Musical score

"Once again, John Williams has exceeded my expectations and produced a lavish, rich, moving and thrilling score. Every fan of Star Wars—and of great music—is in his debt."

- George Lucas

The musical scores for all the Star Wars films were composed by John Williams. The music for the films are especially distinctive as it has been known to paint musical pictures of such accessibility and precision, and Williams's invaluable contribution to the double-trilogy stands as an unsurpassed feat in the history of film scoring in terms of breadth, thematic-development and cultural impact.

The scores utilize an eclectic variety of musical styles, many culled from the Late Romantic idiom of Richard Strauss and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Wolfgang Korngold and Max Steiner. While several obvious nods to Holst, Walton, and Stravinsky exist in the score to A New Hope, 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's tapping of a familiar Romantic idiom are known to involve Lucas's desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters, and, importantly, music.

Star Wars is often credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. While to ascribe this feat single-handedly to Williams is premature, the popularity and impact of the scores was a major contribution. One technique in particular has had a particular influence: Williams's revival of a technique called "leitmotif", which is most famously associated with the operas of Richard 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.

First appearance in Episode IV

 * Star Wars main theme or Luke's Theme (all episodes). The "anthem" of the saga, Williams's instantly recognizable main theme is variously associated with Luke, heroism and adventure. It is heard in full Korngoldian splendor over the opening crawl at the beginning of all the films, and as part of the music is heard over the credits. Most prominent in the first film (Episode IV) in which strong brass treat it as a fanfare of sorts for Luke, the theme is relied upon less and less frequently throughout subsequent films, though its emotional impact is always pronounced. Except for the final scene of Episode III, Williams's use of the Main Theme in the prequels is limited mostly to the title crawl and short, sometimes disguised fragments.
 * Rebel Fanfare (III, IV, V, VI). This short motif is used extensively in Episode IV to represent the Rebel Alliance. It is used occasionally in Episodes III and V 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 heraldic flavor. In the radio dramatization of Star Wars Episode IV: A New Hope the Rebel Fanfare was used as the backing music for the Imperial recruitment tape that Luke listens to in Episode One: A Wind to Shake the Stars.  In the transcript for Episode Three: Black Knight, White Princess and Pawns it was identified as "Vader's music".
 * Force Theme or Ben Kenobi's theme or Jedi Knights and the Old Republic theme (all episodes). This theme represents Obi-Wan Kenobi, the Jedi and most importantly the Force from which they draw their power. It also often represents the twin themes of destiny and fate that are important in all the films. It is the most commonly heard and prominent theme over the six films as a whole, and undergoes substantial development especially in the prequel trilogy.
 * Princess Leia's Theme (Episodes III, IV, V and VI). A romantic theme for Princess Leia, one of the central protagonists of the Original Trilogy. Represents her "innocence", and hence is most often heard in Episode IV, but is used in the next two films when she is acting on her own or when she is particularly vulnerable. It is heard prominently in Episode III after she is born. Williams made an extended concert version of this theme that is performed frequently.
 * Imperial Motif (Episode IV). Not to be confused with the Imperial March, this motif represents the Empire and Darth Vader strictly Episode IV, before the much more popular Imperial March was written. Vaguely militaristic, it is generally played by bassoons or muted trombones, and for its brevity and limited melodic scope, is not nearly as successful at conjuring dread as the Imperial March.
 * The Death Star Motif (Episodes IV, VI). An imposing four chord motif, played six times during Episode IV, that heralds either a shot of the Death Star, or is played when that place's presence is suggested (for example when a ship is going to fly there). Also heard in Episode VI, though through music that was adapted from the first film.
 * Jawa theme (Episode IV). A jaunting theme used in Episode IV when the droids land on Tatooine, and then for much of the following half hour of the film. It is mostly associated with the oboe and English horn.
 * Tatooine motif (Episode IV, I, II). Somewhat questionable motif, little more than a melodic contour (up by small interval, down by big interval) that crops up with wide shots of arrival on Tatooine.
 * Victory March (Episode IV, VI). Walton-esque music played during the Medal Ceremony at the end of Episode IV. Williams rather ingeniously develops it into a set of chromatic variations during the scene in Return of the Jedi in which the Rebel Fleet takes off into hyperspace. A longer rendition was written for the end credits of Episode III, though not heard in the finished film.

