Star Wars: Main Title/Rebel Blockade Runner: John Williams
Star Wars: Main Title/Rebel Blockade Runner: John Williams
Star Wars: Main Title/Rebel Blockade Runner: John Williams
Blockade Runner
John Williams
The main title music to the Star Wars films is
probably one of the most famous cues in film
music history. From its 1977 debut in Episode
IV: A New Hope, it has remained the iconic
theme to the Star Wars films. The main theme
tune is also the melody associated with the
character Luke Skywalker.
The Rebel Blockade Runner (or CR90 Corvette) is
the iconic ship with twin turbo-laser turrets and
eleven turbine engines that features in the film.
Sound to Picture
The scene opens in silence until the words Star
Wars flash onto the screen. This is the cue for
the dramatic forte opening fanfare and main
theme music. Whilst this music is being played,
the script on the screen roll forward, telling the
background story. At the conclusion of the
main theme at bar 30, the music becomes
much more mysterious and static. The words
on the screen have passed by into space.
Sound to Picture
The texture is light and we hear a solo piccolo
and string accompaniment. As the camera
then focuses on the Death Star, there is a
change of mood again as the string writing
rises in pitch and dynamic level until at bar 51
there is a passage in forte octaves and strong
brass chords. The picture changes to the Rebel
Blockade Runner being chased by an Imperial
Star Destroyer. The adventure begins...
Analysis Key
MELODY HARMONY & TONALITY
Interval of a 7th
Bars 5 and 6 both feature a rise of a 7th from C
to Bb as we move from beat 1 to beat 2.
The same pattern can be found again when
this repeats in bars 8-11
Bars 4 11: Accompaniment
The accompaniment from bar 4 is chordal, again
using the triplet figuration. The off beat
rhythms in bars 5 and 6 add to the excitement
of the music. The chords from bar 4 follow the
same pattern as that of the introduction. The
superimposed 4ths (quartal chord) can be
seem in bars 5 & 6.
The long held Bb in bars 4-6 played by tremolo
strings is a tonic pedal. As it is at the top of the
musical texture it is called an inverted pedal.
Bars 4 11
Bar 7 roots us to the dominant chord of F on
beats 2-4, as a string flourish takes us to a
repeat of the opening part of the theme at
bars 8-11. The accompaniment is now varied.
The strings play a tremolo Bb in bars 9-11,
whilst the accompanying chords are a little
more regular and triadic, but still feature the
triplets in bars 8, 9 and 11.
Bars 4 11
A dominant chord is reached at bar 11 to link to
the central part of the Star Wars melody. This
starts on the last beat of bar 11 and finished at
bar 19. It is interesting to note that the
intervals of the 4th and 7th feature prominently
in both this Star Wars music as well as in
Defying Gravity.
Bars 11 20:
Central section of Star Wars theme
This middle section sounds more restrained after the
fortissimo opening section and is marked mf. The
accompaniment to the melody in octave strings
comprises simple chords, although many have added
notes. For example, the two chords in bar 12 are Eb
major chords, with the notes Eb G - Bb, plus the added
6th C. This added sixth chord is a common chord in jazz
music. Another example of this type of chord can be
seen at beat 4 of bar 13: F A C D.
The repeated F in the bass in bars 11 14 not only keeps
the march beat going but also functions as a dominant
pedal.
Bars 11 20:
Central section of Star Wars theme
Bars 11 20:
Central section of Star Wars theme
The melody also used the intervals of the 4th and
7th that we analysed in the introductory
fanfare bars. For example, the second half of
bar 12 uses the falling 4th interval in scalic form
from Eb to Bb. This same pattern occurs from
the end of bar 13 and into bar 14 when the
melody is repeated. Also notice the 4th at bar
15. (F down to C)
Bars 11 20:
Central section of Star Wars theme
Harmonically, you can see the use of the 4th
and 7th in bar 16 third beat (vertically) - C to B
is a major seventh, Eb to Ab is a perfect 4th and
B to Eb is a diminished 4th
You can also see this vertically in bar 17 on the
first beat - bass C to F, then the F to Bb are
perfect 4ths as is the Bb to Eb.
Bars 11 20:
Central section of Star Wars theme
The crescendo in bar 17 to f at bar 18 leads to a
full orchestra 3 bar linking section before the
theme returns at bar 21. Bar 18 is a strong
contrary-motion dotted-rhythm figure landing on a
strong dominant 7th chord at bar 19. The horns and
lower brass pound out the chord in triplets, taken
over by the trumpet and strings in bar 20. The
slowing down in bar 20 (rit.) takes us straight into
the opening section of the Star Wars theme again.
Bars 21 29: Reprise of the main Star Wars
theme Section A1
The theme is played by the full orchestra. The
accompanying chords feature the triplet
figuration and off-beat rhythms. See bar 23 as
a good example of both of these features.
The bass reiterates strong tonic and dominant
notes, Bb and F. The section ends slightly
differently this time at bars 28 and 29. The
trumpet triplet figure at bar 28 now rises in
pitch to a dominant F major chord on beat 2.
Bars 21 29: Reprise of the main Star Wars
theme Section A1
The beat 1 triplet chords produce chromatic interest.
Look at how the Bb is chromatic (not part of the key),
but is followed by a B in the next chord.
The horns quote part of the melody below the sustained
dominant F major chord. This melodic phrase stands
out above the full orchestra as other parts have rests.
This also helps the harp glissando to be heard in bar 29.
This is the end of the title theme tune and the Rebel
Blockade Runner section now starts with a key change
to 3 flats.
Bars 30 35: Link
Bars 30 35 have similar ingredients to the
opening fanfare. The strong repeating Fs in the
bass continue as the brass play triplet broken-
chord figurations. Again, notice the build up
4ths in bar 30 over the bass F to add Bb, then
Eb, then Ab in the brass triplets. As before,
this creates quartal harmony.
Bars 30 35: Link
Quartal harmony is used in the chords too.
Look at the last beat of bar 30.
The strings take over the triplet idea, this time
extending to sextuplet groupings playing a
swiftly ascending figure in (compound) 3rds.
The trombone, tuba and timpani join in with a
crescendo on a chord made up mostly of 4ths
at the end of bar 32.
Bars 30 35: Link
The following 3 bars (bars 33-35) take us through some
chromatic chords.
Bar 33: is a Db chord, Db F Ab plus the major 7 th (C)
and sharpened ninth (Eb) giving us the chord Dbmaj7#9
(Db F Ab C Eb)
Bar 34: is an unrelated chord of A minor
Bar 35: is an augmented chord of Ab C E natural