The Music of Star Wars

The Music of flair WarsThe music of genius Wars has become a character of the films much as the characters of the films have become global icons. John Williams contribution to the films (he composed for in all six Star Wars films) is among the most widely-known and popular contributions to modern film music. When Williams set out to compose the music for the source film, Star Wars (later re- call, Star Wars consequence IV A New Hope) in 1977, he hardly had one Oscar to his name for the score to the 1975 summer blockbuster Jaws.He utilized a variety of melodious moods drawing from the golden age of Hollywood and the scores of soap Steiner as well as the late romantic period of Richard Strauss. George Lucas, the condition of Star Wars, wanted the feel of the old movie serials like Flash Gordon and Buck Rogers. Williams is credited with reviving the symphonic scores because of his Star War compositions and of victimization a technique called leitmotiv most often associated wi th the operas of Wagner and with Steiner-esque film scores.The use of the leitmotiv anchors the characters of the Star Wars passe-partout trilogy, which I will discuss in detail. These themes designate the individual characters as well as plot elements, locations, moods and relationships. This use of papers is the films ar self-coloured enough to latch the audience onto the elements of the film while being strong enough to undergo variation and developing, which we will see in the development of the sequels from the original film.Star Wars (1977)Principle MotifsMain Title utilise in all six films, this is the anthem of the film series. It is recognizable globally and is generally associated with the rebel forces, Luke Skywalker and elements involving heroism and adventure. This theme is comprehend over the opening crawl and is used as a base for the end credits.Rebel Fanf atomic number 18 utilise in all six films as well, this is a short motif used in general in end IV A New Hope to represent the Rebel Alliance. It is used less in issue V The imperium Strikes rearwards and brought back but with less frequency in Episode VI Return of the Jedi. It uses brass elements to give it the fanfare flavor.Jedi newspaper This theme is similarly titled Binary Sunset in the film score from the scene in which Luke is watching the sunset on Tatooine and contemplating his future in Episode IV. This is the one motif in the trilogy that is consistently real throughout all three films. The theme represents Obi-Wan Kenobi, the Jedi Knights and The Force. In later films, it is used to represent ideas of fate and destiny. It is an uplifting theme and brush off be comprehend throughout the trilogy. There are also brief instances of it in Episode I The Phantom Menace, Episode II Attack of the Clones, and Episode III Revenge of the Sith.Princess Leias theme (aka Love Theme) This theme represents the romantic side of the trilogy. It is most often used in Episode IV to represent Leia when she is unaccompanied (on the merchant ship in the beginning), vulnerable (when she is about to be tortured for information on the Death Star) or shown on the screen. In subsequent episodes, it is developed into a Love Theme between her and Han unaccompanied. This theme also appears later in Episode III after she is born.Imperial Motif Used only in Episode IV, this motif represents the Empire and Darth Vader for this film (although it makes a cameo when Grand Moff Tarkin, commander of the Death Star, is seen in Episode III Revenge of the Sith). The music is military and not as ominous as the Imperial March introduced in Episode V. The rhythmic and harmonic aspects are developed into the Imperial March in The Empire Strikes Back.Death Star Motif Introduced in Episode IV, it is a four chord motif that plays when the Death Star is shown or when its place is suggested. It is also heard as a more developed theme when the Star Destroyer hits the second Death Star in Episode VI.Jawa Theme/Droid Theme A playful theme used in Episode IV when the Jawas are introduced and later developed into a motif to represent the droids in Episodes V and VI when R2D2 and C3PO are together.The Empire Strikes Back (1980)Principle MotifsImperial March (aka Darth Vaders Theme) This theme represents the Galactic Empire and, more specifically Darth Vader, starting with Episode V and carrying on through the rest of the films. This theme has achieved an iconic status as representing evil and is used outside of the films to introduce evil (i.e. when Mr. Burns shows up on The Simpsons). Williams retrogrades the theme for the prequel trilogy, embedding it into Anakins theme and his downward spiral to the dark side as well as the rise of the Republic into the Empire. Williams also uses it effectively when Vader dies in Episode VI.Love Theme Developed from Leias Theme in Episode IV, it is heard in Episode V and VI in scenes of romance and when the two characters are sacrificing, including the scene in which Han is frozen and the final moments of Empire when Lando Calrissian is leaving to rescue Han from Jabba The Hut.Yodas Theme This theme is introduced