Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
COMPLETE CATALOGUE OF THE THEMES OF
A Guide to John Williams's Musical Universe
Revised and Expanded
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
CONTENTS
I. Leitmotifs (Distinctive recurring musical ideas prone to development, creating meaning, & absorbing symbolism)
A. Original Trilogy A New Hope (1977) | The Empire Strikes Back (1980) | The Return of the Jedi (1983)
B. Prequel Trilogy The Phantom Menace (1999) | Attack of the Clones (2002) | Revenge of the Sith (2005)
C. Sequel Trilogy The Force Awakens (2015) | The Last Jedi (2017) | The Rise of Skywalker (2019)
D. Anthology Films & Misc. Rogue One (2016) | Solo (2018) | Galaxy's Edge (2018) | Obi Wan Kenobi (2022)
II. Non-Leitmotivic Themes
A. Incidental Motifs (Musical ideas that occur in multiple cues but lack substantial development or symbolism)
B. Set-Piece Themes (Distinctive musical ideas restricted to a single cue)
III. Thematic Relationships (Connections and similarities between separate themes and theme families)
A. Associative Progressions | Associative Tonality | Associative Orchestration (coming soon!)
B. Thematic Interconnections
C. Thematic Transformations
IV. Diegetic and Extra-Diegetic Music (Music that comes from completely within the film world, or completely outside it)
A. Source Music
B. Concert Arrangements
C. End Credits
V. Appendix
A. Criteria & Conventions | Cue Lists | Census |Citations
B. Acknowledgements
This catalogue is adapted from a study published in
JOHN WILLIAMS: MUSIC FOR FILMS, TELEVISION, AND CONCERT STAGE (edited by Emilio Audissino, Brepols, 2018)
Materials herein are based on research and transcriptions of the author, Frank Lehman (frank[email protected]u)
Associate Professor of Music, Tufts University. This catalogue is continually revised and updated. Stable link here: franklehman.com/starwars
COMPLETE CATALOGUE OF THE MUSICAL THEMES OF
STAR WARS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
I
LEITMOTIFS
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY
THEMES AT A GLANCE
Episode IV: A New Hope (1977)
Episode V: The Empire Strikes Back (1980)
Episode VI: Return of the Jedi (1983)
Incipit
Incipit
Incipit
Note: all motif incipits transposed to C.
Maximum three measures depicted.
Note: all motif incipits transposed to C.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (1)
EPISODE IV: A NEW HOPE
1a. MAIN THEME
Main Theme for Star Wars series as a whole.
Doubles as character leitmotif for Luke
Skywalker. Heroic in initial presentation,
but subject to extensive variation &
development, ranging in expression from
triumph to terror, comedy to nostalgia.
VII→V progression at end of each phrase
anticipates Rebel Fanfare. Dense with
intertextual resonances.
Used In:
I, II, III, IV, V, VI, VII, VIII, IX, R, S
First Usage: IV [0:00:28]
"Main Title" (1m2)
Key Features: Wide melodic leaps throughout, beginning with opening P4+P5
interval pattern. Emphasizes root & fifth of tonic triad. Melodic peaks joined by
descending triplets, followed by octave displacement. Major key with mixolydian &
quartal inflections. Brass, esp. trumpet, instrumentation in iconic statements.
1b. MAIN THEME cont.
More lyrical counterpart to MT A-Section,
with similar heroic associations. While not an
independent leitmotif, the B-Section is
occasionally heard in isolation & detached
from leitmotif’s first phrase. When heard in
conjunction with another theme—either MT
A-Section as in R1P2, or Throne Room as
in 12m2)—forms a small {ABA'} ternary
form.
Used In: I, IV, V, VI, IX
(Titles/credits only: II, III, VII, VIII)
First Usage: IV [0:00:48]
"Main Title" (1m2)
Key Features: More flowing melodic profile compared to A Section, though still
wide-ranging. Harmonically static, mostly over dominant (5) pedal. Mirror-image
contrary motion between bass & melody in 2nd phrase. 4 measure cadential
extension (not shown) drawn from fanfaric intro to Main Title. Carried by strings.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (2)
EPISODE IV: A NEW HOPE
2. REBEL FANFARE
Short motif that signifies the presence and
actions of Rebel Alliance and later
Resistance. Associated with spacecraft.
Subject to semantic drift, becoming all-
purpose heroic motif. Doubles as a theme
specifically for the Millennium Falcon in
TFA onwards. Prone to repetition,
development, de- and re-composition; a
textbook “motto” theme (Richards 2016).
Used In: III, IV, V, VI, VII, VIII, IX, R, S
(Possibly hinted in I and II)
First Usage: IV [0:02:06]
"Main Title" (1m2)
Key Features: Parallel root-position major triads, often over a static pedal point.
Emphasis of m3 interval, both harmonic & melodically—outlines a diminished triad.
Distinctive short-long dotted rhythm. Predominantly brass-based orchestration, esp.
trumpets. Flexible, uncertain tonality.
3. FORCE
Certainly the most common, arguably the
most important theme in Star Wars. Used as
a leitmotif the Force, Jedi Knights (esp.
Obi Wan), but also something of an All-
Purpose theme. Close structural, symbolic
affinities with several other themes, esp.
Rey; interacts with & imprints upon even
more. Minor key & incrementally rising line
lends a noble, melancholic affect.
Used In: I, II, III, IV, V, VI, VII, VIII, IX, R,
M, B, K
First Usage: IV [0:04:53]
"The War"(1m3)
Key Features: Opening P4 interval, steadily rising melodic contour (3, 5, and 8 in
successive phrases). Highly salient arrival on IVs in m. 4 (sometimes bII, esp. post
ROTS), bVI in m. 6. Close association with solo fr. horn, but can be heard on every
instrument. Extensively varied; complete statements rare and always significant.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (3)
EPISODE IV: A NEW HOPE
4. LEIA
Lyrical, lengthy theme connected with
Princess/Gen. Leia Organa. In ANH, as
much associated with Leia as a character as
Luke’s subjective image of her. Romantic in
multiple senses: 19
th
-century compositional
idiom; originally intended as love theme for
Luke & Leia; signifies a more general
romance of adventure, nostalgia, heightened
emotion, myth-making.
Used In: III, IV, V, VI, VII, VIII, IX, R, K
First Usage: IV [0:05:07]
"The War" (1m3)
Key Features: Ascending M6 opening interval. Theme one big curve, with each
subphrase a smaller curl. Prevalence of modally-mixed supertonic harmonies
featuring b6 [e.g. ii
ø7
, bII]. General increase in chromaticism as theme proceeds.
Conclusion on a highly telegraphed half-cadence. Solo winds, esp. flute, oboe, horn.
5. DEATH STAR
Brief motif for Imperial warships, mainly the
Death Star and secondarily Star Destroyers.
Occurs in two very slightly different forms
with alternate harmonizations. Mostly
restricted to ANH, with a pair of references
in ROTJ and a brilliantly tongue-in-cheek
version in TLJ. A handful of close variants
appear in a pair of unused cues in TFA,
2m16 & 4m30.
Used In: IV, VI, VIII, R, S
(Possibly hinted VI, [R7P3], VII [2m16, 4m30])
First Usage: IV [0:08:48]
"The Escape Hatch"
(1m4/2m1)
Key Features: Ascending four-note arpeggio, outlining a dissonant sonority.
Polychordal harmonization. Minor-major seventh chord emblematic. Strong bass
note on beat one, serves as pedal-point. Massed, parallel voice-led harmonization,
typically in full brass or brass + winds. Frequently treated as a cue-ending flourish.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (4)
EPISODE IV: A NEW HOPE
6. IMPERIALS
A cluster of related ideas in ANH that
represent Vader, Stormtroopers, and
Imperial troops more generally. A concise
Imperial Motif (6a) serves as main
antagonist theme in ANH, completely
dropped in favour of Imperial March after
ESB. Two Imperial Ostinati (6b, 6c)
provide accompaniment for 6a or serve as
independent motifs, particularly in TROS.
Used In:
6a.: IV, R, S
6b., c.: IV, IX, R, S
First Usages: IV
[0:05:42, 0:06:40]
(1m3-4)
Key Features: Repeated first note, followed by upwards m3. Tremolo on
penultimate pitch. Use of b2 suggests phrygian, octatonic scale. Octatonic
implications through harmonization by triads an m3 apart—compare Rebel Fanfare,
this motif’s shadow. Generally low woodwind, brass instrumentation.
7. JAWAS
Quizzical leitmotif attached to Jawas.
Colorful and odd in construction, suggesting
a non-threatening alienness. Shades of
Stravinsky, Debussy, Prokofiev. More
discursive Jawas 7a associated with
creatures themselves, 7b the Sandcrawler.
Materials spun into several incidental motifs
in ANH: c.f. Diminutive Creatures, Scum
& Villainy.
Used In: IV
First Usage: IV [0:12:58]
"The Little People"
(2m3)
Key Features: Extreme chromaticism and tonal ambiguity. Theme undergirded by
oom-pah bassline and tritone-heavy harmonization; adheres in part to lydian-#9 scale.
7a woodwind based, primarily for English Horn. 7b a parallel period of sorts, with
muted brass planing triads over a mobile & dissonant bass.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (5)
EPISODE IV: A NEW HOPE
8. TIE FIGHTER ATTACK
Originally a set-piece cue from ANH [10m2],
with a syncopated main subject plus
interstitial material based on the Rebel
Fanfare and Death Star motifs. Reuse in
ROTJ, TLJ, and Solo leads to retroactive
leitmotivic designation, effectively as another
theme for the Millennium Falcon. Suggests
general approach to propulsive bassline
writing for action cues, but in melodic form.
Used In: IV, VI, VIII, S
First Usage: IV [1:34:34]
"Here They Come"
(10m2)
Key Features: Repeated staccato eighth-note figure falling on irregular intervals
[1212312312341123]. Followed by rise and longer descent by chromatic thirds. Sense
of non-functional harmonization strengthened by dissonant bass line comprised of
non- chord tones.
9. THRONE ROOM
Stirring processional music for awarding of
medals in final scene of ANH. Later cleverly
developed in 9m5 of ROTJ. Theme modeled
on what Williams calls “land of hope and
glory” idiom, evocative of Elgar and
Walton’s nobilmente style. After first phrase,
presents Main Theme B, making an overall
{ABA'} ternary form not unlike ANH main
title.
Used In: IV, VI
(End credits only: III, IX)
First Usage: IV [1:59:24]
"End Credits"
(12m2)
Key Features: Opening melodic motif that repeats tonic note, followed by
downwards arpeggiation of dominant. Persistent walking bassline; new note on every
beat, almost always downwards by step, ala Elgar & Walton. Rich diatonic
harmonization, with abundant sevenths and functional circle-of-fifths motions.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (6)
EPISODE V: THE EMPIRE STRIKES BACK
10a. IMPERIAL MARCH
THE iconic villain theme. From ESB
onward, Imperial March supplants the
Imperial Motif, and doubles as a theme for
Darth Vader. The chief antagonist leitmotif
for almost whole series; defines whole
scores. Extremely prominent, subjected to
tremendous variation & development.
Deconstructed components found in
Anakin’s Theme, Kylo Ren B, inter alia.
Used In: I, II, III, V, VI, VII, VIII, IX, R, S, K
First Usage: V [0:01:55]
"Imperial Probe" (1m2)
Key Features: Thrice-repeated opening note, followed by dotted figure flanking
tonic by lower and upper third. Rhythmically accelerated consequent phrase, with
more downwards-trending, chromatic melody. Hugely characteristic harmonization,
stressing LP(m) transformation (e.g. i↔ bvi). Generally presented in brass, snares.
10b-g. IMP. MARCH continued
Auxiliary components, variously detachable,
of the Imperial March. Nervous figure in
theme’s Bridge (10b) heard intermittently in
ESB, more significantly in ROTJ. Rhythm of
Vamp (10c) occurs throughout series.
Characteristic i↔fvi Progression (10f) and
Polychord (10g) themselves autonomous
leitharmonies, especially in ROTJ and ROTS.
Compare with 22b, 41, 61.
Used In
10b.: V, VI, IX, R
10c-e.: V, VI
10f-g.: All
First Usages: V [0:19:50]
"The Probe Scanner"
(2m4), [0:36:54] “Asteroid
Field” (4m3), etc.
Key Features: Melodic motifs (10b-e) all bear an eighth sixteenth-note triplet in
some guise. Opening melodic idea of 10b starts on off-beat, presents incomplete
double neighbour a tonic. 10b associated with strings, 10c low strings & snare, 10d
trpts, 10e winds. Hexatonicism of 10f&g notable—an associative pitch collection.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (7)
EPISODE V: THE EMPIRE STRIKES BACK
11a. HAN AND LEIA
Theme for relationship between Han and
Leia, primarily amorous in ESB and ROTJ,
more wistful and even tragic in ST.
Structurally & symbolically linked with Leia;
similar to that theme assumes less rigid
signification towards end of ESB. Mistakenly
put forward as a theme for Han himself (see
Bird 1997), but always intended as love
theme (see Arnold 1980).
Used In: V, VI, VII, VIII, IX
First Usage: V [0:03:32]
"Imperial Probe"
(1m2)
Key Features: Opening upwards M6 interval. Strong presence of mode mixture in
harmonization [ii
ø7
, bII] and melody (b2, b6). Often with tonic pedal point. Mm. 1-4
cadence in home key, mm. 5-8 in a more remote tonal region. Associated with
strings, solo horn. Melodic dim. third {F→E→Ds} itself highly motivic in ESB.
11b-c. HAN AND LEIA cont.
B-section of love theme, almost never heard
in main part of scores, but major component
of extradiegetic (End Credits) and
paratextual (Concert Arrangement) versions
of theme. Two entirely different “morphs”:
original (1980) and revised (2017). More
bittersweet in character than A-section,
based partially on its melodic ideas. Compare
contour w/ Kylo A.
Used In: V
First Usage: V [0:51:30]
"Solo and the Princess"
(5m4)
Key Features: Descending tendency of melody. Overall less stable and defined
tonally until ending, a firm HC in key of A-section. Both forms oscillate between
maj/min triads a step apart (suggesting a IV↔iii diatonic progression) before
chromatically recapturing original key.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (8)
EPISODE V: THE EMPIRE STRIKES BACK
12a. YODA
Tender theme for Yoda, appearing in all
films featuring the character, although
surprisingly sparingly in the Prequels. Mostly
warm and serene in quality, but can take on
more triumphal, thrilling, or even ominous
tones. A few uses lack direct reference to
Yoda, including ESB (10m2), AOTC (7m2,
tracked), and TROS (9m3). One of
Williams’s favorites. See also Revelations.
Used In: I, II, III, V, VI, VIII, IX, M, B
First Usage: V [0:49:43]
"Yoda Appears"
(5m2)
Key Features: Simple, triadic melody, with emphasis on tonic and supertonic chords
(esp. characteristic lydian II#) and melodic #4 . Very few melodic steps. Quite flexible
in terms of instrumentation: carried by strings, solo horn, trp, or woodwinds. Gentle,
homophonic accompaniment, sometimes w/ pizz strings or harp providing harmony.
12b. YODA cont.
Contrasting B-section of Yoda’s theme, very
rarely heard. Sprightlier and more playful in
character, like a musical giggle. A handful of
understated uses in ESB, and a recurrence
(drawn directly from Concert Arrangement)
in TROS 9m3 that was ultimately cut from
film.
Used In: V, IX
First Usage: V [0:56:10]
"Yoda's Entrance"
(5m3)
Key Features: Staccato dotted rhythmic figure. Initial oscillation of maj7th chords in
plagal (IV↔I) relationship. Second-half emphasizes minor mediant (iii) before a half-
cadence prepared by downwards cycle of parallel major chords—compare Rebel
Fanfare, esp. final four notes. Invariably high wind instrumentation.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (9)
EPISODE V: THE EMPIRE STRIKES BACK
13. DROIDS
Cheery, off-kilter theme for R2 and C3PO,
in the quirky quasi-march idiom more
generally associated with aliens and droids.
Developed to an appreciable extent in ESB
but abandoned afterwards, w/ non-thematic
(though often similar in tone) music
assuming role—see Droids on Tatooine,
Droids Minimotif. One near-instance in
ROTJ R10P5. Slyly referenced in Solo 2m16.
Used In: V, S
First Usage: V [0:06:44]
"Imperial Probe"
(1m2)
Key Features: Repetitions of descending 3- or 4-note motif at onset. In an overall
major key but governed by non-functional harmony, particularly derived from
aug2nds and hexatonic scale. Two forms, differing in continuation, degree of
syncopation, but inhabiting same thematic niche. Typically on solo winds, tuba.
14. BOBA FETT
Brooding, bassoon-defined theme strictly
associated with Boba Fett. A cluster of
derived motifs, all based on lower neighbor,
become prominent in third act of ESB. 14c
also related to Imperial March (cf 3m1).
These derived figures themselves further
spun out into pair of Incidental Motifs in
ESB (Bespin Dirge I & II), possibly one in
AOTC (Tremulous Neighbor Fig.).
Used In: V, II (?)
First Usage: V [1:06:13]
"Attack Position"
(7m2)
Key Features: Fast, six-fold repetition of opening pitch, followed by descending
semitone. Parallel thirds underneath every melodic pitch, almost all minor thirds.
Contrasting idea a more slowly rising stepwise figure. Completely octatonic pitch
collection. Exclusively associated with bassoons.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (10)
EPISODE V: THE EMPIRE STRIKES BACK
15. CLOUD CITY
Prominent if sparingly used theme for Cloud
City on Bespin (also called Lando’s Palace).
A regal, slow march in style of William
Walton; compare leitmotifs 1a, 9, Battle of
Hoth motif-h. A full grammatical theme,
with its own contrasting B-section.
Restricted to ESB. Lando musically
unmarked in ROTJ, lightly associated with
Heroics (Broad) in TROS.
Used In: V
First Usage: V [1:21:31]
"Lando's Palace"
(8m3)
Key Features: Major tune with mixolydian harmonization. Almost all chords
embellished by major sevenths (a Waltonian touch). Avoids dominant, preferring IV,
bVII, bII chords to prolong tonic. B-section defined by repeated descending melodic
figure. Given to horns mixed with strings.
16. DARK SIDE
A cluster of ominous ideas revolving around
a melodic whole-tone. Basic motif (16a) is
important if subtle aspect of ESB score.
Related to the "Hyperspace" Ostinato (16b)
which may support more extended derived
Melody (16c) that features prominently in
R12P1-2. Both unexpectedly recur in
TROS's "Falcon Flight" sequence.
Used In
16a.: III, V
16b & c.: V, VI, IX, R, K. (Hinted in IV, VIII)
First Usage: V [0:15:20]
[Tracked from "To
Hyperspace"(12m2)]
Key Features: Slow, dark, and low. Initial pitch held for long duration, followed by
more articulated second note a step above, before returning to original pitch. Heard
on trombones, basses; horns in more climactic statements. 16c prone to extreme
pantriadic chromaticism, internal modulations in full statements.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (12)
EPISODE VI: RETURN OF THE JEDI
17. EMPEROR
Theme for Emperor Palpatine/Darth
Sidious, main antagonist across saga. Musical
emblem of the Dark Side. Intoned by
wordless low-male choir in most instances
(see also Snoke). Suggests ancient menace
and a baleful power that some might
consider unnatural. Used most in the last
entry of each trilogy. Compare Kylo Ren A,
Wayfinder, Augie’s Municipal Band.
Used In: I, II, III, VI, VII, IX
First Usage: VI [0:38:17]
"The Emperor"
(4m5)
Key Features: Minor third motion above tonic [1↔3]. Intrinsically non-diatonic
harmonization, stressing minor triads progressing by chromatic minor thirds or
tritones (e.g. Fsm↔Am, Fsm↔Cm). Dangling melodic maj-7
th
in fourth measure.
Almost exclusively attached to low instruments, esp. wordless male choir.
18. JABBA
Grotesque leitmotif for crimelord Jabba the
Hutt, simultaneously pompous, threatening,
and comical. More than almost any other
theme, connected with a single instrument:
solo tuba. Largely restricted to first third of
ROTJ, though portions also tracked into
restored Jabba scene in ANH Special
Edition, and recast as a fanfare in TPM
3m10.
Used In: I, IV, VI
First Usage: IV [0:52:44]
"The Big Thaw" (Tracked
from ROTJ, 3m2)
Key Features: Fast surface activity (triplet pickup, tumbling arpeggios) and slow
harmonic rhythm. Melodic outlining of dissonant chords (e.g. Gm
maj7
s
11)
. Progression
based on chromatic transformations between minor triads. Carried by tuba or other
strange instrumental timbres. Has an almost bizarre dancelike quality.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (10)
EPISODE VI: RETURN OF THE JEDI
19a. EWOKS
Animated and catchy theme for the furry
inhabitants of Endor. Presented as a march
in its fullest version (“Parade of the
Ewoks”). An affectionate and knowing
homage to Prokofiev. Restricted to ROTJ,
where it gets a fair workout during the
second half of the score. In the same motivic
superfamily as Jawas, Droids, Jar Jar.
Used In: VI
First Usage: VI [1:03:50]
"Enter the Ewok"
(7m2)
Key Features: Prevalence of staccato dotted rhythms. Several “wrong note”
components of melody (notably the ubiquitous, often accented #4 and b5s).
Ultimately a major-mode tune, but harmonization toys with both modes
simultaneously. Appears in winds (inc. recorder), pitched percussion, or trumpets.
19b-c. EWOKS cont.
Two auxiliary components of the main
Ewok theme: an infrequently heard but
memorable B-Section (19b) and a quite
frequent and almost-autonomous Ewok
Horn Call (19c). As with main motif 19a,
rhythmically and harmonically devious but
non-threatening. All three components
collected and developed in “Parade of the
Ewoks” and ROTJ credits.
Used In: VI
First Usage: VI [1:28:54]
"Heroic Ewok"
(10m1)
Key Features: Strict triadic planing for harmonization of 19b; split into a high treble
phrase and a lower tenor response phrase. Carried by wind choir or trumpets. 19c a
literal horn call, with repeated holler of a P5
th
before quirkier chromatic pitches
introduced. All Ewok-associated themes have interesting percussion textures.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (10)
EPISODE VI: RETURN OF THE JEDI
20. LUKE AND LEIA
An extraordinary theme, restrained in its
usage but highly poignant on the few
occasions it appears. Characterizes the bond
between Skywalker twins—but only once
they are both aware of that relationship.
Uniquely long melody, with three lyrical
subphrases. Quite complex harmonically,
cleverly shares aspects with Luke and Leia’s
individual leitmotifs.
Used In: VI, VIII, IX
First Usage: VI [1:20:24]
"Brother and Sister"
(9m2)
Key Features: Phrases begin w/ 3-note ascent (P4+P5) followed by accented &
sustained passing tone above chordal third. Complex tonal trajectory, emphasizing
pedals and fragrant mixed and chromatic chords; regardless of harmonic digressions,
always works way back to tonic. Belongs to the strings (esp. cellos) and solo horn.
21. IT’S A TRAP!
Two separate themes, showcased at the
onset of the Battle of Endor. Motif A (21a)
is a nervous octatonic figure that occurs in
several cues in ROTJ, bears similarity to
several Incidental Motifs that arpeggiate
diminished triads. Motif B (21b) a classic
Williams pseudo-Baroque subject, partly
derived from the Imperial March bridge
(c.f. 1m3 of ROTJ).
Used In
21a: VI (Prefigured in IV)
21b: VI, R, S
First Usages: VI
[0:56:20] "Faking the
Code" (6m3), [1:34:19]
"Into the Trap" (10m3a)
Key Features: Based on repetition of small melodic particles, either transposed or
progressively expanded in scope. 21a more syncopated, stressing s4 in minor. 21b
more tuneful, suggests a fugue subject that’s never elaborated upon. Based on
(harmonic) minor scale, chaining together of downwards melodic thirds.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ORIGINAL TRILOGY (10)
EPISODE VI: RETURN OF THE JEDI
22. VICTORY FANFARE
Celebratory theme unique to Return of the
Jedi, used for scenes of explosive triumph.
Form 1 heard at the climax of “Jabba’s End”
(4m4, both versions) and Form 2, which
incorporates the last 2 measures of Form 1,
at end of “Through The Flames” (R13P3).
Compare other lydian themes (Yoda,
Anakin, Rose, Friendship) and victory
motifs (Rebel Fanfare, Victory).
Used In:
22a: VI
22b: VI
First Usage: VI [0:35:39]
"Jabba’s End”
(4m4)
Key Features: Textbook lydian music: sunny major mode with melodic emphasis on
5→s4 motion and harmonic basis on I↔IIs looping progression. 22a more
extended, prone to internal modulations. 22b essentially a short, repeatable fanfare.
Bright, loud brass orchestration, with plenty of flair in strings and winds.
23. REVELATIONS
A motivic outgrowth of Yoda’s Theme
(with some Imp. March shades too) that
acquires a degree of thematic autonomy and
salience in ROTJ. Comes to prominence
during Yoda’s death, later recalled alongside
Luke & Leia’s theme on Endor. More subtle
allusions throughout ROTJ (1m3, 11m6,
13m3-4). Previewed, after a fashion, in ESB
(3m1, 5m3, 7m3). See Huvet (2021, 71-74).
Used In: VI
(Prefigured in V, echoed throughout II)
First Usage: VI [0:02:30]
"Approaching the Death
Star" (1m3)
Key Features: Repeated triplets, downwards arpeggiated minor triads. Chordal sixth
(e.g. b6) stressed on second triplet onwards. Originates from Yoda’s 5→3→1→7→6
contour. Harmonization varies, may be polychordal. Presented in soft, subtle
orchestral colors: harp, celesta, muted strings, blended winds.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY
THEMES AT A GLANCE
Episode I: The Phantom Menace (1999)
Episode II: Attack of the Clones (2002)
Episode III: Revenge of the Sith (2005)
Incipit
Theme
Incipit
Incipit
32. Anakin and
Padme
33. Conspiracy
34. Mystery
35. Pastoral
Courtship
36. Gloomy
Courtship
37. Descent
Note: all motif incipits transposed to C.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (1)
EPISODE I: THE PHANTOM MENACE
24a. YOUNG ANAKIN
A lyrical but complex theme for Anakin
Skywalker before his transformation into
Darth Vader. Restricted to the Prequels.
