Star Wars music
Encyclopedia
The music of Star Wars consists of the scores written for all six Star Wars
Star Wars
Star Wars is an American epic space opera film series created by George Lucas. The first film in the series was originally released on May 25, 1977, under the title Star Wars, by 20th Century Fox, and became a worldwide pop culture phenomenon, followed by two sequels, released at three-year...

 film
Film
A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects...

s by composer John Williams
John Williams
John Towner Williams is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T...

 from 1977 to 1983 for the Original Trilogy
Star Wars
Star Wars is an American epic space opera film series created by George Lucas. The first film in the series was originally released on May 25, 1977, under the title Star Wars, by 20th Century Fox, and became a worldwide pop culture phenomenon, followed by two sequels, released at three-year...

, and 1999 to 2005 for the Prequel Trilogy
Star Wars
Star Wars is an American epic space opera film series created by George Lucas. The first film in the series was originally released on May 25, 1977, under the title Star Wars, by 20th Century Fox, and became a worldwide pop culture phenomenon, followed by two sequels, released at three-year...

. It includes the Star Wars: The Clone Wars
Star Wars: The Clone Wars (film)
Star Wars: The Clone Wars is a 2008 CGI animated science fiction/action film that takes place within the Star Wars saga, leading into the TV series of the same name. The film is set in the same time period as the 2003 Clone Wars television series...

 music written by Kevin Kiner. More broadly, it also 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
Richard Strauss
Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier and Salome; his Lieder, especially his Four Last Songs; and his tone poems and orchestral works, such as Death and Transfiguration, Till...

 and his contemporaries that itself was incorporated into the Golden Age Hollywood
Cinema of the United States
The cinema of the United States, also known as Hollywood, has had a profound effect on cinema across the world since the early 20th century. Its history is sometimes separated into four main periods: the silent film era, classical Hollywood cinema, New Hollywood, and the contemporary period...

 scores of Erich Korngold and Max Steiner
Max Steiner
Max Steiner was an Austrian composer of music for theatre productions and films. He later became a naturalized citizen of the United States. Trained by the great classical music composers Brahms and Mahler, he was one of the first composers who primarily wrote music for motion pictures, and as...

. While several obvious nods to Gustav Holst
Gustav Holst
Gustav Theodore Holst was an English composer. He is most famous for his orchestral suite The Planets....

, William Walton
William Walton
Sir William Turner Walton OM was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera...

 and Igor Stravinsky
Igor Stravinsky
Igor Fyodorovich Stravinsky ; 6 April 1971) was a Russian, later naturalized French, and then naturalized American composer, pianist, and conductor....

 exist in the score to Episode IV
Star Wars Episode IV: A New Hope
Star Wars Episode IV: A New Hope, originally released as Star Wars, is a 1977 American epic space opera film, written and directed by George Lucas. It is the first of six films released in the Star Wars saga: two subsequent films complete the original trilogy, while a prequel trilogy completes the...

, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist
Modernism (music)
Modernism in music is characterized by a desire for or belief in progress and science, surrealism, anti-romanticism, political advocacy, general intellectualism, and/or a breaking with the past or common practice.- Defining musical modernism :...

 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.

Star Wars often is credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. One technique in particular is an influence: Williams's revival of a technique called "leitmotiv", which is most famously associated with the operas of Richard Wagner
Richard Wagner
Wilhelm Richard Wagner was a German composer, conductor, theatre director, philosopher, music theorist, poet, essayist and writer primarily known for his operas...

 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 commonly is used in modern film scoring, as a device mentally to 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.

Star Wars: In Concert
Star Wars: In Concert
Star Wars: In Concert, previously called Star Wars: A Musical Journey, is a series of concerts featuring a symphony orchestra and choir, along with footage from the Star Wars saga films displayed on a large LED screen at three stories tall. The screen is set to live performances of the Star Wars...

, a tour starting in 2009 in London
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...

 featuring Star Wars music, has toured across the United States
United States
The United States of America is a federal constitutional republic comprising fifty states and a federal district...

 and is currently in Canada
Canada
Canada is a North American country consisting of ten provinces and three territories. Located in the northern part of the continent, it extends from the Atlantic Ocean in the east to the Pacific Ocean in the west, and northward into the Arctic Ocean...

.

First appearance in A New Hope

  • Star Wars (Main Theme) (all episodes). The anthem of the saga, easily its most recognizable melody, the main theme is variously associated with Luke Skywalker
    Luke Skywalker
    Luke Skywalker is a fictional character and the main protagonist of the original film trilogy of the Star Wars franchise, where he is portrayed by Mark Hamill. He is introduced in Star Wars Episode IV: A New Hope, in which he is forced to leave home, and finds himself apprenticed to the Jedi master...

    , heroism and adventure. It is heard 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. It was performed by the London Symphony Orchestra
    London Symphony Orchestra
    The London Symphony Orchestra is a major orchestra of the United Kingdom, as well as one of the best-known orchestras in the world. Since 1982, the LSO has been based in London's Barbican Centre.-History:...

    .

  • Rebel Fanfare (all episodes). 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 of all movies in the Saga 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 outro'd Imperial scenes with what is actually the "Rebel Fanfare.")

  • 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
    May the Force be with you
    The expression "May the Force be with you" has achieved cult status and is symbolic of the Star Wars legacy. The line has been said by at least one character in each of the Star Wars movies...

