Star Wars music

Encyclopedia : S : ST : STA : Star Wars music

---

Recent re-release of John William's compositions for A New Hope, The Empire Strikes Back, and Return of the Jedi.

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. Williams' work on the Star Wars films stands as an unsurpassed feat in the history of film scoring in terms of breadth, thematic-development and cultural impact.

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 , 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.

[Spoiler warningSpoiler warning]: Plot and/or ending details follow.

Contents

• 1 Principal leitmotifs
• 1.1 Composed for the original trilogy
• 1.1.1 '''First appearance in Episode IV:'''
• 1.1.2 '''First appearance in Episode V:'''
• 1.1.3 '''First appearance in Episode VI:'''
• 1.2 Composed for the Prequel Trilogy
• 1.2.1 '''First appearance in Episode I:'''
• 1.2.2 '''First appearance in Episode II:'''
• 1.2.3 '''First appearance in Episode III:'''
• 2 Diegetic music
• 3 Concert suites
• 4 Similarities with other compositions
• 5 The movie soundtracks
• 5.2.0.0.1 * See
• 5.2.0.0.2 * See
• 5.2.0.0.3 * Main article:
• 6 Other Star Wars music
• 6.3 Expanded Universe film scores
• 6.4 ''''
• 6.4.1 Track listing for this album:
• 6.5 ''''
• 7 References
• 8 External links

Principal leitmotifs

Composed for the original trilogy

First appearance in Episode IV:

• ["Main Title" (1977)] ([file info])
• Problems playing the files? See .

• Star Wars main theme (all episodes). [Sample] ([Media helphelp]·[info]). The anthem of the saga and easily the most famous, Williams' instantly recognizable 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 as part of the music is heard over the credits. Most prominent in the first film (Episode IV) in which strong brass treat it as a fanfare of sorts for Luke, the theme is relied upon less and less frequently throughout subsequent films, though its emotional impact is always pronounced. 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] ([Media helphelp]·[info]). 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 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] ([Media helphelp]·[info]). This theme represents Obi-Wan Kenobi, the Jedi and most importantly the Force from which they draw their power. It also often represents the twin themes of destiny and fate that are important in all the films. It is the most commonly heard and prominent theme over the six films as a whole, and undergoes substantial development especially in the prequel trilogy.

• Princess Leia's Theme (Episodes III, IV, V and VI). [Sample] ([Media helphelp]·[info]). A romantic theme for Princess Leia, one of the central protagonists of the Original Trilogy. Represents her "innocence", 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 made an extended concert version of this theme that is performed frequently.

• Imperial Motif (Episode IV) [Sample] ([Media helphelp]·[info]). Not to be confused with the Imperial March, this motif represents the Empire and Darth Vader strictly 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.

• The Death Star Motif (Episodes IV, VI). [Sample] ([Media helphelp]·[info]). 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 (for example when a ship is going to fly there). Also heard in Episode VI when Darth Vader's flagship super star destroyer the Executor hits the Death Star II, though through music that was adapted from the first film.

• Jawa theme or The Little People (Episode IV). [Sample] ([Media helphelp]·[info]). A jaunting theme used in Episode IV when the droids land on Tatooine, and then for much of the following half hour of the film. It is mostly associated with the oboe and English horn.

• Victory March (Episode IV, VI). Walton-esque music played during the Medal Ceremony at the end of Episode IV. Williams rather ingeniously develops it into a set of chromatic variations during the scene in Return of the Jedi in which the Rebel Fleet takes off into hyperspace.

First appearance in Episode V:

• ["The Imperial March" (1980)] ([file info])
• Problems playing the files? See .

