In one early interview, George Lucas said he had very high expectations when he made Star Wars in the mid-1970s. The only thing that exceeded his expectations was the music of John Williams. For good reasons.
- Even before delving into Williams, Alfred Newman's ever awesome theme for the 20th Century Fox logo combined with the Lucasfilm logo is worth mentioning. It was so closely associated to the saga's openings that many lamented the lack of it after Disney purchased the franchise. When Disney purchased 20th Century Fox, there were growing calls to have Disney put the Fox fanfare back in.
- What better way to accompany the words "A long time ago in a galaxy far, far away..." at the beginning of each film of the saga? There's a reason it's one of the most iconic movie themes in history.
- Any time we hear the Rebel Fanfare is a crowning musical moment of awesome. The Rebel Fanfare is in fact, chronologically speaking, the first piece of music ever heard in a Star Wars film after the opening fanfare, playing as we see the Tantive IV trying to evade the Star Destroyer at the opening of A New Hope. The Fanfare features often as a motif in various different scenarios throughout the original trilogy, often to symbolise Rebel acts of courage or Rebel victories. It is also heard during the credits music of every Star Wars film in the Original Trilogy. Oddly, the tune is in a minor key, which makes it sound threatening and villainous sometimes - in the Star Wars radioplays it was used erroneously to introduce scenes featuring the Empire. The first time we hear the Rebel Fanfare in The Force Awakens is when we see the Millennium Falcon again for the first time, which is a major bit of Fanservice and a huge squee moment for the audience.
- "Binary Sunset" and its many variations are a mix of heartwarming and tear jerking.
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The Phantom Menace
- "Anakin's Theme" is a sweet and heartwarming theme that carries a hint of the Imperial March near the end.
- "Duel of the Fates" also qualifies as an example of Ominous Latin Chanting, even though it's a Welsh poem sung in Sanskrit. Even people who loathe the prequels admit that "Duel of the Fates" was awesome.
- "Augie's Great Municipal Band", the celebratory music from the end of The Phantom Menace. More so when you realize that the vocals have the exact same melody as those in the Emperor's theme, just in a major key, faster, and sung by laughing children... which leads us to mention "The Emperor's Theme", the perfect conveyance of the deep, dark evil that is the Emperor.
- The Tide Turns a triumphant use of the Force theme for when Anakin destroys the Trade Federation ship.
- Flag Parade, the music that plays when Anakin gets ready for his first podrace, is a fantastic, bombastic march that wouldn't feel out of place in Ben-Hur. No wonder the Battlefront games used an extended version of it for when the player gets General Greivous.
- "The Racer Roars to Life". A brief, but brilliant cue during the IT'S WORKING! IT'S WORKINGGGGGG!!!!! scene in The Phantom Menace.
- Anakin is Free, a beautiful yet heartbreaking piece where Anakin says goodbye to his mother. The ending to the song also has a very powerful rendition of the Force theme when he leaves to join the Jedi.
- The sorrowful and haunting music during Qui-Gon's funeral, which was later re-used in Revenge of the Sith during Vader's birth and Padme's death.
Attack of the Clones
- Episodes II and III have brilliant ending themes. Episode II has the first prolific use of the Imperial March as a major foreshadowing, dovetailing into an awesome rendition of "Across the Stars". Episode III has three minutes of no dialogue which lets John Williams flex his arms like he wants to, cycling from Padme's funeral theme to Leia's theme, then to a small snippet of Harry Potter-esque music before launching into the Force Theme over a binary sunset to create one of the most awesome bookends ever. No mention of the ending theme is complete without the extended end credits on the soundtrack, which includes an amazingly bittersweet rendition of the Throne Room theme from A New Hope that perfectly captures the mix of despair and hope that the end of the movie conveyed.
- The famous Romeo & Juliet-inspired love theme, "Across the Stars".
- The very avant-garde "Chase""Through Coruscant" from Episode II. It's like a nightly news theme on speed, combined with electric guitar and percussion that can be charitably described as insane.
