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 Episodes were composed by John Williams. The scores of the spin-offs have been written by various different composers. 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 triple-trilogy and story films 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.

Principal leitmotifs

Composed for the original trilogy

First appearance in Episode IV

• Star Wars Main Title or Luke's Theme (all episodes and spin-offs). 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 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 (all episodes and spin-offs). 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."
• The Force Theme or Ben Kenobi's theme or Jedi Knights and the Old Republic theme (all episodes and RO). 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 (III, IV, V, VI, VII, VIII, IX and RO). A romantic theme for Princess Leia, one of the central protagonists of the Original Trilogy. This theme 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 (IV, RO and S). Not to be confused with the Imperial March, this motif represents the Empire and Darth Vader strictly in Episode IV (although it was referenced on numerous occasions), 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 (IV, VI, VIII, RO and S). An imposing four chord motif, played six times during Episode IV, that either heralds 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. In RO it appeared as it was intended by Williams, while S quoted it probably for the sake of nostalgia.
• Jawa Theme (IV). A jaunty 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 (IV, I, II). This motif borrowed heavily from Stravinsky's The Rite of Spring, 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 (IV, VI). Walton-esque music played during the medal ceremony at the end of Episode IV. Williams 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 and recorded later. This extended version was also recorded for the album version of the end credits for Episode III.

First appearance in Episode V

• The Imperial March or Darth Vader's theme (V, VI, I, II, III, VII, RO, VIII, S and IX). The theme that represents the authoritarian 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. Examples of the latter include the piece played at the end of Episode II when the Republic military is boarding assault ships and in Episode III when the Republic AT-RTs are scouting Kashyyyk for Jedi survivors. 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. The motif appears once in Episode VII, closing the scene in which Kylo Ren is addressing Darth Vader's disfigured mask. The motif also appears briefly in Episode VIII in the initial throne room sequence between Snoke and Kylo Ren as Snoke mentions the fact that his goal was to groom Kylo Ren to be the next Darth Vader.
• Han Solo and the Princess or the Love theme (V, VI, VII, VIII and IX). 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 (V, VI, I, II, III, VIII and IX). 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 (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 (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 (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 (VI and I; 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 (VI, I, II, III, VIII and IX). 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 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 (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 (VI, VIII and IX). 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 (VI, elements in I). The song that was played before the credits in the original version of Episode VI. It mostly uses 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.

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.

Concert suites

• Princess Leia's Theme (Episode IV).
• Here They Come! (Episode IV). A concert version of the piece that plays when the Millennium Falcon is pursued by TIE Fighters after escaping the Death Star. It has not appeared in the film in this form.
• The Final Battle (Episode IV, Episode VI). It is a combination of the Final Battle cue from Episode IV and the Superstructure Chase cue from Episode VI. It has not appeared in any of the films in this form.
• The Throne Room (Episode IV). An expanded version of the Victory Celebration theme from Episode IV. A version of this was used in the soundtrack for Star Wars Episode III: Revenge of the Sith.
• 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.
• Han Solo and the Princess (Episode V). The love theme for Han Solo and Princess Leia. The complete concert suite has never been performed by Williams himself but has been performed by The City of Prague Philharmonic, Charles Gerhardt, for his recording of The Empire Strikes Back and by Roy Budd and The London Symphony Orchestra.
• Jabba the Hutt (Episode VI).
• 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.

Soundtracks

Star Wars Episode IV: A New Hope

2004 Sony Classical CD.

The Star Wars score was recorded in eight sessions at Anvil Studios between March 5 and March 16, 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.

Publisher	Released	Format	Disc	Track	Title	Time
20th Century		LP	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
			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
			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
			4	1	The Last Battle	12:05
				2	The Throne Room and End Title	5:28
						Total: 74:58
Polydor	1986	CD	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
			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: 74:58
RCA/Sony Classical	1997/2004	CD	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: 57:35
			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
				12	Takes 16-20 of Main Theme (Secret Bonus Track)	11:57
						Total: 60:13

Star Wars Episode V: The Empire Strikes Back

2004 Sony Classical CD.

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!

Publisher	Released	Format	Disc	Track	Title	Time
RSO	May 16, 1980	LP	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
			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
			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
			4	1	The Duel	4:07
				2	The Magic Tree	3:32
				3	Lando's Palace	3:52
				4	Finale	6:28
						Total: 74:34
Polydor	1985	CD	1	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: 41:23
RCA/Sony Classical	1997/2004	CD	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: 62:43
			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: 61:44

Star Wars Episode VI: Return of the Jedi

2004 Sony Classical CD.

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.

Publisher	Released	Format	Disc	Track	Title	Time
RSO	May 15, 1983	LP	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
			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: 44:59
Polydor		CD	1	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: 45:40
RCA/Sony Classical	1997/2004	CD	1	1	20th Century Fox Fanfare (Alfred Newman, 1954)	0:22
				2	Main Title/Approaching the Death Star/Tatooine Rendezvous	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: 73:16
			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: 74:47

Shadows of the Empire

Shadows of the Empire

Publisher	Released	Format	Disc	Track	Title	Time
Varèse Sarabande	April 23, 1996	CD	1	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	10:44
						Total: 51:27

The Corellian Edition

The Corellian Edition

Publisher	Released	Format	Disc	Track	Title	Time
Sony Classical	2005	CD	1	1	Star Wars Main Title and The Arrival at Naboo (Ep. I)	2:55
				2	The Flag Parade (Ep. I)	2:11
				3	Qui-Gon's Noble End (Ep. I)	3:47
				4	Jango's Escape (Ep. II)	3:47
				5	Yoda and the Younglings (Ep. II)	3:56
				6	General Grievous (Ep. III)	4:07
				7	Anakin's Dark Deeds (Ep. III)	4:04
				8	Imperial Attack (Ep. IV)	6:44
				9	Ben Kenobi's Death/Tie Fighter Attack (Ep. IV)	3:53
				10	Yoda and the Force (Ep. V)	4:05
				11	The Clash of Lightsabers (Ep. V)	4:19
				12	Sail Barge Assault (Ep. VI)	5:04
				13	End Title (from "Star Wars Episode VI")	6:05
						Total: 52:57

Accusations of unoriginality

While immensely popular, many musicians in the classical music community have accused many of Williams's scores—especially from the Star Wars saga—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.
• The 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.

External links

• Score / how we got here (Some Globe noms tuned out by Oscar) on Hyperspace (content removed from StarWars.com; backup link)
• Post Notes: The Score Begins on Hyperspace (content removed from StarWars.com; backup link)
• Biography: John Williams on StarWars.com (content obsolete and backup link not available)
• Sony to Release Episode I Soundtrack on StarWars.com (content obsolete and backup link not available)
• John Williams Records Episode I Soundtrack on StarWars.com (content obsolete and backup link not available)
• StarWars.com - Completing Visual Effects
• StarWars.com - Snapshot: Phantom Conduction
• StarWars.com - Kids: John Williams Scores
• StarWars.com - Homing Beacon #54 - Knowing the Score
• StarWars.com - Episode III Soundtrack Includes Bonus DVD
• StarWars.com - Hear Episode III Soundtrack Previews at Sony Classical
• StarWars.com - Episode III Score Nominated for Grammy Awards
• JohnWilliamsComposer.com - Sony Classical
• The Ultimate Edition -- Star Wars: Episode I The Phantom Menace
• Star Wars and Wagner's Ring compared
• A John Williams fansite
• Music of Star Wars on Wikipedia