    " (all episodes). Of all the leitmotifs of the series, the theme is most consistently developed and, consequently, most difficult to attach a specific meaning. This theme variously represents Obi-Wan Kenobi
    Obi-Wan Kenobi
    Obi-Wan Kenobi is a fictional character in the Star Wars universe. He is one of several primary characters in the Star Wars series. Along with Darth Vader, R2-D2, and C-3PO, he is one of the few major characters to appear in all six Star Wars films...

    , the Jedi
    Jedi
    The Jedi are characters in the Star Wars universe and the series's main protagonists. The Jedi use a power called the Force and weapons called lightsabers, which emit a controlled energy flow in the shape of a sword, in order to serve and protect the Republic and the galaxy at large from conflict...

     and the Force
    Force (Star Wars)
    The Force is a binding, metaphysical and ubiquitous power in the fictional universe of the Star Wars galaxy created by George Lucas. Mentioned in the first film in the series, it is integral to all subsequent incarnations of Star Wars, including the expanded universe of comic books, novels, and...

     from which they draw their power, as well as more abstract ideas such as fate or destiny. In general, its appearances mark moments of significance in the films, due in part to its portentous minor mode and upward-striving melody.


  • Princess Leia's Theme (Episodes III, IV, V and VI). 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.

  • Imperial Motif (Episode IV) 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
    Grand Moff Tarkin
    Governor Wilhuff Tarkin or Grand Moff Wilhuff Tarkin is a fictional character in the Star Wars universe, appearing as the main antagonist of Star Wars Episode IV: A New Hope, played by British actor Peter Cushing. A younger version of the character makes a brief cameo in the prequel film Star Wars...

    , 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
    Death Star
    The Death Star is a fictional moon-sized space station and superweapon appearing in the Star Wars movies and expanded universe. It is capable of destroying a planet with a single destructive super charged energy beam.-Origin and design:...

     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). 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.

First appearance in The Empire Strikes Back

  • The Imperial March
    The Imperial March
    "The Imperial March " is a musical theme present in the Star Wars franchise. It was composed by John Williams for the film Star Wars Episode V: The Empire Strikes Back...

     or "Darth Vader's Theme" (Episodes I, II, III, V and VI). The theme that represents the totalitarian Galactic Empire as a whole, and Darth Vader
    Darth Vader
    Darth Vader is a central character in the Star Wars saga, appearing as one of the main antagonists in the original trilogy and as the main protagonist in the prequel trilogy....

     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
    Montgomery Burns
    Charles Montgomery "Monty" Burns, usually referred to as Mr. Burns, is a recurring fictional character in the animated television series The Simpsons, who is voiced by Harry Shearer and previously Christopher Collins. Burns is the evil owner of the Springfield Nuclear Power Plant and is Homer...

     on the animated comedy The Simpsons
    The Simpsons
    The Simpsons is an American animated sitcom created by Matt Groening for the Fox Broadcasting Company. The series is a satirical parody of a middle class American lifestyle epitomized by its family of the same name, which consists of Homer, Marge, Bart, Lisa and Maggie...

    . 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 reverses the effect of the theme, by means of reduced orchestration and volume. It ends with a cadence of solos (strings, flute
    Western concert flute
    The Western concert flute is a transverse woodwind instrument made of metal or wood. It is the most common variant of the flute. A musician who plays the flute is called a flautist, flutist, or flute player....

    , clarinet
    Clarinet
    The clarinet is a musical instrument of woodwind type. The name derives from adding the suffix -et to the Italian word clarino , as the first clarinets had a strident tone similar to that of a trumpet. The instrument has an approximately cylindrical bore, and uses a single reed...

    , horn
    Horn (instrument)
    The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....

     and, ultimately, harp
    Harp
    The harp is a multi-stringed instrument which has the plane of its strings positioned perpendicularly to the soundboard. Organologically, it is in the general category of chordophones and has its own sub category . All harps have a neck, resonator and strings...

    ) 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. During its original appearance, this melody first is played by a solo French horn
    Horn (instrument)
    The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....

    .

  • 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. It is briefly heard in the film E.T.: The Extra-Terrestrial as E.T. encounters a trick-or-treater in a Yoda costume and tries to communicate with him. This was most likely included as a humorous nod to the Star Wars movies, as John Williams is the composer of both soundtracks.

  • Droids motif (Episode V). A short playful motif associated with C-3PO
    C-3PO
    C-3PO is a robot character from the Star Wars universe who appears in both the original Star Wars films and the prequel trilogy. He is also a major character in the television show Droids, and appears frequently in the series' "Expanded Universe" of novels, comic books, and video games...

     and R2-D2
    R2-D2
    R2-D2 , is a character in the Star Wars universe. An astromech droid, R2-D2 is a major character throughout all six Star Wars films. Along with his droid companion C-3PO, he joins or supports Anakin Skywalker, Luke Skywalker, Princess Leia, and Obi-Wan Kenobi in various points in the saga...

    . 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
    Boba Fett
    Boba Fett is a character in Star Wars. A bounty hunter hired by Darth Vader to find the Millennium Falcon, he is a minor villain in both Star Wars Episode V: The Empire Strikes Back and Star Wars Episode VI: Return of the Jedi....

     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). A major-mode march, heard a few times in Lando Calrissian
    Lando Calrissian
    Lando Calrissian is a fictional character in the Star Wars universe. He is portrayed by Billy Dee Williams in Star Wars Episode V: The Empire Strikes Back and Star Wars Episode VI: Return of the Jedi...

    's Palace during the Bespin
    Bespin
    Bespin is a fictional planet, a gas giant in Star Wars films and books. The planet was first seen in the 1980 feature film Star Wars Episode V: The Empire Strikes Back...

     sequences of Episode V.

