Music of Star Wars (English Wikipedia)

Such an approach is taken by the programs to the live-to-projection premiere, which is seemingly not based on new insight from Williams himself. Such an approach was taken by the programs Archived July 14, 2022, at the Wayback Machine to the live-to-projection premiere of the Star Wars films, where numerous motifs were identified (seemingly with no new insight from Williams himself), including a rancor motif, a motif for the droids in the original Star Wars, etc... Others to have taken to such an approach are Alfred Surenyan Archived July 14, 2022, at the Wayback Machine and Aaron Krerowicz Archived January 15, 2018, at the Wayback Machine. Even Ed Chang Archived November 28, 2016, at the Wayback Machine does this with several minor motifs he attributes to the various Star Wars scores, including an "Imperial rhythmic motif", a " rhythmic Imperial skirmish motif", "exotic Bespin motif", "'one with the Force' motif", "trap theme", a "taking off motif", a secondary Droid march, an Utapau "motoric" motif, and a "Millennium Falcon rhythmic motif." Also see previous versions of this page.

afi.com

"Star Wars Tops AFI's List of 25 Greatest Film Scores of All Time". AFI's 100 Years of Film Scores. American Film Institute. Archived from the original on December 25, 2013. Retrieved January 19, 2013.

archive.today

"The 35th Annual Golden Globe Awards (1978)". Golden Globe Awards. Archived from the original on April 15, 2013. Retrieved January 19, 2013.

artofthescore.com.au

This theme is often used in conjunction with the character of Finn, and was therefore often mistaken to be his theme, as well as for the Millennium Falcon Archived May 28, 2018, at the Wayback Machine. Rather, it is a motif for the more comedic action sequences in the film, in which Finn's propensity to flee is used for comedic effect.

audioboom.com

"Episode 69: Rian Johnson On The Music Of Star Wars & Other Movies". audioBoom. Archived from the original on January 1, 2018. Retrieved January 1, 2018.

bafta.org

"Soundtrack 1978". BAFTA Awards Database. British Acacdemy of Film & Television Awards. Archived from the original on July 14, 2022. Retrieved January 19, 2013.
"Soundtrack 1980". BAFTA Awards Database. British Acacdemy of Film & Television Awards. Archived from the original on September 27, 2011. Retrieved January 19, 2013.

blogger.com

Such an approach is taken by the programs to the live-to-projection premiere, which is seemingly not based on new insight from Williams himself. Such an approach was taken by the programs Archived July 14, 2022, at the Wayback Machine to the live-to-projection premiere of the Star Wars films, where numerous motifs were identified (seemingly with no new insight from Williams himself), including a rancor motif, a motif for the droids in the original Star Wars, etc... Others to have taken to such an approach are Alfred Surenyan Archived July 14, 2022, at the Wayback Machine and Aaron Krerowicz Archived January 15, 2018, at the Wayback Machine. Even Ed Chang Archived November 28, 2016, at the Wayback Machine does this with several minor motifs he attributes to the various Star Wars scores, including an "Imperial rhythmic motif", a " rhythmic Imperial skirmish motif", "exotic Bespin motif", "'one with the Force' motif", "trap theme", a "taking off motif", a secondary Droid march, an Utapau "motoric" motif, and a "Millennium Falcon rhythmic motif." Also see previous versions of this page.

books.google.com

"Final Nominations for the 42nd Annual Grammy Awards". Billboard. January 15, 2000. p. 73. Archived from the original on July 14, 2022. Retrieved October 2, 2020.
"Grammy Award Nominees". Billboard. December 17, 2005. p. 60. Archived from the original on July 14, 2022. Retrieved January 19, 2013.

bpi.co.uk

"Certified Awards Search – BPI". Archived from the original on May 11, 2011. Retrieved August 30, 2009.

cbwritingblogblog.wordpress.com

Karol Krok, themes of the original trilogy Archived January 6, 2018, at the Wayback Machine, films on wax.
Karol Krok, The themes of the Prequel Trilogy Archived January 15, 2018, at the Wayback Machine, Films-on-wax.

collider.com

McPherson, Christopher (April 8, 2023). "'Ahsoka': Kevin Kiner Returns as Composer". Collider. Archived from the original on April 8, 2023. Retrieved April 8, 2023.
McPherson, Chris. "'The Acolyte' Has a Tentative Release Date [Exclusive]". Collider. Valnet.net. Retrieved March 2, 2024.

cuebycue.blogspot.co.il

Alfred Surenyan Archived July 14, 2022, at the Wayback Machine describes themes for the Flag Parade, the Arrival on Tatooine, Jango's Escape, Taun We (which is mentioned in Takis analysis, but as a setpiece-specific piece), Anakin's Dark Deeds, The Dune Sea, The Emperor's Throne Room, Starkiller Base, etc. Ed Chung describes an "escape theme" from the opening space battle of Revenge of the Sith Archived August 28, 2017, at the Wayback Machine, an Utapau motoric figure appearing in the fight with Grievous, an "exotic Bespin motif Archived July 14, 2022, at the Wayback Machine" for the finale of Empire Strikes Back, a "taking off Archived August 28, 2017, at the Wayback Machine" motif from "The Phantom Menace", etc...

deadline.com

Hipes, Patrick (January 26, 2020). "Grammy Awards: Billie Eilish Sweeps Record, Album, Song & New Artist – The Complete Winners List". Deadline.com. Archived from the original on January 28, 2020. Retrieved June 16, 2020.

filmmusicnotes.com

Mark Richards, Across the Stars: Analysis Archived December 28, 2017, at the Wayback Machine.
Mark Richards, Battle of the Heroes: Analysis Archived January 19, 2016, at the Wayback Machine.
Mark Richards, The Force Awakens themes Archived January 6, 2018, at the Wayback Machine.
Mark Richards, The Last Jedi themes Archived January 6, 2018, at the Wayback Machine.

