Star Wars Episode III

Revenge Of The Sith

A New Hope for film scoring

In 1977 George Lucas vision of a universe where war, mysticism, despair, and hope
was made a reality by 20th Century Fox studios. Instrumental to the shaping of a complete
universe was the musical language created by John Williams. Williams orchestration, thematic
motifs and understanding of the emotional context of the story propelled the film to legendary
status, and now, in 2005 we reach the climax of the six feature film series with Episode III
Revenge Of The Sith.
Lucas, never having been a conventional filmmaker, completed the Star Wars
(Original) Trilogy (OT) with Return Of The Jedi in 1983 (see Appendix: Synopses). However the
original Star Wars premise was of a 9 episode epic. The OT was the middle three films (Episode
IV A New Hope, Episode V The Empire Strikes Back , and Episode VI Return Of The Jedi)
and many fans thought that with Return Of The Jedi the saga was complete. However, in 1999
Lucas released Episode I The Phantom Menace. This began the Prequel Trilogy (PT) which
culminated in 2005 with Episode III Revenge Of The Sith1.
Working in this way has not only meant that the look and design elements of the film
(2005 costumes and sets maintaining continuity with 1977 counterparts) have had to be carefully
monitored, but have given John Williams a wealth of previous themes and styles in which to work
in. Personally, I believe this to be the best Star Wars score; both as a stand alone piece of film
scoring (as it complements the film excellently) but also acts as the shining jewel within the six
film crown.
Through the recommendation of their mutual friend Steven Spielberg, Lucas and
Williams union resulted in the resounding, nearly unheard-of success of the Star Wars
soundtrack. Yet Lucass use of an operatic score in A New Hope caused some to raise their
eyebrows. When George started A New Hope, in the mid-1970s, sound designer Ben Burtt
remembers, the trend was not to have densely scored movies. Music was used sparingly by
todays standards. Lucas nevertheless went on to order a soundtrack that played for much of the

1
http://www.imdb.com The Internet Movie Database

Steve Beaty -1- Revenge Of The Sith

films running time2. A New Hope went on to win Williams an Academy Award for his score that
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year . And that was just the beginning of a successful collaboration.
Part of this success has been continuity. Not only has Williams drawn on his previous
material from the Star Wars saga for this film, but he has used, as with all the Star Wars films, the
London Symphony Orchestra (LSO) and (certainly for the PT) the London Voices choir. Despite
working in a multitude of ways and scoring a wide variety of films, it is ironic that Williams is best
known for his grand orchestral scores, like Jurassic Park, Indiana Jones and Star Wars. It is no
coincidenc e that these films are part of a series, and for each film in the series Williams has been
invited back to do the scoring.
The massive scale of the LSO has always been integral to the Star Wars films, but in
Episode III Williams carefully blends synthesised vocal work into the fabric of the score. Williams
uses the various sections of the orchestra to great effect. One could suggest that strings and
woodwind moments could be quite natural for lush, romantic scenes, whereas brass and
percussion will be battlised moments within the film. However, it is Williams art that he can
juxtapose instruments in classically inopportune moments, yet still create a fantastic score.
One of Williams pet preferences is the use of the French horn. Throughout the Star
Wars films the French horn has always had prominence during the more emotional, quieter
moments. For example, the Binary Sunset scene in A New Hope (where Luke looks out over twin
sunsets on Tatooine from outside his uncles farm) featured a French horn version of the Force
Theme, which is also revisited note-for-note as Uncle Owen holds the newborn Luke in his arms
looking out over a Binary Sunset at the close of Episode III. The solo French horn also plays a
version of the Leia theme as the infant Leia is presented by Bail Organa to his wife. Not only do
instrumentational choices such as this imbue the Episode III score with a sense of continuity
within the compass of John Williams work, but also establishes itself as a score in a larger
collection of Star Wars scores.
The use of the LSO (a 100+ piece orchestra) and the London Voices (an over 180
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strong choir) gives a large degree of, well, force, to the recordings. When Williams thinks a
French horn solo will give the best results, he uses a solo French horn (such as the Binary
Sunset homage on Tatooine), and if he thinks that the French horn is the instrument of choice but
needs a thicker texture, or more resolute timbre then will write for all four horns (Timothy Jones,
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David Pyatt, John Ryan and Jonathan Lipton ). It is this integral knowledge of how far to extend
parts to instruments that is Williams forte.
Williams can write in a myriad of different styles and genres. Perhaps no coincidence
that his most well loved scores (most of which have a predominance of large orchestras) happen