First appearance in Return of the Jedi

  • Jabba's Theme (Episodes I, IV, and VI). A rolling, bulbous tuba theme for the slug-like Jabba the Hutt
    Jabba the Hutt
    Jabba the Hutt is a fictional character in George Lucas's space opera film saga Star Wars. Designed as a large, slug-like alien, his appearance has been described by film critic Roger Ebert as "Dickensian," a cross between a toad and the Cheshire Cat....

    , 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 Palpatine
    Palpatine
    Palpatine is a fictional character and the main antagonist of the Star Wars saga, portrayed by Ian McDiarmid in the feature films.Palpatine first appeared as the unnamed Emperor of the Galactic Empire in the 1980 film Star Wars Episode V: The Empire Strikes Back...

    , aka Darth Sidious
    Palpatine
    Palpatine is a fictional character and the main antagonist of the Star Wars saga, portrayed by Ian McDiarmid in the feature films.Palpatine first appeared as the unnamed Emperor of the Galactic Empire in the 1980 film Star Wars Episode V: The Empire Strikes Back...

    . More generally, it portrays the dark side itself. Consists of 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, syncopated, transposed to 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 Ewok's
    Ewok
    Ewoks originate from the Star Wars films. In the series, they are a species of teddy-bear-like hunter-gatherers that inhabit the forest moon of Endor. The Ewoks live in various tree-huts and primitive dwellings. They first appeared in the film Star Wars Episode VI: Return of the Jedi...

     Theme or Parade of the Ewoks (Episode VI). The Prokofiev-styled theme for the Ewoks, who live on the forest moon of Endor
    Forest moon of Endor
    The second moon of Endor, also referred to as the forest moon of Endor, or sanctuary moon, is a moon in the Star Wars universe. It appears in Star Wars Episode VI: Return of the Jedi as the home to the Ewoks, and is the body over which the second Death Star is constructed...

    . 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 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 Leia and Han Solo and Princess themes.

  • Victory Celebration (Episode VI). The theme signifying the victory of the Alliance and the culmination of the entire saga. Its music has various animal calls, flutes and is played mostly at the Ewok village where everybody celebrates. The original music was replaced in the 1997 Special Edition, in order to accommodate new scenes on Tatooine, Bespin & Corouscant.

First appearance in The Phantom Menace

  • Anakin's Theme (Episodes I, II and III). An ostensibly innocent theme that 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.

  • 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

  • Duel of the Fates
    Duel of the Fates
    "Duel of the Fates" is a musical theme recurring in the Star Wars prequel trilogy and the Expanded Universe. It was composed by John Williams and recorded for the film soundtrack by the London Symphony Orchestra and the London Voices. This symphonic piece is played with both a full orchestra and a...

     (Episodes I, II and III). Nicknamed Darth Maul's theme
    Darth Maul
    Darth Maul is a fictional character in the science fiction saga Star Wars. He is one of the main antagonists of Star Wars Episode I: The Phantom Menace, portrayed by martial artist Ray Park and voiced by Peter Serafinowicz....

     by fans, the theme itself is composed from two minor mode ostinati and choral interjections originally heard in The Empire Strikes Back. 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
    Cad Goddeu
    Cad Goddeu is a medieval Welsh poem preserved in the 14th-century manuscript known as the Book of Taliesin. The poem refers to a traditional story in which the legendary enchanter Gwydion animates the trees of the forest to fight as his army...

    " (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 did not 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, the clash between the most powerful users of the Light and Dark sides of the Force, respectively.

  • 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 Padmé and the "rebirth" of Darth Vader
    Darth Vader
    Darth Vader is a central character in the Star Wars saga, appearing as one of the main antagonists in the original trilogy and as the main protagonist in the prequel trilogy....

     in his suit, as well as without a choir in Padmé's funeral procession and during the shot of the skeletal Death Star, where it is subsumed by the Imperial
    Galactic Empire (Star Wars)
    The Galactic Empire is one of the main factions in the fictional universe of Star Wars. It is a galaxy-spanning regime established by the series' lead villain, Palpatine, to replace the Galactic Republic in Star Wars Episode III: Revenge of the Sith. The Galactic Empire is introduced in Star Wars...

     March. A small portion of the Force theme is also incorporated into the funeral theme, perhaps meaning that a person has become one with the Force, such as Qui-Gon or Amidala.

First appearance in Attack of the Clones

  • Across the Stars (Episodes II and III). This broadly romantic theme is associated with the forbidden and ill-fated love between Anakin Skywalker and Padmé Amidala. The title is probably a reference to Romeo and Juliet
    Romeo and Juliet
    Romeo and Juliet is a tragedy written early in the career of playwright William Shakespeare about two young star-crossed lovers whose deaths ultimately unite their feuding families. It was among Shakespeare's most popular archetypal stories of young, teenage lovers.Romeo and Juliet belongs to a...

    , a story of similarly "star-crossed" love. It is gentle but with an undercurrent of sadness 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
    Hook (film)
    Hook is a 1991 American fantasy film directed by Steven Spielberg. The film stars Robin Williams, Dustin Hoffman, Julia Roberts, Bob Hoskins, and features Maggie Smith, Caroline Goodall, Charlie Korsmo, Amber Scott, and Dante Basco. Hook acts as a sequel to Peter Pan's original adventures, focusing...

     and Nixon
    Nixon (film)
    Nixon is a 1995 American biographical film directed by Oliver Stone for Cinergi Pictures that tells the story of the political and personal life of former US President Richard Nixon, played by Anthony Hopkins....

    , for example).