While outwardly innocent and optimistic,
cleverly shares musical DNA with the
Imperial March in several respects, and is
developed thoroughly in TPM. Curiously
underutilized in AOTC and ROTS. Compare
Yoda, Rose for lydian characteristics.
Used In: I, II, III
First Usage: I [0:32:41]
"I’m a Pilot, You Know"
(2m7)
Key Features: Widely arching melody, beginning with an interlinked succession of
ascending 4ths & 5ths. Vacillation b/t diatonic & chromatic materials: note lydian
inflections (ex: B/A chord, accented melodic #4s) and neighbor-chords (VII#
7
, bII
7
).
Rhythmic cells, contour throughout hint at Imperial March. Strings/winds generally.
24b-d. YOUNG ANAKIN cont.
A cluster of auxiliary motifs, most only
definitively stated in concert arrangement.
24b an introductory figure, derived from
24a, sometimes heroic in presentation. 24c a
representative passage from the discursive
central section of theme, not directly used in
main score but similar music throughout
TPM Tattooine scenes. 24d where Imperial
March similarities made most explicit.
Used In: I, II
First Usage: I [0:43:45]
"Are You A Jedi?"
"3m2"
Key Features: Lydian aspects of main theme persist in 24b, 24c. Rich triadic
harmonization and subtle interior counterpoint in 24c and similar phrases.
Increasingly clear rhythmic and esp. harmonic references to Imperial March in 24d,
with use of hexatonic pole (bvi) in alternation with tonic as melody slopes downward.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (2)
EPISODE I: THE PHANTOM MENACE
25a. DUEL OF THE FATES
The “big” new theme from the prequels—
actually a thematic complex, used extensively
during Battle of Naboo, particularly the
Darth Maul duel. 25a (Theme) the most
traditionally melodic component, though still
essentially motivic in nature. Iterations in
AOTC, ROTS are partially or completely
tracked from TPM arrangement. Excerpts
recorded but left unused for TROS.
Used In: I, II, III, (IX), S
First Usage: I [1:46:36]
"Lazer Fight”
(6m2)
Key Features: Two-measure basic idea—a perfect musical palindrome with a
stepwise ascent and descent from 1 to 5 (with octave-displaced 5). Static or very
slow-moving harmonic rhythm, usu. prolonging the tonic. May appear fragmented or
close imitation with itself. Strictly instrumental: woodwinds, brass.
25b-c. DOTF continued.
Two further components of DotF, just as
salient and detachable as 25a. Ostinato
(25b) may undergird other motifs or rise to
foreground. Chant (25c) a fierce choral
mantra that employs loose Sanskrit
translation of Robert Graves poem, revisited
in a number of (unused) new cues in TROS.
Together, 25a-c meant to suggest an archaic,
ritualized “spiritual contest” b/t good & evil.
Used In: I, II, III, IX, S
First Usage: I [1:50:18]
"The Fight Begins"
(6m4)
Key Features: Characteristic 5-note motif in 25b, moving from 3 to 5 of minor scale
with unchanging long-long-short-short-long rhythm. Adjusts to whatever chords 25a
or 25c are following. 25c primarily vocal, often sung loud and marcato, and prone to
more harmonic variety, though may be whispered in a few settings.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (3)
EPISODE I: THE PHANTOM MENACE
26. DROID MARCH
A belligerent if not hugely threatening minor
march for the robotic army of the Trade
Federation. Used sparingly but in prominent
places in TPM. Two versions with differing
initial 2 measures, more or less invariant
second 2 measures. Form 1 given one novel
statement in AOTC (ironically for Clones!);
Form 2 one tracked statement in AOTC &
ROTS. Sister theme to Arena March.
Used In: I, II, III
First Usage: I [0:10:11]
"Droid Invasion"
(1m6)
Key Features: In all forms, 2-measure subphrases with a call-and-response form,
each with distinctive motives [AB+CC’]. Form 1 staccato and syncopated at
beginning. Triplets introduced in 2nd half are salient; first diatonic move from 4→1,
the tritonal s4→1 (theme’s sole chromatic moment). Usu. on brass + snare drums.
27. DARTH MAUL
Blink and you’ll miss it theme for Maul in
TPM. Used three times (2M1, 3M1, 3M6), all
prior to climactic duel with Obi Wan and
Qui Gon. Brooding and hostile melody, with
rootless quality from parallel major sixths
underneath. Noteworthy insofar as it is not
related to Duel of the Fates, which is a
battle set-piece, only connected
leitmotivically with Maul retroactively in Solo.
Used In: I
First Usage: I [0:27:43]
"Enter Darth Maul"
(2m4)
Key Features: Slow, low, and decidedly non-tuneful. Built exclusively out of first-
inversion minor triads following chromatic melodic line in lockstep. Pantriadic
harmonization weakens any sense of functional tonality. Brief dotted figures only
distinguishing rhythmic component. Given to low brass and winds.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (4)
EPISODE I: THE PHANTOM MENACE
28. JAR JAR
Chuckling, gangly melody for Jar Jar Binks,
restricted to first two thirds of TPM. Like
character himself relegated off-soundtrack in
later films. Surprisingly complex and lengthy
in fullest form—17 measures, with multiple
subsections. Full of curious timbral
combinations and harmonic twists. Effect is
one of studied stupidity.
Used In: I
First Usage: I [0:28:55]
"Introducing Jar Jar"
(1m7)
Key Features: Single pitch, repeated with short-short-long rhythm. Pizzicato or
oom-pah bass and odd drums in accompaniment, with dissonant harmonic support
placed on off-beats. Remains overall in single major key, but full of chromatic
diversions and surprises. Played by wind instruments in solo or odd pairings.
29. QUI GON
One of the great underutilized themes of the
Star Wars series: occurs in only three in TPM
(4m5, 4m6, 6m11) and is not even especially
attached to Qui Gon. Nevertheless, upon its
appearances (esp. 4m6, first duel with Maul),
extremely foregrounded on the soundtrack.
Structure of melody—a symmetrical period
with Force Theme similarities—aids
memorability. Compare Obi Wan, Tension.
Used In: I
First Usage: I [1:11:08]
"Anakin is Free"
(4m5)
Key Features: 8-measure minor-mode period that in most iconic instance modulates
midway through up a minor third; otherwise functionally diatonic.
4-measure subphrases have clear basic idea and contrasting idea. Opening figure of
1→3→2→5→1 shared with several other motifs, most suggestively Obi Wan.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (5)
EPISODE I: THE PHANTOM MENACE
30. SHMI
Melancholic, restrained theme for Anakin’s
mother, related to (strictly non-leitmotivic)
melody of It’s Working! Originally a one-
cue wonder in TPM (4m5), assumes a
genuinely leitmotivic role in AOTC. A single
appearance in ROTS is cryptic and
incomplete but probably intentional. Shows
up in same year’s score to Minority Report.
Used In: I, II, III
First Usage: I [1:15:00]
"Anakin is Free"
(4m5)
Key Features: Liquid, almost improvisatory modal (aeolian) melody, with an elusive
pandiatonic harmonization for extended statement in TPM. Instances in AOTC,
ROTS reduce theme down to its essentials; just the opening four notes—up minor
third, down minor second—in latter. Heard on solo oboe, horn, trumpet.
31. FUNERAL
Slow choral dirge on Sanskrit text used for
Qui Gon’s funeral pyre in TPM and revisited
in ROTS for two important scenes late in
film (one in which theme is combined
contrapuntally with Imperial March). Lyrics
ostensibly include references to death and a
sweet sleep or dream state.
Used In: I, III
First Usage: I [2:07:17]
"Qui-Gon’s Funeral”
(7m1)
Key Features: Slow melodic descent from 5 to 3 in minor. Harmonization includes
piercing internal dissonances, esp. chordal m6s. Second half dislodges tonic of first,
moves by chromatic root-motions to hexatonic-polar polychord. On way, stresses
s4→3 appoggiaturas. Stated by chorus, strings, and brass chorale (ROTS only).
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (6)
EPISODE II: ATTACK OF THE CLONES
32a. ANAKIN AND PADME
Expansive love theme with tragic
dimensions for Anakin and Padme, known
better by its concert title, Across the Stars.
The heart of the AOTC score, not just in
straightforward iterations but in way it is
imprinted on Conspiracy (30) and Descent
(40a). Present in ROTS, but much less of a
focal point. Some suggest similarities with
Main Theme A among other themes.
Used In: II, III
First Usage: II [0:29:06]
"Palpatine's Plotting"
(2m2)
Key Features: Initiating minor sixth (5-3) unique among major SW themes; compare
Anakin’s Promise, opening of Tristan und Isolde (!). Compound triple meter also
highly distinctive. Period structure, with two contrasting cadences: III→V
6
4
→i,
i
6
4
→bII→i. Richly varied orchestration: notably oboe, harpsichord, flute, soli strings.
32b-c. A&P continued
Additional aspects of Across the Stars,
including the weepy and inherently
modulating B-phrase (33b) and a churning
ostinato that undergirds the theme’s large
scale bridge section. Both barely feature in
AOTC score proper, but assume great
importance within its multiple concert
arrangements. 33c pops up again, perhaps
accidentally, in TROS 5m10.
Used In: II
First Usage: II [1:43:18]
"Love Pledge"
(6m1)
Key Features: 33b based extended phrygian cadence (iv
6
→i→iv
6
→V), modulates at
midpoint to key a fifth down (e.g. G min→C min). Stronger 2-against-3 flavor than
A-section. 33c restricted to low strings, beginning with off-beat triplet, similar in
construction to many other Williams tension motifs.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (7)
EPISODE II: ATTACK OF THE CLONES
33. CONSPIRACY
Leitmotif for the mysterious and convoluted
plot in AOTC involving Zam, Jango,
Dooku, Separatists, Palpatine, etc, etc..
Subject to almost no variation. A curious
theme, with resemblances to both Anakin
and Padme (identical tune sans A&P’s
second pitch [3–1–4–3–2–3–1]) and
Imperial March, though these latent
similarities never outwardly corroborated.
Used In: II
First Usage: II [0:04:21]
"Thwarted Attempt"
(1m3)
Key Features: Constricted melodic span, for most part fixed to minor third above
tonic. Modulates in 4th measure, with whole phrase subsequently up a minor third.
Bass line prone to contrary motion, producing chromatic chords (bvi
6
5
, biii
6
4
)
reminiscent of Imp. March, Emperor progressions. In bassoons and trombones.
34. MYSTERY
Herrmannesque arpeggio patterns, pervasive
through the AOTC score, associated with
mystery and ambiguity, esp. as related to
Kamino. Two primary forms, both based on
minor triads transposed up or down by
chromatic step; more complex guises as well
in 4m7, 5m1a, 5m7. Revived, surprisingly, in
TROS (4m11, 8m8). Like Shmi, a sound-
alike is present throughout Minority Report.
Used In: II, IX
First Usage: II [0:34:45]
"Library Scene"
(2m5)
Key Features: In all forms based on an ascending & downwards-trending pair of
arpeggios. Each arpeggiated chord includes one off-triad added note, either b6, #7, or
b9. Successive arpeggios related by stepwise transposition, both up and down, major
and minor seconds. Heard in strings, harp, and various combinations of winds.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (8)
EPISODE II: ATTACK OF THE CLONES
35. PASTORAL COURTSHIP
Intricately detailed modal pastorale in 6/8
time, used in flirtatious scenes between
Anakin and Padme on Naboo. Quality of a
rustic, somewhat improvised folk-tune
Only weakly motivic in the final cut of
AOTC, featuring in only in 3m5 and 3m7. A
significant unused variant also occurs in an
alternate 3m5. It is adumbrated strongly if
incompletely in 2m2 and 3m3.
Used In: II
First Usage: II [0:47:48]
"The Meadow Scene"
(3m5)
Key Features: Strong modal quality, shifting freely between mixolydian, aeolian, and
dorian forms of scale. Melody spans a wide melodic range, with several segments
based on simple scale-fills. Lilting 6/8 accompaniment and contrapuntal counter-
lines. Heard on solo winds (flute, oboe).
36. GLOOMY COURTSHIP
Pained, pining theme connected to the
darker side of Anakin and Padme’s romance.
Essentially a series of chromatic sighs,
matched with an exceptionally dissonant and
tonally-unglued harmonic progression, jazzy
almost. Used sparingly in AOTC and only
once in ROTS, but serves as a prominent
contrasting B-theme in Across the Stars
concert arrangements.
Used In: II, III
First Usage: II [0:09:50]
"She Hardly Recognized
Me" (1m5)
Key Features: Nearly every measure based on same basic pattern: descending m2,
note repetition, and descending 6
th
or 7
th
. Overall trajectory is ever downwards.
Implied tonal center changes once every one or two measures. Supporting chords
enriched with extensions and/or inversions. Full string section carries this theme.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (9)
EPISODE II & III: ATTACK OF THE CLONES/REVENGE OF THE SITH
37a. DESCENT (DIES IRAE)
A cluster of related ideas associated with
Anakin's downfall and the eradication of the
Jedi. The Dies Irae occurs across all nine films,
gesturing to the medieval chant & much else
besides; rises to genuine leitmotivic
significance in AOTC, where it is partly
derived from Anakin and Padme, interacts
with Mystery & Conspiracy. See also ROTS
(3m7, 5m1B, 7m3), leitmotifs 38a, 46, 52, 59.
Used In: II, III
First Usage: II [0:54:22]
"The Dinner Scene"
(3m7)
Key Features: Always adheres to essential melodic profile of CBCA, typically but
not exclusively producing a 3→2→3→1 figure in natural (aeolian) minor mode.
Notes tend to be same duration, though tempo varies depending on cue, whether
motif is used as a one-off, an ostinato, an embedded component of another theme.
37b. DESCENT (LAMENT)
A tragico choral set-piece from ROTS,
spun from 37a—note embedded Dies
Irae. Unfurls during Order 66 sequence
(5m3) and revisited during Anakin's
confrontation with Padme (6m3); also
subtly worked into 7m1. Harmonic and
textural aspects echoed in a number of
important cues in TLJ and TROS.
Used In: III, (VIII), (IX)
First Usage: III [1:01:05]
"Lament"
(5m3)
Key Features: Long-breathed theme, unified in mournful affect and presence of 4-
note motif based on Dies Irae (37a). Uniformly minor until very end of set-piece,
though prone to a few wrenching modulations. Harmonic pungency from added
b6ths & b9ths, s4-3 suspensions, pedals, etc. Intoned by wordless chorus, strings.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (9)
EPISODE III: REVENGE OF THE SITH
38a. BATTLE OF THE HEROES
The big new leitmotif in ROTS; like Duel of
the Fates, a composite idea that dominates
the film’s climactic duel. Even more than
DotF, has an antique, liturgical quality. Plays
emotion, rather than action. Main theme
(38a) based on a simple four-pitch cell that is
“driven by the full propulsive force of the
orchestra” (and wordless chorus in 6m9).
Referenced to striking effect in TLJ: 1M8.
Used In: III, VIII
First Usage: III [1:47:53]
"Heroes Collide"
(6m4)
Key Features: Plainchant-like basic idea, with small melodic compass, rising from 1
to 3 and returning to 1 via b7. Harmonization stresses i↔bVI
6
relationship. Some
variants harmonize 7→2 portion of melody with bVII/1 or (unusually) iis/1. Most
emblematic version has melody given to wordless chorus.
38b-c. BOTH continued.
Like Duel of the Fates, BotH comes with
detachable motivic subcomponents, though
their musical development during the final
act of ROTS is less extensive. 38b a properly
contrasting and independent B-theme. 38c
serves as a spiky ostinato for strings and
sometimes as woodwind interjection. 38d a
recurring brassy counter-figure, fairly
autonomous.
Used In: III
First Usage: III [1:51:08]
"Heroes Collide"
(6m4) and [1:51:42]
Key Features: 38b a short but self-contained minor melody with unusual 3-fold
metrical structure (3+3+5); carried by winds and strings. 38c consists of a broken
tonic chord framed by b6 and #7 (compare 10f). 38d basically a repeated blasting of a
minor triad, sometimes in rhythmic augmentation/diminution or displacement.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
PREQUEL TRILOGY (10)
EPISODE III: REVENGE OF THE SITH
39. GENERAL GRIEVOUS
A short leitmotif for cyborg leader of the
Separatist military. As pompous and loud but
ultimately ineffectual as the character
himself. Heard three times in ROTS; last
instance during bout with Kenobi essentially
tracked from 2m5 but with choral layer
removed. Other materials associated with the
general treated more as incidental motifs (see
Grievous Danger, Peril).
Used In: III
First Usage: III [0:08:18]
"Grievous Travels to
Palpatine" (2m5)
Key Features: Strutting dotted rhythm in 6/8 time; at the same time halting and
labored due to mid-phrase rests. Octave leaps in mm. 3-4 from s4 down to s4 back
up to n4 conspicuous, as is preceding b6→5→s4 melodic climax. Always on brass,
with snare providing martial support.
40. HAPPY LANDINGS
An expansive albeit infrequently used theme
in ROTS for successful arrival on planets
(Coruscant, Utapau). Prominent in the
limited number of cues in which it occurs
(2m3, 3m6, and a derived variant in 5m6).
Use of major triads planing over dissonant
bass notes similar in harmonic structure to
"Alliance Assembly" from ROTJ and
affiliated cues.
Used In: III
First Usage: III
[0:23:40 ] "Another
Happy Landing " (2m3)
Key Features: At all times based on planing major triads, following melody in
perfect parallel. All triads in root position and situated above a static tonic pedal
point, until final measures when key shifts up a chromatic major third. Thick,
homophonic scoring from strings and horns.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY
THEMES AT A GLANCE
Episode VII: The Force Awakens (2015)
Episode VII: The Force Awakens cont.
Episode IX: The Rise of Skywalker (2019)
Incipit
Incipit
Incipit
Episode VIII: The Last Jedi
54. Rose
55. Luke in Exile
56. Desperation
Note: all motif incipits transposed to C.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (1)
EPISODE VII: THE FORCE AWAKENS
41. KYLO REN A (AGGRESSIVE)
Chief theme for the primary antagonist of
the sequel trilogy, Kylo Ren. Short, simple,
and insistent—a defiant, overweening motto
for a conflicted man who wishes to project
power. For all its bravado, never quite fully
actualized as a leitmotif. Subjected to true
development and transformation only in
TROS (Redeemed Variant). Compare to
last four notes of Emperor.
Interestingly, while virtually every statement of
the main Kylo Ren motif in the ST soundtracks
is as a motto theme (after Richards 2016), short
and incomplete as a musical thought, there are
two instances of it suggestive of a longer, more
traditional 4-measure thematic structure: the
aggressive but ultimately dissolving march
statement at the conclusion of TLJ, and an
unused cue in TFA (2m17)
Used In: VII, VIII, IX
First Usage: VII [0:06:11]
"The Arrival of Kylo Ren"
(1m3)
Key Features: Five pitch motto, always with identifying 5-s4-1initial drop.
Harmonized with a sustained minor chord, usu. in higher register. Many statements
chain together two instances w/ alt. end notes (5, 3); even longer versions striving for
a true period form rare (TLJ 9m85) or unused (TFA 2m17). French horns, loud.
42. KYLO REN B (HESITANT)
The other half of Ren’s musical personality.
Threatening but unsure, sometimes with a
pathetic quality. Like Kylo Ren A, a short
motto prone to immediate repetition, rather
than long-breathed grammatical theme.
Underlying harmony, reiteration of initial
pitch, and overall clipped character suggests
a stunted, inadequate mirror of more
confidently malevolent Imperial March.
Used In: VII, VIII, IX
First Usage: VII [0:28:25]
"Finn’s Trek"
(2m17A R)
Key Features: Repeated pitch (3 in minor) at onset at moderate to slow tempo.
Followed with sigh down a minor second and augmented second. Not always
harmonized beyond one sustained chord, but when underlying harmony does
progress, heads to bvi, w/ dissonant n2/b6 outer-voice interval. Varied orchestration.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (2)
EPISODE VII: THE FORCE AWAKENS
43. KYLO REN C (MENACING)
/ FIRST ORDER
Kylo Renʼs Menacing motif and the First
Order motif are closely related, perhaps
derivatives of each other; both are based on
a grasping four-note figure. The latter was
meant to play a larger role in TFA than it
does in final cut, as evidenced by extremely
prominent usage in 1m3A among other
places; as heard, basically an incidental motif.
Used In: VII, VIII, (IX)
First Usage: VII [0:09:32]
"Kill Them All"
(1m4 R)
Key Features: Basic shared feature is opening four note figure, climbing from 1 to 2
and 4 to 3 in minor. 43a sustained by a single minor chord, 43b-c and other versions
with more elaborate harmonizations (sometimes dissonant planing in TLJ. Murky
double-basses for 43a, horns & snares for 43b, strings 43c.
44. SNOKE
While hardly a melody in a traditional sense,
Snoke’s basso vocal music is motivic
(although hard to hear) in TFA and
especially in TLJ. Low, texted vocal music
with comparable texture & structure also
features heavily in some unused choral cues
from TROS. Linked to Emperor theme and
especially abyssal vocal texture in ROTS
3M2A. See also Snoke’s Boudoir, Spite.
Used In: VII, VIII, IX, M
First Usage: VII [0:51:50]
"Snoke"
(8m78)
Key Features: Single, slowly intoned pitch in deep male voices, following lyrics of
(yet undetermined) Sanskrit text. Quiet. Rhythmic pulse almost undetectable. After
numerous iterations, melody might move by tiny amount, traversing augmented third
between s7 and b3. Can provide ambience for more conventional themes (TLJ 1m9).
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (3)
EPISODE VII: THE FORCE AWAKENS
45a-b. REY A (THEME)
Chief theme for the primary protagonist of
the sequel trilogy, Rey. Lyrical and intricate
in its construction, with multiple forms of
both A- and B-phrases. Lavished with
attention to an extent singular these films.
Emotionally complex, to the point of
ambivalence at times, but generally suggests
resourcefulness, questing spirit, stoical
melancholy, and deep reserve of strength.
Used In: VII, VIII, IX
First Usage: VII [0:12:16]
"The Scavenger"
(1m5 Alt2 A Insert)
Key Features: Minor and modal, blending dorian, aeolian, and phrygian aspects.
IV
s
3
/bVI duality comparable to Force. Theme has distinctive blend of chord-
outlining, stepwise, & leaping components. 1→4→5 cell at onset characteristic.
Active, syncopated, variable accompaniment. On flute, strs., horns, trumpets, etc.
45c-d. REY A continued.
Further aspects of Rey’s primary theme,
including: a variant with more Sweeping
quality heard on occasion in TFA and
TROS; and an alternative B Phrase heard
throughout sequels, with a more assured, less
lonely aspect compared to 45b.
Used In: (Sweeping) VII, IX
First Usage: VII [1:09:05]
"I Have To Get Back"
(4m39 R)
Key Features: 45c outlines minor chord w/ neighboring b6; ends w/ beginning of
45a. On horns, blended winds. 45d essentially an extended cadential progression,
aiming at and after three tries securing a 3→2→1 resolution, with tonic approached
by (aeolian) bVI and bVII. Placed in upper brass, strs., ardently played.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (4)
EPISODE VII: THE FORCE AWAKENS
46a. REY B (CHIMES)
Second of three detachable and autonomous
motifs for Rey. In its initial presentations,
Chimes motif is muted and faintly magical
sounding; conveys a withdrawn and guarded
personality. But fully capable of more
dramatic, even heroic transfigurations, as
heard in TLJ 9m8 and TROS 1m4/5.
Compare Luke in Exile, Dies Irae.
Used In: VII, VIII, IX
First Usage: VII [0:11:38]
"The Scavenger"
(1m5 Alt2 A Insert)
Key Features: Simple seven note cell that hovers around 5
th
of minor scale.
Rhythmically unmarked besides dotted quarter to eighth rhythm mid-motif.
Harmonically static: each note supplied w/ version of A-min or A-sus. Bell-like
timbre is diagnostic: celesta, piano, synth; more rarely in horns, blended winds.
46b. REY C (GALOP)
Third component of Rey’s thematic identity,
an athletic ostinato figure. Typically
presented in light and airy orchestration, but
even then has a certain hard-edged quality
from its flattened seventh. Originally treated
as a background figure for Rey A and B
themes in TFA, but becomes a more
autonomous—if still subsidiary—leitmotif in
TLJ and TROS.
Used In: VII, VIII, IX
First Usage: VII [0:11:48]
"The Scavenger"
(1m5 Alt2 A Insert)
Key Features: Rhythmic pattern of eighth-sixteenth-sixteenth-quarter, repeated as
an ostinato. Centered on tonic of minor scale; brief but salient natural (b7) scale
degree. Chord-outlining pattern resembles the incipit to Rey A (44a) in diminution.
Light instrumentation, may be quickly traded between different timbres.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (5)
EPISODE VII: THE FORCE AWAKENS
47a. MARCH OF THE
RESISTANCE
Important and frequently used theme for the
Resistance. A stern counterpart to the
perky Rebel Fanfare, in a loosely baroque-
style. Extended versions are indeed martial,
w/ strong accents & full grammatical
phrases, though elsewhere broken down into
components & treated to more discursively.
Williams likes to treat imitatively.
Used In: VII, VIII, IX, S, M
First Usage: VII [1:15:27]
"Good Guys Shooting"
(5m47 v2)
Key Features: Determinedly upwards melodic trajectory; reduces to 1→2→3 /
3→4→5 / 6→5→6→7 / 8→7 / 8. Lower neighbor figure with short-short-long
rhythm characteristic. Active bass-line, diatonic harmonization. Prone to P5-based
transpositions (see associative progressions). Flexibly orchestrated, but usu. on trumpets.
47b-c. MOTR continued
Assorted auxiliary components of the March
of the Resistance. 47b, a fully separable B-
theme (still based on basic materials of 47a)
makes several appearances; in TLJ even
spawns its own derived theme, Resistance
Deployed (47d). A small Connective
Motif draws from the intervallic tendencies
of 47a, with added syncopation; embeds,
probably accidentally, Pathos.