2
The Making of Star Wars: Revenge Of The Sith -- The Final Chapter by J.W. Rinzler (2005).
3
http://www.dlynnwaldron.com/JohnWilliamsbio.html - John Williams biography.
4
Revenge Of The Sith Soundtrack CD liner notes.
5
http://www.lso.co.uk/aboutus/ - The London Symphony Orchestra.

Steve Beaty -2- Revenge Of The Sith

to be the biggest grossing films at the box office. From E.T, Indiana Jones, Jurassic Park, (in
fact, think almost every Steven Spielberg film) to the recent Harry Potter films, large dramatic
orchestra has been the way to go. Still, it is with films like Minority Report, Jaws (his first Oscar-
winner), Saving Private Ryan, Schindlers List, AI, Nixon, that emotional context and delicacy
become just as important to Williams. Through Star Wars and his other big-orchestral works he
can indulge his clear influences from the likes of Erich Korngold (himself an Oscar winner for The
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Adventures of Robin Hood {1938} ) and become the forefather of the modern film score.
Starting in the 1930s with the likes of Korngold, big orchestral scores were popular until
the experimental 50s and 60s where jazz, world music and other influences would saturate the
scoring community. However, with the score for the then titled Star Wars (since renamed Episode
IV - A New Hope), Williams returned the big orchestra to the fray, where it has resided ever since.
Part of the effectiveness of Williams A New Hope score was his extensive use of the
leitmotif device. In music drama, this is a marked melodic phrase or short passage which always
accompanies the reappearance of a certain person, situation, abstract idea, or allusion in the
course of the play; a sort of musical label. Also appears as a dominant and recurring theme.
With origins in the operas of Wagner, who wrote particular melodic or harmonic
passages that the audience associated with certain characters such as the Sigmund theme from
Wagners tetralogy Der Ring Des Nibelungen, Williams use of leitmotifs throughout the 30 year
history of Star Wars is never more evident than in Revenge Of The Sith. The Force Theme,
Lukes Theme and Leias Theme all appeared in A New Hope and return in various (and perhaps
their most emotional) guises in Revenge Of The Sith. The Imperial March (often quoted as Darth
Vaders Theme although differs from the A New Hope Vader theme), and Yodas Theme from
The Empire Strikes Back return. Also returning is the Emperors Theme from Return Of The Jedi.
It is through the use of these themes and tracked music from the PT that Williams creates a
sense of continuity between the preceding five films and Revenge Of The Sith.
In terms of this score, Williams himself said in The Making of Star Wars: Revenge Of
The Sith -- The Final Chapter by J.W. Rinzler:

My first impression, whenever George shows me these films, is usually, My God, so

much? Im not going to be able to write all that. Because it goes from scene to scene,
battle to battle, and fight to fight. I have to confess its always a little bit daunting
when I first see these things. I may ask George something like, how many weeks did
you say weve got to do this in? And hell tell me and we laugh.