First appearance in Episode V

 * The Imperial March 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 specifically. It is so successful that it has entered the Western consciousness as a general "evil theme", and as such is played at a huge variety of public events. In the Prequel Trilogy, it is subtly at first, being partially embedded in Anakin's innocent theme, though with progressive prominence it is heard through Episodes II and III, signaling critical points in Anakin's downward spiral to the dark side, as well as the rise of the Empire. In the Original Trilogy, The Imperial March also represents all that is the Empire; therefore, it is nearly equivalent to a galactic anthem. Its first appearance is played by a solo piccolo. It is played one final time during Vader's death in Episode VI, tenderly on harp, as finally Vader returns to the light of the Force. It is absent from Episode IV simply because Willams hadn't written it until Episode V, and then kept it onwards.
 * Han Solo and the Princess or the Love theme or Han Solo's theme (Episodes V and VI). A theme for the love between Han Solo and Princess Leia. Heard in Episodes V and VI, and often used in not only scenes of romance but also scenes of sacrifice from the two characters.
 * Yoda's Theme (Episode I, II, III, V, and VI). A theme meant to represent the age and gentle wisdom of Jedi Master Yoda, who appears in five of the six films along with his music. Played often when the diminutive green character is on screen, particularly when he is either using or teaching about the Force, it is often used when his presence is implied, or his influence felt (such as during the Cloud City sequence in Episode V). Used more sparingly in the Prequel Trilogy, though certain moments, such as Yoda's duel with Count Dooku and his departure from Kashyyyk, highlight the theme quite prominently.
 * Droids motif (Episode V). A short playful motif associated with C-3PO and R2-D2. Fairly prominent in several scenes on Hoth, Dagobah, and during the climactic "Hyperspace" cue at the end of the film. The motif is not heard in any other film.
 * Boba Fett motif (Episode V). A descending two-note bassoon phrase relating to the quiet menace of bounty hunter Boba Fett. It is played three times in Episode V (when we see Boba Fett in Vader's Starship; when he goes after the Millennium Falcon (just after the Asteroid Field sequence); and when Lando betrays his friends in Cloud City. Linked with Boba Fett's theme (Episode V).
 * Lando's March or the Cloud City march (Episodes V). This theme is heard a few times in Lando's Palace during the Bespin sequences of Episode V. It is a march in Major mode.
 * A recurring, untitled motif during the final Cloud City sequences is also present, though it has not been described as being connected to any particular character, location or idea. Described as an 'ascending horn and wind motif' in the Special Edition soundtrack liner notes, this motif is heard during some scenes involving Boba Fett, leading to the wide but unfounded belief that it is a second theme for the bounty hunter. There is some outward similarity between the two themes, but this may be coincidental.

First appearance in Episode VI

 * Jabba's Theme (Episodes I and VI, Episode IV in post-1997 releases). A rolling, bulbous tuba theme for the slug-like Jabba the Hutt, it is played often during the opening act of Episode VI, which takes place at Jabba's Palace, and then again, masked but clearly there, in grandiose fashion during the Pod Race sequence in Episode I.
 * The Emperor's Theme (Episodes I, II, III, and VI). The theme for Darth Sidious, who then becomes Emperor Palpatine, and to a lesser extent also represents the Dark Side of the Force. A relatively simple chord progression, it is often sung by a male choir, or played on a deep instrument such as a bassoon. In Episodes I and II, it is used to represent the growing power of the mysterious Darth Sidious, and in Episode III it is played as Sidious' true identity is unmasked and as he lays the foundation for the Empire. In Episode I, it is also used—albeit sped up and in a major key, and sung by children—during the victory celebrations at the end of the film. In Episode VI, it is used to represent the Emperor, and plays whenever he is on screen.
 * The Ewoks Theme or Parade of the Ewoks (Episode VI). It is the theme for the Ewoks, who live on the forest moon of Endor. It is played at the Ewok village, during the forest battle and in the End Credits of Episode VI.
 * Luke and Leia (Episode VI). The theme for the link between Leia and her brother Luke. Heard in Episode VI only twice in the actual film; the concert suite that Williams composed for it is clearly longer than the sum of its uses. Composed in the Romantic tradition, it is tragic, spirited and uplifting all at once.
 * Ewok Celebration (Episode VI, elements in Episode I). The song that was played before the credits in the original version of Episode VI. It is comprised of mostly primitive percussion instruments, reflecting the crude technology of the Ewoks. The lyrics of this theme are sung entirely in Ewokese, which was not restricted to set words during its creation. In the re-release of Episode VI, it was replaced in the 1997 special editions by a piece known as "Victory Celebration", which is scored for full orchestra and choir. Elements of this theme are likely present in the parade scene of Episode I.