First appearance in Revenge of the Sith

  • Battle of the Heroes
    Battle of the Heroes
    "Battle of the Heroes" is a musical theme from the movie Star Wars Episode III: Revenge of the Sith. It was written by John Williams for the duel between Darth Vader and Obi-Wan Kenobi on the volcanic planet Mustafar...

     theme (Episode III). The theme for the climatic 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)

  • General Grievous
    General Grievous
    General Grievous is a fictional character in the Star Wars universe, an antagonist in Star Wars Episode III: Revenge of the Sith. He was voiced by Matthew Wood...

     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.

Dies Irae

While the plainchant setting of Dies Irae is not the only melody drawn from or inspired by the canon of Western art music, it is the only one that serves a recurring, leitmotivic function. Like many composers before him, Williams uses Dies Irae to evoke a sense of impending doom or tribulation. The four signature notes first appear in the score to Star Wars
Star Wars
Star Wars is an American epic space opera film series created by George Lucas. The first film in the series was originally released on May 25, 1977, under the title Star Wars, by 20th Century Fox, and became a worldwide pop culture phenomenon, followed by two sequels, released at three-year...

, notably at the end of the scene in which Luke finds his aunt and uncle dead. It was originally introduced in the "Binary Sunset" scene, but Williams was asked to rewrite the cue, and in doing so removed the references to Dies Irae. Williams reprised the motive for Attack of the Clones in an eight-note (but altered) form to foreshadow the suffering Anakin Skywalker would bring to the galaxy in the scene in which he admits that he murdered the Tusken Raiders
Tusken Raiders
Tusken Raiders are fictional creatures in the Star Wars universe. They are characterized as a nomadic warrior race that lives on the planet Tatooine.-Appearances in Star Wars media:...

. It also appears in Revenge of the Sith during several climactic scenes.

Awards

The score of the original Star Wars film of 1977 won John Williams the most awards of his career: an Academy Award, a Golden Globe, a BAFTA Award and a Grammy Award
Grammy Award
A Grammy Award — or Grammy — is an accolade by the National Academy of Recording Arts and Sciences of the United States to recognize outstanding achievement in the music industry...

. He also received the Saturn Award
Saturn Award
The Saturn Award is an award presented annually by the Academy of Science Fiction, Fantasy & Horror Films to honor the top works in science fiction, fantasy, and horror in film, television, and home video. The Saturn Awards were devised by Dr. Donald A. Reed in 1972, who felt that films within...

 for both the Star Wars score and his score for Close Encounters of the Third Kind
Close Encounters of the Third Kind
Close Encounters of the Third Kind is a 1977 science fiction film written and directed by Steven Spielberg. The film stars Richard Dreyfuss, François Truffaut, Melinda Dillon, Teri Garr, Bob Balaban, and Cary Guffey...

.

The score for The Empire Strikes Back won another BAFTA Award, was nominated for the Academy Award, and double nominated for Grammy Award
Grammy Award
A Grammy Award — or Grammy — is an accolade by the National Academy of Recording Arts and Sciences of the United States to recognize outstanding achievement in the music industry...

s, winning one.

The score for The Return of the Jedi was nominated for the Academy Award of that year.

Both The Phantom Menace and Revenge of the Sith were nominated for a Grammy.

Certifications

The soundtracks to both Star Wars
Star Wars Episode IV: A New Hope (soundtrack)
John Williams' score for Star Wars was recorded over eight sessions at Anvil Studios in Denham, England on March 5, 8–12, 15 and 16, 1977. The score was performed by the London Symphony Orchestra with Williams himself conducting...

 and The Phantom Menace
Star Wars Episode I: The Phantom Menace (soundtrack)
Star Wars Episode I: The Phantom Menace - Original Motion Picture Soundtrack was released two weeks before the film of the same name in May 1999, and was composed by John Williams...

 have been certified Platinum by the Recording Industry Association of America
Recording Industry Association of America
The Recording Industry Association of America is a trade organization that represents the recording industry distributors in the United States...

, for shipments of at least 1 million units, with the albums for The Empire Strikes Back
Star Wars Episode V: The Empire Strikes Back (soundtrack)
The score from The Empire Strikes Back, composed by John Williams, was recorded in 18 sessions at Anvil Studios over three days in December 1979 and a further six days in January 1980 with Williams conducting the London Symphony Orchestra...

 and Attack of the Clones
Star Wars Episode II: Attack of the Clones (soundtrack)
The soundtrack to Star Wars Episode II: Attack of the Clones was released by Sony Classical on April 23, 2002. The music was composed and conducted by John Williams, and performed by the London Symphony Orchestra and London Voices. Shawn Murphy recorded and mixed the score with Peter Myles and...

 being certified Gold (500,000 units). The British Phonographic Industry
British Phonographic Industry
The British Phonographic Industry is the British record industry's trade association.-Structure:Its membership comprises hundreds of music companies including all four "major" record companies , associate members such as manufacturers and distributors, and hundreds of independent music companies...

 certified Star Wars as Silver, for shipments of 60,000 units in the United Kingdom, and The Phantom Menace as Gold, for 100,000 units.

