The Living Music List #42: On the Music of STAR WARS
Revisiting the iconic work of John Williams and taking inspiration from the orchestra
Currently listening to: The Jedi Steps and Finale by John Williams (from STAR WARS: THE FORCE AWAKENS Original Motion Picture Soundtrack)
Last night, I was treated to a viewing of STAR WARS: THE FORCE AWAKENS in concert, performed by the New Jersey Symphony. It was truly one of my most enjoyable theater experiences, witnessing the presentation of the full film blended seamlessly with the live orchestra performance of John Williams’ magically grand score. As the film’s last scene concluded and transitioned into the credits (go to 2:12 in the video), I felt a rush of emotion—primarily, nostalgia. There is a lot of wonderfully powerful film music out there, but few films or franchises are as iconic as STAR WARS.
Reflection
Hello, friend.
Do you remember when you saw your first STAR WARS movie?
Like many, I grew up a child of STAR WARS—that is, I was first shown the films long before my memories begin. There are probably echoes of John Williams’ score for the Original Trilogy captured somewhere in the depths of my brain from exposure in the womb as my parents watched the films on VHS in the mid ‘90s.
I watched and probably half-memorized the original films before the age of 5. At the same time, the Prequel Trilogy was happening. I coveted my father’s Han Solo action figure (kept pristine in its original box, of course). I played Star Wars: Battlefront, among other video games made in the early aughts that were inspired by the first 6 films. I wore (and still wear) shirts with the film’s poster art on them.
All the while, the music from the franchise played in my head on a loop. The scores for all 6 (and later, 9) films had it all: drama, passion, despair, hope, darkness, light, war, peace. It is magnificent and massive, yet often tender and intimate. Compare these 2 pieces: Duel of the Fates from STAR WARS: THE PHANTOM MENACE (1999) and Princess Leia’s Theme from STAR WARS: A NEW HOPE (1977).
Duel of the Fates is about as dramatic as it gets in Star Wars. It was fitting for a pivotal moment in the early arc of Obi-Wan Kenobi as he and his Jedi master battled their Sith foe, Darth Maul.
Princess Leia’s Theme, on the other hand, is soft and wistful. It reflects a quiet power, though, make no mistake—for that is just what Princess (General) Leia embodies.
Now, experience this moment from the original STAR WARS film:
To me, Binary Sunset is the moment that established what STAR WARS looks and sounds like. It is a more contemplative take on the main theme of the film, scoring the moment that epitomizes the way Luke (and by extension, most of the characters) view their place in the galaxy—they yearn to be part of something bigger than themselves, and, in some way, sense that they already are.
OH, and who could possibly forget the towering masterpiece that is Darth Vader’s theme, The Imperial March—or, the music you hear in your head anytime you are unfortunate enough to see Donald Trump out and about (okay, I take it back, he doesn’t deserve to even be associated with such a brilliant piece of music). Williams truly cooked here.
When the Sequel Trilogy—the final 3 films of the 9-film “Skywalker Saga”—began with 2015’s STAR WARS: THE FORCE AWAKENS, it was a pure dose of nostalgia. There was a lot of optimism about where the franchise could go, but also a lot of concern that it was now in the hands of Disney. Still, when trailers first dropped, hype was through the roof, and John Williams’ music contributed greatly to it. It reminded fans that STAR WARS was still alive and a new generation could experience its iconic themes in cinemas.
And Williams delivered once again. His score for THE FORCE AWAKENS retains the magic of the first 6 films in every way. The love themes, the force themes, the villain themes—they’re all there. And while the films of the sequel trilogy remains controversial among STAR WARS fans for their… er, uncertain plot development (misguided? poorly planned? fumbled?), the music of John Williams stayed true to the very end. Episode IX: THE RISE OF SKYWALKER, for example, was perhaps the most controversial and frustrating, yet the theater experience was still deeply memorable and enjoyable on first watch because the music and action and STAR WARS-yness was still there. Sit back and think about it for five minutes and, well…
There are many ties between the worlds of ambient music and film music. While the scores of Williams are all classically inspired orchestral suites, they enhance the moving images, dialogue, and sound effects of the films they serve. Many films, especially in more recent decades, have strayed away from the classic orchestra scores into more electronic and ambient territories.