First appearance in Episode I

 * Anakin's Theme (Episodes I, II and III). A tender, beautiful theme, with a tragic and sickening flaw—it represents the innocent, boyish Anakin, but, like him, it contains evil. The theme, if listened to carefully, follows the Imperial March, and ends with a number of subtle renditions of phrases from that theme. It foreshadows what will ultimately come to pass. Development is limited almost exclusively to Episode I, with a small handful of renditions in Episode II and a single, tortured rendition in Episode III.
 * Droid Invasion Theme (Episodes I, II, and III). Also known as the Trade Federation March, it is played various times in Episode I as the droid armies of the Trade Federation attack Naboo. In Episode II, it is used to represent the Clones, who will eventually come to replace the droids as the Empire's soldiers of choice. A similar theme, regarded as a variation, was written for the arena scenes in Episode II, but was mostly unused. This rendition is tracked into Episode III during the arrival at Kashyyyk and Anakin's march on the Jedi Temple.
 * Duel of the Fates (Episodes I, II, and III). This symphonic piece is played with a full orchestra, as well as choir that chants an archaic Celtic poem "Gad Goddue" (Battle of the Trees) in Sanskrit. In English, the poem (or line that Williams uses) reads: "Under the tongue root a fight most dread, and another raging behind, in the head." In Episode I, it is played near the end during the fight with Obi-Wan, Qui-Gon and Darth Maul, and developed substantially in music that didn't make the final cut of the film. In Episode II, it is played when Anakin goes off to search for his mother, again representing a key point in determining Anakin's fate. In Episode III, it is played when Yoda fights Emperor Palpatine, in the final battle that could change the destiny of the galaxy.
 * Shmi's Theme (Episode I and II). Oboe melody heard when Anakin departs from his mother in Episode I, and again at the moment of her death in Episode II.
 * Funeral Theme (Episode I and III). Another setting of poetry in Sanskrit. Heard briefly during Qui-Gon's funeral in Episode I, and in Episode III during the death of Padmé and the "rebirth" of Darth Vader in his suit. A softer version without a choir is played Padmé's funeral procession, and blended with Imperial March during the shot of skeletal Death Star.
 * Qui-Gon's Theme (Episode I). Heard three times in film, during beginning of "Leaving Home" cue, the desert duel with Maul, and at the end of the Battle of Naboo.

First appearance in Episode II

 * Across the Stars (Episodes II and III). The broadly romantic theme associated with the forbidden and ill-fated love between Anakin Skywalker and Padmé Amidala. The title is probably a reference to Romeo and Juliet, a story of similar "star-crossed" doomed love. It is gentle but with an undercurrent of unease and uncertainty. It is written in the key of F-sharp minor, but modulates several times throughout its duration. A secondary theme appears within the concert arrangement, as well as during the Fireplace Scene in Episode II and as Anakin and Padmé first meet in Episode III. Arguments have been put forward that in it's melodic and rhythmic structure, the theme bears resemblance to Luke and Leia's themes from the original trilogy, though such features as prominent triplets speak more to common ideas throughout Williams scores (note resemblance to themes from Hook and Nixon, for example).
 * Conflict motif (Episode II) and Mystery motif (Episode II and III). Brooding minor motif, arguably the same. It has been compared to Across the Stars, and appears to have a similar structure.
 * Anakin's Descent motif (Episode II and III). A repeated minor figure, Bb-A-Bb-G-C-A-Bb-G that is given a long sequential treatment in Anakin's Confession scene, and is embedded into "Anakin's Betrayal."
 * Kamino motif (Episode II). A series of arpeggiations of a minor chord. Obviously limited in usage. Also played twice during Geonosis scenes, with Count Dooku fleeing in both instances.
 * Dooku motif (Episode II). A possible motif, roughly D-Eb-C# (a common melodic figuration for Williams) that occurs as a kind of orchestral stinger during a couple of scenes in the latter portions of the film.
 * Mourning theme (Episode II). Moving theme, with characteristic upward ascending minor 6 in solo horn. Heard at least three times, but given fullest treatment during Shmi's funeral.