This is a very important trend with the Star Wars films even more so than in Williams
canon as a whole: there is a lot of scoring in Star Wars. The majority of the film is scored;

6
http://www.imdb.com/title/tt0029843/ - IMDB / The Adventures of Robin Hood

Steve Beaty -3- Revenge Of The Sith

perhaps as much as 90% of the final two hour twenty minute running time has music added. Add
that to the fact that these films have an awful lot of post production and visual effects shots to be
completed before release, and its no wonder that Williams often appears in danger of running out
of time to write and record the pieces for this film.
One of the main elements of this score has surfaced numerous times throughout the
Star Wars saga, which is the process of tracking. With such a back catalogue of themes and
recordings to look back on, much of the thematic material is used in new ways (one of the
predominant examples is the appearance throughout all the films of the Force theme in its various
guises), and some is literally taken from previous recordings and used in the final film.
Not only does this alleviate slightly the burden of work on Williams, but also
thematically links all six films together. For example, the opening shot of the Battle of Kashyyyk
could have had some original music composed and recorded, but a track from Episode I The
Phantom Menace entitled Activate The Droids, has not only been established as a theme for a
battle within the Star Wars universe, but fits the action cue too.
It seems in terms of tracking within Revenge Of The Sith that (Sound Designer) Ben
Burtt, has not massacred Williams score like he did in Attack Of The Clones, where much of the
Arena duel was not scored even though Williams wrote exceptional music for that scene (in a
curious twist much of Williams unused music from the Arena is tracked into Episode III), but
rather Lucas and Williams have sat down and spotted exactly where new music needs
composing, and where tracking of specific previous material is acceptable. This can be seen from
the Anakin vs. Obi Wan cue, which ends on the exact same chord that segues into the opening
choir of Duel of the Fates from The Phantom Menace.
Most of the tracking of the music in the film was exemplary, with only a few exceptions.
Although, like most avid listeners of W illiams music I expected to hear the Imperial March when
Vader climbs the steps to the Jedi Temple, the absence of it, and its predominance at the close
of Attack Of The Clones, made much more sense in context than I would have initially predicted.
Some fans of Star Wars and Williams in general seem to focus too much on associating a piece
of music with a particular scene, rather than as a cue in itself. For example, when Yoda confronts
Sidious in his office, a highly dramatised version of the Imperial March theme is heard, and as
Sidious is the Empire, this music fits so well with the scene. However, some fans complain that
this is the music from The Empire Strikes Back final duel and cant see past this to discover how
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well it fits with the scene .
In listening to the CD soundtrack release, it is clear that during certain scenes, such as
the CD tracks Anakin vs. Obi-Wan and Enter Lord Vader have added percussion parts that seem
to be additions by the sound design department. It seems similar to Ben Burtts additions to the

7
http://www.jwfan.net/index.php?name=PNphpBB2&file=viewtopic&t=7383&postdays=0&postorder=asc&start=100 The
Official Film Review Thread (John Williams Fan Network)

Steve Beaty -4- Revenge Of The Sith

Attack Of The Clones Droid Factory sequence; luckily Lucas did not like the metallic percussive
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sound effects and asked John Williams to score that sequence instead!
This raises an interesting question regarding ownership and collaboration within the
motion picture business. Many critics of film scoring see it as an inferior side of music, merely
bashing out the same tired old clichs time and again. They do not see the craftsmanship
involved in weaving a tapestry of musical ideas that complement the moving images so succinctly
and successfully. I personally believe that film scoring is one of the best forms of musical
expression available, and at a commercial level is one of the most effective ways of distributing
your material to a wide audience.
The question that has to be asked is to what extent is the composer in charge of their
material? Certainly in Attack Of The Clones Ben Burtts decision to track the entire Arena
sequence when Williams new original music (available on the films soundtrack CD) was not
used seems criminal, but ultimately by wearing both sound designer and editor hats Burtt had the
final say. By only being assistant editor on Revenge Of The Sith, and because Williams and
Lucas held detailed spotting sessions (including what material was to be tracked), Burtts
creative decisions were limited. Fortunately.
The main reason for this, and the explanation for many fans bitter disappointment with
the previous two prequel films, boils down to the belief that George Lucas is surrounded by yes
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men . Lucas will be certain in his convictions towards certain aspects of the film, but then his
producers and heads of departments will start working on talking him around to their way of
thinking. This extract from The Final Chapter demonstrates this:

Animator Shawn Kelly then plays a rough animation of a scene outside the Jedi Temple
when Obi-Wan and Yoda are attacked, with Yoda throwing his lightsaber through a
stormtrooper, jumping on the troopers chest, and pulling it out. They do this a lot in
video games, Kelly says.
I like it, Lucas responds, but in theory . . .
Darth Vader throws his lightsaber on the walkway [in Episode VI], Knoll chimes in.
Yeah! Lets do it, Rick interjects.
You want to think about it? Rob asks.
I hate to say it, but it seems very un-Jedi, Lucas says.
But these are difficult times, McCallum counters.
A good Jedi does not let go of his sword, Lucas protests, but adds, If Yoda swings
around, he could end up on his chest . . . The matter is left hanging.

8
Attack Of The Clones DVD Feature Commentary.
9
http://efilmcritic.com/review.php?movie=723&reviewer=20 The Phantom Menace review (eFilmCritic)

Steve Beaty -5- Revenge Of The Sith

 When the final film was released the scene of Yoda throwing his lightsaber was in
the final print, much to the dismay of many fans. It seems that Lucas, the man who knows
exactly what a Jedi would or wouldnt do, could not say no to the people around him.
Fortunately it seems he was much more resilient in terms of Williams scoring. Lucas knows
how far to push Williams, as another extract from The Final Chapter reveals:

As they go up the stairs, heading for the dining room, Lucas explains that after the
spotting session, This is it. I wont hear the music until I step onto the stage at
Abbey Road Studios. Thats always the most exciting part. Usually, I love ninety
percent of what Johnny has done. Of the other ten percent, I might complain about
five percent of it, and Johnny rewrites it during the weekend. The other five percent
I stay quiet about.

Im sure much of Lucas faith in Williams comes not only from the wealth of
experience that he brings with his compositions, but also that Williams scores are
tremendously popular.
Part of the popularity of Williams scores is that an audience can understand it and
relate to it. If they went into Harry Potter and the Chamber of Secrets and were delivered a post-
modern diatribe in atonalism, they would be severely disappointed. Although mostly diatonic in
origin, Williams is not afraid to use extreme dissonance (particularly to create tension with some
of the more horrific Dark Side moments of Vaders actions in Episode III) when the emotional and
semiotic context of the film requires it. It is his knowledge of how far to push the dissonance that
makes all the difference. Certainly the degree of dissonance increases as the film works towards
Anakins fall to the Dark Side.
Williams brass parts in Episode III can be highly charged, such as in the opening
space battle, or mournfully solemn such as during Padms final words to Obi Wan before her
death. Ostinati within the brass is prevalent for much of the action sequences, Williams either has
an innate knowledge of how to create exciting action music, or over 46 years-worth of experience
(if you are cynical). Brass ostinati with either woodwind and strings, or full orchestral melodies
have been his trademark, and in Revenge Of The Sith they are no disappointment.
Melodic focus is vital to Williams scores. Upon viewing Raiders of the Lost Ark (Indiana
Jones), Superman, or Jaws, I defy anyone to not be able to whistle the main themes melody
whilst leaving the screening. It is the balance of melody and accompaniment that makes Williams
relevant. This is not to be completely sycophantic, there are some times where a lack of either
discernable melodic strands or driving bass rhythm can just take the edge off the film, but they
are rare moments in this picture.

