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

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. Image File history File links Star_Wars_Trilogy_soundtrack. ... Image File history File links Star_Wars_Trilogy_soundtrack. ... Image File history File links Portal. ... Star Wars is an epic science fantasy saga and fictional universe created by George Lucas during the late 1970s. ... Film may refer to: photographic film a motion picture in academics, the study of motion pictures as an art form a thin skin or membrane, or any covering or coating, whether transparent or opaque a thin layer of liquid, either on a solid or liquid surface or free-standing Film... This article needs additional references or sources for verification. ... Also: 1977 (album) by Ash. ... Year 1983 (MCMLXXXIII) was a common year starting on Saturday (link displays the 1983 Gregorian calendar). ... Return of the Jedi is the third film of the original trilogy. ... Year 1999 (MCMXCIX) was a common year starting on Friday (link will display full 1999 Gregorian calendar). ... Year 2005 (MMV) was a common year starting on Saturday (link displays full calendar) of the Gregorian calendar. ... Revenge of the Sith is the third film of the prequel trilogy. ... A film score is the background music in a film, generally specially written for the film and often used to heighten emotions provoked by the imagery on the screen or by the dialogue. ...


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, 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. This article is about the German composer of tone-poems and operas. ... The Golden Age of American animation is a period in American animation history that began with the advent of sound cartoons in 1928 and lasted into the 1960s when theatrical animated shorts slowly began losing to the new medium of television animation. ... Erich Wolfgang Korngold (May 29, 1897 - November 29, 1957) was a composer. ... Maximilian Raoul Walter Steiner (born May 10, 1888 in Vienna, Austria-Hungary; died December 28, 1971 in Hollywood, California) was an Austrian-American composer of music for theater production shows and films. ... Gustav Holst Gustav Holst (September 21, 1874, Cheltenham, Gloucestershire - May 25, 1934, London) [1] [2] was an English composer and was a music teacher for over 20 years. ... Sir William Turner Walton, OM (March 29, 1902–March 8, 1983) was a British composer whose style was influenced by the works of Stravinsky, Sibelius and jazz. ... Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский, Igor Fëdorovič Stravinskij) (June 17, 1882 – April 6, 1971) was a Russian composer, considered by many in both the West and his native land to be the most influential composer of 20th-century music. ... This movie poster for Star Wars depicts many of the films important elements, such as Luke Skywalker, Princess Leia, Han Solo, X-Wing and Y-Wing fighters Star Wars, retitled Star Wars Episode IV: A New Hope in 1981 (see note at Title,) is the original (and in chronological... Classical music is a broad, somewhat imprecise term, referring to music produced in, or rooted in the traditions of, European art, ecclesiastical and concert music, encompassing a broad period from roughly 1000 to the present day. ... Modernism in musicis characterized by a desire for or belief in progressand science, surrealism, anti-romanticism, politicaladvocacy, general intellectualism, and/or a breaking with tradition or common practice. ...


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. This article or section does not adequately cite its references or sources. ... Richard Wagner Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, conductor, music theorist, and essayist, primarily known for his operas (or music dramas as he later came to call them). ...

Contents

Principal leitmotifs

Composed for the original trilogy

First appearance in Episode IV:

Audio sample composed by John Williams:
  • "Main Title" (1977) (file info) — play in browser (beta)
  • Problems playing the files? See media help.
  • Main Theme (Star Wars) (aka "Luke's Theme") (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.

Image:StarWarsMainThemeSnippet.jpg Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ... Image File history File links Lukes_Theme. ... Erich Wolfgang Korngold (May 29, 1897 – November 29, 1957) was a composer. ... Image File history File links StarWarsMainThemeSnippet. ...

  • Rebel Fanfare (all episodes). Sample . 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.

Image:RebelFanfare.jpg Image File history File links The_Rebel_Fanfare. ... Image File history File linksMetadata RebelFanfare. ...

  • 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. Sample from the end of episode IV Sample .

