Professional Documents
Culture Documents
conception, construction, and application in films. The final paper for the seminar compares the film scoring
style of two movies, and was accompanied by a presentation that compared one scene from each movie.
The movies compared were Star Wars (1977) and Jurassic Park (1993).
Introduction
Film scores are an essential part of any movie. Often these soundtracks can make or break the
film, so it is crucial for any good movie to have an excellent score; therefore, a top-notch film composer is
an essential member of the team. One of the best film composers of all time is John Williams, a man who
has written scores for hundreds of films throughout his long and illustrious career. This report will analyze,
compare, and contrast two of his most popular scores: Star Wars and Jurassic Park.
John Williams
John Towner Williams was born on February 8, 1932, in Floral Park, New York. He was always
around music, as his father was a jazz percussionist in the CBS Radio Orchestra and the Raymond Scott
Quintet. In 1948, when John was in high school, his family moved to Los Angeles. After graduating, he went
on to study at the University of California, Los Angeles (UCLA), where he studied privately with the Italian
composer Mario Castelnuovo-Tedesco. Williams was drafted into the United States Air Force in 1952,
where he was assigned to arrange music for the United States Air Force band. After his service ended in
1955, he studied at The Julliard School in New York. While in New York, he played in clubs and on
recordings as a jazz pianist. After graduating, he moved back to Los Angeles, where he began playing as
a pianist for film studios, although having no film background whatsoever. In 1956, he began arranging
scores at Columbia Pictures, and then at 20th Century Fox.1,2
He came at a time when smaller pop and jazz orchestras were most prominent and popular, when
lovers of classic, Golden Age movie scoring feared that the glory days of film scores, like the ones found in
American classics like Lawrence of Arabia and Ben-Hur, were over for good. However, he ushered in a new
generation of music, straying from the pop bias that had taken over Hollywood and returning to the style
of the classics. This approach has let him become considered the greatest living composer, as well as the
best-paid composer, since the 1970s.3
Accomplishments
Ever since he began composing, he found success. Some of his greatest accomplishments come from
films directed by his friend, Steven Spielberg, who requested Williams to score all but one of his major
motion pictures.4 Some of Williamss best received scores include Star Wars and Jurassic Park, of course, as
well as Jaws, E.T.: The Extra-Terrestrial, Schindlers List, and several film series, like Indiana Jones and Harry
Potter.5
He has been nominated for 49 Academy Awards, winning 5; he holds the record for being the
most nominated living individual and the second most nominated of all time, behind Walt Disney. He has
also been nominated for 25 Golden Globe Awards, winning 4; 6 Emmy Awards, winning 3; 65 Grammy
Awards, winning 22; and has won 7 BAFTA Awards from the British Academy of Film and Television Arts.6
Style
There are not many people who can deny the influence John Williams has had on the film scoring
industry. His heavy and widespread use of leitmotifs engendered a rebirth of classical nineteenth-century
romanticism, characterized by grand, large-scale orchestral music.7 His most common and familiar style can
be considered neoromanticism, a musical movement that he was instrumental in orchestrating (puns
intended). To say that the style of John Williams is purely unique would be largely false; he has borrowed
much from earlier composers and styles. However, perhaps no single composer in history has engendered
so many memorable themes and stimulated so many audiences throughout his career.
His use of leitmotifs is perhaps the greatest characteristic of his writing style. From Jaws to Star
Wars to Jurassic Park, his themes are widely recognizable and are most often the deciding factor in the
films initial and lasting successes. He has also scored the most sequels in film scoring history, and expertly
weaves in original themes and leitmotifs from the original film into the subsequent films, while introducing
new themes to give each film its own unique flavor.4
Star Wars (1977)
Star Wars is considered by many to be one of the greatest movies of all time, and was the
facilitator in catapulting the Star Wars franchise to be the most successful of all time. There is no doubt that
the score for this space opera played a vital role in its lasting success. Star Wars tapped aspects of the
heroic western as much as the monster movie and the sci-fi spectacle, therefore providing a good example
of...the creative interaction of semantic and syntactic generic expressions, the former relating to a genres
broad subject-matter and the latter referring to its audio-visual language.3 Without John Williams, there
might not even be a Star Wars franchise, a dynasty that reinvigorated a space craze that lasted for years
after the movies releases. Nevertheless, Star Wars has rightfully earned its place among the greats, and is
Plot Summary
OPENING CRAWL:
on the planet of Tatooine. After being captured and sold to the aunt and uncle of Luke Skywalker, R2-D2
plays a holographic message from the princess asking for the help of Obi-Wan Kenobi; Luke thinks she
might mean the old hermit Ben Kenobi. Luke meets Ben and learns that he is indeed Obi-Wan (in this
report, these names will be used interchangeably); Ben teaches Luke about his days as a Jedi Knight and
tells him about a powerful, omnipresent energy field called the Force. Luke learns that Obi-Wan fought
with his father, who was also a Jedi Knight, but was betrayed and murdered by Darth Vader, a pupil of
After Imperial forces destroy Lukes house and kill his aunt and uncle, Luke joins Obi-Wan on his
mission to the planet of Alderaan, a main rebel base, and vows to learn the way of the Force. They join up
with Han Solo, a mercenary pilot, and his first mate, Chewbacca, so they can travel on their ship, the
Millennium Falcon, to Alderaan. However, when they arrive to the Alderaan location, they find that the
planet has been destroyed by orders of the evil Grand Moff Tarkin with the war fortress/weapon called
the Death Star. The tractor beam of the Death Star captures the Millennium Falcon, and the protagonists
figure out that Princess Leia has been captured and is held in the Death Star.
After some trickery and heroism by the protagonists, Princess Leia is saved and brought back to
the ship. However, Obi-Wan knows he must fight his former pupil, Darth Vader. They fight with weapons
called lightsabers, and when Obi-Wan sees Luke watching, he sacrifices himself and becomes more
powerful than you [Vader] can possibly imagine.9 Luke, Leia, Han, Chewbacca, and the droids escape in
the Millennium Falcon and travel to the planet of Yavin 4, where the Rebel Alliance discovers a single
weakness in the Death Star, thanks to the plans carried by R2-D2. They mobilize as the Death Star plans to
destroy the planet. With his expert flying skills, and a little help from Han Solo, Luke exploits the weakness
and destroys the Death Star, just after Darth Vader narrowly escapes. The movie ends with a victory
celebration and ceremony, with Princess Leia awarding Luke, Han, and Chewbacca for their heroism.
About the Score
John Williamss score of Star Wars is one of the most well known and is considered to be the
number-one greatest film score of all time, according to the American Film Institute.8 The director, George
Lucas, had originally wanted to have the soundtrack be comprised of popular classical symphonic works,
much like Stanley Kubrick found much success doing nine years earlier with 2001: A Space Odyssey, but his
friend Steven Spielberg, who had just enjoyed much success with the Williams-scored Jaws less than two
years earlier, convinced Lucas to hire Williams for his ability to write classically-inclined music for foreign
environments.10 Unknown to either director was the fact that Williams was in the infancy of his own
Golden Age, a time in which he would compose the most iconic film scores and become the most famous
It may seem elementary by post-2000 standards of film music composition, but the use of a
prominent title theme and the constant development several leitmotifs in 1977 was a refreshingly bold
move back to the Wagnerian influence of Hollywoods Golden Age. The existence of so many memorable
themes and their masterful placement throughout the film for individual characters and settings was a
somewhat novel concept at the time.10 In order to gain inspiration for some of these themes, Lucas
encouraged Williams to review a variety of classical works and movie scores, as he wanted the to ground
the otherwise strange and fantastic setting in well-known, audience-accessible music.11 Regardless of the
inspiration, the score to Star Wars ushered in a renaissance of grand symphonic scores and was
A major factor in the success of the Star Wars score is the incredibly prominent use of leitmotifs.
The Merriam-Webster Dictionary defines a leitmotif as an associated melodic phrase or figure that
accompanies the reappearance of an idea, person, or situation.12 These repeated themes are repeated
constantly throughout the movie, although some are more prominent than others. These motivic phrases can
associated with the protagonist, Luke Skywalker. Lukes Theme also acts as the main theme, as it begins
each film during the opening crawl (the iconic scene containing a text description of the background of the
film, seen above in the Plot Summary section). John Williams describes this theme perfectly: When I
thought of a theme for Luke and his adventures, I composed a melody that reflected the brassy, bold,
masculine, and noble qualities I saw in the character.13 Lukes Theme is written in such a way that it can be
played ostentatiouslylike in the Main Title cueor subtlylike in The Moisture Farm cue, depending on
the mood of the scene. This theme contains a good amount of symbolism, especially with respect to heroism.
The opening fifth symbolizes reaching upward to a goal; the descending triplet represents gathering
strength for another try at attaining that goal; the triumphant lift to an octave above the opening note
signifies the attainment of the goal; the repetition of the last four notes provides a reassurance of
accomplishment; finally, resolving the phrase symbolizes a completed task.13 This theme is one of the most
recognizable of the entire movie, as well as arguably the most well-known motif in the history of film.
The second primary theme is a lush, romanticized theme associated with Princess Leia, and is
therefore known as Princess Leias Theme. It primarily represents her innocence, and is thus prominent in
scenes where she is acting on her own, in trouble, or particularly vulnerable. It is repeated several times
throughout the score, but perhaps most unusually at Bens death, as Ben is most associated with the third
major theme.
