Star Wars music
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The music of Star Wars consists of the scores written for all six Star Wars films by composer John Williams between 1977 and 1983 for the Original Trilogy, and 1999 and 2005 for the Prequel Trilogy. More broadly, it refers to any music that is used to depict the larger Star Wars Universe, which would include music for Star Wars video games, books and other media. John Williams' scores for the double trilogy count among the most widely-known and popular contributions to modern film music.
The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner. While several obvious nods to Holst, Walton and Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
Star Wars is often credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. While to ascribe this feat single-handedly to Williams is premature, the popularity and impact of the scores was a major contribution. One technique in particular has had a particular influence: Williams revival of a technique called "leitmotif", which is most famously associated with the operas of Wagner and, in film scores, with Steiner. A leitmotif is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It is commonly used in modern film scoring, as a device to mentally anchor certain parts of a film to the soundtrack. Of chief importance for a leitmotif is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.
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[edit] Principal leitmotifs
[edit] Composed for the original trilogy
[edit] First appearance in Episode IV:
- "Main Title" (1977) (file info) — play in browser (beta)
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- Main Theme (Star Wars) (all episodes). Sample . The anthem of the saga and easily its most recognizable melody, the main theme is variously associated with Luke, heroism and adventure. It is heard in full Korngoldian splendor over the opening crawl at the beginning of all the films, and forms the basis of the end-title as well. The theme is most prominent in the first film (Episode IV) in which strong brass treat it as a fanfare of sorts for Luke. Throughout subsequent films it is relied upon less and less frequently, though this restraint lends it a greater impact. Except for the final scene of Episode III, Williams' use of the Main Theme in the prequels is limited mostly to the title crawl and short, sometimes disguised fragments.
- Rebel Fanfare (all episodes). Sample . This short motif is used extensively in Episode IV to represent the Rebel Alliance. It is used occasionally in Episodes III and V, and used a little more in Episode VI for this purpose as well, as well as part of the ending credits. The theme itself is constructed out of brassy major block chords that progress in parallel motion through intervals of a third, resulting in an appropriate though non-diatonic heraldic flavor.
- Force Theme or Ben Kenobi's theme or Jedi Knights and the Old Republic theme or "May the Force be With You" (all episodes). Sample . Of all the leitmotifs of the series, the Force theme is most consistently developed and, consequently, most difficult to attach a specific meaning. This theme variously represents Obi-Wan Kenobi, the Jedi and the Force from which they draw their power, as well as more abstract ideas such as fate or destiny. In general, its appearances mark moments of significance in the films -- due in part to its portentous minor mode and upward-striving melody.
- Princess Leia's Theme (Episodes III, IV, V and VI). Sample . A lush theme for Princess Leia, one of the central protagonists of the Original Trilogy. Represents the romanticized, somewhat naive idea of the princess, and hence is most often heard in Episode IV, but is used in the next two films when she is acting on her own, when she is particularly vulnerable, or when she is mentioned. It is heard prominently in Episode III after she is born. Williams composed an extended concert version of this theme that was incorporated into the end title for Episode III.
- Imperial Motif (Episode IV) Sample . Not to be confused with the Imperial March, this motif represents the Empire and Darth Vader strictly in Episode IV, before the much more popular Imperial March was written. Vaguely militaristic, it is generally played by bassoons or muted trombones, and for its brevity and limited melodic scope, is not nearly as successful at conjuring dread as the Imperial March. Certain rhythmic and harmonic aspects do anticipate the March, however.
- The Death Star Motif (Episodes IV, VI). Sample . An imposing four chord motif, played six times during Episode IV, that heralds either a shot of the Death Star, or is played when that place's presence is suggested. Also heard in Episode VI when Darth Vader's flagship Super Star Destroyer Executor hits the Death Star II, through music that was adapted from the first film.
- Jawa theme or The Little People (Episode IV). Sample . A jaunty, playful theme used in Episode IV for much of early Tatooine scenes. It is mostly associated with double-reed instruments.