The Force Theme (aka Bens Theme) is a leitmotif from the film scores of the Star Wars movies, composed by John Williams. ... Jedi Master Obi-Wan Kenobi or Ben Kenobi is a fictional character in the Star Wars universe. ... Jedi Masters (left to right) Saesee Tiin, Agen Kolar, Mace Windu, and Kit Fisto. ... The Force is a binding, ubiquitous power that is the object of the Jedi and Sith monastic orders in the Star Wars universe. ... Image File history File links ForceThemeSnippet. ...

  • 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.

Image:PrincessLeiasThemeSnippet.jpg Princess Leias Theme is the musical leitmotif in the Star Wars saga that represents Princess Leia Organa. ... Image File history File links Princess_Leias_Theme. ... Her Royal Highness, Princess Leia Organa of Alderaan (born in 19 BBY), born Leia Amidala Skywalker, is a fictional character in the Star Wars universe played by Aiden Barton in Star Wars Episode III: Revenge of the Sith, actress Carrie Fisher in Star Wars: Episodes IV-VI, and by Ann... The Original trilogy (often OT) is: Star Wars Episode IV: A New Hope Star Wars Episode V: The Empire Strikes Back Star Wars Episode VI: Return of the Jedi See also Prequel trilogy Categories: Star Wars ... Image File history File linksMetadata PrincessLeiasThemeSnippet. ...

  • 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.

Image File history File links Imperial_theme. ... This article needs additional references or sources for verification. ... It has been suggested that Executor (Star Wars) be merged into this article or section. ... A group of Imperial Star Destroyers. ... The Executor was a large Super Star Destroyer in the fictional Star Wars universe. ... The first Death Star The second Death Star The Death Star is a giant military space station in the fictional Star Wars universe. ... Spoiler warning: // The Falleen are a scaled, cold-blooded, reptilian humanoid species with pigmentation that varies with mood, known to be as long lived as the Hutts (the Falleen have an average lifespan of 250 Standard Years) who inhabit and originate from the planet Falleen. ... Image File history File links Jawa_theme. ...

First appearance in Episode V:

Audio sample composed by John Williams:
  • "The Imperial March" (1980) (file info) — play in browser (beta)
  • Problems playing the files? See media help.
  • The Imperial March or "Darth Vader's Theme" (Episodes I, II, III, V and VI). 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 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 affect of the theme, by means of reduced orchestration and volume. It ends with a clever cadence as Vader expires.

Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ... The Imperial March (Darth Vaders Theme) is a musical theme recurring in the Star Wars films. ... Image File history File links Imperial_March. ... Darth Vader is a fictional character in the Star Wars universe. ... This does not cite its references or sources. ... Image File history File links ImperialMarchSnippetGminor. ...

  • 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, including the closing moments of Episode V. Han Solo and the Princess

Image:HanSoloandPrincessSnippet.jpg Image File history File linksMetadata HanSoloandPrincessSnippet. ...

  • 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 Image File history File linksMetadata YodasTheme. ...

  • 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 . A major-mode march, heard a few times in Lando's Palace during the Bespin sequences of Episode V.

C-3PO (pronounced See-Threepio, often shortened to Threepio) is a robot character from the fictional Star Wars universe, created by Anakin Skywalker circa 32 BBY prior to the events of Star Wars Episode I: The Phantom Menace. ... R2-D2 (called R2, or Artoo for short), is a fictional character in the Star Wars universe. ... This article does not cite any references or sources. ... Cloud City is a fictional floating city on Bespin, a planet in the Star Wars universe which appears in the film The Empire Strikes Back. ... Image File history File links Landos_Palace_motif. ...

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

Jabba the Hutt is a fictional character in George Lucass science fiction saga Star Wars. ... Image File history File linksMetadata JabbasTheme. ...

  • 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 Emperors Theme is one of many leitmotifs composed by John Williams for the original Star Wars Trilogy. ... Image File history File links EmperorsThemeSnippet. ...

  • 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

Image:EwoksThemeSnippet.jpg Star Wars Episode VI: Return of the Jedi is a 1983 science fiction film directed by Richard Marquand. ... Distance from Core 43,300 light years Sector Moddell Number of Suns 2 Population 30 million Points of Interest Imperial Shield Generator (destroyed during Galactic Civil War) Surface water 8% Affiliation Galactic Empire, Rebel Alliance, Ewok In the fictional universe of Star Wars, the forest moon of Endor, also known... Image File history File linksMetadata No higher resolution available. ...