The third and final primary theme is the most vague and constantly developed theme not only
throughout this movie, but the entire Star Wars movie franchise also. It is most commonly referred to as the
Force Theme, but is also often called Bens Theme. For the sake of consistency, this report will refer to it
as the Force Theme. In the movie, it is most prominently found in the cue Binary Sunset. At various times,
this theme represents the character Obi-Wan Kenobi, the Jedi, and the Force. It also represents the dual
Along with these primary themes are several less-prominent themes throughout the film. These
themes might be found in only the original Star Wars movie, or they might be found in several or all of
them. The most prominent secondary theme is most likely the Rebel Fanfare, a short motif used to
represent the Rebel Alliance. It is found in all of the Star Wars movies, but is featured most prominently in
the original film, featured in this report. It is constructed out of closed-position chords moving in parallel
Another minor motif in the film is titled the Death Star Motif. This powerful and ominous four-
chord brass-dominated phrase is heard whenever the Death Star comes into view or whenever its
manifestation is suggested; this motif casts a shroud of evil on the scene whenever it is expressed.
The Imperial Motif is another secondary theme used to represent the Galactic Empire. This might
get confused with the famous Darth Vader theme, the Imperial March, which was written later. It is
unclear as to who or what this motif refers, since there is a short, rarely used Darth Vader Motif heard in
the movie as well; the Imperial Motif is most likely meant to either represent one of the main antagonists,
Another minor theme, the Jawa Theme, is used extensively at the beginning of the movie,
anytime the characters are on Tatooine and come into contact with Jawas. It is a sprightly and mischievous
These catchy themes representing their unique characters are what have helped transform Star
Wars from a popular 70s space flick into the stuff of legends.
Jurassic Park (1993)
Plot Summary
John Hammond, the wealthy founder and CEO of the bioengineering company InGen, has bought
a volcanic island, Isla Nubar, and has bred female dinosaurs to live on it, by using DNA taken from blood
extracted from ancient mosquitoes trapped in amber. After one of the Velociraptors kills a worker while
moving it to its pen, investors of Jurassic Park, as Hammond calls it, become skeptical of the parks safety.
To quell their fears, Hammond brings in a paleontologist, Dr. Alan Grant, a paleobotanist, Dr. Ellie Sattler,
a chaotician, Dr. Ian Malcolm, and a lawyer, Donald Gennaro. After their initial shock of the awesome
power of the park, the guests, except for the lawyer who is driven by the potential profits, express
concern over the stability of the operation. Nevertheless, the group goes on an automated tour of the park
The tour is initially uneventful, as some of the dinosaurs could not be seen. Grant, however, spots a
sick Triceratops in a field, and goes to check it out. After enjoying the presence of the dinosaur, the group,
minus Dr. Sattler who wants to help the park veterinarian cure the debilitated dino, returns to the tour after
hints of an incoming storm. The staff of Jurassic Park leaves the island, except for Hammond, the game
warden Robert Muldoon, and chief engineer Ray Arnold. During the storm, the parks computer
programmer, Dennis Nedry, shuts down the parks security systems so he can steal embryos for a
competing bioengineering company, BioSyn; he gets the embryos but during his escape, he is eaten by an
During the power outage, the dinosaurs break out of their paddocks. This leads to the
Tyrannosaurus rex to attack the tour group, eating Gennaro and injuring Malcolm; Alan, Lex, and Tim
narrowly escape, but become lost in the park. Sattler and Muldoon go out looking for survivors, but only
find Malcolm before the Tyrannosaurus rex returns. Hammond and Arnold fail to break onto Nedrys
computer, so they decide to reboot the whole system and head to an emergency bunker. Arnold goes to
the shed to reboot the system, but when he doesnt return, Dr. Sattler and Muldoon go to reboot it
themselves. They realize that the Velociraptors have escaped their paddock and Muldoon distracts them as
Sattler runs to the shed to turn on the power. She switches on the power, causing Tim in another part of the
park to get electrocuted, but he survives. The arm of Arnold falls on her shoulder and she faces a
Velociraptor, but escapes the shed alive; however, Muldoon soon after gets ambushed by a herd of
Meanwhile, Alan, Lex, and Tim wander through the park and find broken shells of dinosaur eggs,
coming to the conclusion that the dinosaurs are indeed breeding, meaning that some changed sex from
female to male. They finally meet up with Dr. Sattler and they make it back to the main building. The
children are left alone for a few minutes, while they try to escape from two Velociraptors in the kitchen.
They finally escape and retreat into the control room, where Lex turns back on the security systems, as
Grant and Sattler try to keep a Velociraptor from entering the room. They escape the room through the
ceiling and end up in the main entrance hall of the park, where they try to escape from the Velociraptor
duo. They get surrounded, but the Tyrannosaurus rex comes in and eats the raptors, as the protagonists
escape to a waiting Jeep in the front of the building. They go to the helicopter and the film ends with
Hammond, Grant, Sattler, Malcolm, and the kids escaping the island peacefully in the helicopter.
The score from Jurassic Park arguably plays the most important role in making the film so
memorable. This was the twelfth film composer John Williams and director Steven Spielberg worked on
together, and was a tremendous success, although Spielberg was not around to hear the music in person,
as he was filming Schindlers List, another John Williams masterpiece, in Poland at the time. This was also
the first horror film Williams and Spielberg had worked on since Jaws was made in 1975. However, this
score does not set its focus on heavy, terror-inducing cues; it utilizes a softer, lighter feel, though Jaws-like
John Williams uses a few themes in the film, but the score goes much deeper than just those themes.
He scored each major cue differently, providing a unique flavor and a distinctive identity to each piece
found in the movie; however, he retained a unity throughout the pieces, ensuring that they all felt like they
belonged together. Williams has not scored many films in this way, and none have had this separate-but-
together success in the same way that this movie does.15 Nevertheless, this score has for decades been
taking the audience to the memorable, magical world that can only be Jurassic Park.
There are two primary themes that can be found in Jurassic Park. The first one, which is the most
popular and also functions as the main theme is fittingly called Theme to Jurassic Park or Main Theme of
Jurassic Park. This themea sweeping, pastoral, elegant piece, conveying the beauty and majesty of the
recreated dinosaurs15is the one found most often throughout the score.
The second theme is called Journey to the Island, and is a noble fanfare paying tribute to the
wonderful spirit of discovery and adventure. John Williams describes this theme as an adventure theme,
high-spirited and brassy, thrilling and upbeat musically.16 Both of these major themes are used for the
scores more beautiful and tender moments, entrancing the listener in a major way. Williams intended for
these leitmotivic themes to represent the park in a broad sense, so they could be used in several different
places, and when orchestrated differently, could convey the beauty of what they were seeing at first.17
There is one secondary theme found in the movie, the Raptor Motif. Unlike the other two themes,
this four-note menacing phrase is used to evoke terror; he borrowed from what he had worked on with
Jaws to concoct this vividly fierce and ominous phrase. Williams commented on this short motif: I needed to
compose a much darker tone for many of the scenes, especially the rex...The music for the Tyrannosaurus
rex had to be absolutely frightening. I wanted to convey the feeling that two children would have if they
It was through themes like these coupled with the composing brilliance of John Williams that
catapulted Jurassic Park out of the screen and into our hearts.
Comparisons
Plot Similarities
Star Wars and Jurassic Park are very different movies, plot-wise. With respect to the actual plot,
there is arguably no noticeable overlap, though they do both end with a very dramatic scene followed by
a short culminating epilogue. They do, however, have some slight overlap when it comes to the characters.
For example, they both have a large set of protagonists and a smaller group of antagonists. Likewise,
there is no one primary protagonist in either film. Similarly, there is no singular antagonist in either film.
Repetition
The use of themes and motifs throughout the films is very apparent and plays an important role in
each of the films. Both films use leitmotifs or leitmotivic themes to represent a character, place, or idea.
Since most of the major characters in Star Wars have a theme or motif, for example, whenever they play
a large role in a scene, the music reflects their influence by playing their respective theme. Similarly in
Jurassic Park, if the characters are going on an adventure or are in awe of the dinosaurs, the respective
theme plays. One way that the musical genius of John Williams is displayed is in the flexibility of his
themes. How any of the major themes are played determines the mood of the scene. For example, in Star
Wars, the Force Theme is played in scenarios where it can be interpreted as powerful, nostalgic,
empowering, or even sad at times. Likewise in Jurassic Park, the Main Theme is played majestically,
One minor theme that John Williams incorporates subtly into the film is the centuries-old Dies Irae
motif. Dies Irae means song of death, and has been around since the thirteenth century. It is most often
attributed to Thomas of Celano or another Franciscan monk around that time.18 However, some give credit
to St. Gregory the Great, who claims to have heard it from a dove coming from the voice of God in the
late sixth or early seventh century.19 Dozens, if not hundreds, of composers throughout history have used
the seventh-century motif, and it has stood the test of time by being the go-to motif for doom and death. It
is heard in many classical and orchestral works, and can also be found in movies ranging from Its a
Wonderful Life to Lord of the Rings to even The Lion King.19 This short theme is most notably found in Star
Wars in the Binary Sunset cue, but is sprinkled throughout the film. In Jurassic Park, it is featured most
noticeably in the High Wire Stunts/Flipping the Switches cue. In general, the repetition found in the
John Williams scored both Star Wars and Jurassic Park, which was the most significant deciding
factor in the movie choice for this report. Because the same composer wrote both scores, there are some
obvious similarities based on his style of writing. He loves to employ the use of leitmotifs and themes, as
made apparent in the previous section. He also likes to use a large orchestra, occasionally with strange
instruments or a chorus.