filmmusicreporter.com

"'Star Wars: The Clone Wars' TV Series Soundtrack Announced". Film Music Reporter. November 4, 2014. Archived from the original on December 23, 2015. Retrieved December 23, 2015.
"Kevin Kiner to Score 'Star Wars Rebels'". Film Music Reporter. April 21, 2014. Archived from the original on December 23, 2015. Retrieved December 23, 2015.
"Matthew Margeson to Score Disney Junior's 'Young Jedi Adventures'". Film Music Reporter. July 20, 2022. Archived from the original on July 20, 2022. Retrieved July 30, 2022.

filmmusicsociety.org

Burlingame, Jon (February 8, 2012). "Spielberg and Lucas on Williams: Directors reminisce about collaborating with Hollywood's greatest composer". The Film Music Society. Archived from the original on December 23, 2015. Retrieved December 23, 2015.

filmscoremonthly.com

"4/11/05: FSM Forum Star Wars Episode III". Archived from the original on September 11, 2017. Retrieved July 12, 2017.
Doug Adams, Sounds of the Empire: Analysing the themes of the Star Wars Trilogy Archived August 6, 2017, at the Wayback Machine, in: Film Score Monthly (Volume 4, number 5), pp. 22–47.
Doug Adams, A Return or a New Hope? Archived July 14, 2022, at the Wayback Machine In: Film Score Monthly, Volume 4, number 7, pp. 32–34.
John Takis, Star Wars Episode Tunes: Attack on the Score Archived August 6, 2017, at the Wayback Machine, Film Score Monthly, pp. 18–23.
Jon and Al Kaplan mention Archived October 22, 2016, at the Wayback Machine "minor-mode arpeggiations" as dominating this score, presumably referring to this motif. Adams Archived September 11, 2017, at the Wayback Machine also says that the leitmotifs in that score were "rhythmic" in nature. While Williams himself has said little of the leitmotifs of this score (outside of Across the Stars), Lucas is quoted on the album saying that Williams "heightens the mystery and suspense that drives the first half of the film", most likely referring to this motif, which is indeed confined to the first half of the film.
Williams refers Archived December 12, 2017, at the Wayback Machine to the use of "bouncing" horns in Star Wars as a "motif" for Luke's Landspeeder, although it is based on no fixed recurring melodic or rhythmic idea. He also once Archived March 16, 2018, at the Wayback Machine referred to the material for the Battle of Hoth as "thematic", but Matessino's notes ultimately conclude Archived August 27, 2017, at the Wayback Machine that "thematic material is deffered" in the piece. Lehman makes no mention of either motif, even as "incidental" motifs, and in fact stressed that "Themes for self-contained, non-repeating set-pieces are not included." Adams also does not list any setpiece-specific material in his thematic analyses, but did mention Archived October 22, 2016, at the Wayback Machine that "the walker attack on Hoth[...]was assigned a memorable and fully realized standalone melody" but, unlike the melody of "The TIE fighters chasing the Millennium Falcon away from the Death Star", which went on to recur in a later installment, this motif (like the Asteroid Field music) is used "with less thought toward a score-length arc of material than toward a series of self-contained vignettes." In the prequels, ostinati-based pieces such as Chase through Coruscant or Jango Fett's escape are described by Adams not as melodies but as "shorter, chunkier motives seldom longer than a measure or two, and often more rhythmic than melodic" and as "terse" and "episodic." Jeff Bonds Archived June 16, 2020, at the Wayback Machine also mentions that the former sequence features "no theme hitting them [the audience] over the head."

filmtracks.com

"Filmtracks: Star Wars: The Phantom Menace (John Williams)". Archived from the original on February 8, 2017. Retrieved February 18, 2017.
"Filmtracks: Star Wars: The Empire Strikes Back (John Williams)". Archived from the original on February 8, 2017. Retrieved February 18, 2017.
"Filmtracks: Star Wars: Return of the Jedi (John Williams)". www.filmtracks.com. Archived from the original on July 14, 2022. Retrieved July 14, 2022.
"Filmtracks: Star Wars: A New Hope (John Williams)". Archived from the original on February 9, 2017. Retrieved February 18, 2017.
"Filmtracks: Star Wars: Attack of the Clones (John Williams)". www.filmtracks.com. Archived from the original on July 14, 2022. Retrieved July 14, 2022.
"Filmtracks: Star Wars: Revenge of the Sith (John Williams)". Archived from the original on July 14, 2022. Retrieved February 18, 2017.
"Filmtracks: Rogue One: A Star Wars Story (Michael Giacchino)". Archived from the original on February 16, 2017. Retrieved February 18, 2017.

franklehman.com

Frank Lehman, The Complete Catalogue of Musical Themes of Star Wars Archived October 11, 2019, at the Wayback Machine.

goldenglobes.org

"The 35th Annual Golden Globe Awards (1978)". Golden Globe Awards. Archived from the original on April 15, 2013. Retrieved January 19, 2013.

grammy.com

"1977 20th Annual Grammy Awards". Past Winners database. Grammy Awards. Archived from the original on September 30, 2015. Retrieved January 19, 2013.
"1980 – 23rd Annual Grammy Awards". Grammy Awards. Archived from the original on July 28, 2013. Retrieved January 19, 2013.

inverse.com

Hutchinson, Sean (November 11, 2015). "Alien Musicians in 'Star Wars,' Ranked". Inverse. Archived from the original on December 30, 2015. Retrieved December 30, 2015. (Archived page contains a JavaScript that replaces article with page not found message. To prevent this stop page loading as soon as article text is visible.)

