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* "I Can Feel It" culminates in a beautiful, slowed rendition of the Force theme as Jacen uses his Force sensitivity to allow his mother Hera hear the lightsabers in the nether realm of the World Between Worlds.
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* The [[https://youtu.be/xXp4GnC1Z3Q main theme]] starts mystically and tribally, switches to something out of a western, and then gets progressively bombastic and heroic. Perfectly contrasting the movies' usual fanfares, it's low key and embraces the dangers of a bounty hunter's life, fitting the LowerDeckEpisode tone of the series like a glove.
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* The [[https://youtu.be/xXp4GnC1Z3Q main theme]] starts mystically and tribally, switches to something out of a western, and then gets progressively bombastic and heroic. Perfectly contrasting the movies' usual fanfares, it's low key and embraces the dangers of a bounty hunter's life, fitting the LowerDeckEpisode tone of the series like a glove. It then ends with Grogu's leitmotif at the end that sounds adorable but mysterious, just like how the first episode's ending showed that the series is part of something much, much bigger and unknown.
* Chapter 6 is filled with uplifting, hopeful music to sell the tranquility and heartwarming moments of Grogu's training with Luke, culminating in "Teacher's Pet" which ends with a reprise of Luke's theme from "The Rescue". The climax of the episode, showing Cad Bane's arrival, has a quiet, eerie chorus to sell Bane as the Angel of death emerging from the desert he truly is.
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* In episode 5, during Ahsoka's duel with Anakin in the World Between Worlds, a remix of "Duel of the Fates" briefly appears. This is the first time the theme has been played in a Disney ''Star Wars'' work, and it's very exciting to hear.
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* In episode The first episode's "New Republic" has a moment of fear when Ahsoka first name drops Thrawn in the series. We then hear the eerie, ghost-like chorus from "Thrawn's Web", striking fear into our hearts like Hera is feeling after learning of Thrawn's survival.
* Episode 5, "Shadow Warrior":
** "Searching", the quiet, eerie piece that plays during the opening, and becomes bittersweet as Huyang laments the separation and apparent loss of Ahsoka and Sabine despite all his warnings. It ends with a blaring, dramatic set of horns over the title cards.
* "I Can Feel It" culminates in a beautiful, slowed rendition of the Force theme as Jacen uses his Force sensitivity to allow his mother Hera hear the lightsabers in the nether realm of the World Between Worlds.
** "From the Mist" manages to be epic and ethereal for the flashbacks to the Clone Wars, with "Teaching You How to Lead" bringing in some mystical synthesizers during Ahsoka's scene during the brief pause of battle on Ryloth.
** "You're a Warrior Now" and "Floating": During Ahsoka's duel with Anakin in the World Between Worlds, a remix of "Duel of the Fates" briefly appears. This is the first time the theme has been played in a Disney ''Star Wars'' work, and it's very exciting tohear.hear.
** The episode ends with a truly spectacular piece, "The Hyperspace Jump", providing plenty of epic chorus and orchestra to portray the majesty of the mighty Purrgil pod as they prepare to make the jump into the new galaxy. The whole series has been building to this moment when Ahsoka takes her first step into an even larger world, and the music does not disappoint.
* Episode 6, "Far, Far Away":
** "Grand Admiral Thrawn" plays over the six minute sequence depicting Thrawn's arrival into the series and his confrontation with Sabine. It starts eerie and slow as the dilapidated ''Chimaera'' arrives at the Peridea Seeing Stone, then a dramatic organ and orchestra piece begins as Thrawn himself finally arrives and makes his live-action debut. While the score quiets down for his talk with Sabine, it re-emerges in a sinister way when he quietly chides Sabine for engineering potential doom for her galaxy.
** "It Worked, Didn't It?" scores the long-awaited return of Ezra Bridger, using a very welcome, nostalgic rendition of this theme over his and Sabine's big hug.
** "Thrawn's Arrival" serves as Thrawn's general leitmotif throughout the final episodes of Season 1 and smartly brings back his sinister, albeit beautiful organ, especially at the end of "Far, Far Away."
* Episode 8, "The Jedi, the Witch, and the Warlord":
** "This Is New" sees the score take a page from the book of "Danse Macabre", with some truly frightening strings accompanying the rise of the undead Night Troopers, selling how eldritch and unnatural the dark magicks of the Great Mothers is.
** "Shadows in the Starlight" closes us out for the first season, with a rousing, heartwarming theme over the beginning of the credits, truly lending a sense of catharsis and purpose to the end of the season like how Ahsoka and Sabine feel.
* Episode 5, "Shadow Warrior":
** "Searching", the quiet, eerie piece that plays during the opening, and becomes bittersweet as Huyang laments the separation and apparent loss of Ahsoka and Sabine despite all his warnings. It ends with a blaring, dramatic set of horns over the title cards.
* "I Can Feel It" culminates in a beautiful, slowed rendition of the Force theme as Jacen uses his Force sensitivity to allow his mother Hera hear the lightsabers in the nether realm of the World Between Worlds.
** "From the Mist" manages to be epic and ethereal for the flashbacks to the Clone Wars, with "Teaching You How to Lead" bringing in some mystical synthesizers during Ahsoka's scene during the brief pause of battle on Ryloth.
** "You're a Warrior Now" and "Floating": During Ahsoka's duel with Anakin in the World Between Worlds, a remix of "Duel of the Fates" briefly appears. This is the first time the theme has been played in a Disney ''Star Wars'' work, and it's very exciting to
** The episode ends with a truly spectacular piece, "The Hyperspace Jump", providing plenty of epic chorus and orchestra to portray the majesty of the mighty Purrgil pod as they prepare to make the jump into the new galaxy. The whole series has been building to this moment when Ahsoka takes her first step into an even larger world, and the music does not disappoint.