Used In: VII, VIII, IX
First Usage: VII [0:58:27]
"I've Found the Droid"
(4m37)
Key Features: All share A-theme’s unvarnished minor tonality. 47b and 47c over a
tonic pedal w/ little to no harmonic variety in accompaniment; derive quick neighbor
figure from 47a. 47b an effortful climb from 1 to 4, 47c syncopated descent from 5
to 5. 47d short and aeolian, based 3→2 from 47b. All heard in strs. + horns.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (6)
EPISODE VII: THE FORCE AWAKENS
48. MAP
Though minimal, the Map Motif is an
autonomous leitmotif and not simply an
associative progression. Always appears in
connection with the map to Luke—and his
disappearance more generally—and is
invariant in terms of melody, texture, and
orchestration. Compare with Planetary
Descent incidental motif, assorted other
polychordal passages (e.g. ANH R4P1).
Used In: (IV), VII, VIII
First Usage: VII [0:02:40]
[Untitled]
(1m2B)
Key Features: A pair of oscillating minor triads in some unusual harmonic
relationship: often tritonal (e.g. Cm↔F m), sometimes by other intervals (e.g.
Cm↔A m or Cm↔Bm). Muted, inexpressive, persistent. Two triads may overlap w/
each other, giving fuzzy polychordal impression. Harps, celesta, high woodwinds.
49. POE
Stalwart leitmotif for Poe Dameron,
moderately frequent in all three sequel
movies. Melodically somewhat unassuming
but charged with stirring orchestrations and
interesting, variable harmonizations. Has at
least one “big hero” variant per film, and in
TLJ and TROS more reflective, mature
variants as well.
Used In: VII, VIII, IX
First Usage: VII [0:21:53]
"The First Escape"
(2m15 R Insert)
Key Features: Several potential harmonizations, all with a slight ambiguity
concerning both mode (major, natural or harmonic minor, dorian) and home key.
Steady harmonic rhythm: one chord per measure, never more, never less. Melody
simple and determined; accompaniment adds rhythmic zest. On trumpets, winds.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (7)
EPISODE VII: THE FORCE AWAKENS
50. FINN/PURSUIT
An incipient theme for Finn that never quite
materializes, showcased in action scenes
early in TFA and a handful of unused cues
involving Finn, esp. 3m23. Tense and
irregular rhythmically: an edgy motif for a
man on the run. Long spans of flexibly
developing variants based on initial two-bar idea.
Heard momentarily in TLJ and TROS;
statements derived from TFA End Credits.
Used In: VII, VIII, (IX)
First Usage: VII [0:30:00]
"Follow Me"
(2m18C R)
Key Features: Asymmetrical rhythm: basic pulse is 121212+12123 at a rapid tempo.
Starts with threefold repetition of staccato note, followed by more continuous five-
note response (sometimes w/ a grace note). Supported by suspended or quartal
chords. In winds, trumpets, xylophone, staccato strs.
51. PATHOS
A short figure frequently heard in the
Sequels that assumes leitmotivic status in
TFA via incorporation into a longer, twice-
heard string elegy (“Starkiller,” “Torn
Apart”), which is indirectly recalled in TLJ.
The germ is developed in TROS, both
within themes (Friendship) and incidental
motifs (c.f. Redemption, Bittersweetness).
Compare also Lament, Poe, ROTS 7m1.
Used In: VII, (VIII), (IX)
First Usage: VII [1:10:15]
“The Beam is Released!”
(5m40)
Key Features: Essential aspect is a 3-note melodic cell: a semitonal climb followed
by tritone fall (e.g. G→Ab→D). Many variants and expansions exist. Definitive
statements in TFA have very slow tempo, purely string instrumentation, much longer
continuation with multiple sudden chromatic modulations and pained descents.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (8)
EPISODE VII: THE FORCE AWAKENS
52. TENSION
A ubiquitous, stressed-out little motif that
appears in the sequels, usu. as a syncopated
ostinato. It provides an intervallic precursor
to more long-breathed Desperation in TLJ
and Psalm of Sith in TROS. Even by itself,
the Tension motif completely saturates the
TLJ score, as in the memorable Resistance
in Trouble motif, melodically halfway
between Tension & Desperation leitmotifs.
Used In: VII, VIII, IX
First Usage: VII [1:43:50]
"I Can Get Us In"
(7m62)
Key Features: Appears in kaleidoscopic variety of forms and contexts, but always
based on 1→3→2→x→1 pattern in minor, where x is either 4 or 5. Rarely heard just
once: repetitions of basic cell common, sometimes modulating, often syncopated,
strung into long phrases. Usu. in lower instrumentation, w/ pulsing accompaniment.
53. JEDI STEPS
A broad, mystical theme for the remote
skerry sought out by Luke and later Rey,
birthplace of the Jedi Order. Heard in
isolation at end of TFA score, as Rey treks
up the steps of Ahch-To. Recurs a handful
of times in TLJ; hinted (and perhaps used in
unreleased cues) in TROS. Cryptic links with
a number of other themes (Rey, Vader) and
set pieces (TROS 9m5 alt).
Used In: VII, VIII, IX
First Usage: VII [2:05:10]
"Climbing the Mountain"
(8m74)
Key Features: Begins with downwards fall of a perfect fifth: only minor mode
leitmotif to do so—compare Yoda. Placed in midrange/low instruments (soli cellos
most characteristically), with lightly throbbing chordal or tremolo accompaniment in
celesta, winds, upper strings. At core, based on i↔bVI progression.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (9)
EPISODE VIII: THE LAST JEDI
54a. ROSE
The main new theme from TLJ, Rose's
theme serves a leitmotif for the newly
introduced character, conveying musically
her hopefulness and firm moral compass.
Receives fairly considerable development
within TLJ and concert arrangement “The
Rebellion is Reborn,” but, like character
herself, essentially left unheard subsequently
in TROS. Melodically linked to Force theme.
Used In: VIII
First Usage: VIII
[0:38:28] "Rose Appears"
(3m21)
Key Features: A symmetrical period in fullest statements; 2nd half a varied
transposition of 1st. Internal modulation achieved by retroactive aeolian cadence
(I→II#→III# = bVI→bVII→I#). Melody lingers around 2, harmonized by either
lydian II#
4
2
or diatonic ii
4
2
. Effect of written hemiola depends on accompaniment.
54b-c. ROSE cont.
Two contrasting B-Sections for Rose’s
theme, neither of which ever occurs in
TFA’s underscore. Even-tempered but
transitional 54b heard in End Credits and
“Rebellion is Reborn.” Alternative 54c, more
sprightly and rhythmically active, never
heard in any form, written for early draft of
End Credits—possibly never recorded.
(Note similarity to Yoda B-Theme)
Used In: VIII
First Usage: VIII
[2:24:29] “End Credit Part
2” (9m90)
Key Features: Contrastingly downwards flowing melodic contour in 54b compared
to 54a. Pantriadic; based primarily on chromatic step and third relations, no clear
sense of key until fourth measure’s half cadence. Like a sing-songy version of Rebel
Fanfare for strings and winds. 54c animated by dotted rhythms, bright orchestration.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (10)
EPISODE VIII: THE LAST JEDI
55a. LUKE IN EXILE
An austere theme for Luke’s difficult life on
Ahch-To. Main tune has the quality of a
rather glum Sarabande, with a certain
Sibelian chilliness . Theme is related to and
possibly derived from Rey B (Chimes).
Neither the main theme nor its affiliated
materials are heard extensively in TLJ,
though given some development in concert
arrangement.
Used In: VIII
First Usage: VIII
[0:20:20] "Luke's
Breakfast" (2m16)
Key Features: Accented and sustained second note in every measure. Limited
harmonic vocabulary or melodic ambitus: simple minor key; simple static
harmonization; simple and stubborn 6→5→4→3→2→1 melodic line (starts on 7 in
second phrase). In tightly voiced homophonic horns.
55b. LUKE IN EXILE cont.
Additional elements of the Luke in Exile
theme, developed sporadically in TLJ. A
Fanfare injects rhythmic vitality into
sequences involving 55a, while adhering to
its same melodic and harmonic restraint. A
series of Arpeggios adds further color to
the blustery environs of Ahch-To (and
echoes, without exactly replicating, Mystery
motif from AOTC).
Used In: VIII
First Usage: VIII
[0:21:45] "Luke's
Breakfast" (2m16)
Key Features: Rhythmic hook of 55b—4 sixteenths followed by a staccato eighth—
distinctive. M. 1 based on 5→b3→4→2 schema, a favorite of Williams. Second m.
contains more motivic links to 55a, Rey A. Always on trumpets. 55c similar to other
arpeggiated leitmotifs (Revelations, Mystery) in ascending to b6 of minor triad.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (11)
EPISODE VIII: THE LAST JEDI
56. DESPERATION
Memorable theme that comes into
progressive focus over course of TLJ,
eventually accompanying the film’s most
arresting set-piece, “Holdo’s Sacrifice”
(7m67). Based on and arguably generated
from the non-descript Tension motif.
Despite its rarity (only 5 fully-formed
individual statements, at least one more
unused), packs a big punch.
Used In: VIII
First Usage: VIII
[1:37:35] "Ladies Parting"
(6m57)
Key Features: Strongly etched tune compared to its unmarked progenitor motif,
with five rather than expected four active melodic measures. Sticks primarily to chord
tones of minor tonic, with harmonization similarly steadfast. Modulates twice in most
mature form: Am→Cm→ Em. On horns, trumpets with pounding accompaniment.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (12)
EPISODE IX: THE RISE OF SKYWALKER
57. FRIENDSHIP
One of two thematic components of “The
Rise of Skywalker” concert arrangement, a
long-breathed and songful representation of
the bond between Rey, Finn, and Poe
specifically, and fellowship generally.
Perhaps the most sentimental of all Star Wars
themes. Resonates with multiple other
leitmotifs, and in conjunction with Victory
has a summative, retrospective quality.
Used In: IX
First Usage: IX [0:17:19]
"The Medal"
(2m6)
Key Features: Three distinguishing melodic/harmonic features: lydian double-
neighbor [6→s4→5] in m. 1 (cf. Yoda); undulation between IV & iii in mm. 3-7;
and modulation from antecedent to consequent up a M3. Like some other extended
themes, seems to already be developing when it starts. Almost exclusively on strings.
58. VICTORY
The other half of the “Rise of Skywalker”
complex: essentially a hymn, with slow pace,
homophonic texture with cadential pauses,
and highly regular harmonic rhythm.
Anticipates and then celebrates Resistance’s
final victory. Like Friendship, prone to
modulations, modal inflections. Evocative of
and probably best interpreted as a thematic
transformation of Rey's Chimes.
Used In: IX
First Usage: IX [1:37:00]
"The Meeting"
(7m04)
Key Features: Major melody in chorale texture and form—homophonic,
homorhythmic, with mostly unvarnished 4-voice harmonization, even pauses every
four measures. In fullest statements, has internal modulation to bIII. Strategic modal
borrowings: II#, iv
7
, bII/5. Woodwinds initially; wordless choir in ultimate statement.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (13)
EPISODE IX: THE RISE OF SKYWALKER
59a. PSALM OF THE SITH
A dark new theme for Palpatine’s Final
Order—literally “Anthem of Evil” on the
soundtrack album. Designation as a psalm
suggests an otherwise holy musical genre
twisted by melodic corruptions. Never as
prominent as other dark side motifs, but
quite well developed in its own right. Kind
of a misshapen clone of Emperor; also
linked w/ Kylo Ren, Imp March, Tension
Used In: IX
First Usage: IX [0:02:50]
“Rey’s Trip to P”
(6m15, tracked)
Key Features: Symmetrical period from theme that really insists on its sharpened
fourth (s4). Glued in most statements to minor tonic triad, with occasional glimpses
of other negatively-valenced chords (#vii, bvi). Although never heard in actual film,
prototypical statement is for acapella voices. A leitmotivic rhyme with ROTS 3m3.
59b. PSALM OF THE SITH cont
While unheard in all but the End Credits, a
well-fleshed out B-section exists for the
Psalm. Based on elements of the theme’s A-
section, but with faster melodic rhythm and
much more active and dynamic harmonic
support. Offers a suitably gothic, almost
romantic counterpart to the hushed main
Psalm theme.
Used In: IX
First Usage: IX [1:28:13]
“Six-Twelve”
(6m12) (?)
Key Features: Essentially an outgrowth of the motif from m.3 of 59a. Far more
tonally unstable than A-section, changing harmonic focus once a measure or more.
Big downwards dips by chromatic intervals in common with 59a. Most chords
minor, inverted, part of upwards craning bass-line. In full strings in definitive form.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (14)
EPISODE IX: THE RISE OF SKYWALKER
60a. SITH ARTIFACTS
(WAYFINDER)
A pair of themes for MacGuffins in TROS.
The first idea relates very loosely to the
Wayfinder. Both are marked by a
polychordal oscillation of chromatically
related minor triads, thus sharing a family
resemblance to Map, Emperor motifs. Note
in particular underlying chords—a fusion of
multiple dark-side associative progressions.
Used In: IX
First Usage: IX [0:02:22]
"Vader’s Castle”
(1m15)
Key Features: Extremely dissonant. Somewhat variable in presentation, but core
element is a threefold rotation of minor-triads in conspicuously different registers.
Actual progression depends on cue, but climactic 7m20 form [Gm→Ebm→C#m
(
b
6)
]
is typical. Blended and thick instrumentation: high winds, strs, harps for “melody.”
60b. SITH ARTIFACTS
(DAGGER)
An elusive leitmotif, most likely meant for
Ochi’s Dagger, heard only on a handful of
occasions in TROS, and not in the scene in
which it features most prominently, 5m10!
Slightly onomatopoetic, both in intervallic
profile—like a broken and jagged blade—
and in emotional terms. Music of a persistent
but unnamable sinking feeling
Used In: IX
First Usage: IX [0:32:59]
"Ochi and the Dagger"
(3m7)
Key Features: Three subcomponents—a rising series of quarter notes, a drooping
figure, and a short echo, all united by shared harmonic color: juxtaposition of two
minor triads a semitone apart (e.g. D#m+Em). Carried by woodwinds. Second, most
distinctive component (mm. 2-3) in flutes, oboes, clars., moving in parallel.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SEQUEL TRILOGY (15)
EPISODE IX: THE RISE OF SKYWALKER
61. KNIGHTS OF REN
A fulminating little motif for the long-
anticipated Knights of Ren. Like many
leitmotifs for secondary (or tertiary) villains,
curt in length and not prone to development.
Can resemble a bleak fanfare in some
instances. Kylo Ren’s posse is characterized
as much by a timbre (timpani interjections)
in TROS as this nasty snarl of a theme.
Used In: IX
First Usage: IX [0:03:07]
"The Ninth Beginning"
(1m22)
Key Features: Both fast and slow forms follow same intervallic outline: long or
repeated first pitch, followed by quick double chromatic neighbor around it. Double
neighbor creates emblematic “villain” interval for Williams of diminished third (e.g.
b6↔s4). Appears in brief spurts of underscore, invariably assigned to loud brass.
62. HEROICS
An old-fashioned good-guy theme, brassy
and major, but restricted in the final film to
just a couple renditions. Two forms, Broad
and Brisk, both based on same interval
pattern. Intervallically & rhythmically related
to a host of other themes, inc. Rebel
Fanfare, Poe, Friendship, Main (for which
it serves as a countermelody in 3m00) and
Psalm of the Sith, its chromatic twin.
Used In: IX
First Usage: IX [0:08:49]
"Lightspeed Skipping"
(1m26)
Key Features: Major mode period with a twist. 62a starts with a 1→4→3→5→1
figure; 62b delaying and syncopating that same underlying motif slightly. Broad
form’s harmonization bears pervasive modal mixture; brisk form less clear-cut in
tonality, veers off in second half. Brassily orchestrated—62b essentially a fanfare.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ANTHOLOGY FILMS (1)
ROGUE ONE (2016) - MICHAEL GIACCHINO
Motif
Melodic Reduction
Uses
Initial
Statement
1
Imperials 1
[alt. Krennic]
R [0:00:58]
R
2
Imperials 2
[alt. Krennic]
R [0:22:23]
R
3
Hope
R [0:07:30]
R
4
Jynn
1
R [0:02:12]
R
5
Guardians
of the Whills
R [0:02:12]
R
Notes:
1. Jynn's theme embeds a clear reference to the "Dies Irae" motif, which is itself an important and semi-autonomous component of Giacchino's score. The
melody is also not altogether dissimilar to a one-off that concludes ANH 4m3.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ANTHOLOGY FILMS (2)
SOLO (2018) – JOHN POWELL AND JOHN WILLIAMS
Motif
Melodic Reduction
Uses
Initial
Statement
1
Young
Han Solo
(Heroic)
1
comp. Williams
S [0:00:11]
S
2a
Young
Han Solo
(Searching)
comp. Williams
S [0:00:50]
S
2b
Young
Han Solo
(Searching
Variant)
comp. Williams
S [0:06:38]
S
3
Secrets
2
comp. Powell
S [0:00:00]
S
4
Han & Q'ira
comp. Powell
S [0:02:40]
S
5
The Gang
comp. Powell
S [0:14:48]
S
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ANTHOLOGY FILMS (3)
SOLO (2018) – JOHN POWELL AND JOHN WILLIAMS
Motif
Melodic Reduction
Uses
Initial
Statement
6
Han &
Chewie
comp. Powell
S [0:20:25]
S
7a
Enfys Nest 1
comp. Powell
S [0:26:36]
S
7b
Enfys Nest 2
comp. Powell
S [0:33:10]
S
8
L3-37
comp. Powell
S [0:59:49]
S
9
Fakery
comp. Powell
S [0:03:55]
S
1. The two Young Han themes were composed by Williams and adapted by Powell in the score to Solo. Williams presents them in a stand-alone concert
arrangement entitled "The Adventures of Han." This marks the first time in the saga that Han Solo unambiguously garners his own thematic material.
2. Powell's Secrets motif is quite similar to the Han (Searching) motif by Williams, the most noticeable divergence being the highly changeable harmonization
for the former, while the later is mostly fixed to a tonic/flat-minor submediant relationship.
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
MISCELLANEOUS (1)
GALAXY'S EDGE (2018) – JOHN WILLIAMS
Motif
Melodic Reduction
Uses
Initial
Statement
1
Primary
Theme 1
N/A
(Theme Park)
N/A
(Theme Park)
2
Primary
Theme 2
3
Transitional
Theme
4
Secondary
Theme
5a
&
5b
Fanfare 1 &
Fanfare 2
LEITMOTIFS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
MISCELLANEOUS (2)
OBI WAN KENOBI (2022) — THEME BY JOHN WILLIAMS; SCORE BY NATALIE HOLT, WILLIAM ROSS
Motif
Melodic Reduction
Uses
Initial
Statement
1a
Obi Wan
comp. Williams
Obi Wan Kenobi
(Limited Series)
E1 (0:13:00)
1b
Obi Wan
(Ostinati)
comp. Williams
E1 (0:14:19)
2
Reva &
Inquisitors
comp. Holt
E1 (0:06:57)
3
Young Leia
comp. Holt
E1 (0:23:29)
4
Imperials
comp. Holt
E3 (0:14:32)
5
Becoming-
Vader
comp. Holt (?)
or Ross (?)
E3 (0:33:45)
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
II.
NON-LEITMOTIVIC THEMES
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (1)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
1
Starry Night
Arpeggios
4, S, etc.
4 [0:01:45]
Polychordal arpeggios, invariant part of transition from main
title to first non-diegetic cue, often leading to characteristic but
variable hexatonic harmonic material. Revived cleverly during
"Reminiscence Therapy" sequence in Solo.
2
Starry Night
Piccolo
4, 8
4 [0:01:54]
Ethereal piccolo solo, only used within segue from Main Title
into opening underscore in ANH and TLJ, with a similar figure
employed in Rogue One.
3
Martial
Chords
4, 9
4 [0:02:10]
Dissonant, pounding polychord straight out of Holst's "Mars"
from The Planets Suite. Used in opening scene of ANH and
climax of Battle of Yavin, as well as TROS. Called "Holst
chords" by Williams.
4
Martial
Rhythm
4, etc.
4 [0:02:30]
Assortment of march rhythms, often w/ triplets or Holstian
asymmetrical patterns, underneath other motifs. Used variously
for Empire/ First Order, Rebels/Resistance.
5
Imperial
Troops
Ostinato
4, S
4 [0:55:04]
Associated with stormtroopers in ANH, generally in
conjunction with Imperial Motif
6
Planetary
Descent
Figure
4, 1 2, 9
4 [0:07:21]
Loosely motivic intervallic + rhythmic gesture for landing on
planets, generally Tatooine (ANH: Imperial Attack, concert
arrangement of Throne Room); versions in TPM & AOTC
closely related.
7
Sandcrawler
4
4 [0:13:08]
Highly chromatic theme used in two cues related to Jawas in
ANH, closely related to Scum and Villainy motif. Embeds a
variant of the Death Star motif.
8
Scum and
Villainy
4
4 [0:14:34]
Featured in ANH's Jawa cues, closely related to Dianoga
material (tracked into Mos Eisley arrival in Special Edition), and
to the Tusken Raider music.
9
Diminutive
Creatures
4, 6
4 [0:15:40]
Cute, staccato vamp used both for Jawas and Ewoks. Potential
to evoke Dies Irae in right circumstance.
10
Landspeeder
4
4 [0:27:45]
A characteristic "bouncing horn figure" cited by Williams as
linked with Luke's Landspeeder, shades of which appear in 3m3
and 4m4
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (2)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
11
Sandpeople
4, (2)
4 [0:29:13]
Alien, dissonant music for Tusken Raiders, marked specifically
its timbres: muted horns on repeated chords and unusual ticking
percussion. Used in two closely proximal cues in ANH, and
revived in spirit if not notes in AOTC, 4m6.
12
Distress
4
4 [0:32:05]
Only used once in released score but features fairly prominently
in unused alternate version of Binary Sunset, along with Dies
Irae.
13
Dies Irae
All
4 [0:40:47]
References to Dies Irae melody the saga are pervasive, most
importantly in ANH (e.g. 4m4), AOTC/ROTS as component
of Descent leitmotif, in TFA/TLJ as aspect of Rey's theme, and
at many junctures across ROTJ.
14
Imperial
Cruiser
Pursuit
4, S
4 [0:55:44]
Nervous minor horn chords succeeded by chromatic figure in
strings, used for Millennium Falcon escape from Tatooine in
ANH and revived in Solo for beginning of "Reminiscence
Therapy" sequence.
15
Major
Trouble
4, 6
4 [1:05:07]
Succession of chromatically related major chords harmonizing
octatonic melody, played over dissonant bass pitches. Possibly
the basis for "Battle Plans" in ROTJ, and more distantly "It's A
Trap." Both related to Rebel Fanfare.
16
Imperial
March
Precursor
4, 5, 6
4 [1:13:27]
1→f6 motion redolent of Imperial March. Used sparingly in
ANH and ESB, a few times in ROTJ, most prominently for
Luke's escape from Death Star (underneath Main theme).
17
Heroic
Determination
4, 6, 9
4 [1:46:34]
Alternating chords with propulsive rhythm, closely associated
with heroic descending tetrachords. Used prominently in
Battles of Yavin, Sail Barge, Endor, and various End Titles.
18
Heroic
Descending
Tetrachords
4, 6, 9
4 [1:55:54]
Important aspect of beginning of End Credits, prominently
featured within underscore in ANH's Battle of Yavin and
repurposed in ROTJ Sail Barge battle. Extremely prominent
usage in TROS "Dunkirk" cue.
19
Romantic
Descending
Trichords
4, etc.
4 [0:01:42]
Pattern of descending triplets chained in upwards ascending
sequence, derived from ending of Main Title, closely associated
with Princess Leia, though mostly through suites and concert
arrangements.
20
Octatonic
Battle Motif
4, 6
4 [1:48:16]
Most prominent of a number of motifs appearing in ANH's
Battle of Yavin, several of which later reworked into ROTJ's
Sail Barge Battle and Superstructure Chase.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (3)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
21
Quartal
Canon
4, 6
4 [1:48:46]
Angular brass figure full of perfect intervals, treated in imitative
fashion, heard in Battle of Yavin and repeated, with flanking
material, during Battle of Endor. Transformed in ROTJ "Fleet
Jumps To Hyperspace" cue.
22
Syncopated
Military
Figure
4, (5, 6)
4 [1:49:03]
Heavily syncopated, dissonant driving figure, used on several
occasions in Battle of Yavin and with similar ideas throughout
OT, particularly "It's A Trap" from ROTJ.
23
Chromatic
Knell
5
5 [0:04:06]
Simple chromatic five-note figure, similar in profile to
Pseudo-Uranus Motif. Written for one cue in ESB and
tracked directly into another.
24
Imperial
March Vamp
2, 3, 5, 6,
7, 9
5 [0:19:36]
Triplet-filled rhythm combined with i↔fvi oscillation, wholly
characteristic of Imperial March. Version of this figure used at
end of concert arrangement heard virtually unchanged for Kylo
Ren's introduction in TFA.
25
Lumbering
AT-AT
5, 6
5 [0:27:00]
Low, vaulting syncopated brass line associated with Imperial
Walkers. Repeated verbatim in 3m3 and 4m1 of ESB, similar
but inexact motifs in 11m5 of ROTJ. Emphasizes s7→b6→1
downward leaping figure.
26
Asteroid Field
Main Theme
5, S
5 [0:39:07]
Second of two memorable set-piece themes during Asteroid
Field chase; never recurs in Williams-written SW scores, but
revived with small modifications in Powell's Solo,
"Reminiscence Therapy."
27
Asteroid Field
Subsidiary
Motif
5, S
5 [0:38:37]
One of numerous motivic particles from the Asteroid Field
sequence, revived along with the above Main Theme in Powell's
Solo, "Reminiscence Therapy."
28
Semitonal
Slip
5, (2, 9)
5 [0:40:38]
Repeated semitonal dipping gesture, harmonized in parallel
major thirds. Hexatonic implications. Prefigured in string
counterpoint to Force Theme in 4m1/2. Heard prominently in
4m3, 8m3, elsewhere. Similar if inexact material in later films.
29
Attacking
A Star
Destroyer
5, S
5 [1:06:24]
Thrilling brass motif and surrounding passages, used once in
ESB, and revived with modifications in Powell's Solo,
"Reminiscence Therapy," suggested (?) in "Adventures of Han"
arrangement (1:43, winds/xylophone).
30
Ambivalent
Upper
Neighbor
1, 2, 6
1 [1:37:26]
Semitonal upper figure, featured in ROTJ "Approaching the
Death Star," & anticipating Revelation motif. Similar figures
used in otherwise unrelated passages in TPM (3m10, 5m5, 5m7,
5m8, etc…) and AOTC (3m1).