• The Imperial March or Darth Vader's theme (Episodes I, II, III, V and VI). [MIDI sample] ([Media helphelp]·[info]). The theme that represents the totalitarian Galactic Empire as a whole, and Darth Vader specifically. It is so successful that it has entered the Western consciousness as a general "evil theme", and as such is played at a huge variety of public events. In the Prequel Trilogy, it is subtle at first, being partially embedded in Anakin's innocent theme, though with progressive prominence it is heard through Episodes II and III, signaling critical points in Anakin's downward spiral to the dark side. In the Original Trilogy, The Imperial March also represents all that is the Empire; therefore, it is nearly equivalent to a galactic anthem. Its first appearance is played by a solo piccolo. It is played one final time during Vader's death in Episode VI, tenderly on harp, as finally Vader returns to the light of the Force. It is absent from Episode IV simply because Williams only wrote it for Episode V, and then kept it onwards.

• Han Solo and the Princess or the Love theme or Han Solo's theme (Episodes V and VI). [Sample] ([Media helphelp]·[info]). A 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.

• Yoda's Theme (Episode I, II, III, V and VI). A theme for the Jedi Master Yoda, who appears in five of the six films along with his music. Played often when the diminutive green character is on screen, particularly when he is either using or teaching about the Force, it is often used when his presence is implied, or his influence felt (such as during the Cloud City sequence in Episode V). Used more sparingly in the Prequel Trilogy, though certain moments, especially Yoda's departure from Kashyyyk, highlight the theme quite prominently.

• 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.

• Boba Fett motif (Episode V). A descending two-note bassoon phrase relating to the bounty hunter Boba Fett. It is played three times in Episode V (when we see Boba Fett in Vader's Starship; when he goes after the Millennium Falcon (just before the Asteroid Field sequence); and when Lando betrays his friends in Cloud City. Linked with Boba Fett's theme (Episode V). A second theme for the bounty hunter that is heard as Boba and the Imperials are escorting the carbonite-frozen Han Solo down Bespin's corridors. A second rendition, which would have been heard at the beginning of Luke and Darth Vader's duel, was dialed out of the film, but a third and final rendition is heard as Han's carbonite coffin is lifted into Boba's ship. This motif can be heard very briefly in one scene of as well.

• Lando's March or the Cloud City march (Episodes V). [Sample] ([Media helphelp]·[info]). This theme is heard a few times in Lando's Palace during the Bespin sequences of Episode V. It is a march in Major mode.
• Bespin motif: (episode V) A string and brass theme representing the struggle at Bespin to free Han. It starts with a soft intro, but gets louder and faster. Combined with the Love theme at the very end to represent Leia's sacrifice to save Han.

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.

• The Emperor's Theme (Episodes I, II, III and VI). The theme for Darth Sidious, who then becomes Emperor Palpatine. A relatively simple chord progression, it is often sung by a male choir, or played on a deep instrument such as a bassoon. 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. In Episode I, it is also used - albeit sped up and in a major key, and sung by children - during the victory celebrations at the end of the film. In Episode VI, it is used to represent the Emperor, and plays whenever he is on screen.

• The Ewoks Theme or Parade of the Ewoks (Episode VI). It is the 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.

• Luke and Leia (Episode VI). The theme for the link between Leia and her brother Luke. Heard in Episode VI only twice in the actual film; the concert suite that Williams composed for it is clearly longer than the sum of its uses. Composed in the Romantic tradition, it is tragic, spirited and uplifting all at once.

Composed for the Prequel Trilogy

First appearance in Episode I:

• Anakin's Theme (Episodes I, II and III). A tender, beautiful theme, with a tragic and sickening flaw -- it represents the innocent, boyish Anakin, but, like him, it contains evil. The theme, if listened to carefully, follows the Imperial March, and ends with a number of subtle renditions of phrases from that theme. It foreshadows what will ultimately come to pass. 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.

• Droid Invasion Theme (Episodes I, II and III). Also known as 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.

• Duel of the Fates (Episodes I, II and III). This symphonic piece is played with a full orchestra, as well as choir that chants an archaic Celtic poem "Gad Goddue" (Battle of the Trees) in Sanskrit. In English, the poem (or line that Williams uses) reads: "Under the tongue root a fight most dread, and another raging behind, in the head." In Episode I, it is played near the end during the fight with Obi-wan, Qui Gon and Darth Maul, and 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, again representing a key point in determining Anakin's fate. In Episode III, it is played when Yoda fights Emperor Palpatine, in the final battle that could change the destiny of the galaxy.