jimlochner.com

"Archived copy" (PDF). Archived from the original (PDF) on October 22, 2016. Retrieved September 11, 2017.{{cite web}}: CS1 maint: archived copy as title (link)
Jon and Al Kaplan mention Archived October 22, 2016, at the Wayback Machine "minor-mode arpeggiations" as dominating this score, presumably referring to this motif. Adams Archived September 11, 2017, at the Wayback Machine also says that the leitmotifs in that score were "rhythmic" in nature. While Williams himself has said little of the leitmotifs of this score (outside of Across the Stars), Lucas is quoted on the album saying that Williams "heightens the mystery and suspense that drives the first half of the film", most likely referring to this motif, which is indeed confined to the first half of the film.
This fanfare from "He is the Chosen One", recurs Archived October 22, 2016, at the Wayback Machine in "Palpatine's Teachings" for a transition to the view of Curoscant from Padme's abode. It was used in the finished film rather for a shot of Obi-Wan entering Bail Organa's ship.
Williams refers Archived December 12, 2017, at the Wayback Machine to the use of "bouncing" horns in Star Wars as a "motif" for Luke's Landspeeder, although it is based on no fixed recurring melodic or rhythmic idea. He also once Archived March 16, 2018, at the Wayback Machine referred to the material for the Battle of Hoth as "thematic", but Matessino's notes ultimately conclude Archived August 27, 2017, at the Wayback Machine that "thematic material is deffered" in the piece. Lehman makes no mention of either motif, even as "incidental" motifs, and in fact stressed that "Themes for self-contained, non-repeating set-pieces are not included." Adams also does not list any setpiece-specific material in his thematic analyses, but did mention Archived October 22, 2016, at the Wayback Machine that "the walker attack on Hoth[...]was assigned a memorable and fully realized standalone melody" but, unlike the melody of "The TIE fighters chasing the Millennium Falcon away from the Death Star", which went on to recur in a later installment, this motif (like the Asteroid Field music) is used "with less thought toward a score-length arc of material than toward a series of self-contained vignettes." In the prequels, ostinati-based pieces such as Chase through Coruscant or Jango Fett's escape are described by Adams not as melodies but as "shorter, chunkier motives seldom longer than a measure or two, and often more rhythmic than melodic" and as "terse" and "episodic." Jeff Bonds Archived June 16, 2020, at the Wayback Machine also mentions that the former sequence features "no theme hitting them [the audience] over the head."

jw-collection.de

Star Wars, liner notes Archived December 12, 2017, at the Wayback Machine.
"STAR WARS - Episode III". www.jw-collection.de. Archived from the original on August 7, 2017.
Star Wars, Liner Notes Archived December 12, 2017, at the Wayback Machine
"Star Wars - LP". www.jw-collection.de. Archived from the original on December 12, 2017. Retrieved June 10, 2017.
"The Empire Strikes Back - LP". www.jw-collection.de. Archived from the original on August 7, 2017. Retrieved June 10, 2017.
Williams recalls Archived August 7, 2017, at the Wayback Machine to have written "three or four pieces of new material" for this installment, including "a couple of[...]lamentations[...]of Anakin's turn from the light to the dark", a "piece with a lot of percussion for Grievous" and Archived August 23, 2017, at the Wayback Machine "Battle of the Heroes[...]a motif based on four pitches." Ian Freer who was present at the recording, noted the lament and "variations to Qui-Gon’s funeral." Also based on the recording, John Crichton speaks of "the new theme" (Battle of the Heroes) which has "nine notes", the lament, Across the Stars, and "a reprise of a choral track from a previous score. This is probably the reprise of Qui-Gon’s funeral music."
"STAR WARS - Episode III". Archived from the original on July 14, 2022. Retrieved April 14, 2018.
Williams refers Archived December 12, 2017, at the Wayback Machine to the use of "bouncing" horns in Star Wars as a "motif" for Luke's Landspeeder, although it is based on no fixed recurring melodic or rhythmic idea. He also once Archived March 16, 2018, at the Wayback Machine referred to the material for the Battle of Hoth as "thematic", but Matessino's notes ultimately conclude Archived August 27, 2017, at the Wayback Machine that "thematic material is deffered" in the piece. Lehman makes no mention of either motif, even as "incidental" motifs, and in fact stressed that "Themes for self-contained, non-repeating set-pieces are not included." Adams also does not list any setpiece-specific material in his thematic analyses, but did mention Archived October 22, 2016, at the Wayback Machine that "the walker attack on Hoth[...]was assigned a memorable and fully realized standalone melody" but, unlike the melody of "The TIE fighters chasing the Millennium Falcon away from the Death Star", which went on to recur in a later installment, this motif (like the Asteroid Field music) is used "with less thought toward a score-length arc of material than toward a series of self-contained vignettes." In the prequels, ostinati-based pieces such as Chase through Coruscant or Jango Fett's escape are described by Adams not as melodies but as "shorter, chunkier motives seldom longer than a measure or two, and often more rhythmic than melodic" and as "terse" and "episodic." Jeff Bonds Archived June 16, 2020, at the Wayback Machine also mentions that the former sequence features "no theme hitting them [the audience] over the head."

jw-music.net

mahawa.jw-music.net

"Star Wars - Special Edition". mahawa.jw-music.net. Archived from the original on January 30, 2016.
Michael Matessino, Star Wars: A New Hope Special Edition Liner notes Archived January 30, 2016, at the Wayback Machine.
Michael Matessino, Empire Strikes Back: Special Edition liner notes Archived August 27, 2017, at the Wayback Machine.
Michael Matessino, Return of the Jedi: Special Edition liner notes Archived August 28, 2017, at the Wayback Machine
Williams refers Archived December 12, 2017, at the Wayback Machine to the use of "bouncing" horns in Star Wars as a "motif" for Luke's Landspeeder, although it is based on no fixed recurring melodic or rhythmic idea. He also once Archived March 16, 2018, at the Wayback Machine referred to the material for the Battle of Hoth as "thematic", but Matessino's notes ultimately conclude Archived August 27, 2017, at the Wayback Machine that "thematic material is deffered" in the piece. Lehman makes no mention of either motif, even as "incidental" motifs, and in fact stressed that "Themes for self-contained, non-repeating set-pieces are not included." Adams also does not list any setpiece-specific material in his thematic analyses, but did mention Archived October 22, 2016, at the Wayback Machine that "the walker attack on Hoth[...]was assigned a memorable and fully realized standalone melody" but, unlike the melody of "The TIE fighters chasing the Millennium Falcon away from the Death Star", which went on to recur in a later installment, this motif (like the Asteroid Field music) is used "with less thought toward a score-length arc of material than toward a series of self-contained vignettes." In the prequels, ostinati-based pieces such as Chase through Coruscant or Jango Fett's escape are described by Adams not as melodies but as "shorter, chunkier motives seldom longer than a measure or two, and often more rhythmic than melodic" and as "terse" and "episodic." Jeff Bonds Archived June 16, 2020, at the Wayback Machine also mentions that the former sequence features "no theme hitting them [the audience] over the head."