  • 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

Composed for the Prequel Trilogy

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. The music is also used for a while during the Battle of Geonosis in Episode II Sample of the piece with a fan-made "Imperial March" orchestration
  • 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. 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, 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

The Droid Invasion Theme, properly named the Trade Federation March, is a musical leitmotif from the Star Wars movies. ... Combatants Galactic Republic Wookiees Confederacy of Independent Systems Commanders Yoda Luminara Unduli† Commander Gree† Tarfful Merumeru Quinlan Vos Unknown Confederacy commander Strength Jedi Wookiees Oevvaor Catamaran Gnasp Ornithopter Clone troopers Clone Commandos BARC speeders A6 Juggernauts AT-RT AT-AP Swamp Speeder IFT-X Fighter Tanks ARC-170s V-Wings... Combatants Galactic Republic Confederacy of Independent Systems Commanders Yoda Mace Windu Kit Fisto Ki-Adi-Mundi Plo Koon Count Dooku Poggle the Lesser Nute Gunray Wat Tambor Sun Fac(perished) Shu Mai Jango Fett (perished) Sevrance Tann San Hill Other Separatist leaders Strength 212 Jedi 192,000 clone troopers... Audio sample composed by John Williams: Duel of the Fates (1999) ( file info) Star Wars Episode I: The Phantom Menace Problems playing the files? See media help. ... Darth Maul is a fictional character in the Star Wars universe. ... Cad Goddeu (Welsh: The Battle of the Trees) is a sixth-century Welsh poem from the Book of Taliesin. ... Darth Vader is a fictional character in the Star Wars universe. ... Imperial is a term that is used to describe something that relates to an Empire, Emperor, or the concept of Imperialism. ...

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 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). MIDI sample

Across the Stars is the love theme from Star Wars Episode II: Attack of the Clones. ... Romeo and Juliet in the famous balcony scene by Ford Madox Brown For other uses, see Romeo and Juliet (disambiguation). ... Hook is a 1991 movie directed by Steven Spielberg and starring Robin Williams, Dustin Hoffman, and Julia Roberts. ... Nixon is a 1995 film which tells the story of the political and personal life of former President Richard Nixon. ...

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

Cover of Battle of the Heroes Promotional Single Back cover of Battle of the Heroes Promotional Single Battle of the Heroes is a musical theme from the movie Star Wars Episode III: Revenge of the Sith. ... General Grievous is a fictional character from the Star Wars universe. ... Utapau is a city in southern Thailand. ... Never look at the trombones. ... The horn is a brass instrument consisting of tubing wrapped into a coiled form. ...

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:

  • 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)

Diegetic music

Audio sample composed by John Williams:
  • "The Cantina Band" (1977) (file info) — play in browser (beta)
  • Problems playing the files? See media help.
  • 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."
  • Jabba's Baroque Recital (Episode VI). Sample . 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."

Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ... Star Wars Customizable Card Game (SW:CCG) is a collectible card game based on the Star Wars fictional universe. ... According to Gerald Prince in A Dictionary of Narratology, diegesis is (1) The (fictional) world in which the situations and events narrated occur; (2) Telling, recounting, as opposed to showing, enacting. ... Image File history File links Jabbas_Baroque_recital. ... This article needs additional references or sources for verification. ... Joseph Williams is a rock singer and film score composer best known commercially for his work in the rock/pop band Toto, although his voice is well known to millions more from the soundtrack to the classic Disney cartoon The Lion King, for which he provided the singing voice of... Joseph Williams is a rock singer and film score composer best known commercially for his work in the rock/pop band Toto, although his voice is well known to millions more from the soundtrack to the classic Disney cartoon The Lion King, for which he provided the singing voice of... Joseph Williams is a rock singer and film score composer best known commercially for his work in the rock/pop band Toto, although his voice is well known to millions more from the soundtrack to the classic Disney cartoon The Lion King, for which he provided the singing voice of... Joseph Williams is a rock singer and film score composer best known commercially for his work in the rock/pop band Toto, although his voice is well known to millions more from the soundtrack to the classic Disney cartoon The Lion King, for which he provided the singing voice of... Joseph Williams is a rock singer and film score composer best known commercially for his work in the rock/pop band Toto, although his voice is well known to millions more from the soundtrack to the classic Disney cartoon The Lion King, for which he provided the singing voice of... Ben Burtt (born July 12, 1948 in Syracuse, New York) is the archetypal sound designer (a term he invented) and sound editor for many famous and noteworthy films, as well as directing an Oscar-nominated documentary. ... This article needs additional references or sources for verification. ...