* Episode 6, "Far, Far Away":
** "Grand Admiral Thrawn" plays over the six minute sequence depicting Thrawn's arrival into the series and his confrontation with Sabine. It starts eerie and slow as the dilapidated ''Chimaera'' arrives at the Peridea Seeing Stone, then a dramatic organ and orchestra piece begins as Thrawn himself finally arrives and makes his live-action debut. While the score quiets down for his talk with Sabine, it re-emerges in a sinister way when he quietly chides Sabine for engineering potential doom for her galaxy.
** "It Worked, Didn't It?" scores the long-awaited return of Ezra Bridger, using a very welcome, nostalgic rendition of this theme over his and Sabine's big hug.
** "Thrawn's Arrival" serves as Thrawn's general leitmotif throughout the final episodes of Season 1 and smartly brings back his sinister, albeit beautiful organ, especially at the end of "Far, Far Away."
* Episode 8, "The Jedi, the Witch, and the Warlord":
** "This Is New" sees the score take a page from the book of "Danse Macabre", with some truly frightening strings accompanying the rise of the undead Night Troopers, selling how eldritch and unnatural the dark magicks of the Great Mothers is.
** "Shadows in the Starlight" closes us out for the first season, with a rousing, heartwarming theme over the beginning of the credits, truly lending a sense of catharsis and purpose to the end of the season like how Ahsoka and Sabine feel.
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Fixing formatting and punctuation errors.
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* In episode 5, during Ahsoka's duel with Anakin in the World Between Worlds a remix of "Duel of the Fates" briefly appears. This is the first time the theme has been played in a Disney Star Wars work, and it's very exciting to hear.
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* In episode 5, during Ahsoka's duel with Anakin in the World Between Worlds Worlds, a remix of "Duel of the Fates" briefly appears. This is the first time the theme has been played in a Disney Star Wars ''Star Wars'' work, and it's very exciting to hear.
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* In episode 5, during Ahsoka's duel with Anakin in the World Between Worlds a remix of "Duel of the Fates" briefly appears. This is the first time the theme has been played in a Disney Star Wars work, and it's very exciting to hear.
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* The End Credits theme is simply glorious. Opening with a pounding, daring theme before weaving in the welcome return of Sabine’s theme from ''Rebels'', then transitioning into an awesome take on Ahsoka’s theme before finally giving way to a truly John Williams-esque motif and ending on a soft reprise of Ahsoka’s theme once more.
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* The End Credits theme is simply glorious. Opening with a pounding, daring theme before weaving in the welcome return of Sabine’s theme from ''Rebels'', then transitioning into an awesome take on Ahsoka’s Ahsoka's theme before finally giving way to a truly John Williams-esque motif and ending on a soft reprise of Ahsoka’s Ahsoka's theme once more.
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[[folder: ''Ahsoka'']]
* The End Credits theme is simply glorious. Opening with a pounding, daring theme before weaving in the welcome return of Sabine’s theme from ''Rebels'', then transitioning into an awesome take on Ahsoka’s theme before finally giving way to a truly John Williams-esque motif and ending on a soft reprise of Ahsoka’s theme once more.
[[/folder]]
* The End Credits theme is simply glorious. Opening with a pounding, daring theme before weaving in the welcome return of Sabine’s theme from ''Rebels'', then transitioning into an awesome take on Ahsoka’s theme before finally giving way to a truly John Williams-esque motif and ending on a soft reprise of Ahsoka’s theme once more.
[[/folder]]
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a brief, eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, capturing the feeling of encountering something straight out of legends.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. water before she hauls him back to the surface. And then after a brief, eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, Mythosaur, capturing the feeling of encountering something straight out of legends.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, capturing the feeling of encountering something straight out of legends.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary brief, eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, capturing the feeling of encountering something straight out of legends.
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Dialling back overuse of the word "perfectly".
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For ''Series/TheMandalorian'', Ludwig Göransson's atmospheric, mystical score perfectly blends together dozens of different seemingly clashing tones that clearly establishes the unique SpaceWestern and LowerDeckEpisode tone of this show compared to almost anything that's been heard in ''Star Wars'' previously.
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For ''Series/TheMandalorian'', Ludwig Göransson's atmospheric, mystical score perfectly blends together dozens of different seemingly clashing tones that clearly establishes the unique SpaceWestern and LowerDeckEpisode tone of this show compared to almost anything that's been heard in ''Star Wars'' previously.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, perfectly capturing the feeling of encountering something straight out of legends.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, perfectly capturing the feeling of encountering something straight out of legends.
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* The new rendition of "Anakin's Dark Deeds" from Episode III that plays during [[Recap/StarWarsTheCloneWarsS7E11Shattered "Shattered"]] serves to effectively break the eerie quietness of the first part of the episode and perfectly captures the tragedy of Rex and the clones turning on Ahsoka as a result of Order 66.
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* The new rendition of "Anakin's Dark Deeds" from Episode III that plays during [[Recap/StarWarsTheCloneWarsS7E11Shattered "Shattered"]] serves to effectively break the eerie quietness of the first part of the episode and perfectly captures the tragedy of Rex and the clones turning on Ahsoka as a result of Order 66.
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* [[https://youtu.be/rJLD61Y1doU "Kanan's End Credits"]], a sweeping orchestral version of Kanan's theme that plays during the end of "A World Between Worlds", perfectly underscoring the crew's, and by extension the audience's, final farewell to Kanan.
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* [[https://youtu.be/rJLD61Y1doU "Kanan's End Credits"]], a sweeping orchestral version of Kanan's theme that plays during the end of "A World Between Worlds", perfectly underscoring the crew's, and by extension the audience's, final farewell to Kanan.
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* [[https://www.youtube.com/watch?v=C_9nqXefLG8 "Mayday"]] from [[Recap/StarWarsTheBadBatchS2E12TheOutpost "The Outpost"]] largely consists of a recurring heart-wrenching motif, usually performed with a solo French horn. It perfectly encapsulates the chilling and somber tone of the episode, ranging from quiet and mournful to big and dramatic.