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (4)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
31
Neapolitan
Emergency
5
5 [1:36:13]
A common melodic/harmonic gesture in ESB (see also
Asteroid Field, Losing a Hand) based on bII↔V oscillation and
traversal of melodic diminished third. Emerges from Han &
Leia theme, heavily featured in ESB 6m6 and 10m3.
32
Bespin
Dirge 1
5, R
5 [1:37:32]
Pair of linked funereal themes after Carbon Freeze sequence in
ESB. Derived harmonically from Imperial March, affined with
Boba Fett motif and music for arrival at Bespin.
33
Bespin
Dirge 2
5
5 [1:38:39]
Slow continuation of above funereal theme, again based on
Imperial March, with especially dissonant harmonization,
connected to Boba Fett. Essentially a continuation of Cloud
City (Trouble in Bespin) leitmotif.
34
Pseudo-
Uranus Motif
1, 6, 7, 8,
etc.
6 [0:31:00]
The most literal of the many Holst: The Planets allusions in these
scores, a sly nod to the 4 note motto from "Uranus" [G-Eb-A-
B], heard with particular clarity twice in ROTJ.
35
Cascading
Trumpet
Lines
6, etc.
6 [1:26:44]
Ravelian parallel triadic writing before and during ROTJ Battle
of Endor, & numerous other inexact moments as an
orchestrational topic (c.f. ESB "Attacking a Star Destroyer"),
repeated near-literally at several junctures in Rogue One.
36
Palpatine's
Scheming
6, 9
6 [1:31:34]
Repeated note motif, quite similar to later Tremulous Double
Neighbor figure, heard as underscore in R10P2 and revived,
along with many other textures of this cue, in TROS.
37
Ewok
Casualties
6
6 [1:43:14]
Twice repeated mournful theme during ROTJ's Battle of
Endor, accompanied by horn-whoops outlining the Dies Irae.
38
Space Battle
Vamp
6
6 [1:43:52]
Syncopated octatonic figure in minor parallel thirds, heard twice
during space battle portion of Battle of Endor, first when rebels
steer away from Death Star and then when they fly towards it.
39
Luke's
Decision
6
6 [1:45:13]
Simple four note motif on horns, slightly allusive to Dies Irae,
which plays when Luke decides to drop his lightsaber, and is
tracked to a parallel earlier moment when he decides to wield it.
40
Scout
Walkers
6
6 [1:46:16]
Octatonic gesture, occurring in conjunction with AT-STs in
two cues (11m5, 11m6/12m2)
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (5)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
41
Luke's Fury
6, (1)
6 [1:52:41]
Astonishing religioso chorale with no links to prior material in
series except a brief, solemn modal progression when Yoda dies.
Otherwise more of a set-piece theme than incidental motif.
Similar to string progression in middle of TPM 3m3.
42
Ewok
Can-Can
6
6 [1:46:36]
Cheery melody showcased recurrently in "Ewok Battle,"
technically in two separate cues, 11m5 and 11m5 X (insert).
Expanded upon in concert arrangement "Forest Battle"
43
Sentimental
Modal
Progression
6, (1, 2)
6 [2:06:16]
Debussyian modal sequence, part of chorus of ROTJ: SE's
"Victory Celebration," echoed in TPM "It's Working,"
"Audience w/ Boss Nass," and AOTC's "Across the Stars."
44
Slow
Chromatic
Plunge
1
1 [0:02:28]
Slow, arcing descending chromatic line, with inexact but similar
statements in 1m3, 4m7+8
45
Sith Whispers
1, 9
1 [0:04:16]
Unpitched Sanskrit whispers, derived from Duel of the Fates
theme, and "Qui Gon's Noble End" cue, tracked at various
points earlier in TPM. Revived in TROS, including substantial
amount of unused music.
46
Remote
Piccolo
1, (2)
1 [0:08:07]
Eerie, quasi-improvisational piccolo melody; not literally
repeated but recurrent as a texture throughout several cues in
TPM (1m5, 1m8, 4m7, 5m3, 5m8). Loosely associated with
Amidala and Boss Nass. Tracked into AOTC.
47
Jar Jar’s
Bumbling
Triplets
1
1 [0:29:23]
Chromatic ascending triplet figure, associated with Jar Jar’s
objectively hilarious antics.
48
Water World
1
1 [0:13:15]
Ethereal choral writing for approach and departure from Otoh
Gunga.
49
Escape
Ostinato
1, (2, 3)
1 [0:25:00]
Driving ostinato motif, forming basis of Escape from Naboo
scene and later tracked into end of Pod Race sequence. Among
the many components tracked into Battle of Geonosis in
AOTC and opening battle in ROTS.
50
Neutral
Conversation
Music
1, 7, 9, (8)
1 [0:41:37]
Used in TPM (Talk of Podracing, Battle of Naboo aftermath)
and repurposed in TFA (Finn's Confession), TROS (Finn &
Jannah conversation). Presaged TPM 2m11. Unused recurrence
in TLJ, 3m24.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (6)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
51
It's Working!
1
1 [0:49:31]
Sweeping melody, used when Anakin's racer roars to life, and
developed during "Anakin is Free," not to be used again.
Cadence linked to Sentimental Modal Prog. Anticipated
harmonically in some respects by the lush string writing in 3m3.
52
Coruscant
Fanfare(s)
1, 3, (2)
1 [1:36:36]
One of numerous brassy fanfares associated with cutaways and
landings/departures from Coruscant. Notable for being reused
in ROTS.
53
Lydian
Heroics
1
1 [1:51:55]
Lydian motif, closely linked with Young Anakin theme opening
phrase. Used on handful of occasions in TPM, esp. 6m3 &
6m4. Echoes w/ "Rose's Theme" in TLJ.
54
Battle of
Naboo
Ostinato
1, (2)
1 [1:53:04]
Fast 12/8 figure repeated at various junctures in Battle of
Naboo, showcased in 6m5 and 6m6. Suggests the Imperial
March. Tracked into AOTC. Not so unlike TLJ "The Spark."
55
Asymmetrical
Martial
Ostinato
1, (3)
1 [2:02:23]
Heavy mixed meter ostinato, showcased in TPM 6m10, as well
as unused portion of 6m3. Reused via tracking in ROTS.
56
Augie's
Municipal
Band
1
1 [2:08:20]
Upbeat celebratory theme derived from the Emperor's
leitmotif. Occurs only during final scene of TPM, hinted at end
of 6m4 as part of a proto-Rebel Fanfare. Showcased in
unreleased 7m1. Possible reference to "Augie's Great Piano."
57
Chase
Through
Coruscant
2
2 [0:16:05]
One of a number of fast, rhythmically propulsive ostinato
motifs in AOTC 1m6 through 2m1, tracked elsewhere in
AOTC.
58
Jedi Business
2
2 [1:27:58]
Regal theme heard at several junctures in AOTC, most
prominently during communication between Jedi Council and
Anakin/Padme on Tatooine
59
Mystery
(Form 2)
2, 9
2 [1:12:27]
Another guise of Mystery arpeggio figure, especially prominent
in AOTC 4m4. Conspicuously if inexplicably reworked into
TROS conversation b/t Poe and Zorii Bliss and Emperor’s
draining of Rey/Kylo. Similar texture in ROTS 3m1.
60
Tremulous
Double
Neighbor
2
2 [0:42:07]
Chromatic figure used intermittently during Kamino scenes.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (7)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
61
Pastoral
Vamp
2
2 [0:47:38]
Rocking modal figure used to prepare "Pastoral Courtship"
theme on two occasions, with some similar 6/8 material in
other cues.
62
Anakin’s
Promise
2, 3
2 [1:27:20]
Mournful horn phrase w/ ear-catching rising minor sixth, used
twice in AOTC, once tracked. Closely related to end ROTS
5m5, bearing extremely similar theme, key, and dramatic subject
matter. Also c.f. TROS 9m5.
63
Arena/
Republic
March
2, 3
2 [1:48:25]
Closely related to Droid March, heavily cut from original
context in AOTC but reworked through tracking as de facto
theme for Republic Army in ROTS.
64
Chromatic
Interjection
2
2 [2:07:19]
Brassy gesture appearing during duel with Dooku in AOTC,
with a cut variant during Arena Battle cue. Not so dissimilar to
eventual Knights of Ren motif in TROS.
65
Twisted Bass
Line
2, 9
2 [0:40:15]
Sinister bass figure that plays prominent role in developmental
middle section of ATS concert arrangement, but appears only
in underscore (2m7). Very similar figure forms basis of "The
Old Death Star" from TROS, second section of Psalm of Sith.
66
Battle Drums
3
3 [0:01:43]
Pounding bass drum figure, mostly (?) inserted after the fact
into several cues in ROTS. Similar material in Phasma fight in
TLJ
67
Lydian Tag
3
3 [0:23:58]
A lydian motif that concludes "Happy Landing" leitmotif in its
first appearance and is developed to a small degree in 3m6 and
a few spots elsewhere in ROTS score like 7m7.
68
Grievous
Peril
3
3 [0:27:26]
String ostinato, distantly related to Duel of the Fates, used in
2m5 underneath Grievous's theme, and tracked after 4mX for
onset of Obi Wan / Grievous duel.
69
Shadow Over
Coruscant
3, (9)
3 [0:36:30]
Expansive but short string motif, heard during 2 establishing
shots of Coruscant (36:30, 1:31:30). Similar in tone & structure
to a number of subsidiary motifs in ROTS, in 2m3, 5m6, end of
7m1. Echoed, accidentally, at times in TROS.
70
Sith Mystery
3
3 [0:45:08]
Slippery motif appearing in middle of ROTS: Opera Sequence,
repeated with small variation in 4m6 and recalled less directly in
3m6 and 6m1. Derived from Imperial March.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (8)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
71
Grievous
Danger
3
3 [0:55:52]
A loose cluster of savage sounding, metrically unpredictable
materials associated with General Grievous on Utapau and Obi
Wan's pursuit atop on an alien lizard in 3m7 and 4m4.
72
Sith
Seduction
3, 9, (8)
3 [1:04:26]
Nervous tremolando figure for strings, heard as Palpatine is
tempting Anakin in ROTS, when Obi Wan views the footage of
Order 66, and repeated, almost exactly, in TROS when Kylo
Ren approaches Exegol. Similar figures in Snoke scenes of TLJ.
73
Lurking
Danger
3
3 [1:04:38]
Chilly, inconspicuous three note figure (f3→4→2) [sometimes
extended to (1→f3→4→2] that recurs in various guises
throughout ROTS: 2m1, 2m5, 2m7, 3m1, 3m7, 4m3, 5m1, 5m4,
5m7, 6m3, 7m1, etc. Related to Palpatine's Big Pitch chorale.
74
Warning
Signs
3
3 [1:08:06]
Monotonous warbling line, harmonized in parallel minor 10ths
(4m5, also tracked before 3m5) or parallel minor 9ths (unused
portion of 5m1) .
75
Padme's
Ruminations
3, (9)
3 [1:09:08]
Haunted, drone-based music with hazy, quasi-improvised synth
and female vocal melody in ROTS 4m5A. An early version of
TROS 1m6 "Ren's Entrance" used a slightly reworked version
of this theme/cue.
76
Lethal Canon
3
3 [1:14:34]
Dissonant brass canonical figure, used when Mace Windu goes
in for fatal strike against Palpatine and later when Yoda and
Obi Wan clear through attacking Clone Troopers.
77
Palpatine's
Instructions
3, 9, (2)
3 [1:18:36]
Slow, chromatic string line, presented in pseudo-canon with
itself (a. m3), ostensibly inspired by 4th movement of RvW 7th
symphony. Nearly identical musical theme & texture in TROS
when Sidious explains plan to Rey; also similar to AOTC 7m3 .
78
Anakin's
Dark Deeds
3
3 [1:35:09]
Aggressive figure in A-minor, forming basis of ROTS 5m7,
echoed in 6m3. Affinity with passacaglia motif from "It Can't
Be."
79
Mournful
Descending
Trichord
2, 3
3 [1:27:56]
Generic but heavily utilized three note descending figure
(generally 3→2→1 in minor), heard most prominently in
"Lament" and "It Can't Be" but featured in many other cues
throughout ROTS, AOTC.
80
Duelistic
Strings
3, 9, (5)
3 [1:50:00]
Churning chromatic string polyphony, used during
Yoda/Palpatine fight in ROTS, and recalled during initial
confrontation between Rey & Kylo Ren in TROS. Derived
from ESB 11m1 and possibly 5m4.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (9)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
81
Apocalyptic
Repeated
Minor Triads
3
3 [1:55:37]
Banging, rhythmically irregular minor triads ala Holst &
Tchaikovsky; throughout ROTS, with similar figures used
throughout rest of series
82
First Order
Behemoth
7
7 [0:04:29]
Arching horn motif heard twice in TFA, first when F.O. Star
Destroyer shown after Main Title, second, heavily modified,
when Star Killer base first seen. Similar, if inexact, lines
throughout TLJ and TROS
83
First Order
Deployed
7
7 [0:04:37]
Four note motif and accompanying martial rhythm used during
Attack on Jakuu village, right after First Order Behemoth motif,
and tracked again when Star Killer base charges up late in TFA.
84
Rey's Solitude
7, 8, 9
7 [0:14:25]
Ascending minor melodic fragment, closely related to Rey's
Theme, Jedi Steps, A New Home from TROS. Featured heavily
in some unused cues in TFA.
85
Scavenger
Unused
Melody
7
7 [N/A]
A full-fledged grammatical theme written for an early version of
"The Scavenger" (1m5), entirely discarded and replaced by
Rey's Theme. Accompanimental aspects also occur in early
unused version of 1m6.
86
Rey and BB8
7
7 [N/A]
Gentle, warm melody entirely cut from TFA, hearable only in
DVD extra features. Used in early scenes between Rey and
BB8. Similar structure to Rose's theme.
87
Empathy for
Droids
7
7 [0:16:29]
Heard twice in TFA, at conclusion of Rey Meets BB8 and after
R2 wakes up
88
March
Onboard
Spacecraft
7, 8, 9
7 [0:21:38]
Innocuous march figure that heard early in TFA, and repeated
with slight variation on a few occasions in TLJ. Probably simply
a result of temp-tracking in TLJ. Ascending melodic m3 itself
loosely motivic throughout TFA (c.f. "Torn Apart").
89
Galloping
Ostinato
7
7 [0:23:38]
Racing minor mode figure used in TFA during "I Can Fly
Anything" and "The Resistance" sequences
90
Subterfuge
7, 8
8 [0:43:17]
Nervous repeated three note figure, heard first before Rathtar
sequence in TFA and throughout 6m57, and used extensively in
TLJ, first as Maz is contacted, w/ more variation during
sequence of Rose/Finn/DJ sneaking on Supremacy
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (10)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
91
Droids
Minimotif
7
7 [1:23:48]
Slightly comical theme associated with 3P0 and R2, occurring in
a few unused cues in addition to 6m52.
92
Tense Pacing
Strings
7, 8, 9
8 [1:25:11]
Repetitive string motif heard in various guises late in TFA and
throughout middle act of TLJ. Tracked into TROS.
93
Tragedy
7, (9)
7 [1:10:15]
String-based elegy set-piece, used in TFA as Starkiller Base
destroys Republic and again during Han's death scene. Similar
but inexact music for various tragic scenes in TROS.
94
Kylo Ren's
Sawing
Strings
7, 8
7 [1:13:74]
Rapid Prokofievian string writing, familiar in JW's action
writing, first in "Kylo Ren Arrives at the Battle" in TFA,
modified & extended in "The Supremacy" in TLJ
95
Octave String
Meanderings
7, 9
7 [1:37:49]
Strings in octaves playing meandering figures in minor mode,
reminiscent of music for Seven Years in Tibet. Featured in TFA
Starkiller Base incursion, and once in TROS.
96
Resistance
Deployed
8
8 [0:08:10]
Variant of March of the Resistance B-section, used fairly
thoroughly in Dreadnaught attack and Battle of Crait.
97
Catastrophe
8
8 [0:08:55]
Dissonant, clamorous chromatic phase used in opening and
closing battles of TLJ, and AT-AT attack on Luke. Appears to
be related to Battle of Hoth motif 3m3
h
.
98
Spite
8
8 [0:17:05]
Nervous viola figure, heard in 1m9 and 7m60, as Snoke is
mocking his victims, and later 9m58 as Kylo Ren expresses
bitter hatred of Luke. Family resemblance to Sith Seduction.
99
Ahch-To
Arpeggios
8
8 [0:21:41]
Minor triad arpeggios associated with a few early scenes on
Ahch-To Island.
100
Resignation
8, (9)
8 [0:26:03]
Somber, brief brass chorale heard as Leia contemplates loss and
later when Poe first confronts Holdo.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (11)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
101
Bad Feelings
on Ahch To
8
8 [1:13:22]
High-pitched chromatic twisty figure, heard, inexactly, twice in
5m44, clearly as Rey approaches Dark Side hole on Ahch-To,
and tracked for Luke's inspection of Hut in next scene. Hinted
at beginning of 3m28 and several other places besides.
102
Snoke's
Boudoir
8
8 [1:43:05]
Twisted chromatic phrase, genetically related to Imperial March
and Snoke's motif., heard in Snoke's chamber as he goads Ren
to kill Rey; hinted at in previous scenes, inc. between Rey and
Ren touching hands, later in elevator together.
103
Whirling
Octatonicism
8, S
8 [2:00:45]
Swirling octatonic figure that occurs during Battle of Crait. Very
similar material used in central section of "The Adventures of
Han."
104
Luke's Last
Stand
8, 9
8 [2:08:58]
Continually arpeggiated minor triad that accompanies Luke's
confrontation of the First Order. Reiterated in next cue by
timpani. Revisited, with new galloping rhythm, in unused
portion of "Journey to Exegol" from TROS.
105
Rey's Power
8, (9, 3)
8 [2:16:28]
Wordless chorus, based on sequence of downwards fifths
(derived from MotR?) that accompanies Rey's rock lift in TLJ &
recalled, with modifications, in TROS Emperor's temptation of
Rey. Similar to end, esp. final cadence, of ROTS 5m3.
106
Journey to
Exegol
9
9 [0:02:34]
Aggressive ostinato used for Kylo Ren's flight to Exegol and
reused for Rey's similar journey later in TROS. Possibly temp-
tracked with ostinato from ROTS 4m6 (same key, rhythm,
pitches), which itself appears to be a variant of Across the Stars.
107
Insidious
Minor Figure
9, 7
9 [1:45:00]
Four note motif, related to and likely derived from (or into)
Psalm of the Sith, heard quietly as Kylo Ren explores Exegol,
and loudly later as Rey does same. Also linked to Desperation
motif. Previewed in TFA, 3m22.
108
Leia Trains
Rey
9
9 [0:10:15]
Elegant, sentimental string melody used during Rey's training
with Leia, first when she bemoans inability to commune with
Jedi, later when Leia notes "never underestimate a droid."
Similar but inexact music in subsequent scenes.
109
Friendship
(Variant)
9
9 [0:44:14]
Variant of main Rise of Skywalker theme with inverted opening
melodic idea. Used throughout TROS. Similar to Resignation
motif from TLJ.
110
Really Bad
Feeling
9
9 [1:51:07]
Strident motif that occurs on a few occasions in TROS, most
notably 5m08 (cut) and momentarily during Rey/Ben team-up
on Exegol (possibly tracked and octave shifted). Related to
Tension, Force, Psalm of the Sith, and Insidious Minor Figure.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
INCIDENTAL MOTIFS (12)
Motif
Melodic Reduction
Uses
Clear
Statement
Notes
111
Across the
Seas
9
9 [1:11:25]
Ostinato that forms basis of two neighboring cues in TROS
when Rey takes skimmer over ocean to Death Star II.
112
Jedi Steps
(Variant)
9
9 [1:32:35]
Two measure phrase which occurs in TROS 7m4 on Ahch-To,
and closely resembles a phrase in TLJ 0m1, probably derived
from or a variant of Jedi Steps theme.
113
Ben Solo's
Redemption
9
9 [2:42:32]
Characteristic low brass chorale writing, first for Ben throwing
saber into Endor sea, then for his (apparent) death on Exegol.
Related to Bittersweetness.
114
Luke Trains
Leia
9
9 [1:33:18]
Elegant sentimental melody heard during flashback of Leia and
Luke in lightsaber combat. One statement heard on soundtrack
cut from film, one different statement on film cut from
soundtrack. Similar to Leia Trains Rey, a few other one-offs.
115
Approaching
The Throne
9
9 [1:40:47]
Low, halting figure heard as Rey descends elevator into Exegol
temple, and again in different cue and key, when Rey
approaches Palpatine's throne. In augmentation, forms bass for
Wayfinder motif.
116
Bittersweetness
9, (7)
9 [2:42:00]
Brief melodic gesture, characteristically 5→b6→3 or 5→b6→2
in major, heard throughout TROS, most notably right before
KR and Rey's Kiss and at end of "Rise of Skywalker" concert
piece. Related to Pathos, Kylo, Victory, and Friendship themes.
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SET-PIECE THEMES (GENERAL)
While leitmotifs and incidental motifs which occur through multiple scenes and films are generally the most musically salient components of the Star Wars thematic
lexicon, most cues feature at least some musical material which is restricted to a single scene or sequence; these non-leitmotivic materials include all manner of ostinati,
gestures, stingers, fanfares, chord-progressions, and textures. In more than a few cases, these cue-specific ideas comprise fully-fledged, distinctive themes in their own
right. Such "One-Scene-Wonders" may occur only once within a single cue (ex. “The City in the Clouds”) but nevertheless stand-out for their musical and dramatic
significance. They may also be repeated and varied within the span of a cue (ex. “Jango's Escape”) and even substantially developed (ex. “The Flag Parade”).
The line between Set-Piece Themes, Incidental Motifs, and Leitmotifs can be quite blurry, and the former may migrate to either of the latter through variation or
tracking within one film or multiple films (ex. Asteroid Field, ESB into "Reminiscence Therapy", Solo; Arena Battle, AOTC into Jedi Temple March, ROTS). In a few
cases, Set-Piece Themes may even be promoted to leitmotivic status through repetition and variation in later films. This category includes "TIE Fighter Attack,"
"Throne Room," "Shmi," "Funeral," "Tension," and "Jedi Steps."
Being a set-piece theme does not imply a lack of relatedness from other themes or thematic processes. For example, the "It Can't Be" theme is the direct product of a
score-spanning 3-2-1-7-1 "meta-motif" in Revenge of the Sith (exemplified by the "Lurking Danger").
Notable Set-Piece Themes:
Original Trilogy: Desert Planet, Luke's Speeder, Trash Compactor, Battle of Hoth (see below), Asteroid Field MT, Mynocks, Cloud City, Droids Approach Jabba's Palace,
Droid Dungeon, Jabba's Sentence, Son Meets Father, Ewok Battle Ostinato, Leia is Wounded, Victory Celebration
Prequel Trilogy: Qui Gon Bargains with Boss Nass, Prisoner March, Introducing Threepio, Children At Play, Anakin the Victor, Leaving Home, Approaching Naboo,
Amidala Bargains With Boss Nass, Elevator Conversation, Chase Through Coruscant Ostinati 1 & 2, Leaving Coruscant, Refugee Ship, Theed Pastorale, Jango's
Escape, Conveyor Belt, Dooku Escapes, Dooku to Palpatine, Grievous and the Droids, Tragedy of Darth Plagueis, I Am The Senate, Anakin's Dark Deeds, Moving
Things Along, It Can't Be, Immolation, Birth of the Twins
Sequel Trilogy: Threepio and Artoo, Torn Apart, Scherzo for X-Wings, Hello Fathiers, The Fathiers, Farewell Fathiers, Conversation With Yoda, Battle of Crait, Luke
Punks Ren, Pasaana School, Farewell Zorii, Leia's Sabre, Finn and Jannah At War, A New Home
SMALL SAMPLING OF SET-PIECE MOTIFS
Film
Motif
Melodic Reduction
Statement
IV
Escape
Hatch
[0:07:02]
1m4
"Escape Hatch"
V
City in the
Clouds
[1:18:54]
8m2
"City in the
Clouds"
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SET-PIECE THEMES (GENERAL CONT.)
Film
Motif
Melodic Reduction
Statement
VI
Droids on
Tatooine
[0:04:58]
1m8
"The Iron Door"
I
The Flag
Parade
[0:55:16]
3m9
"The Flag Parade"
II
Theed
Pastorale
[0:38:48]
2m7
"Approaching the
Naboo Palace"
III
It Can’t Be
[1:39:06]
6m1
"It Can't Be"
VII
Torn
Apart
[1:31:49]
7m65
"Father and Son"
VIII
The
Fathiers
[1:06:55]
0m5
"Fathiers"
IX
Finn and
Jannah at
War
[1:45:42]
7m30
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SET-PIECE THEMES (ACTION SEQUENCES)
THE BATTLE OF HOTH
Action sequences frequently garner unique and cue-specific themes and motifs. Probably the richest sequence in the entire Skywalker Saga in terms of density of
leitmotifs, incidental motifs, and non-leitmotivic themes is The Battle of Hoth from Empire Strikes Back. The following table provides a glimpse of the roughly 25
distinct non-leitmotivic elements of this extended set-piece. This sequence is comprised of four linked cues, each with their own thematic identity. In particular, 3m3
("Battle in the Snow") is dense with cue-specific motifs, and is the only section of the larger cue-complex without reference to leitmotifs. The other three legs of the
sequence (3m1-2, 4m1, 4m2) are interspersed with ample reference to established leitmotifs. See Dominic Sewell and FilmScoreAnalysis for thorough notated analyses.
BATTLE OF HOTH OVERVIEW
Section Cue Number Cue Name Length Film Time Leitmotifs Used & Abbreviations
1a. 3m1 "Drawing the Battle Lines" 48 mm. 0:21:52 - 0:23:57 Main (A), Vader (Imp. March)
1b. 3m2 "Leia's Instructions" 63 mm. 0:23:58 - 0:25:21 Vader, Rebel Fanfare, Main (A)
2. 3m3 "Snow Battle" 143 mm. 0:26:05 - 0:29:20 N/A
3. 3m4/4m1 "Luke's First Crash" 150 mm. 0:29:21 - 0:33:28 Droids, Dark Side (?), Vader, Main (A), Force, Rebel Fanfare
4. 4m2 "Rebels Escape Again" 124 mm. 0:33:29 - 0:36:20 Leia, Vader, Han & Leia
BASIC MOTIVIC/THEMATIC STRUCTURE
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
Label
Melodic Reduction
Statements
Notes
3M1: "DRAWING THE BATTLE LINES"
a.
