James Joyce's musical biography in 100 bars encoded in his own text.

From James Joyce's "Finnegans Wake" [537.14-36 "the legal eric for infelicitous conduict (here incloths placefined my pocketanchoredcheck) and, as a matter of fact, I undertake to discontinue entyrely all practices and I deny wholeswiping in toto at my own request in all stoytness to have confermentated and confoederated and agreed in times prebellic, when here were waders for the trainsfolk, as it is now nuggently laid to me, with a friend from mine, Mr Billups, pulleter, my quarterbrother, who sometimes he is doing my locum for me on a grubstake and whom I have cleped constoutuent, for so it was felt by me, at goodbuy cootcoops byusucapiture a mouthless niggeress, Blanchette Brewster from Cherna Djamja, Blaw-lawnd-via-Brigstow, or to illsell my fourth part in her, which although allowed of in Deuterogamy as in several places of Scripture (copyright) and excluded books (they should quite rightly verbanned be), would seem eggseggs excessively haroween to my feelimbs for two punt scotch, one pollard and a crockard or three pipples on the bitch. Thou, Frick's Flame, Uden Sulfer, who strikest only on the marryd bokks, enquick me if so be I did cophetuise milady's maid! In spect of her beavers she is a womanly and sacret. Such wear a frillick for my comic strip, Mons Meg's Monthly, comes out aich Fanagan's Weck, to bray at by clownsillies in Donkeybrook Fair. It would lackin mackin Hodder's and Cocker's erithmatic."]
only the letters of the set {ABCDEFGH} were left, 421 of them.

Their sequence ["heegaecffeccdcheechacefedceachedchecadaaaeffacdeaedceeeaacceaddehegaeeaehaecfeeaedadcfedeaedadageedeebecheheeeeadefheafaggeadehafedfeBeeaebheheehedgcfeagbaeadhhaeceedcefafebeagdbccbcaeaheggeeBacheeBeefCheaDaaBaadaBgefhahehchahghaedfDeegaaeeaacefcecghadecdedbhehdeghebaedbedeeeggeggeceehaeefeebfccheadadaccadheeehebchhFcFaedefeheheadbecefbeddcheeadadecfhebeaeheaaadacecheaafcfcceghceachFaagaecbaabceDebFadacacHddeadCceehac"] was translated into 421 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

JOYCE'S MUSICAL AUTOBIOGRAPHY INCLUDES THE SOUNDALIKES OF:

GOD SAVE THE QUEEN (hymnal) to represent the British Empire
1882-1904 Ireland (Dublin) LONDONDERRY AIR // DANNY BOY (trad.)
[1904-1905]	Austria-Hungary (Pula) [now: Croatia] KAISERLIED (Joseph Haydn)
1905-1915 Austria-Hungary (Trieste) [now: Italy]	KAISERLIED (Joseph Haydn)
[1906-1907]	Italy (Rome) IL CANTO DEGLI ITALIANI (Michele Novaro)
1915-1920 Switzerland  1 (Zurich) WILLIAM TELL OVERTURE (Gioacchino Rossini)
[1931] England (London) MAIRI'S WEDDING (trad.)
1920-1940 France (Paris) LA MARSEILLAISE (Rouget De Lisle)
[1940-1941]	Switzerland 2 (Zurich) RUFST DU, MEIN VATERLAND ("God Save The Queen")

Note: I do not know what, if any, music James and Nora Joyce listened to about their marriage in London of 1931. I chose to be looking for "Mairi's Wedding" because why not.

FW 537.14-36 [Joyce Was Here] God Save Mairi's Wedding

Sequences of letters of the set {abcdefgh} were taken from James Joyce's "Finnegans Wake" and treated as sounds. Durations established, they were arranged into several variations on the tune of Hejnał Mariacki.
(More on Hejnał: http://en.wikipedia.org/wiki/St._Mary%27s_Trumpet_Call )
(1) intro
(2) Finnegans Wake 429.02-05 ("leg of his nightstride being pulled through, and to loosen (let God's son now be looking down on the poor preambler!) both of his bruised brogues that were plainly made"): 50 letters ["egfhghdebegedhghadeeGdbegdheeabebhfhbedbgehaeeaade"]
(3) Finnegans Wake 481.33-35 ("the brodar of the founder of the father of the finder of the pfander of the pfunder of the furst man in Ranelagh, fué! fué!"): 51 letters ["hebdafhefdefhefahefhefdefhefadefhefdefhefaaeaghféfé"] (note: "é" represents d#/eB)
(4) Finnegans Wake 481.33-35: reprise, 51 letters
(5) Finnegans Wake 570.13-17 ("place. Amen. // True! True! Vouchsafe me more soundpicture! It gives furiously to think. Is rich Mr Pornter, a squire, not always in his such strong health? I thank you for the best, he is in taken deal exceedingly herculeneous.): 61 letters ["aceAeeechafeeedcegefhcheaeaahchgheahhafhebeheaedeaeceedghecee"]
(6) Finnegans Wake 447.20-23 ("Bridge of Belches in Fairview, noreast Dublin's favourite souwest wateringplatz and ump as you lump it. What do you mean by Jno Citizen and how do you think of Jas Pagan? Compost liffe in Dufblin by Pierce"): 57 letters ["BdgefBecheFaeeaDbfaeeaegaadahadeabCeadhdhfaagaCffeDfbbece"]
(7) Finnegans Wake 621.15-19 ("cuppinjars cluttering round us, clottering for their creams. Crying, me, grownup sister! Are me not truly? Lst! Only but, theres a but, you must buy me a fine new girdle too, nolly. When next you go to Market Norwall. They're all saying I need it since the"): 58 letters ["cacegdcegfheceaCgegeAeebheeabbeafeegdeheegaeaheeaageedcehe"]
(8) Finnegans Wake 481.07-10 ["I dreamt of a somday. Of a wonday I shall wake. Ah! May he have now of here fearfilled me! Sinflowed, O sinflowed! Fia! Fia! Befurcht christ! -- I have"]: 53 letters ["deafadafadahaaeAhahehaefheefeafedefedfedFaFaBefchchha"]
(9) Finnegans Wake 142.31-33 ("they love laughing, they laugh weeping, they weep smelling, they smell smiling, they smile hating, they hate thinking, they think feeling,"): 45 letters ["heeaghgheagheegheeeegheegheehaghehaehghehfeeg"]
(10) Finnegans Wake 223.15-17 ("face a facing. They are set, force to force. And no such Copenhague-Marengo was less so fated for a fall since"): 45 letters ["faceafacgheaeefcefceAdchCehageaegaefaedfaface"].
(11) outro: craconaise (polonaise alla cracca)