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* [[https://www.youtube.com/watch?v=C_9nqXefLG8 "Mayday"]] from [[Recap/StarWarsTheBadBatchS2E12TheOutpost "The Outpost"]] largely consists of a recurring heart-wrenching motif, usually performed with a solo French horn. It perfectly encapsulates embodies the chilling and somber tone of the episode, ranging from quiet and mournful to big and dramatic.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, perfectly capturing the feeling of encountering something out of legends.
to:
* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface, perfectly capturing the feeling of encountering something straight out of legends.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface.
to:
* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface.surface, perfectly capturing the feeling of encountering something out of legends.
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Episode titles go in quotes.
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* [[https://www.youtube.com/watch?v=C_9nqXefLG8 "Mayday"]] from [[Recap/StarWarsTheBadBatchS2E12TheOutpost The Outpost]] largely consists of a recurring heart-wrenching motif, usually performed with a solo French horn. It perfectly encapsulates the chilling and somber tone of the episode, ranging from quiet and mournful to big and dramatic.
to:
* [[https://www.youtube.com/watch?v=C_9nqXefLG8 "Mayday"]] from [[Recap/StarWarsTheBadBatchS2E12TheOutpost The Outpost]] "The Outpost"]] largely consists of a recurring heart-wrenching motif, usually performed with a solo French horn. It perfectly encapsulates the chilling and somber tone of the episode, ranging from quiet and mournful to big and dramatic.
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[[/folder]]
to:
[[folder:''The Bad Batch'']]
* [[https://www.youtube.com/watch?v=C_9nqXefLG8 "Mayday"]] from [[Recap/StarWarsTheBadBatchS2E12TheOutpost The Outpost]] largely consists of a recurring heart-wrenching motif, usually performed with a solo French horn. It perfectly encapsulates the chilling and somber tone of the episode, ranging from quiet and mournful to big and dramatic.
[[/folder]]
----
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Also removing repetition.
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* In season 3, Din runs afoul of the ire of some pirates. Their [[https://youtu.be/zKzvNFuPsOI?t=143 leitmotif]] sounds sufficiently piratey, yet still sufficiently partly synth-sounding, befitting their nature as SpacePirates.
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* In season 3, Din runs afoul of the ire of some pirates. Their [[https://youtu.be/zKzvNFuPsOI?t=143 leitmotif]] sounds sufficiently piratey, yet still sufficiently partly synth-sounding, befitting their nature as SpacePirates.
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This namespace is Spoilers Off.
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* The [[spoiler:Mythosaur]] leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a moment of a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the [[spoiler:Mythosaur]] while she hauls Din back to the surface.
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* The [[spoiler:Mythosaur]] Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a moment of a few reverent takes on some of Din's leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the [[spoiler:Mythosaur]] Mythosaur while she hauls Din back to the surface.
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The Clone Wars and Clone Wars are not the same.
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* As for [[WesternAnimation/StarWarsCloneWars the 2003 series]], the music that plays during [[HeroKiller General Grievous]]' EstablishingCharacterMoment of delivering a NoHoldsBarredBeatdown to [[SugarWiki/MomentOfAwesome FIVE JEDI AT ONCE]] is both creepy and awesome.
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a moment of a few reverent takes on some of Din's leitmotifs, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface.
to:
* The Mythosaur [[spoiler:Mythosaur]] leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a moment of a few reverent takes on some of Din's leitmotifs, leitmotifs as he baptizes himself, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur [[spoiler:Mythosaur]] while she hauls Din back to the surface.
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*
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* The Mythosaur leitmotif is [[https://youtu.be/23JOBhpGb1k first introduced]] after a moment of a few reverent takes on some of Din's leitmotifs, and a long sequence of Bo-katan's new and previously-heard character leitmotifs in a musical context of hurried searching after Din falls into the water. And then after a momentary eerie moment of suspense in the music, it slams your ears with a crescendo near the end as Bo-katan meets the gaze of the Mythosaur while she hauls Din back to the surface.
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* In season 3, Din runs afoul of the ire of some pirates. Their [[https://youtu.be/zKzvNFuPsOI?t=143 leitmotif]] sounds sufficiently piratey, yet still sufficiently partly synth-sounding, befitting their nature as SpacePirates.
*
*
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* As for [[WesternAnimation/StarWarsCloneWars the 2003 series]], the music that plays during [[HeroKiller General Grievous]]' EstablishingCharacterMoment of delivering a NoHoldsBarredBeatdown to [[SugarWiki/MomentOfAwesome FIVE JEDI AT ONCE]] is both creepy and awesome.
* [[https://www.youtube.com/watch?v=JlNgsE7Nkfo The train fight music from "Bounty" (which also partly shows up in "The Unknown")]] is a neat combination of electronic and orchestra.
* [[https://www.youtube.com/watch?v=JlNgsE7Nkfo The train fight music from "Bounty" (which also partly shows up in "The Unknown")]] is a neat combination of electronic and orchestra.
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links shortening
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* The [[https://www.youtube.com/watch?v=xXp4GnC1Z3Q main theme]] starts mystically and tribally, switches to something out of a western, and then gets progressively bombastic and heroic. Perfectly contrasting the movies' usual fanfares, it's low key and embraces the dangers of a bounty hunter's life, fitting the LowerDeckEpisode tone of the series like a glove.
to:
* The [[https://www.youtube.com/watch?v=xXp4GnC1Z3Q [[https://youtu.be/xXp4GnC1Z3Q main theme]] starts mystically and tribally, switches to something out of a western, and then gets progressively bombastic and heroic. Perfectly contrasting the movies' usual fanfares, it's low key and embraces the dangers of a bounty hunter's life, fitting the LowerDeckEpisode tone of the series like a glove.
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* [[https://www.youtube.com/watch?v=_cMDAaFUUMg Nurse and Protect]] plays for the main action sequence of Season 1, Episode 8. It's been compared to the stormtroopers hearing [[OhCrap JRPG boss music.]]