0:21:53
Warmly tonal opening to cue. Mm. 3-5
support brief statement of Main/Luke
Theme
b.
0:22:10
Continuation of above, introducing more
chromaticism as lead-in to Imperial
March.
c.
0:22:22
Imperial March-derived rhythmic vamp
for building tension; heard previously in
unutilized portion of 2m4.
d.
0:23:00
Transitional, sequential passage,
developing out of Imperial March,
providing basis for motif-e. in following
3m2 (see immediately below).
3M2: "LEIA'S INSTRUCTIONS"
e.
0:23:58, 0:25:14
Lengthy military preparation theme;
descending P4s incorporated into 4m1's
opening theme. Hints at Main Theme
towards ending. 14 mm in total.
f.
0:24:30
Dissonant dyadic motif on piano &
pitched percussion, single iteration within
3m1.
g.
0:25:23
Exciting brass figure for Ion Cannon
volley, anticipating Luke/Main Theme
moments later.
h.
0:25:34
Broad, optimistic theme in Walton-esque
vein with a single iteration at end of cue.
Tight, slightly dissonant harmonization.
Compare Jaws 2 end title.
THE BATTLE OF HOTH, SET-PIECE THEMES
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
Label
Melodic Reduction
Statements
Notes
3M3: "SNOW BATTLE"
i.
0:26:17, 0:28:27,
0:28:36, 0:29:08,
0:30:01
Principle ostinato for 3m3, carried
primarily by low piano. Octatonic
disposition shared with much material
from Battle. Inverted in 3m4.
j.
0:26:17, 0:26:25,
0:27:45, 0:28:08,
0:29:08
Main Theme for 3m3, carried primarily
by low brass. Overlays initial i.-motif,
multiple internal iterations. Derived
material in various str. lines throughout.
k.
0:26:33, 26:50;
0:26:37; 0:26:41,
0:27:27
Strident Secondary Theme for 3m3,
often in parallel thirds/sixths. Anticipated
by end of first statement & woodwind
"stabs" throughout j.
l.
0:27:00, 0:27:10,
0:27:30, 0:27:45,
0:28:36, 0:29:52,
0:30:01, etc.
Octatonic repeated chord ostinato,
prominent in many passages in 3M3 and
elsewhere. Anticipated as texture beneath
k. Related to Dark Side (Ostinato) motif.
m.
0:27:00, 0:27:10,
0:27:20, 0:27:53,
0:30:01, 0:30:20,
0:31:13, etc.
Angular, syncopated figure for low brass,
outgrowth of motif-n, associated but
autonomous from motif-l. Heard
throughout 3m3 and 4m1.
n.
0:27:40
Ostinato followed by rising intensificatory
sequence terminating in dissonant chord.
Similar ostinato prepares final statement
of Imp. March in 4m1, motif x in 4m2.
o.
0:28:13, 0:28:23
One of a handful of genuinely atonal,
highly syncopated passages that ascend
gradually in range, build tension.
p.
0:28:36
Octatonic melody for trumpets, echoed
in canon by trombones. Dovetails
immediately with ↓
q.
0:28:48
Climactic trumpet line, echoed by
pseudo-canon in trbs. derived from motif
m. Anticipates "Catastrophe" motif from
TLJ; last mm. 2 the climax of TFA 3m20.
THE BATTLE OF HOTH, SET-PIECE THEMES
NON-LEITMOTIVIC THEMES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
Label
Melodic Reduction
Statements
Notes
3M4/4M1: "LUKE'S FIRST CRASH"
r.
0:29:21, 0:30:30
Militaristic Main Theme for 3m4.
Related to motif d. from 3m1 in tone &
descending P4 intervals in succession;
motif j from 3m4 in rhythm & contour.
s.
0:30:08
Angular, shrill figure vaulting across
multiple octaves.
t.
0:30:41
Intensificatory rising progression.
Distinctive intervallic pattern (M2-M3
contrary motion) also prominently
featured in The Asteroid Field.
u.
0:31:13
Brutal syncopated bass line and
corresponding chromatic activity above,
very much in same vein as motif m.
v.
0:31:31, 0:31:47
Anxious motif treated as quasi-ostinato,
overlaid with Main Theme
w.
0:32:52
On heels of Rebel Fanfare, sequence that
building up to another victory fanfare for
exploded AT-AT.
4M2: "REBELS ESCAPE AGAIN"
x.
0:33:39, etc.
Not a motif so much as a persistent
chugging chromatic string texture based
on angular, chromatic triplets and duplets,
heard throughout almost entire 4m2
y.
0:34:53. 0:35:22
Very much a continuation of the
continuous string figure above, now
emphasizing repeated note triplets.
Prepares Han & Leia theme.
z.
0:36:11
Expansive final cadence and Lydian
afterglow, growing out of big last
statement of Han & Leia theme.
THE BATTLE OF HOTH, SET-PIECE THEMES
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
III.
THEMATIC RELATIONSHIPS
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ASSOCIATIVE PROGRESSIONS
While particular keys (e.g. C major, G minor) do not really adhere to consistent dramatic or symbolic functions in the Star Wars scores, progressions between chords
often do. The clearest example is the progression instanced in the pairing of G-minor and Eb-minor [also known as the "Tarnhlem" progression, or LP(m)]; this
attaches firmly to Darth Vader in ESB, and remains a musical symbol for evil through all subsequent films. These progressions can be described in a number of ways.
The table below uses motions from a G-triad reference point to categorize them. Alternatively, more chord-neutral transpositional and/or neo-Riemannian
descriptions can be employed; these labels are described informally on Wikipedia and in detail in Hollywood Harmony: Musical Wonder and the Sound of Cinema. See also
Heine (2018) on chromatic mediants; Schneller (2013) on mode mixture in Williams; Murphy (2006) on tritone progressions & (2023) on labelling systems.
Importantly, while associative progressions may be a crucial aspect of a given leitmotif, their connotative power is more general, and they may also occur in numerous
indirectly related leitmotifs (e.g. the "Tarnhelm" progression in Vader and Kylo Ren B), or even non-thematic underscore (e.g. "Faking the Code" in ROTJ).
Associative progressions can also "chain" together. For example, motion of a minor triad or key up a perfect fifth (T
7
) is a part of the "March of the Resistance's"
harmonic structure, and long chains of keys strung together by these modulations is characteristic of a significant amount of TLJ's dramatic underscore.
Note: this table deals solely with progressions among triads. Other aspects of harmonic design, like sonority (e.g. augmented triad, D M/G), functions (Neapolitan Chord), scale (e.g. dorian,
hexatonic, octatonic) and even overall idiom (e.g. jazz, atonal, diatonic functional) are also strongly associative in this franchise, and may be described in future versions of this catalogue.
Progression
Generic Example
Specific Example
Associations
Motifs Featuring Progression
G ↔ A
G→A→G→A
s
4
…
Optimism, benevolence,
youth, victory
Yoda, Young Anakin, Victory Fanfare, Rose,
Friendship, Victory, Galaxy's Edge 4
Gm ↔ Bbm
Gm→Eb/F→Gm…
Evil, deception
Emperor, Conspiracy
G ↔ Cm (also
Am
7
b
5
, Ab…)
D→Em
7 5
/D→Eb/D…
Romance, romanticism,
nostalgia, femininity
Leia, Han & Leia, Luke & Leia, Han & Q'ira, Victory
Gm ↔ C
Am→D→Am…
Destiny, heroism, the
light side, hope
Force, Across the Stars, Rey, Poe, Chirrut, Young
Han (Heroic), Enfys Nest (B)
Gm ↔ Csm,
G ↔ Cs
Fs→C→Fs…
Mystery, evil, wonder,
the alien
Emperor, Imperial March, Map, Planetary Descent,
Map
Gm ↔ Dm
Fm→Cm→Gm→Dm…
Decisive action, war
March of the Resistance, L-8/Droid Uprising,
Ominous Ostinato, Psalm of the Sith
Gm ↔ Ebm
Gsm→Em→Gsm→Em…
Villainy, tragedy, the
dark side, the alien
Imperial March, Death Star, Jabba, DOTF, Water
World, Kylo Ren (B), Ewoks, Krennic, Han
(Searching), Anthem of Evil
Gm ↔ Eb
Fm→Db→Fm→Db...
The epic, the mythical,
old Luke
Force, Battle of the Heroes, Jedi Steps, Luke in Exile,
Desperation, Luke's Last Stand, Obi Wan
GM ↔ E
B→Gs→B→Gs…
Heroism, rebels,
resistance
Main Theme, Rebel Fanfare, TIE-Fighter Attack,
Yoda's Theme (B-Section), Galaxy's Edge 3
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ASSOCIATIVE TONALITY
As noted above, absolute key—in the sense of a particular fixed tonal center and it attendant scale and chordal functions—is not a strongly associative or structural
force in Star Wars scores, nor is it in the vast majority of film music. (See Motazedian 2016 and 2023 for some fascinating counterexamples and a robust method for
analyzing and interpreting them.) The most strongly associative musical units in the Skywalker Saga tend to be melodic (leitmotifs), locally harmonic (e.g. associative
progressions), and timbral/textural (e.g. associative orchestration). The key areas the average span of non-diegetic underscore in a Star Wars film journeys through
tend to be happenstantial, the product of an arbitrary starting key choice followed by expressively-motivated modulations, often quite chromatic and digressive.
Nevertheless, absolute key is not a totally neutral or irrelevant parameter in special circumstances. Keys, on their own, are very rarely independently meaningful
parameters in Star Wars. But certain themes may be attended by loose linkage to a specific tonal center, generally in connection to one or more of the following
conditions, in increasing degree of salience:
a) theme’s inaugural statement being in that key;
b) theme’s most iconic in-film statement(s) being in that key;
c) theme’s definitive paratextual statement in End Credits or Concert Arrangements being in that key.
These factors collectively may serve to mark one or more keys as being especially strongly linked (but not inextricably so!) with a given theme. For example, while the
Imperial March can and does appear in virtually every key center, a handful of strong instances in G-minor, both in-film and as part of musical paratexts, give it a loose
connection with that key. Nevertheless, many highly salient instances of the Imperial March occur in keys other than G, and many passages that happen to be in G-
minor have nothing to do with the Imperial March or its associations.
Modulation, more than key per se, is far more salient as an expressive parameter. The scores for these films—and Williams soundtracks in general—are
extraordinarily active in terms of dramatically motivated key changes and large-scale transformations of tonal center, macroharmony, and overall harmonic idiom (see
Lehman 2012 and 2018 on this point). Indeed, in some cases modulatory routines assume almost leitmotivic status in their own right: this is perhaps most apparent
with the iterated fifths modulations in The Last Jedi, which connect with feelings of mounting threat or portent.
The chart below depicts the tonal trajectory of an eventful segment of the “Escape” sequence in
The Last Jedi
. This passage comprises a representative span of
dramatically justified and often quasi-motivic modulations. Significantly, the chart depicts only material as it appears in the final film: the actual action sequence is built
from at least 10 separate cues and inserts (1m1-1m8), major portions of which are unused, and others imported partially or wholesale from earlier cues in TFA. Even
with this complex and sometimes haphazard construction, we can note a) the non-correspondence of any of the keys with stable film or saga-spanning (or even cue-
spanning) meanings, and b) the expressive justification of every key change or tonal transformation via some change on-screen action or mood. See Huvet 2017 and
2021 and Kmet 2017 on the subject of editorial complexities in such sequences in Star Wars.
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
ASSOCIATIVE TONALITY CONT.
The tables below summarize the key placement of the six principle leitmotifs that appear in The Empire Strikes Back (film chosen because its thematic richness and
manageable scope). The top table indicates the keys of these in terms of: their initial statement; a particularly iconic or apotheotic statement; and statement(s) in
paratextual contexts such as credits or concert arrangements. The bottom table displays the actual incidence of the 12 keys (major and minor are collapsed) in relation
to those leitmotifs in ESB. No effort has been made here to discriminate between lengthy/short or foregrounded/backgrounded usages of these themes: a more
nuanced analysis would be required to full differentiate degrees of key salience. The preliminary results here suggest that a) absolute key by itself is not a consistently
meaningful symbolic parameter and b) leitmotifs may link with certain keys but are not consistently held to one single key or even a small constellation of related keys.
Note: the impression of key/theme affiliation may be made stronger by use of tracked or marginally adapted arrangements of particular cues (and the themes within) in subsequent films
(e.g.. DOTF in AOTC and ROTS, Yoda and Leia in TLJ, TROS) or the presence of invariant metadiegetic “frames” (e.g. the B
b
arrangement of the Main theme at beginning and ending of
each film, G-min arrangement of the Force theme at ending of all movies after ROTS).
The degree of theme-key association may therefore be either strengthened or weakened from film to film.
Theme
Inaugural
Iconic
Paratextual (Credits)
Paratextual (Concert)
Main
Bb
G (ANH: 9m2)
Bb (ANH) [main] / Db, C, G [end]
Same as credits (Main Theme)
Force
Fsm
Gm (ANH: 3m1)
-
Fm (Throne Room & Finale)
Leia
(B)
E (ANH: 3m1, 4m3)
E (ANH Credits)
D, E (Princess Leia’s Theme)
Imp. March
(Bm?)
Gm (ESB: 2m4)
Gm (ESB Credits)
Gm (The Imperial March)
Han/Leia
C
Db (ESB: 5m4)
Eb (ESB Credits)
Db, Bb (1980)| A, Eb (2018)|D, Eb (2019/21)
Yoda
Bb
C-E (ESB: 7m3)
C (ESB Credits)
C (Yoda’s Theme)
Theme in
ESB
A
Bb
B
C
Cs/Db
D
Ds/Eb
E
F
Fs/Gb
G
Gs/Ab
Ambiguous
Main
-
4
3
4
3
1
2
2
-
-
2
2
-
Force
1
-
1
5
-
-
-
-
4
2
2
1
-
Leia
-
-
-
-
-
1
-
-
-
1
1
-
1
Imp. March
-
6
5
10
1
7
1
3
7
-
10
-
5
Han/Leia
1
2
3
4
3
1
-
1
2
-
2
1
1
Yoda
1
3
-
5
-
2
1
3
2
-
2
1
2
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
THEMATIC INTERCONNECTIONS
Many themes and motifs in the Star Wars series can be said to sound like others with varying degrees of musical and dramatic significance. The way that
themes resonate with and even transform into one another contributes to the unity and mythical tone of these scores.
Some cross-theme resemblances are easy to hear, others much more subtle. Some are clearly intentional from a compositional standpoint, while others
are likely the result of a largely unconscious consistency of melodic style and associations on the part of the composer. Still others are possible to detect
through careful analysis but may be purely accidental if nevertheless meaningful to the listeners who uncover (or assert) their existence. Judging what is
a meaningful connection and what is coincidence is not always easy, especially given that John Williams has not always been forthcoming (or necessarily
consistent) about the technical aspects of his work.
Three categories below—confirmed, probable, and speculative—are meant to be very rough ways to organize potential thematic interconnections.
Corroboration of thematic similarities in film underscore strengthens the case for musical relatedness.
Absence of authorial intent does not imply
absence of meaningfulness.
A single example with short explanation is provided for each category. A full accounting of every possible motivic
derivation, transformation, or family resemblance among themes is beyond the scope of this catalogue. All examples transposed to key of C for ease of
comparison unless otherwise noted.
1. CONFIRMED: Direct evidence from composer that connection is intentional, dramatically motivated; ample & clear corroboration in underscore.
ex. Imperial March/Darth Vader in Young Anakin
Williams readily acknowledges that (Young) Anakin's Theme is structured so as to
hint at the "mature" form of Imperial March/Darth Vader's Theme.
(See, for ex.: Program Notes for Score; Interview 1, Interview 2).
The connection arises in several ways within the theme and its uses in the Phantom
Menace score. The Imperial March's characteristic  and  rhythms and
melodic contour [down/up/down] are present throughout theme. Both emphasize
minor modal degrees (b3, b6) and pointedly avoid n3 and conventional diatonic
harmonic functions. The recurrent melodic cadence in Anakin's Theme (1-b6-b3-1)
is a direct allusion to Imperial March.
The climactic phrase of theme as heard in concert arrangement makes explicit
reference to Imperial March through melody, rhythm, and importantly harmony
(flattened minor submediant, i.e. Afm in C-Maj).
References to the Imperial March occur throughout TMP score, especially but not
exclusively in conjunction with statements of Anakin's theme and at moments that
are dramatically and symbolically relevant. Examples include "He The Chosen O
ne" and "Talk of Podracing." See Eckenfelder (2019) for a sustained analysis.
The Imp. March/Young Anakin musical connection is all but dropped after TMP
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
THEMATIC INTERCONNECTIONS CONT.
2. PROBABLE: Strong evidence of
musically and dramatically meaningful thematic connection supported by multiple musical parameters (melody, harmony, rhythm, etc.),
but no known direct description of intent from composer; may or may not be corroborated extensively in underscore.
ex. Main Theme (Luke) in Luke & Leia
3. SPECULATIVE: Evidence of compositional intent is lacking. Thematic similarities may exist but could be attributed to contrivance, coincidence, or as a product of the
similar melodic/harmonic idioms Williams generally applies to certain types of characters or situations. Lack of obvious corroboration in underscore.
ex. Emperor in Kylo Ren 1 [Aggressive] and Rey 1 [Theme]
Despite a lack of direct testimony from Williams on the construction of Luke &
Leia, melodic analysis suggest derivation from the opening idea of the Main (Luke)
Theme, with which it shares the sane contour (+P4 /+P5 /-M2 /-m2) and scale-
degrees (5-1-5-4-3, and soon thereafter 5-1-5-4-3-2-1). Harmonization, rhythm,
and phrase structure differ sufficiently to mask the connection on the surface.
A more obvious rhythmic and intervallic allusion to the Main Theme is worked
into the middle of the final of Luke & Leia Theme's three phrasal sections.
Despite the potential dramatic and symbolic meaningfulness of this structural
connection, the very low number of uses of Luke & Leia in heard underscore
(twice in ROTJ, once in TLJ, TROS) prevents much in the way of corroboration.
In addition to melodic similarities to Luke's leitmotif, Luke & Leia is harmonically
related to Leia's theme through shared reliance on b6 in major & affiliated chords
(i.e. iv, ii
7
, fII)
Ambiguity concerning Rey's origins and Ben Solo/Kylo Ren's character arc led
many analysts to hunt for clues within their character themes. One especially rich
site for comparison was the Emperor's theme.
Comparison of these motifs hinges on relating their respective melodic plans.
The opening of Kylo Ren's primary (aggressive) motif is pitch identical to an
occasional continuation of the Emperor's theme.
The beginning of the large-scale consequent phrase of Rey's main theme, as well as
Rey's galop motif both begin with a similar minor-third figure to the Emperor's
opening melodic idea. In both cases, rhythm, harmony, and phrasal function differ.
The theme's violin arrangement appears to bring out this connection
It is possible these connections are fortuitous coincidence. (cf. Pankot Palace,
Sankara Stone motifs from Indiana Jones & the Temple of Doom.) It is also possible
Williams wrote these themes in such a way that their structural ambiguities lend
themselves to "mystery-box" style musico-dramatic theorizing. Even after TROS,
no particular reading has been definitively established as being intentional or
particularly well-corroborated musically.
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
THEMATIC TRANSFORMATIONS
With nine leitmotivically interlinked films spanning 45 years of composition, John Williams's scores for the "Skywalker Saga" stand as one of the longest
experiments in sustained development of a set of musical materials in film music history, exceeding Howard Shore's similarly ambitious contribution to
the Lord of the Rings franchise (6 films) and approaching Akira Ifukube's work on the Gōjira series (20+ films). This continuity of musical materials,
coupled with the ever-evolving state of the Star Wars narrative makes for a ripe opportunity for thematic transformation, "the process of modifying a
theme so that in a new context it is different…yet manifestly made of the same elements" (McDonald 2001). (This can be contrasted with thematic
repetition, wherein change to the theme is minimal; repetition itself can take various forms, from restatement to quotation to literal tracking.)
The importance of this technique to the artistic success of these scores is difficult to overstate. Indeed, the capacity to support thematic transformation
was evidently one of the main points Williams used to convince Lucas to employ newly composed leitmotivic underscore, as opposed to preexisting
classical music ala 2001: A Space Odyssey (Thomas 1991). Williams has continued to refer to the attraction & challenge of thematic transformation
throughout the series.
Thematic transformation is at the very heart of the
Star Wars
musico-mythical soundscape
.
More than other topics covered in this catalogue, thematic transformation is a deep and complex subject, and even partial exploration is beyond its
scope. This section simply aims to list some categories and techniques, with a single synoptic case-study for reference and a handful of illustrations from
Return of the Jedi. Interested readers may examine the vast music-analytical literature on thematic transformation, most of which has centered on Classical
music. Matthew Bribitzer-Stull 2015 provides a definitive overview of the theory and analytical practice of leitmotivic transformation.
Within the Star Wars saga, Williams has transformed themes on multiple textual levels:
SCOPE OF TRANSFORMATION:
1) Single cue: ex. "Arena March" introduced and developed throughout AOTC, "Entrance of the Monsters "(6m2)
2) Cue complex ex. "Battle of the Heroes" introduced and developed during ROTS climactic duel (6m4, 6m7, 6m9)
3) Single score ex. "Rose's Theme" introduced and developed extensively across the duration of TLJ
4) Multiple scores ex. "Force Theme" stated, varied, & transformed in every film
5) Single concert arrangement ex. "March of the Resistance" garners a unique, pseudo-developmental fugato in its arrangement
6) Multiple concert arrangements ex. "Han Solo & the Princess" receives at least 3 distinct arrangements (1980, 2018, 2019)
Williams makes near constant use of small-scale thematic developmental techniques (micro-transformations, or 'mutation' after Bribitzer-Stull 2015).
MICRO-TRANSFORMATIONS
1) Ornamentation ex. "Luke"/"Main" presented in tonally & polyphonically elaborated context in ROTS "A New Hope" (7m7)
2) Reorchestration ex. "Luke"/"Main" heard on recorder and harp in ROTJ Threepio's Bedtime Story (8m5)
3) Reharmonization (basic) ex. "Luke"/"Main" in Db supported by Ab/Cb - Bbm6 - Gbm/Bbb progression in ESB "New Start" (1m2)
4) Augmentation/Diminution ex. "Luke"/"Main" presented in very brief, rapid burst in TPM "Take to Your Ships" (6m3).
5) Extension/Fragmentation ex. "Luke"/"Main" only opening interval & rhythm sufficient to suggest theme in ESB Hoth sequence (1m2).
7) Mode Change ex. "Luke"/"Main" shifted from major/mixolydian to minor/phrygian scale in ANH Battle of Yavin (12m1).
8) Sequencing ex. "Luke"/"Main" subjected to both imitative counterpoint & chromatic sequencing in ROTJ "Sail Barge" (4m4)
THEMATIC RELATIONSHIPS
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
THEMATIC TRANSFORMATIONS CONT.
Williams also engages in larger-scale and more profound developmental processes (macro-transformations, or 'evolution' after Bribitzer-Stull 2015).
ADVANCED TRANSFORMATIONS
1) Reharmonization (profound) ex. "Yoda's Theme" entire thematic character altered by dissonant reharmonization in AOTC duel (7m2)
2) Contrapuntal Combination ex. "Duel of the Fates" ostinato woven on top of "Force Theme" in climax of TPM (6m10).
3) Leitmotivic Family Networks ex. Close melodic & harmonic affinities b/t Vader, Emperor, Kylo Ren, Psalm of Sith, Sith Artifacts, etc.
4) Alteration of Thematic Form ex. "Force Theme" undergoing phrasal foreshortening in TFA "Torn Apart" (7m65)
5) Tonal Motivicism ex. Characteristic i↔bvi progression of Vader's theme infecting every corner of ROTS score.
6) Concealed Repetition ex. Cleverly masked phrases and gestures from "Across the Stars" during AOTC Finale (7m3).
7) Developing Variation ex. "Rebel Fanfare" undergoing kaleidoscopic harmonic and rhythmic changes in TFA "The Falcon" (3m20)
8) Motivic De/Reconstruction ex. "Anakin's Theme" in TPM based on Vader/Imperial March in subtle and not-so-subtle ways.
9) Teleological Genesis ex. "Desperation Motif" in TLJ the telic end-point of a score-spanning cumulative expansion of "Tension" motif.
A VERY SMALL SAMPLING OF TRANSFORMATIONS FROM
RETURN OF THE JEDI
Transformation
Original(s)
Transformed Version
Rebel Fanfare, 6m3
(Augmentation, Reorchestration)
Victory Fanfare
(Tonal Motivicism, Alteration of
Form, Diminution)
Throne Room
(Concealed Repetition,
Sequencing, Reharmonization)
Luke + Vader
(Contrapuntal Combination)
Major Trouble & Rebel Fanfare
to Briefing
(Reharmonization, Concealed
Repetition, Alteration of Form)
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
IV.
DIEGETIC AND
EXTRA-DIEGETIC MUSIC
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SOURCE MUSIC (1)
Title
Film & Time
Source of Music
Instrumentation & Notes
Cantina Band 1 ("Mad About Me")
4 [0:44:52]
On-screen Band (Figrin D'an & the
Modal Nodes)
"Jizz Wailing" ensemble — 1940s style jazz music with
prominent clarinet, electronics, steel drum
Cantina Band 2
4 [0:47:41]
On-screen Band (Figrin D'an & the
Modal Nodes)
Same instrumentation, general style as above
Jabba's Baroque Recital
6 [0:08:03]
Off-screen Court Musicians (Max Rebo
Band?)
Glass harmonica, clavichord in Baroque/Galant minuet style
Lapti Nek ("Fancy Man")
(lyrics by Joseph Williams)
6 [0:29:37]
On-screen Band (Max Rebo Band)
Funk/disco ensemble with female vocal solo in Huttese, back-up
singers.
Jabba's Sail Barge ("Galactic Dance Blast"?)
