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, 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. Williams tapped into the audience-accessibility in the first lines of the original theme by using a familiar song from a popular Oscar winning movie soundtrack from a few years before. Williams has widely maintained that his original theme is the theme song from Born Free played in reverse. He used this as a "subliminal hook" to capture his audience. Indeed, Lucas maintains 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's 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.

Contents


[edit] Principal leitmotifs

[edit] Composed for the original trilogy

[edit] First appearance in Episode IV:

  • Star Wars (Main Theme) (aka "Luke's Theme") (all episodes). Sample (help·info). 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 (help·info). This short motif is used extensively in Episode IV and less frequently in Episode VI to represent the Rebel Alliance. It is used occasionally in Episode III, Episode V and part of the ending credits for this purpose as well. 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. (Written in minor key, it was often misinterpreted as a theme for the Empire; the radio dramatization of Star Wars often introduced or extro'd Imperial scenes with what is actually the "Rebel Fanfare.")

Image:RebelFanfare.jpg

  • Force Theme or The Throne Room or Ben Kenobi's theme or Binary Sunset or Jedi Knights and the Old Republic theme or "May the Force be With You" (all episodes). 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.

Image:ForceThemeSnippet.jpg

  • Princess Leia's Theme (Episodes III, IV, V and VI). Sample (help·info). A lush theme for Princess Leia, one of the central protagonists of the Original Trilogy. The theme 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.

Image:PrincessLeiasThemeSnippet.jpg

  • Imperial Motif (Episode IV) Sample (help·info). 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. It would not be unreasonable if it represents Grand Moff Tarkin, as he appeared only in Episode IV (excluding a cameo in Episode III) and so did the theme. As Vader and the part of the Empire the Rebels faced were under Tarkin's control at the time, this theory is given some credibility. 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). 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 the 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 (help·info). A jaunty, playful theme used in Episode IV for much of early Tatooine scenes. It is mostly associated with double-reed instruments.
  • Dies Irae (Episodes II, III, IV). Williams, following in the tradition of many classical composers, incorporated the melody of this Gregorian chant into the score to Episode IV, though only the first four notes are clearly stated. The motif often arises in connection to Luke Skywalker's destiny, evoking fear and apprehension. The motif serves a diminished function in Episode IV due to the replacement of its introductory cue, "Binary Sunset" (the film version discards Dies Irae in favor of Luke's theme and the Force theme). In addition to Luke's destiny, Dies Irae has a connection to the murders of Owen and Beru Lars. This tragic function is expanded upon in Episodes II and III. In Episode II, it is heard during the scene in which Anakin confesses to slaughtering the Sand People, and in Episode III it is heard during the scene in which Jedi are slaughtered across the galaxy.

[edit] First appearance in Episode V:

  • The Imperial March or "Darth Vader's Theme" (Episodes I, II, III, V and VI). Sample (help·info). 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). It has been used on multiple occasions to introduce a scene featuring the "evil" Montgomery Burns on the animated comedy The Simpsons. 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 retrograded 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 effect 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). 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, including the closing moments of Episode V. Han Solo and the Princess

Image:HanSoloandPrincessSnippet.jpg

  • 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

Image:YodasTheme.jpg

  • 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. This theme heard in the horns appears in scenes unrelated to Fett which throws association into debate. It may represent a 'struggle' by the rebels to escape the Bespin city, which would qualify it as a secondary Bespin theme. 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 Palace or the Cloud City march (Episodes V). Sample (help·info). 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

Image:JabbasTheme.jpg

  • The Emperor's Theme (Episodes I, II, III and VI). The theme for Palpatine, aka Darth Sidious. 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)

Image:EmperorsThemeSnippet.jpg

Image:EwoksThemeSnippet.jpg

  • 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
  • Duel of the Fates (Episodes I, II and III). Nicknamed Darth Maul's theme by fans, the theme itself is composed from two minor mode ostinati and choral interjections. This theme is used to represent the clash between the Light Side and the Dark Side. 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, implying an internal struggle between good and evil. 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, as well as without a choir in Padme's funeral procession and during the shot of the skeletal Death Star, where it is subsumed by the Imperial March. Funeral Theme

[edit] First appearance in Episode II:

  • 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 D 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). 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 is heard at 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. These include:

  • Jar Jar's Theme (Episode I)
  • Darth Maul Motif (Episode I)
  • Qui-Gon's Theme (Episode I)
  • Shmi's Theme (Episodes I, II, III)
  • Secondary Droid March (Episode I, II, III)
  • Arrival on Tatooine (Episodes I, IV)
  • Kamino Motif (Episode II)
  • Mourning Theme (Episode II)
  • Mourning Theme (Episode II)
  • Arena Theme (Episodes II and III)
  • Tusken Raiders (Episode II, IV)
  • Republic Motif (Episode III)
  • Anakin's Betrayal (Episode III)
  • Immolation Theme (Episode III)
  • Mystery of the Sith Motif (Episode III)
  • Anakin's Dark Deeds (Episode III)
  • Throne Room March (Episodes IV, V, VI)
  • Bespin March/Lando's Palace (Episode V)
  • Yoda's Revelation (Episode VI)

