May 4, 2024

In A Galaxy Far, Far Away

Written by: Laney Hansen and Michaela Blades

Introduction

John Williams has been a maker of music for many years now. Best known for his neo-romanticism quality, his musical scores have charmed the world and will still do so for years to come. Beginning his career in 1954, he has mostly worked with directors George Lucas and Steven Spielberg, which is what brought us his astounding, award-winning film scores. Some of these include the soundscapes of Jaws, E.T., as well as the incredible scores of Star Wars.

On this day we celebrate Star Wars and its historical imprint on our culture. Throughout this review, we are going to dive into each score chronologically and nerd out on an ultimate level. Let’s get into it.

Episode IV. A New Hope

Starting off with the first ever released film, ‘A New Hope’, raised the bar for musicians and composition across the world. John Williams takes us to the stars with the Main Title, which appears in every film following. The horn section is remarkable. Each part plays into the memorable score that has been used and parodied by many musicians following. Listening further into the album, it’s as if the music is a character of its own. In songs like Princess Leia’s Theme, The Little People Work, and Mouse Robot and Blasting Off, the music being played portrays the story being told so well and adds an extra layer to the characters seen on the screen.

I also noticed when listening to the soundtrack, there is a huge shift in tone when the song Cantina Band comes on. Its easygoing, dance break quality comes in with percussive instrumentation and wind instruments such as a trumpet, clarinet, and of course, the iconic saxophone. This song brings an improvised feel to the soundtrack and is arguably the most fun to jam to. Moving through the rest of the album, there are many reprisals used which is something John Williams is well-known for doing. For example, in The Princess Appears, you get that same melody used in Princess Leia’s Theme just adjusted slightly to fit the heavier setting. It’s genius.

Episode V. The Empire Strikes Back

Moving to ‘The Empire Strikes Back’ John Williams starts us off with Yoda’s Theme which already does justice in setting the tone for this soundtrack and film. It greatly relates to Yoda’s character and opens the chapter with such whimsyness. Given this film’s nature, the soundtrack definitely takes you on an adventure of highs and lows with its composition. From songs like Departure of Boba Fett, The Asteroid Field, Rebels at Bay, and The Magic Tree, there is a large range of feelings left on the listener (or viewer) which favors this rollercoaster of a composition.

Moving through, this album is also where the well-known melody of The Imperial March originates from. In fact, the song before, The Heroics of Luke and Han, gives us a preview of this fantastical piece along with others to come. The film alone is filled with so many characters and new faces to be seen on screen, like Lando and Boba Fett, and this soundtrack adds a large amount of character and jeuge to the overall storyline. Han Solo and the Princess is another one of these tunes that are unforgettable. Even the scene between them when this song first takes place is unforgettable but it would not have been the same without the soft, romantic sounds of this music. Thank you John Williams.

Episode VI. Return of the Jedi

In ‘Return of the Jedi', we hear strong tones of heroics and much more positive melodies than from ‘The Empire Strikes Back.’

In the song Han Solo Returns we hear a reprise of Han Solo and the Princess which is followed by a large, winded tuba solo to annunciate the character aspects of Jabba the Hutt. I love the magic of this piece and its well thought out composition to keep the listener close to the world. Similarly to the shift heard in the ‘A New Hope’ soundtrack from Cantina Band, there is a distinct change in musicality followed by Lapti Nek (Jabba’s Palace Band). This piece has so much funk to it and is another one of those unforgettable images.

Rebel briefing is where the phenomenal peak moment of the film took place. A great addition to the moment at hand, it’s almost as if this song alone is saying “Luke, use the Force.” Combining the melodies of Luke and Leia’s Theme and The Force Theme, this song leads us into The Emperor where hope is thrown into an unraveling sensation of fear. This feeling doesn’t last very long when we hear the rise of The Return of the Jedi which ends us with immense amounts of heroics and bravery as this trilogy comes to a close.

