoniker. Listen to this and play Catch The Williams Trope/Motif. :)
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nerdwithapoll · 2 months
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randomfandomblabdom · 9 months
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Fallen Order & Survivor Musical Themes
Has anyone done this yet? Here is a comprehensive list of all of the character themes/motifs found in the Jedi: Fallen Order and Survivor video games for anyone interested. I tried to give several examples of each and also included some of my own thoughts. You can listen to many or as few links as you want. If I missed anything please feel free to add on or let me know.
FALLEN ORDER CAL KESTIS - I'm giving Cal two separate sections because I'm pretty positive he now has two separate themes and in attempts to make it less confusing, I've decided to very creatively refer to them as Fallen Order Cal and Survivor Cal. I'm a genius, I know. Fallen Order Cal is consistently heard all over both games. It's his primary theme. It feels young and heroic and wide-eyed... Remember feeling like nothing could touch you when you were young? That's the sort of feeling I get from Fallen Order Cal. It's not happy per se but it's hope and optimism sprinkled with naive youthfulness and an undertone of solemnity. He's been through some serious shit but he's a kid, he's young. The grief and trauma are there for sure but they haven't encompassed him completely. There's still some hope behind those eyes, there's a healing journey to go on, and there's a chance to take on this Empire. It's only until Survivor that the theme starts feeling a little more grounded just like the transition from childhood to adulthood. Fallen Order Cal in Survivor feels a bit less magical, that youthful spirit has diminished, that hope has dwindled.
CAL KESTIS
THE PATH OF THE THREE SAGES
PEACEKEEPERS
A FRONTIER WELCOME
ABOVE THE CLOUDS
A STEP TOO FAR
SURVIVOR CAL KESTIS - So, I originally thought this was a minor key variation of a section of Cal's theme but I've since realized that it technically is a completely separate theme. That being said, thanks to @foxykatie425 in this insanely detailed reply to my frustrations regarding this theme that put what I was hearing into musical terms way out of my element in terms of explaining, I've realized that I may have been somewhat correct. I don't know if the two themes are actually connected, that would be a question for the composers but at the very least, it's definitely a secondary darker theme for Cal as it only ever plays in reference to him and I'd wager a guess that it's the main theme of Survivor as a whole. Compared to Fallen Order Cal, Survivor Cal feels drained, heavy, tired, burdened, and above all else, dark and foreboding. There is a genuine weight to this theme that just feels sinister. There is a hint of Fallen Order Cal there but as that post says, it almost feels like it's on the verge of falling apart. He's not the same man he was five years ago and the fact that this theme is the first thing you hear music-wise in the game and accompanies your very first view of him is an incredible way of subconsciously telling that to your audience right off the bat.
DARK TIMES
ABOVE THE CLOUDS - note: this theme and Fallen Order Cal switch back and forth constantly in this track and I find that so interesting.
NOVA GARON
NIGHTSISTER MERRIN - Merrin's theme is interesting to me because it doesn't sound anything like the type of music you might use to accompany a witch or magic user. It's not necessarily fantastical or whimsical or anything of the sort. In fact, it sounds more like something you might use for a superhero. It's a little bit timid or unsure or even afraid in Fallen Order but god damn has it built in confidence and strength once Survivor rolls around. The only time you hear that sort of timidness to it again is during the first kiss on Jedha which has such interesting implications for her being a nervous wreck in that moment. I also adore how it sounds as an action cue which you hear several times throughout Survivor. It sounds like it comes straight from the best MCU movies and yes, I do mean that as a compliment.
TO DATHOMIR
PEACEKEEPERS
MERRIN
THE WILL OF THE FORCE
TRIDENT
FLIGHT
CAL & MERRIN'S LOVE THEME - Look, I genuinely did not think they would actually go through with making Cal and Merrin canon, I honestly thought they'd chicken-shit out and I was certainly not expecting them to get any sort of love theme if they did but here we are... and we somehow got both. Cal and Merrin are canon and they got a love theme. Holy fucking shit. It just has all that warmth and sweetness of a friend-to-lovers romance too.
FIELDS OF DUSK - ORCHESTRAL VERSION
CAMPFIRE
A STEP TOO FAR
THE ABYSS
BD-1 - I said in my post regarding my thoughts on the Survivor score that these two video game scores are quite possibly the closest we've ever gotten to a John Williams sound from a composer(s) who is in fact, not John Williams. Not that every piece of Star Wars music has to sound like the big man himself, part of the reason The Mandalorian theme was so positively received was that it was such a different sound for Star Wars but I stand by what I said: this is the closest a composer has gotten to a John Williams sound and they have clearly done their research. Some people might not know this but R2 and 3PO have a very small motif heard throughout the films. It's not played very often and is sometimes not very noticeable but it's there and BD-1's motif is not only similar but definitely sounds like it exists within the same universe. I also love that droids are so often musically presented as very childlike, innocent, and mischievous. BD in particular has a very playful energy.