Throughout the years, John Williams has not changed very much both generally and stylistically.
He began his career as a good composer and soon became one of the greatest, and has kept his status as
the greatest living composer to this day. With respect to his style, it did not change very much; in most, if
not all, of his films, the score plays an important role and he has stepped forward, welcoming the
challenge and consistently excelling in his own way. In the constantly changing musical world, John Williams
has stayed true to his style, evolving but not to the point of overruling his inherent musical genius, and in
turn has remained in the hearts of all touched by his many melodic masterpieces.
Contrasts
Plot Differences
The plots for these two films have nearly no similarities, thus they are nearly completely different.
One major difference has to do with how the storylines are set up. Star Wars begins in the thick of battle
and does not have a lack of action for very long; it is very busy and intense right through the movie to the
end, which could also be partially attributed to its very intense score. Jurassic Park, on the other hand, has
one intense scene at the beginning, and then slows down considerably, slowly building up to the climax at
the end; most of the action finds itself towards the end of the film.
As far as the characters go, there is some considerable difference between the two movies. The
main characters in Star Wars can be broken up very easily into heroes and villains. Luke Skywalker, Obi-
Wan Kenobi, Han Solo, and Princess Leia are very obviously the good guys, while Darth Vader and
Grand Moff Tarkin are very discernibly the bad guys. The entire story concerns the fervent triumph of
good over evil. On the other hand, the characters in Jurassic Park cannot really be broken up into good
and evil; it just does not fit with the story. It is not so much a story about the good guys versus the bad
guys, but instead more about misguided, nave, or convoluted personalities. Dennis Nedry, considered the
primary human antagonist, was just greedy (as was Gennaro, the lawyer), while the Velociraptors were
just doing what is in their nature. Some would even argue that Hammond was a semi-antagonist due to his
nave and even ignorant execution of his plans, although his intentions were purely good. The protagonists
were heroes either; they basically just wanted to get off of the island alive and with all of their limbs. In
general, although some parallels can be found between the two films, Star Wars and Jurassic Park are
Repetition
Although both movies use several themes and motifs in the score, the way that these devices are
used differs in some ways. The most noticeable difference is in the way that these phrases are used. Star
Wars uses themes and leitmotifs more to represent characters or objects being shown or teased; Jurassic
Park, on the other hand, uses themes to convey a certain feeling about a place or situation. For example,
Star Wars has a principal theme or motif for many of the major characters (Luke, Leia, Ben, and even
minor themes for Darth Vader and the Jawas), most often played when a certain character is featured in
the scene or is implied to be present in a certain way. Dissimilarly, Jurassic Park has its two major themes
focusing on the experience and majesty of the park itself, and its other motifs (Raptor Motif and Dies Irae)
are used to evoke a general feeling of dread and ominous foreboding. Regardless of how it is used,
repetition in the scores has given unique characteristics to each of these unforgettable films.
Throughout his years as a film composer, John Williams has naturally evolved and changed with
the times, though he has not changed very drastically whatsoever. He has obviously grown and become
more experienced with every score, reflecting his increasing experience in his masterfully composed scores;
however, this change is not very apparent, as some of his best-received scores, like Jaws and Star Wars,
Listening closely to his scores as he progressed through the decades elucidates a slightly more
noticeable example of his evolution. In his earlier works, he used large, full orchestras to give a large,
grand sound. As he progressed, he more or less used the orchestra to the same extent, but he became
more open to using stranger instruments when needed. Also as synthetic sounds became more widely used,
he incorporated electronic music into his film scores more, though not much; he cannot even be compared to
other composers like Hans Zimmer who use electronic music for a majority of their film scoring compositions.
Conclusion
Throughout his career, there is no doubt that John Williams has changed the course of film scoring
history. From his early beginnings, he strove for greatness and achieved it, becoming the most awarded
and one of the best composers of the last century. Through his use of memorable themes and captivating
One of his first major successes, Star Wars has captivated the world for generations. Through the
very prominent use of unmistakable leitmotifs, he engendered a melodic masterpiece and ushered in a new
age of flamboyant film music. With Jurassic Park sixteen years later, he again filled theaters and homes
across the world with his moving handiwork. This edge-of-your-seat thriller expertly blends the classic John
John Williams will go down in history as a legend in his own right, and there is no doubt that Star
Wars and Jurassic Park will be seen as two of his finest achievements. The unobtrusive aural assaults that
he incorporates into each film on which he works has captivated and inspired audiences for years, and will
hopefully continue to entrance and enthuse for as long as he possibly can. The man himself sums up his
passion beautifully: So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it's
The movie begins powerfully with a majestic brass fanfare. Trumpets and French horns, with the
timpani booming along with the harmony in the low brass, go into Lukes Theme. Strings are added at the
end of the phrase, leading into a string-based interlude, with French horns accompanying and the other
brass (predominantly trumpets) harmonizing. The brass and strings fall into a quick antiphonic transition of
sorts and Lukes theme comes back, with the French horns and violins taking the melody while the rest of the
brass and strings cover the harmony. Low brass, followed by a fast-moving string phrase, lead into another
interlude; the music slows down and gets less busy, seeming to calm down. A piccolo plays a quick melody
over a harp-based harmony, which takes a lot of tension out of the piece. Suddenly, the strings wildly
tremolo very quickly in a rising pattern with low brass piercing in the background, crescendoing to a blast
by the low brass as the planet comes into view. The brass then teases the Rebel Fanfare quickly, and then
goes into an accented phrase, adding the rest of the brass and strings over the thrice-repeated phrase, as
we see Princess Leias ship being attacked by an Imperial Cruiser. The low brass then take over with an
accented, pulsing pedal-note bass line, with the trumpets playing the Rebel Fanfare once again before a
This cue is very majestic and heroic, with the heraldic brass leading the way. From the very first
note of this now-iconic fanfare, the audience is prepared to go on an exhilarating adventure. This cue is
This cue begins with a rhythmic, pulsating bass line with the melody (the Rebel Fanfare) switching
between the French horns and the strings. The brass all come in with a fanfare of the Imperial Theme
briefly, then the bass line from the start of the cue takes over again, transitioning to a soft antiphon
between the flutes and the timpani. The strings come in wildly as the marimba and trumpets both punctuate
short notes and phrases into the frantic passage as the rebel soldiers battle the stormtroopers. The strings
and timpani then come in steadily as a bass line for the brass with the Rebel Fanfare, leading up to the
entrance of Darth Vader. After a quick blast of the Death Star Motif by the brass, it gets very quiet, with
only the low strings playing softly, with a militaristic percussion beat going steadily in the background.
Another brass fanfare plays, which leads into a quick hint of the Force Theme when the princess is giving
the data to R2-D2, the melody played by the French horns while the upper strings tremoloed a harmony
with the lower strings playing pizzicato lightly. This goes right into a quick taste of Princess Leias theme,
played by the trumpets. The strings then come in uneasily, as the French horn hints once more at the Force
Theme. The brass and strings then come in suddenly with a fast and intense, but relatively static, phrase,
signifying danger. It then goes into a less intense, but more uneasy, section as Darth Vader chokes a rebel
soldier; the strings and woodwinds play high notes as the brass glissandos up then down. The strings and
woodwinds then hold out a long trill, as they crescendo to a fanfare by the brass. It gets calm once again
as a flute repeats Princess Leias Theme, accompanied by French horns and a harp in the harmony. Strings,
woodwinds, and trumpets trade short melodic phrases in a way evoking mystery, until a big build up by
the strings and brass when C-3PO and R2-D2 launch out of the ship in an escape pod. Princess Leia is then
brought to Darth Vader, and just about all of the instruments in the orchestra have a chance to play his
theme, with the strings playing a simple four-note pattern in the background. It heads toward the end of
the cue very uneasily, with a series of dissonant chords played by various sections of the orchestra. It
finally comes to its big finale with an unresolved 4-note phrase of the Death Star Motif.
This cue brings a dark, militaristic tone to the movie. It introduces the Force Theme and Princess
Leias Theme, as well as a little bit of the Death Star Motif. This cue is non-diegetic and is classified as
motivic.
Woodwinds come in with strings, playing an eerie melody as C-3PO walks through the desolate
desert. The trumpets take over, and the strings take the melody last to end the short cue.
This cue uses woodwinds, strings, and brass to create a mysterious and unnerving mood as C-3PO
wanders alone. Parts of this cue have been heavily borrowed from Igor Stravinskys Rite of Spring.11 This
The oboe and English horn interject randomly, as strings play pizzicato lightly in the background.