6 [0:29:37]
On-screen Band (Max Rebo Band)
Funk/disco ensemble. Original recording lost (?)
Jedi Rocks 1
(comp. Jerry Hey)
6SE [0:12:42]
On-screen Band (Max Rebo Band)
Disco/rock ensemble w/ Huttese vocal solo & mixed back-up
singers. Replaces "Lapti Nek" in ROTJ Special Edition
Jedi Rocks 2
(comp. Jerry Hey)
6SE [0:12:15]
On-screen Band (Max Rebo Band)
Rock/blues ensemble in ROTJ Special Edition
Ewok Chanting
6 [1:10:03]
On-screen Ewok Hunting Party
Repetitive monophonic chanting. Unclear who
composed/directed this singing.
Ewok Feast
6 [1:11:39]
Off-screen Ewok Musicians
Var. pitched & unpitched drums, reedless wind instruments.
Preceded by misc. Ewok chanting.
Part of the Tribe
6 [1:17:18]
Off-screen Ewok Musicians
Var. pitched & unpitched drums, reedless wind instruments
Ewok Ambush
6 [1:37:35]
On-screen Ewok Warriors
Animal horn (shofar?) instrument
Ewok Celebration ("Yub Nub")
6 [---]
On-screen Ewok Musicians
Ewokese song. Non-diegetic strings &(English speaking) chorus
gradually incorporated into cue.
Victory Celebration
6SE [2:05:35]
On-screen Ewok Musicians
Replaces "Yub Nub" in ROTJ SE. Wordless kid's chorus. Film
version unreleased. Allegedly temped with Buffett, 500 Nations.
Street Band of Mos Espa
1 [0:30:50]
Off-screen Street Musicians
Var. drums and exotic plucked string instrument ("rusted old"
balalaika) . Initially masked by diegetic underscore.
Desert Winds
1 [0:33:33]
Off-screen Street Musicians
Exotic recorder duet with various drums, balalaika. Same as
above, but with recorder component included.
Mos Espa Arena
1 [0:51:55]
Off-screen Arena Musicians
Recorder duet, drums. Deleted scene includes additional
unaccounted for source music for Ark Roose's introduction.
The Street Singer
1 [1:10:21]
Off-screen Arena Musicians
Exotic, heavily reverberant vocalise, detuned violin, drum
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
SOURCE MUSIC (2)
Title
Film & Time
Source of Music
Instrumentation & Notes
The Gungans March
1 [1:44:47]
On-screen Gungan Warrior (Drummers
unseen)
Drums and low didgeridoo-like instrument. Unused electronic
brass (?) instruments in certain recordings
The Parade ("Symponik Nabooalla")
1 [2:08:21]
On-screen Gungan (Augie's) Municipal
Band
Percussion battery, acoustic & electronic blown instruments,
children's chorus. Suspiciously similar to Emperor's leitmotif
Dex's Diner
2 [0:31:27]
Off-screen Restaurant Radio (?)
Synth 50's style rock & roll instruments
Geonosis Arena Music
2 [1:45:22]
Off-screen Geonosian Arena Drummers
Unclear who composed or performed this drumming.
Coruscant Opera House ("Squid Lake")
3 [0:42:37]
Off-screen Alien Voices
Extremely low-register male vowels, synth effects. Borders on
non-diegetic. Preceded by tiny snippet of classical (?) music 42:38
Jabba Flow
(comp. Lin-Manuel Miranda & J.J. Abrams)
7 [0:58:48]
On-screen Band (Shav Kava Band)
Small reggae-style ensemble, male vocal solo and backup singers.
Dobra Doompa
(comp. Miranda & Abrams)
7 [1:02:50]
On-screen Band (Shav Kava Band)
Small reggae-style ensemble
Canto Bight 1
8 [0:54:39]
Off-screen Band
Small Latin jazz band plus kazoos, steel drum, odd sound effects.
Includes melodic reference to "Aquarela do Brasil"
Canto Bight 2
8 [0:55:15]
Off-screen Band
Brass, electronics, clarinet, steel drum.
The Long Goodbye
8 [1:07:42]
Off-screen Lounge Pianist
Direct allusion to Williams's score to Robert Altman's The Long
Goodbye in middle of "The Fathiers" chase sequence
Ahch-To Dance Party
(comp.
not
John Williams)
8 [Deleted
Scene]
On-screen Lanai Revelers
Celtic style bagpipes and percussion. Possibly two separate
source cues. Unknown non-John Williams composer.
Imperial Theme – Edwardian Style
(comp. John Powell)
S [0:12:57]
On-screen Video Recruitment Ad
Tongue-in-cheek upbeat, major, Elgarian version of Imp. March.
Comparable to music by Russell/Kiner for Rebels.
Chicken in the Pot
(comp. John Powell)
S [0:42:36]
On-screen Band
Sultry, chromatic lounge song heard on Dryden Voss's yacht.
Film & album versions differ in low vs. high pitched male singer.
Stormtrooper JP-054 Karaoke
(comp. Powell)
S [0:45:44]
Off-screen Band
Instrumental background, with some similar gestures to Chicken
in the Pot. Vocal parts occur later in track.
Lando's Jungleroom
(comp. Powell?)
S [2:14:04]
Off-screen Band/Recording
Vigorous drumming music, a slightly weird vacation/tribal feel.
Pasaana Celebration "Lido Hay"
(comp. Miranda & Abrams)
9 [0:21:29]
Pasaana celebrants
Intense percussion music with chanting and string (oud?) figures
for Pasaana festival
Kijimi Bar ("Oma's Place")
(comp. Ricky Tinez and Abrams)
9 [0:48:08]
Kijimi bar background music
Electronic-style background music with strong danceable beat.
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
CONCERT ARRANGEMENTS (1)
Title
Film
Year
Thematic Material
Solos
Notes
"Star Wars - Main Title"
4
1977
Main, Rebel Fanfare, Heroic Descending
Tetrachords, Leia
Piccolo
Derived from ANH's Main Title, End Credits
"Princess Leia's Theme" v. 1
4
1977
Leia
Flute, Oboe,
Fr. Horn, Violin
Climax reworked with little modification into
ROTS "End Credits," and TLJ "Supremacy"
"Princess Leia's Theme" v. 2
(Violin & Orchestra)
4
2018
Leia, Han & Leia (brief hint)
Fr. Horn, Flute,
Violin
Arr. for Anne Sophie-Mutter. New
introduction, arranged by Conrad Pope.
"The Little People"
4
1977
Jawas, Imperials
Eng. Horn,
Tuba, Piccolo
Combination of R2P2 and R2P3 from ANH,
with new intro and codetta.
"The Battle"
4
1977
Rebel Fanfare, Force, Leia, Octatonic Battle
Motif, Maine, Heroic Descending
Tetrachords, Death Star
Fr. Horn
Inc. excerpts from multiple ANH cues, notably
"The Death Star," "Ben's Death," "Battle of
Yavin"
"Throne Room and Finale"
4
1977
Force, Throne Room, Main, Planetary
Descent Figure, Rebel Fanfare, Heroic
Tetrachords, Leia
Oboe
Expands ANH's Finale w/ new interior section
showcasing Force, Planetary Descent theme.
"The Cantina Band"
4
1978
Cantina Band 1
Essentially same as film version
"The Cantina Band" v. 2
4
1990
Cantina Band 1
Arr. for different ensemble, new ending
"Here They Come!"
4
1978
TIE Fighter Attack, Rebel Fanfare,
Death Star
Arrangement of "TIE Fighter Attack" with
brief new intro, outro.
"The Imperial March"
5
1980
Imperial March
Flute (duet)
Tracked into ESB to replace theme's big
original intro in "Aboard the Executor"
"Yoda's Theme" v. 1
5
1980
Yoda
Flute
Reworked with minimal modification into TLJ,
"Ancient Jedi Texts" and "End Title"
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
CONCERT ARRANGEMENTS (2)
Title
Film
Year
Thematic Material
Solos
Notes
"Yoda's Theme" v. 2
(Violin & Orchestra)
5
2018
Yoda
Violin, Flute
Arr. for Anne Sophie-Mutter. Expanded central
section.
"The Asteroid Field"
5
1980
Asteroid Field
Substantial expansion of "Asteroid Field" cue
with new intro, codetta
"Han Solo & the Princess" v. 1
5
1980
Han & Leia, Leia
Oboe, Flute,
Fr. Horn
Never recorded (conducted?) by JW directly.
Opening from cue "Han Solo & the Princess"
"Han Solo & the Princess" v. 2
5
2018
Han & Leia
Flute
Profoundly transformed treatment of theme.
Climax reworks finale from ESB.
"Han Solo & the Princess" v. 3
(Violin & Orchestra)
5
2019/
2021
Han & Leia
Cello, Violin
Arr. for ASM. Generally follows formal outline of
v. 2, but w/ different intro/outro, mid. section,
orchestration.
"Finale"
6
1980
Han & Leia, Main, Rebel Fanfare, Yoda,
Imperial March
Unable to locate recording or evidence of
performance by Williams.
"Jabba the Hutt"
6
1983
Jabba
Tuba, Clarinet
Prominent tuba solo, written with Chester
Schmitz in mind
"Parade of the Ewoks"
6
1983
Ewok Horn Call, Ewok March
Recorder (soli)
Two versions with different introductions
"Luke and Leia" v. 1
6
1983
Luke & Leia, Leia (Brief hint)
Flute (trio),
Fr. Horn
Two versions, one of which is considerably
shortened, sometimes performed in concert
"Luke and Leia" v. 2
(Violin & Orchestra)
6
2018
Luke & Leia, Leia (Two brief hints)
Flute (trio),
Violin
For ASM. Same structure as v. 1
"The Forest Battle"
6
1983
Ewok Horn Call, Ewok March
Drawn from "Ewok Battle" cue, with excerpt of
unused "Sail Barge Battle" plus ample new
concluding material..
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
CONCERT ARRANGEMENTS (3)
Title
Film
Year
Thematic Material
Solos
Notes
"Montage"
4, 6
1997
MT, Planetary Descent, PL, TIE Fighter
Attack, DS, IM, H&L, Mynock Cave, YT,
Battle of Yavin, Battle of Hoth, RF, TR
Pops/Tanglewood w/ Williams cond., most
material already in other arrs. or excerpted from
cues from ANH+ESB.
"Duel of the Fates"
1
1999
Duel of The Fates, Force*, Imperial March*
(*both heavily concealed)
Evidently tracked into much of final duel in
TMP. Instrumental version also recorded.
"Anakin's Theme"
1
1999
Young Anakin, Anakin Variant
Used with very little modification in TMP End
Credits
"The Flag Parade"
1
1999
Flag Parade
Percussion
Incorporates "Flag Parade" and "Start Your
Engines"
"The Adventures of Jar Jar"
1
1999
Jar Jar, Young Anakin
Tuba/Oboe,
Bassoon (trio)
Incorporates snippets of several cues from
TPM
"Across the Stars" v. 1
2
2002
Anakin and Padme, Gloomy Courtship,
Twisted Bass-line, (Young Anakin, Imperial
March – credits only)
Oboe, Harp,
Eng. Horn
Used with no modification except new ending
in AOTC End Credits.
"Across the Stars" v. 2
(Violin & Orchestra)
2
2018
Anakin and Padme, Gloomy Courtship,
Twisted Bass-line
Violin
For ASM. Transformative. ‘19 has slight
alteration of opening; ‘21 more profound
formal rebalancing/recomp.
2019
2021
"Battle of the Heroes"
3
2005
Battle of the Heroes
Appears in near-entirety in ROTS underscore
"Rey's Theme" v. 1
7
2015
Rey
Flute, Celesta
Transplanted, with small adjustments to key and
orchestration, into TFA End Credits
"Rey's Theme" v. 2
(Violin & Orchestra)
7
2018
Rey
Violin, Flute
For A. S. Mutter. Entirely new coda.
"March of the Resistance"
7
2015
March of the Resistance
Transplanted, with small adjustments and
excisions, into TFA End Credits
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
CONCERT ARRANGEMENTS (4)
Title
Film
Year
Thematic Material
Solos
Notes
"Scherzo for X-Wings"
7
2015
Main, Force
First Concert Arrangement since Main Title &
Throne Room to include SW Main Theme
"The Jedi Steps"
7
2015
Jedi Steps
Incorporates short excerpt from "Torn Apart."
Hints of Imp. March stronger than film version
"The Resistance is Reborn"
8
2017
Rose, Luke in Exile
---
First concert arrangement to showcase all main
new leitmotifs of film
"The Adventures of Han"
S
2018
Young Han Solo, Whirling
Octatonicism
Trumpet (soli)
Forms basis of much of thematic material used
by Powell in Solo
"Galaxy's Edge Symphonic Suite"
N/A
2018
Galaxy's Edge 1/2/3/4
---
Standalone concert piece serving as fount for
Galaxy's Edge theme park incidental music.
"The Rise of Skywalker"
9
2019
Friendship, Victory
---
Final third essentially the same as end of
"Farewell" from TROS, without chorus.
"Psalm of the Sith"
9
2021
Psalm of the Sith, Kylo Ren
---?
---?
"Rey and Ben"
9
2021
Rey, Kylo Ken
---?
---?
"The Speeder Chase"
9
2021
---?
---?
---?
"Obi Wan"
N/A
2022
Obi Wan
Fr. Horn
Written for Obi Wan Kenobi limited television
series, slightly reworked by William Ross for
End Credits.
"E.T.’s Halloween"
5
1982
Yoda, Flying Theme from
E.T.
---
Concert Arrangement for 7m1 from E.T.: The
Extraterrestrial in which Williams references and
develops Yoda’s Theme.
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
END CREDITS SUITES (1)
Film
Thematic & Tonal Structure
4
Main Theme A-Section (Df) / Rebel Fanfare (C) / MT A-Section/B-Section/A-Section (C) ║ Leia + RF (E - C - B) ║ Trans (C) / MT A-Section/B-Section (G) /RF (G) /
Codetta (G)
5
MT A-Section (Ef) / RF (C) ║ Yoda+ RF A-Section/B-Section/A-Section (C) ║ Imperial March (Cm - Gm) / IM Trans ║ Han & Leia A-Section/B-Section/A-Section
(E) ║ RF & Codetta (E)
6
MT A-Section (Ef) / RF (C) / MT A-B-A (C) ║ Trans (C-Bf)/ Ewoks A-Section/B-Section/A-Section (Bf) / Ewok Episode / Ewok Horn Call (Bf) /Ewoks (Cm-Efm)
/Trans (F) ║ Luke & Leia (F - A) ║ Trans (C) / MT A-Section/B-Section (G) /RF (G) / TR & Codetta (G)
1
MT A-Section (Ef) / RF (C) / MT A-Section (C) / Trans║ Duel of the Fates (Em) / (Gm) / (Em) / (Gm) / (Gm) ║ Anakin (E - A) / Anakin Episode / Anakin Extended
(A) / Anakin + Imp. March Codetta (Am)
2
MT A-Section (Ef) / RF (C) / MT A-Section (C) / Trans ║ Anakin & Padme A-Section/B-Section/A-Section (Cm-Fm)/ Gloomy Courtship (Fm) / Episode (Fm-Dfm) /
Anakin & Padme A-Section/B-Section/A-Section (Fsm-Em) / Gloomy Courtship (Em) ║ Anakin & Padme A-Section (Em) / Young Anakin (EM) / Anakin & Padme +
Imperial March Codetta (Em)
3
MT A-Section (Ef) / RF (C) / MT A-Section (C) / Trans ║ Leia (E) /Leia Climax (E) / Trans ║ BoTH (Dm)/(Fm)/(Cm)/(Em)/(Bm)/(Cm)/Force (Cm)/
(Dm)/(Gm)/(Dm) /Trans ║ TR Fanfare (C)/Force (Fm)/TR Fanfare (F) / TR Procession (Df)/MT B-Section (Df)/TR Procession (Df) ║ TR Fanfare (F)/Force (Dfm)
/Force (Dm)/TR Procession (Dm - Ef - Df)/Planetary Descent (Fs)/TR Procession (G)/ MT B-Section (G)/TR Procession (Ef) ║ Trans (C) / MT A-Section/B-Section
(G) /RF (G) / TR & Codetta (G)
DIEGETIC & EXTRA-DIEGETIC MUSIC
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
END CREDITS SUITES (2)
Film
Thematic & Tonal Structure
7
MT A-Section (Ef) / RF (C) / MT A-Section (C) / Trans ║ Rey 1-2-3 (Am - Csm) / Rey 2 Trans / ║ Kylo Ren 3-2-1 (Csm) / Trans║ Pursuit (Fsus) / Pursuit + Poe
(Csus) / Pursuit Episode (Bsus - Bfsus) / Trans ║ MotR A (Am - Em - Bm) / (Gm) / MoTR B (Gm) /MoTR 1 (Bfm) ║ Rey 1 + Force Coda (Bfm-Bf)/RF (Bf) /Rey 1
(Bf) /MT A (Bf)
8
MT A-Section (Ef) / RF (C) / MT A-Section (C) / Trans ║Rose (Df - F)/ Rose B-Theme / Rose (F) ║ Leia (G#) ║ Luke Exile A-B-A (Am - Dm - Am) ║ Battle of
Crait Pt. 1 (Am) / MotR (Bfm)/Rose (Ef) / Resistance Deployed /RF (A) / Rey +Whirling Octatonicism (Dm) / Whirling Oct. Trans ║ Yoda 1 (C) ║ Holdo's Resolve
Desperation (Am - Cm - Em) / Tension Trans (Em - Gsm) ║ Battle of Crait Pt. 2 Tension (Csm - Gm) / Rey 1 (Dm) / Catastrophe ║ TIE Fighter Attack (Bf - B)/ RF
(Bb) / TIE Fighter Attack (Fs) / Trans (Bfm) ║ Rey 1 Coda (Bfm) / Rey 2 (Bf)
8
(alt
1
)
MT A-Section (Ef) / RF (C) / MT A-Section (C) / Trans ║ Rose (Df - F)/ Rose Alternate B-Theme, Rose Dev / Rose Dev (F) / Rose Alt. B-Theme (C) ║ Escape/Battle
Music Transition Resistance in Trouble (Cm - Gm) ║ Luke in Exile Sarabande (Am) / Sarabande New Continuation / Trans / Fanfare (Bfm -Fm)/Sarabande + Fanfare
(Am) ║ Escape/Battle Music Resistance in Trouble (Am - Cm - Bfm)/MT + Resistance in Trouble (Bf - C)/ Trans / MotR (Fm - Cm - Gm) / Trans / Resistance in
Trouble (Cm - Gm - Dm) / Catastrophe / Resistance in Trouble (Fsm - Dm) / Trans + Resistance in Trouble (Dm) / Resistance in Trouble + MT (D) / Resistance in
Trouble (Am) / Repeated Minor Chords (Am) … ?
8
(alt
2
)
…║Rose (Df - F)/ Rose B-Theme / Rose (F) ║ Leia Slightly Extended (Gs) ║ Luke in Exile A-B-A (Am - Dm - Am) Extended (Essentially Same as "Roseʼs Turn") ║
Battle of Crait Pt. 1 (Am) / MotR (Bfm)/Rose (Ef) / Resistance Deployed / Kylo Ren (Em) / Whirling Octatonicism / Misc. Crait Battle Music / Whirling Octatonicism /
Resistance Deployed /RF (A) / Rey +Whirling Octatonicism (Dm) / Whirling Oct. Trans║ Yoda 1 (C) … ?
9
MT A-Section (Ef) / RF (C) / MT A (C) / Trans (C-Df) ║ Rise of Skywalker Friendship (D - Fs) ║ Anthem of Evil (Fsm - Gm) / AoE Development / AoE (Cm) ║
Imperial March (Gm) / Codetta (Gm) ║ Rey 2 Trans (Gm) / Rey 1-2-3 (Dm) / Rey 1 (Efm) / Trans ║RoS Victory (G) / RoS Victory (G) / Victory (Bf - Df - Bf) ║ MT
A-Section/B-Section/A-Section (Bf) [Entirely ANH Main Title + End Credits Version] /RF (C) / MT 1 A-Section + Cascading Strings (C) / MT A-Section/B-Section/A-
Section (G) / RF (G) / TR / Codetta (G)
Key
MT = Main Theme,
RF = Rebel Fanfare,
TR = Throne Room
PL = Princess Leia’s Theme
YT = Yoda’s Theme
IM = Imperial March
H&L = Han & Leia
DotF = Duel of the Fates
BotH = Battle of the Heroes,
MoTR = March of the Resistance
RoS = Rise of Skywalker
AoE = Anthem of Evil
/ = Small Scale Formal Boundary
║= Large Scale Formal Boundary
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
V.
APPENDICES
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 1: CRITERIA AND CONVENTIONS
Leitmotif Criteria
1) Distinctiveness: Musical idea has a clear and unique melody, without being wholly derived from or attached to another motif.
2) Recurrence: Musical idea is intentionally repeated in more than three discrete cues (including cut, replaced, or alternate/altered versions of a single cue).
3) Variation: Musical idea’s repetitions are not exact.
4) Intentionality: Musical idea’s repetitions are compositionally intentional, and do not require undue analytical detective work to notice.
Principal Leitmotif Criteria
5) Abundance: Musical idea occurs in more than one film, and with more than ten iterations overall.
6) Meaningfulness: Musical idea attaches to an important subject or symbol, and accrues additional meaning through repetition in different contexts.
7) Development: Musical idea is not only varied, but subjected to compositionally significant development and transformation across its iterations.
Incidental Motifs: Not all themes are created equal. Materials that are repeated across distinct cues but that do not meet criteria for proper leitmotifs are included
within a category of Incidental Motifs. This category is highly inclusive, featuring many minor, fleeting musical ideas, as well as some that are a few
repetitions shy of being fully-fledged leitmotifs.
Naming and Listing Conventions
Motif labels based on usage, composer's titles when available. Many motifs are used in a semantically imprecise, inconsistent, or changeable way; labels may
thus be somewhat arbitrary or open to interpretation. See Matthew Bribitzer-Stull, Understanding the Leitmotif (2015) for treatment of this issue.
Cue names and numerical designations (e.g. 5m2, etc.) are drawn from original cue-sheets and scores where available. Time-code information for musical
cues derived from most recent official streaming versions of each film, accessed through streaming versions of films on Disney Plus and Amazon.com.
Metronome markings for themes are approximations for the tempo within a span of around four measures.
Length is indicated by the
n
mm. = [
x + y
], where n refers to the total number of mm. of a complete statement, x + y for phrasal subdivisions if relevant.
Keys are identified for leitmotifs with clear tonicity. In cases where the theme does not adhere to a standard major or minor scale (e.g. hexatonic, octatonic), or
blends aspects of more than one pitch collection (e.g. mixed, chromatic), additional information is provided in parentheses.
Chord symbols are provided for themes w/ consistent tertian harmonization:
C = C major Cm = C minor. C
7
= C dom. seventh. Cdim = C diminished
C+ = C augmented C
5
= C open fifth (no third) C
ma7
= C major maj seventh Cm
7
f
5
= C half-diminished seventh
Cm/Cs = C major over Cs bass Csus
4
= C maj w/ suspended 4th C
7(
s
11)
= C dom. seventh with sharp 11th /C = change of bass note
More sustained analysis of individual themes and motifs has been performed by Mark Richards.
Catalogue includes retroactively inserted or tracked themes (e.g. Jabba's Theme in ANH: Special Edition).Exception: the final act of AOTC is such a musical mess
that reused and tracked materials within not treated as motivic. See Chloé Huvet's research (2017) for a treatment of this issue.
The criteria for identifying and characterizing leitmotifs in this catalogue are the author's own, developed with systematicity and explicitness in mind; they are
by no means the ultimate or "correct" way to approach themes in these scores. There is no one right way to analyze leitmotif; only ways that are more
or less self-consistent and comprehensive.
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
Official cue lists for the nine Skywalker Saga films have never been released, but most can be reconstructed by reference to a combination of documents and sources,
including orchestral sketches, conductor's scores, live-to-picture scores, session recordings, and album notes.
The cue lists provided below are presented in score order—not order of composition or recording. Inserts, source cues, tracked music, alternates, revisions, and
unused cues are included. Spelling mistakes are left uncorrected. Source music not by Williams is not included.
In addition to cue names, this list also indicates who orchestrated a given cue. Without minimizing the tremendous importance these figures, it nevertheless the case
that for Williams's scores in general, and the 9 Star Wars scores in particular, the orchestrator's job has been that of realizing detailed 6-, 8-, 10-, and even 12-line
sketches into full score. The job of the listed orchestrator in Star Wars is generally closer to musical copyist than arranger, as few details of instrumentation,
technique, or expression are not indicated in the sketches. With the Sequel Trilogy, it is harder to ascertain who was responsible for orchestrating individual cues;
everything is done under the umbrella of JoAnn Kane Music. Ron Jones, Paul Henning, William Ross, and Williams himself all contributed to the process.
(See Sapiro 2018 for carefully researched discussion of what orchestrators do and do not do with regard to Williams's sketches.)
Herb Spencer
Fred Steiner
Gordon Langford
Conrad Pope
Paul Henning
?
Arthur Morton
Al Woodbury
Thomas Newman
Eddie Karam
Ron Jones
Angela Morley
Alexander Courage
John Neufeld
William Ross
John Williams
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE IV: A NEW HOPE
Cue Title Orchestrator Length Cue Title Orchestrator Length
1m2 Main Title ? 98 mm.
1m3 The War Spencer 120 mm.
1m4/2m1 Escape Hatch Spencer 100 mm.
1m5/2m1 Desert Song Spencer 12 mm.
2m2 The Little People Spencer 52 mm.
2m5 More Little People Spencer 51 mm.
2m4 R-2 Spencer 12 mm.
3m1 The Princess Appears Spencer 27 mm.
3m2 Lost R2 Spencer 41 (48) mm.
3m2 New [Lost R2 Revised] Morley 11 mm.
3m3 The Sand Speeder Spencer 44 mm.
3m4/4m1 The Sandman Attacks Spencer 46 mm.
4m2 Obi-Wan Kenobi Morton 32 mm.
4m2 The Force Spencer 14 mm.
4m3 The Princess Reappears Spencer 11 mm.
4m4 A Home Destroyed Spencer 74 mm.
5m1 A Hive of Villainy Woodbury 43 mm.
5m6 The Inner City Spencer 46 mm.
6m1 Blasting Away Spencer 68 mm.