BD-1 AND THE BOGLINGS
MERRIN
THE WILL OF THE FORCE
TRILLA SUNDURI/SECOND SISTER - Trilla's theme legitimately activates my fight or flight response and when I say that, I mean mostly my flight response cause you won't find me messing with this shit. It's very much in lieu of the famous Psycho violins which were written to heighten your senses by emulating screams. I wish we got more of it cause it's intimidating as fuck and a piece of dark side art.
FIGHT AND FLIGHT
TRILLA
THE WILL OF THE FORCE
CERE JUNDA - Don't hate me but I haven't quite fallen in love with Cere's theme yet. That's not to say it's bad by any means, it's absolutely beautiful. It has such a deep melancholy vibe to it, like an inescapable sadness. It almost has a feeling of failure to me weirdly enough.
THE PATH OF THE THREE SAGES
DESERT RUINS
SIEGE
THE VISITOR
ENO CORDOVA - I've mentioned this before but again, for people who might not know: the music that is widely considered to be the main theme of Fallen Order - so much so it was primarily used during the recap at the beginning of Survivor - is Cordova's theme. It's such an interesting artistic choice because I think many people would've made it either Cal's theme or given the entire game its own theme in general. I listen to this one a lot honestly. It's so calming and safe feeling.
THE PATH OF THE THREE SAGES
FAILURE IS NOT THE END
ENO CORDOVA'S THEME
THE NARKIS ANCHORITES
BODE AKUNA - Yes, Bode does have a theme and you know what? It slaps. I really like it. It's very adventurous and feels quite friendly which is ironic as hell. It does get some heart-wrenching renditions nearer to the end of the game. It's the music that swells when he force-pushes Cal and everyone collectively shits themselves. Oh, it also has some dark renditions as well.
ABOVE THE CLOUDS
A STEP TOO FAR
BROTHERS
THROUGH DARKNESS
RAYVIS - As far as I can tell, Rayvis does not have a set theme but he is usually accompanied by high-playing strings and his boss fight music is the best example of that. I actually don't think a lot of Rayvis moments ended up on the score soundtrack which... how dare they.
WARRIORS CODE
DAGAN GERA - I thought Dagan didn't have a theme for the longest time but it turns out he actually does have a tiny motif that I do wish had been more thoroughly realized in the score because it's so menacing and I absolutely love it. It's most prominently heard during his last confrontation with Cal. He is also usually accompanied by low-playing horns. Not always but usually.
RELEASE ME
TO THE RESCUE
GRAND OCULUS
KATA AKUNA - I'm going to rant about this one for a second, okay? I have spent the last few weeks wondering what the hell the melody that plays throughout the track Through Darkness is. I was sitting here plucking out melodies on a piano app (cause I don't own a keyboard) and was like, "Okay, it's not Cal's theme, it's not Bode's theme, it's not Merrin's theme... what the hell is that series of notes??" Yes, I'm aware that not every note has to mean something but these just felt like they did. It's played at such an emotional point in the game and for two scores that already work heavily around themes and motifs and musical ideas, it didn't make sense to me that this little series of notes would mean nothing, especially at such a poignant moment. Funnily enough, it only just occurred to me while making this post that it's fucking Kata's theme. At least I think it is. Well, motif. It's not a fully developed theme but it definitely has the makings of one. That's not even me making a wild guess either, these notes appear in other places in the story that feature Kata.
NOVA GARON
THE ABYSS
THROUGH DARKNESS
GHOST STAR - I'm adding this for fun because I think it's gorgeous and I love it but it leads me to ask: why has there been no official release of Ghost Star? With or without vocals? This is a genuine question. It does not appear on the Cantina album nor is there even a snippet of its melody on the score album. It makes me wonder if the song was maybe added later into production? Trust me, I love the orchestral cover that has been going around and people are obviously seeking it out cause the track has gained thousands of streams in the months since the game was released. It was at 10k the last time I looked on Spotify and it's currently at 24k as of writing this. I'm just genuinely surprised EA/Respawn or hell, even Lucasfilm hasn't capitalized off that.
GHOST STAR
GHOST STAR W/ VOCALS
Thank you most sincerely if you made it all the way here :)
I liked this. I should do this for more scores lol.
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thehauntedrocket · 5 months
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Vintage 8-Track - Star Wars: The Empire Strikes Back OST (1980)
John Williams / London Symphony Orchestra
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gffa · 2 years
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John Williams directing the Obi-Wan theme, I AM LEGITIMATELY EMOTIONAL RIGHT NOW.
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blacknarcissus · 7 months
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Clean and sophisticated.
Sabrina (1995)
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nkp1981 · 6 months
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Charlie Clouser beats John Williams' previous record of 9 consecutive scores for Star Wars.
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jedimandalorian · 7 months
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Ahsoka- Notes on Episode 5 “Shadow Warrior” and Kiner’s score
Episode 5 begins with mystical sounds of Seatos, including the sound of the ocean waves and mysterious music as the setting is established. When Hera appears at the henge, the music subtly suggests the selections from the Rebels soundtrack associated with Kanan’s death (see “Nobody More than Kanan” and “Kanan’s End Credits”). A sweet, innocent sounding theme is associated with Jacen when he exits the Ghost with Chopper. Hera sees that Huyang has recovered Sabine’s helmet, but she and Ahsoka are nowhere in sight.