FW 429.02-05 [&] Hey Now, Craic-O [Joyce Variations on Hejnał Mariacki]

Expected imitation / soundalike: Witold Lutosławski's variation on a theme from Niccolo Paganini. First performed in Częstochowa, Poland, 2013: http://www.youtube.com/watch?v=t89xIoSYAiI

From James Joyce's "Finnegans Wake", the portion spanning from "There'd be no standing me, I tell you.” to „There is some thing more. A word appart[ing]" (FW 451.26-454.26), only the letters of the set {ABCDEFGH} were left, 1941 of them. 

Their sequence: ["heedbeadgeeAdagaebaagaaeChadeeaefehhabadedeachheaafeeeeeheedaGgaheeeccaheafechegchehadacaghefhedcaehbaaechabeadhegeaafheaafcadeaeadeehgfehghahefaeddbecedbeafadeadabheeadadeafheebefcabgadhhehedchecdaheehebghadehheDaeadhchaefaccdebeaaeahebeehaffacaheahcdegcafaadhahehfhecacgbagfefahehgeecdeheeefaehdhadhfgefcagaeaceehhaeachebdeaeaaeadgefegageFeacChehcedacebeaedadhgehahhgdeefbecedaHhedeeghefcadecgahbaeeecgeahhegdadcgafhheeheheaedhgefahghbeaaeebeadbhaafeheadgfhfaadhheehededfffehehbeedceeadbhcahegecefdhghaheaafafeeheeffefehaedbeafceeheecefhedeadfhahheefdaecheceheabhghecadgedaddeeheeebegaeaedbhecceadaaedbheeceefeeaeeeeefeaegaddfcaFfbeadhfdeabeeedbeheheahaefagadhgebbeggeeagaeeghgebgaebheegfHhehheEhefadeeagBefeheeaachaaeadheeedadacaeheeeaaefahghaedaeaefeehgheeefehabdfaageafahaeedehehaAdeheehedeaeheehefgedfAaeehheheabehbeFdecaeehabegggechafaafhghefeceeeaefaaheeaefaffaghhbecgeaedafeeceaeceeafeaedabebfghgbddadegbbegabbeeedeadafeedaceeffgcabaehegaddebaebaggafbaegechcgbehehbaegccegddeadceaeegedceaghbgadahagaeeeadheeahheaecechagecgcegbeafaadahafabbegagchaeBabefabedageadaceagHhbadaDeheeCgehghhedhhegaheghechebfGdbeadaBehghdgheceegaabeefbbgeaefaedbacfeefeeeechafaggaeeceadadafagddaadheefbaheeaahabhefefabeehheadaeeaaeaehgheefefheehaaeheaheagceadeeeaeadeheggadhadeagfheeaehacdaadeeaadeheaadeebegeggeffhghbghedhbeabeefheadaeeehdeffefegageaehechadfhebeeeeeehecdaedaedafehefeaheheddaeehaabehedadhaccaaghefedgheceaéefheeecheadffehabgaeeaDechedaahaeedecheeeffDadeeaeaaacaeheCahadFadebeadeheeacafeefaeheeeagfaehhegeheehdedhheefeaGdbeagdbeHaghHagheeaeaeeadebefehgheadgebeeeehadhaeeeaagefhchegfebAhhehbecedHcehgfadegaehaeccedeeaahafagadbgbheaeagheeDdgehaadgghghfeahefehedfhhaeabafedeheheadfadeefedahebaehghfhhedebeghhadafheeeaeaeeeagadhedhehheaghchechchgehgehgehghhghhghaabeadgeeheghhheahhgcaaafdehhheeHeaHaeehaeedheebaeBeaaheddeheaafeaecheheeghdaheeddehhgebagaheehhbacehdeeehaehedaddeedfheghedadhfeedadheeacedheafheeahafehchhedeedadfaheeedheeehgeAdaa"]
was translated into 1941 respectively pitched musical notes.
Barring "mirror" chords/clusters that read the same left-to-right and right-to-left (e.g. ACA, FAF, EE [octave interval] AAA [double octave interval]), no two (different) notes start at the same time. Duration attributed arbitrarily.

The title "redivivus of paganinism" comes from "Finnegans Wake". The number of letters (1941) is to symbolize the year of Lutosławski's composition in the year 1941, wartime Warsaw, Poland. The 8 opening and closing bars are taken from the founding opus. Example, 2 pianos (Argerich, Kissin): http://www.youtube.com/watch?v=PpU6jOgCoGg

A Redivivus Of Paganinism: Joyce Variations on Lutosławski on Paganinis Own Variations on Caprice 24

Expected imitation / soundalike: the Soviet TV series "Seventeen Moments of Spring", with the simplified original tune following from 0:42.

From James Joyce's "Finnegans Wake" [Page 279, Footnote 1, Lines 2-8] "the thrills and ills of laylock blossoms three's so much more plants than chants for cecilies that I was thinking fairly killing times of putting an end to myself and my malody, when I remembered all your pupil-teacher's erringnesses in perfection class. You sh'undn't write you can't if you w'udn't pass for undevelopmented. This is the propper way to say that, Sr. If it's me chews to swallow all you saidn't you can eat my words for it as sure as there's a key in my kiss. Quick erit faciofacey."]
only the letters of the set {ABCDEFGH} were left, 124 of them.