Episode I. The Phantom Menace

The first film of the Star Wars prequels ‘The Phantom Menace’ is full of many new beginnings. Starting us off, Duel of The Fates is, being a fan favorite, one of the most iconic additions to a film score ever. The sudden rushing of strings growing in volume, the addition of wind instruments and the operatic vocals all create this raging storm of a song. Duel of The Fates was originally going to be the name of the

third movie in the trilogy. Obviously they didn’t make use of it so John Williams got his hands on it and changed the world forever. Anakin’s Theme follows with an upbeat melody that slowly travels into a slower, more melancholy sound almost like a foreshadowing of his character and what’s to come of his future. The following songs, Jar Jar’s Introduction…, The Sith Spacecraft, The Trip to Naboo Temple, etc., all titled moment to moment, are extremely high in story building. I believe just listening to the album alone gives you the whole experience of the film. This could also be due to the fact it’s one of the longer soundtracks of the whole franchise.

Episode II. Attack of the Clones

I will be honest, ‘Attack of the Clones’ isn’t in my top favorites. But, it has some great songs and unbelievably remarkable moments. Starting off with Across the Stars this song is so romantic I could listen to it for hours. It’s the love theme for the film so it’s needless to say that it achieves just that. Next, chaos ensues in the following tune Zam the Assassin and the Chase… Being the longest song on the album, this song is a story within itself. It has everything from the speed of the percussion section, the added guitar solos- which could be a characterization of Zam- the rushing and crashing of strings and cymbals, and so much more. This song is a whirlwind of anxious movement. As we move on through the soundtrack we’re taken to vastly different settings of music and meet different characters.

Anakin and Padme is quite the surprise to me in terms of composition. The tone of the music, though listeners would believe to be romantic and light, is actually quite melancholy and slow. Bounty Hunter’s Pursuit shifts us into a sort of chase. The way the music is played in this track sounds like each musician is creeping up on you, playing on the word ‘pursuit.’ Then as the song comes to an end it blows up into a marching of the horn section giving us a taste of what’s to come next of the final moments of the soundtrack. I will say, John Williams does a phenomenal job at capturing the characteristics of the many settings seen on screen.

Episode III. Revenge of the Sith

The final installment of the Star Wars prequels, ‘Revenge of the Sith’ is dense in plot. The story is full of highs and lows, ends and beginnings, and revelation. The soundtrack underscores the layered journeys that are crafted and covered throughout the movie. Something John Williams excels at as a composer is reflecting the inner world of characters to give an audience the extra insight and tools to understand them on a deeper and subliminal level. The film opens with the recognizable and anthemic Star Wars and the Revenge of the Sith, transporting the watchers to the world they recognize and settles them into the story. After the exposition, Anakin’s Dream offers a reflective and forlorn look into the state of Anakin and foreshadows his journey for the future of the film. There are sweeping strings and intense melodic peaks to mirror Anakin’s heightened state of mind. Jumping forward, Padme’s Ruminations offers more internal insight to the character opposite Anakin. The use of motif and repeated melody is characteristic of John Williams’ compositions and is part of what people love about his music. The relationships between characters in Star Wars films are somewhat Shakespearean and intertwined in a way that contributes to the intellectual and emotional aspects of the franchise.

John Williams also never sacrifices the opportunity to appeal to the head and the heart. Perhaps the most iconic track on the score is Anakin’s Betrayal. This song showcases John Williams’ ability to incorporate intervals and motifs that can keep an audience in suspense and give certain narrative revelations the weight they deserve. Some of the most substantial and recognizable songs can be found on the Revenge of the Sith soundtrack as audiences get an in-depth and up close look into the background of the characters they have come to love in the original trilogies.

Episode VII. The Force Awakens

‘The Force Awakens’ is an introduction to Rey, a girl destined to bring the force back to the world and defeat the dark side. I believe John Williams encapsulates just who she is throughout this score. Starting off with The Scavenger we meet Rey’s world through the eyes of many instruments, one of the most prominent being the glockenspiel. We then hear the magic of the force brought to life in a traveling duet of said glockenspiel and a flute. This marks the beginning of a new era. The following tracks, I Can Fly Anything, Rey Meets BB-8, and Follow Me follow Rey’s ambition and give us a sense of all the sides of her character. Rey’s Theme reprises The Scavenger in a heroic light. The repetition of the ever recognizable melody, having been foreshadowed previously, gives Rey a mystical additive to her character which transports listeners into the mind of the character.