- The song that plays during Jango's Escape from Kamino, aptly named... "Jango's Escape" is a very intense tune, that is very befitting of both the frantic battle between Obi-Wan and Jango, and for just how menacing of an opponent Jango Fett is... The dude isn't even Force sensitive, yet he very nearly bested Obi-Wan in combat!
- The melody playing during the military parade at the end, also reminding older fans that the heroic Clone Troopers that have saved the Jedi and routed the evil Separatists are actually the first obvious sign of the future Galactic Empire.
Revenge of the Sith
- "Anakin's Dark Deeds" is an epic and emotional song that illustrates Anakin's fall to the Dark Side along with the rise of the Empire.
- "Padmé's Ruminations" where Padmé looks across Coruscant at the Jedi Temple from her apartment and Anakin in the Temple seems to look back. Featuring the only use of the One-Woman Wail in Star Wars music.
- The dramatic and badass track when General Grievous arrives on Utapau. In contrast, the music where Obi-Wan leaves for Utapau is both heroic and inspiring.
- The chilling and sad "Anakin's Betrayal". "The Immolation Scene" was another amazing, tear-inducing piece of music. "YOU WERE THE CHOSEN ONE!!!" The Revenge of the Sith soundtrack was one whole emotionally charged Crowning Score of Awesome. The opening credits where Anakin and Obi-Wan are flying together as friends and triumphant heroes, Grevious's choral theme, the eerie, guttural music playing during the Mon Calamari ballet as Palpatine begins to ensnare Anakin with whispers of the power of the Dark Side...all wonderful.
- The music that plays as the newly-christened Darth Vader marches on the Jedi Temple. Sadly, it is absent from the soundtrack (although the theme appears in part in "Love Pledge and the Arena".
- "Battle of the Heroes", for the final battle between Anakin and Obi-Wan on Mustafar. It's described as a Sad Battle Music counterpart to "Duel of the Fates", and it's every bit as epic.
A New Hope
- "Binary Sunset" proves that even contemplative interludes are awesome when placed in the hands of John Williams. Just amazing.
- "Cantina Band". You know it, even if you haven't seen Star Wars. It's become that iconic, and its catchiness proved that even background alien tunes could be huge hits. Even if the genre is called "jizz".
- "The Battle of Yavin". Swirly, Lock-and-Load Montage style strings at the beginning, total non-stop badassery for the rest of the track. Then there's the ending. Only John Williams can pack so much HSQ into so small a time. Like a lot of Star Wars music, "The Battle of Yavin" takes cues from Holst's Planets suite, specifically "Mars, The Bringer of War". The "DUN DUN DUN DUNN...DUN DUN DUN...DUN DUN DUN DA DA DUN DUN DUN!" as the Death Star is preparing to fire immediately before going kablooie is taken right out of Holst.
- During the Death Star battle score for A New Hope, it's noticeable that the music changes from scary/foreboding to confident/heroic at the exact moment Luke turns off his targeting computer and trusts the Force. That's the turning point of the movie and the music underscores it.
- "The Tractor Beam/Chasm Crossfire", but especially the second part. Starts out with some cool spooky music, then eventually translates into an amazingly uplifting version of the main fanfare, intermingled with Leia's theme and some other great stuff. Combined with the bottomless pit, aka the "I think we took a wrong turn" scene, it's just pure awesome.
- "That's no moon..." Especially brilliant since it's the Darkest Hour of A New Hope, and Williams could have scored it with something soul-crushingly hopeless. Instead, we hear an incredibly rousing version of the Rebel Fanfare to remind us that our heroes aren't licked yet...
- "TIE Fighter Attack", aka "Here They Come!" It earns that exclamation mark.
- Not one of the flashiest themes, but the Jawa Theme was otherworldly.
- Darth Vader's original theme, which was replaced by the Imperial March for Episode V, gets forgotten about due to how awesome the Imperial March is, but it fits the low-key brooding evil and mystery of Vader much better. It even appeared briefly in Rogue One alongside the Imperial March.