First appearance in Episode III

 * Battle of the Heroes theme (Episode III). The theme for the climatic, apocalyptic duel between Anakin and Obi-Wan. The piece starts off with stridently syncopated strings, immediately joined by horns and a choir that heralds the main phrase: an ascending and descending motif that ends in a cliffhanger. At first, the theme may seem incomplete, but this suits the background of the scene which it supports: the climactic and uncertain duel between Anakin and Obi-Wan. The piece crescendos with rumbling drums, swirling harps and crashing cymbals into the middle part. The vigorous and pulsating choral echoes a fierce and relentless duel. The second part repeats the main phrase, as well as featuring the Force theme, which binds this piece to the rest of the saga's music. Battle of the Heroes ends with a thunderous, though false ending, then the manic strings from the beginning are heard again before finally coming to a rumbling conclusion. Developed substantially during final battle in a variety of guises.
 * Anakin's Betrayal (Episode III). The music played during the Order 66 sequence, and again during Anakin's final confrontation with Padmé. Melodic contour links with "Anakin's Descent Motif."
 * General Grievous theme (Episode III). Plodding, over-dotted theme that occurs with introduction of General Grievous, given extended treatment during his arrival on Utapau and reoccurs during beginning of lightsaber fight with Obi-Wan.
 * Legend of the Sith (Episode III). A hypothetical motif that occurs subtly in the Palpatine seduction scene.
 * Arrival Theme (Episode III). Unreleased theme, given full treatment during cue "Another Happy Landing" which accompanies the successful landing on Coruscant. Also heard as Obi-Wan arrives at Utapau, and again as he leaves Tion Meddon.

Diegetic music

 * Cantina Band and Cantina Band #2 (Episode IV). Played in the Cantina on Tatooine. It is written for solo trumpet, saxophone, clarinet, Fender Rhodes piano, steel drum, synthesizer and various percussion and is notable for not having a traditional cadence at the end.
 * Jabba's Baroque Recital (Episode VI). A highly ornamented organ-like piece with harpsichord, complete with alberti bass motion. It is presented in 3/4 time, much like a waltz, and is in A-B-A-C-A(ornamented) form.
 * Jedi Rocks (composed by Jerry Hey) (Episode VI). This was composed to replace a piece of music called Lapti Nek, which was replaced for the 1997 Special Edition of the film. It is highly rock-influenced, with prominent organ, horn, and electric bass parts.
 * Sail Barge Dance (Episode VI). Heard twice in the film, once after Jabba sends the Wookiee Chewbacca to jail, and again on Jabba's Sail Barge (hence its title). Recordings lost forever.
 * Ewok Feast and Part of the Tribe (Episode VI). Comprised exclusively of various percussion.
 * Tatooine Street Music (Episode I). Williams wrote four separate pieces of highly chromatic, vaguely Eastern sounding source music for the streets of of Mos Espa.
 * Augie's Municipal Band (Episode I). Celebratory song at the conclusion of Episode I. Melody is based on that of the Emperor's theme from Episode VI, albeit in major&mdash;a subtle clue as to the true identity of the senator from Naboo.
 * Dex's Diner (Episode II). Heard playing in Dex's diner. Standard twelve-bar blues-style song with fast tempo and 1-3-5-6-flat 7 arpeggiations.
 * Victory Celebration (Episode VI). New song for the ending of Episode VI's Special Edition release.

Concert suites

 * Princess Leia's Theme (Episode IV).
 * The Imperial March (Episode V). Premiered in a Williams concert five weeks before the movie was released.
 * Yoda's Theme (Episode V). Premiered in a Williams concert five weeks before the movie was released.
 * Parade of the Ewoks (Episode VI). Mostly played during Leia's first meeting with Wicket, and also appears in the Forest Battle concert suite.
 * Luke and Leia (Episode VI). Played only on a few occasions in the film, but is also strangely missing from Episode III.
 * The Forest Battle (Episode VI). It is a concert suite of The Ewok Battle, which is part of the Battle of Endor.
 * Duel of the Fates (Episode I). Though edited in the final film, nearly the entire theme appears in the final duel.
 * 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.
 * 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.