Their sequence ["ehadfacbheecheahachafcecehaahgfagefgaedefadadheeebeedaeacheegeeefeccahdecafdafdeeeedhheeaahafecheaaadcaeadfaeaheeaecefacface"] was translated into 124 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

Further: http://www.youtube.com/watch?v=6eMDu4gtpak

FW 279.F1(2-8) [17 Moments of Spring] James Joyce and A Soviet Spy

Here's a simple of play on:
(a) letter groups {SEHAD}/{EGAD} that stand for Wyszehrad/ Visegrad; {HGA}/{AGASÁG}: Hungary/Magyarország; {CECH}/ {ČES}: Czech/Česko; {SAA}/{SES}: Slovakia/Slovensko; {AD}/ {SA}: Poland/Polska;
(b) capital cities' letter groups {BDAES}: Budapest; {AGE}: Prague; {BASAA}: Bratislava; {ASA}: Warszawa;
(c) rhythmic patterns and rhymes of 3 sonnets: {Attila: HU}; {Mácha: CZ}; {Válek: SK}

Then, the opening of the Hungarian translation of James Joyce's "Finnegans Wake" {folyófolyt...} rendered the following sequence of letters translatable into respectively pitched musical notes: {ffhaadaadaÁdáÉaeeeaaaaabbefeéfaaaasaCdscssafgaccscáhasaasHhCaseésEeaséadéefeé}, arranged into 3 different melody lines, all attempting at a resemblance of the Hungarian "Himnusz" (the opening), and eventually retaken along Erkel's original melody line.

Rivergrad + Himnusz

Sources, in order of relevance:
(1.1) Kopala studienku (Slovak folk)
https://www.youtube.com/watch?v=uEmHhNFrKAY
(1.1.1) Kopałam studzienkę (Polish)
https://www.youtube.com/watch?v=l-3FmAU2VTE
(1.2) Nad Tatrou sa blýska (lyrics Janko Matúška)
https://www.youtube.com/watch?v=u_Cl5fRPIJc
(2) Bartók Béla: Azt mondják, nem adnak engem galambomnak
https://www.youtube.com/watch?v=tYV714zDmuY
(3) Skaldowie: Uciekaj, uciekaj (A. Zieliński, L. A. Moczulski)
https://www.youtube.com/watch?v=OG2sox0opmU
(4) Kie Janicka wiedli do Lewoce (Polish)
https://www.youtube.com/watch?v=U0a4U9YgkHE
(5) Idzie Janko Lasem, wysoko się niesie (Polish)
https://www.youtube.com/watch?v=fqx2r3BLonA
(6) W Staromieściu kościół na góreczce stoi (Polish)
https://www.youtube.com/watch?v=uDdQIaNGjVo

Outcome:
Sequences of letters of the set {abcdefgh} were taken from James Joyce's "Finnegans Wake" and regarded as sounds. Durations established, they were arranged into several free variations on "Kopala studienku", the Slovak folk tune that had also been proposed by Bartók Bela.

Location of the sequences in "Finnegans Wake":
[A-way] FW 278.03-07
[B-way] FW 385.11-16
[C-way] FW 545.15-18
[D-way] FW 072.06-09
[E-way] FW 245.03-06
[F-way] FW 095.16-19
[G-way] FW 193.36-194.03
[H-way] FW 205.16-18

Altogether, 520 letters were used, with additional combinations for 1. volta v. 2. volta.

(1) Finnegans Wake 278.03-07 ("Allwhichhole scrubs on scroll circuminiuminluminatedhave encuoniams here and improperies there. With a pansy for the pussy in the corner. // Bewise of Fanciulla's heart, the heart"): 70 letters ["AhchhecbcchcaadccaedhaeecaheeageeadeeheehaafheadccheceBeefFacaheahehea"]
(2) Finnegans Wake 385.11-16 ("fables and communic suctions and vellicar frictions with mixum members, in the Queen's Ultonian colleges, along with another fellow, a prime number, Totius Quotius, and paying a pot of tribluts to Boris O'Brien, the buttler of Clumpthump, two looves, two turnovers plus (one) crown, to see the"): 66 letters ["fabeadcccadecafchebeheeeacegeaghahefeaebeadagafbBBehebefCheeeceehe"]
(3) Finnegans Wake 545.15-18 ("command, as I willed and firmly commanded, upon my royal word and cause the great seal now to be affixed, that from the farthest of the farther of their fathers to their children's children's children"): 72 letters ["cadaedadfcadedadadcaehegeaeabeaffedhafhefahefhefahefhefahehechdechdechde"]
(4) Finnegans Wake 072.06-09 ("Enclosed find the Sons of Fingal, Swayed in his Falling, Wants a Wife and Forty of Them, Let Him Do the Fair, Apeegeequanee Chimmuck, Plowp Goes his Whastle, Ruin of the Small Trader,"): 61 letters ["EcedfdhefFgaaedhFagaafeadFfheeHDheFaAeegeeaeeChcGehhaefheaade"]
(5) Finnegans Wake 245.03-06 ("chare of beagles, frantling of peacocks, no muzzing of the camel, smuttering of apes. Lights, pageboy, lights! Brights we'll be brights. With help of Hanoukan's lamp. When otter leaps in outer parts then Yul remembers Mei. Her"): 71 letters ["chaefbeagefagfeaccgfhecaeegfaeghagebghBghebebghhhefHaaaheeeaeaheeebeeHe"]
(6) Finnegans Wake 095.16-19 ("puffing out his thundering big brown cabbage! Pa! Thawt I'm glad a gull for his pawsdeen fiunn! Goborro, sez he, Lankyshied! Gobugga ye, sez I! O breezes! I sniffed that lad long before"): 66 letters ["ffghhdegbgbcabbageahagadagfhadeefGbeheahedGbggaeebeeeffedhaadgbefe"]
(7) Finnegans Wake 193.36-194.03 ["I might have been or you meant to becoming, bewailing like a man that innocence which I could not defend like a woman, lo,you there, Cathmon-Carbery, and thank Movies from"]: 56 letters ["ghhaebeeeabecgbeageaahacecehchcddefedeaaheeCahCabeadhaef"]
(8) Finnegans Wake 205.16-19 ("the Mericy Cordial Mendicants' Sitterdag-Zindeh-Munaday Wakeschrift (for once they sullied their white kidloves, chewing cuds after their dinners of cheeckin"): 58 letters ["heecCdaedcaedagdehadaaechffceheedhehedechegcdafehedefcheec"]
(9) outro (the Well Bartók Dug)

FW 278.03-07 [&] This is the Well that Bartók Dug (Joyce Variations)

A 1:10 duration stretch of the soundwork found here: https://archive.org/details/FarWars and here: http://www.waywordsandmeansigns.com/news/star-wars-and-finnegans-wake

Description: Echoes of John Williams's themes in Joyce's letters of "Finnegans Wake": "The Ballad of Persse O'Reilly", a fragment of Joyce's "Finnegans Wake" was reduced to a 1122-long sequence of its musically symbolic {ABCDEFGH} letters.
The letters were turned into musical notes of relevant pitch; their duration and other accentuation were my choice.