- "The Throne Room" ending theme from A New Hope. You will rarely find another closing score that embodies pure triumph and happiness (and the cute fluttery riff from the main theme when we find out R2's okay after all). Another theme plucked in its entirety by Family Guy (before their own parody trilogy in fact).
The Empire Strikes Back
- The Imperial March. Star Wars Legends hints that the Imperial March really is the martial theme of the Imperial Navy.
- The saga's original great love theme, "Han Solo and the Princess".
- "The City in the Clouds". Less bombastic, but utterly magnificent.
- Hyperspace is a very exciting track for where the Falcon narrowly escapes Cloud City.
- The Battle of Hoth is almost 15 minutes of sheer awesome. Highlights include the anthem for Humongous Mecha (part 1, 4:02-7:40), some preposterously heroic music when Luke pwns the AT-AT with the grenade (part 2, 2:45-3:40), and what can only be described as a gleefully malicious version of the Imperial March (3:40-4:10). Good times.
- Yoda's theme is simply lovely.
- "The Rebel Fleet/End Titles". For a film that ends on quite a downer, the beginning of this piece focuses purely on the hope for the future with a stirring rendition of the "Han Solo and the Princess" theme which ascends into the standard End Titles music. Cutting this theme a bit shorter than the other films, it segues into reprises of "Yoda's Theme" and "The Imperial March" that are anything but unnecessary repetition. After that, the most soaring rendition of "Han Solo and the Princess" builds and builds until we are presented with what is possibly the greatest climax to a score in film history.
Return of the Jedi
- The adventurous theme of the Ewoks. and the "Forest Battle".
- The Emperor's sinister motif is the perfect theme for any villain.
- Jedi has all the best themes of the original trilogy, such as "Leia's News/Light of the Force". Starts off with Luke and Leia's theme, rolls into the love theme, and then the EPIC force theme at the cremation. But the whole of the second half of Jedi has awesome music.
- When Vader breaks free of the Dark Side in Return of the Jedi the music switches from an "evil victory is imminent" rendition of the Emperor's Theme to a kick-in-the-gut minor chord version of the "Force Theme".
- The tragically underused "Luke and Leia" in Return of the Jedi, which may very well be the best music in the saga.
- The first half of the track "The Final Duel/Into the Death Star", the part of the film when Luke snaps and goes all-out against his father. The mournful male vocals combined with the tragic strings nearly make the music a tearjerker without any context whatsoever. The tune was tweaked into the song for the opening screen of Knights of the Old Republic.
- During Vader's death, the main triad of the Imperial March leitmotif is looped over and over, eventually ascending up a 5th from its normal 1-6-3 location to a 5-3-7. At the very end, it is plucked out one last time by a lonesome harp — signaling not only the defeat of the Evil Empire, but the passing of Main Character Anakin Skywalker.
- "Into the Trap". That repeating motif when Lando, Wedge, and the other group leaders check in perfectly captures the determination of the Rebellion at that moment.
- Yub Nub may be cute, but "Victory Celebration" is just... amazing. A song with no language that perfectly captures the feeling of knowing that the galaxy is finally free. For fans that have grown up with Star Wars, hearing the triumphant chorus after watching everything unfold could be considered a bittersweet tearjerker.
- Lapti Nek, the song that originally played in Jabbas palace before the George Lucas Altered Version, is awesomely catchy, even if you dont understand the lyrics. Even fans who don't mind the edits often state they wish this song was left in.
The Force Awakens
- The Force Awakens' main title theme is a joy to hear after ten years, the second part "The Attack on the Jakku Village" prepares you for yet another adventure in a galaxy far, far away. It is atmospheric and tense at the beginning and it builds up to the crescendo when Poe Dameron is captured by Kylo Ren's troops.
- From The Force Awakens we have "Rey's Theme", which is an instant classic. There's also a tragic rendition of her theme, when she gets captured by Kylo Ren. Along with a graceful variant when the Falcon arrives on the peaceful world of Takadona.