jwfan.com

According to an interview Archived April 9, 2018, at the Wayback Machine with Williams, he composed themes for Rey, Kylo, Rey, the Resistance, Poe and Snoke. His end-credits suite, traditionally used to recapitulate the entire thematic glossary of the film, features the themes for Rey, Kylo (both themes), Poe, the Resistance and the Pursuit ostinato. Snoke's theme is not visited, although it has a dedicated track on the album.
John Williams refers Archived February 17, 2020, at the Wayback Machine to a "more ruminative part" besides Kylo Ren's main theme, which he thought of as a "relative of Darth Vader." (the unabridged interview appears here: http://projectorandorchestra.com/john-williams-on-the-force-awakens-and-the-legacy-of-star-wars/ Archived July 30, 2019, at the Wayback Machine) The arpeggiated material that often introduces this motif often appears as a shorthand for the entire theme, and Lehman classifies it as a separate motif and Maurizio Caschetto Archived April 29, 2018, at the Wayback Machine follows in his lead.
"'Star Wars: The Last Jedi' Original Soundtrack Album: First Impressions – JOHN WILLIAMS Fan Network – JWFAN". Archived from the original on December 14, 2017. Retrieved December 14, 2017.
Such an approach is taken by the programs to the live-to-projection premiere, which is seemingly not based on new insight from Williams himself. Such an approach was taken by the programs Archived July 14, 2022, at the Wayback Machine to the live-to-projection premiere of the Star Wars films, where numerous motifs were identified (seemingly with no new insight from Williams himself), including a rancor motif, a motif for the droids in the original Star Wars, etc... Others to have taken to such an approach are Alfred Surenyan Archived July 14, 2022, at the Wayback Machine and Aaron Krerowicz Archived January 15, 2018, at the Wayback Machine. Even Ed Chang Archived November 28, 2016, at the Wayback Machine does this with several minor motifs he attributes to the various Star Wars scores, including an "Imperial rhythmic motif", a " rhythmic Imperial skirmish motif", "exotic Bespin motif", "'one with the Force' motif", "trap theme", a "taking off motif", a secondary Droid march, an Utapau "motoric" motif, and a "Millennium Falcon rhythmic motif." Also see previous versions of this page.
Williams refers Archived December 12, 2017, at the Wayback Machine to the use of "bouncing" horns in Star Wars as a "motif" for Luke's Landspeeder, although it is based on no fixed recurring melodic or rhythmic idea. He also once Archived March 16, 2018, at the Wayback Machine referred to the material for the Battle of Hoth as "thematic", but Matessino's notes ultimately conclude Archived August 27, 2017, at the Wayback Machine that "thematic material is deffered" in the piece. Lehman makes no mention of either motif, even as "incidental" motifs, and in fact stressed that "Themes for self-contained, non-repeating set-pieces are not included." Adams also does not list any setpiece-specific material in his thematic analyses, but did mention Archived October 22, 2016, at the Wayback Machine that "the walker attack on Hoth[...]was assigned a memorable and fully realized standalone melody" but, unlike the melody of "The TIE fighters chasing the Millennium Falcon away from the Death Star", which went on to recur in a later installment, this motif (like the Asteroid Field music) is used "with less thought toward a score-length arc of material than toward a series of self-contained vignettes." In the prequels, ostinati-based pieces such as Chase through Coruscant or Jango Fett's escape are described by Adams not as melodies but as "shorter, chunkier motives seldom longer than a measure or two, and often more rhythmic than melodic" and as "terse" and "episodic." Jeff Bonds Archived June 16, 2020, at the Wayback Machine also mentions that the former sequence features "no theme hitting them [the audience] over the head."

latimes.com

"John Williams on 'Force Awakens' score: 'I felt a renewed energy, and a vitality'". Los Angeles Times. December 18, 2015. Archived from the original on June 18, 2018. Retrieved June 10, 2017.
John Williams refers Archived February 17, 2020, at the Wayback Machine to a "more ruminative part" besides Kylo Ren's main theme, which he thought of as a "relative of Darth Vader." (the unabridged interview appears here: http://projectorandorchestra.com/john-williams-on-the-force-awakens-and-the-legacy-of-star-wars/ Archived July 30, 2019, at the Wayback Machine) The arpeggiated material that often introduces this motif often appears as a shorthand for the entire theme, and Lehman classifies it as a separate motif and Maurizio Caschetto Archived April 29, 2018, at the Wayback Machine follows in his lead.

makingstarwars.net

As with other long-lined themes on this list, components of Rey's theme have been described as independent leitmotifs, namely the wind and chime introduction figures of the unabridged theme. In his commentary Archived September 28, 2017, at the Wayback Machine on the score, Doug refers to the piece as a single theme. He also refers to the variation heard in the end-credits as "Rey's theme in counterpoint[...]with The Force theme."

movie-wave.net

"Williams: The Empire Strikes Back". www.movie-wave.net. Archived from the original on January 12, 2017. Retrieved February 19, 2017.
"Star Wars: The Phantom Menace". February 25, 2012. Archived from the original on July 15, 2019. Retrieved February 19, 2017.
"Williams: Revenge of the Sith". Archived from the original on May 6, 2015. Retrieved January 8, 2016.
"Star Wars: The Force Awakens". December 20, 2015. Archived from the original on December 23, 2015. Retrieved February 19, 2017.
"Rogue One: A Star Wars Story". December 23, 2016. Archived from the original on February 15, 2017. Retrieved February 19, 2017.
"Williams: Star Wars". Archived from the original on January 12, 2017. Retrieved February 19, 2017.
"Williams: Attack of the Clones". www.movie-wave.net. Archived from the original on May 12, 2017. Retrieved February 19, 2017.

