From Lostpedia

Tim Simonec conducts a cue to "Exposé"

The original non-diegetic music, or musical score, to Lost is composed by Michael Giacchino and performed by members of the Hollywood Studio Symphony. The instrumentation consists primarily of a string section, four trombones, piano, harp, and assorted percussion instruments. Occasionally additional instruments are employed such as synthesizer, guitar, and ukulele. Tim Simonec is the conductor of the orchestra, and Dan Wallin is the recording and mixing engineer.

Compositional elements

Leitmotifs

Main article: Musical themes

The score makes extensive use of leitmotifs, which are musical themes that appear for specific characters or circumstances. For instance, Kate has a theme which is heard at various times when the story focuses on her character (titled "Kate's Motel" on the Season 1 soundtrack; first introduced in "Born to Run"). As well, most of the main characters have one or more themes. There is also a theme, for example, when people are exploring the Island, often for the first time, as heard on the first mission to the cockpit in "Pilot, Part 1", the trek to the Black Rock in "Exodus, Part 1" and on Juliet's arrival to the Island in "One of Us". The leitmotifs are usually short, often used as repeating figures, and sometimes undergo several variations throughout the series. Occasionally, different themes are integrated together when different characters or circumstances are present at the same time.

An example of one the leitmotifs is "Hollywood and Vines" (Soundtracks). This theme has appeared several times ("Pilot, Part 2")  ("Exodus, Part 2")  ("Abandoned") ("Through the Looking Glass")  ("Cabin Fever")  ("Follow the Leader"), and is used when characters are trekking across the Island (often to higher elevation). It opens with a recognizable and prominent bass figure, which is phrased in a syncopated rhythmic pattern, giving it a somewhat staggered feel. Its minor key, low register, and heavy reliance on the tonic and dominant notes of the scale add to it a tone of fortitude and gravity.
"Hollywood and Vines":

Jack's leitmotif is discussed by composer Michael Giacchino in the DVD extra "Lost in a Day" on the Lost: The Complete Third Season (DVD) (at the 5:41 pm Los Angeles segment). Actor Matthew Fox learned to play the song on piano so that he could be filmed playing his own leitmotif.

Recurring sonic textures

The use of 'stylistic themes', or recurring sonic textures, plays a large role in giving the musical score a unique and identifiable sound. Often, the instruments in the ensemble are played in uncharacteristic ways, and they are utilized for their particular acoustic qualities. This approach generally has the effect of establishing mood and atmosphere. Some well-known examples of these recurring sonic textures include:

• The familiar trombone "fall-offs" that often occur right before a commercial break.
• Themes played as very slow, quiet passages on piano.
• Frantic action music, typically relying on unorthodox percussion (see below) and repeating figures in the strings and brass.
• String instruments played near the bridge of the instrument (known as "sul ponticello"), producing a tense, eerie, or otherworldly sound.
• Slowly repeating harp notes, particularly in the low register, often used for quiet suspense.

Percussionist Emil Richards plays a Flapamba

• The use of unconventional percussion instruments as sound effects:
  • A metallic Angklung, which gives a high pitched, "jangly" sound, is used for moments of uneasiness and fear.
  • A Flapamba (a marimba-like instrument) is often used, usually in a rapid sequence of low, muffled notes.
  • Percussionist Emil Richards drags a superball across a gong to produce an eerie howling sound. (Official Lost Podcast/January 09, 2006 (Orchestra Special)) Examples of this effect in use include, 1) when Cooper is revealed to Locke at the end of "The Man from Tallahassee", and 2) coinciding with the orchestral punctuations in the final shot of "Exposé", showing the mound of sand over Nikki and Paulo.
  • The insides of a piano were taken out, and are used to strike the strings in various uncustomary ways. (Official Lost Podcast/January 09, 2006 (Orchestra Special))
  • Scraps of metal from the crashed airplane were shipped back to Los Angeles by Bryan Burk so that they could be used as percussion instruments. (Welcome to Oahu) This is an example of "found percussion".
• The occasional use of waterphone.
• In quieter, emotional scenes, a certain chord is often used. It consists of the tonic, the note a half-step below that, and the note a major third below that.

Other techniques

Occasionally, songs in the show that are diegetic (originating from within the story and heard by the characters), are incorporated into the score, hence becoming non-diegetic.

• After Shannon sings "La Mer" to Sayid in "Whatever the Case May Be", the piano continues playing the song through the end of the episode.
• After "These Arms of Mine" fades out neat the end of "S.O.S.", the strings play a short phrase from the song during the shot of Rose and Bernard sitting by the fire.
• After "Shambala" comes on in the DHARMA van in "Tricia Tanaka Is Dead", the song is integrated into the score for use in the following montage sequence.

There have been two instances where non-diegetic music was used that was a commercial song, not composed by Giacchino.

• "I Shall Not Walk Alone" is heard as Sayid leaves the camp in "Confidence Man".
• "Slowly" is heard at the beginning of Kate's flashback in "I Do".