- Also from The Force Awakens we have "March of the Resistance" which is the Theme Song Power Up for the Resistance during an aerial battle at the film's midpoint. Ever wondered what the Rebellion version of the Imperial March would sound like? Now you know, and it's exactly awesome as that description implies, combining the militaristic snare and propulsive beat of the Empire's leitmotif with an upbeat, punchy and appropriately courageous Resistance tinge to match the heroics of Poe Dameron and his X-Wing cavalry.
- The epic battle music continues with "Scherzo for X-Wings" which plays over the film's climactic dogfight and "Farewell and The Trip" which plays during the denouement and it really conveys the feeling that the darkness has passed and that good has triumphed once more although at a great cost. "Scherzo" is particularly notable for how it re-uses the main Star Wars theme. Sure, the main couple of notes have been used here and there throughout the movies to add weight to a triumphant moment for the heroes, but this is the first time since the franchise's beginning that John Williams finally turned the main theme into a full blown Theme Music Power-Up!
- "The Jedi Steps and Finale", an enchanting theme that grows more dramatic when Rey discovers Luke Skywalker. The end credits contain a lovely medley of Rey's theme, Kylo Ren's theme, The Resistance theme, and finally ending in a graceful combination of Rey's and The Force theme.
- Kylo Ren enters the Battle, the sinister and badass piece that plays during the Imperial invasion of Takodana.
- "Torn Apart" perfectly captures Kylo Ren's dilemma, patricide, and Chewbacca's grief and rage.
The Last Jedi
- "Main Title and Escape." It's always wonderful to hear the main theme again, complete with the fluttery flute riff during the transition between the two parts of the piece that had been absent since A New Hope. The "Escape" section of the opening number is pretty awesome too, with the action music growing less heroic and more frantic and perilous with every second during the attack on the Dreadnaught, reaching its tragic climax when Paige dies to save the Resistance.
- "Ahch-To Island" picks up right where The Force Awakens left off with "The Jedi Steps," which is interrupted with an appropriately gut-wrenching phrase when Luke simply tosses the saber over his shoulder. Then we get a brief snippet of the lovely "Binary Sunset," and a longer reprise of "Rey's Theme" as Rey follows Luke around the island as he goes about his daily routine, establishing that Luke is at a similar place at the beginning of this film to Rey at the beginning of the previous one.
- "The Sacred Jedi Texts" starts off with a powerfully bombastic rendition of the Force theme before finally settling into a mellow rendition of Yoda's theme to underscore the nostalgia and peace behind Yoda's brief return.
- "The Rebellion is Reborn", aka the theme for Rose Tico, is simply lovely, and evokes the sweeping and dramatic beauty of Princess Leia's theme from "Empire" while simultaneously being its own distinctive theme.
- "Revisiting Snoke" might sound low-key compared to Emperor Palpatine's theme, but it's still deliciously ominous through and through, especially with Darth Vader's leitmotif returning and Kylo Ren's leitmotif to cap it off.
- "The Supremacy" mixes some of the saga's best themes, combining Kylo Ren's theme, the always-welcome Resistance March, "Binary Sunset", and finally a truly heartbreaking version of Leia's Theme, to represent one of the most powerful moments in the saga, as Leia uses the Force to pull herself back to the ship after being blown out into space. If you're not in tears by the end, you weren't listening.
- The extremely disorienting "The Cave" may not be the flashiest, but it very effectively sets the mood for Rey's surreal experience on Ahch-To, and perfectly captures her disappointment about not getting any meaningful answers.
- What's not to love about The Battle Of Crait? The "damn the torpedoes" rendition of the Resistance theme near the beginning is cool enough, but the triumphant reprise of Rey's theme and "Here They Come!" from A New Hope when the Falcon makes its dramatic re-entry then lures the TIE fighters into a chase in the crystal caves of Crait drive the awesomeness into the stratosphere. "They really hate that ship!", indeed.