moviemusicuk.us

"Star Wars". www.moviemusicuk.us. Archived from the original on October 20, 2008. Retrieved January 15, 2022.
"Return of the Jedi". www.moviemusicuk.us. Archived from the original on March 7, 2008. Retrieved January 15, 2022.
"Star Wars Episode I: The Phantom Menace". www.moviemusicuk.us. Archived from the original on March 7, 2008. Retrieved January 15, 2022.
"STAR WARS: THE FORCE AWAKENS – John Williams". December 21, 2015. Archived from the original on December 24, 2015. Retrieved February 19, 2017.
"STAR WARS: THE LAST JEDI – John Williams". December 19, 2017. Archived from the original on February 2, 2018. Retrieved April 30, 2018.
"ROGUE ONE – Michael Giacchino". December 20, 2016. Archived from the original on February 15, 2017. Retrieved February 19, 2017.
"The Empire Strikes Back". www.moviemusicuk.us. Archived from the original on September 29, 2009. Retrieved January 15, 2022.
"Star Wars Episode II: Attack of the Clones". www.moviemusicuk.us. Archived from the original on September 29, 2009. Retrieved January 15, 2022.
"Movie Music UK – Revenge of the Sith – John Williams". www.moviemusicuk.us. Archived from the original on October 22, 2008. Retrieved January 15, 2022.

musicweb-international.com

"Star Wars Episode 1 - The Phantom Menace : Interview with John Williams April9 1999". www.musicweb-international.com. Archived from the original on June 29, 2017. Retrieved January 15, 2018.
In interviews Archived June 29, 2017, at the Wayback Machine, Williams mentions "Duel of the Fates", Anakin's theme, "Jar Jar's music", as well as Qui-Gon's theme and the Trade Fedeeration Droid Army March, from an interview in the making of the film.

newyorker.com

Ross, Alex (January 3, 2018). "A Field Guide to the Musical Leitmotifs of "Star Wars"". The New Yorker. Archived from the original on September 20, 2019. Retrieved December 24, 2019.

npr.org

Keyes, Allison (July 24, 2010). "'Star Wars In Concert' Puts The Force In The Music". NPR. Archived from the original on December 30, 2015. Retrieved December 30, 2015.

nyphil.org

"Error" (PDF). Archived from the original on July 14, 2022. Retrieved September 12, 2017.
https://nyphil.org/~/media/pdfs/program-notes/1718/John-Williams-Star-Wars-The-Empire-Strikes-Back.pdf Archived July 14, 2022, at the Wayback Machine; https://nyphil.org/~/media/pdfs/program-notes/1718/John-Williams-Star-Wars-Return-of-the-Jedi.pdf Archived July 14, 2022, at the Wayback Machine; https://nyphil.org/~/media/pdfs/program-notes/1718/John-Williams-Star-Wars-The-Force-Awakens.pdf Archived January 15, 2018, at the Wayback Machine

nytimes.com

"Dudamel Conducts Some Music for New 'Star Wars' Film". The New York Times. December 15, 2015. Archived from the original on July 23, 2016. Retrieved March 2, 2017.

oscars.org

"The 50th Academy Awards (1978) Nominees and Winners". The Academy of Motion Picture Arts and Sciences. Archived from the original on May 25, 2019. Retrieved January 19, 2013.
"The 53rd Academy Awards (1981) Nominees and Winners". The Academy Awards of Motion Picture Arts & Sciences. Archived from the original on April 2, 2015. Retrieved January 19, 2013.
"The 56th Academy Awards (1984) Nominees and Winners". The Academy of Motion Picture Arts & Sciences. Archived from the original on April 2, 2015. Retrieved January 19, 2013.

pashamusic.com

starwarsmusic.pashamusic.com

Such an approach is taken by the programs to the live-to-projection premiere, which is seemingly not based on new insight from Williams himself. Such an approach was taken by the programs Archived July 14, 2022, at the Wayback Machine to the live-to-projection premiere of the Star Wars films, where numerous motifs were identified (seemingly with no new insight from Williams himself), including a rancor motif, a motif for the droids in the original Star Wars, etc... Others to have taken to such an approach are Alfred Surenyan Archived July 14, 2022, at the Wayback Machine and Aaron Krerowicz Archived January 15, 2018, at the Wayback Machine. Even Ed Chang Archived November 28, 2016, at the Wayback Machine does this with several minor motifs he attributes to the various Star Wars scores, including an "Imperial rhythmic motif", a " rhythmic Imperial skirmish motif", "exotic Bespin motif", "'one with the Force' motif", "trap theme", a "taking off motif", a secondary Droid march, an Utapau "motoric" motif, and a "Millennium Falcon rhythmic motif." Also see previous versions of this page.
Alfred Surenyan Archived July 14, 2022, at the Wayback Machine describes themes for the Flag Parade, the Arrival on Tatooine, Jango's Escape, Taun We (which is mentioned in Takis analysis, but as a setpiece-specific piece), Anakin's Dark Deeds, The Dune Sea, The Emperor's Throne Room, Starkiller Base, etc. Ed Chung describes an "escape theme" from the opening space battle of Revenge of the Sith Archived August 28, 2017, at the Wayback Machine, an Utapau motoric figure appearing in the fight with Grievous, an "exotic Bespin motif Archived July 14, 2022, at the Wayback Machine" for the finale of Empire Strikes Back, a "taking off Archived August 28, 2017, at the Wayback Machine" motif from "The Phantom Menace", etc...

playbill.com

"Five-Time Oscar Winner John Williams Talks Bringing Star Wars Scores to the New York Philharmonic". September 12, 2017. Archived from the original on September 16, 2017. Retrieved September 16, 2017.

projectorandorchestra.com

John Williams refers Archived February 17, 2020, at the Wayback Machine to a "more ruminative part" besides Kylo Ren's main theme, which he thought of as a "relative of Darth Vader." (the unabridged interview appears here: http://projectorandorchestra.com/john-williams-on-the-force-awakens-and-the-legacy-of-star-wars/ Archived July 30, 2019, at the Wayback Machine) The arpeggiated material that often introduces this motif often appears as a shorthand for the entire theme, and Lehman classifies it as a separate motif and Maurizio Caschetto Archived April 29, 2018, at the Wayback Machine follows in his lead.

riaa.com

"Star Wars – Gold & Platinum". Recording Industry Association of America. Archived from the original on January 8, 2016. Retrieved January 8, 2016.