Star Wars in Finnegans Wake: Far Wars (Imperial Stretch)

John Williams's themes in James Joyce's "Finnegans Wake". More: archive.org/details/FarWars and: www.waywordsandmeansigns.com/news/star-wars-and-finnegans-wake

Description: "The Ballad of Persse O'Reilly", a fragment of "Finnegans Wake" was reduced to a 1122-long sequence of musically symbolic {ABCDEFGH} letters. The letters were turned into respectively pitched musical notes; duration and accentuation are mine.

Star Wars: Force O'Really (Williams, Joyce, Bartnicki)

A sequence of 222 letters {AaBbCcDdEeFfGgHh} was taken from James Joyce's "Finnegans Wake" and turned to sound. 

Duration of the notes established freely, they were arranged into an improvariation on David Bowies "Warszawa" of the "Low" album.

An ad-hoc tribute; the version was arranged by Wojciech Kucharczyk (MIK Musik) and premiered on January 22, 2016; a concert in Kronika in Bytom (Poland). 

The sequence ["BdeadAdebehdadbgHchaeffecAagageaabeaafchcheecaaaeheadaeaAgheaadaahadeecaedbabghheeGeachadHechahaeegaceBeaaBacaBbefcaDcdcagaeaaAaeedgeCaabeaadeeaecaehebeefedadaaedhgdheacaffedbaaagefDebahaaaBeedcbeedcabadAdeaghhhbefehchceda"] comes from Finnegans Wake 569.11-22
["Bride-and-Audeons-behind-Wardborg. How chimant in effect! Alla tingaling pealabells! So a many of churches one cannot pray own's prayers. 'Tis holyyear's day! Juin jully we may! Agithetta and Tranquilla shall demure umclaused but Marl-borough-the-Less, Greatchrist  and Holy Protector shall have open virgilances. Beata Basilica! But will be not pontification? Dock, dock, agame! Primatially. At wateredge. Cantaberra and Neweryork may supprecate hen, by vepers, for towned and travalled, his goldwhite swaystick aloft ylifted, umbrilla-parasoul, Monsigneur of Deublan shall impart to all. Benedictus benedicat!  To board! And mealsight! Unjoint him this bittern, frust me this chicken, display"].

Bartnicki's Joyce's David Bowie's Warszawa (Kucharczyk Arrangement)

My 100th file here, only two notes were used: H and B.
["You say a B-note, and I say an H-note"]

A remake of John Williams's "Jaws" theme.
Arranged by Wojciech Kucharczyk.

My Two Notes on John Williams's Jaws (Kucharczyk Arrangement)

Expected imitation / soundalike: "Mockingjay Theme" or "Rue's Theme" from Hunger Games soundtrack plus bits from the Star Wars soundtrack by John Williams.

From James Joyce's "Finnegans Wake" (251.35-252.05) ["But listen to the mocking birde to micking barde making bared! // We've heard it aye since songdom was gemurrmal. As he was // queering his shoolthers. So was I. And as I was cleansing my // fausties. So was he. And as way ware puffiing our blowbags. // Souwouyou. // Come, thrust! Go, parry! Dvoinabrathran, dare. The mad // long ramp of manchind's"]
only the letters of the set {ABCDEFGH} were left, 101 of them.

Their sequence "BehecgbdecgbadeagbaedeeheadaecegdageaAheaeeghhheaAdaaceagfaeaheAdaaaeffgbbagCehGaDabahadaeheadgafachd"
was translated into 101 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

Mockingjay Call (Mocking Joyce)

First James Joyce had produced "Finnegans Wake", a cryptic text that drew attention from Joseph Campbell, the author of "The Hero with a Thousand Faces", from which George Lucas then borrowed heavily to draft his "Star Wars" story.

Taking a more direct step from James Joyce to Star Wars:
I seek out sequences of relevant letters in "Finnegans Wake" to turn them into respectively pitched musical notes so that they should echo various themes composed by John Williams for the Star Wars soundtrack. Here for example, six takes on "Rey's Theme" from "The Force Awakens", SW ep. 7.

The source sequences of letters:
Var. 1: "degheaHeAdadgeheaghheeheaeahghheafaeAheehceeEeea" 
Var. 2: "AceadeadeaadeacdaeeddheabeaCfaeaahefadhagfaedeadhgfheadadefhehbdadaceade"
Var. 3: "headhagaeheaaheaaghaefhfahgheaegbaaeadheaaheadggchgeabad"
Var. 4: "aaeedcecadheheadhedbgeecghcheacheaeagedadaadead"
Var. 5: "aehegefheehaheagbefgabegaegadcheabebaba"
Var. 6: "aeagdFeeadgaadgaeefeeefheaadaeheadgabbegagageaddddeage"

The source passages of "Finnegans Wake":

Var. 1 [FW 025.14-17]:
"drengs, in the Salmon // House. And admiring to our supershillelagh where the palmsweat // on high is the mark of your manument. All the toethpicks ever // Eirenesians"

Var. 2 [FW 161.25-29]:
"in Acetius and Oleosus and Sellius // Volatilis and Petrus Papricus! Our Old Party quite united round // the Slatbowel at Commons: Pfarrer Salamoss himself and that // sprog of a Pedersill and his Sprig of Thyme and a dozen of the // Murphybuds and a score and more"

Var. 3 [FW 202.26-29]:
"her and how it was gave her away. She // was just a young thin pale soft shy slim slip of a thing then, // sauntering, by silvamoonlake and he was a heavy trudging // lurching lieabroad"

Var. 4 [FW 343.30-32]:
"allaverred // cromlecks,and when I heard his lewdbrogue reciping his cheap // cheateary gospeds to sintry and santry and sentry and suntry I"

Var. 5 [FW 406.32-34]
"to make the ingestion for the // moment that he was guilbey of gulpable gluttony as regards chewable // boltaballs,"

Var. 6 [FW 540.22-24]:
"mansiemagd. For peers // and gints, quaysirs and galleyliers, fresk letties from the say and // stale headygabblers, gaingangers and dudder wagoners,"

John Williams's Rey's Theme (post-James Joyce Variations)

First James Joyce had produced "Finnegans Wake", a cryptic text that drew attention from Joseph Campbell, the author of "The Hero with a Thousand Faces", from which George Lucas then borrowed heavily to draft his "Star Wars" story.