- The titular The Last Jedi plays during Luke's "duel" with Kylo Ren, and is essentially a musical retelling of the events in the film. You can hear Kylo's rage in the second half as he charges at Luke, and his Villainous Breakdown as he realizes Luke had completely duped him.
- "The Fathiers" is bouncy, exciting, and dramatic in a "Western horseback chase" sense that serves as an appropriate back-up for one of the most purely entertaining action sequences in the movie.
- "A New Alliance," aka the scene where Rey and Kylo lay waste to Snoke's guards features potentially the most bombastic version of the "Force Theme" in the history of the saga, underscoring Kylo's decision to turn on Snoke and kill him, before dropping us straight into heart-pounding badassery right up until the end.
- "The Spark" unites Luke's theme and Leia's theme with both characters interacting for the last time. Doubly heart wrenching given Carrie Fisher's death. And ending it with an altered version of the Imperial March, only Luke is doing the marching in context of the scene.
- "Canto Bight" is simply a delight, with jazzy samba rhythms on piano, trumpet, and steel drums that call to mind a "rich man's version" of the classic Cantina Band sound, appropriate for one of the galaxy's most opulent hot spots.
- From the complete score, "Holdo's Resolve" is a short but intense piece that plays when the movie alternates between three powerful scenes, namely Kylo and Ren fighting over Anakin's lightsaber, Phasma ordering Finn and Rose's executions, and most importantly, Holdo preparing to ram her ship against the Supremacy, with the song's crescendo reaching its climax with a deafening silence as the First Order's fleet is laid to waste by an incredible hyperspace ramming maneuver.
- "Chrome Dome" feebly continues from "Holdo's Resolve" following the devastation caused by Holdo's sacrifice, but then switches over to heavy war drums as Phasma walks through the inferno and gets on a one-on-one fight with Finn.
- "Peace and Purpose". "Binary Sunset" plays as Luke watches a twin sunset, as he fades away, most likely passing on as a force ghost. The other half is a bittersweet yet hopeful tune that shows that hope is still alive in the galaxy.
- "Finale" plays over the coda on Canto Bight, with a whimsical version of the main theme played on chimes, before segueing into "Binary Sunset" when the stable boy demonstrates his Force abilities and stares out at the night sky, suggesting that hope is reborn in the galaxy. Then, following the tradition set by the closing credits of the previous films in the saga, we get reprises of several pieces, including Rose's theme, a piano version of Leia's theme over the tribute to Carrie Fisher, the Resistance march, the Rebel fanfare, Rey's theme, Yoda's theme, the Battle of Crait, and "Here They Come," and the piece is bookended with Rey's theme played on the chimes we heard at the beginning, signifying who the title character is. And listen carefully to the reprise of Rey's theme right at the end: it's shifted from a minor key to a major key, to match Luke's.
Michael Giacchino had to complete the Rogue One score in a hurry, but gave it his all.
- "Hope". The title is a Non-Indicative Name at first, with the beginning playing over Darth Vader's Curb-Stomp Battle against the Rebel troops and the end showing us the hope as Princess Leia gets the Death Star plans, setting up the plot of the original Star Wars film, A New Hope.
- Jyn Erso's lovely and graceful theme. And the piece when Jyn and Cassian die is soul-crushingly powerful.
- The "Imperial Suite" almost rivals the iconic Imperial March in awesomeness.
- Chirrut Imwe's theme is both tranquil and epic. The choirs used are lovely as well.
- Throw in "Star-Dust", the Lonely Piano Piece which plays when the Death Star is fired for the first time. It's hauntingly beautiful, and perfectly underscores the tragedy, as well as the hologram message Jyn receives from her father. Rogue One's score may not have been John Williams material, but it could be epic and powerful at all the right beats in its own way.
- "Good Luck Little Sister", particularly the two renditions of Krennic's theme that bookend the track. One frantic, one bombastic, but both deliciously evil.