* Moff Gideon has particularly sinister anthem (first appearing in "[[https://www.youtube.com/watch?v=3ZD7Rg0PgHc The Arrival]]"), incorporating trap beats and ominous string sections into a particularly unsettling time signature of 15/8 (imagine a regular 4/4 piece but every other bar is skipping half a beat) to emphasize his status as the true threat.
* Moff Gideon has particularly sinister anthem (first appearing in "[[https://www.youtube.com/watch?v=3ZD7Rg0PgHc The Arrival]]"), incorporating trap beats and ominous string sections into a particularly unsettling time signature of 15/8 (imagine a regular 4/4 piece but every other bar is skipping half a beat) to emphasize his status as the true threat.
to:
* [[https://www.youtube.com/watch?v=_cMDAaFUUMg [[https://youtu.be/_cMDAaFUUMg Nurse and Protect]] plays for the main action sequence of Season 1, Episode 8. It's been compared to the stormtroopers hearing [[OhCrap JRPG boss music.]]
* Moff Gideon has particularly sinister anthem (first appearing in"[[https://www.youtube.com/watch?v=3ZD7Rg0PgHc "[[https://youtu.be/3ZD7Rg0PgHc The Arrival]]"), incorporating trap beats and ominous string sections into a particularly unsettling time signature of 15/8 (imagine a regular 4/4 piece but every other bar is skipping half a beat) to emphasize his status as the true threat.
* Moff Gideon has particularly sinister anthem (first appearing in
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* "[[https://www.youtube.com/watch?v=Vt0T2QlWf8c A Friend]]" serves as an intriguing counterpoint to "Hope" from ''Rogue One'', highlighting the stark contrast between their otherwise very similar hallway scenes. Whereas "Hope" used heavy orchestra and dramatic vocal chanting to instill the terror of Darth Vader, "A Friend" uses a soft choir and heroic strings to convey a sense of quiet awe for the Jedi.
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* "[[https://www.youtube.com/watch?v=Vt0T2QlWf8c "[[https://youtu.be/Vt0T2QlWf8c A Friend]]" serves as an intriguing counterpoint to "Hope" from ''Rogue One'', highlighting the stark contrast between their otherwise very similar hallway scenes. Whereas "Hope" used heavy orchestra and dramatic vocal chanting to instill the terror of Darth Vader, "A Friend" uses a soft choir and heroic strings to convey a sense of quiet awe for the Jedi.
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* [[https://www.youtube.com/watch?v=lexk3hekQTc The Dark Troopers]]' {{Leitmotif}} is a horrific mess of metallic {{Scare Chord}}s unlike anything else in the entire franchise, instantly making clear just how scary and unnatural they are.
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* [[https://www.youtube.com/watch?v=lexk3hekQTc [[https://youtu.be/lexk3hekQTc The Dark Troopers]]' {{Leitmotif}} is a horrific mess of metallic {{Scare Chord}}s unlike anything else in the entire franchise, instantly making clear just how scary and unnatural they are.
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* The [[https://www.youtube.com/watch?v=3a0tH0fkvW8 title song]], another item from Music/LudwigGoransson, is an imposing sequence that evokes not only similar tones from its sister show ''Series/TheMandalorian'', but also incorporates tribal chanting and darker notes from the Prequel Trilogy's music, reflecting the long history and struggles of Boba Fett's life. Göransson based the music on the theme for the film adaptation of ''Literature/RonjaTheRobbersDaughter'', a Swedish work that Göransson would have been familiar with growing up.
* [[https://www.youtube.com/watch?v=kHY07ClkJTs "The Mod Parlour"]] plays during the scene where Boba brings Shand to receive her bionics. It sounds very unlike any other ''Star Wars'' music, with heavy electronic beats and even some hip-hop influence setting it apart from the usual soundtracks.
* [[https://www.youtube.com/watch?v=kHY07ClkJTs "The Mod Parlour"]] plays during the scene where Boba brings Shand to receive her bionics. It sounds very unlike any other ''Star Wars'' music, with heavy electronic beats and even some hip-hop influence setting it apart from the usual soundtracks.
to:
* The [[https://www.youtube.com/watch?v=3a0tH0fkvW8 [[https://youtu.be/3a0tH0fkvW8 title song]], another item from Music/LudwigGoransson, is an imposing sequence that evokes not only similar tones from its sister show ''Series/TheMandalorian'', but also incorporates tribal chanting and darker notes from the Prequel Trilogy's music, reflecting the long history and struggles of Boba Fett's life. Göransson based the music on the theme for the film adaptation of ''Literature/RonjaTheRobbersDaughter'', a Swedish work that Göransson would have been familiar with growing up.
*[[https://www.youtube.com/watch?v=kHY07ClkJTs [[https://youtu.be/kHY07ClkJTs "The Mod Parlour"]] plays during the scene where Boba brings Shand to receive her bionics. It sounds very unlike any other ''Star Wars'' music, with heavy electronic beats and even some hip-hop influence setting it apart from the usual soundtracks.
*
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* The [[https://www.youtube.com/watch?v=HLn8e3aU7eI title song]], performed by Music/JohnWilliams, is a gut wrenching melancholy melody of [[Characters/StarWarsObiWanKenobi Obi Wan's]] life of exile on Tatooine set 10 years after the events of ''Film/RevengeOfTheSith''.
to:
* The [[https://www.youtube.com/watch?v=HLn8e3aU7eI [[https://youtu.be/HLn8e3aU7eI title song]], performed by Music/JohnWilliams, is a gut wrenching melancholy melody of [[Characters/StarWarsObiWanKenobi Obi Wan's]] life of exile on Tatooine set 10 years after the events of ''Film/RevengeOfTheSith''.