[edit] First appearance in Episode V:
- "The Imperial March" (1980) (file info) — play in browser (beta)
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- The Imperial March or Darth Vader's theme (Episodes I, II, III, V and VI). MIDI sample . The theme that represents the totalitarian Galactic Empire as a whole, and Darth Vader specifically. More than other Star Wars themes, the March has attained an iconic status in the Western consciousness as a general "evil theme", and as such is used to portray power at public events, sometimes seriously, sometimes with tongue in cheek (as in sporting events). Musical features include relentless martial rhythm and dark, non-diatonic harmonic support. In the Original Trilogy, The Imperial March also represents all that is the Empire; therefore, it is nearly equivalent to a galactic anthem. Williams retograded the theme for the prequel trilogy, subtly embedding it in Anakin's innocent theme and the evolution of the Republic (represented by the clone troopers) into the Empire. It is heard with progressive prominence through Episodes II and III, signaling critical points in Anakin's downward spiral to the Dark side. In the March's final rendition, accompanying Vader's death in Episode VI, Williams cleverly reverses the affect of the theme, by means of reduced orchestration and volume. It ends with a clever cadence as Vader expires.
- Han Solo and the Princess or the Love theme or Han Solo's theme (Episodes V and VI). Sample . A sweeping theme for the love between Han Solo and Princess Leia. Heard in Episodes V and VI, and often used in not only scenes of romance but also scenes of sacrifice from the two characters. Han Solo and the Princess
- Yoda's Theme (Episode I, II, III, V and VI). A gentle theme for the Jedi Master Yoda, who appears in five of the six films along with his music. Closely associated with his teachings and abilities, though can be related to Luke's retention of those lessons as well. Used more sparingly in the Prequel Trilogy, though certain moments, especially Yoda's departure from Kashyyyk, highlight the theme quite prominently. Yoda's Theme
- Droids motif (Episode V). A short playful motif associated with C-3PO and R2-D2. Fairly prominent in several scenes on Hoth, Dagobah, and during the climactic "Hyperspace" cue at the end of the film. A version is played in a minor tune during the scene that C-3PO gets shot.
- Boba Fett motif (Episode V). A simple bassoon melody based on a descending semitone phrase representing Boba Fett. It is played sparingly in Episode V in scenes strongly involving the bounty hunter. Some speculation exists of a secondary motif for Fett, occurring as he escorts frozen Han through the halls of Bespin. The melody recurs within the cue, but nowhere else, thus barely qualifying for leitmotivic status. Some have asserted material associated with Fett also turns up in Episode II as well, though whether the material in question bears anything more than coincidental similarity to his original motif is debatable.
- Lando's March or the Cloud City march (Episodes V). Sample . A major-mode march, heard a few times in Lando's Palace during the Bespin sequences of Episode V.
[edit] First appearance in Episode VI:
- Jabba's Theme (Episodes I, IV, and VI). A rolling, bulbous tuba theme for the slug-like Jabba the Hutt, it is played during the opening act of Episode VI, which takes place at Jabba's Palace. It is also played during the added Jabba scene in the 1997 Special Edition of Episode IV, and in a slightly disguised form before the pod-race in Episode I. Jabba's Theme Sample
- The Emperor's Theme (Episodes I, II, III and VI). The theme for Darth Sidious, who then becomes Emperor Palpatine. More generally portrays the dark side itself. Consists in an ominous melody built over alternating, chromatically related chords and often sung by a male choir. In Episodes I and II, it is used to represent the growing power of the mysterious Darth Sidious, and in Episode III it is played as Sidious' true identity is unmasked and as he lays the foundation for the Empire. Its melodic outline is also used ironically during the victory celebrations at the end of The Phantom Menace, sped up, in a major key and sung by children. In Episode VI, it is used to represent the Emperor, and plays whenever he is on screen. The Emperor`s Theme as heard in the Emperor's Death sequence (somewhat sped up)
- The Ewok's Theme or Parade of the Ewoks (Episode VI). The Prokofiev-styled theme for the Ewoks, who live on the forest moon of Endor. It is played at the Ewok village, during the forest battle and in the End Credits of Episode VI.Parade of the Ewoks
- Luke and Leia (Episode VI). The theme for the link between Leia and her brother Luke in Episode VI. Heard only twice in the actual film; the extended concert suite that Williams composed for it is clearly greater than the sum of its uses. In some ways a more mature theme than the outwardly romantic and gushing Leia and Han Solo & Princess themes.Luke and Leia
[edit] Composed for the Prequel Trilogy
[edit] First appearance in Episode I:
- Anakin's Theme (Episodes I, II and III). An ostensibly innocent theme which contains seeds of the Imperial March. Its outwardly warm melody belies the harmonic instability of a number of passages and deeply rooted motivic similarities with Vader's mature theme. The concert arrangement makes the fate of this leitmotif more explicit, ending with a number of subtle renditions of phrases from the theme it foreshadows. Development is limited almost exclusively to Episode I, with a small handful of renditions in Episode II and a single, tortured rendition in Episode III.Anakin`s Theme
- Droid Invasion Theme (Episodes I, II and III). Alternatively the Trade Federation March, it is played various times in Episode I as the droid armies of the Trade Federation attack Naboo. In Episode II, it is used to represent the Clones, who will become the Empire's soldiers of choice. It is also played in Episode III during the Battle of Kashyyyk. Sample of the piece with a fan-made "Imperial March" orchestration
- Duel of the Fates (Episodes I, II and III). The theme itself is composed from two minor mode ostinati and choral interjections. The symphonic arrangement is a full development of these three ideas. The text is derived from an archaic Celtic poem "Cad Goddeu" (Battle of the Trees) translated into Sanskrit. In English, the text reads: "Under the tongue root a fight most dread, and another raging behind, in the head." Played during the climactic lightsaber battle in Episode I -- incidentally, the theme was developed substantially in music that didn't make the final cut of the film. In Episode II, it is played when Anakin goes off to search for his mother. In Episode III, it is tracked to accompany Yoda's duel with Emperor Palpatine. Long MIDI sample
- Funeral Theme (Episode I and III). Another setting of poetry in Sanskrit. Heard briefly during Qui Gon's funeral in Episode I, and developed in Episode III. In that film, accompanies the death of Padme and the "rebirth" of Darth Vader in his suit, Padme's funeral procession, and is subsumed by the Imperial March during the shot of the skeletal Death Star.Funeral Theme
[edit] First appearance in Episode II:
- "Across the Stars" (2002) (file info) — play in browser (beta)
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- Across The Stars (Episodes II and III). The broadly romantic theme associated with the forbidden and ill-fated love between Anakin Skywalker and Padmé Amidala. The title is probably a reference to Romeo and Juliet, a story of similarly "star-crossed" love. It is gentle but with an undercurrent of unrest and uncertainty. It is written in the key of F-sharp minor, but changes keys several times throughout its duration. Arguments have been put forward that in its melodic and rhythmic structure, the theme bears resemblance to Luke and Leia's themes from the original trilogy, though such features as prominent triplets speak more to common ideas throughout Williams scores (note resemblance to themes from Hook and Nixon, for example). It does bear more than a passing resemblance to the music Williams composed to accompany the Battle of Endor at the end of Return of the Jedi MIDI sample
[edit] First appearance in Episode III:
- Battle of the Heroes theme (Episode III). The theme for the climatic, apocalyptic duel between Anakin and Obi-Wan. A counterpart to Duel of the Fates, but where that piece emphasizes action and danger, Battle of the Heroes is more broadly epic and contains significantly more tragic feeling. (see article) Full MIDI sample
- General Grievous theme (Episode III). Plodding, triple-time theme that occurs with the introduction of General Grievous, is given a more extended treatment during his arrival on Utapau, and the beginning of the lightsaber fight with Obi-Wan. Usually played on trombones or horns. On the Episode III soundtrack, it appears at the elapsed time of 4:46 on the Main Title/Battle of Coruscant piece, and also the first 50 seconds of the "Grievous speaks with Lord Sidious" piece. The Latter also involves choir voices and is much more intense than the deep rumbling of the former. Sample
[edit] Minor Motifs
In addition to these major leitmotifs, a host of subsidiary motifs occur throughout the six films, some whose existence is tied to a single scene, others which recur infrequently, or are given to little development. A partial list of such melodic ideas might include:
- Victory March (Episodes I, IV, VI)
- Arrival on Tatooine (Episode I, IV)
- Yoda's Revelation (Episode VI)
- Darth Maul Motif (Episode I)
- Anakin's Descent Motif (Episode II, III)
- Kamino Motif (Episode II)
- "Another Happy Landing" (Episode III)
- Mystery of the Sith Motif (Episode III)
- Arena Theme (Episode II and III)
- Anakin's Betrayal (Episode III)
- Conflict Motif (Episode II)
- Secondary Droid March(Episode I, II, III)
- Immolation Theme (Episode III)
- Anakin's Dark Deeds (Episode III)
- Tusken Raiders (Episode II, IV)
- Mourning Theme (Episode II)
- Qui-Gon's Theme (Episode I)
- Shmi's Theme (Episode I and II)
- Jar Jar's Theme (Episode I)
- Bespin March(Episode V)
Titi Theme (Episode VII) Javie Abeto Theme (Episode IX)
[edit] Diegetic music
- "The Cantina Band" (1977) (file info) — play in browser (beta)
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- Cantina Band and Cantina Band #2 (Episode IV). Played in the Cantina on Tatooine. It is written for solo trumpet, saxophone, clarinet, Fender Rhodes piano, steel drum, synthesizer and various percussion. According to the Star Wars CCG, the diagetic title for the first Cantina band piece is "Mad About Me."