• Shmi's Theme (Episode I and II). Oboe melody heard when Anakin departs from his mother in Episode I, and again at the moment of her death in Episode II.

• Funeral Theme (Episode I and III). Another setting of poetry in Sanskrit. Heard briefly during Qui Gon's funeral in Episode I, and in Episode III during the death of Padme and the "rebirth" of Darth Vader in his suit, Padme's funeral procession, and blended with Imperial March during the shot of skeletal Death Star.

• Qui Gon's Theme (Episode I). Heard three times in film, during beginning of "Leaving Home" cue, the desert duel with Maul, and at the end of the Battle of Naboo.

• Darth Maul's Motif (Episode I). A fairly distinct melodic idea, heard several times during the first part of the film. Minor figure (C-Db-C-Ab-G-F#-C), can be heard prominently at the end of TPM: Ultimate Edition soundtrack track 'Enter Darth Maul.'

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 similar "star-crossed" doomed love. It is gentle but with an undercurrent of unease and uncertainty. It is written in the key of F-sharp minor, but changes keys several times throughout its duration. A secondary theme appears within the concert arrangement, as well as during the Fireplace Scene in Ep II and as Anakin and Padme first meet in Episode III. 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).

• Conflict motif (Episode II). and Mystery motif (Episode II and III). Brooding minor motif, arguably the same.

• Anakin's Descent motif (Episode II and III). A repeated minor figure, Bb-A-Bb-G-C-A-Bb-G that is given a long sequential treatment in Anakin's Confession scene, and is embedded into "Anakin's Betrayal."

• Mourning theme (Episode II). Moving theme, with characteristic upward ascending minor 6 in solo horn. Heard at least three times, but given fullest treatment during Shmi's funeral.

First appearance in Episode III:

• Battle of the Heroes theme (Episode III). The theme for the climatic, apocalyptic duel between Anakin and Obi-Wan. (see article)

• Anakin's Betrayal (Episode III). The music played during the Order 66 sequence, and again during Anakin's final confrontation with Padme.

• General Grievous theme (Episode III). Plodding, triple-time theme that occurs with the introduction of General Grevious, is given a more extended treatment during his arrival on Utapau, and the beginning of the light saber fight with Obi-Wan. Usually played on trombones or horns.

• Arrival Theme. (Episode III) Unreleased theme, given full treatment during cue "Another Happy Landing" which accompanies the successful landing on Coruscant. Also heard as Obi-Wan arrives at Utapau, and again as he leaves Tion Meddon.

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.

• Jabba's Baroque Recital (Episode VI). [Sample] ([Media helphelp]·[info]).

• "Lapti Nek" (Episode VI). 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 a piece of music called Lapti Nek, which was replaced 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 lost forever.

• Ewok Feast and Part of the Tribe (Episode VI).

• Ewok Celebration (Episode VI). The Victory Song 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). 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)

Concert suites

• Princess Leia's Theme (Episode IV).

• 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).

• 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.

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 given little credence by most musical theorists, but 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.

• 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 can also be heard informing the Throne Room processional music.

The movie soundtracks

* See

• See

* See

• Main article:

* Main article:

• Main article:

Other Star Wars music

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 ' and ', Peter Bernstein composed an original score, also using a brief reprise of John Williams' Ewok theme (from Return of the Jedi) in each film.

-->

Track listing for this album:

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 (10:44)

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."

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.]

External links

• [Star Wars and Wagner's Ring compared]
• [A John Williams fansite]
• [Star Wars soundtrack downloads]

From Wikipedia, the Free Encyclopedia. Original article here. Support Wikipedia by contributing or donating.
All text is available under the terms of the GNU Free Documentation License See Wikipedia Copyrights for details.