[edit] Diegetic music

  • 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 diegetic title for the first Cantina band piece is "Mad About Me". The liner notes for the 1997 Special Edition release of the Episode IV soundtrack describe the concept behind these works as "several creatures in a future century finding some 1930's Benny Goodman swing band music ... and how they might attempt to interpret it". This piece also appears on an Outtakes Easter Egg on the Episode I DVD. To access this on the DVD....
  • Jabba's Baroque Recital (Episode VI). Sample (help·info). Mozart-esque John Williams composition played while 3PO and R2 first arrive and play Jabba the message from Luke Skywalker.
  • 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.
  • Unknown Jabba Source Music (Episode VI). Not used or heard in the films, Joseph Williams is credited for a second source cue that has been lost.
  • 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)
  • Unknown Episode II Source Cue (Episode II). A second source cue is credited to Joseph Williams' name for Episode II, but is not heard in the film.
  • Arena Percussion (Episode II). Originally meant to accompany the Droid Factory sequence, Ben Burtt's attempt at composition is instead shifted to the arena, replacing the predominately unused John Williams cue "The Arena."

[edit] Concert suites

  • Star Wars Main Theme (Episode IV). This concert suite combines "Main Title" with most of "End Title." It is the most often performed concert suite from Star Wars.
  • Princess Leia's Theme (Episode IV). This concert suite was recorded for the original soundtrack album. A portion of it is utilized in the end credits suite from Episode III.
  • The Throne Room (Episode IV). For concert performances, Williams created an extended version of the ceremonial music heard at the end of the original film. Though recorded numerous times, including by Williams himself, this piece was not featured on a Star Wars film soundtrack until Revenge of the Sith, in which Williams incorporated the entire piece into the end credits suite. Due to time constraints, it was cut from the film.
  • 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.
  • Han Solo and the Princess. This concert suite is based on the love theme from Episode V. It contains a reference to Leia's theme. Notably, this piece has never been recorded by Williams, and in interviews he seems to have no memory of the theme.
  • Jabba the Hutt (Episode VI). Concert suite based on Jabba the Hutt's theme which features an extended solo for tuba. The original soundtrack recording of this piece has been lost; however, an excerpt of it was utilized in the film, replacing "At the Court of Jabba the Hutt." This recording can be heard on the Star Wars Trilogy Anthology.
  • Parade of the Ewoks (Episode VI). A concert suite based on the Ewok theme, most of which was used in the end credits. A revised version of this concert suite adds orchestral flourishes to the beginning of the piece.
  • Luke and Leia (Episode VI). Much of this concert suite was incorporated into the end credits. It contains references, possibly unintentional, to both Yoda's theme and Leia's theme.
  • The Forest Battle (Episode VI). A concert suite based on "The Ewok Battle." The section from 2:33 to 2:49 is based on material from the alternative version of "Sail Barge Assault."
  • Duel of the Fates (Episode I). This concert arrangement of the theme was written for the end credits.
  • Anakin's Theme (Episode I). This concert arrangement of Anakin's theme was written to follow Duel of the Fates in the end credits.
  • The Flag Parade (Episode I). This concert suite was not recorded for the original soundtrack.
  • The Adventures of Jar Jar (Episode I). This concert suite utilizes Jar Jar's theme and the cue "Moving Forward" (written for the scene in which the heroes return to Naboo). It was not recorded for the original soundtrack.
  • 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 colorful ornaments. Most of this concert suite was incorporated into the end credits.
  • Battle of the Heroes (Episode III). To create this concert suite, Williams wrote a new introduction and conclusion to the cue "Revenge of the Sith," heard in the film during the final stage of the duel between Anakin and Obi-Wan.