I think ambient musicians would do well to revisit orchestral works like Williams’ STAR WARS because they are ideal examples for how to elicit strong emotion with simple melodies and motifs. While an orchestra has many moving parts, the final sound feels cohesive and wholly dependent on every element—each member and instrument playing its role. It’s a good reminder for producers (me, this is a note to myself) to ensure every track has a clear and present place in the project.
And look—you don’t need me to tell you how great the music of STAR WARS is. If somehow, like my fiancée a few years ago, you haven’t seen the films, take this as your sign to go and watch them all. However, I felt compelled to write about this music again briefly because the quality of Williams’ work is so strikingly great that, nearly 50 years later, it’s still worth raving about.
As you go forth and wonder at the majesty of this music, and maybe dream about composing something of your own, I’ll leave you with this parting blessing:
May the Force be with you… always.
Music Recommendations
Hello again, friend.
Thank you for reading today’s post. I hope you enjoyed the reflection—and I hope you can tap into the Force as you go and create something powerful this weekend.
As always, some new music to get you inspired and feeling the flow.
Happy listening.
The Living Music List—Ambient
Note: All of the below ambient projects are available on Bandcamp.
Imaginal by James Bright (album / melodic, electronica) [Sveva Music Ltd / YouTube] {note: not currently available on Bandcamp; contains some light percussion + vocals in a few tracks}
Markhöjd by God Ton (album / dark ambient, drone) [Blod + Heathens / Bandcamp]
The Inner Garden by Hadley Roe (album / melodic, drone) [Past Inside the Present / Bandcamp]
Chronicle #1 by rhubiqs (single / drone) [Independent / Bandcamp]
Journey to the Cave of Guanyin by Theresa Wong (album / experimental, drone) [Room40 / Bandcamp]
Violinist Death by Script (EP / experimental, noise) [Language Instinct / Bandcamp]
夜明けが訪れる by t e l e p a t h テレパシー能力者 (album / vaporwave, melodic) [Geometic Lullaby / Bandcamp]
The Living Music List—All Genres
Note: All of the below projects are available on major streaming services. Bold and ^ denote reader-submitted work. Bandcamp links only provided for reader-submitted work in the all genres list.
Steel Wool by Steel Wool (EP / shoegaze) [Bug Body / Bandcamp]^
SABLE, fABLE by Bon Iver (album / alternative)
Purposing the Air by Ingrid Laubrock (album / experimental jazz)
True Electric by Röyksopp (album / electronic)
Cognitive Dissonance by Briain (album / electronica)
Crave by Kills Birds (EP / rock)
POST HEAVEN by Jadu Heart (album / alt electronic)
Blue Moon Safari by Vegyn & Air (album / indie electronic)
Things I Left Behind by Joni (album / indie pop)
And the Adjacent Possible by OK Go (album / indie rock)
The Press Box
In this week’s edition of the The Press Box, a quick mention of an upcoming release from our friends at Revelator Records:
the other side by Simple Son (EP / alt folk) — Out April 15 via Revelator Records
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That’s all for this week’s issue. Thank you for reading. Until next time.
Your friend,
Melted Form
Remember to listen to the hum, buzz, & hiss of the world around you—there is music to be heard there.
Read the previous issue of The Living Music List:
Afterword—Let’s Get In Touch
Are you an artist, a label owner, or a member of the press? Want to share an in-depth feature of your upcoming release, an advertisement, or a guest post for a future Hum, Buzz, & Hiss issue? Get in touch with me at meltedform@gmail.com. As always, I would love to hear and recommend your music, especially if it’s new and ambient/electronic/experimental.
