The music of Star Wars consists of the scores written for all six Star Wars films by composer John Williams from 1977 to 1983 for the Original Trilogy, and 1999 to 2005 for the Prequel Trilogy. More broadly, it refers to any music that is used to depict the larger Star Wars Universe, which would include music for Star Wars video games, 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 and his contemporaries that itself was incorporated into the Golden Age Hollywood scores of Erich Korngold and Max Steiner. While several obvious nods to Gustav Holst, William Walton and Igor Stravinsky exist in the score to Episode IV, Williams relied less and less on classical references in the latter five scores, incorporating more strains of modernist orchestral writing with each progressive score. The reasons for Williams' tapping of a familiar Romantic idiom are known to involve Lucas' desire to ground the otherwise strange and fantastic setting in well-known, audience-accessible music. Indeed, Lucas maintains much of the trilogy's success relies not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music.
Star Wars is often 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 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.
Principal motifs
Composed for the original trilogy
First appearance in Episode IV
- Star Wars (Main Theme) (all episodes). The anthem of the saga, easily its most recognizable melody, the main theme is variously associated with Luke, 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 is performed by the London Symphony Orchestra.
- 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 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 extro'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" (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, the Jedi and the Force from which they draw their power, as well as more abstract ideas such as fate or destiny. In general, its appearances mark moments of significance in the films -- due in part to its portentous minor mode and upward-striving melody.
- 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, 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 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 Episode V
- The Imperial March or "Darth Vader's Theme" (Episodes I, II, III, V and VI).
Sample ( help · info ) . The theme that represents the totalitarian Galactic Empire as a whole, and Darth Vader specifically. More than other Star Wars themes, the March has attained an iconic status in the Western consciousness as a general "evil theme", and as such is used to portray power at public events, sometimes seriously, sometimes with tongue in cheek (as in sporting events). It has been used on multiple occasions to introduce a scene featuring the "evil" Montgomery Burns on the animated comedy The Simpsons . 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 (from flute to clarinet to, ultimatley, harp) 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 i
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