Steve Beaty -6- Revenge Of The Sith

 The melodic material in this film is highly developed. Just taking the Force Theme (see
Appendix: Star Wars Thematic Material) as an example unearths a variety of developments
depending on the action. From the opening militaristic rendition (which indicates who the fighter
pilots are before their faces are ever shown), to the disappointed woodwind version in the Jedi
Council chamber (which tells us how Obi Wan is feeling about his old padawans impulsiveness
as if the look on his face was not enough), to the triumphant trumpet blasts of Force as Yoda
defeats the Clones outside the Jedi Temple; each character using the Force in different ways,
each Force theme being used in different ways.
There is only one rendition of Yodas theme from The Empire Strikes Back, yet it is at
its most touching. After having been rescued from the Clones by the Wookies, Yoda is given an
escape pod and (much like E.Ts exit from the film of the same name) escapes to the stars. At
this point there is a subtle yet emotional strings and woodwind voicing of Yodas melodic theme
from Episode V.
Notably there are many references to the Imperial March. Although expected to be
revealed in its fullest most powerful form (as in The Empire Strikes Back), it does not appear this
way, having its moment of infamy at the close of Attack Of The Clones, where the taking off of
the Republic armys ships heralded the true beginnings of the Galactic Empire. However, it does
appear in a number of forms, some incredibly subtle such as the harp chords when Palpatine is
rescued, some incredibly dramatic such as in the battle between Yoda and Darth Sidious. The
development of this theme throughout the film perfectly ties the Prequel trilogy and the Original
trilogy together. The more sinister representations of this theme occur when the (not yet revealed
to be evil) Chancellor Palpatine is manipulating and clouding the judgment of the confused
Anakin Skywalker, though these sections are also punctuated with elements of the Emperors
theme. Perhaps the most revealing suggestion of the Siths corruption of the Jedi Order is the use
of the Imperial March theme when Anakin is in the Jedi Council and is told he is not granted the
rank of Master
As Episode II Attack Of The Clones showed the blossoming love between Anakin and
his wife Padm, so Williams created a musical motif to complement their closeness. Entitled
Across The Stars (and often dubbed the Love Theme for expediency), this piece made up the
majority of the Episode II score and returns in various (more and more disintegrating) versions
within Revenge Of The Sith. From being phrased in mostly the same manner as the previous film
when Anakin is first reunited with Padm at their apartment (although with a wonderful solo violin
countermelody akin to the more beautiful parts to James Newton Howards The Village score), to
the emotionally draining synthesised layerings whilst Anakin is deciding to intervene in the
Chancellors arrest (CD soundtrack title Padms Ruminations), this piece gradually fades away
throughout the length of the score. Not because Anakin feels any less for Padm, in fact, it is

Steve Beaty -7- Revenge Of The Sith

because he loves her so much that he becomes Vader, the ultimate in tragic irony, but because
the Dark Side of the Force, and its musical connotations, are brought into the foreground.
I feel at this point I should mention Padms Ruminations; ever since Hans Zimmers
wonderfully collaborative score with Lisa Gerrard for Ridley Scotts epic Gladiator (2000),
ethereal, mellifluent female vocals have surfaced during intensely emotional scenes. Here,
Williams foray into this use of the female voice adds fantastic insight into the scene. Where there
is no dialogue, Williams can show the audience what the characters are thinking and feeling
clearer than any lines Lucas could have put in the scene. The blending of the (synthesised)
female vocal wailing, and synthesised exposition of the Love theme create such a strongly
emotional scene that when Anakin makes his decision to stop Mace, as an audience you feel his
pain too.
Another cue of Williams at his most experimental in this film is a bizarre hybrid of
scoring and source music; As Anakin meets with Chancellor Palpatine in a Coruscant theatre, we
are treated to the sight of a troupe of Mon Calamari performing an aerial / water ballet. Here
Williams creates source music literally like nothing ever heard in Star Wars before. He uses the
throat singing technique, with all the overtones and polyphony associated with it, to create a
dramatic and ethereal musical experience. Through this scene Palpatine divulges to Anakin the
story of the Sith Master Darth Plageis, and as it progresses we hear less throat singing, and more
low sinister strings and brass as the focus of the scene changes. This audacious balancing of
source music and score creates a memorable musical experience.
It is scenes like the Calamari ballet and Padms Ruminations that show Williams at his
most experimental, yet still making the score believable. It is with his more recent works like
Revenge Of The Sith and Harry Potter and the Prisoner of Azkaban that demonstrate an
experimental edge and maturity that are a direct influence on the complimentary tone of this
essay. Some of the enlightened academic criticism of film scoring as an art form and banging
out tired old clichs has been levelled at John Williams because he gives the audience a familiar
frame of reference. It is with experimental scoring like the two scenes I have mentioned that seem
to confound the critics and endear his scores to those with more than a passing interest in film.
One of the more memorable and emotional revisitations of original themes is the use of
Leias theme. First written for A New Hope in 1977, the theme that captures the beauty yet
determination of the First Daughter of Alderaan is reworked for the lead in to that particular
episode. Unpredictably, it is not played when Leia herself is born, but on a French horn when Bail
Organa tells Master Yoda that he and his wife will adopt her. Williams use of the French horn
manages to convey the sadness that the twins are being split up, yet still retains a glimmer of
hope. The theme also appears with an orchestral backing when Bail actually does present Leia to
his wife in their palace on Alderaan. This is striking in that it establishes a bizarre paradox where
chronologically Williams uses material he has already composed some thirty years previously, yet