Taking a more direct step from James Joyce to Star Wars:
I seek out sequences of relevant letters in "Finnegans Wake" to turn them into respectively pitched musical notes so that they should echo various themes composed by John Williams for the Star Wars soundtrack. Here for example, a set of short takes on "Jedi Steps" from "The Force Awakens", SW episode 7.

The source letter sequences:
Var. 1: "aedhaheadecdbdabedadbehfechagaec"
Var. 2: "DagDgDgDgDgeaheagabe"
Var. 3: "adgegaadaabbadbbeadadedeeheceefhacaeceegffhcehchaagecagfdheadaebedhbeadcbceadfeeghffa"
Var. 4: "beaeheaafeeeadefahehahehheceaebeaeafachaeeaahefaeheae"

The source passages of "Finnegans Wake":

Var. 1 [FW 149.04-06]:
"[guff]alled quith a quhimper, made cold // blood a blue mundy and no bones without flech, taking kiss, // kake or kick"

Var. 2 [FW 377.35-36]:
"Dang! Ding! Dong! // Dung! Dinnin. Isn't it great he is swaying above"

Var. 3 [FW 430.26-30]:
"and smilingly smelling, pair and pair about, broad // by bread and slender to slimmer, the nice perfumios that came // cunvy peeling off him (nice!) which was angelic simply, savouring // of wild thyme and parsley jumbled with breadcrumbs (O nice!) // and feeling his full fat"

Var. 4 [FW 590.06-08]:
"beaten wheat, not after Sir Joe Meade's father, thanks! // They know him, the covenanter, by rote at least, for a chameleon // at last, in his true falseheaven"

John Williams's Jedi Steps (post-James Joyce Variations)

Expected imitation / soundalike: Ryuichi Sakamoto's main theme "The Wuthering Height".

I take sequences of musically relevant letters {ABCDEFGH} as they appear in James Joyce's "Finnegans Wake" and then turn them into respectively pitched musical notes. Duration and accentuation are mine. 

There are dozens of C-, D- and G-pitch starting sequence of letters which are translatable into Sakamoto soundalikes, from which I picked just a few:
Var. 1: "AahaeaghaedefCedbcfdeahaèeAeadb"
Var. 2: "ebdefcedheaeadafbdha"
Var. 3: "Cadbbcacaeheedadcaeffada"
Var. 4: "becgabfedbeggccagabheehehghaeheaee"

Var. 1 [FW 038.30-32]:
"Annah — // to pianissime a slightly varied version of Crookedribs confidentials, // (what Mère Aloyse said but"

Var. 2 [FW 309.13]:
"imysterbolder, forced in their waste, and as for Ibdullin what"

Var. 3 [FW 362.02]:
"Clandibblon clam cartel, then pulled out and came off and rally"

Var. 4 [FW 410.07-08]:
"becoming about fed up be going circulating about them // new hikler's highways like them nameless souls,"

Ryuichi Sakamoto's Wuthering Heights (post-James Joyce variations)

Expected imitation / soundalike: Witold Lutosławski's variation on a theme from Niccolo Paganini.

From James Joyce's "Finnegans Wake", the 451.26-454.26 fragment from "There'd be no standing me, I tell you.” to „There is some thing more. A word appart[ing]", only the letters of the set {ABCDEFGH} were left, 1941 of them.

Their sequence ["heedbeadgeeAdagaebaagaaeChadeeaefehhabadedeachheaafeeeeeheedaGgaheeeccaheafechegchehadacaghefhedcaehbaaechabeadhegeaafheaafcadeaeadeehgfehghahefaeddbecedbeafadeadabheeadadeafheebefcabgadhhehedchecdaheehebghadehheDaeadhchaefaccdebeaaeahebeehaffacaheahcdegcafaadhahehfhecacgbagfefahehgeecdeheeefaehdhadhfgefcagaeaceehhaeachebdeaeaaeadgefegageFeacChehcedacebeaedadhgehahhgdeefbecedaHhedeeghefcadecgahbaeeecgeahhegdadcgafhheeheheaedhgefahghbeaaeebeadbhaafeheadgfhfaadhheehededfffehehbeedceeadbhcahegecefdhghaheaafafeeheeffefehaedbeafceeheecefhedeadfhahheefdaecheceheabhghecadgedaddeeheeebegaeaedbhecceadaaedbheeceefeeaeeeeefeaegaddfcaFfbeadhfdeabeeedbeheheahaefagadhgebbeggeeagaeeghgebgaebheegfHhehheEhefadeeagBefeheeaachaaeadheeedadacaeheeeaaefahghaedaeaefeehgheeefehabdfaageafahaeedehehaAdeheehedeaeheehefgedfAaeehheheabehbeFdecaeehabegggechafaafhghefeceeeaefaaheeaefaffaghhbecgeaedafeeceaeceeafeaedabebfghgbddadegbbegabbeeedeadafeedaceeffgcabaehegaddebaebaggafbaegechcgbehehbaegccegddeadceaeegedceaghbgadahagaeeeadheeahheaecechagecgcegbeafaadahafabbegagchaeBabefabedageadaceagHhbadaDeheeCgehghhedhhegaheghechebfGdbeadaBehghdgheceegaabeefbbgeaefaedbacfeefeeeechafaggaeeceadadafagddaadheefbaheeaahabhefefabeehheadaeeaaeaehgheefefheehaaeheaheagceadeeeaeadeheggadhadeagfheeaehacdaadeeaadeheaadeebegeggeffhghbghedhbeabeefheadaeeehdeffefegageaehechadfhebeeeeeehecdaedaedafehefeaheheddaeehaabehedadhaccaaghefedgheceaéefheeecheadffehabgaeeaDechedaahaeedecheeeffDadeeaeaaacaeheCahadFadebeadeheeacafeefaeheeeagfaehhegeheehdedhheefeaGdbeagdbeHaghHagheeaeaeeadebefehgheadgebeeeehadhaeeeaagefhchegfebAhhehbecedHcehgfadegaehaeccedeeaahafagadbgbheaeagheeDdgehaadgghghfeahefehedfhhaeabafedeheheadfadeefedahebaehghfhhedebeghhadafheeeaeaeeeagadhedhehheaghchechchgehgehgehghhghhghaabeadgeeheghhheahhgcaaafdehhheeHeaHaeehaeedheebaeBeaaheddeheaafeaecheheeghdaheeddehhgebagaheehhbacehdeeehaehedaddeedfheghedadhfeedadheeacedheafheeahafehchhedeedadfaheeedheeehgeAdaa"] was translated into 1941 respectively pitched musical notes.