in Episode V and is used throughout the original trilogy and the prequel trilogy. It is mostly associated with Yodas teachings and abilities but can be heard when Luke is utilizing what Yoda has taught him. It is used sparingly in the prequels and mostly for key moments with Yoda. As a side, Williams uses this theme in E.T. The Extra-Terrestrial when a little kid is seen in a Yoda costume.Landos Theme (Cloud metropolis Theme) A march that is heard during the Bespin scenes in Episode V. It is used throughout the Cloud City scenes and a variation is used when Luke arrives to save Leia and Han.Return of the Jedi (1983)Principle MotifsJabbas Theme This is heard in the opening of Episode VI when the scene takes place in Jabbas Palace. It is mostly tuba and is rolling and bulbous. It was added in the special edition version of Episode IV when a young (and much leaner?) Jabba confront Han Solo in the hanger of the Millennium Falcon. There is also a disguised version of it in Episode I when Jabba officiates the pod race.Emperors Theme An ominous theme first used in Episode VI, and developed more in the prequel trilogies. It represents the Emperor whenever he is on screen. Williams also uses it conspicuously in the victory celebration at the end of Phantom Menace.Ewoks Theme Titled Parade of the Ewoks in the score for Episode VI, it is a light-hearted theme played during scenes in the Ewok village, during the Endor battle and in the end credits.Luke and Leias Theme This theme is heard only twice and only in Episode VI. It links Luke and Leia as brother and sister. It is more mature than the Love Theme and Leias Theme from the previous films.Victory Celebration This theme is used for the victory of the Alliance.In addition to these major motifs, there are minor themes use d throughout the series that are used to represent some of the other characters and scenes in the original trilogy. These motifs are generally heard once and not much development took place for further use.Minor MotifsArrival on Tatooine This is used in Episode IV and then again in Episode I.Tusken Raiders Theme Used when the Tusken Raiders are first introduced in Episode IV and when they attack Luke. Later used when Anakin destroys their camp in Episode II.Throne Room March Used in the original trilogy when Vader is present and later when the Emperor is shown in Episode VI.The final elements of music John Williams wrote for the original trilogy were the pieces that were performed as part of live sequences. forwards he became a film composer, John Williams was a jazz pianist going by the name of Johnny Williams. The live elements reflect his earlier musical career with the use of jazz, classical and world music elements. These were The two songs played in the Cantina on Tatooine entitled, Cantina Band and Cantina Band 2. They were in a swing style and the first tune became popular on the radio after the initial film release in 1977, while 2 could only be heard when Obi-Wan is speaking with Han Solo for the first time. Jabbas Baroque Recital is heard when R2D2 and C3PO arrive to give Jabba the message from Luke Skywalker in Episode VI. Jedi Rocks is also from Episode VI heard in Jabbas Palace just before Leia (disguised as a bounty hunter) brings Chewbacca in for a ransom. This song replaced Lapti Nek, when the special editions were released and it was not included on the re-release of the soundtrack.1 Max Rebo Band Jams is heard twice in the film, once after Chewbacca is sent to the jail cell and on the sail barge. This song doesnt appear on the soundtrack as recordings of it have apparently been lost forever. The music of the Ewoks is heard throughout Episode VI when Luke and company are in the village and after the battle of Endor. They are titled Ewok F east, Part of the Tribe, and Ewok Celebration.Sources8notes.com (2008) Williams, John Online. Available from http//www.8notes.com/biographies/john_williams.asp Accessed 11 October 2009Star Wars Episode IV A New Hope. 1997. Producer, Gary Kurtz director George Lucas. Lucasfilms, Ltd. DVD RecordingStar Wars Episode V The Empire Strikes Back. 1997. Producer, Gary Kurtz director Irving Kershner. Lucasfilms, Ltd. DVD RecordingStar Wars Episode VI Return of the Jedi. 1997. Producer, Howard Kazanjian director Richard Marquand. Lucasfilms, Ltd. DVD RecordingEmpire of Dreams The Story of the Star Wars Trilogy. 2004. Producer, Edith Becker directors Edith Becker and Kevin Burns. Prometheus Entertainment. DVD RecordingWilliams, John. (2000). Star Wars Episode I The Phantom Menace (Ultimate Edition). CD USA. Sony Classical.Williams, John. (2002). Star Wars Episode II Attack of the Clones Original Motion Picture Soundtrack CD USA. Sony Classical.Williams, John. (2005). Star Wars Episode III Reve nge of the Sith Original Motion Picture Soundtrack CD USA. Sony Classical.Williams, John. (1997). Star Wars Episode IV A New Hope (Special Edition). CD USA. RCA Victor.Williams, John. (1997). Star Wars Episode V The Empire Strikes Back (Special Edition). CD USA. RCA Victor.Williams, John. (1997). Star Wars Episode VI Return of the Jedi (Special Edition). CD USA. RCA Victor.