Eventually the oboe and English horn alternate with the melody, as low brass is added to the strings in the
background. The muted trumpet and tuba also take the melody as the cue progresses. The mood remains
light throughout the piece, until the very end when, after a crescendo of brass, the French horn comes in
The light instrumentation in this cue conveys the childlike playfulness and mischievousness of the
The light and mischievous Jawa Theme returns in the beginning of this cue, first with the woodwinds,
then with the brass as the Jawas unpack the sandcrawler. The strings build up nicely, and when Luke
appears, Lukes Theme is played gently by the French horns and repeated by the woodwinds and strings.
This cue is a continuation of the Jawa Sandcrawler cue, so it maintained that playfulness for the
first part, but then it changed to a gently heroic section when Luke is introduced for the first time in the
movie. His theme was heard in the Main Title cue prior to this, but this is the first time he is actually seen.
The cue begins mysteriously with low strings, and then flutes come in and dance above a sustained
tremolo in the strings. This leads into Princess Leias theme, played by the oboe, then flute, then French horn,
This cue is special, because it is the start of the main quest of the movie; through this intriguing
message, Luke is introduced to Leia, signified by her theme being played throughout the cue. This cue is
The cue starts with flutes playing Lukes theme, with the clarinet interjecting with a key change. The
Force Theme then accompanies Luke as he gazes off into the double sunset, displaying his longing to leave
Tatooine and live a more exciting life; it begins with a solo French horn, then transforms beautifully and
brilliantly into the full orchestra. Then, three themes end the cue: the flutes come in with the Rebel Fanfare,
a solo clarinet plays Lukes Theme, then finally the flute and horn both play the Force Theme, with chimes
This cue is one of the most beautiful in the entire movie. It expertly elucidates Lukes longing for a
better life through the beautiful execution of several themes already introduced in the movie. This cue is
The cue begins with light, bouncing brass, which is joined by flutes playing Lukes Theme as the
vehicle moves across the landscape. It then gets darker with a trumpet fanfare as we see the Tusken
raiders. The cue is then filled with wildly percussive drums, including what sounds like tuned logs, slap sticks,
The cue starts with a blast of intensity with the brass and strings as R2-D2 senses danger, and then
gets curious and mysterious when Luke decides to check it out. When the sandpeople attack, percussion
begins to play wildly. It calms down with strings, woodwinds, and brass playing strangely after Luke is
captured. Then all of the instruments flourish quickly and intensely when Ben Kenobi appears. Not long
after, the French horn plays the Force Theme while the low strings play mysteriously and apprehensively
below.
During this cue, Obi-Wan Kenobi is introduced, although his theme (the Force Theme) has been
played several times in the movie so far. He is seen immediately as a familiar and friendly figure. This cue
This cue begins with strings, flutes, and a celeste in a mystical sense. Then, it transforms into a
gentle rendition of the Force Theme played by the English horn and cello, accompanied by strings in the
background. Muted trumpets and bongos ruin the magical feeling as the threat of sandpeople returns,
followed by bittersweet music played by French horns as the C-3PO is found and recovered.
In this cue, Ben reveals to Luke that he is Obi-Wan and gains interest in R2-D2s mission. The music
resolves from the frantic sandpeople attack and introduces the next cue. This cue is non-diegetic and is
classified as motivic.
A solo clarinet beings the cue by playing Darth Vaders theme over strings and woodwinds.
Descending flutes characterize the scene in which Ben talks about the fall of the Jedi Knights. As Ben
describes the force to Luke, the Force Theme is played optimistically by the French horns, accompanied by
a harp. As Princess Leias holographic message is played back for Obi-Wan, the oboe then the English
horn gently plays her theme over strings playing with tremolo beautifully, fading away beautifully with a
harp. Cellos then come in somberly, teasing the motif of Dies Irae, as Luke displays his reluctance to go to
Alderaan, followed powerfully followed by brass blaring the Death Star Motif as the Star Destroyer
In this cue, Obi-Wan shows Luke the force and gives him his fathers lightsaber, a crucial moment in
the movie; it is emphasized by the variety of music throughout the cue. This cue is non-diegetic and is
classified as motivic.
This cue begins with a sad solo trumpet and strings as Luke and Ben find the slain Jawas. The cellos
then play a faster phrase; strings are added, and trombones come in powerfully and ominously playing
the Force Theme. The strings and French horns build apprehensively to a percussive boom when Luke finds
the farm destroyed and his aunt and uncle killed. At this point, the trombones play the Dies Irae motif. The
cellos repeat the Force Theme, which builds to a brass blast of the Death Star Motif. The trombones play
the Imperial Motif, immediately followed by Princess Leias Theme as Darth Vader approaches Leias cell.
The winds and strings play harshly and ominously as the torture robot is brought out. A powerful, militaristic
This cue introduces sorrow, anxiety, despair, and evil in a short period of time, expertly changing
the mood of the scene immediately. It also includes the Dies Irae, the song of death, to accompany the
scene of death that Luke sees. This cue is non-diegetic and is classified as motivic.
The music continues from the last cue, with woodwinds building to an uneasy section, as Luke returns
to the attacked sandcrawler. The clarinet and English horn combine mournfully for a bit as Lukes loss is felt,
leading into a passionate French horn statement of the Force Theme as Luke vows to learn the ways of the
force. The bouncing horn again accompanies the landspeeder as they journey toward the spaceport,
culminating with a large brass fanfare as the spaceport comes into view. Percussion and piano are added
to the bouncing music of the landspeeder, leading to a quiet declaration of the Imperial Motif by the
woodwinds, which accompanies the groups encounter with stormtroopers. The flutes end the cue by briefly
This cue introduces a changed Luke, who is now focused on his new mission with Ben. This cue is non-
This cue begins as Luke and Ben walk into the Mos Eisley Cantina, a bar filled with sketchy alien
creatures, as they look for a pilot. The upbeat jazz music provides a light atmosphere.
This cue is one of the most popular and one of the most fun cues in the entire movie. Cantina Band
and Cantina Band #2 are the only pieces of diegetic music in the entire movie. The first Cantina Band has
a faster tempo and is the more popular version of the two cues. The small, nine-musician jazz band for
both cues consists of a trumpet, a saxophone, a clarinet, a Fender Rhodes piano, a steel drum, a
synthesizer, and a few percussion instruments, including a tambourine and a drum kit, among others.20 This
This cue begins as a continuation of Cantina Band, although they are different songs. Ben and Luke
follow Chewbacca to pilot Han Solo, who agrees to take them to Tatooine, for a sizable sum. The music
continues to be very light and upbeat, as in the first of the two cues.
The idea for the Cantina Band cues came from George Lucas, who challenged John Williams, who
originally wrote jazz music: Can you imagine several creatures in a future century finding some 1930s
Benny Goodman swing band music in a time capsule or under a rock someplaceand how they might
attempt to interpret it? To give the instruments a more alien quality, the music was filtered so the bottom
end of the sound was clipped, the lower end was attenuated, and a reverb was added to thin the
The cue features the woodwinds, prominently the lower woodwinds: bass clarinet and contra-
bassoon. Overall, the mood is relatively light and relaxed when showing Ben and Luke, and ominous and
foreboding when showing stormtroopers or an Imperial alien spy. Woodwinds play Lukes Theme lightly
twice during the cue. When the Imperial alien spy shows up, trombones play apprehensively with a sense
Although this cue is largely nonviolent and calm, certain choice phrases give a sense of foreboding
and provide somewhat of an introduction for the next cue. This cue is non-diegetic and is characterized as
motivic.
This cue begins with the brass playing the Darth Vader Motif as the stormtroopers start shooting at
Han Solo and the Millennium Falcon. The strings and brass soon playing franticly as the French horns begin
playing the Force Theme. The strings then take over the Force Theme with the trumpets coming in often. The
low brass plays four-note rising harmonies ominously. The intensity increases, with the strings and brass
making fast, dark runs, as the Imperial cruisers chase them. It comes to a big blast when they make it into
hyperspace. The scene then cuts to the Death Star, and is fittingly followed by a powerful brass fanfare of
This scene focuses mainly on Han Solos heroic escape, but the Force Theme is prominent, marking
the Jedis return after the many years they were in isolation.22 This cue is non-diegetic and is characterized
as motivic.
The winds begin the cue threateningly, and then are taken over by the brass and strings. The music
increases in intensity and volume and comes to an evil-sounding climax when the planet of Alderaan is
destroyed. After the destruction of the planet, the cue gets sullen and quieter, until it fades out.
This scene demonstrates the awesome but evil and uncontrollable power of the Death Star. After
the introduction of this terrible weapon, the rest of the film focuses on destroying it. This cue is non-diegetic
The cue begins with dissonant brass chords, evoking the same desperation as what is found in the
Destruction of Alderaan cue. The strings double the brass for a bit, until the brass majestically plays the
Rebel Fanfare. It ends with pulsing brass, strings, and percussion, and then dies down to a single held flute
note.
This cue demonstrates the bad situation the protagonists have literally gotten dragged into. The
exclamation of the Rebel Fanfare at the end of the cue is a bit of a surprise, as the Imperial Motif or the
Death Star Motif might have fit more with the scene; but because it was the Rebel Fanfare, it reinforces the
hope that the protagonists can figure out a plan. This cue is non-diegetic and is characterized as motivic.