- Jabba's Baroque Recital (Episode VI). Mozart-esque John Williams composition played while 3PO and R2 first arrive and play Jabba the message from Luke Skywalker.Sample .
- Lapti Nek (Episode VI). Lyrics written by Joseph Williams and translated into Huttese, this is played by the Max Rebo Band in Jabba the Hutt's palace.
- Jedi Rocks (composed by Jerry Hey) (Episode VI). This was composed to replace Lapti Nek for the 1997 Special Edition of the film.
- Sail Barge Dance (Episode VI). Heard twice in the film, once after Jabba sends the Wookie Chewbacca to jail, and again on Jabba's Sail Barge (hence its title). Recordings reportedly lost forever.
- Ewok Feast and Part of the Tribe (Episode VI). Heard when Luke and company were captured by the Ewoks and brought to their treehouses.
- Ewok Celebration (Episode VI). The Victory Song, whose lyrics were written by Joseph Williams, can be heard at the end of the original release of Return of the Jedi.
- Victory Celebration (Episode VI). The Victory Song at the end of Return of the Jedi 1997 re-edition.
- Tatooine Street Music (Episode I). Joseph Williams wrote four separate pieces of unusual, vaguely Eastern sounding source music for the streets of Mos Espa.
- Augie's Municipal Band (Episode I). Music played during the peace parade at the end of the film.
- Dex's Diner (Episode II)
[edit] Concert suites
- Princess Leia's Theme (Episode IV).
- The Throne Room (Episode IV). For actual concert performances, Williams created an extended version of the ceremonial music heard at the end of the original film. The extended version has been covered for a number of unofficial Sci-Fi music compilations, but has not been included on a Star Wars soundtrack. However, Williams incorporates this version into the full end credits track of the Episode III soundtrack, although it was cut from the theatrical print of the film, probably because it is six minutes long.
- The Imperial March (Episode V). Premiered in a Williams concert five weeks before the movie was released.
- Yoda's Theme (Episode V). Premiered in a Williams concert five weeks before the movie was released.
- Parade of the Ewoks (Episode VI). The Parade of the Ewoks shows Wicket taking Leia to the village.
- Luke and Leia (Episode VI).
- The Forest Battle (Episode VI). It is a concert suite of The Ewok Battle, which is part of the Battle of Endor.
- Duel of the Fates (Episode I).
- The Flag Parade (Episode I).
- Across The Stars (Episode II). It features a slow and tranquil opening, utilizing the oboe and strings heavily. Nearly the entire theme is underscored with triplet arpeggios. Finally, the end of this musical composition features a haunting solo by the harp, repeating the initial theme with colourful ornaments.
- Battle of the Heroes (Episode III). Although this cue sounds very much like a concert suite and was even released as a single, most of it was used as-is in the film.
[edit] Similarities with other compositions
There have periodically been claims that Williams' work for the Star Wars saga is similar to (or even, rarely, plagiarised from) other works by other composers. The claims of outright copying are a clear exaggeration, one must consider that it is common practice in film post-production to give a "temp track" of pre-existing music to the film composer, as a guide to what kind of feel the director wants for the music in a certain scene or sequence. Lucas, particularly for Episode IV, made use of this to put some of his favourite classical music as the temp track. Therefore it is only natural that certain parts of the score would sound like other pieces; this was what Lucas wanted. Some of the more notable examples (some coincidental, some related to the temp track, still others more veiled allusions) are:
- Star Wars main theme and Kings Row by Erich Korngold. Similarities have been noticed between the Star Wars main theme and the main theme from Korngold's score to the Golden Age film, "Kings Row," both sharing similar melodic structures and orchestration. To a lesser extent, the Star Wars Main Theme resembles many "heroic" melodies, such as the "Siegfried Horn Call" from Wagner's Ring Cycle; many conventions (brass instrumentation, use of perfect intervals) exist for composing music for male heroes and Williams clearly taps into them in the Star Wars films.
- The Tatooine music and The Rite of Spring (by Igor Stravinsky). This similarity is almost certainly intentional, as Lucas' temp track for this scene was The Rite of Spring. The opening of the second tableaux of the Rite plainly serves as the inspiration for Williams cue for the droid's arrival on the desert planet in Episode IV.