The Falcon, That Girl with the Staff, The Rathtars!, Finn's Confession, Maz’s Counsel, and The Starkiller all invite different characters into the storyline. With these come various styles of storytelling from the rushing and winding up tone, into the romantics within Finn’s Confession, and then the mysterious and solemn tone of Maz’s Counsel and The Starkiller. Each of these play crucial roles in the building of Rey’s character. Kylo Ren Arrives at the Battle has a regal sound to it. Completely opposite to Rey’s theme, this song gives Kylo

Ren’s character a boost of villainous fire. Han and Leia enters the battlefield with reprisals of their themes in previous films bringing fans a timeless sequence. On the Inside and Torn Apart are the next tracks. These two songs are the first meeting of Rey and Ren. It’s a very internal moment with several shifts in the music that show who is speaking or in control, giving us the differences and similarities in characterization of these two. We then end the soundtrack with songs like Scherzo for X-Wings, Farewell and the Trip, and The Jedi Steps. With reprisals of Han and Leia shifting into the heroism of Rey’s Theme, this is where the story begins for Rey and we venture off into a whole new world.

Episode VIII. The Last Jedi

‘The Last Jedi’ has a more positive tone to it, but it takes you on quite a ride as you listen. The soundtrack opens with Ahch-To Island, where Rey begins her training with Luke. In this piece, we hear a reprisal of The Force Theme within the wild string motion leaving listeners with heightened emotions. The next track Revisiting Snoke is somber yet eerie with its use of lower strings and horns; then follows it up with a reprisal of Imperial March. A revisitation of Snoke from the first film in this trilogy, this song keeps the sense of something worth fighting for alive. Changing up tempo, Fun with Finn and Rose really is fun. The naivety of the piece really plays on the bickering and joyfulness of the characters, but it doesn’t last long when in comes Old Friends which is mixed with feelings of familiarity and mystery. This song rides a roller coaster of emotions with a sense of danger within as the instruments march forward through the piece. The Rebellion is Reborn and Lesson One brings listeners feelings of hope as Rey learns to fight like a Jedi Knight. Canto Bight is another of these fun pieces like Cantina Band and Lapti Nek. As a sort of break from the practicing and long hours of work, this song brings in a moment to tap your feet and twiddle your fingers to. The next track, like Old Friends, Who Are You? sends listeners a chill up the spine. It has such an eerie feeling to it, given its nature of being when Rey and Ren have their meeting through each other’s consciousnesses and even the title is enough to set off the mystery of the music.

The Fathiers, The Cave, The Sacred Jedi Texts, and A New Alliance lead us into the climax of the film as the characters prepare to fight. We then hear “Chrome Dome” which introduces the character, Captain Phasma, into the story line. This song serves as a prelude to the coming of The Battle of Crait where we hear several tone shifts of heroism, chaos, and sorrow. Once the battle is over, The Spark, The Last Jedi- our title song of the soundtrack, and Peace and Purpose bring us to a finale as they close this phenomenal score. Though things aren’t over just yet, these songs bring us to a close of an era we have held so close to our hearts.

Episode IX. The Rise of Skywalker

As the last episode in the most recent trilogy, ‘The Rise of Skywalker’ recycles themes that have been established in the 8 movies that preceded it. The use of certain themes such as Luke’s Theme and the Force Theme are used haphazardly within the context of the movie. With the commercialization of the franchise, the substance of the music has become diluted. This is no fault of John Williams, but rather the editor’s inability to recognize and re-use the music in a way that is meaningful and aligns with its intended and original purpose. While the music is

unimpressive in the movie in terms of innovation, it does some of the heavy lifting in telling a story that could not stand up on its own. The narrative structure and strength in the most recent trilogy is weaker than many of the original movies. ‘The Rise of Skywalker’ relies heavily on Williams’ score to connect distant dots and help audiences maintain an emotional connection to the film. The movie is a testament to the power of a score and the brilliance of a composer who has the ability to connect a story and an audience.

Conclusion

We hope that this Star Wars day you take the time to listen to John Williams’ phenomenal music, watch the movies, or go out and celebrate with friends for the holiday. Enjoy and MAY THE FOURTH BE WITH YOU

Page updated

Report abuse