The cue begins with the Force Theme being stated by the English horn and bassoon as the
protagonists emerge from the hidden compartments. Then, muted trumpets and flutes play the Imperial
Motif. A crash of percussion denotes the overpowering of two stormtroopers. The Imperial Motif plays once
again as two more stormtroopers investigate; they are also overpowered. Strings and woodwinds play
softly as Luke and the others, disguised as stormtroopers, escape the ship. Then, a blast of brass and
percussion denote the overpowering of the stormtroopers in the control room. Lukes theme is quickly
played by clarinets and flutes, and then partially echoed by the strings, which hold a note until it fades
out.
This scene uses the score cleverly to denote the heroes attacking the stormtroopers, subtly using a
technique commonly known as Mickey-Mousing. This technique occurs when the physical action that takes
place onscreen has an accompanying music sound to help reinforce that action.23 This cue is non-diegetic
This cue begins lightly with woodwinds and pizzicato strings. Occasionally brass, play repeated
low notes as the strings play softly. The timpani and other percussion enter, with the piano interrupting with
short, punchy chords as Luke, Han, and Chewbacca move through the halls of the Death Star. In another
part of the ship, Obi-Wan goes to turn off the tractor beam, but Darth Vader senses his presence through
the force, scored with low woodwinds. The woodwinds repeat Lukes Theme softly right before they get to
the detention block. It ends by crescendoing then cutting off abruptly, leading into the next cue.
This cue reinforces the clever and sneaky behavior of the protagonists in the scene by playing
lightly. However, the music still retains some of the potential danger that this kind of behavior could lead
to, especially in the Death Star. This cue is non-diegetic and is characterized as through composed.
This cue begins by building off of the end of the last cue, with intense blaring trumpets over frantic
strings. The brass plays a majestic and heroic version of Lukes Theme during the shootout. It then becomes
calmer once the shooting stops, with low strings and timpani playing softly. When Luke goes to get the
princess, the Rebel Fanfare is played by the brass, followed by the flutes playing Leias Theme, followed
by the trumpets and French horns switch off playing Lukes theme, fading out.
This is the most intense cue that has been heard in a little while, which emphasizes the crazy fight
scene. It introduces this kind of frantic scene that will be prominent for the rest of the movie. This cue is non-
This cue begins apprehensively, but only for a short time; it soon crescendos into an intense fight
scene as Luke, Han, and Leia shoot at the stormtroopers attacking them. This cue is characterized by the
passing of phrases or themes from one set of instruments to another. This is most prominent in passing the
Rebel Fanfare from a trumpet-oboe mixed melody to the French horns. As the cue begins to end, the
trumpets and French horns trade off the Imperial Motif. To end the cue, the orchestra plays powerfully
This cue fits very well with the scene, as in the music demonstrates what is happening very well. The
trading of the melody to and from different instruments represents the protagonists exchanging fire with
the stormtroopers, while the ending descending chords signify the heroes descending into the garbage
The cue begins with the playing of the Imperial Motif by the trumpets, with low brass playing in
almost a lethargic marching pattern below. Strings play eerily with long, held notes as the woodwinds play
short ominous figures above the trombones and low brass, which continues with the constant ominous two-
note pattern. This continues while the music gets louder as the trash compactor turns on and begins
squishing everything. It culminates almost anticlimactically as they are saved by the droids; the music just
fades out.
This scene represents the Empires desire to literally crush the rebellion. The cue adds to this
relentless desire, which increases but ends disappointingly for the antagonists. This cue is non-diegetic and
is characterized as motivic.
The cue begins with Obi-Wan creeping around trying to turn off the tractor beam that holds the
Millennium Falcon in the Death Star, characterized by strings and woodwinds playing eerily and
uncertainly, accompanied by some drums, including a military snare, and a marimba. Some winds and
French horns come in during the part of the scene where Luke, Han, Leia, and Chewbacca emerge from the
trash compactor. The brass plays Lukes Theme, which is followed by anxious strings and woodwinds as
they are discovered and chased by stormtroopers. The orchestra plays uncertainly, and then the brass
comes in strongly playing Lukes Theme again as Luke and Leia fight off stormtroopers. The French horns
play Leias Theme quickly and the pulsating rhythm continues as they swing across the gap. It relaxes
briefly, and then intensifies again with the Imperial Motif as Han and Chewbacca are chased by
stormtroopers; it resolves as they escape. Timpani are featured as Obi-Wan meets Darth Vader for a
battle.
This scene returns to the intensity found in the Shootout in the Cellbay cue, as the heroes are being
chased. The end of the cue prepares the audience for an intense destiny-defining fight scene, although
most of the ensuing fight is unscored, until the next cue begins. This cue is non-diegetic and is characterized
as motivic.
This cue begins with a solo French horn playing the Force Theme as Obi-Wan looks to Luke, and
then smiles before surrendering to Darth Vader. The scene intensifies with strings, accompanied by the rest
of the orchestra, playing Leias Theme. The trumpets then majestically state the Rebel Fanfare a few times
as the Millennium Falcon takes off. A nostalgic and somber rendition of the Force Theme follows, played by
the oboe and the flute, and then the French horn. The music then becomes lighter and slightly more intense
as they prepare for a battle with the Imperial fighters; strings and woodwinds build up to the next cue,
This scene is one of the most moving in the entire film, thanks to the masterful cue that accompanies
it. Obi-Wan has one last salute before his death with the statement of the Force Theme. Then Leias Theme
comes in, which may seem like an odd choice, but it perhaps reinforces the connection between the two,
going way back to the hologram at the beginning of the movie that catalyzed the entire plot. The Rebel
Fanfare when they escape the Death Star reinforces the hope found in The Death Star cue. The Force
Theme played at the end highlights the sadness Luke feels now that Obi-Wan is gone. Finally, the end of
the cue prepares the audience for the next cue. This cue is non-diegetic and is characterized as motivic.
Cue #27: TIE Fighter Attack (Timing: 1:34:34-1:36:06)
This cue begins with brass blasting heroically. The Rebel Fanfare comes in many times. The strings
keep a steady pulse in the background, although for most of the cue, they cannot be heard. There are
descending five-note phrases throughout the cue. It ends with a dramatic blast of the Death Star Motif.
This cue fits with the action in the scene perfectly; there could be no better cue for this scene. The
Death Star Motif at the end of the cue is there to foreshadow the last final battle, signifying that just
because they escaped, the war is not yet won. This cue is non-diegetic and is characterized as motivic.
This cue begins with melodic strings. It then transitions to very militaristic brass and percussion,
including a rigid snare drum pulse. The music crescendos with a loud blast of the Death Star Motif,
followed by strings and brass building up to the battle. The trumpets and the other brass cut in with an
extended fanfare of the Force Theme. It transitions into a section in which strings play a fast-paced and
exciting harmony, with the trumpets blasting the Force theme above. The trombones and woodwinds play
Darth Vaders Motif briefly. The brass then builds up as the fighters keep flying and preparing to attack.
The orchestra keeps playing intensely and quickly. Then, the Imperial Theme makes another appearance
with a brilliant brass fanfare, which is followed by a brass fanfare of the Force Theme. There is one long-
held note, with some members of the orchestra thinking about coming in. Then the intensity returns and the
tension in the orchestra builds frantically for a few minutes of the cue while the fighting intensifies. The
brass comes in with Lukes Theme as Luke evades Darth Vader in the trench. Out of nowhere, the Force
Theme plays with woodwinds and strings coming in softly as the voice of Obi-Wan tells Luke to turn off his
computer and just use the force. The strings and brass build up heroically, with French horns and then
trumpets playing Lukes Theme as the chase ensues. A timpani solo introduces Lukes Theme played in a
minor key by the strings. Intensely pulsating hits primary from the brass play as Han Solo swoops in with
the Millennium Falcon, shooting the fighters and Darth Vader out of the trench, allowing Luke to get the
shot off. It increases in intensity until a large blast from the timpani hits, symbolizing the explosion of the
Death Star. It is very quiet and light afterwards as flute and bells play, representing the little fragments of
the Death Star flying all over the place. The victory is scored majestically with the strings and brass
playing the Rebel Fanfare, until the music happily and lightly fades out.
This scene is packed with action and is the big action scene that outdoes every other action scene
thus far in the movie; the corresponding cue encompasses that magnificently, with various themes played in
a variety of ways, depending on the intended mood. However, the scene ends lightly, thus requiring Mr.
Williams to add another scene to end with a majestic flourish, found in the next cue. This cue is non-diegetic
This cue begins with a brass fanfare, which transforms into a majestic rendition of the Force Theme
as the ceremony starts. The strings take over, relieving the audience from the heraldic trumpets and brass
while introducing a new melody. The brass soon returns, however, with the French horns coming in with
Lukes Theme. The new melody is reintroduced, until finally the trumpets lead the orchestra to a
This majestic epilogue allows for the score to end victoriously and as heroically as possible. We
get to see our (surviving) protagonists all together for one final ostentatious fanfare, ending the movie with
a grandiose blast of orchestral enthusiasm. This cue is non-diegetic and is characterized as motivic.