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)
  • The Flag Parade (Episode I)
  • Shmi's Theme (Episodes I, II, III)
  • Secondary Droid March (Episode I, II, III)
  • Arrival on Tatooine (Episodes I, IV)
  • Separatists' Theme (Episode II)
  • Kamino Motif (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)
  • Grievous and the Droids (Episode III)
  • Mystery of the Sith Motif (Episode III)
  • Anakin's Dark Deeds (Episode III)
  • Throne Room March (Episodes IV, V, VI; rerecorded for Episode III, but not used in the final cut)
  • Here They Come! (Space battle motif) (Episodes IV, VI)
  • Imperial Walkers (Episode V)
  • The Asteroid Field (Episode V)
  • Yoda's Revelation (Episode VI)

Diegetic music

Diegetic music is music "that occurs as part of the action (rather than as background), and can be heard by the film's characters".
  • 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
    Diegesis
    Diegesis is a style of representation in fiction and is:# the world in which the situations and events narrated occur; and# telling, recounting, as opposed to showing, enacting.In diegesis the narrator tells the story...

     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
    Benny Goodman
    Benjamin David “Benny” Goodman was an American jazz and swing musician, clarinetist and bandleader; widely known as the "King of Swing".In the mid-1930s, Benny Goodman led one of the most popular musical groups in America...

     swing band music ... and how they might attempt to interpret it". This piece also appears on an all the outtakes easter eggs
    Easter egg (media)
    Image:Carl Oswald Rostosky - Zwei Kaninchen und ein Igel 1861.jpg|250px|thumb|right|Example of Easter egg hidden within imagerect 467 383 539 434 desc none...

     on the DVDs from episode I and II and on the bonus disc of the 2004 original trilogy DVD set.

  • Jabba's Baroque Recital (Episode VI). Mozart-esque John Williams
    John Williams
    John Towner Williams is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T...

     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 (in the original cut of the movie).

  • Jedi Rocks (composed by Jerry Hey
    Jerry Hey
    Jerry Hey is an American trumpeter, flugelhornist, horn arranger, string arranger, orchestrator and session musician who has played on hundreds of commercial recordings, including Thriller and the distinctive flugelhorn solo on Dan Fogelberg's hit Longer....

    ) (Episode VI). This was composed to replace Lapti Nek for the 1997 Special Edition of the film.

  • Max Rebo Band Jams (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). A recording of the first can be found on the official Star Wars Soundboards.

  • 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, based on the Emperor's Theme.

  • 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
    Ben Burtt
    Benjamin "Ben" Burtt, Jr. is an American sound designer who has worked on various films including: the Star Wars and Indiana Jones film series, Invasion of the Body Snatchers , E.T. the Extra-Terrestrial , and WALL-E...

    's attempt at composition is instead shifted to the arena, replacing the predominately unused John Williams
    John Williams
    John Towner Williams is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T...

     cue "The Arena."

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.

  • Here They Come! (Episode IV). This concert suite is an expanded version of the latter part of the cue "Ben Kenobi's Death and TIE Fighter Attack".

  • 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 Final Battle (Episode IV, Episode VI). This concert suite is a combination of cues heard when the Millennium Falcon arrives at the Death Star, when Obi-Wan is killed by Darth Vader and the subsequent escape from the Death Star and the Rebel assault on the Death Star. Parts of the Superstructure Chase cue from Return of the Jedi also appear in this concert suite.

  • 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
    The Imperial March
    "The Imperial March " is a musical theme present in the Star Wars franchise. It was composed by John Williams for the film Star Wars Episode V: The Empire Strikes Back...

     (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
    Jabba the Hutt
    Jabba the Hutt is a fictional character in George Lucas's space opera film saga Star Wars. Designed as a large, slug-like alien, his appearance has been described by film critic Roger Ebert as "Dickensian," a cross between a toad and the Cheshire Cat....

     (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
    Duel of the Fates
    "Duel of the Fates" is a musical theme recurring in the Star Wars prequel trilogy and the Expanded Universe. It was composed by John Williams and recorded for the film soundtrack by the London Symphony Orchestra and the London Voices. This symphonic piece is played with both a full orchestra and a...

     (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
    Duel of the Fates
    "Duel of the Fates" is a musical theme recurring in the Star Wars prequel trilogy and the Expanded Universe. It was composed by John Williams and recorded for the film soundtrack by the London Symphony Orchestra and the London Voices. This symphonic piece is played with both a full orchestra and a...

     in the end credits.

  • The Flag Parade (Episode I). An expanded version of the cue The Flag Parade (as seen in the OST release), Williams created an expanded concert suite that 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
    Battle of the Heroes
    "Battle of the Heroes" is a musical theme from the movie Star Wars Episode III: Revenge of the Sith. It was written by John Williams for the duel between Darth Vader and Obi-Wan Kenobi on the volcanic planet Mustafar...

     (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.

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 "Escape from Naboo" from Episode I and in Episode III as the Invisible Hand falls from space).

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

Film soundtracks

  • Star Wars Episode IV: A New Hope
    Star Wars Episode IV: A New Hope (soundtrack)
    John Williams' score for Star Wars was recorded over eight sessions at Anvil Studios in Denham, England on March 5, 8–12, 15 and 16, 1977. The score was performed by the London Symphony Orchestra with Williams himself conducting...

     (1977)
  • Star Wars Episode V: The Empire Strikes Back
    Star Wars Episode V: The Empire Strikes Back (soundtrack)
    The score from The Empire Strikes Back, composed by John Williams, was recorded in 18 sessions at Anvil Studios over three days in December 1979 and a further six days in January 1980 with Williams conducting the London Symphony Orchestra...

     (1980)
  • Star Wars Episode VI: Return of the Jedi
    Star Wars Episode VI: Return of the Jedi (soundtrack)
    The Return of the Jedi score was recorded at the Abbey Road studios in January and February 1983. Again, John Williams conducted the London Symphony Orchestra and served as producer. Orchestrator Herbert W. Spencer, engineer Eric Tomlinson, music editor Kenneth Wannberg, and record supervisor...