- Imperial Attack, The Battle of Yavin and Mars, the Bringer of War (from The Planets, by Gustav Holst). This is likely to be coincidence, as the music Holst created for Mars contains so many of the musical ideas that are associated with war (harsh brass and percussion, pounding rhythms, strong thematic content) that almost any piece of war music will almost necessarily sound the same to a certain degree. The similarities here nevertheless are intentional, the repetition of dissonant tutti chords at the conclusion of Mars closely related to Williams' own music for the climactic moments of the Death Star Battle.
- The Throne Room and the Pomp and Circumstance Marches (by Edward Elgar). Again, the Elgar marches have become almost synonymous with grand ceremonies that similarities are almost guaranteed to occur when writing similar scenes. The triumphant film music of William Walton, especially the final sequence from Richard III can also be heard informing the Throne Room processional music. Also, there is a section of Dvorak's "New World Symphony" that arguably resembles the style and melody of the Throne Room march.
- The "Imperial March" seems to draw inspiration from a similar sequence in the second movement of Gustav Mahler's second symphony. Mahler's includes the first few notes of William's Imperial March but continues in a quite different vein. The Imperial March is also the title of pieces by Edward Elgar (Op. 32) and Sir Arthur Sullivan.
[edit] Editing
The cues recorded by Williams for the Star Wars movies are not always heard in their original forms. In cases when a scene was re-edited after the recording process, the music was edited to reflect the changes. Such edits sometimes carry over into the soundtrack albums and sometimes do not.
[edit] The movie soundtracks
- Star Wars Episode I: The Phantom Menace (soundtrack)
- Star Wars Episode II: Attack of the Clones (soundtrack)
- Star Wars Episode III: Revenge of the Sith (soundtrack)
- Star Wars Episode IV: A New Hope (soundtrack)
- Star Wars Episode V: The Empire Strikes Back (soundtrack)
- Star Wars Episode VI: Return of the Jedi (soundtrack)
[edit] Other Star Wars music
[edit] Expanded Universe film scores
Original music was composed for The Star Wars Holiday Special (1978) by Ken and Mitzie Welch. The film also used the Star Wars main theme and the force theme, which were composed by John Williams.
For the films Caravan of Courage and The Battle for Endor, Peter Bernstein composed an original score, also using a brief reprise of John Williams' Ewok theme (from Return of the Jedi) in each film.
[edit] Shadows of the Empire
For the Shadows of the Empire novel, an unusual soundtrack was scored by composer Joel McNeely after a suggestion by John Williams. It was performed by the Royal Scottish National Orchestra and Chorus, and published by Varèse Sarabande. Familiar themes from the movies can only be heard in tracks one (Main Theme from Star Wars and the carbon freeze scene from The Empire Strikes Back), eight (The Imperial March and The Force Theme) and ten (The Imperial March). The disc also includes an interactive track for personal computers, containing concept art and additional information about the project.
[edit] Track listing
- Main Theme from Star Wars and Leia's Nightmare (3:41)
- The Battle of Gall (7:59)
- Imperial City (8:02)
- Beggar's Canyon Chase (2:56)
- The Southern Underground (1:48)
- Xizor's Theme (4:35)
- The Seduction of Princess Leia (3:38)
- Night Skies (4:17)
- Into the Sewers (2:55)
- The Destruction of Xizor's Palace (10:43)
Total time:58:31
The liner notes of the booklet give brief plot summaries for each track of the corresponding sections from the novel. McNeely wrote, "Unlike with film music, I have been allowed to let my imagination run free with the images, characters and events from this story. I have also had the luxury to loiter as long as I like with a character or scene. Every passage represents some person, place or event in this story."
[edit] Star Wars: Knights of the Old Republic II: The Sith Lords
For the second Knights of the Old Republic game, Mark Griskey developed effective action music and themes for characters and places, like the Jedi's theme, Darth Sion's theme (which has many similarities with the Emperor's theme from The Return of the Jedi). He also created a theme for the main character, which is heard occasionally when there is internal conflict with this character. The 70 minute score was recorded by the Sinfonia Orchestra in Seattle.
[edit] Star Wars: Republic Commando
The Vode An theme plays in the main menu and several key points throughout the game content (such as when the player's clone commandos defeats a large group of enemies). The Vode An theme, as well as several other key music pieces, has additional choral lyrics in the Mandalorian language.
[edit] Star Wars: Bounty Hunter
Composer Jeremy Soule wrote music for the game's cut scenes and gameplay. The characters Jango Fett and Komari Vosa have their own leitmotivic themes.
[edit] References
- Michael Matessino's liner notes included in the RCA 1997 release of Star Wars soundtrack.
- Interview with Mark Griskey about his score for KotOR.