This cue is a continuation of The Throne Room cue. It begins with the brass stating Lukes Theme,
and then transitioning to the Rebel Fanfare. The French horns with the rest of the orchestra reinstate Lukes
Theme in full. The strings beautifully singing Leias Theme, accompanied by harmonic flutes and woodwinds,
then follow. The music swells and Lukes Theme comes back in, lead by the blaring trumpets. A trumpet
fanfare plays the Rebel Fanfare, which is then echoed by the strings. The entire orchestra comes in for a
This final cue allows for the many different themes found throughout the movie to be showcased
without the need for fanfarish exuberance (although there is no lack of this heraldry by any means), as
found in The Throne Room cue. The music tells a story throughout the credits, and ends the movie flawlessly.
This cue begins with a short pizzicato string hit followed by a crescendoing choral note. This
repeats a few times. An ominous-sounding flute comes in towards the end of the cue, which just fades out.
This is a very ominous and dark way to start off the film, which really sets the horror mood that the
film dives right into in the next cue. The dynamic choral note gives a religioso feel to the film right away.
The cue begins with a repeating bass note and strange percussion. Low brass comes in with a soft
melody, which ends with a long-held note. Soon, strings begin interjecting with short, fast up-and-down
runs, with the percussive sound of a chain hitting every time one of the runs ends. A chorus comes in with a
few ominous-sounding. The brass increases in intensity to a majestic trumpet melody that quickly turns into a
frantic woodwind section, punctuated by trumpets and other brass. The scene increases in intensity and
speed as the Velociraptor attacks the gatekeeper, until it finally resolves with a held bass note.
This scene introduces dinosaurs to the movie, but since it attacks and kills a worker, it does not give
a good first impression as a friendly creature, and the music highlights that. This cue is non-diegetic and is
This cue begins with mysterious brass, strings, and choral voices coming in calmly. The strings take a
melody, and then are taken over by the woodwinds briefly. When Dr. Grant stands up, there is a flourish,
This short motif brings another mysterious religioso feel to the movie as the mine person examines
the amber and we are introduced to Dr. Grant and Dr. Sattler. This cue is non-diegetic and is
This cue begins with a flourish by the strings and woodwinds, as the strings take a melody,
accentuated lightly by woodwinds, brass, and a harp. This is when the Journey to the Island Theme is
introduced. As they come in view of the island, the strings provide a solid harmony to the trumpets majestic
melody. The strings and woodwinds provide interludes as they start to land. The trumpets and French horns
come in with another statement of the theme as they land. The strings and brass build up to yet another
exposition of the theme as they step out of the helicopter. Once they are in the Jeeps going to the main
building, the music gets lighter, with woodwinds and pizzicato-playing strings carrying the melody through
the dialogue. The music dies down, then builds up slowly with French horns and strings as the passengers
see dinosaurs for the first time. When the Brachiosaurus comes on the screen, strings and brass take the
lead playing the Main Theme. The light trek music returns, slightly more intensely than the first time, as they
journey to the main building. The strings come in with the Main Theme softly in the background,
accompanied by flutes interjecting with short phrases. The cue ends with a low ominous phrase, played by
This scene introduces the majesty of Jurassic Park to the audience in one fell swoop. The cue begins
lightly as they travel to the island, and then becomes grand and majestic as the visitors see the island for
the first time. The trek music as the guests are en route to the dinosaurs acts as a light interlude before the
majesty and magnificence returns when the guests are blown away by the reality of the dinosaurs. The
ominous tone at the end of the cue, however, suggests that the dinosaurs might seem too good to be true,
and might cause trouble later. Both major themes are introduced in this cue, which acts as a grand welcome
This cue begins with woodwinds and strings playing lightly in the background as the guests see the
dinosaur eggs. An ethereal chorus with an accompanying piano countermelody comes in as the little
dinosaur is being born. Strings come in with woodwinds for a spell, then the choral melody returns as they
admire the dinosaur. It dies down for a bit while Dr. Malcolm talks, then comes back in with woodwinds
and strings ominously as Dr. Grant finds out that the baby dinosaur is a Velociraptor.
This cue starts off light and almost magically, as they witness a baby dinosaur coming into the
world. However, after Dr. Malcolms speech saying that life finds a way and after Dr. Grant realizes
that they bred raptors, the cue becomes ominous, suggesting that something bad will come from the
raptors and that life will indeed find a way. This cue is non-diegetic and is characterized as through
composed.
This cue begins lightly and playfully with strings and woodwinds as Dr. Grant meets the kids
before they go on the tour. The woodwinds play the Main Theme lightly. The end of the cue allows the
This scene is playful and some light comic relief before the movie takes a turn for the worse. We
meet the grandkids of Hammond, who seem to be bounding with energy, making this trip turn into a chore
for Dr. Grant. This cue is non-diegetic and is characterized as through composed.
This cue begins apprehensively as the tour starts. It soon returns to the light trek music as the
automated Jeeps take off. As they go through the large gate, the French horns play the Main Theme, which
is then echoed by the trumpets, as they begin their adventure. The music continues softly and slightly
ominously in the background with strings and woodwinds as the announcer talks about the Dilophosaurus.
This scene introduces the adventure and mystery that Jurassic Park holds. It also hints at the
dangers of the dinosaurs, as eerie music plays when the narrator talks about the Dilophosaurus; this also
acts as a foreshadowing to Nedrys death by Dilophosaurus later in the film. This cue is non-diegetic and is
This cue begins with French horns and strings playing a soft, beautiful melody as the group meets
the sick Triceratops. The flowing melody continues throughout the scene until the end when Dr. Sattler
This scene is the perfect exposition of what paleontologists would feel when they finally stood eye-
to-eye with what they have dedicated their lives to studying. The cue highlights this magical experience
brilliantly, with a free-flowing melody. Unfortunately, this magic will wear off pretty quickly once they
meet the less disabled and more vicious dinosaurs. This cue is non-diegetic and is characterized as motivic.
This cue begins with dissonant brass chords and ominously held notes in the strings as Nedry
prepares to execute his program. As the group catches wind of the approaching storm, the strings and
woodwinds play an ominous melody apprehensively. The dissonant chords return when the scene cuts back
to Nedry, culminating with the low brass and strings holding an evil-sounding chord.
This scene primes the audience for the catastrophe that is about to unwind, the coming storm. This
This cue begins with repeated held synthesizer notes with strings dancing softly above. Dissonant
horns join in as the strings add a dark melody to the already ominous-sounding cue. This melody intensifies
and woodwinds play as Nedry opens the embryo holding cells. The eerie music continues as flutes come in
with sharp, airy notes, adding another layer of terror. The synthesizer goes on some short runs toward the
end of the cue. The cue ends with an ominous brass note.
In this scene, Nedry sets everybody up for a bad time by shutting off the security systems and
exhibit fences so that he can make his great escape. This cue provides the creepy mood for this scene to
take place. However, the scoring is unlike any other cue in the rest of the movie, as John Williams relies
This cue begins with French horns and strings playing ominously as the people in the control room
realize what Nedry has done. The melody gets more intense when Muldoon and Dr. Sattler agree to go
out and save the people stuck on the tour. The brass comes in with woodwinds when Nedry crashes his
This scene begins the general panic of the control room people, after they realize what has
happened (the people on the tour have already panicked when they met the Tyrannosaurus rex). The cue
is dark and ominous to portray this general feeling of dread. This cue is non-diegetic and is characterized
as motivic.
Cue #12: Out of the Tree, Into the Car / Search Party (Timing: 1:17:32-1:20:07)
This cue begins with brass punctuating the wild tremoloing strings and the intense trumpet phrases.
The orchestra plays a cascading arpeggio until the end of the cue, when the orchestra plays one final
crescendoing note. This cue continues as Dr. Sattler and Muldoon search for Alan and the kids; the chimes
accompanying the strings, which are playing a faster variation of the traditional Dies Irae motif,
characterize this scene. After rescuing Dr. Malcolm, the Dies Irae motif is picked up by the low woodwinds,
punctuated by brass and pizzicato-playing strings. This cue ends with a low dissonant chord.
The frantic orchestration at the start of the cue mirrors the life-or-death scramble down the tree,
while the prominent cascade symbolizes the falling car. The Dies Irae motif in the second half of the scene
shows the panic of the search party, as well as highlights the death of Gennaro. This cue is non-diegetic
This cue begins with low woodwinds playing fast, steady runs as Dr. Malcolm feels the impact
tremors coming from the Tyrannosaurus rex. The low brass plays a strong note as the woodwinds, strings,
and brass play wildly as the large predator chases the car. The music fades out, drowned out by the hum
of the Jeep.
This short cue represents the frantic, panicked mood of the characters as they narrowly escape
outrunning the Tyrannosaurus rex. This cue is non-diegetic and is characterized as through-composed.
This cue begins gently with a celeste playing a calm melody; this transforms into the Main Theme,
with strings and woodwinds coming in with the harmony. As the scene changes to the main building, the
clarinet takes the melody, with the other woodwinds and the strings as a harmony. The celeste comes in at
This scene shows the tenderness of Dr. Grant and begins to reminisce about what the park could
have been, a topic covered more thoroughly in the following cue. The celeste, an often-overlooked
instrument, gives the scene a very light and gentle feel. This cue is non-diegetic and is characterized as
motivic.