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The Ahsoka main and episode titles appear, followed by a continuation of Ahsoka and Anakin in the World Between Worlds scene from the previous episode. Quiet music accompanies their conversation until the duel begins.
Back at the henge Jacen says there is something about the water. Music becomes a little more intense when Jacen and Hera listen. When Jacen says he hears lightsabers, both a segment of Kanan’s Theme by Kevin Kiner (flute) and the Force Theme by John Williams (French horn) can be heard. The music is used to enhance the idea that young Jacen is Force sensitive like his father, Kanan. Hera orders her pilots to continue the search for Ahsoka. Kanan’s theme is heard once more when Huyang explains to Carson Teva that Jacen’s father was a Jedi.
Ahsoka’s duel with Anakin continues. Ahsoka’s Theme is heard after she kicks Anakin in the head and says “Looks like you don’t have much left to offer.”
A scene of young Ahsoka with Anakin during the Clone Wars follows, accompanied by incidental music that doesn’t refer to major themes.
Ahsoka’s Theme is heard when she comforts the wounded soldier on Ryloth.
Jacen remains at the henge with Chopper as Hera, Huyang, and the surviving pilots continue the search.
During the scene of young Ahsoka at the Siege of Mandalore, an augmented presentation of the heroic Clones’ theme can be heard during and after Rex’s dialogue. (The note values are elongated. Listen to the trumpet part.) Ahsoka’s theme is heard during her conversation with Anakin. The music becomes more sinister and intense when Anakin/Vader draws his lightsaber and another duel begins.
Adult Ahsoka duels Vader in the World Between Worlds. Music ceases when she deactivates her saber and says “I choose to live.” The score resumes when Anakin says “There’s hope for you yet.” Mysterious music with a choral vocalization accompanies her descent into the water. She is rescued by the X-Wing pilots.
Ahsoka’s theme plays as the ships return to the henge. Peaceful music featuring the piano is heard as Ahsoka awakens aboard her Jedi starship. Sabine’s theme is heard when Huyang hands Ahsoka the broken star map. Ahsoka uses psychometric powers to examine the map. She discovers that Sabine went with Baylan and the others aboard the Eye of Sion.
When Ahsoka sees the Purrgil flying across the sky, the hopeful-sounding ostinato that I associate with Sabine’s search for Ezra is heard. This is the same ostinato that plays during the “Path to Peridea” portion of the end credits music. Ahsoka’s priorities have changed. She is now concerned with finding Sabine and Ezra rather than stopping the war.
An augmented version of the “Path to Peridea” becomes a theme with a definite conclusion as the scene ends.
Hera talks with Mon Mothma’s hologram. Hera’s command is in jeapordy of permanent suspension.
Beautiful, majestic music accompanies the starships’ flight through the purrgil pod.
Incidental music that is a little tense but non-threatening accompanies Carson Tera’s conversation with the New Republic ship captain.
Majestic music accompanies Ahsoka’s communication with the Purrgil through the Force. The “Path to Peridea” ostinato resumes when Ahsoka returns to the interior of her ship, this time presented in counterpoint with Ahsoka’s theme. The ostinato is heard (sometimes with doubled pitches) throughout the scene with the New Republic starships until the purrgil pod jumps into hyperspace with Ahsoka’s ship.
As I stated in my episode 4 breakdown, the closing credits music begins with the now-familiar presentation of Kiner’s “ronin” theme, the duet for viola and cello with a pavane-like rhythmic accompaniment. This accompaniment continues during Sabine’s theme. The hopeful-sounding ostinato that I associate with the search for Ezra Bridger plays along the “Path to Peridea” portion of the journey across the star-map. The ostinato continues, accompanying an augmented version of Ahsoka’s theme. A triumphant presentation of Ahsoka’s Theme plays as all of the golden lines meet at Peridea. Hera’s Theme, featuring the French horns, strings, and trumpets plays as the credits continue against the black background, followed by the final reprise of Ahsoka’s theme.
This is the second episode of Ahsoka in which Ezra’s Theme is not heard even though he is mentioned. This might be the first episode that featured Kanan’s theme in association with Jacen’s Force sensitivity.
Edit: I realized there were hints of Kanan’s theme in the previous episodes when I listened to the Ahsoka Soundtrack album for episodes 1-4. I didn’t notice it when I watched the episode on Disney Plus though.
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fionajames · 2 months
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HAPPY BIRTHDAY TO JOHN WILLIAMS!!!
BORN 8TH OF FEBRUARY 1932, THIS ABSOLUTE LEGENED COMPOSED MANY FAMOUS SOUNDTRACKS SUCH AS; STAR WARS, JURRASIC PARK, ET, HARRY POTTER, AND MORE
THIS YEAR, HE IS 92 YEARS OLD.
HE EVEN WON ANOTHER AWARD THIS YEAR.
SPREAD THE WORD, AND HAPPY BIRTHDAY TO JOHN WILLIAMS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
@techs-goggles9902, @transmascanakin, @skellymom, @currentlyverytired, @drifleaf.
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