saturnawards.org

"Past Saturn Awards". Saturn Awards. Archived from the original on February 9, 2010. Retrieved January 19, 2013.

starwars.com

"5 Highlights from Star Wars Forces of Destiny: "The Padawan Path" | StarWars.com". StarWars.com. July 6, 2017. Archived from the original on January 20, 2021. Retrieved August 23, 2017.

syfy.com

"Limited edition Star Wars: The Force Awakens vinyl sets available for pre-order - Syfy Wire". www.syfy.com. Archived from the original on July 12, 2017.

talkcity.com

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"Star Wars: Star Wars Episode I the Phantom Menace". Archived from the original on October 13, 1999.
"Star Wars: Star Wars Episode I the Phantom Menace". Archived from the original on October 13, 1999.

theclicktrack.net

"The Click Track". www.theclicktrack.net. Archived from the original on May 28, 2018.

tripod.com

scoresheet.tripod.com

For instance, a multitude of motifs identified in these reviews: http://scoresheet.tripod.com/alpha.html Archived May 1, 2018, at the Wayback Machine

vanityfair.com

Breznican, Anthony (April 22, 2022). "Obi-Wan Kenobi Composer Natalie Holt Reveals "Haunting" Approach". Vanity Fair. Archived from the original on April 22, 2022. Retrieved April 22, 2022.

variety.com

"Film Score Icons Williams, Morricone and Horner Loom Large in Oscar Race". December 9, 2015. Archived from the original on December 11, 2015. Retrieved January 29, 2018.
"John Williams is on Target to Set Yet Another Oscar Record". January 10, 2018. Archived from the original on January 14, 2018. Retrieved January 29, 2018.
"'Solo' Locks in Key 'Star Wars' Veteran (EXCLUSIVE)". December 30, 2017. Archived from the original on January 30, 2018. Retrieved January 29, 2018.

waltdisneystudiosawards.com

http://www.waltdisneystudiosawards.com/media/pdf/SW_PRODUCTION_NOTES.pdf Archived April 14, 2018, at the Wayback Machine. Williams mentions a theme for Finn, but is most likely misremembering.