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* [[https://www.youtube.com/watch?v=Qu-TXqSoJLQ The title track]] of [[Recap/StarWarsTheCloneWarsS7E12VictoryAndDeath "Victory and Death"]] is a tragic and dramatic arrangement of the already-emotional theme from [[Film/ThePhantomMenace "Qui-Gon's Funeral"]]/[[Film/RevengeOfTheSith "Padme's Destiny"]], now marking the finale of ''The Clone Wars''. It really sends the message that this seven-season-long journey with these characters you know and love is about to end, [[ForegoneConclusion and it won't be a happy ending]].
to:
* [[https://www.youtube.com/watch?v=Qu-TXqSoJLQ [[https://youtu.be/Qu-TXqSoJLQ The title track]] of [[Recap/StarWarsTheCloneWarsS7E12VictoryAndDeath "Victory and Death"]] is a tragic and dramatic arrangement of the already-emotional theme from [[Film/ThePhantomMenace "Qui-Gon's Funeral"]]/[[Film/RevengeOfTheSith "Padme's Destiny"]], now marking the finale of ''The Clone Wars''. It really sends the message that this seven-season-long journey with these characters you know and love is about to end, [[ForegoneConclusion and it won't be a happy ending]].
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* "Empire Day" features [[https://www.youtube.com/watch?v=TouCl6yp13A "The Imperial March"]], as one might expect. Except, it's rearranged from the traditional foreboding song the ''Star Wars'' fans have known it has for over 34 years into a rousing anthem of hope. ''And it works''.
* [[https://soundcloud.com/davidglenrussell/ahsokas-fate "Ahsoka's Fate"]] (currently removed likely due to [[SpoilerTitle spoilers]]), used in the first half of the S2 midseason trailer and a rendition of "Ahsoka's Theme". Since the link is down as of this writing, [[https://www.youtube.com/watch?v=bim694_y1mQ someone managed to rip the audio from the trailer.]] The build-up in the beginning is extended from the original.
* [[https://soundcloud.com/davidglenrussell/ahsokas-fate "Ahsoka's Fate"]] (currently removed likely due to [[SpoilerTitle spoilers]]), used in the first half of the S2 midseason trailer and a rendition of "Ahsoka's Theme". Since the link is down as of this writing, [[https://www.youtube.com/watch?v=bim694_y1mQ someone managed to rip the audio from the trailer.]] The build-up in the beginning is extended from the original.
to:
* "Empire Day" features [[https://www.youtube.com/watch?v=TouCl6yp13A [[https://youtu.be/TouCl6yp13A "The Imperial March"]], as one might expect. Except, it's rearranged from the traditional foreboding song the ''Star Wars'' fans have known it has for over 34 years into a rousing anthem of hope. ''And it works''.
* [[https://soundcloud.com/davidglenrussell/ahsokas-fate "Ahsoka's Fate"]] (currently removed likely due to [[SpoilerTitle spoilers]]), used in the first half of the S2 midseason trailer and a rendition of "Ahsoka's Theme". Since the link is down as of this writing,[[https://www.youtube.com/watch?v=bim694_y1mQ [[https://youtu.be/bim694_y1mQ someone managed to rip the audio from the trailer.]] The build-up in the beginning is extended from the original.
* [[https://soundcloud.com/davidglenrussell/ahsokas-fate "Ahsoka's Fate"]] (currently removed likely due to [[SpoilerTitle spoilers]]), used in the first half of the S2 midseason trailer and a rendition of "Ahsoka's Theme". Since the link is down as of this writing,
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* [[https://www.youtube.com/watch?v=ItpYeadX-vk The Inquisitor's theme]] is suitably sinister.
* [[https://www.youtube.com/watch?v=Gjuux2b4wN4 The theme song]] is a stirring number stuffed with resolve, determination and valour in the midst of a galaxy ruled by an iron-fisted Empire. There's also the [[https://www.youtube.com/watch?v=3f7mdjVMC3E official remix]] by [[{{Dubstep}} Flux Pavilion]].
* The stirring theme during [[https://www.youtube.com/watch?v=8EYVbIRuA8E "Rebel... (he's a) Jedi... Rebel...]] yeah, and what if I don't wanna be either?" is a thriller embodying the resolve of Jedi Kanan Jarus. [[https://www.youtube.com/watch?v=csTWXXfMRE8 And the Season 3 version.]]
* [[https://www.youtube.com/watch?v=zyiYl7h2Q70 "It's Over Now"]], the music used for the final few minutes of Season 2, reflecting its epic scope and conclusion. There is a piece that [[WhatCouldHaveBeen was used before the final version]], called [[http://static1.squarespace.com/static/5667721fdf40f3a42f3c2187/566f41e4bfe873371e435fc1/56e9dc21f8baf38485af534b/1458166867451/Where+the+Sun+Sails+and+the+Moon+Walks.mp3 "Where the Sun Sails and the Moon Walks"]]. [[https://vimeo.com/179158567 Someone edited the ending montage with this song.]]
* The pieces in the initial Season 3 trailer, [[https://www.youtube.com/watch?v=v2fycUCiLlc which someone managed to rip,]] are completely ''badass''. It begins feeling darkened and with a much more jaded and serious feel, mirroring how the characters (especially Kanan and Ezra) are [[HeroicBSOD still broken]] ([[TookALevelInCynic or at least have their pieces in the wrong places]]) from the DownerEnding we last saw them in, before escalating into something evocative of an action-adventure movie trailer, and suddenly quieting down into an organ that establishes its volume right when Thrawn [[EmergingFromTheShadows emerges from the shadows]]. [[https://www.youtube.com/watch?v=8indbmwH3xs Then the final piece]] tells us the stakes are ''much'' crazier than before.
* [[https://www.youtube.com/watch?v=Gjuux2b4wN4 The theme song]] is a stirring number stuffed with resolve, determination and valour in the midst of a galaxy ruled by an iron-fisted Empire. There's also the [[https://www.youtube.com/watch?v=3f7mdjVMC3E official remix]] by [[{{Dubstep}} Flux Pavilion]].