     (1983)
  • Star Wars Episode I: The Phantom Menace
    Star Wars Episode I: The Phantom Menace (soundtrack)
    Star Wars Episode I: The Phantom Menace - Original Motion Picture Soundtrack was released two weeks before the film of the same name in May 1999, and was composed by John Williams...

     (1999)
  • Star Wars Episode II: Attack of the Clones
    Star Wars Episode II: Attack of the Clones (soundtrack)
    The soundtrack to Star Wars Episode II: Attack of the Clones was released by Sony Classical on April 23, 2002. The music was composed and conducted by John Williams, and performed by the London Symphony Orchestra and London Voices. Shawn Murphy recorded and mixed the score with Peter Myles and...

     (2002)
  • Star Wars Episode III: Revenge of the Sith
    Star Wars Episode III: Revenge of the Sith (soundtrack)
    The soundtrack to Star Wars Episode III: Revenge of the Sith was released by Sony Classical on May 3, 2005, more than two weeks before the release of the film. The music was composed and conducted by John Williams, and performed by the London Symphony Orchestra and London Voices...

     (2005)
  • Star Wars: The Clone Wars
    Star Wars: The Clone Wars (film)
    Star Wars: The Clone Wars is a 2008 CGI animated science fiction/action film that takes place within the Star Wars saga, leading into the TV series of the same name. The film is set in the same time period as the 2003 Clone Wars television series...

     (2008)

Expanded Universe scores

Incidental music has been composed in the style of John Williams for a number of films, television programmes and computer games which have been produced which depict characters and situations within the Star Wars Expanded Universe
Star Wars Expanded Universe
The Star Wars Expanded Universe encompasses all of the officially licensed, fictional background of the Star Wars universe, outside of the six feature films produced by George Lucas. The expanded universe includes books, comic books, video games, spin-off films like Star Wars: The Clone Wars,...

, the extended franchise licenced by Lucasfilm. These scores often borrow thematic material from the film scores as well as introducing original composition.

Star Wars Holiday Special

Original music was composed for The Star Wars Holiday Special
The Star Wars Holiday Special
The Star Wars Holiday Special is a 1978 American television special set in the Star Wars galaxy. It was one of the first official Star Wars spin-offs, and was directed by Steve Binder. The show was broadcast in its entirety only once, in the United States and Canada, November 17, 1978, on the U.S...

 television 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.

Ewoks

For the films Caravan of Courage and Ewoks: 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 both films. The album was officially released as a 12-inch LP record by Varése Sarabande on December 8, 1986.

The LP was later bootlegged onto CD in 1999 and retitled "Star Wars: Ewoks". The bootleg has a number of discrepancies including an incorrect track arrangement, incorrect track names and incorrect track times. So called "Additional Material" on the bootleg was never officially sanctioned by Lucasfilm Ltd. and is in fact made up of three tracks cobbled together from tracks from the Star Wars Trilogy: The Original Soundtrack Anthology & various releases of the Return of the Jedi soundtrack.
Track Listing (Official 1986 12" LP Release)

Side A
  1. A1. Trek (Caravan of Courage) 1:53
  2. A2. Intro/Main Title (Caravan of Courage) 02:47
  3. A3. Noa & Terak (Battle for Endor) 03:50
  4. A4. Teek (Battle for Endor) 02:44
  5. A5. Set Up/Terak's Theme (Battle for Endor) 03:09
  6. A6. Noa's Ark (Battle for Endor) 02:09
  7. A7. Izrina (Caravan of Courage) 01:31


Side B
  1. B1. Flying (Caravan of Courage) 02:46
  2. B2. Good Night, Bad Dreams (Battle for Endor) 03:11
  3. B3. Poker Game (Battle for Endor) 02:15
  4. B4. Pulga Chase (Caravan of Courage) 02:40
  5. B5. The House (Battle for Endor) 01:39
  6. B6. Escape (Battle for Endor) 01:30
  7. B7. Farewell (Battle for Endor) 03:46


Total Duration: 00:35:50

Shadows of the Empire

For the Shadows of the Empire
Star Wars: Shadows of the Empire
Star Wars: Shadows of the Empire is a multimedia project created by Lucasfilm Ltd. in 1996. The original idea was to create an interquel, a story set between the movies The Empire Strikes Back and Return of the Jedi , and to explore all commercial possibilities of a full motion picture release,...

 novel, an unusual soundtrack was scored by composer Joel McNeely
Joel McNeely
-Biography:Joel McNeely was born in Madison, Wisconsin. Both of his parents were involved in music and theater, and as a child he played the piano, saxophone, bass, and flute...

 after a suggestion by John Williams
John Williams
John Towner Williams is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T...

. It was performed by the Royal Scottish National Orchestra
Royal Scottish National Orchestra
The Royal Scottish National Orchestra is Scotland's national symphony orchestra. Based in Glasgow, the 89-member professional orchestra also regularly performs in Edinburgh, Aberdeen and Dundee, and abroad. Formed in 1891 as the Scottish Orchestra, the company has performed full-time since 1950,...

 and Chorus, and published by Varèse Sarabande
Varèse Sarabande
Varèse Sarabande is an American record label, distributed by Universal Music Group, which specializes in film scores and original cast recordings. It aims to reissue rare or unavailable albums as well as newer releases by artists no longer under a contract...