web.archive.org

"5 Highlights from Star Wars Forces of Destiny: "The Padawan Path" | StarWars.com". StarWars.com. July 6, 2017. Archived from the original on January 20, 2021. Retrieved August 23, 2017.
"Dudamel Conducts Some Music for New 'Star Wars' Film". The New York Times. December 15, 2015. Archived from the original on July 23, 2016. Retrieved March 2, 2017.
"'Star Wars: The Clone Wars' TV Series Soundtrack Announced". Film Music Reporter. November 4, 2014. Archived from the original on December 23, 2015. Retrieved December 23, 2015.
"Kevin Kiner to Score 'Star Wars Rebels'". Film Music Reporter. April 21, 2014. Archived from the original on December 23, 2015. Retrieved December 23, 2015.
"Matthew Margeson to Score Disney Junior's 'Young Jedi Adventures'". Film Music Reporter. July 20, 2022. Archived from the original on July 20, 2022. Retrieved July 30, 2022.
Breznican, Anthony (April 22, 2022). "Obi-Wan Kenobi Composer Natalie Holt Reveals "Haunting" Approach". Vanity Fair. Archived from the original on April 22, 2022. Retrieved April 22, 2022.
McPherson, Christopher (April 8, 2023). "'Ahsoka': Kevin Kiner Returns as Composer". Collider. Archived from the original on April 8, 2023. Retrieved April 8, 2023.
Burlingame, Jon (February 8, 2012). "Spielberg and Lucas on Williams: Directors reminisce about collaborating with Hollywood's greatest composer". The Film Music Society. Archived from the original on December 23, 2015. Retrieved December 23, 2015.
"4/11/05: FSM Forum Star Wars Episode III". Archived from the original on September 11, 2017. Retrieved July 12, 2017.
"Star Wars Episode 1 - The Phantom Menace : Interview with John Williams April9 1999". www.musicweb-international.com. Archived from the original on June 29, 2017. Retrieved January 15, 2018.
"Episode 69: Rian Johnson On The Music Of Star Wars & Other Movies". audioBoom. Archived from the original on January 1, 2018. Retrieved January 1, 2018.
Star Wars, liner notes Archived December 12, 2017, at the Wayback Machine.
"Five-Time Oscar Winner John Williams Talks Bringing Star Wars Scores to the New York Philharmonic". September 12, 2017. Archived from the original on September 16, 2017. Retrieved September 16, 2017.
"STAR WARS - Episode III". www.jw-collection.de. Archived from the original on August 7, 2017.
Keyes, Allison (July 24, 2010). "'Star Wars In Concert' Puts The Force In The Music". NPR. Archived from the original on December 30, 2015. Retrieved December 30, 2015.
"Error" (PDF). Archived from the original on July 14, 2022. Retrieved September 12, 2017.
https://nyphil.org/~/media/pdfs/program-notes/1718/John-Williams-Star-Wars-The-Empire-Strikes-Back.pdf Archived July 14, 2022, at the Wayback Machine; https://nyphil.org/~/media/pdfs/program-notes/1718/John-Williams-Star-Wars-Return-of-the-Jedi.pdf Archived July 14, 2022, at the Wayback Machine; https://nyphil.org/~/media/pdfs/program-notes/1718/John-Williams-Star-Wars-The-Force-Awakens.pdf Archived January 15, 2018, at the Wayback Machine
"Star Wars: Star Wars Episode I the Phantom Menace". Archived from the original on October 13, 1999.
"Filmtracks: Star Wars: The Phantom Menace (John Williams)". Archived from the original on February 8, 2017. Retrieved February 18, 2017.
Star Wars, Liner Notes Archived December 12, 2017, at the Wayback Machine
"Star Wars - Special Edition". mahawa.jw-music.net. Archived from the original on January 30, 2016.
Ross, Alex (January 3, 2018). "A Field Guide to the Musical Leitmotifs of "Star Wars"". The New Yorker. Archived from the original on September 20, 2019. Retrieved December 24, 2019.
Doug Adams, Sounds of the Empire: Analysing the themes of the Star Wars Trilogy Archived August 6, 2017, at the Wayback Machine, in: Film Score Monthly (Volume 4, number 5), pp. 22–47.
"Star Wars - LP". www.jw-collection.de. Archived from the original on December 12, 2017. Retrieved June 10, 2017.
Frank Lehman, The Complete Catalogue of Musical Themes of Star Wars Archived October 11, 2019, at the Wayback Machine.
"The Empire Strikes Back - LP". www.jw-collection.de. Archived from the original on August 7, 2017. Retrieved June 10, 2017.
Michael Matessino, Star Wars: A New Hope Special Edition Liner notes Archived January 30, 2016, at the Wayback Machine.
Karol Krok, themes of the original trilogy Archived January 6, 2018, at the Wayback Machine, films on wax.
"Star Wars". www.moviemusicuk.us. Archived from the original on October 20, 2008. Retrieved January 15, 2022.
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"Return of the Jedi". www.moviemusicuk.us. Archived from the original on March 7, 2008. Retrieved January 15, 2022.
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Karol Krok, The themes of the Prequel Trilogy Archived January 15, 2018, at the Wayback Machine, Films-on-wax.
In interviews Archived June 29, 2017, at the Wayback Machine, Williams mentions "Duel of the Fates", Anakin's theme, "Jar Jar's music", as well as Qui-Gon's theme and the Trade Fedeeration Droid Army March, from an interview in the making of the film.
"Star Wars: Star Wars Episode I the Phantom Menace". Archived from the original on October 13, 1999.
"Star Wars: The Phantom Menace". February 25, 2012. Archived from the original on July 15, 2019. Retrieved February 19, 2017.
"Star Wars Episode I: The Phantom Menace". www.moviemusicuk.us. Archived from the original on March 7, 2008. Retrieved January 15, 2022.
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"Archived copy" (PDF). Archived from the original (PDF) on October 22, 2016. Retrieved September 11, 2017.{{cite web}}: CS1 maint: archived copy as title (link)
Jon and Al Kaplan mention Archived October 22, 2016, at the Wayback Machine "minor-mode arpeggiations" as dominating this score, presumably referring to this motif. Adams Archived September 11, 2017, at the Wayback Machine also says that the leitmotifs in that score were "rhythmic" in nature. While Williams himself has said little of the leitmotifs of this score (outside of Across the Stars), Lucas is quoted on the album saying that Williams "heightens the mystery and suspense that drives the first half of the film", most likely referring to this motif, which is indeed confined to the first half of the film.
Mark Richards, Battle of the Heroes: Analysis Archived January 19, 2016, at the Wayback Machine.
Williams recalls Archived August 7, 2017, at the Wayback Machine to have written "three or four pieces of new material" for this installment, including "a couple of[...]lamentations[...]of Anakin's turn from the light to the dark", a "piece with a lot of percussion for Grievous" and Archived August 23, 2017, at the Wayback Machine "Battle of the Heroes[...]a motif based on four pitches." Ian Freer who was present at the recording, noted the lament and "variations to Qui-Gon’s funeral." Also based on the recording, John Crichton speaks of "the new theme" (Battle of the Heroes) which has "nine notes", the lament, Across the Stars, and "a reprise of a choral track from a previous score. This is probably the reprise of Qui-Gon’s funeral music."
"STAR WARS - Episode III". Archived from the original on July 14, 2022. Retrieved April 14, 2018.
"Williams: Revenge of the Sith". Archived from the original on May 6, 2015. Retrieved January 8, 2016.
This fanfare from "He is the Chosen One", recurs Archived October 22, 2016, at the Wayback Machine in "Palpatine's Teachings" for a transition to the view of Curoscant from Padme's abode. It was used in the finished film rather for a shot of Obi-Wan entering Bail Organa's ship.
"John Williams on 'Force Awakens' score: 'I felt a renewed energy, and a vitality'". Los Angeles Times. December 18, 2015. Archived from the original on June 18, 2018. Retrieved June 10, 2017.
Mark Richards, The Force Awakens themes Archived January 6, 2018, at the Wayback Machine.
According to an interview Archived April 9, 2018, at the Wayback Machine with Williams, he composed themes for Rey, Kylo, Rey, the Resistance, Poe and Snoke. His end-credits suite, traditionally used to recapitulate the entire thematic glossary of the film, features the themes for Rey, Kylo (both themes), Poe, the Resistance and the Pursuit ostinato. Snoke's theme is not visited, although it has a dedicated track on the album.