[edit] Similarities with other compositions

There have periodically been claims that Williams' work for the Star Wars saga is similar to (or even plagiarised from) other works by other composers. It must be considered, however, 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 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. The first eight notes are the same, although the last three of those eight are played more slowly in the Korngold piece. After that the two melodies go in different directions. 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. Parts of the first motif can be heard in Carl Nielsen's Fifth Symphony. Curiously, the London Symphony Orchestra, who recorded the Star Wars soundtrack, had recorded the first complete Nielsen Symphony cycle under Danish conductor Ole Schmidt just the year before Star Wars.
  • 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 droids' 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 would seem 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 because of George Lucas' guidance and usage of "Mars" as a temp track. 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 show this influence.
  • 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 1955's Richard III can also be heard informing the Throne Room processional music. Also, there is a section of Antonín Dvořák'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 Symphony No. 2. Mahler's includes the first few notes of William's Imperial March but continues in a quite different vein. There is also an even closer similarity with Gustav Mahler's Symphony No. 6, in the first movement. The movement begins in a march, labeled 'Allegro Energico, Ma Non Troppo Heftig, Aber Markig'. It carries on with much of the same feel as the Imperial March, with a string melody that seems vaguely familiar. The Imperial March is also the title of pieces by Edward Elgar (Op. 32) and Sir Arthur Sullivan. Williams's piece is also strongly reminiscent of Chopin's Funeral March from the Sonata for Piano No. 2 in B-flat minor, Op. 35.
  • The opening of Duel of Fates in many ways sounds remarkably similar to beginning of the third movement (Molto vivace) of Dvořák's Symphony No. 9 (From the New World). Williams also uses the opening of the fourth movement of this symphony for the theme from Jaws.

[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.

Williams will also record the same cue several times. These different takes will then be assembled to form one "ideal" take of the cue which is then used in the film.

Improper notation or the loss of documentation however led to an array of incorrectly edited album releases, using alternate takes not meant to be officially used.

With the advent of modern technology and editing techniques, the prequels took the ability to re-construct the music to an extreme. Williams and Lucas however did decide where some tracked music would be used and would leave the scene open for the music (such as the usage in Episode III of "Escape from Naboo" from Episode I as the Invisible Hand falls from space).

However, further editing usually took place past what Williams had intended.

[edit] The movie soundtracks

[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

  1. Main Theme from Star Wars and Leia's Nightmare (3:41)
  2. The Battle of Gall (7:59)
  3. Imperial City (8:02)
  4. Beggar's Canyon Chase (2:56)
  5. The Southern Underground (1:48)
  6. Xizor's Theme (4:35)
  7. The Seduction of Princess Leia (3:38)
  8. Night Skies (4:17)
  9. Into the Sewers (2:55)
  10. 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: Dark Forces

Music for the 1995 computer game Star Wars: Dark Forces was mostly original works composed by Clint Bajakian, though they are based on cues from the original Star Wars works. The background music for the Anoat City level was loosely based on the Jawa theme from A New Hope. The music for the level that takes place aboard the Super Star Destroyer Executor borrows from both the Death Star Attack and the Imperial March. The last level, the Arc Hammer, utilizes cues from the Death Star Battle as well. Due to the length of the game itself and the Full Throttle demo included on the disk, some of the tracks had to be re-used. Two new cues were composed for this game, which are the Dark Forces Main Title and Kyle Katarn's Theme. The Main Title is supposedly the theme for General Mohc, as an online MIDI soundtrack is available which has an alternative arrangement of the main theme titled "Mohc: The Final Battle". Kyle's theme is used primarily in the cutscenes, and a nearly complete rendition is heard in the cutscene preceding the second level, After the Massacre. Three tracks were composed for the game which weren't included, and they are a battle theme for the first encounter with a Dark Trooper, a theme for Jabba's Ship (with apparently no ties to the theme used for Jabba the Hutt in Episode VI), and the final battle with the last boss in the game, General Mohc in a Dark Trooper Phase 3 exoskeleton.

[edit] Star Wars: Knights of the Old Republic and Star Wars: Knights of the Old Republic II: The Sith Lords

Music for Star Wars: Knights of the Old Republic was composed by Jeremy Soule. For Star Wars: Knights of the Old Republic II: The Sith Lords, Mark Griskey developed music and themes for characters and places, including the Jedi's theme, Darth Sion's theme and Darth Malak's theme (which both have 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 he or she experiences internal conflict. The 70 minute score was recorded by the Sinfonia Orchestra in Seattle. [1]

[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: TIE Fighter

Music for this computer game contains many themes from the original trilogy, however, many motifs (such as the Imperial March motifs) which were originally composed as dark motifs are used as heroic motifs. This is consistent with the theme of the game, where the player plays as an Imperial TIE Fighter pilot.

[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 them

[edit] Other renditions

Michael Romeo, guitarist for progressive metal band Symphony X, did his own rendition of music from Star Wars. The song is entirely done on guitar, with only minor drums throughout. It is rumoured that the piece uses 25 guitar tracks. It is featured on Symphony X's demo disc "Symphony X: Rarities and Demos", an album only available through the Symphony X official fanclub, Church of the Machine.

[edit] References

  1. ^ Interview with Mark Griskey
  • Michael Matessino's liner notes included in the RCA 1997 release of Star Wars soundtrack.

[edit] External links