Musical score

The music in Star Wars were music film scores that were composed by John Williams for all of the films. The music for the films are especially distinctive as it has been known to paint musical pictures of such accessibility and precision, and Williams' 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 Korngold and Max Steiner. While several obvious nods to Holst, Walton and Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.

Star Wars is often credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. While to ascribe this feat single-handedly to Williams is premature, the popularity and impact of the scores was a major contribution. One technique in particular has had a particular influence: Williams revival of a technique called "leitmotif", which is most famously associated with the operas of Wagner and, in film scores, with Steiner. A leitmotif is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It is commonly used in modern film scoring, as a device to mentally anchor certain parts of a film to the soundtrack. Of chief importance for a leitmotif is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.

First appearance in Episode IV:

 * Star Wars main theme (all episodes). . The "anthem" of the saga, Williams' instantly recognizable main theme is variously associated with Luke, heroism and adventure. It is heard in full Korngoldian splendor over the opening crawl at the beginning of all the films, and as part of the music is heard over the credits. Most prominent in the first film (Episode IV) in which strong brass treat it as a fanfare of sorts for Luke, the theme is relied upon less and less frequently throughout subsequent films, though its emotional impact is always pronounced. Except for the final scene of Episode III, Williams' use of the Main Theme in the prequels is limited mostly to the title crawl and short, sometimes disguised fragments.


 * Rebel Fanfare (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.


 * 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 particuarly 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.

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 darkside. In the Original Trilogy, The Imperial March also represents all that is the Empire; therefore, it is nearly equivalent to a galactic anthem. Its first appearance is played by a solo piccolo. It is played one final time during Vader's death in Episode VI, tenderly on harp, as finally Vader returns to the light of the Force. It is absent from Episode IV simply because Williams only wrote it for Episode V, and then kept it onwards.




 * Han Solo and the Princess or the Love theme or Han Solo's theme (Episodes V and VI). . A theme for the love between Han Solo and Princess Leia. Heard in Episodes V and VI, and often used in not only scenes of romance but also scenes of sacrifice from the two characters.


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


 * Droids motif (Episode V). A short playful motif associated with C-3PO and R2-D2. Fairly prominent in several scenes on Hoth, Dagobah, and during the climactic "Hyperspace" cue at the end of the film.


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


 * Lando's March or the Cloud City march (Episodes V). . This theme is heard a few times in Lando's Palace during the Bepsin sequences of Episode V. It is a march in Major mode.

First appearance in Episode VI:

 * Jabba's Theme (Episodes I and VI). A rolling, bulbous tuba theme for the slug-like Jabba the Hut, 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, 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. 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.

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 innoncent, 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 enventually come to replace the droids as the Empire's soldiers of choice. It is tracked into Episode III as the Jedi Temple is attacked.


 * 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 substaintially in music that didn't make the final cut of the film. In Episode II, it is played when Anakin goes off to search for his mother, again representing a key point in determining Anakin's fate. In Episode III, it is played when Yoda fights Emperor Palpatine, in the final battle that could change the destiny of the galaxy.


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


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


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

First appearance in Episode II:

 * Across The Stars (Episodes II and III). The broadly romantic theme associated with the forbidden and ill-fated love between Anakin Skywalker and Padmé Amidala. The title is probably a reference to Romeo and Juliet, a story of similar "star-crossed" doomed love. It is gentle but with an undercurrent of unease and uncertainty. It is written in the key of F-sharp minor, but changes keys several times throughout its duration. A secondary theme appears within the concert arrangement, as well as during the Fireplace Scene in Ep II and as Anakin and Padme first meet in Episode III. Arguments have been put forward that in 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.


 * Anakin's Descent motif (Episode II and III). A repeated mionr 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.


 * 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 crescendoes 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 Padme. Melodic contour links with "Anakin's Descent Motif."


 * General Grevious theme (Episode III). Plodding, over-dotted theme that occurs with introduction of General Grevious, 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.


 * Jabba's Baroque Recital (Episode VI)..


 * Jedi Rocks (composed by Jerry Hey) (Episode VI). This was conposed to replace a piece of music called Lapti Nek, which was replaced for the 1997 Special Edition of the film.


 * Sail Barge Dance (Episode VI). Heard twice in the film, once after Jabba sends the Wookie Chewbacca to jail, and again on Jabba's Sail Barge (hence its title). Recordings lost forever.


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


 * Tatooine Street Music (Episode I). Williams wrote four seperate pieces of unusual, vaguely Eastern sounding source music for the streets of of Mos Espa.


 * Augie's Municipal Band (Episode I)


 * Dex's Diner (Episode II)


 * Victory Celebration(Episode VI). The Victory Song at the end of Return of the Jedi Special Edition\DVD.