6m5 The Destruction of Alderon Woodbury 32 mm.
7m1 Is It A Bird? Morton 44 mm.
7m2 The Hatch Opens Spencer 42 mm.
7m2 The Mouse Robot Morton 54 mm.
8m2 The Rescue [Ambush] Woodbury 67 mm.
8m2 The Rescue [Shootout] Spencer 66 (72) mm.
8m3 The Water Snake Spencer 29 mm.
8m4 The Walls Converge Spencer 56 mm.
9m1 Ben Creeps Around Spencer 53 mm.
9m2 The Swashbucklers Morton 96 mm.
9m3/10m1 Ben's Death Spencer 56 mm.
10m2 Here They Come Spencer 76 mm.
10m3/11m1 Stand By Spencer 52 mm.
11m2 Approaching the Target Morton, Morley 105 mm.
12m2 End Titles Spencer 161 mm.
12m2x [Insert] Morley 9 mm.
— The Princess Theme Spencer 60 mm.
— Cantina Band 1 ? ?
— Cantina Band 2 ? ?
EPISODE V: THE EMPIRE STRIKES BACK
Cue Title Orchestrator Length Cue Title Orchestrator Length
1m2 The Imperial Probe Spencer 195 mm.
1m2 New Start Morley 25 mm.
1m3/2m1 Luke’s Escape Woodbury 91 mm.
1m2 Ben’s Instructions Woodbury 68 mm.
2m3 Luke’s Rescue Spencer 62 mm.
2m4 The Probe Scanner Spencer 72 mm.
3m1 Drawing The Battle Lines Woodbury 48 mm.
3m2 Leia’s Instructions Woodbury 63 mm.
3m3 The Snow Battle Spencer 148 mm.
3m4/4m1 Luke’s First Crash Steiner 150 mm.
4m2 The Rebels Escape Again Spencer 124 mm.
4m3 The Asteroid Field Spencer 164 mm.
5m1 Crash Landing Spencer 85 mm.
5m2 Yoda Appears Woodbury 22 mm.
5m3 Yoda’s Entrance Spencer 48 mm.
5m3 End Fix [Insert] Morley 6 mm.
5m4/6m1 Solo And The Princess Steiner 61 mm.
6m2 Yodal’s Teaching [sic] Spencer 40 mm.
6m3 This Is Not A Cave Spencer 95 mm.
6m4 Training A Jedi Steiner 40 mm.
6m5/7m1 The Magic Tree Spencer 80 mm.
7m2 Attack Position Morley 92 mm.
7m3 Yoda Raises The Ship Spencer 167 mm.
7m4/8m1 Vader’s Command ? ?
8m2 City In The Clouds Woodbury 96 mm.
8m3 Lando’s Palace Woodbury 75 mm.
9m1 Luke To The Rescue Woodbury 22 mm.
9m2 Vadar Shows Up Woodbury 42 mm.
9m3 Putting Threepio Together Woodbury 16 mm.
9m4 Trouble In Prison Woodbury 52 (57) mm.
9m6/10m1 Carbon Freeze Spencer 87 mm.
9m6/10m1 [Insert] Morley 18 mm.
10m2 Luke Pursues The Captives Morley 86 mm.
10m3 Chewie Chokes Lando Spencer 114 mm.
11m1 Through The Window Morley 125 mm.
11m2/12m1 Losing A Hand Morley 100 mm.
12m2 To Hyper Space Spencer 139 mm.
12m3 Finale Morley 37 mm.
12m3/4 End Credits Spencer 106 mm.
— Imperial March Spencer 79 mm.
— Yoda's Theme Morley 60 mm.
— Han Solo and the Princess ? ?
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE VI: RETURN OF THE JEDI
Cue Title Orchestrator Length Cue Title Orchestrator Length
1m3 Approaching the Death Star Spencer 99 mm.
1m3X New Bar ? 10 mm.
1m4 Vadar Contacts Luke Newman 42 mm.
1m5 The Iron Door Spencer 7 mm.
1m6/2M1 To Jabba's Throne Spencer 10 mm.
2m2 Jabba Source No. 1 Spencer 84 mm.
2m3 My Favorite Decoration Spencer 23 mm.
2m5 Jabba's Prisoners Spencer 61 mm.
3m2 The Big Thaw Spencer 82 mm.
3m2x(1) [Insert] ? 9 mm.
3m2x(2) [Insert] ? 12 mm.
3m3 [Luke Confronts Jabba] Langford 41 mm.
3m4/4m1 Fight In the Dungeon Spencer 135 mm.
4m1A [Jabba's Sentence] Langford 7 mm.
4m1x [Part of the Tribe] Langford ?
4m3 The Sarlaac Pit Spencer 14 mm.
4m4 Jabba's End [Orig] ? 192 mm.
4m4 Jabba's End (Revised) Steiner 204 mm.
4m5 The Emperor Courage 38 mm.
4m5(x) [Insert] ? 7 mm.
4m5(xII) [Insert] ? 8 mm.
5m1/6m1 Yoda's Scene Spencer 96 mm.
5m1/6m2 Luke and Ben Spencer 52 mm.
6m2 Battle Plans Spencer 46 mm.
6m3 Faking the Code Spencer 84 mm.
6m3X [Insert] ? 5 mm.
6m4 Jungle Encounter Spencer 38 mm.
7m1 After the Bike Chase Newman 23 mm.
7m2 Enter the Ewok Spencer 56 mm.
7m3/8m1 [Land of the Ewoks] Spencer 98 mm.
8m2 More Ewoks Appear Courage 12 mm.
8m4 Using the Force Spencer 24 mm.
8m5 Bedtime Stories Spencer 24 mm.
9m2 Brother and Sister Spencer 53 mm.
9m3 Son Meets Father Spencer 72 mm.
9m4/5 Finding An Entrance Spencer 56 mm.
9m6/10m1 Heroic Ewok Spencer 58 mm.
10m2 The Emperor Confronts Luke Newman 56 mm.
10m3 Into the Trap Courage 91 mm.
10m3 Rebel Forces Captured Courage 42 mm.
10m5/11m1 First Ewok Battle Spencer 130 mm.
11m2 Fight With Tie Fighters Spencer 89 mm.
11m3 [Scout Walker Scramble] Langford 100 mm.
11m4 The Emperor Provokes Luke Spencer 15 mm.
11m5 The Ewok Battle Courage 112 mm.
11m5 X [Insert] ? 6 mm.
11m6/12m1 Leia is Wounded Spencer 72 mm.
11m6/12m1X [Insert] Langford 3 mm.
12m2 The Battle Rages Courage 32 mm.
12m3 More Duel Spencer 51 mm.
12m4 The Explosion Spencer 23 mm.
12m5 The Emperor's Death Spencer 47 mm.
12m6/13m1 Space Battle — ?
13m2 Vadar's Death Newman 42 mm.
13m3 Through the Flames Spencer 92 mm.
13m4 Leia Breaks the News Courage 34 mm.
13m4 (New) [Light of the Force] Langford 49 mm.
13m4 (New Fix) [Light of the Force Rev] Langford 18 mm.
13m5a [Yub Nub Orchestral] Langford 90 mm.
— End Credits Spencer 178 mm.
— Brother & Sister Spencer 100 mm.
— Jabba the Hutt Spencer 55 mm.
— Parade of the Ewoks Williams 97 mm.
— The Battle in the Woods Spencer 159 mm.
— New Finale Neufeld 64 mm.
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE I: THE PHANTOM MENACE
Cue Title Orchestrator Length Cue Title Orchestrator Length
1m2 Main Title ? 67 mm.
1m3 The Arrival Neufeld/Pope 59 mm.
1m4 Gas Leak Pope 26 mm.
1m4A Droid Fight Neufeld/Pope 71 mm.
1m5 Queen Amidâla [sic] Neufeld 45 mm.
1m6 The Droid Invasion Pope 40 mm.
1m7 Introducing Jar Jar Neufeld/Pope 58 mm.
1m8 The Bubble World Neufeld 55 mm.
1m9 Gone Fishing Pope 52 mm.
2m1 Darth Sidious Neufeld 35 mm.
2m1A Monsters Back Pope 42 mm.
2m2 Theed Palace Arrival Pope 58 mm.
2m3 You're Under Arrest Neufeld 59 mm.
2m3A Take Off Neufeld/Pope 74 mm.
2m4 Introducing Darth Maul Pope 16 mm.
2m5 The Arrival Of Tatooine [sic] Neufeld/Pope 52 mm.
2m7 “I'm A Pilot…You Know” Pope 24 mm.
2m10 Stealing Food Pope 30 mm.
2m11 Through The Slave Quarters Neufeld 58 mm.
3m1 Running Out of Time Neufeld 24 mm.
3m2 Are You A Jedi? Neufeld/Pope 48 mm.
3m3 Watto's Deal Pope 47 mm.
3m4 Kids at Play Neufeld 40 mm.
3m5 It's Working Pope 30 mm.
3m6 The Sith Spacecraft Neufeld 31 mm.
3m8 Watto's Big Deal Neufeld 45 mm.
3m9 The Flag Parade Neufeld 56 mm.
3m10 Start Your Engines Pope 37 mm.
3m11 The Race Begins Pope 57 mm.
4m2 Anakin Defeats Sebulba Neufeld/Pope 112 mm.
4m3 Anakin's Great Victory Neufeld/Pope 25 mm.
4m5 Anakin Is Free Neufeld 100 mm.
4m6 Darth and Qui-Gon Pope 51 mm.
4m7+8 Naboo Palace Neufeld 80 mm.
4m9 The Queen And Palpatine Pope 12 mm.
5m1 High Council Meeting Neufeld 43 mm.
5m2 The Senate Speech Pope 25 mm.
5m3 Anakin's Test Neufeld 76 mm.
5m3* Insert ? 6 mm.
5m4+5 The Chosen One Neufeld 74 mm.
5m6 More Nute and Rune Neufeld 8 mm.
5m7 Moving Forward Pope 60 mm.
5m8 The Gungans Pope 54 mm.
5m9 Promoting Jar Jar Neufeld 56 mm.
6m1 The Armies Face-Off Pope 48 mm.
6m1 x Randy’s Forest Mist ? 4 mm.
6m2 Lazer Fight Neufeld/Pope 34 mm.
6m3 Take To Your Ships Neufeld/Pope 61 mm.
6m3-New Take To Your Ships - N ? ?
6m4 The Big Army Neufeld/Pope 78 mm.
6m4A The Fight Begins Neufeld 6 mm.
6m5 Droid Battle Neufeld/Pope 81 mm.
6m6 Up the Wire Neufeld/Pope 33 mm.
6m7 The Great Dual [sic] Neufeld/Pope 97 mm.
6m8+9 Qui-Gon's Noble End Neufeld/Pope 58 mm.
6m10 Blowups + Death Of Maul Neufeld/Pope 73 mm.
6m11 (New) End of Darth Maul Neufeld 36 mm.
7m1 After The Victory Neufeld 48 mm.
7m1-New After The Victory ? ?
7m1A Qui-Gon's Funeral Pope 18 mm.
7m2-New Augie's Municipal Band Neufeld/Pope 51 mm.
7m2 The Big Parade ? ?
7m2 Joe/Randy ? ?
7m2 Source (Brass), (Perc), (Randy) ? ?
7m3 End Credit Neufeld/Pope 148 mm.
— Source #1 ? 28 mm.
— Source #2 ? 25 mm.
— Source #3 ? 28 mm.
— George's String Cluster ? 5 mm.
— Live Drum ? 51 mm.
— End Credit Part 1 (Insert) ? 5 mm.
— Anakin's Theme ? 54 mm.
— Arrival at Naboo (OST) Larry Rench 35 mm.
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE II: ATTACK OF THE CLONES
Cue Title Orchestrator Length Cue Title Orchestrator Length
1m2 The Arrival at Coruscant Pope 28 mm.
1m3 Thwarted Attempt Pope 64 mm.
1m4 Meeting of Anakin & Padme Pope 28 mm.
1m5 She Hardly Recognized Me Pope 18 mm.
1m6 Zam's Dirty Trick Pope 90 mm.
1m7A Zam's Chase Pt. 1 Pope 158 mm.
1m7B Zam in Pursuit Karam 168 mm.
2m1 Zam is Eliminated Pope 121 mm.
2m2 Palpatine's Plotting Pope 91 mm.
2m3 Departure Karam 34 mm.
2m5 The Library Scene Pope 22 mm.
2m6 Lunch and the Younglings Pope 74 mm.
2m7 Approaching Naboo Palace Pope 49 mm.
3m1 Finding Kamino Pope 36 mm.
3m1 Insert ? 12 mm.
3m2 Visiting the Prime Minister Pope 18 mm.
3m3 The First Kiss Karam 45 mm.
3m4 Interior Tipoca City Karam 30 mm.
3m5 The Meadow Scene Karam 62 mm.
3m5 The Meadow Scene Insert ? 18 mm.
3m6 The Meeting With Fett Pope 49 mm.
3m7 The Dinner Scene Karam 76 mm.
3m8 Rainy Ramp/Anakin’s Night Karam 62 mm.
4m1 The Jango Fett Fight Pope 180 mm.
4m2 Watto Describes Mothers Fate Karam 13 mm.
4m3 The Spare Canister Caper Pope 81 mm.
4m4 The Arrival at Tatooine Karam 102 mm.
4m5 Obi-Wan Eavesdropping Pope 44 mm.
4m6 Rescuing Mother Pope 52 mm.
4m7 Exacting Revenge Pope 56 mm.
5m1A Carrying Mother Home Karam 51 mm.
5m1B Anakin Changes Pope 45 mm.
5m2 Smee's Funeral [sic] Pope 78 mm.
5m3 Commerce Guild Prepares… Pope 18 mm.
5m5 Finding the Conveyor Belt Pope 66 mm.
5m6 The Conveyor Belt Karam 99 mm.
5m7 The Senate Scene Pope 42 mm.
6m1 Love Pledge Karam 64 mm.
6m2 Entrance of the Monsters Pope 114 mm.
6m2 Sweetener ? ?
6m5 Padme Falls Karam 88 mm.
6m5 Insert ? 14 mm.
7m1 Dooku Versus Obi-Wan Karam 81 mm.
7m2 Yoda Strikes Back Pope 63 mm.
7m3 Finale Pope 126 mm.
7m3* Insert [Imperial March] ? 16 mm.
— End Credit Pope 121 mm
— End Credit (Gelb Version) ? 103 mm.
— End Credit (Updated Gelb) ? 138 mm.
— Dex’s Diner (Source) ? ?
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE III: REVENGE OF THE SITH
Cue Title Orchestrator Length Cue Title Orchestrator Length
1m3 Boys Into Battle Karam 105 mm.
1m4 They're Coming Around Pope 51 mm.
1m4A "Get 'Em, R-2!" Pope 81 mm.
1m5 The Elevator Scene Karam 120 mm.
1m6 Count Dooku's Entrance Pope 16 mm.
1m7 The Death of Dooku Pope 71 mm.
2m1 [Grievous and the Droids] Karam 136 mm.
2m3 Another Happy Landing Karam 14 mm.
2m4 Revisiting Padmé Pope 38 mm.
2m5 Grievous Travels to Palpatine Karam 52 mm.
2m6 Scenes and Dreams Pope 100 mm.
2m7 Be Careful of Your Friend Pope 24 mm.
3m1 Council Meeting Pope 79 mm.
3m2 Hold Me Karam 15 mm.
3m2A Palpatine's TV Set Pope 4 mm.
3m3 Palpatine's Big Pitch Karam 50 mm.
3m5 Goodbye Old Friend Pope 75 mm.
3m6 Going to Utapau Pope 56 mm.
3m7 Riding the Lizard Pope 63 mm.
3m8 Obi-Wan Faces Death Pope 8 mm.
4mX Drawing Swords Pope 4 mm.
4m1A Good Guys Arrive Pope 11 mm.
4m3 Palpatine's Seduction Karam 34 mm.
4m4 Rolling With Grievous Pope 50 mm.
4m4A Fighting With Grievous Pope 56 mm.
4m5 Dialogue With Mace Karam 30 mm.
4m5A Padmé's Ruminations Pope 15 mm.
4m6 I Am The Senate Pope 152 mm.
5m1 Palpatine Instructs Anakin Karam 27 mm.
5m3 Lament Karam 68 mm.
5m3A Bail's Escape Karam 24 mm.
5m4 Swimming, Droids/Yoda's… Pope 80 mm.
5m5 News of the Attack Pope 31 mm.
5m6 Moving Things Along Pope 129 mm.
5m7 Anakin's Dark Deeds Karam 59 mm.
6m1 It Can't Be Pope 77 mm.
6m2 A Moody Trip Pope 18 mm.
6m3 Padmé's Visit ? ?
6m4 Heroes Collide Karam 158 mm.
6m5 New [DOTF Adapted] ? 4 mm.
6m6 Yoda Falls Pope 8 mm.
6m7 The Boys Continue Pope 85 mm.
6m7 Rev [Inserts] ? 4 mm.
6m8 Yoda to Exile Pope 14 mm.
6m9 Revenge of the Sith Karam/Pope 103 mm.
6m9 Revenge of the Sith (DVD) Karam/Pope 140 mm.
6m9 Rev [Inserts] ? 8 mm.
7m1 The Immolation Scene Pope 33 mm.
7m2 Anakin Crawling Pope 37 mm.
7m3 The Birth of the Twins Karam 37 mm.
7m4 The Death of Padmé Pope 32 mm.
7m5 Plans for the Twins Karam 28 mm.
7m6 Padmé's Funeral Karam 18 mm.
7m7 A Home for the Twins Karam 23 mm.
7m8 End Credits Pope, Williams etc. 311 mm.
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE VII: THE FORCE AWAKENS (MASSIVELY SIMPLIFIED)
Cue Title Cue Title Cue Title
1m1 Main Title Extension
1m1A Opening/Starry Night
1m2 'Hand' Opening
1m3A The First Order Approaches
1m3B The Attack on the Village
1m3C I've Seen Too Much
1m3D The Attack on the Village
1m4 The Arrival of Kylo Ren
1m4A Introductions
1m4B Landing
1m5 The Scavenger
1m6 Seeing A Mother & Getting Rations
1m7 Lunchtime With Rey
1m8 Breakfast
2m11 Don't Follow Me
2m11A BB & Rey Meet
2m12 Poe Under Torture
2m13 The Droid Is Not For Sale
2m14 Intro Finn Helps Poe
2m14 I Can Fly Anything
2m15 The First Escape
2m16 I Don't Know What To Do
2m16A Finn's Trek
2m17B Kylo And Hox [sic] On The Bridge
2m17 Kylo Ren
2m17A Finn's Trek
2m18A That Lady with the Stick
2m18B Who's Luke Skywalker?
2m18C Follow Me
3m20 The Falcon Still Flies!
3m21 What's Your Name
3m22 Kylo And His Sword
3m23 No, No…No!
3m24 Hiding Under the Grate
3m26 You're Han Solo?
3m27 Rathtars Appear
3m28 The Rathtar Attack
3m28A Old Falcon To The Rescue
3m29 Leia, C3P0 & R2
4m30 Snoke
4m30A Starkiller
4m31 The Map Scene
4m31A Talking With Grandfather
4m32 The Green Planet
4m33 You Got A Name?
4m36 I Ran Into You
4m37 I've Found The Droid
4m38 Into The Cellar
4m38A Rey's Dream
4m39 I Have To Get Back
5m40 The Beam is Released!
5m41 Leia's Condolence Speech
5m43 Find Rey!
5m43A Maz's Treasure Chest
5m44 Kylo Arrives At Battle
5m45 Back To Battle
5m46 Kylo Stalks Rey
5m47 Good Guys Shooting
5m48 We've Got What We Need
5m49 The Abduction of Rey
6m50 Han & Leia Reunion
6m51 Finn & Po, Reunited
6m52 R2 in Hibernation
6m53 Parental Discussion
6m53A We See Rey
6m54 Rey vs. Ren
6m54A Bring Her To Me
6m54B You Will Remove These Restraints
6m55 Council Meeting
6m56 Preparing for the Mission
6m56B Kylo's Rage
6m56C To Lightspeed
6m56D Ice Landing
6m56E Ren In Cockpit
6m56F Hey!
6m57 Rey's Rope Climb
6m58 The Bombing Run
7m60 Hug Later
7m61 Guns A' BLAZE
7m62 I Can Get Us In
7m62A On The Inside
7m62B Shoot Out
7m65 Father and Son
7m65A Cut to Leia
7m66 The Control Room & Ren In The Forest
7m67 Rey vs. Ren
7m67B Rey Catches Sword
7m67C Blowing Up The Oscillator
7m68 Flying Home
8m72 Finishing The Map
8m73 The Complete Map
8m74 Climbing The Mountain
8m74A To Ending
8m78 Snoke
8m80A More Scherzo
— End Credits (Part 1)
— End Credits (Part 2)
— Finale (11-11-15), Finale (9-32-15)
— Finale Tag
— Hope Trailer (w/ 2 endings)
— March (The Resistance Theme)
— Reading The Map
— Rey's Theme
— Rey's Theme (piano version)
— Scherzo for X-Wings
— Sun Beam Strings
— The Resistance Theme
— Trailer #1
APPENDICES
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE VII: THE LAST JEDI (SIMPLIFIED)
Cue Title Cue Title Cue Title
0m1 Tossing the Sabre
0m2 Thought Connection
0m2A The Cave Scene
0m2A Insert Place to Place
0m3 Learning the Force
0m4 Rey + Luke
0m5 Fathiers
0m6 Fathiers Charge!
0m7 Crashing the Party
0m8 Saying Goodbye to Fathier
1m2 Finn Wakes Up
1m2A Son of Starry Night
1m3 Welcome Poe and Hux
1m3 Insert David and Goliath
1m4 He's Insane
1m5 Resistance Force
1m6 We Can Do This
1m7 Fighter Down
1m8 We Lose Girl Ace
1m9 Revisiting Snoke
2m10 We Need Your Help
2m12 We Need A New Base
2m13 Prep for Battle
2m14 Leia Saved!
2m16 Luke's Breakfast
2m17 Old Books
2m18 Admiral Holdo
2m18A Holdo's Secret Plan
2m19 Rose Catches Finn
3m20 Luke in the Falcon
3m20 Insert Watch The Language
3m21 Rose Appears
3m22 Fun with Rose and Finn
3m24 [No Title]
3m25 Sun Shot
3m28 Rey Awakens
3m29 Lady Officer and Poe Conspire
4m30 The Connection
4m31A Worst People in the Universe
4m31B Party Music
4m31B More Party Music
4m31C R.T. Shore
4m32 Rose's Fathiers
4m33 Rey's Training
4m36 Luke and Rey
4m37 Place in the World
4m37 Insert Six Hours Left
4m38 Codebreaker…Thief
5m43 Saving Leia
5m44 Encounter Before the Dream
5m45 Mirror Scene
5m46 You're Not Alone
5m47 Young Ren Is Awakened
5m48 Yoda Appears
6m50 Not Enough
6m51 Traitor!
6m52 Eavesdropping
6m52A Mutiny
6m55 I'll Help You
6m56 Working Switches
6m56 Insert Dread
6m57 Ladies Parting
7m60 Come Closer, Child
7m61 Poe Wakes Up
7m63 Big Fights
7m64 Finn, Rose and Hux
7m65 Fighting Together
7m66 Join Me
7m67 Holdo's Resolve
7m67A Important Scene
7m68 Rose and Finn Escape
7m68A Finn Fights Phasma
7m69 Rose and Finn Escape
7m69 Insert Chrome Dome
8m70 Hux and Ren
8m71 What'cha Got?
8m73 Troops and Plains
8m74 Mechanical Trouble
8m75 Here They Come, Again
8m76 To The Target
8m77 Finn's Attempted Sacrifice
8m78 The Kiss
9m80 Luke & Leia Together
9m81 Rescuing Luke
9m82 Follow Him
9m83/4 More Fight
9m85 Finale Part I
9m85A Rey [Luke] Looks
9m85B Between Luke and the March
9m85C Island to March
9m86 Old Friends
9m87 Finale, Pt. III
9m90 End Credit Part 2
— End Credit
— Rose's Turn
— End Credit Part 3 Rev
— End Credit Part 4
— Opening
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 2: CUE LISTS AND ORCHESTRATORS
EPISODE IX: THE RISE OF SKYWALKER (INCOMPLETE AND SIMPLIFIED)
Cue Title Cue Title Cue Title
0m1 Children's School
1m1 Main Title
1m2 Filial Fencing
1m3 Nothing is Impossible
1m4 Through The Jungle
1m5 Rey Trains
1m6 Ren's Entrance
1m7 Journey to Hell
1m8 Approaching The Nursery
1m9 Rey Wakes Up
1m10 Ready to Be A Jedi
1m11 Talking to Luke
1m13 Tell Me What They Are
1m14 Falcon’s Last Trip
1m15 Vader’s Castle
1m20 Rey Training
1m22 The Ninth Beginning
1m24 Meditation
1m26 Spy's Message
1m26 (2) Lightspeed Skipping
2m1 Cockpit Dialog
2m2 Fixing The Helmet
2m3 The Wisdom of Maz
2m4 The Emperor Lives
2m6 The Medal
2m7 Ship Trip
2m20 The Forge
2m30 Rey's Mission
2m32 Quicksand
3m0 Lando
3m1 Before The Chase
3m3 [No Title]
3m4 Quicksand!
3m6 Knights of Ren
3m7 Ochi and the Dagger
3m8 Tunnel Monster
4m1 Rey Senses Ren's Approach
4m1C —
4m2 Rey's Incredible Hand
4m3 Chewie’s Interrogation
4m4 Zucini?
4m5 To The End
4m5A Ships in the Night
4m5B Good Ship, Bad Ship
4m6 He Won't Remember
4m7 Rey’s Grief
4m10 Red Eyes
4m11 Poe and Girlfriend
4m12 Ship, Walk and Talk
4m20 Bridge to Rey
4m22 The Feeling
4m30 It Fits!
5m1 Meddling and Poe's Crush
5m3 Hallway Shooting
5m5 Rey Sees Mother
5m6 Hard To Get Rid Of
5m7 I'm The Spy
5m8 Geneology [sic]
5m8A More Maz
5m9 Rey’s Mission
5m10 Landing At?