Process and approach

Michael Giacchino and piano player Mark Gasbarro

From the beginning of the series, Michael Giacchino's approach to scoring Lost has always been to try to avoid jungle and action film clichés, like flute and woodwind instruments, instead opting for an unusual and disorienting tonal palette. Also, as a creative strategy, Giacchino doesn't read the scripts ahead of time, instead choosing to watch the episode until reaching a point that needs music, and then writing that cue. [1] (Official Lost Podcast/April 10, 2007)

The process of composing and orchestrating an episode's score takes two days, and the orchestra and recording team have three hours to record all of the music at the scoring stage. The musicians in the orchestra don't rehearse beforehand, rather they come in to the session and sight-read their parts. [2] (Official Lost Podcast/April 10, 2007) (Official Lost Podcast/January 09, 2006 (Orchestra Special))

Trivia

General

• The end credits theme music on Lost is a combination of two separate score elements from "Pilot, Part 1". The rhythmic bed is the 14 bars of percussion heard when Jack is telling Hurley to watch Claire's contractions shortly after the crash (5:17 - 5:45). Layered on top of that with mallet percussion is the melodic leitmotif first introduced when Jack is running out from the jungle to the crash site ("The Eyeland" from the Season 1 soundtrack). Strings slowly rising in pitch and a trombone swell at the end are also added.
• In the show, Giacchino has referenced his own work outside of Lost. The melody played by the low strings when Locke is exploring the submarine in "The Man from Tallahassee" is from "The U-Boat", a piece from the video game Medal of Honor, also composed by Giacchino. [3] He later used this theme again for scenes involving the submarine in Follow the Leader and The Incident, Part 1.

Original diegetic music

Giacchino on occasion has composed diegetic music, heard by the characters in the show:

• In "Born to Run", when Charlie shows Claire a new song that he's writing for Drive Shaft ("Monster Eats the Pilot"), the riff that he plays on his guitar is is based on the melody to "Credit Where Credit is Due" (Soundtracks), a prominent theme first heard in "Pilot, Part 1".
• The theme songs for the Swan and Pearl Orientation films contain the melody (with an added note at the end) from "The Eyeland" (Soundtracks), which appears in the end credits of the show and also in the score.
• In "Not in Portland", the breakbeat music when Karl is being brainwashed in Room 23 was composed by Giacchino specifically for the scene. [4]
• The song that Jack plays on piano in "The Man from Tallahassee" is his leitmotif, which was composed by Giacchino for season 3. (Official Lost Podcast/March 26, 2007)

Awards

Main article: Awards

Michael Giacchino has won several awards for his work on the musical score.

• 2005 Emmy Award - "Outstanding Music Composition for a Series (Dramatic Underscore)"
• 2005 ASCAP Film and Television Music Awards - "Top TV Series", with J.J. Abrams
• 2005 BMI Film & TV Awards - "BMI TV Music Award"
• 2006 ASCAP Film and Television Music Awards - "Top TV Series", with J.J. Abrams

See also

• Michael Giacchino
• Soundtracks - The first four seasons have had soundtrack albums released, featuring music from the score
• Musical themes
• The Lost Symphony - A symphonic work for orchestra composed by Giacchino, featuring music from the score
• Songs featured in Lost
• January 9, 2006 Official Lost Podcast - A special orchestra edition in which Michael Giacchino takes a tour of the scoring stage, and introduces musicians and instruments that make up the sound of Lost
• April 10, 2007 Official Lost Podcast - A video podcast in which Giacchino is interviewed and takes a tour of the scoring stage
• Incidental music download thread - A collection of Lost music tracks captured from various episodes

External links

• NJ Star-Ledger - June 22, 2008 interview with Michael Giacchino

From Wookieepedia, the Star Wars wiki.

RARRRRRR! This article should be wookified to fit within the style of Wookieepedia. Please follow the guidelines in the Manual of Style and How to edit a page.

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.

Principal leitmotifs

Composed for the original trilogy

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.

The "Rebel Fanfare"
(File info) · (Audio help)
An example of the "Rebel Fanfare" from "TIE Fighter Attack."

• 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 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 (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. 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.
• 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 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.

Composed for the prequel trilogy

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 the 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.
• Jar Jar's Theme (Episode I).A Theme for the clumsy Character Jar Jar. Heard when he is introducing himself to Padmé on the ship, and when he is chasing the pit droid in Watto's shop.

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 D 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 climactic, 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. It is developed substantially during the 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."
• Grand Army of the Republic theme/Arena theme (Episode III). Major key, predominantly brass theme. Symbolising the clone troopers and the Republic military. Occurs initially with the introduction to the Battle of Kashyyyk, later with Operation Knightfall and the Republic's victory in the Battle of Utapau.
• 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.
• Padmé's Ruminations (Episode III). Heard before Mace Windu's battle with Darth Sidious.

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—a subtle clue as to the true identity of the senator from Naboo.
• Dex's Diner (composed by Joseph Williams) (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.
• The Flag Parade (Episode I).The Flag March for the opening of the Boonta eve Podrace.

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.
• 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.
• 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.

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^[1] 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

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!

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.

Shadows of the Empire

Shadows of the Empire

Star Wars Episode I: The Phantom Menace

Sony Classical CD.

Sony Classical CD - Ultimate Edition.

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.

Jango Fett.

Anakin and Padmé.

Yoda.

Movie poster art.

Star Wars Episode II: Attack of the Clones

Now available on Sony (2002) with only 1 CD not presenting the complete score.

Sony Classical CD.

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.

The Corellian Edition

The Corellian Edition

Star Wars: The Clone Wars

The Clone Wars

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.
• 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

See also

• Ewoks
• Shadows of the Empire
• Republic Commando
• The Clone Wars
• The Force Unleashed

External links

• Score / how we got here (Some Globe noms tuned out by Oscar) on Hyperspace
• Post Notes: The Score Begins on Hyperspace
• StarWars.com - Biography: John Williams
• StarWars.com - Sony to Release Episode I Soundtrack
• StarWars.com - John Williams Records Episode I Soundtrack
• 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