Steve Beaty -8- Revenge Of The Sith

in the chronology of the films story he is merely alluding to music that will become much more
familiar in the next episode.
The absence of Lukes theme is just as striking. As this theme also serves as the Main
Title in its most triumphant reincarnation, it has not been heard within the context of the films
since 1983s Return Of The Jedi. After Luke is born at the end of Revenge Of The Sith, and in the
Binary Sunset revisitation, it returns with the string section optimistically looking forward with Luke
as a new hope for the galaxy.
The main title of every Star Wars film opens in the same way: The 20th Century Fox
fanfare and logo (composed by Alfred Newman in 1954 and used as the studios trademark
before all their films) followed by the Lucasfilm logo. Immediately afterwards the Star Wars title
card flies away from the viewer before the story exposition text crawl slides up the screen before
fading into the distance and giving way to the action. This continuity (it happens in each of the six
films, the only difference being the textual content of the crawl) imbues the saga with a sense of
fulfilment; you know what you are going to get at the opening. In fact, having seen Episode III on
its opening night, the first beat of the Main Title music was received with raucous cheering and
applause! They knew that this was the last in the series, a poignancy made even more apparent
by the Luke theme at the close of the film.
The ending rendition of the Main Title serves just as important a function in the tradition
of Star Wars scores. Throughout all six films, and Revenge Of The Sith being no exception, the
final scoring scene builds up to a climax that segues into the same ending arrangement of the
Main title theme. This then continues through the revisitation of various pieces (for example
Episode III cycles through the Main Title, then Leias Theme, then Battle of The Heroes) before
finalising with a triumphant concluding rendition of the Main Title. This not only creates a
framework for scoring the end credits sequence, but once more demonstrates the continuity
between all six pictures in the saga.
It is not just character leitmotifs that Williams has revisited during this film, but also
situation themes. In Episode I The Phantom Menace, Qui-Gon Jinns funeral pyre was
accompanied by a lamentatious choir, and in Revenge Of The Sith he revisits the powerful
funeral dirge for Padms funeral (and indeed the rebirth of Darth Vader). The orchestration for
Episode IIIs funeral is again a more mature and sensitive approach, to the extent that the cinema
screening I saw had many a glistening eye
Battle themes are a staple within the Star Wars universe; the clash of lightsabers
mostly always accompanied by some dramatic Williams scoring (although interestingly a lot of the
opening Obi Wan & Anakin vs. Dooku duel is unscored). In The Phantom Menace Williams
blended 180 voice strong Sanskrit choral work with driving brass ostinati and a woodwind
countermelody in the dramatic Duel of the Fates. This cue reappears in its exact original form in
Revenge Of The Sith when Master Yoda and the Emperor are duelling in the Senate Chamber.