* The stirring theme during [[https://www.youtube.com/watch?v=8EYVbIRuA8E "Rebel... (he's a) Jedi... Rebel...]] yeah, and what if I don't wanna be either?" is a thriller embodying the resolve of Jedi Kanan Jarus. [[https://www.youtube.com/watch?v=csTWXXfMRE8 And the Season 3 version.]]
* [[https://www.youtube.com/watch?v=zyiYl7h2Q70 "It's Over Now"]], the music used for the final few minutes of Season 2, reflecting its epic scope and conclusion. There is a piece that [[WhatCouldHaveBeen was used before the final version]], called [[http://static1.squarespace.com/static/5667721fdf40f3a42f3c2187/566f41e4bfe873371e435fc1/56e9dc21f8baf38485af534b/1458166867451/Where+the+Sun+Sails+and+the+Moon+Walks.mp3 "Where the Sun Sails and the Moon Walks"]]. [[https://vimeo.com/179158567 Someone edited the ending montage with this song.]]
* The pieces in the initial Season 3 trailer, [[https://www.youtube.com/watch?v=v2fycUCiLlc which someone managed to rip,]] are completely ''badass''. It begins feeling darkened and with a much more jaded and serious feel, mirroring how the characters (especially Kanan and Ezra) are [[HeroicBSOD still broken]] ([[TookALevelInCynic or at least have their pieces in the wrong places]]) from the DownerEnding we last saw them in, before escalating into something evocative of an action-adventure movie trailer, and suddenly quieting down into an organ that establishes its volume right when Thrawn [[EmergingFromTheShadows emerges from the shadows]]. [[https://www.youtube.com/watch?v=8indbmwH3xs Then the final piece]] tells us the stakes are ''much'' crazier than before.
to:
* [[https://www.youtube.com/watch?v=ItpYeadX-vk [[https://youtu.be/ItpYeadX-vk The Inquisitor's theme]] is suitably sinister.
*[[https://www.youtube.com/watch?v=Gjuux2b4wN4 [[https://youtu.be/Gjuux2b4wN4 The theme song]] is a stirring number stuffed with resolve, determination and valour in the midst of a galaxy ruled by an iron-fisted Empire. There's also the [[https://www.youtube.com/watch?v=3f7mdjVMC3E [[https://youtu.be/3f7mdjVMC3E official remix]] by [[{{Dubstep}} Flux Pavilion]].
* The stirring theme during[[https://www.youtube.com/watch?v=8EYVbIRuA8E [[https://youtu.be/8EYVbIRuA8E "Rebel... (he's a) Jedi... Rebel...]] yeah, and what if I don't wanna be either?" is a thriller embodying the resolve of Jedi Kanan Jarus. [[https://www.youtube.com/watch?v=csTWXXfMRE8 [[https://youtu.be/csTWXXfMRE8 And the Season 3 version.]]
*[[https://www.youtube.com/watch?v=zyiYl7h2Q70 [[https://youtu.be/zyiYl7h2Q70 "It's Over Now"]], the music used for the final few minutes of Season 2, reflecting its epic scope and conclusion. There is a piece that [[WhatCouldHaveBeen was used before the final version]], called [[http://static1.squarespace.com/static/5667721fdf40f3a42f3c2187/566f41e4bfe873371e435fc1/56e9dc21f8baf38485af534b/1458166867451/Where+the+Sun+Sails+and+the+Moon+Walks.mp3 "Where the Sun Sails and the Moon Walks"]]. [[https://vimeo.com/179158567 Someone edited the ending montage with this song.]]
* The pieces in the initial Season 3 trailer,[[https://www.youtube.com/watch?v=v2fycUCiLlc [[https://youtu.be/v2fycUCiLlc which someone managed to rip,]] are completely ''badass''. It begins feeling darkened and with a much more jaded and serious feel, mirroring how the characters (especially Kanan and Ezra) are [[HeroicBSOD still broken]] ([[TookALevelInCynic or at least have their pieces in the wrong places]]) from the DownerEnding we last saw them in, before escalating into something evocative of an action-adventure movie trailer, and suddenly quieting down into an organ that establishes its volume right when Thrawn [[EmergingFromTheShadows emerges from the shadows]]. [[https://www.youtube.com/watch?v=8indbmwH3xs [[https://youtu.be/8indbmwH3xs Then the final piece]] tells us the stakes are ''much'' crazier than before.
*
* The stirring theme during
*
* The pieces in the initial Season 3 trailer,
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* In "Legacy of Mandalore", we have [[https://www.youtube.com/watch?v=vn__xIWbZB0 "Duel for the Darksaber"]] as Sabine fights Saxon and ends up victorious. There's also the pieces that play as Sabine refuses to kill Saxon]] and when Ursa shoots him instead.
* [[https://www.youtube.com/watch?v=6OGix6gtObE "Thrawn's Web"]], especially the organ part, is a suitably sinister leitmotif for the cunning and sophisticated Grand Admiral.
* [[https://www.youtube.com/watch?v=6OGix6gtObE "Thrawn's Web"]], especially the organ part, is a suitably sinister leitmotif for the cunning and sophisticated Grand Admiral.
to:
* In "Legacy of Mandalore", we have [[https://www.youtube.com/watch?v=vn__xIWbZB0 [[https://youtu.be/vn__xIWbZB0 "Duel for the Darksaber"]] as Sabine fights Saxon and ends up victorious. There's also the pieces that play as Sabine refuses to kill Saxon]] and when Ursa shoots him instead.
*[[https://www.youtube.com/watch?v=6OGix6gtObE [[https://youtu.be/6OGix6gtObE "Thrawn's Web"]], especially the organ part, is a suitably sinister leitmotif for the cunning and sophisticated Grand Admiral.