Barring 'mirror' clusters that read the same left-to-right and right-to-left (e.g. ACA, FAF, EE [octave interval] AAA [double octave interval]), no two (different) notes start at the same time. Duration attributed arbitrarily.

The title "redivivus of paganinism" comes from "Finnegans Wake". The number of letters (1941) is to symbolize the year of Lutosławski's composition in the year 1941, wartime Warsaw, Poland. The 8 opening and closing bars are taken from the founding opus.

Here is a revised version of my 2012 upload:
https://soundcloud.com/gimcbart/a-redivivus-of-paganinism
CHANGES:
(Technical) Piano => Rock Organ
(Technical) Ostinato Piano => Church Organ
(Score) 1/256th notes removed
(Score) 1/128ths usually replaced by 1/64ths
(Score) Octave balancing
(Score) Many volta/repeat sections turned into one-time sections. Hence a change in duration:  original 6'50" time reduced to 5'40". That new number may symbolize the "Restored Finnegans Wake" edition--which is ca 540 pages long.

Bartnicki's Joyce Variations on Lutosławski on Paganinis Own Variation on Caprice 24 (Redivisedus)

Expected imitation / soundalike: Alexander Alexandrov's "Svyaschennaya voyna" (English: "Sacred War").

Sequences of letters of the set {AaBbCcDdEeFfGgHh} found in James Joyce's "Finnegans Wake" are turned into respectively pitched musical notes, 
Sound/pause duration and accentuation are mine.

The source sequences of letters:
Var. 1: "Heafafafahefacheefbhecacheadacaecaceefheaceaefheceeddaaeeeae"
Var. 2: "eacefecaaedddeadacghddeaefcfeddaeaafedea"
Var. 3: "aaedacafaBAfedghdfacedaCaedacaddceedadced"

Var. 1 [FW 045.13-16]:
"He was fafafather of all schemes for to bother us // Slow coaches and immaculate contraceptives for the populace, // Mare's milk for the sick, seven dry Sundays a week // Openair love"

Var. 2 [FW 120.04-06]:
"petulance of some capItalIsed // mIddle; a word as cunningly hidden in its maze of confused // drapery as a fieldmouse in a"

Var. 3 [623.35-624.01]:
"map. // Rased on traumscrapt from Maston, Boss. After rounding his // world of ancient days. Carried in a caddy or screwed and corked."

Bartnicki's Joyce's Alexandrov's Sacred War (Svyashchennaya voyna)

Expected imitation / soundalike: "The Good, The Bad & The Ugly" theme by Ennio Morricone.

A sequence of [19] letters of the set {AaBbCcDdEeFfGgHh}, found in James Joyce's "Finnegans Wake",  was turned to 19 respectively pitched notes. No two (different) notes start at the same time. Duration mine.

The sequence ["adadafagddaadheefba"] comes from FW 453.20-21: "upon a drunk and a fairly good drunk it was and the rest of your bla".

Bartnicki's Joyce's Morricone's (1966) The Good, The Bad & The Ugly

Expected imitation / soundalike: "For a Few Dollars More" theme by Ennio Morricone.

A sequence of [66] letters of the set {AaBbCcDdEeFfGgHh} from James Joyce's "Finnegans Wake", was turned to 66 respectively pitched notes. No two (different) notes start at the same time. Duration mine.

The source sequence ["adccagdaaGdehCeaddgacaacefdcehhefdeadaeCaeadedeFgaaeaedfaddeabefae"] comes from FW 440.15-18: "and circulating disimally at Gillydehooly's Cost. Strike up a nodding acquaintance for our doctrine with the works of old Mrs Trot, senior, and Manoel Canter, junior, and Loper de Figas, nates maximum. I used to follow Mary Liddlelambe's flitsy tales,".

Bartnicki's Joyce's Morricone's (1965) For a Few Dollars More

Expected imitation / soundalike: "A Fistful Of Dollars" theme by Ennio Morricone.

A sequence of [71] letters of the set {AaBbCcDdEeFfGgHh} from James Joyce's "Finnegans Wake", was turned to 71 respectively pitched notes. No two (different) notes start at the same time. Duration mine.

The source sequence 
["addhefgfEdcadefeheeehecadAaedheaaadfcgfhefahadageaDBaeFheeaeeheabaecehe"] is from FW 246.23-27: "and don't the fillyings fly? Educande of Sorrento, they newknow knowwell their Vico's road. Arranked in their array and flocking for the fray on that old orangeray, Dolly Brae. For these are not on terms, they twain, bartrossers, since their".

Bartnicki's Joyce's Morricone's (1964) A Fistful Of Dollars

Expected imitation / soundalike: "A Fistful Of Dollars (Tema del Carillon)" by Ennio Morricone.

A sequence of [52] letters of the set {AaBbCcDdEeFfGgHh} from James Joyce's "Finnegans Wake", was turned to 52 respectively pitched notes. No two (different) notes start at the same time. Duration mine.