John Powell does an excellent job combining the John Williams style with the more modern aesthetics found in film scores these days.
- "The Adventures of Han", Han's leitmotif for the movie. Its style is instantly recognizable, as it was composed by none other than John Williams himself. It's both a nostalgic and energetic piece, as if it was merging the sounds of the original and prequel trilogies.
- "Reminiscence Therapy", the music that plays during the Millennium Falcon vs TIE fighters chase through the nebula, is absolutely stunning, with a blend of new themes such as Han's and Chewie's leitmotifs and classics such as "The Asteroid Field", "TIE Fighter Attack", and the Star Wars theme itself.
- Enfys Nest's Leitmotif, with a heavy choir section reminiscent of "Duel of the Fates." It works even better after the reveal that she's actually fighting for a good cause.
The Clone Wars
The Clone Wars has plenty of its own Awesome Music made just for the installment instead of always relying on the iconic soundtracks introduced in the theatrical films. Kevin Kiner (the composer of the installment) also has some of the soundtrack released on his own website.
- The opening theme of The Clone Wars is brilliant in the fact that it is still recognizably the traditional Star Wars theme while managing to be different enough that you know this is something else. With a slightly more militaristic bent tone, the opening theme suits The Clone Wars perfectly.
- The music throughout the Pilot Movie is excellent and well composed, particularly during the scenes of the opening narration, the Battle of Christophsis, Anakin accepting Ahsoka as his Padawan Learning (along with them flying in a Republic Gunship), the Landing on Teth, the Battle of Teth, the B'moore Monastery, Anakin vs. Count Dooku, etc.
- The musical scores presented throughout the episodes that are part of the Malevolence arc are just amazing.
- The music presented in "Duel of the Droids" is brilliant, especially during the scenes that feature the Republic army landing at the Skytop Station, Ahsoka and the clone troopers' battle with the Separatists droids, Ahsoka and the clone troopers' duel with General Grievous, Anakins duels with both the Super Battle Droids and the Magnaguards, the battle in the South Landing Bay, and the duel between R2-D2 and R3-S6.
- The music throughout "Trespass" is awesome, doing a great job of conveying the intense drama of the tensions between the Talz and Republic soldiers and lending surprising pathos to the death of Chairman Cho before culminating in the dramatic final confrontation between Thi-Sen and Senator Chuchi.
- The music presented throughout "Weapons Factory" is memorable and well composed.
- The music in "Legacy of Terror" is great, especially during the scenes in which Anakin, Obi-Wan, and the Clone Troopers rescue Luminara Unduli and all of them escape from the Geonosian Temple.
- The music during the latter parts of "Brain Invaders" is particularly excellent, especially with the chanting when Ahsoka fights a brainwashed Barriss Offee in the halls of the ship.
- The musical score that plays in "The Zillo Beast Strikes Back" when the Republic gunships arrive to rescue Palpatine, Anakin, Padmé, C-3PO, and R2-D2 from the clutches of the titular Zillo Beast while Anakin is cutting the ship they are inside of in half in order to escape from the beast and Yoda and Aayla Secura are fighting against it is both well-composed and amazing in addition to being able to highlight the intensity of certain situations in the installment.
- Savage Opress' Leitmotif (which is introduced in "Monster" and used at certain points in most of the episodes he appears in) is both epic and catchy.
- The music presented in "A Friend in Need", especially during the battle that Ahsoka, Lux, and R2-D2 has with the Death Watch (the score is so great that it gets reused in certain episodes during certain duels).
- The music in "Revenge" during the lightsaber duel that Obi-Wan and Asajj Ventress have against Darth Maul and Savage Opress is excellent. It even gets reused and slightly modified in "Shades of Reason" during Darth Mauls duel with Pre Vizsla (which also has an awesome musical piece during the scenes in which Maul confronts Vizsla).
- The music in "Eminence" (especially during the Shadow Collectives' attack on Nal Hutta) is epic and well-composed.
- "The Lawless":
- The music during Satine's death is brilliant in addition to sounding beautiful and sorrowful.