*
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* [[https://www.youtube.com/watch?v=rJLD61Y1doU "Kanan's End Credits"]], a sweeping orchestral version of Kanan's theme that plays during the end of "A World Between Worlds", perfectly underscoring the crew's, and by extension the audience's, final farewell to Kanan.
* [[https://www.youtube.com/watch?v=0G3Cs6pdsbM "Sabine Sees Ezra"]], one of the final recitings of our protagonists' leitmotifs, building up to Ezra [[ThisIsSomethingHesGotToDoHimself choosing to defy orders and go alone to confront Thrawn]] in order to [[ItsPersonal save Lothal]], while Sabine notices and silently lets him go as she distracts the others. And as it turns out, this was the last time our heroes ever personally saw Ezra... at least for a very long time, perhaps.
* [[https://www.youtube.com/watch?v=jF0lYWcOn3M The finale's epilogue]] encapsulates the BittersweetEnding, with the Empire losing its iron grip on the galaxy and being unable to attack Lothal at the cost of Ezra's disappearance, alternating between sounding sombre and sweet. It also goes on to play over the heartwarming WhereAreTheyNowEpilogue for the ''Ghost'''s crew before ending on a hopeful note and "The Force theme" as Sabine and Ahsoka head off to find Ezra and bring him home.
* [[https://www.youtube.com/watch?v=QZYaj_F7nkM The finale's end credits.]] What better way to wrap up this series than with the same triumphant tune that plays over the beginning of all the films' end credits, along with the same stirring theme of the show?
* [[https://www.youtube.com/watch?v=0G3Cs6pdsbM "Sabine Sees Ezra"]], one of the final recitings of our protagonists' leitmotifs, building up to Ezra [[ThisIsSomethingHesGotToDoHimself choosing to defy orders and go alone to confront Thrawn]] in order to [[ItsPersonal save Lothal]], while Sabine notices and silently lets him go as she distracts the others. And as it turns out, this was the last time our heroes ever personally saw Ezra... at least for a very long time, perhaps.
* [[https://www.youtube.com/watch?v=jF0lYWcOn3M The finale's epilogue]] encapsulates the BittersweetEnding, with the Empire losing its iron grip on the galaxy and being unable to attack Lothal at the cost of Ezra's disappearance, alternating between sounding sombre and sweet. It also goes on to play over the heartwarming WhereAreTheyNowEpilogue for the ''Ghost'''s crew before ending on a hopeful note and "The Force theme" as Sabine and Ahsoka head off to find Ezra and bring him home.
* [[https://www.youtube.com/watch?v=QZYaj_F7nkM The finale's end credits.]] What better way to wrap up this series than with the same triumphant tune that plays over the beginning of all the films' end credits, along with the same stirring theme of the show?
to:
* [[https://www.youtube.com/watch?v=rJLD61Y1doU [[https://youtu.be/rJLD61Y1doU "Kanan's End Credits"]], a sweeping orchestral version of Kanan's theme that plays during the end of "A World Between Worlds", perfectly underscoring the crew's, and by extension the audience's, final farewell to Kanan.
*[[https://www.youtube.com/watch?v=0G3Cs6pdsbM [[https://youtu.be/0G3Cs6pdsbM "Sabine Sees Ezra"]], one of the final recitings of our protagonists' leitmotifs, building up to Ezra [[ThisIsSomethingHesGotToDoHimself choosing to defy orders and go alone to confront Thrawn]] in order to [[ItsPersonal save Lothal]], while Sabine notices and silently lets him go as she distracts the others. And as it turns out, this was the last time our heroes ever personally saw Ezra... at least for a very long time, perhaps.
*[[https://www.youtube.com/watch?v=jF0lYWcOn3M [[https://youtu.be/jF0lYWcOn3M The finale's epilogue]] encapsulates the BittersweetEnding, with the Empire losing its iron grip on the galaxy and being unable to attack Lothal at the cost of Ezra's disappearance, alternating between sounding sombre and sweet. It also goes on to play over the heartwarming WhereAreTheyNowEpilogue for the ''Ghost'''s crew before ending on a hopeful note and "The Force theme" as Sabine and Ahsoka head off to find Ezra and bring him home.
*[[https://www.youtube.com/watch?v=QZYaj_F7nkM [[https://youtu.be/QZYaj_F7nkM The finale's end credits.]] What better way to wrap up this series than with the same triumphant tune that plays over the beginning of all the films' end credits, along with the same stirring theme of the show?
*
*
*
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* [[https://youtube.com/watch?v=gfKzDyv0KMo "The Temple Collapses"]] is a hauntingly epic piece full of mystique and drama, perfect for the event it's titled for.
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* The finale reveals that the main title theme, broken up across each episode's intro, is actually Maarva's funeral dirge played by her marching band. The tension slowly builds until the band breaks into a fast horn and drum section and begins marching the entire town straight at the Imperial troopers sent to stop them.
to:
* The "Forming Up/Unto Stone We Are" from the finale reveals that the main title theme, broken up across each episode's intro, is actually Maarva's funeral dirge played by her marching band. The tension slowly builds until the band breaks into a fast horn and drum section and begins marching the entire town straight at the Imperial troopers sent to stop them.
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* The finale reveals that the main title theme, broken up across each episode's intro, is actually Maarva's funeral dirge played by her marching band. The tension slowly builds until the band breaks into a fast horn and drum section and begins marching the entire town straight at the Imperial troopers sent to stop them.
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This namespace is Spoilers Off.
'''SugarWiki/AwesomeMusic pages are Administrivia/SpoilersOff. Administrivia/YouHaveBeenWarned.'''
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* "The Rono Trawler" from Episode 6, where the tension reaches its boiling point and turns to bliss as [[spoiler: the Aldhani heist team flies into the Eye.]]
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* "The Rono Trawler" from Episode 6, where the tension reaches its boiling point and turns to bliss as [[spoiler: the Aldhani heist team flies into the Eye.]]