Star Wars Episode IV: A New Hope
The Star Wars score was recorded in eight sessions at Anvil Studios in 1977 by the London Symphony Orchestra. The orchestrations were made by Herbert Spencer, who also made the orchestrations for Episode V and VI. The movie was premiered on May 25, 1977 and by late summer a disco version became America's number one song. Williams received in February 1978 three Grammys and his third Academy Award in April.

First released on LP by 20th Century, John Williams selected seventy-four minutes of music out of the eighty-eight-minute score for the original soundtrack. To provide musical variety, it did not follow the chronological order of the film.

Now available on RCA Victor (1997) and Sony Classical (2004) presenting the complete score in chronological order for the first time. The two releases present exactly the same track listing. The only difference between these editions is that the RCA release includes complete notes on each track by Michael Matessino and that the Sony Classical release does not include these notes.

Star Wars Episode V: The Empire Strikes Back
The Empire Strikes Back score was recorded in eighteen sessions at the Anvil Studios and the Abbey Road studios in December 1979 and January 1980 by the London Symphony Orchestra. Between Star Wars and The Empire Strikes Back, Williams had also used the London Symphony Orchestra for The Fury, Superman and Dracula. The score won another Oscar nomination for Williams.

The soundtrack was first released as a seventy-five-minute double LP (released five days before the premiere of the film), but the first compact disc release ran only half the length of the 2 LP set. Re-recordings of the score even included music that was not on the CD soundtrack!

Star Wars Episode VI: Return of the Jedi
The Return of the Jedi score was recorded at the Abbey Road studios in January and February 1983 by the London Symphony Orchestra. The score won another Oscar nomination for Williams. Because of the decrease of popularity for the vinyl format, Return of the Jedi, which is the longest score of the Original Trilogy, was only release on one LP instead of two like Star Wars and The Empire Strikes Back.

Star Wars Episode I: The Phantom Menace
Now available on Sony (1999) as a 2CD Ultimate Edition presenting the score as heard in the film (as opposed to the score as originally recorded and intended) or with only 1CD presenting the major highlights, albeit out of film order.



Star Wars Episode II: Attack of the Clones
Now available on Sony (2002) with only 1CD not presenting the complete score.



Star Wars Episode III: Revenge of the Sith
Now available on Sony (2005) with only 1 CD not presenting the complete score. It is the first soundtrack to have been released with a bonus DVD. The 70 min. DVD, entitled Star Wars: A Musical Journey, presents the major themes of the saga.

Accusations of unoriginality
While immensely popular, many musicians in the classical music community have accused many of Williams's scores&mdash;especially from the Star Wars saga&mdash;as being unoriginal. Notably, the scores do seem to draw upon elements of composer such as Holst, Mahler, and, of course, Wagner's operas. The Wagnerian parallel is most easily drawn, with the saga's leitmotifs, heavy use of brass, heroic themes, and perfect intervals.
 * One of the most notable examples that is often cited is the track "Main Title/Rebel Blockade Runner" from A New Hope; some claim that the 5/4 ostinato is blatantly borrowed from Holst's Planets Suite. Tutti dissonant chords appear repeatedly throughout the film, and are no doubt intentionally imitating the "sounds of war" Holst brought to his composition.
 * Some claim that the Star Wars main theme is derivative of the Kings Row film score by Korngold, namely in terms of orchestration and melody.
 * Music from Tatooine is always compared to Stravinsky's The Rite of Spring, with its heavy use of double reeds over alternating semitones. This theory is supported by reports of Lucas using The Rite in a temp track for the film.
 * The Throne Room seems to be derivative of the Pomp and Circumstance Marches by Edward Elgar. Additionally, a section of Dvorak's New World Symphony seems to be quoted in the melody.
 * Imperial March is quite similar to Mahler's second "Resurrection" symphony, especially in terms of the first few intervals. Coincidentally, Imperial March is also the title of a work by the aforementioned Edward Elgar (Op. 32).
 * Battle of the Heroes bears a striking resemblance to the Dies irae in terms of melodic contour. This is appropriate, as the latter is often used in pieces representing armageddon.

To be fair, Williams was most likely trying to capture a feel that he felt other composers had succeeded to acquire, and it is not beyond the imagination that George Lucas actually requested a score similar to that of other composers.

Notes and references

 * Michael Matessino's liner notes included in the RCA 1997 release of Star Wars soundtrack.