5m11 Instinct
5m12 Off The Waterfront
5m30 Under a Blanket
6m2 Rey Climbs Pipes
6m2A Climbing
6m4 Daisy In A Veil
6m5 Leia Lies Down
6m7 Stop and Start
6m8 Healing Wounds
6m12 Insert - Six Twelve
6m13 Rey's Trip To Palpatine
6m16 Rey’s Trip to P[alpatine]
6m20 Sabre Toss
6m22 Wayfinder Insert
7m1 Seven One
7m2 Rey Meets Luke
7m3 Luke's Advice
7m4 The Meeting
7m5 March Of The Resistance
7m5A Good Ships
7m6 Uncharted Territory
7m8 Father Knows Best
7m10 Leia's Sabre
7m12 Seven Twelve
7m12A Horses #2
7m20 Approaching The Throne
7m21 Parents
7m28 Seeing Sights
7m30 More Action
7m32 Make The Sacrifice
7m36 Dunkirk [The Dunkirk Shot]
7m38 Seeing the Sights [I Am All The Sith]
7m40 Emperor’s Attack
7m42 Hero Fight
7m44 Name That Tune
8m1 Approaching the Emperor #2
8m3 v1 —
8m4 Psalm of the Sith
8m4C1
o
—
8m4C2 —
8m4D Chant
8m5A Mixing Themes
8m5 Jumping The Chain
8m5B The Crowd Joins In
8m5B Choir Overdub
8m6 The Last Fight
8m7 Big Ship Blows Up
8m7A Replace Brass
8m8 On Their Knees
8m8C Chorus
8m9 Rey and Palpatine
8m10 Success and Sliding
8m11A Dropping The Sabre
8m14 Ben to Rey
8m15 Horn Solo [v2 To the Ending]
8m16 End Credits
8m17 Duel of the Fates Excerpt
8m40 The Kiss
8m42 Falling Debris
9m3 Bows
9m5ALT Return to Tattooine
9m30 Emperor’s Theme v1
9m31 Emperor’s Theme v2
9m32 Emperor’s Theme v3
9m33 Emperor’s Theme v4
9m34 Emperor’s Theme v5
10m1 Rey and Ren
— Anthem of Evil
— Chant 1
— Chant 2
— The Rise of Skywalker
— [Untitled]
— XM1, XM2, XM4
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 3: THEMATIC CENSUS
The following table indicates the number of times any given leitmotif is used within each of the nine Skywalker Saga films. This is not a straightforward task, and
different analysts will likely arrive at slightly different numbers. For an alternative census of Eps. 1-6, see Huvet (2021: 62, 114, etc.). For the purposes of this census,
the following criteria were used:
Entire scores as written are evaluated. Non-redundant material in alternates and unused cues, as revealed in the available sheet music are counted.
Repetitions of themes within single cues are counted as separate instances so long as there is substantial intervening material between statements.
Exactly tracked instances of themes are not incorporated into the count. (For example, Droid March and Duel of the Fates during Battle of Geonosis.)
Modified tracked instances are (e.g. pitch-shifted, recombined, differently mixed/orchestrated)
Themes that include internal repetitions, or are prone to sequencing or modulation, are generally given one count rather than multiple when
repetition/sequencing is employed. Exceptions for statements with dramatic shifts of instrumentation, major scene-breaks, and interpolated material.
Highly concealed or questionable instances of themes are not counted.
Partial or fragmented instances of themes do count, provided their reference to the complete form is clear enough to a sensitive listener.
End Credits are not currently incorporated into the count (this may change). The Main Title is only counted for Episode IV (where it was newly composed)
Much of Episode IXʼs score is unknown. This census takes only what can be judged from the film, OST and FYC albums, and leaked materials.
In general, a statement of a theme is counted if it can be judged the basis for a passage of music, however long or short.
NUMBER OF LEITMOTIF STATEMENTS PER FILM DISTINCT LEITMOTIFS PER FILM
15
14
19
9
11
18
20
29
28
0
5
10
15
20
25
30
95
68
100
107
180
179
167
266
214
0
50
100
150
200
250
300
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 3: THEMATIC CENSUS
15 MOST COMMONLY USED LEITMOTIFS
NUMBER OF CUES PER FILM
(Includes alternates, revisions, trailers, concert arrangements)
0
20
40
60
80
100
120
140
160
180
IX
VIII
VII
VI
V
IV
III
II
I
0
20
40
60
80
100
120
140
160
180
200
Episode I (71)
Episode II (49)
Episode III (51)
Episode IV (107)
Episode V (43)
Episode VI (66)
Episode VII
(184)
Episode VIII
(121)
Episode IX
(114)
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 3: THEMATIC CENSUS
Motif
I
II
III
IV
V
VI
VII
VIII
IX
Total
1a
Main Theme (A-Section)
3
-
2
19
25
14
5
14
13
95
1b
Main Theme (B-Section)
1
-
-
3
2
1
-
-
2
9
2
Rebel Fanfare
-
-
1
13
5
14
9
10
4
56
3
Force
11
7
21
23
15
24
15
30
12
158
4
Leia
-
-
2
9
4
6
6
8
5
40
5
Death Star
-
-
-
7
-
2
-
1
-
10
6a
Imperials (Motif)
-
-
-
20
-
-
-
-
-
20
6b
Imperials (Ostinato)
-
-
-
5
-
-
-
-
3
8
7
Jawas
-
-
-
3
-
-
-
-
-
3
8
TIE-Fighter Attack
-
-
-
4
-
4
-
3
-
11
9
Throne Room
-
-
-
1
-
2
-
-
-
3
10a
Imperial March (Theme)
3
5
13
-
44
27
2
1
7
102
10b
Imperial March (Bridge)
-
-
-
-
3
6
-
-
1
10
11a
Han & Leia (A-Section)
-
-
-
-
22
10
6
2
-
40
11b
Han & Leia (B-Section)
-
-
-
-
2
-
-
-
-
2
12a
Yoda (A-Section)
1
2
3
-
22
8
-
3
2
41
12b
Yoda (B-Section)
-
-
-
-
3
-
-
1
4
13
Droids
-
-
-
-
11
-
-
-
-
11
14
Boba Fett
-
-
-
-
3
-
-
-
-
3
15a
Cloud City A (Lando's Palace)
-
-
-
-
3
-
-
-
-
3
15b
Cloud City B (Trouble in Bespin)
-
-
-
-
5
-
-
-
-
5
16a
Dark Side (Motif)
-
-
-
-
6
-
-
-
-
6
16b
Dark Side (Theme)
-
-
-
-
8
-
-
-
1
9
16c
Dark Side (Ostinato)
-
-
-
-
5
-
-
-
1
6
17
Emperor
7
1
5
-
-
9
-
2
10
34
18a
Jabba (A-Section)
1
-
-
-
-
10
-
-
-
11
18b
Jabba (B-Section)
-
-
-
-
-
3
-
-
-
3
19a
Ewok March (A-Section)
-
-
-
-
-
18
-
-
-
18
19b
Ewok March (B-Section)
-
-
-
-
-
4
-
-
-
4
20
Ewok Horn Call
-
-
-
-
-
5
-
-
-
5
21
Luke & Leia
-
-
-
-
-
5
-
1
1
7
22a
It's A Trap! (A)
-
-
-
-
-
4
-
-
-
4
22b
It's A Trap! (B)
-
-
-
-
-
1
-
-
-
1
23
Victory Fanfare
-
-
-
-
-
3
-
-
-
3
24
Revelation
-
-
-
-
-
5
-
-
-
5
25
Young Anakin
20
1
1
-
-
-
-
-
-
22
26a
Duel of the Fates (Theme)
8
1
1
-
-
-
-
-
-
10
26b
Duel of the Fates (Chant)
4
1
1
-
-
-
-
-
1
7
26c
Duel of the Fates (Ostinato)
14
1
1
-
-
-
-
-
-
16
27a
Droid March (Form 1)
2
1
-
-
-
-
-
-
-
3
27b
Droid March (Form 2)
4
-
-
-
-
-
-
-
-
4
28
Darth Maul
3
-
-
-
-
-
-
-
-
3
29
Jar Jar
7
-
-
-
-
-
-
-
-
7
30
Qui Gon
4
-
-
-
-
-
-
-
-
4
31
Shmi
1
4
1
-
-
-
-
-
-
6
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 3: THEMATIC CENSUS
Motif
I
II
III
IV
V
VI
VII
VIII
IX
Total
32
Funeral
1
-
3
-
-
-
-
-
-
4
33a
Anakin & Padme A-Section
-
14
9
-
-
-
-
-
-
23
33b
Anakin & Padme B-Section
-
2
-
-
-
-
-
-
-
2
34
Conspiracy
-
10
-
-
-
-
-
-
-
10
35
Gloomy Courtship
-
3
1
-
-
-
-
-
-
4
36
Pastoral Courtship
-
4
-
-
-
-
-
-
4
37
Mystery
-
10
-
-
-
-
-
-
2
12
38a
Battle of the Heroes A-Section
-
-
12
-
-
-
-
1
-
13
38b
Battle of the Heroes B-Section
-
-
4
-
-
-
-
-
-
4
38c
Battle of the Heroes Ostinato
-
-
8
-
-
-
-
-
-
8
39
General Grievous
-
-
3
-
-
-
-
-
-
3
40
Happy Landing
-
-
3
-
-
-
-
-
-
3
41a
Descent (Dies Irae)
-
2
3
-
-
-
-
-
-
5
41b
Descent (Lament)
-
-
3
-
-
-
-
-
-
2
42a
Kylo Ren 1 (Aggressive)
-
-
-
-
-
-
15
20
18
53
42b
Kylo Ren 1.5 (Redeemed)
-
-
-
-
-
-
-
-
8
8
43
Kylo Ren 2 (Hesitant)
-
-
-
-
-
-
16
13
7
36
44a
Kylo Ren 3/First Order 1 (Menacing)
-
-
-
-
-
-
3
6
-
9
44b
First Order 2 (Severe)
-
-
-
-
-
-
7
-
-
7
45
Snoke
-
-
-
-
-
-
2
8
-
10
46a
Rey 1 (Theme)
-
-
-
-
-
-
25
25
24
74
46b
Rey 1.5 (Sweeping)
-
-
-
-
-
-
3
-
1
4
47
Rey 2 (Chimes)
-
-
-
-
-
-
3
4
7
14
48
Rey 3 (Galop)
-
-
-
-
-
-
4
5
2
11
49a
March of the Resistance (A-Section)
-
-
-
-
-
-
7
15
12
34
49b
March of the Resistance (B-Section)
-
-
-
-
-
-
5
6
2
13
50
Map
-
-
-
-
-
-
7
3
-
10
51
Poe
-
-
-
-
-
-
3
5
4
12
52
Finn/Pursuit
-
-
-
-
-
-
16
1
1
18
53a
Tension A (General)
-
-
-
-
-
-
6
27
3
36
54
Pathos
-
-
-
-
-
-
2
-
3
5
55
Jedi Steps
-
-
-
-
-
-
1
8
1
10
56a
Luke in Exile (Sarabande)
-
-
-
-
-
-
-
4
-
4
56b
Luke in Exile (Fanfare)
-
-
-
-
-
-
-
2
-
2
57
Rose
-
-
-
-
-
-
-
21
-
21
58a
Tension B/ Desperation A
-
-
-
-
-
-
-
13
1
14
58b
Desperation B
-
-
-
-
-
-
-
5
-
5
59
Friendship
-
-
-
-
-
-
-
-
10
10
60
Victory
-
-
-
-
-
-
-
-
5
5
61a
Psalm of the Sith (A-Section)
-
-
-
-
-
-
-
-
16
16
61b
Psalm of the Sith (B-Section)
-
-
-
-
-
-
-
-
-
0
62a
Sith Artifacts 1 (Wayfinder)
-
-
-
-
-
-
-
-
6
6
62b
Sith Artifacts 2 (Dagger)
-
-
-
-
-
-
-
-
4
4
63
Knights of Ren
-
-
-
-
-
-
-
-
5
5
64a
Heroics 1 (Broad)
-
-
-
-
-
-
-
-
3
3
64b
Heroics 2 (Brisk)
-
-
-
-
-
-
-
-
7
7
TOTALS PER FILM
95
69
100
107
182
180
167
267
216
1386
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 4: BIBLIOGRAPHY
ADAMS, Doug. 1999. "Sounds of the Empire." Film Score Monthly 4.5.
—.2005. "Revenge of the Sixth. " Film Score Monthly 10.3.
ASCHERI, Robert. 1998. Over The Moon: la Música de John Williams Para El Cine. Universidad Diego Portales.
ALTOZANO, Jamie. 2017. "Star Wars: Soundtrack Analysis: Themes of the Light/Dark Side of the Force." Video Essay. https://youtu.be/VEVIAF_2tUM.
ARNOLD, Alan. 1980. Once Upon a Galaxy: A Journal of the Making of The Empire Strikes Back. Ballantine Books.
AUDISSINO, Emilio. 2021. The Film Music of John Williams: Reviving Hollywood’s Classical Style. U. of Wisconsin Press.
BIANCOROSSO, Giorgio. 2013. "Memory and Leitmotif in Cinema." In Representation in Western Music. Cambridge University Press.
BERGDOLL, Sarah. 2016. "De Siegfried à Luke Skywalker: un réseau d'influences dans la musique de Star Wars." Master's Thesis.
BRIBITZER-STULL, Matthew. 2007. "Naming Wagner's Themes." In Richard Wagner for the New Millennium. Palgrave Macmillan.
—.2015. Understanding the Leitmotif: From Wagner to Hollywood Film Music. Cambridge University Press.
BROOK, Barry; VIANO, Richard. 1997. Thematic Catalogues in Music: An Annotated Bibliography (2nd Ed.). Pendragon Press.
BUHLER, James. 2000. "Star Wars, Music and Myth." In Music and Cinema. Wesleyan University Press.
BOWMAN, Erin. 2017. "Rian Johnson on the Music of Star Wars and other Movies." Soundtracking Podcast.
BYRD, Craig. 1997. "Interview with John Williams." Film Score Monthly 2.1.
BUCKTON, David (Writer/Producer). 1980. "Star Wars: Music By John Williams." Television Documentary.
BURLINGAME, Jon. 1997."Energizer Jedi: John Williams' Music for the Star Wars Trilogy Keeps Going and Going." Hollywood Reporter.
—.2018. "'Solo' Composer John Powell Reveals His Process for Tackling a Star Wars Score." Variety.
—.2019. "John Williams Pens His 'Star Wars' Finale.ʼ Variety.
CASCHETTO, Maurizio. 2018. "John Williams and the Music of Star Wars – A Further Step Into a Larger Musical World" Essay, JWfan.com.
—.2019. "The Legacy of John Williams." Podcast and Blog.
CHERNOFF, Scott. 1999. "John Williams: Score of Force." Star Wars Insider 44.
COLLINS, David and MAC, Jimmy. 2016. "Star Wars Oxygen" Podcast. http://www.rebelforceradio.com/star-wars-oxygen
COMMINGS, Jeff. 2019-. "The Baton." Podcast. https://thebatonpodcast.podbean.com/.
COOKE, Mervyn, 2008. A History of Film Music. Cambridge University Press.
DYER, Richard. 1999. "Making 'Star Wars' Sing Again." Boston Globe.
—.1999. "John Williams. Scoring Star Wars – Episode 1.” Soundtrack 18.70: 10-13.
—.2005. "Latest Star Wars Score Is An Emotional Adventure." Boston Globe.
ESCHENFELDER, Melinda. 2019. "Musical Narratives: Thematic Combination & Alignment in Fantasy & Superhero Films." MA Thesis, U. of Oregon.
GODSIL, Daniel. 2021. "Building Worlds: Timbre in Music of Cinema." PhD Thesis, University of California Davis.
GONIN, Philippe. 2011. "L'héritage Wagnérien dans la musique de John Williams." In John Williams: Un alchimiste musical à Hollywood, Tylski ed. L'Harmattan.
GOULD, Marie-Claire; Carew, Christy. 2018. "What The Force" Podcast. http://whattheforce.ca/
GRABER, Naomi. 2018. “A Rose By Any Other Theme.” Musicology Now.
GREIVING, Tim. 2016. "John Williams On The Force Awakens and the Legacy of Star Wars." Projector & Orchestra, Jan 5, 2016.
GUIDO, Lauren. 2006. "Entre opéra wagnérien et culture de masse : l’univers musical de Star Wars." In Décadrages 8-9: 52-75.
HIELEMANN, Michael. "The Origins and Inspirations of John Williams's Star Wars Score." Kitbashed Blog. https://kitbashed.com/blog/the-score
HUVET, Chloé. 2015. "Musique et effets sonores dans Star Wars: Episode II: The Attack of the Clones." Revue musicale OICRM 2/2.
—.2017. "George Lucas et les partitions de John Williams pour "Star Wars Eps. I, II et III" (1999-2005)?" PhD Thesis, Université Rennes 2.
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 4: BIBLIOGRAPHY
HUVET, Chloé cont.
—.2017. "D’Un nouvel espoir au Réveil de la Force: John Williams, compositeur d’émotions.” Cahiers du cinema 731: 32-34.
—.2021. Composer pour l'image à l'ère numérique: Star Wars, d'une trilogie à l'autre. Vrin.
JOHNSON, Jo. 2017. "Happy 40
th
Birthday, Star Wars!" Official LSO Blog.
KALINAK, Kathryn. 1992. Settling the Score: Music and the Classical Hollywood Film. University of Wisconsin Press.
KENDALL, Lukas. 1993. 'Star Wars Trilogy: The Original Soundtrack Anthology: An Analysis' (Liner Notes). Arista Records.
—.1997. "Did You Know There's No Theme for Han?" Film Score Monthly 2.1.
KMET, Nicholas. 2017. "Structure in Film and Film Music" (YouTube Video Essay).
—.2018. "Orchestration Transformation: Examining Differences in the Instrumental & Thematic Color Palettes of the Star Wars Trilogies." In John Williams: Music
for Films, Television and the Concert Stage. Brepols.
LARSON, Randall. 1985. Musique Fantastique: A Survey of Film Music in the Fantastic Cinema. Scarecrow Press.
LEHMAN, Frank. 2018. Hollywood Harmony: Musical Wonder and the Sound of Cinema. Oxford University Press.
—.2018. "Film-As-Concert-Music and the Formal Implications of 'Cinematic Listening." Music Analysis 37.1.
—.2017. "Leitmotivic Use vs. Mention." Musicology Now.
—.2018. "Motives, Modulations, and the March of the Resistance." Musicology Now.
—.2019. "How John Williams's Music Pulls us to the Dark Side." Washington Post.
—.2020. "John Williams’s Action Music in the 21
st
Century." In Sounds Like Action! Music in Action Film ed. J. Buhler and M. Durrand.
LEONARD, Bryce Wesley. 2019. "Analyzing John Williams's 'Der Ring Des Nibelungen: A Thematic Analysis of the Leitmotifs in Star Wars." MA Thesis.
LERNER, Neil. 2004. "Nostalgia, Masculinist Discourse, & Authoritarianism in John Williams' Scores for Star Wars & Close Encounters of the Third Kind." In Off The Planet.
LONDON, Justin. 2000. "Musical Leitmotivs in Cinema and Proper Names in Language: Structural and Functional Parallels." In Music and Cinema. Wesleyan U Press.
MALONE, Chris. 2012. "Recording the Star Wars Saga: A Musical Journey from Scoring Stage to DVD." MaloneDigital.com.
MATESSINO, Michael. 1997. "Return of the Trilogy"; "The Comprehensive Star Wars Reference." Film Score Monthly 2.1.
—.1997. 'A New Hope for Film Music'; ' John Williams Strikes Back'; 'Return of the Composer' (Liner Notes for Star Wars Special Edition Soundtracks), New York, BMG.
MCCORKLE, Brook. 2018. “Voce, Laughter, and Letting Go in The Last Jedi.” Musicology Now.
MILLER, Stephen. 2012. "'Leitmotif': On the Application of a Word to Film Music." Journal of Film Music 5.1-2.
MURPHY, Scott. 2006. “The Major Tritone Progression in Recent Hollywood Science Fiction Films.” Music Theory Online 12.3.
—.2015. “How to Imitate A Whole Lot of Hollywood Music in Four Chords,” “…Even More Closely A Whole Lot of Hollywood Music…,” YouTube Essay.
—.2023. “An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen
Music.” Journal of Music Theory, 2023.
NIELSEN, Steen Kaarsgard. 2019. "The Saga of the Star Wars Soundtrack Album Overture." 16:19 Filmtidsskrift.
PAULUS, Irena. 2000. "Williams versus Wagner, or an Attempt at Linking Musical Epics." In Intl. Review of the Aesthetics & Sociology of Music 31.2.
POCHÉ, Bill. 1995. “Musical Content and Thematic Process in the Star Wars Concert Suites of John Williams.” MA Thesis. San Diego State University.
POGSON, Andrew; Golding, Daniel, and Buc, Nicholas. 2017-. "Art of the Score" Podcast. http://www.artofthescore.com.au/.
POWER, Conor. 2019. "Building a Past: Music and Nostalgia in the Star Wars Prequels.” MA Thesis, Maynooth University.
RICHARDS, Mark. 2012-2018. Film Music Notes Blog. (https://www.filmmusicnotes.com)
—.2016. "Film Music Themes: Analysis and Corpus Study.” Music Theory Online 22.1.
—.2018. "The Use of Variation in John Williams's Film Music Themes." In John Williams: Music for Films, Television & the Concert Stage, Audissino, E. ed. Brepols.
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
APPENDIX 4: BIBLIOGRAPHY
ROSS, Alex. 2016. "Listening to Star Wars." The New Yorker.
—.2018. "A Field Guide to the Musical Leitmotifs of 'Star Wars'." The New Yorker.
—.2020. "The Force is Still Strong with John Williams." The New Yorker.
RINZLER, Jonathan. 2005, 2010, 2013, 2015. The Making of Star Wars (Vols. on Revenge of the Sith, A New Hope, Empire Strikes Back, Return of the Jedi). Del Rey.
RYČKOV, Konstantin Nikolaevič. 2011. "Zvezdnye vojny Lukasa-Uil'âmsa: Gesamtkunstwerk vozvraŝaetsâ?" In Naučnyj vestnik Moskovskoj konservatorii (3) 177-193.
SAPIRO, Ian. 2018. "Star Scores: Orchestration and the Sound of John Williams's Film Music." In John Williams: Music for Films, Television, and the Concert Hall: 191-208.
SCHEURER, Timothy. 1997. “John Williams and Film Music Since 1971.” Popular Music & Society 21.1.
SCHNELLER, Tom. 2015. “Modal Interchange and Semantic Resonance in Themes By John Williams,” Journal of Film Music 6.1
SEWELL, Dominic. 2021-. (YouTube Analysis Channel). "The Phantom Menace 1m3 The Arrival," "Analysis of Across the Stars," "Empire Strikes Back Analysis," etc.
SIDEWAYS (YouTube Video Essay Channel). 2016-. "The Hidden Secret Behind Rey’s Theme, " "Why The Music In Rise of Skywalker Felt Empty, " etc.
TAKIS, John. 2002. "Star Wars Episode Tunes: Attack on the Score." Film Score Monthly 7.4.
TAN, Chrysanthe. 2020-. "Star Wars Music Minute" (YouTube Video Essay Channel).
THAXTON, Ford A. 2002. "Interview With Ken Wannberg." Soundtrack Magazine 18.70.
THORAU, Christian. 2020. "Guides for Wagnerites: Leitmotifs and Wagnerian Listening." In Richard Wagner and his World: 133-150.
—.2020. "Listening for Leitmotifs: Concept, Theory, Practice. " In Cambridge Companion to Wagner’s Der Ring des Nibelungen: 124-140.
VALVERDE, Andrés. 2013. John Williams: Vida y Obra. Berenice Press.
—.2016. Star Wars: La música. Berenice Press.
WILLEMS, Patrick H. and METOLIUS, Brian. 2019. "How Star Wars Trailers Weaponized Nostalgia." Video Essay,. https://youtu.be/7KOsM5Xfe_E .
WILLIAMS, John. 1977. "John Williams on Star Wars." Liner Notes for Star Wars OST LP.
WOKENFELD, Stefan." 2007. George Lucas' Space Opera Star Wars und ihre Bezüge zu Musikdrama ." In Frankfurter Zeitschrift fu r Musikwissenschaft 10: 71-89.
ZACHAROPOULOS, Konstantinos. 2017. "Musical Syntax in John Williams's Film Music Themes." In Contemporary Film Music: Investigating Cinema Narratives & Composition, Palgrave.
—.2020. " The film music of John Williams (1975-2018): Melody, Harmony, Formal Archetypes and Thematic Unity." PhD Dissertation.
Cite this catalogue:
MLA:
Lehman, Frank. “Complete Catalogue of the Musical Themes of Star Wars.” Frank Lehman: Music Theorist. 19 Mar. 2023, https://franklehman.com/starwars/.
APA:
Lehman, F. (2023). Complete Catalogue of the Musical Themes of Star Wars. Accessed March 19, 2023, from https://franklehman.com/starwars/
Chicago:
Lehman, Frank. “Complete Catalogue of the Musical Themes of Star Wars.” March 19, 2023. https://franklehman.com/starwars/
APPENDIX
Compiled by Frank Lehman, frank.lehman@tufts.edu. Updated March 23, 2023
Fair Use: All music notation and analyses presented in this catalogue are the result of my own personal transcriptions. These
examples are rendered in accordance with the dictates of fair use in the United States Copyright Act, Section 107, and are
included solely for educational purposes. Notation of themes is reduced for maximum clarity, with simplification of register,
instrumentation, and sometimes specific chordal voicing and polyphonic lines.
Acknowledgments: Special Thanks to the following people for offering feedback and insight that contributed to the
construction of this catalogue: Alex Ross, Benjamin Fuller, Ben Graf, Ben Lindbergh, Bruce Russell, Céleste Filion, Chase
Troutner, Christy Carew, Chrysanthe Tan, Dallas Crane, Dominic King, Dominic Sewell, Ed Buller, Gerard Pastor, Grace
Edgar, James Buhler, Matthew Thomason, Marie-Claire Gould, Mark Richards, Maurizio Caschetto, Michael Grigorowitsch,
Naomi Graber, Zachary Cairns, the JWfan.com community, and especially Rob Hudson.
And, most of all, thank you to Maestro John Williams, for the gift that is this musical world.