"STAR WARS: THE FORCE AWAKENS – John Williams". December 21, 2015. Archived from the original on December 24, 2015. Retrieved February 19, 2017.
"Film Score Icons Williams, Morricone and Horner Loom Large in Oscar Race". December 9, 2015. Archived from the original on December 11, 2015. Retrieved January 29, 2018.
"The Click Track". www.theclicktrack.net. Archived from the original on May 28, 2018.
John Williams refers Archived February 17, 2020, at the Wayback Machine to a "more ruminative part" besides Kylo Ren's main theme, which he thought of as a "relative of Darth Vader." (the unabridged interview appears here: http://projectorandorchestra.com/john-williams-on-the-force-awakens-and-the-legacy-of-star-wars/ Archived July 30, 2019, at the Wayback Machine) The arpeggiated material that often introduces this motif often appears as a shorthand for the entire theme, and Lehman classifies it as a separate motif and Maurizio Caschetto Archived April 29, 2018, at the Wayback Machine follows in his lead.
"Star Wars: The Force Awakens". December 20, 2015. Archived from the original on December 23, 2015. Retrieved February 19, 2017.
This theme is often used in conjunction with the character of Finn, and was therefore often mistaken to be his theme, as well as for the Millennium Falcon Archived May 28, 2018, at the Wayback Machine. Rather, it is a motif for the more comedic action sequences in the film, in which Finn's propensity to flee is used for comedic effect.
"Limited edition Star Wars: The Force Awakens vinyl sets available for pre-order - Syfy Wire". www.syfy.com. Archived from the original on July 12, 2017.
"STAR WARS: THE LAST JEDI – John Williams". December 19, 2017. Archived from the original on February 2, 2018. Retrieved April 30, 2018.
"'Star Wars: The Last Jedi' Original Soundtrack Album: First Impressions – JOHN WILLIAMS Fan Network – JWFAN". Archived from the original on December 14, 2017. Retrieved December 14, 2017.
Mark Richards, The Last Jedi themes Archived January 6, 2018, at the Wayback Machine.
http://www.waltdisneystudiosawards.com/media/pdf/SW_PRODUCTION_NOTES.pdf Archived April 14, 2018, at the Wayback Machine. Williams mentions a theme for Finn, but is most likely misremembering.
"John Williams is on Target to Set Yet Another Oscar Record". January 10, 2018. Archived from the original on January 14, 2018. Retrieved January 29, 2018.
Such an approach is taken by the programs to the live-to-projection premiere, which is seemingly not based on new insight from Williams himself. Such an approach was taken by the programs Archived July 14, 2022, at the Wayback Machine to the live-to-projection premiere of the Star Wars films, where numerous motifs were identified (seemingly with no new insight from Williams himself), including a rancor motif, a motif for the droids in the original Star Wars, etc... Others to have taken to such an approach are Alfred Surenyan Archived July 14, 2022, at the Wayback Machine and Aaron Krerowicz Archived January 15, 2018, at the Wayback Machine. Even Ed Chang Archived November 28, 2016, at the Wayback Machine does this with several minor motifs he attributes to the various Star Wars scores, including an "Imperial rhythmic motif", a " rhythmic Imperial skirmish motif", "exotic Bespin motif", "'one with the Force' motif", "trap theme", a "taking off motif", a secondary Droid march, an Utapau "motoric" motif, and a "Millennium Falcon rhythmic motif." Also see previous versions of this page.
For instance, a multitude of motifs identified in these reviews: http://scoresheet.tripod.com/alpha.html Archived May 1, 2018, at the Wayback Machine
Alfred Surenyan Archived July 14, 2022, at the Wayback Machine describes themes for the Flag Parade, the Arrival on Tatooine, Jango's Escape, Taun We (which is mentioned in Takis analysis, but as a setpiece-specific piece), Anakin's Dark Deeds, The Dune Sea, The Emperor's Throne Room, Starkiller Base, etc. Ed Chung describes an "escape theme" from the opening space battle of Revenge of the Sith Archived August 28, 2017, at the Wayback Machine, an Utapau motoric figure appearing in the fight with Grievous, an "exotic Bespin motif Archived July 14, 2022, at the Wayback Machine" for the finale of Empire Strikes Back, a "taking off Archived August 28, 2017, at the Wayback Machine" motif from "The Phantom Menace", etc...
Williams refers Archived December 12, 2017, at the Wayback Machine to the use of "bouncing" horns in Star Wars as a "motif" for Luke's Landspeeder, although it is based on no fixed recurring melodic or rhythmic idea. He also once Archived March 16, 2018, at the Wayback Machine referred to the material for the Battle of Hoth as "thematic", but Matessino's notes ultimately conclude Archived August 27, 2017, at the Wayback Machine that "thematic material is deffered" in the piece. Lehman makes no mention of either motif, even as "incidental" motifs, and in fact stressed that "Themes for self-contained, non-repeating set-pieces are not included." Adams also does not list any setpiece-specific material in his thematic analyses, but did mention Archived October 22, 2016, at the Wayback Machine that "the walker attack on Hoth[...]was assigned a memorable and fully realized standalone melody" but, unlike the melody of "The TIE fighters chasing the Millennium Falcon away from the Death Star", which went on to recur in a later installment, this motif (like the Asteroid Field music) is used "with less thought toward a score-length arc of material than toward a series of self-contained vignettes." In the prequels, ostinati-based pieces such as Chase through Coruscant or Jango Fett's escape are described by Adams not as melodies but as "shorter, chunkier motives seldom longer than a measure or two, and often more rhythmic than melodic" and as "terse" and "episodic." Jeff Bonds Archived June 16, 2020, at the Wayback Machine also mentions that the former sequence features "no theme hitting them [the audience] over the head."
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"Filmtracks: Star Wars: Revenge of the Sith (John Williams)". Archived from the original on July 14, 2022. Retrieved February 18, 2017.
"Movie Music UK – Revenge of the Sith – John Williams". www.moviemusicuk.us. Archived from the original on October 22, 2008. Retrieved January 15, 2022.
As with other long-lined themes on this list, components of Rey's theme have been described as independent leitmotifs, namely the wind and chime introduction figures of the unabridged theme. In his commentary Archived September 28, 2017, at the Wayback Machine on the score, Doug refers to the piece as a single theme. He also refers to the variation heard in the end-credits as "Rey's theme in counterpoint[...]with The Force theme."
"Filmtracks: Rogue One: A Star Wars Story (Michael Giacchino)". Archived from the original on February 16, 2017. Retrieved February 18, 2017.
Hutchinson, Sean (November 11, 2015). "Alien Musicians in 'Star Wars,' Ranked". Inverse. Archived from the original on December 30, 2015. Retrieved December 30, 2015. (Archived page contains a JavaScript that replaces article with page not found message. To prevent this stop page loading as soon as article text is visible.)
"Jabba the Hutt – Galactic Gangster | Star Wars Galaxy of Adventures". YouTube. May 3, 2019. Archived from the original on July 14, 2022. Retrieved May 9, 2019.
Raftery, Brian (December 21, 2015). "The 9 Best Songs Ever Played in a Star Wars Movie". Wired. Condé Nast. Archived from the original on December 22, 2015. Retrieved December 22, 2015.
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wiktionary.org

en.wiktionary.org

The dictionary definition of 'Diegetic' at Wiktionary.

wired.com

Raftery, Brian (December 21, 2015). "The 9 Best Songs Ever Played in a Star Wars Movie". Wired. Condé Nast. Archived from the original on December 22, 2015. Retrieved December 22, 2015.

youtube.com

"Jabba the Hutt – Galactic Gangster | Star Wars Galaxy of Adventures". YouTube. May 3, 2019. Archived from the original on July 14, 2022. Retrieved May 9, 2019.