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* "The Rono Trawler" from Episode 6, where the tension reaches its boiling point and turns to bliss as [[spoiler: the Aldhani heist team flies into the Eye.]]
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What's awesome about the "modern, cyberpunk-style techno track"? A genre isn't context for awesomeness.
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* The club in Morlana at the beginning of Episode 1 plays a modern, cyberpunk-style techno track.
* Episode 2 ends with "Pilgrim", an unusual (for Star Wars) orchestral rock theme heavy on drums and violin as Andor walks to his meeting with Luthen.
* Episode 2 ends with "Pilgrim", an unusual (for Star Wars) orchestral rock theme heavy on drums and violin as Andor walks to his meeting with Luthen.
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* Episode 2 ends with "Pilgrim", an unusual (for
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[[folder:''Andor'']]
* The club in Morlana at the beginning of Episode 1 plays a modern, cyberpunk-style techno track.
* Episode 2 ends with "Pilgrim", an unusual (for Star Wars) orchestral rock theme heavy on drums and violin as Andor walks to his meeting with Luthen.
[[/folder]]
* The club in Morlana at the beginning of Episode 1 plays a modern, cyberpunk-style techno track.
* Episode 2 ends with "Pilgrim", an unusual (for Star Wars) orchestral rock theme heavy on drums and violin as Andor walks to his meeting with Luthen.
[[/folder]]
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* [[https://soundcloud.com/deankinersounds/twin-moons "Twin Moons"]] plays at the end of "Legacy", when Ezra [[spoiler:says goodbye to his recently-deceased parents after discovering their fate, accompanied by a vision of a better Lothal]]. It fits as a parallel to "Binary Sunset".
* The second half of season two starts off strong; [[spoiler:Leia's arrival means that several audio cues from the original trilogy make an appearance.]] Two moments in particular are [[spoiler:the ''Ghost''[='s=] arrival to the ''Star Wars'' main theme]], and a later cue borrows heavily from [[spoiler:the moment when the ''Falcon'' was captured by the Death Star.]]
* [[http://www.starwars.com/audio/star-wars-rebels-journey-into-the-star-cluster-audio-cue "Journey into the Star Cluster"]] from "Legends of the Lasat", during the [[spoiler:[[ExactlyWhatItSaysOnTheTin star cluster scene]]]]. It is different from the usual fanfare soundtrack ''Star Wars'' is known for, which helps showcase the mystique and ritualism of Lasan's culture and its connection to Ashla, or the Force. [[https://soundcloud.com/deankinersounds/lasat-ritual "Lasat Ritual,"]] from earlier where Zeb uses his bo-rifle on the map, has a similar idea.
* The second half of season two starts off strong; [[spoiler:Leia's arrival means that several audio cues from the original trilogy make an appearance.]] Two moments in particular are [[spoiler:the ''Ghost''[='s=] arrival to the ''Star Wars'' main theme]], and a later cue borrows heavily from [[spoiler:the moment when the ''Falcon'' was captured by the Death Star.]]
* [[http://www.starwars.com/audio/star-wars-rebels-journey-into-the-star-cluster-audio-cue "Journey into the Star Cluster"]] from "Legends of the Lasat", during the [[spoiler:[[ExactlyWhatItSaysOnTheTin star cluster scene]]]]. It is different from the usual fanfare soundtrack ''Star Wars'' is known for, which helps showcase the mystique and ritualism of Lasan's culture and its connection to Ashla, or the Force. [[https://soundcloud.com/deankinersounds/lasat-ritual "Lasat Ritual,"]] from earlier where Zeb uses his bo-rifle on the map, has a similar idea.
to:
* [[https://soundcloud.com/deankinersounds/twin-moons "Twin Moons"]] plays at the end of "Legacy", when Ezra [[spoiler:says says goodbye to his recently-deceased parents after discovering their fate, accompanied by a vision of a better Lothal]].Lothal. It fits as a parallel to "Binary Sunset".
* The second half of season two starts off strong;[[spoiler:Leia's Leia's arrival means that several audio cues from the original trilogy make an appearance.]] appearance. Two moments in particular are [[spoiler:the the ''Ghost''[='s=] arrival to the ''Star Wars'' main theme]], theme, and a later cue borrows heavily from [[spoiler:the the moment when the ''Falcon'' was captured by the Death Star.]]
Star.
* [[http://www.starwars.com/audio/star-wars-rebels-journey-into-the-star-cluster-audio-cue "Journey into the Star Cluster"]] from "Legends of the Lasat", during the[[spoiler:[[ExactlyWhatItSaysOnTheTin [[ExactlyWhatItSaysOnTheTin star cluster scene]]]].scene]]. It is different from the usual fanfare soundtrack ''Star Wars'' is known for, which helps showcase the mystique and ritualism of Lasan's culture and its connection to Ashla, or the Force. [[https://soundcloud.com/deankinersounds/lasat-ritual "Lasat Ritual,"]] from earlier where Zeb uses his bo-rifle on the map, has a similar idea.
* The second half of season two starts off strong;
* [[http://www.starwars.com/audio/star-wars-rebels-journey-into-the-star-cluster-audio-cue "Journey into the Star Cluster"]] from "Legends of the Lasat", during the
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* The stirring theme during [[https://www.youtube.com/watch?v=8EYVbIRuA8E "Rebel... (he's a) Jedi... Rebel...]] yeah, and what if I don't wanna be either?" is a thriller embodying the resolve of Kanan. [[https://www.youtube.com/watch?v=csTWXXfMRE8 And the Season 3 version.]]
to:
* The stirring theme during [[https://www.youtube.com/watch?v=8EYVbIRuA8E "Rebel... (he's a) Jedi... Rebel...]] yeah, and what if I don't wanna be either?" is a thriller embodying the resolve of Kanan.Jedi Kanan Jarus. [[https://www.youtube.com/watch?v=csTWXXfMRE8 And the Season 3 version.]]