. 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
The Imperial March
"The Imperial March " is a musical theme present in the Star Wars franchise. It was composed by John Williams for the film Star Wars Episode V: The Empire Strikes Back...

 and The Force Theme) and ten (The Imperial March
The Imperial March
"The Imperial March " is a musical theme present in the Star Wars franchise. It was composed by John Williams for the film Star Wars Episode V: The Empire Strikes Back...

). The disc also includes an interactive track for personal computers, containing concept art and additional information about the project.
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: Dark Forces

Music for the 1995 computer game Star Wars: Dark Forces
Star Wars: Dark Forces
Star Wars: Dark Forces is a first-person shooter video game developed and published by LucasArts. It was released in 1995 for DOS and Apple Macintosh, and in 1996 for the PlayStation. The storyline within the Dark Forces is set in the Star Wars fictional universe and follows the character Kyle...

 was mostly original works composed by Clint Bajakian
Clint Bajakian
Clint Bajakian is an American video game composer and musician.-Biography:Bajakian was born in Massachusetts, United States. He was linked with music since age of 8. In middle school Bajakian played in marching bands, and also played in range of rock bands...

, 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
Executor
An executor, in the broadest sense, is one who carries something out .-Overview:...

 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
Kyle Katarn
Kyle Katarn is a fictional character in the Star Wars universe, the protagonist of the video game Star Wars: Dark Forces and its sequels....

'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.

Star Wars: Knights of the Old Republic

Music for Star Wars: Knights of the Old Republic
Star Wars: Knights of the Old Republic
Star Wars: Knights of the Old Republic is a role-playing video game developed by BioWare and published by LucasArts. It was released for the Xbox on July 15, 2003, for Microsoft Windows on November 19, 2003, and on September 7, 2004 for Mac OS X. The Xbox version is playable on Xbox 360 with its...

 was composed by Jeremy Soule
Jeremy Soule
Jeremy Soule is an American composer of soundtracks for film, television and video games. He has won multiple awards and has been described as the "John Williams of video game music" and "a model of success" for Western composers. He has composed soundtracks for over 60 games and over a dozen...

. For Star Wars: Knights of the Old Republic II: The Sith Lords
Star Wars: Knights of the Old Republic II: The Sith Lords
Star Wars: Knights of the Old Republic II: The Sith Lords is a role playing video game released for the Xbox and Microsoft Windows. The Xbox version of this sequel to Star Wars: Knights of the Old Republic was released on December 6, 2004, while the Windows version was released on February 8, 2005...

, Mark Griskey
Mark Griskey
Mark Griskey, born in 1963, is an American composer who is probably best known for his work for LucasArts Entertainment in games such as Star Wars: Jedi Starfighter and Star Wars: Knights of the Old Republic II The Sith Lords, and scoring for many other popular video games.-Early career:Mr...

 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. The opening crawl still uses the Williams theme.

Star Wars: Republic Commando

In the computer game Star Wars: Republic Commando
Star Wars: Republic Commando
Star Wars: Republic Commando is a first-person shooter Star Wars video game, released in the US on March 1, 2005. It was developed and published by LucasArts for the Microsoft Windows and Xbox platforms. The game uses Epic Games' Unreal Engine...

, 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.
Track listing
  1. Vode An (Brothers All) - 1:58
  2. Prologue - 3:24
  3. The Egg Room - 2:34
  4. Gra'tua Cuun (Our Vengeance) - 2:33
  5. Improvised Entry - 1:34
  6. They Must Be Asleep - 1:23
  7. The Ghost Ship - 2:24
  8. Ka'rta Tor (One Heart of Justice) - 1:54
  9. Com Interference - 2:16
  10. The Jungle Floor - 2:46
  11. RV Alpha - 1:55
  12. Through the Canopy - 1:15
  13. Rage of the Shadow Warriors - 2:02
  14. Make Their Eyes Water - 1:23
  15. Kachirho by Night Vision - 1:23


Total time: 28:04

Star Wars: TIE Fighter

Music for the computer game Star Wars: TIE Fighter
Star Wars: TIE Fighter
Star Wars: TIE Fighter, a 1994 space flight simulator/space combat computer game, is the sequel to Star Wars: X-Wing, and the first game of the series that puts the player on the side of the Galactic Empire....

 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.

The in-game music played during flight sequences (missions) uses the iMuse game engine. This uses leitmotif
Leitmotif
A leitmotif , sometimes written leit-motif, is a musical term , referring to a recurring theme, associated with a particular person, place, or idea. It is closely related to the musical idea of idée fixe...

s to vary the music played during missions depending on the actions of the player or other mission events. For example, a special motif is played when player achieves a victory, when the mission is failed, when secondary or bonus goals or completed, when an Imperial or Rebel capital ship exits hyperspace etc. This does mirror the use of leitmotifs in the original film music while at the same time makes the music sequence a little different with each mission.

Star Wars: Bounty Hunter

Composer Jeremy Soule
Jeremy Soule
Jeremy Soule is an American composer of soundtracks for film, television and video games. He has won multiple awards and has been described as the "John Williams of video game music" and "a model of success" for Western composers. He has composed soundtracks for over 60 games and over a dozen...

 wrote music for the game Star Wars: Bounty Hunter
Star Wars: Bounty Hunter
Star Wars: Bounty Hunter is a Star Wars video game developed and published by LucasArts for the Nintendo GameCube and Sony PlayStation 2, released in 2002. In the game, players play as the bounty hunter Jango Fett, featured in the 2002 film Star Wars Episode II: Attack of the Clones...

, including both cut scenes and gameplay. The characters Jango Fett
Jango Fett
Jango Fett is a fictional character in the Star Wars universe. He first appeared as one of the main antagonists in Star Wars Episode II: Attack of the Clones, and later served as the protagonist of the LucasArts video game Star Wars: Bounty Hunter, played by Temuera Morrison.Jango Fett serves as...

 and Komari Vosa have their own leitmotifs.