Concert suites

  • 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.
  • Jabba the Hutt (Episode VI). The low tuba melody of the Jabba the Hutt theme was utilized partially in the film. An incomplete release of the lost original recording of the concert suite can be heard incorrectly placed on the end of "Han Solo Returns" on the Star Wars: Anthology set. Several recordings have been made since.
  • 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.
  • 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.

Princess Leias Theme is the musical leitmotif in the Star Wars saga that represents Princess Leia Organa. ... The Imperial March (Darth Vaders Theme) is a musical theme recurring in the Star Wars films. ... Jabba the Hutt is a fictional character in George Lucass science fiction saga Star Wars. ... Star Wars Episode VI: Return of the Jedi is a 1983 science fiction film directed by Richard Marquand. ... The Battle of Endor was the climactic battle depicted in the 1983 film, Star Wars Episode VI: Return of the Jedi. ... Audio sample composed by John Williams: Duel of the Fates (1999) ( file info) Star Wars Episode I: The Phantom Menace Problems playing the files? See media help. ... Across the Stars is the love theme from Star Wars Episode II: Attack of the Clones. ... Cover of Battle of the Heroes Promotional Single Back cover of Battle of the Heroes Promotional Single Battle of the Heroes is a musical theme from the movie Star Wars Episode III: Revenge of the Sith. ...

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: Classical music is a broad, somewhat imprecise term, referring to music produced in, or rooted in the traditions of, European art, ecclesiastical and concert music, encompassing a broad period from roughly 1000 to the present day. ...

  • 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.
  • 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 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.
  • 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.

Kings Row is a 1942 film which tells the story of a group of children who grow up leading supposedly idyllic lives in a small town with disturbing secrets. ... Erich Wolfgang Korngold (May 29, 1897 - November 29, 1957) was a composer. ... Richard Wagner Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, conductor, music theorist, and essayist, primarily known for his operas (or music dramas as he later came to call them). ... The Rite of Spring, commonly referred to by its original French title, Le Sacre du printemps (Russian: Весна священная, Vesna svjaščennaja) is a ballet with music by the Russian composer Igor Stravinsky. ... Igor Fyodorovich Stravinsky (Russian: Игорь Фёдорович Стравинский, Igor Fëdorovič Stravinskij) (June 17, 1882 – April 6, 1971) was a Russian composer, considered by many in both the West and his native land to be the most influential composer of 20th-century music. ... The Planets Op. ... Gustav Holst Gustav Holst (September 21, 1874, Cheltenham, Gloucestershire - May 25, 1934, London) [1] [2] was an English composer and was a music teacher for over 20 years. ... George Walton Lucas, Jr. ... The Pomp and Circumstance Marches, op. ... Sir Edward Elgar Sir Edward Elgar, 1st Baronet, OM, GCVO (2 June 1857 â€“ 23 February 1934) was an English Romantic composer. ... Sir William Turner Walton, OM (March 29, 1902–March 8, 1983) was a British composer whose style was influenced by the works of Stravinsky, Sibelius and jazz. ... See also: 1954 in music, other events of 1955, 1956 in music, 1950s in music and the list of years in music // January 1 - RCA victor announces a marketing plan called Operation TNT. The label drops the list price on LPs from $5. ... Richard III is a 1955 British film adaptation of William Shakespeares historical play Richard III, including elements of Henry VI, part 3. ... Antonín Leopold Dvořák ( ; September 8, 1841–May 1, 1904) was a Czech composer of Romantic music, who employed the idioms and melodies of the folk music of his native Bohemia in symphonic and chamber music. ... The New World Symphony is: the popular name of Antonin Dvoraks ninth symphony see Symphony No. ... This article cites its sources but does not provide page references. ... The Symphony No. ... This article cites its sources but does not provide page references. ... The Symphony No. ... Sir Edward Elgar Sir Edward Elgar, 1st Baronet, OM, GCVO (2 June 1857 â€“ 23 February 1934) was an English Romantic composer. ... Sir Arthur Seymour Sullivan (May 13, 1842–November 22, 1900) was a British composer best known for his operatic collaborations with librettist William S. Gilbert. ... Antonín Leopold Dvořák ( ; September 8, 1841–May 1, 1904) was a Czech composer of Romantic music, who employed the idioms and melodies of the folk music of his native Bohemia in symphonic and chamber music. ... New World Symphony redirects here; for the Miami-based orchestra, see New World Symphony Orchestra. ...