This cue begins with strings quietly adding a harmony to a gentle xylophone melody. As Hammond
and Dr. Sattler continue talking, the woodwinds are added to the strings. The xylophone comes back in at
This music box cue is very nostalgic and also quite sad. Hammond explains his good intentions,
while maintaining his navet, while Dr. Sattler explains to him that the park holds too much power. The
music keeps the scene light, continuing the break in the frantic survival situations. This cue is non-diegetic
This cue begins right where the last left off, beginning with a French horn solo over strings and
woodwinds. A clarinet takes over the melody, with the strings, other woodwinds, and harps playing as well.
This scene is very sweet, and the cue reflects that pleasant, light mood with woodwinds and strings.
This cue begins with low brass and an otherworldly-sounding chorus. Some woodwinds come in
apprehensively and play somewhat eerily as Dr. Grant talks about how the dinosaurs have started
breeding. As the tracks of the baby dinosaurs are shown, brass comes in, and the whole orchestra quietly
resolves nicely.
This scene reinforces Dr. Malcolms belief that life finds away. Although it adds little to the story,
the cue does add some uneasy feelings to the scene. This cue is non-diegetic and is characterized as
through composed.
This cue begins with anxious-sounding strings, brass, and woodwinds playing softly in the
background. The cue fades out when the scene changes back to Dr. Grant.
This short cue introduces even more uneasiness to the already compounding nervousness in the
movie at this point. This cue is non-diegetic and is characterized as through composed.
The cue begins with dissonant strings, low woodwinds, and brass. The brass continues building up
as Dr. Sattler volunteers to turn the power on herself. Woodwinds and percussion come in decisively when
Muldoon agrees to accompany her. The brass section plays the Main Theme above strings in the
background, as they get ready. When they go outside, the strings build up and then play dissonant chords
when they see that the raptors have gotten out. Woodwinds, strings, and percussion play uneasily as they
travel closer to the shed. Woodwinds play more intensely when Muldoon says that they are being hunted
by the raptors. When Dr. Sattler starts to run, the woodwinds, strings, and brass play wildly until the end
This scene begins the sacrifice that Dr. Sattler and Muldoon make to turn the power back on. The
music remains anxious, as do the characters, for most of the scene, but then the music gets ferociously
frantic as Dr. Sattler makes the run to safety. This cue is non-diegetic and is characterized as through
composed.
This cue begins with low woodwinds playing ominously as Dr. Sattler begins her journey through
the shed and as Dr. Grant and the kids come to the perimeter fence. As Alan and the kids hear the
Tyrannosaurus in the distance, the brass comes in, intensifying to a climax, when the scene goes back to Dr.
Sattler. Woodwinds and strings play softly and ominously as she makes her way through the shed. The
woodwinds play a variation of the Dies Irae motif as she follows the pipes and as Dr. Grant and the kids
make their way up the fence. The brass and strings come in as Dr. Sattler opens the power box and as Dr.
Grant and the kids reach the top of the fence. Woodwinds play short descending phrases. The orchestra
continues to intensify as Dr. Sattler turns on the power to the different sections of the park while Tim is stuck
on the soon-to-be-electrified fence. It climaxes with a brass blast as Dr. Sattler turns on the power to the
perimeter fence and shocks Tim off of it. The strings and woodwinds become frantic then calm slightly, and
then the brass is added and the entire orchestra gets very frantic as a Velociraptor attacks Dr. Sattler. It
climaxes again with a brass blast when Mr. Arnolds arm rests on Dr. Sattlers shoulder. It soon re-intensifies
with trumpets playing short, powerful blasts and woodwinds playing feverishly as Dr. Sattler tries to
escape the Velociraptors attack. The cue ends abruptly when she leaves the shed and slams the door.
This cue is a very frantic one. The scene switches back and forth from Dr. Sattler turning on the
power to Dr. Grant trying to get him and the kids over the perimeter fence. The Dies Irae motif just adds to
the overall sense of doom. In general, this scene and this cue are both very frantic in nature, the cue
escalating the franticness of the scene. This cue is non-diegetic and is characterized as motivic.
This cue begins with brass and woodwinds occasionally introducing short phrases to the scene. The
strings come in and their pitches are altered, presenting a terrifying sound. When Muldoon spots the
Velociraptor next to him, the trombones play the Raptor Motif to end the scene.
This scene sees the end of Muldoon. The cue begins sneakily, but ends up getting much more
intense during the raptor attack. This cue is non-diegetic and is characterized as through composed.
This cue begins with a dissonant chorus and strings as the Velociraptors enter the kitchen; low brass
comes in soon after. The strings begin to tremolo and low brass blares short, accented notes. However, that
soon dissipates and strings play softly but ominously in the background. Throughout the scene, whenever
the Velociraptors hear a noise or something happens, the strings, brass, and woodwinds intensify quickly,
often playing the Raptor Motif, and then dissipate shortly thereafter. One raptor gets knocked out for a
short while, while they lock another in the freezer and escape, the music intensifying throughout the whole
ordeal. Dr. Grant, Dr. Sattler, and the kids retreat to the control room, where Lex goes to turn on the
security system and the adults try to keep the raptors from coming inside. At this point, the brass has
stayed very punchy, while the strings and woodwinds frantically make wild runs. When Lex reboots the
system, the trumpets play the Main Theme, while the rest of the orchestra recovers slightly from the
craziness. When the Velociraptor tries to come through the glass, however, the orchestra resumes the
franticness. The characters climb into the ceiling and the strings play apprehensively as the raptor figures
out how to get to them. The trumpets play the Raptor Motif as the Velociraptor breaks through the ceiling.
The groups escape into the main hall is characterized by a lot of strong brass playing powerfully with
strings playing quickly in the background. They get to the ground, but become surrounded by the raptors;
the woodwinds play the Raptor Motif as the rest of the orchestra continues the frantic, last stand-type
music that has been playing. The cue ends with two anxiously held notes, before transforming into the next
cue.
This scene is one of the most intense of the entire movie, and the score definitely fits the part. As
the Velociraptors are a major part of this scene, the dark Raptor Motif is heard often. This cue is non-
This cue is a continuation of the previous, and begins brilliantly with the trumpets playing the
Journey to the Park Theme as the Tyrannosaurus rex snatches a leaping Velociraptor right out of the air
before it devoured the protagonists (how it snuck up on them like that is still a mystery, especially since the
characters from feel it coming from a hundred feet away). The group runs out to a waiting Jeep while
strings and woodwinds play a complex phrase during the dialogue. The Jeep takes off and the cue ends
with the Tyrannosaurus grabbing the second Velociraptor and throwing it into the hanging dinosaur bones,
This cue is the grand finale, the majestic climax of the action. The protagonists are saved and the
orchestra comes in playing a major theme in all of its glory. This cue is non-diegetic and is characterized as
motivic.
This cue starts off calmly, with strings playing softly in the background as the remaining characters
get out of the Jeeps and pile into the helicopter. The flutes introduce the strings to a period of sad
reflection, when Hammond looks back at the island before he gets onto the helicopter. Once on the
helicopter, a solo piano plays the Main Theme softly but sublimely. After a full playing of the theme, a
xylophone joins in; soon after, the harp invites the woodwinds and strings to join the melody. The French
horns then lead the orchestra into a final majestic playing of the theme before the credits. Once the credits
begin, the strings take the melody for a bit before the trumpets take control once again. The strings play
an interlude before the horns recapture the Main Theme. The orchestra builds again to a grand final
playing of the popular theme. The solo piano returns to reprise the theme at the very end, and is assisted
by the strings before the horns play the Raptor Theme grandly and the strings come in for one final chord
This final cue provides a proper ending to the great journey that both the characters and the
audience embarked on. The orchestra plays the Main Theme many times in many forms, but the whole
movie ends on an eerie note, reminding the audience what really happened on the adventure. This cue is
found in Appendix A.