Star Wars: The Clone Wars

Kevin Kiner composed the score to the film Star Wars: The Clone Wars
Star Wars: The Clone Wars (film)
Star Wars: The Clone Wars is a 2008 CGI animated science fiction/action film that takes place within the Star Wars saga, leading into the TV series of the same name. The film is set in the same time period as the 2003 Clone Wars television series...

 which started the TV series
Star Wars: The Clone Wars (2008 TV series)
-Production:At April 2005's Star Wars Celebration III, Lucas stated that "we are working on a 3-D continuation of the pilot series that was on the Cartoon Network; we probably won't start that project for another year." In July 2005, pre-production had begun on the series, according to Steve...

 while using some of the original themes and score by John Williams
John Williams
John Towner Williams is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T...

. His own material includes a theme for Anakin Skywalker's Padawan learner, Ahsoka Tano
Ahsoka Tano
Ahsoka "Snips" Tano is a fictional character in the Star Wars universe and is the primary protagonist in the 2008 animated film: Star Wars: The Clone Wars and the following series. When the series began she was depicted as a 14-year-old Togruta female...

, as well as a theme for Jabba the Hutt's uncle Ziro.
Track listing
  1. Star Wars Main Title & A Galaxy Divided (1:13)
  2. Admiral Yularen (0:57)
  3. Battle of Christophsis (3:20)
  4. Meet Ahsoka (2:45)
  5. Obi-Wan to the Rescue (1:24)
  6. Sneaking Under the Shield (4:25)
  7. Jabba's Palace (0:46)
  8. Anakin vs. Dooku (2:18)
  9. Landing on Teth (1:44)
  10. Destroying the Shield (3:09)
  11. B'omarr Monastery (3:11)
  12. General Loathsom/Battle Strategy (3:08)
  13. The Shield (1:37)
  14. Battle of Teth (2:45)
  15. Jedi Don't Run! (1:22)
  16. Obi-Wan's Negotiation (2:08)
  17. The Jedi Council (2:05)
  18. General Loathsom/Ahsoka (3:40)
  19. Jabba's Chamber Dance (0:42)
  20. Ziro Surrounded (2:21)
  21. Scaling the Cliff (0:45)
  22. Ziro's Nightclub Band (0:54)
  23. Seedy City Swing (0:35)
  24. Escape from the Monastery (3:13)
  25. Infiltrating Ziro's Lair (2:22)
  26. Courtyard Fight (2:42)
  27. Dunes of Tatooine (2:00)
  28. Rough Landing (3:04)
  29. Padmé Imprisoned (0:51)
  30. Dooku Speaks with Jabba (1:28)
  31. Fight to the End (3:59)
  32. End Credits (0:52)


Total time: 67:39

Star Wars: The Force Unleashed

Mark Griskey
Mark Griskey
Mark Griskey, born in 1963, is an American composer who is probably best known for his work for LucasArts Entertainment in games such as Star Wars: Jedi Starfighter and Star Wars: Knights of the Old Republic II The Sith Lords, and scoring for many other popular video games.-Early career:Mr...

 composed the score for Star Wars: The Force Unleashed
Star Wars: The Force Unleashed
Star Wars: The Force Unleashed is a multimedia project developed by LucasArts along with Dark Horse Comics, Lego, Hasbro, and Del Rey Books...

, while Jesse Harlin composed the main theme. Griskey uses references to three old themes (The Force Theme, The Imperial March, and The Rebel Fanfare) as well as new themes for Rahm Kota, PROXY, and Juno Eclipse. The music was composed with the intent of utilizing much of John Williams' original Star Wars scores to bridge the gap between the Prequel and Original trilogies.
Track listing
  1. The Force Unleashed (Jesse Harlin) - 1:19
  2. General Kota and the Control Room - 3:44
  3. Infiltrating the Junk Temple - 2:54
  4. Drexl's Raiders - 2:51
  5. Approaching Felucia - 3:28
  6. The Sarlaac Unleashed - 3:20
  7. Maris and the Bull Rancor - 2:11
  8. PROXY and the Skyhook - 2:37
  9. Redemption - 2:19
  10. Juno Eclipse and Finale - 1:12
  11. Ton'yy Rho's Uglehop (Bonus Track, Jesse Harlin) - 1:13


Total Time: 25:08

Star Wars: The Force Unleashed II

For the sequel
Star Wars: The Force Unleashed II
Star Wars: The Force Unleashed II is LucasArts' sequel to 2008's Star Wars: The Force Unleashed video game. A trailer announcing the game was shown December 12, 2009, at the Spike Video Game Awards. The game was released across multiple platforms in October 2010, along with a collectors edition of...

, Mark Griskey returned to compose the score. As the game was intended to be much darker & more somber than its predecessor, the music was written to comply with this change. The Imperial March also features prominently, and new themes were created to emphasize the characters and locales that feature within the game. Like the original score, it was only released as promotional content online, and has yet to gain a CD release.
Track listing
  1. Main Title and Test Chamber - 4:48
  2. Escape from Kamino - 5:38
  3. Arrival on Cato Neimoidia - 3:20
  4. The Hanging City - 6:20
  5. Discovering Dagobah and the Cave - 6:58
  6. Aboard the Salvation - 6:52
  7. Assault on Kamino - 5:36
  8. The Reunion of Juno and Starkiller - 4:21


Total Time: 44:23

External links

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