The source sequence ["DeaadaeedeafadafadahaaeAhahehaefheefeafedefedfedFaFa"] comes from FW 481.07-09: "-- Dream. Ona nonday I sleep. I dreamt of a somday. Of a wonday I shall wake. Ah! May he have now of here fearfilled me! Sinflowed, O sinflowed! Fia! Fia!".

Bartnicki's Joyce's Morricone's (1964) A Fistful Of Dollars (Tema del Carillon)

Expected imitation / soundalike: "The Ecstasy of Gold" by Ennio Morricone.

A sequence of [38] letters of the set {AaBbCcDdEeFfGgHh} from James Joyce's "Finnegans Wake" was turned to 38 respectively pitched notes. No two (different) notes start at the same time. Duration mine.

The source sequence ["aeadGaGedaeDahefadcaedafaeeachaddaehee"] comes from FW 433.05-08: "[G]ay O'Toole and Gloamy Gwenn du Lake (Danish spoken!) from Manducare Monday up till farrier's siesta in china dominos. Words taken in triumph, my sweet".

Bartnicki's Joyce's Morricone's (1966) The Ecstasy of Gold

Expected imitation / soundalike: "Arrival" by ABBA's Benny Andersson's (1976), also performed by Mike Oldfield.

A sequence of [53] letters of the set {AaBbCcDdEeFfGgHh} from James Joyce's "Finnegans Wake", was turned to 53 respectively pitched notes. No two (different) notes start at the same time. Duration mine.

The source sequence ["heeaaehegagcdecehahgahehecdedhhecadhebegadhe"] comes from FW 332.24-26: "there was a little theogamyjig incidence that hoppygo-jumpy Junuary morn when he colluded with the cad out on the beg amudst the fiounaregal gaames".

Bartnicki's Joyce's ABBA's Benny Andersson's (1976) Arrival

Expected imitation / soundalike: Haydn's original "Kaiserlied".

From James Joyce's "Finnegans Wake" [434.09-13 "coloured pantos instead of earthing down in the coalhole trying to boil the big gun's dinner. Leg-before-Wicked lags-behind-Wall where here Mr Whicker whacked a great fall. Femorafamilla feeled it a candleliked but Hayes, Conyngham and Erobinson sware it's an egg. Forglim mick aye!"]
only the letters of the set {ABCDEFGH} were left, 105 of them.

Their sequence
["cedaeadfeahgdhecahegbhebggdeegbefecedagbehdaheeheehcehacedageafaFeafaafeeedacadeedbHaeCghaadEbaeaeggFgcae"]
was translated into 105 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

The sequence was arranged differently 5 times into 5 instrument lines. The 6th line goes with Haydn's original "Kaiserlied", then the 6 were paired as follows:
--------- Instrument 1 (acoustic bass, Joyce) + Instrument 2 (bass, Haydn)
--------- Instrument 3 (reed organ, Joyce) + Instrument 4 (violin, Joyce)
--------- Instrument 5 (contrabass, Joyce) + Instrument 6 (predistorted/overdrive guitar, Joyce).

FW 434.09-13 [Take a Haydn] Wort Erhalte Joyce den Reiser

Here's the 4th of the 30 Variations on Star Wars Themes by John Williams.
That I found in a book by James Joyce (d. 1941).

A sequence of 30 letters of the set {A/B/C/D/E/F/G/H}
["baadeachfacfabfeageeeabacefaee"]
from this fragment of Joyce's "Finnegans Wake" (042.33-34):
["balls and poplin in search of a croust of pawn to busy professional gentlemen, a brace of palesmen"]

was translated into 30 respectively pitched musical notes.
No two (different) notes start at the same time.
Duration attributed arbitrarily.

Variation # 04 on Imperial Williams [FW 042.33-34]

Here's the 11th of the 30 Variations on Star Wars Themes by John Williams.
That I found in a book by James Joyce (d. 1941).

A sequence of 41 letters of the set {A/B/C/D/E/F/G/H}
["adeaafcaaeaeefahaeaBaefadaahfabhagfaaaaea"]
from this fragment of Joyce's "Finnegans Wake" (154.09-12):
["tardeynois at all for you cannot wake a silken nouse out of a hoarse oar. Blast yourself and your anathomy infairioriboos! No, hang you for an animal rurale! I am"]

was translated into 41 respectively pitched musical notes.
No two (different) notes start at the same time.
Duration attributed arbitrarily.

Variation # 11 on Imperial Williams [FW 154.09-12]

Expected imitation / soundalike: "The Force Theme" and "Darth Vader's Theme" medley from the Star Wars soundtrack by John Williams.

From James Joyce's "Finnegans Wake" (576.19-26): ["true terminus of straxstraightcuts and corkscrewn perambulaups, zeal whence to goal whither, wonderlust, in sequence to which every muckle must make its mickle, as different as York from Leeds, being the only wise in a muck's world to look on itself from beforehand; mirrorminded curiositease and would-to-the-large which bring hills to molehunter, home through first husband, perils behind swine and horsepower down to hungerford,"].
only the letters of the set {ABCDEFGH} were left, 126 of them.

Their sequence 
["eefaaghcadcceeabaeahecegahhedeeecehcheeceaeceadffeeafeedbegheeacdeffbefehaddedceaeaddheagehchbghehehehghfhbadebehdeadheedhgefd"]
was translated into 126 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

FW 576.19-26 [John Williams] The Force & Vader

Expected imitation / soundalike: Mark Griskey's "Sith Tomb" of KOTOR II gametrack, itself playing on "The Emperors Theme" from the Star Wars soundtrack by John Williams.

From James Joyce's "Finnegans Wake"(334.21-24):
["your thing to me I will gamey a sing to thee. Stay where you're dummy! To get her to go ther. He banged the scoop and she bagged the sugar while the whole pub's pobbel"]
only the letters of the set {ABCDEFGH} were left, 58 of them.

Their sequence ["hgegaeagheeaheeedgehegheHebagedhecadhebaggedhegahehehebbbe"]
was translated into 58 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

FW 334.21-24 [Mark Griskey] The Sith Tomb (Tulak Hord)

Expected imitation / soundalike: Mark Griskey's "Sith Tomb" of KOTOR II gametrack, itself playing on "The Emperors Theme" from the Star Wars soundtrack by John Williams.