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).


 * Luke and Leia (Episode VI).


 * The Forest Battle (Episode VI). It is a concert suite of The Ewok Battle, which is part of the Battle of Endor.


 * Duel of the Fates (Episode I).


 * Across The Stars (Episode II). It features a slow and tranquil opening, utilizing the oboe and strings heavily. Nearly the entire theme is underscored with triplet arpeggios. Finally, the end of this musical composition features a haunting solo by the harp, repeating the initial theme with colourful ornaments.


 * Battle of the Heroes (Episode III). Although this cue sounds very much like a concert suite and was even released as a single, most of it was used as-is in the film.

Star Wars Episode IV: A New Hope
The Star Wars score was recorded in eight sessions at the 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 release on LP by 20th Century. For the original soundtrack, John Williams selected 74 minutes of music out of the 88 minutes score. To provide musical variety, it did not follow the chronological order of the film. Track listing for this release:

SIDE 1: 1. Main Theme (5:20) 2. Imperial Attack (6:10) 3. Princess Leia's Theme (4:18) 4. The Desert and the Robot Auction (2:51)

SIDE 2: 1. Ben's Death and TIE Fighter Attack (3:46) 2. The Little People Work (4:02) 3. Rescue of the Princess (4:46) 4. Inner City (4:12) 5. Cantina Band (2:44) SIDE 3: 1. The Land of the Sandpeople (2:50) 2. Mouse Robot and Blasting Off (4:01) 3. The Return Home (2:46) 4. The Walls Converge (4:31) 5. The Princess Appears (4:04) SIDE 4: 1. The Last Battle (12:05) 2. The Throne Room and End Title (5:28) Total Time: 74:58
 * First release on CD by Polydor. Track listing for this release:

DISC 1: 1. Main Theme (5:20) 2. Imperial Attack (6:10) 3. Princess Leia's Theme (4:18) 4. The Desert and the Robot Auction (2:51) 5. Ben's Death and TIE Fighter Attack (3:46) 6. The Little People Work (4:02) 7. Rescue of the Princess (4:46) 8. Inner City (4:12) 9. Cantina Band (2:44) DISC 2: 1. The Land of the Sandpeople (2:50) 2. Mouse Robot and Blasting Off (4:01) 3. The Return Home (2:46) 4. The Walls Converge (4:31) 5. The Princess Appears (4:04) 6. The Last Battle (12:05) 7. The Throne Room and End Title (5:28) Total Time: 74:58 DISC 1: 1. 20th Century Fox Fanfare (Alfred Newman, 1954) (0:23) 2. Main Title/Rebel Blockade Runner (2:14) 3. Imperial Attack (6:43) 4. The Dune Sea of Tatooine/Jawa Sandcrawler (5:01) 5. The Moisture Farm (2:25) 6. The Hologram/Binary Sunset (4:10) 7. Landspeeder Search/Attack of the Sandpeople (3:20) 8. Tales of a Jedi Knight/Learn About the Force (4:29) 9. Burning Homestead (2:50) 10. Mos Eisley Spaceport (2:16) 11. Cantina Band (2:47) 12. Cantina Band #2 (3:56) 13. Archival Bonus Track: Binary Sunset (Alternate) (2:19) Total Time: 57:35 DISC 2: 1. Princess Leia's Theme (4:27) 2. The Millennium Falcon/Imperial Cruiser Pursuit (3:51) 3. Destruction of Alderaan (1:32) 4. The Death Star/The Stormtroopers (3:35) 5. Wookiee Prisoner/Detention Block Ambush (4:01) 6. Shootout in the Cell Bay/Dianoga (3:48) 7. The Trash Compactor (3:07) 8. The Tractor Beam/Chasm Crossfire (5:18) 9. Ben Kenobi's Death/Tie Fighter Attack (3:51) 10. The Battle of Yavin (9:07) 11. The Throne Room/End Title (5:38) Total Time: 48:16
 * 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. Track listing for these releases:

Star Wars Episode V: The Empire Strikes Back
The Empire Strikes Back score was recorded in 18 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 release as a 75-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 !