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.


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)

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. This article or section contains a plot summary that is overly long or excessively detailed. ... Year 1978 (MCMLXXVIII) was a common year starting on Sunday (link displays the 1978 Gregorian calendar). ...


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. Categories: Star Wars films | 1984 films | Movie stubs ... Ewoks: Battle for Endor (1985), retitled Star Wars Ewok Adventures: Battle for Endor for the DVD release, is a made-for-TV movie set in the Star Wars galaxy and sequel to The Ewok Adventure. ... Peter L. Bernstein (b. ...


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. Star Wars: Shadows of the Empire was a multimedia project created by Lucasfilm in 1996. ... This article needs additional references or sources for verification. ... The Royal Scottish National Orchestra is Scotlands national symphony orchestra. ... Varèse Sarabande is a record label, which specializes in soundtrack record releases, and reissues of hard-to-find (sometimes long- or previously-unavailable) albums, and singles collections. ... The Imperial March (Darth Vaders Theme) is a musical theme recurring in the Star Wars films. ... The Imperial March (Darth Vaders Theme) is a musical theme recurring in the Star Wars films. ...


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."


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. Star Wars: Knights of the Old Republic II: The Sith Lords (KOTOR II) is an RPG video game for the PC and the Microsoft Xbox. ... Star Wars: Knights of the Old Republic (KotOR) is an RPG video game originally for the Microsoft Xbox and later for PCs running Microsoft Windows. ... Mark Griskey is an American composer, probably most well-known for his work for LucasArts Entertainment in games such as Jedi Starfighter and Knights of The Old Republic: The Sith Lords. ... City nickname Emerald City City bird Great Blue Heron City flower Dahlia City mottos The City of Flowers The City of Goodwill City song Seattle, the Peerless City Mayor Greg Nickels County King County Area   - Total   - Land   - Water   - % water 369. ...


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.


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. Jeremy Soule is an award-winning American composer prominent in game music scores. ... Jango Fett is a fictional character from the Star Wars universe. ... Komari Vosa is a fictional character in the Star Wars universe, appearing in the video game Star Wars: Bounty Hunter. ...


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


  Results from FactBites:
 
Latest 'Star Wars' score is an emotional adventure - The Boston Globe (845 words)
There seems to be general agreement that ''Revenge of the Sith" is the best film in the ''Star Wars" prequel trilogy, and fans of Williams's scores are arguing all over the Internet about where to place this one among the others.
What Lucas does not say is that the music often tells the story more clearly and in greater depth than the filmmaking does; the music's emotional resonances reach further than the dialogue and the acting do.
The music in ''Revenge" also ranges more widely than in the previous scores, scooping up ancient (chanting reminiscent of Tibetan monks as Chancellor Palpatine weaves his web of temptation) and modern (a full panoply of electronic effects, not for ''futuristic" reasons but to extend the timbral resources of the orchestra).
Star Wars music - Wikipedia, the free encyclopedia (4366 words)
Star Wars is often credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s.
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).
The Tatooine music and The Rite of Spring (by Igor Stravinsky).
  More results at FactBites »

 
 

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