From James Joyce's "Finnegans Wake" (334.21-24):
["frees our fleas round sadurn's mounted foot; built the Lund's kirk and destroyed the church's land; who guesse his title grabs his deeds; fletch and prities, fash and chaps; artful Juke of Wilysly; Hugglebelly's Funniral; Kukkuk Kallikak"]
only the letters of the set {ABCDEFGH} were left, 73 of them.

Their sequence ["feefeadadedfbhedaddeedhechchadhgeehegabhdeedfechadefahadchaafefHggebeFaaa"] was translated into 73 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

FW 137.09-12 [Mark Griskey] The Sith Tomb (Ajunta Pall)

Expected imitation / soundalike: Mark Griskey's "Sith Tomb" of KOTOR II gametrack, itself playing on "The Emperors Theme" from the Star Wars soundtrack by John Williams.

From James Joyce's "Finnegans Wake" ["ore ouse! Essonne inne! // By earth end the cloudy but I badly want a brandnew bankside, bedamp and I do, and a plumper at that! For the putty affair I have is wore out, so it is, sitting,yaping and waiting for my old Dane hodder dodderer, my life in death companion, my frugal key of our larder, my much-altered"]  (201.04-09)
only the letters of the set {ABCDEFGH} were left, 97 of them.

Their sequence 
["eeEeeBeahedhecdbbadeebadebadebedaaddadaeahaFheaffahaeegagadagfdDaehddedddeefedeahcafgaefadechaeed"] was translated into 97 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

[Note to die-hard Joyceans: The 10th note is "E", not "A", as I followed the 2012 Bindervoet & Henkes edition of FW, where there is "earth nd", not "earth and".]

FW 201.04-09 [Mark Griskey] The Sith Tomb (Exar Kun)

Expected imitation / soundalike: Mark Griskey's "Sith Tomb" of KOTOR II gametrack, itself playing on "The Emperors Theme" from the Star Wars soundtrack by John Williams.

From James Joyce's "Finnegans Wake" (213.29-32):
["shawl. Good mother Jossiph knows, she said. Whose head? Mutter snores? Deataceas! Wharnow are alle her childer, say? In kingdome gone or power to come or gloria be to them farther?"]
only the letters of the set {ABCDEFGH} were left, 57 of them.

Their sequence ["haGdhehheadheheadeeDeaaceahaaeaehechdeagdegeecegabehefahe"]
was translated into 57 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

FW 213.29-32 [Mark Griskey] The Sith Tomb (Freedon Nadd)

Expected imitation / soundalike: the ostinato bars of the Imperial March through "Battle of the Heroes" to "Darth Vader's Theme" to end with "The Emperor's Theme", all from Star Wars soundtrack by John Williams.

From James Joyce's "Finnegans Wake" ["Allalivial, allalluvial! Some here, more no more, more again lost alla stranger. I've heard tell that same brooch of the Shannons was married into a family in Spain. And all the Dunders de Dunnes in Markland's Vineland beyond Brendan's herring pool takes"] (213.32-36)
only the letters of the set {ABCDEFGH} were left, 77 of them.

Their sequence ["AaaaaaeheeeeeagaaaageeheadehaaebchfhehaaaedafaaAdaheDdedeDeaadeadbedBedahegae"] 
was translated into 77 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

FW 213.32-36 [John Williams] Sith & Violins (palpatto con plotto, darthaggio con cappuccio)

Here's a short variation on the opening of Chopin's Etude in E Major (Op. 10 No. 3) called "Tristesse" or "Farewell".

From James Joyce's "Finnegans Wake" [060.08-10 "enjoining such wicked illth, ehim! Well done, Drumcollakill! Kitty Tyrrel is proud of you, was the reply of a B.O.T. official (O blame gnot the board!) while the Daughters Benkletter murmured in uniswoon: Golforgilhisjurylegs! Brian Lynsky, the cub curser, was questioned"]
only the letters of the set {ABCDEFGH} were left, 72 of them.

Their sequence ["egchcedhehedeDcaedfaheefaBffcabaeghebadheheDagheBeeeedGfghegBahecbceaeed"] was translated into 72 respectively pitched musical notes - distributed for a set of pipes, a fife of flute, with a base of brass.
No two (different) notes start at the same time. Duration attributed arbitrarily;  the tempo cranked up a bit.

FW 060.08-10 [Chopin] Etude in E Major Op. 10 # 3 (Pifes R Brass)

Expected imitation / soundalike: "Anvil of Crom" from the "Conan the Barbarian" soundtrack by Basil Poledouris (1945-2006).

From James Joyce's "Finnegans Wake" (227.34-228.08):
["and, childhood's age being aye the shameleast, tel a Tartaran tastarin toothsome tarrascone tourtoun, vestimentivorous chlamydophagian, imbretellated himself for any time untellable with what hung over to the Machonochie Middle from the MacSiccaries of the Breeks. Home! // Allwhile, moush missuies from mungy monsie, preying in his mind, son of Everallin, within himself, he swure. Macnoon maggoty mag! Cross of a coppersmith bishop! He would split. He do big squeal like holy Trichepatte. Seek hells where from yank islanders the petriote's absolation. Mocknitza! Genik! He take skiff come first dagrene day overwide"]
only the letters of the set {ABCDEFGH} were left, 192 of them.

Their sequence
["adchdhdagebegaehehaeeaeaaaaaaheaaceeechadhagabeeaedheffaeeabehhahgeheachcheddefheacccaefheBeeHeAhehefgeeghdfEeahhefheeacaggagCfacehbhHedHedbgeaehcheaeeeheheefaadeheeeabacaGeHeaeffcefdageedaede"] was translated into 192 respectively pitched musical notes.
Except for 'mirror' chords/clusters such as [EE] or [AGA] - no two notes start at the same time. Duration attributed arbitrarily.

FW 227.34-228.08 [Basil Poledouris] Anvil of Crom (Voices of Joyce) Conan

The melodies here are found in James Joyce's "Finnegans Wake". When sequences of its A's, B's C's, D's, E's, F's, G's and H's represent sounds, Joyce appears to have composed melodies we think others did.

Popular tracks by GI McBart