SIDE 1: 1. Star Wars (Main Theme) (5:49) 2. Yoda's Theme (3:24) 3. The Training Of A Jedi Knight (3:17) 4. The Heroics Of Luke And Han (6:18) SIDE 2: 1. The Imperial March (Darth Vader's Theme) (2:59) 2. Departure Of Boba Fett (3:30) 3. Han Solo And The Princess (3:25) 4. Hyperspace (4:02) 5. The Battle In The Snow (3:48) SIDE 3: 1. The Asteroid Field (4:10) 2. The City In The Clouds (6:29) 3. Rebels At Bay (5:23) 4. Yoda And The Force (4:01) SIDE 4: 1. The Duel (4:07) 2. The Magic Tree (3:32) 3. Lando's Palace (3:52) 4. Finale (6:28) Total Time: 74:34 1. The Imperial March (Darth Vader's Theme) (3:00) 2. Yoda's Theme (3:27) 3. The Asteroid Field (4:10) 4. Han Solo And The Princess (3:26) 5. Finale (6:25) 6. Star Wars (Main Theme) (5:48) 7. The Training Of A Jedi Knight (3:05) 8. Yoda And The Force (4:02) 9. The Duel (4:03) 10. The Battle in the Snow (3:48) Total Time: 41:23 DISC 1: 1. 20th Century Fox Fanfare (Alfred Newman, 1954) (0:22) 2. Main Title/The Ice Planet Hoth (8:09) 3. The Wampa's Lair/Vision of Obi-Wan/Snowspeeders Take Flight (8:44) 4. The Imperial Probe/Aboard the Executor (4:24) 5. The Battle of Hoth (14:48) 6. The Asteroid Field (4:15) 7. Arrival on Dagobah (4:54) 8. Luke's Nocturnal Visitor (2:35) 9. Han Solo and the Princess (3:26) 10. Jedi Master Revealed/Mynock Cave (5:44) 11. The Training of a Jedi Knight/The Magic Tree (5:16) Total Time: 62:43 DISC 2: 1    The Imperial March (Darth Vader's Theme) (3:02) 2    Yoda's Theme (3:30) 3    Attacking a Star Destroyer (3:04) 4    Yoda and the Force (4:02) 5    Imperial Starfleet Deployed/City in the Clouds (6:04) 6    Lando's Palace (3:53) 7    Betrayal at Bespin (3:46) 8    Deal with Dark Lord (2:37) 9    Carbon Freeze/Darth Vader's Trap/Departure of Boba Fett (11:50) 10    The Clash of Lightsabers (4:18) 11    Rescue from Cloud City/Hyperspace (9:10) 12    The Rebel Fleet/End Title (6:28) Total Time: 61:44
 * First release on LP by RSO. Track listing for this release:
 * First release on CD by Polydor. Track listing for this release:
 * Now available on RCA (1997) and Sony Classical (2004) presenting the complete score. 2CD. Track listing for these releases:

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 Empire.

SIDE 1: 1. Main Title (The Story Continues) (5:09) 2. Into the Trap (2:36) 3. Luke and Leia (4:44) 4. Parade of the Ewoks (3:25) 5. Han Solo Returns (At the Court of Jabba The Hutt) (4:10) 6. Lapti Nek (Jabba's Palace Band) (2:49) SIDE 2: 1. The Forest Battle (4:01) 2. Rebel Briefing (2:22) 3. The Emperor (2:41) 4. The Return of the Jedi (5:02) 5. Ewok Celebration and Finale (8:00) Total Time: 44:59 1. Main Title (The Story Continues) (5:09) 2. Into the Trap (2:36) 3. Luke and Leia (4:43) 4. Parade of the Ewoks (3:24) 5. Han Solo Returns (At the Court of Jabba The Hutt) (4:07) 6. Lapti Nek (2:48) 7. The Forest Battle (4:01) 8. Rebel Briefing (2:19) 9. The Emperor (2:40) 10. The Return of the Jedi (5:00) 11. Ewok Celebration and Finale (7:57) Total Time: 45:40 DISC 1: 1. 20th Century Fox Fanfare (Alfred Newman, 1954) (0:22) 2. Main Title/Approaching the Death Star/Tatooine Randezvous (9:21) 3. The Droids Are Captured (1:21) 4. Bounty for a Wookiee (2:50) 5. Han Solo Returns (4:01) 6. Luke Confronts Jabba/Den of the Rancor/Sarlacc Sentence (8:51) 7. The Pit of Carkoon/Sail Barge Assault (6:02) 8. The Emperor Arrives/The Death of Yoda/Obi-Wan's Revelation (10:58) 9. Alliance Assembly (2:13) 10. Shuttle Tydirium Approaches Endor (4:09) 11. Speeder Bike Chase/Land of the Ewoks (9:38) 12. The Levitation/Threepio's Bedtime Story (2:46) 13. Jabba's Baroque Recital (3:09) 14. Jedi Rocks (2:42) 15. Sail Barge Assault (Alternate) (5:04) Total Time: 73:16 DISC 2: 1. Parade of the Ewoks (3:28) 2. Luke and Leia (4:46) 3. Brother and Sister/Father and Son/The Fleet Enters Hyperspace/Heroic Ewok (10:40) 4. Emperor's Throne Room (3:26) 5. The Battle of Endor I (11:50) 6. The Lightsaber/The Ewok Battle (4:31) 7. The Battle of Endor II (10:03) 8. The Battle of Endor III (6:04) 9. Leia's News/Light of the Force (3:24) 10. Victory Celebration/End Title (8:34) 11. Ewok Feast/Part of the Tribe (4:02) 12. The Forest Battle (Concert Suite) (4:05) Total Time: 74:47
 * First release on LP by RSO. Track listing for this release:
 * First release on CD by Polydor. Track listing for this release:
 * Now available on RCA (1997) and Sony Classical (2004) presenting the complete score. 2CD. Track listing for these releases:

Star Wars Episode I: The Phantom Menace

 * Now available on Sony (1999) as a 2CD Ultimate Edition presenting the complete 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.

Track listing of the 1CD edition: 1. Star Wars Main Title and The Arrival at Naboo (2:55) 2. Duel of the Fates (4:14) 3. Anakin's Theme (3:05) 4. Jar Jar's Introduction and The Swim to Otoh Gunga (5:07) 5. The Sith Spacecraft and The Droid Battle (2:37) 6. The Trip to the Naboo Temple and The Audience with Boss Nass (4:07) 7. The Arrival at Tatooine and The Flag Parade (5:07) 8. He Is the Chosen One (3:53) 9. Anakin Defeats Sebulba (4:24) 10. Passage Through the Planet Core (4:40) 11. Watto's Deal and Kids at Play (4:57) 12. Panaka and the Queen's Protectors (3:24) 13. Queen Amidala and The Naboo Palace (4:51) 14. The Droid Invasion and The Appearance of Darth Maul (5:14) 15. Qui-Gon's Noble End (3:48) 16. The High Council Meeting and Qui-Gon's Funeral (3:09) 17. Augie's Great Municipal Band and End Credits (9:37) Total Time: 74:23 Track listing of the 2CD Ultimate Edition: DISC 1: 1. Fox Fanfare (0:23) 2.-7. Treachery Within the Federation - The Invasion of Naboo 8.-10. Underwater Adventure 11. Darth Sidious and the Passage Through the Planet Core 12.-16. On to Naboo and the Rescue of the Queen 17.-22. Destination Tatooine, Home of Anakin Skywalker 23. The Dark Forces Plot 24. Qui-Gon Bets on Anakin 25.-32. Anakin Closes In On His Destiny 33. Anakin's Victory 34. The Cheering Crowd 35. Mos Espa Folk Song Total Time: 57:27 DISC 2: 1.-3. To Coruscant and to Palpatine and the Senate 4. Palpatine's Treachery 5. Qui-Gon Goes Before Yoda 6.-12. War Clouds and an Alliance with Boss Nass and the Gungans 13.-14. Prelude to War 15.-17. The Great Battle Begins 18.-24. The Battle Continues 25.-27. The War At Its Darkest 28. Good Triumphs Over Evil 29.-30. The Wrap-Up 31. Victory Parade 32. Titles 33. Duel of the Fates (Dialogue Version) - BONUS TRACK (4:21) Total Time: 67:04

Star Wars Episode II: Attack of the Clones
1. Star Wars Main Title and Ambush on Coruscant (3:46) 2. Love Theme from Attack of the Clones (5:33) 3. Zam the Assassin and The Chase Through Coruscant (11:07) 4. Yoda and the Younglings (3:55) 5. Departing Coruscant (1:44) 6. Anakin and Padme (3:57) 7. Jango's Escape (3:48) 8. The Meadow Picnic (4:14) 9. Bounty Hunter's Pursuit (3:23) 10. Return to Tatooine (6:57) 11. The Tusken Camp and The Homestead (5:54) 12. Love Pledge and The Arena (8:29) 13. Confrontation with Count Dooku and Finale (10:45) Total Time: 73:43
 * Now available on Sony (2002) with only 1CD not presenting the complete score. Track listing for this soundtrack:

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 presents the major themes of the saga.

Track listing for this soundtrack: 1. Star Wars and The Revenge of the Sith (7:31) 2. Anakin's Dream (4:46) 3. Battle of the Heroes (3:42) 4. Anakin's Betrayal (4:03) 5. General Grievous (4:07) 6. Palpatine's Teachings (5:25) 7. Grievous and the Droids (3:27) 8. Padmé's Ruminations (3:16) 9. Anakin vs. Obi-Wan (3:57) 10. Anakin's Dark Deeds (4:05) 11. Enter Lord Vader (4:14) 12. The Immolation Scene (2:41) 13. Grievous Speaks to Lord Sidious (2:49) 14. The Birth of the Twins and Padmé's Destiny (3:37) 15. A New Hope and End Credits (13:05)

Total Time: 72:09