- The piece that accompanies Darth Sidious' duel with Darth Maul and Savage Opress is fittingly epic for a clash between some of the (and in Sidious' case, the) most powerful Dark Side users to ever live.
- The music that plays in the end of "The Wrong Jedi" was actually orchestrated and not made on a computer, and it adds to the already emotional scene of Ahsoka leaving the Jedi Order.
- With Kevin Kiner (as well as David Glen Russell and it appears Dean and Sean Kiner as well) returning from The Clone Wars this is a given, especially since the original film themes figure prominently in the soundtrack. A special moment of awesome is the Imperial March slowly playing as a Star Destroyer flies overhead to kick off the series.
- "Empire Day" features "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.
- "Ahsoka's Fate" (currently removed likely due to 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, someone managed to rip the audio from the trailer. The build-up in the beginning is extended from the original.
- "Hera Soars", a triumphant theme as we see Hera master the B-Wing in "Wings of the Master".
- "Ketsu", the theme and Leitmotif of the titular character, which plays during her introduction in "Blood Sisters". It has a mix of orientalist and invokes a Showdown at High Noon tone to the scene.
- "Twin Moons", which plays at the end of "Legacy", when Ezra 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; Leia's arrival means that several audio cues from the original trilogy make an appearance. Two moments in particular are the Ghost's arrival to the Star Wars main theme, and a later cue borrows heavily from the moment when the Falcon was captured by the Death Star.
- "Journey into the Star Cluster" from "Legends of the Lasat", during the 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. "Lasat Ritual," from earlier where Zeb uses his bo-rifle on the map, has a similar idea.
- The Inquisitor's theme is suitably sinister.
- The theme song. There's also the official remix by Flux Pavilion.
- "Rebel... (he's a) Jedi... Rebel... yeah, and what if I don't wanna be either?" And the Season 3 version.
- "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 was used before the final version, called "Where the Sun Sails and the Moon Walks". Someone edited the ending montage with this song.
- The pieces in the initial Season 3 trailer, 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 still broken (or at least have their pieces in the wrong places) from the Downer Ending 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 emerges from the shadows. Then the final piece tells us the stakes are much crazier than before.
- In "Trials of the Darksaber", we have "Sabine's Suite". Sabine has a Leitmotif now that plays throughout the episode, and it noticeably plays during her Motive Rant at the end. Its forlorn tone helps showcase how the sins of the generation that lived through the Clone Wars has affected Sabine and her generation.
- In "Legacy of Mandalore", we have "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 kills Saxon.
- "Thrawn's Web", especially the organ part, is a suitably sinister leitmotif for the cunning and sophisticated Grand Admiral.
- "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.
- "Sabine Sees Ezra", one of the final recitings of our protagonists' leitmotifs, building up to Ezra choosing to defy orders and go alone to confront Thrawn in order to 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.
Knights of the Old Republic
- The game starts off with "The Sith/Endar Spire", with the protagonist getting woken up by their bunk mate Trask Ulgo in the middle of an ambush by a Sith battle fleet over the planet of Taris. The intense, serious, alarmed theme reflects the urgency and haste in reaching the bridge and escaping the ship.
Knights of the Old Republic II: The Sith Lords
- "Rebuilt Jedi Enclave" is a calm, yet dark, tragic and melancholic theme that plays when you enter the rebuilt upper levels of the Dantooine Jedi Enclave to meet your destiny.
- Battlefront has a truly splendid soundtrack that combines some memorable music from the first three films with some original music of its own.
- The Tension Loop that plays at the end of every match really captures the frantic, intense moments you experience during those precious few seconds you have before time runs out. The Sabotage Theme is just as good with its use of rapid strings along side loud, explosive brass.
- If the Rebels' Victory Theme doesn't make you shout "FOR THE REBELLION!!!", nothing will!
- Even the Imperial Victory Theme is awesome to listen to with its dark, intimidating tone befitting the Empire.