Barbarella
Timing Cue Name Texture Form Effect
Suspenseful
orchestral music
introduces, then
transforms into
0:00:29 0:04:48 Setting the Mood Non-diegetic Song
upbeat, happy
music as
Barbarella is
introduced
A regal fanfare
plays to announce
Presidential
0:04:58 0:05:11 Non-diegetic Through-composed the president as he
Fanfare
shows up on the
video screen
Xylophones and
marimbas
accompany
0:09:29 0:10:46 Nap Time Non-diegetic Through-composed
dreamlike
orchestral music as
Barbarella rests
Electric guitar and
bass accompany
The Captain has background
Turned on the orchestra and sci-
0:11:26 0:13:01 Non-diegetic Through-composed
Fasten Seatbelt fi-like organ
Sign sounds to evoke a
feeling of worry
and danger
Strings play
mysteriously and
with a slight sense
of foreboding then
Quite a Warm a tuba and an
0:14:40 0:16:10 Non-diegetic Through-composed
Welcome electric guitar
enter once the girls
clock Barbarella
with an ice-
snowball
Light music plays,
led by the brass
0:16:10 0:16:54 Mush! Non-diegetic Through-composed
section, while the
girls and
Barbarella hitch a
sled ride
Mysterious
piano/xylophone
0:17:48 0:19:22 Playing with Dolls Non-diegetic Through-composed
leads into creepy
orchestral music
Small band led by
0:22:51 0:23:09 Let There Be Wind Non-diegetic Through-composed brass plays a
happy tune
Vocalist
accompanies a
band as happy
0:25:15 0:25:57 Doing it His Way Non-diegetic Song
music plays,
emphasizing a
connection
Vocalists sing a
seductive-ish song
Post-Pleasure Pelt with a band, which
0:26:26 0:28:29 Non-diegetic Song
Perusing turns into
background music
when dialect starts
Electric guitar and
bass accompany
an orchestra or
0:29:34 0:31:01 Failed to Get Up Non-diegetic Through-composed band as
Barbarella tries to
resurface after
crashing again
Electric guitar,
piano, and an
Angel Man Getting
0:31:25 0:31:39 Non-diegetic Through-composed orchestra create a
Touchy
mood of suspense
and creepiness
Smooth jazz music
Getting is played by a
0:31:41 0:32:45 Non-diegetic Through-composed
Accustomed small jazz
ensemble of sorts
Electric guitar,
piano, and an
Through the
0:33:29 0:35:57 Non-diegetic Through-composed orchestra create a
Labyrinth
mood of suspense
and creepiness
Band led by brass
plays happy music
0:40:19 0:42:15 Interesting Therapy Non-diegetic Through-composed
as Pygar regains
his will to fly
Orchestra
featuring trumpets
0:43:09 0:45:11 Dogfight Non-diegetic Through-composed
gives a sense of
action and conflict
Orchestra
featuring a
metallic-sounding
0:45:50 0:47:47 Landing in Soho Non-diegetic Through-composed electric guitar
provides a sense
of mystery and
foreboding
Band plays music
0:47:55 0:48:58 Hello, Pretty Pretty Non-diegetic Through-composed suggesting mystery
and darkness
Good Many
Band plays with an
Dramatic Situations
0:49:08 0:50:08 Non-diegetic Through-composed odd feeling of
Begin with
adventure
Screaming
Electric guitar
plays, sometimes
His Timing is
0:52:16 0:54:01 Non-diegetic Through-composed accompanied by a
Impeccable
band, and gives a
sense of mystery
Electric guitar and
band play lightly,
Meeting the Great
0:54:16 0:57:17 Non-diegetic Through-composed giving the
Tyrant
impression of
safety
Creepy music
0:57:17 0:58:00 Crucifying Pygar Non-diegetic Through-composed plays, highlighting
a sense of danger
Upbeat music
plays, as mood of
0:58:00 0:58:38 Not the Face! Non-diegetic Through-composed action and
adventure
heightens
Upbeat and
0:59:39 1:00:13 Seducing an Angel Non-diegetic Through-composed seductive music
plays
Strange, upbeat
Doing it the Earth
1:05:03 1:05:22 Non-diegetic Through-composed music plays in
Way
anticipation
Mysterious, almost
spy-like, music
1:14:17 1:16:25 Not the Tube Type Non-diegetic Through-composed
creates mysterious
atmosphere
Orchestral music
intensifies
throughout and
crescendos to the
Killing Her Softly
1:16:33 1:20:05 Diegetic Through-composed end until a rapid
with His Song
deceleration,
hinting to an
orgasmic
experience
Odd music plays,
1:20:56 1:21:15 It's Him! Non-diegetic Through-composed suggesting an
eerie epiphany
Mysterious and
Trip to the
1:23:59 1:24:36 Non-diegetic Through-composed eerie music plays,
Chamber
suggesting danger
Happy, upbeat
music plays as
The Stuff Dreams
1:25:51 1:27:59 Non-diegetic Through-composed Barbarella
are Made Of
wanders around
the chamber
Action music plays,
1:28:30 1:30:00 Time to Rebel Non-diegetic Through-composed providing a
rebellious mood
Say Hello to My Quick music
1:30:30 1:33:59 Little Friend / Non-diegetic Through-composed suggests action
Apocalypse Now and danger
Upbeat music is
Come Fly with Me
1:34:49 1:38:01 Non-diegetic Song played by a band
/ End Credits
with vocalists
Strings come in
uneasily again;
Someone Made a woodwinds are
Big Mistake added, increasing
(Carmen uses Motivic (Non- suspense; horns
1:00:23 1:01:58 evasive Full orchestra and percussion
Diegetic)
maneuvers as the become
troops land on the prominent when
planet) they realize that
they are in serious
danger
Brass, percussion,
and strings add to
Big Bugs (Rico and Brass, percussion, Motivic (Non- the intensity of
1:01:58 1:02:42 the gang nuke the
strings Diegetic) battle, increasing
big bugs)
in volume and
tempo
Failed Mission Strings play lowly
(news program and very
shows carnage of Through-Composed somberly, adding
1:07:02 1:07:50 Strings, percussion
failed invasion; (Non-Diegetic) to the sadness of
new Sky Marshall the death and
introduced) devastation
Woodwinds and
strings play lightly
and playfully,
Brain Bugs (talk Through-Composed adding to the
1:07:50 1:07:58 show host talking Strings, woodwinds cluelessness of the
(Non-Diegetic)
about smart bugs) talk show host and
how different he is
to the people
actually at war
Strings come in
strongly and
bleakly as Carmen
Recovery (back on
sees the damage
main ship, Carmen
Brass, strings, Through-Composed that the attack
sees physical
1:08:12 1:10:10 had; the music
damage of percussion (Non-Diegetic)
gets very sad
soldiers; finds out
when she sees the
that Rico was KIA)
board that says
Rico has been
killed in action
Strings come in
Wake Up with a
passionately as Diz
Kiss (Diz kisses the Brass, strings, Through-Composed
1:10:37 1:11:05 kisses the glass;
glass where Rico
percussion (Non-Diegetic) brass and
is; shows outside
percussion add to
of ship)
optimistic tone
Brass comes in
strongly,
suggesting that
Familiar Face Brass, strings, Through-Composed this guy is a big
1:12:09 1:12:59 (lieutenant arrives deal; strings and
percussion (Non-Diegetic)
on deck) percussion
emphasize the
powerful nature of
the lieutenant
Low brass comes
in powerfully,
making the scene
more intense and
Another Invasion suspenseful;
(Roughnecks Brass, percussion, Motivic (Non- percussion and
1:13:31 1:15:39 arrive on the strings come in to
strings Diegetic)
planet to take out add intensity as
bugs) they get louder
and faster; builds
up to a peak when
the bug hole is
nuked
All instruments
playing loudly and
intensely, adding
to the victorious
feel of the scene;
Backup (Rico and
gets very dark
his small group
when the big bug
join the rest of the Motivic (Non- appears, while the
1:15:48 1:18:07 Roughnecks to Full orchestra
Diegetic) intensity increases
provide backup;
yet again, but
Rico destroys big
more mysteriously
bug)
and frantically;
after Rico blows
up the bug, the
music resolves
peacefully
Celebration Ace plays the
(Roughnecks Through-Composed violin happily as
1:19:25 1:20:43 Violin
celebrate after the (Diegetic) everyone
victory) celebrates the
victory
3 - Cooke, M. (2008). A history of film music. New York City, New York: Cambridge University Press.
18 - Dies Irae. (1962, January 1). Retrieved March 2, 2015, from http://www.preces-
latinae.org/thesaurus/Hymni/DiesIrae.html
16 - Dyer, Richard (May 9, 1993). The Williams Whirlwind. The Boston Globe. p. B1.
12 - Dictionary leitmotif. (2015, January 1). Retrieved March 2, 2015, from http://www.merriam-
webster.com/dictionary/leitmotif
4 - Filmtraks: John Williams. (1996, September 24). Retrieved March 10, 2015, from
http://www.filmtracks.com/composers/williams.shtml
19 - Harris, A. (2014, May 8). The Fascinating History of a Latin Death Hymn Youve Heard Many Times
Without Knowing It. Retrieved March 4, 2015, from
http://www.slate.com/blogs/browbeat/2014/05/08/dies_irae_in_movies_tom_allen_and_the_c
bc_trace_the_history_of_the_latin.html
6 - John Williams. (2006, January 1). Retrieved March 10, 2015, from
http://web.archive.org/web/20070927011739/http://www.filmmusicbox.com/boutique_us/pag
e_actus_page.cfm?code_lg=lg_us&num_actus=3
23 - Robson, A. (2012, March 1). Mickey - Mousing. Retrieved March 10, 2015, from http://a-study-of-
music-in-film.blogspot.com/2012/03/mickey-mousing.html
14 - Ruhlmann, W. (2015, January 1). Jurassic Park [Original Motion Picture Soundtrack] - John Williams.
Retrieved March 5, 2015, from http://www.allmusic.com/album/jurassic-park-original-motion-
picture-soundtrack-mw0000097115
17 - Siegal, R. (2015, January 1). The Making of Steven Spielberg's Jurassic Park. Retrieved March 6,
2015, from http://www.blu-ray.com/news/?id=8186
15 - Southall, J. (2007, January 1). Jurassic Park. Retrieved March 6, 2015, from http://www.movie-
wave.net/titles/jurassic_park.html
9 - Star Wars [Motion picture on DVD]. (1977). United States: 20th Century Fox.
10 - Star Wars: A New Hope (John Williams). (2011, August 31). Retrieved March 3, 2015, from
http://www.filmtracks.com/titles/star_wars.html
22 - Star Wars: A New Hope Soundtrack - The Millennium Falcon/Imperial Cruiser Pursuit. (2011, May
22). Retrieved March 4, 2015, from https://www.youtube.com/watch?v=h6aslaE-
gcE&index=13&list=PL020BCDAC36605D62
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