Steve Beaty -9- Revenge Of The Sith

The tracking here is deliberate, the newly composed previous cue Anakin vs. Obi Wan concludes
with the same chord as the opening choral blast of Duel of the Fates; a prefect segue between
the two.
Anakin Vs. Obi Wan, instantly passing the whistlability test has a new 9 note melody
over a driving brass ostinato, and through the course of the Mustafar battle picks up choral and
brass voicings of the Force theme, with emotionally tragic overtones. This battle theme is typical
Star Wars pomp and spectacle, the music matching the quality of the storytelling, and the
dazzling special effects.
It is through his music that emotionally Williams can switch in a heartbeat from
influencing the way the audience feels, to demonstrating exactly how a particular character is
feeling. Yet emotional context is not all the score for Episode III is limited to.
The trademark wipe scene transitions associated with the Star Wars films are back in
Revenge Of The Sith, and with them come very slight musical fanfares or transitional lead-ins to
accompany the visuals. Some are literally just moments, such as the flight over night-time
Coruscant before the reveal of Anakin and Padms apartment, whereas others, such as the
transition of Obi Wan flying down onto Utapau, lead into a more extended musical passage.
Underscoring dialogue is vital in Star Wars, especially in Episode III as most of the
films running time is musical. However I feel that Burtt sometimes mixes the music too low for it
to be as effective as the composer intended. But, when all is said and done that is his
responsibility and not the composers.
Marrying music with image is also important. Whether it is a sinister anti-fanfare
heralding Grievous arrival on the bridge of his ship, or a timpani roll just before Anakin
decapitates Count Dooku, the music just adds an extra layer of depth to the picture. Williams is
also not afraid to hit the action where appropriate; not in a cartoony boink splash fashion, but, for
example, where Grievous is advancing on Obi Wan with his sabers twirling, and at the exact
moment Obi Wan lunges at the General, only to have his strike blocked, the dramatic music licks
in with gusto.
It is the diverse roles of Williams music within Episode III Revenge Of The Sith,
punctuating action scenes, influencing the emotions of the audience, explaining the emotions of
characters, underscoring dialogue, transitioning between scenes and locations, that I am certain
contribute to the success of Revenge Of The Sith. And a film that in only one showing at 12.01
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am on its opening day can make $16.5 million cannot be deemed anything but successful.
However, the John Williams express cannot pull into station just yet, with Spielbergs
upcoming release War Of The Worlds and the yet untitled fourth Indiana Jones film already

10
http://www.themovieblog.com/archives/2005/05/revenge_of_the_sith_takes_165m_opening_night.html - The Movie
Blog

Steve Beaty - 10 - Revenge Of The Sith

agreed to, it appears that Williams unique skills and legendary status as a film score composer
will be in demand for many more years to come

Steve Beaty - 11 - Revenge Of The Sith

Further Reading:
http://www.imdb.com/name/nm0002354/ - The Internet Movie Database (John Williams).
http://www.jwfan.com/modules.php?op=modload&name=News&file=article&sid=688 The
John Williams Fan Network (The Score in the film, by Elvisjones).
http://www.jwfan.net/index.php?name=PNphpBB2&file=viewtopic&t=7383&postdays=0&post
order=asc&start=100 The John Williams Fan Network (The Official Episode II Review
Thread).
http://www.jwfan.net/modules.php?op=modload&name=Reviews&file=index&req=showconte
nt&id=99 The John Williams Fan Network (Soundtrack Review by Roald van der Laan).
http://www.dlynnwaldron.com/JohnWilliamsbio.html - John Williams, composer, biography.
http://boards.theforce.net/Star_Wars_And_Film_Music/b10190/9458226/p21/ - Revenge Of
The Sith Score Discussion.
http://www.starwars.com/episode3/ - Official Star Wars Revenge Of The Sith Website.
http://www.theforce.net The Force.net Your Daily Dose Of Star Wars.
The Making of Star Wars: Revenge Of The Sith by J.W. Rinzler:

Appendices:
Synopses
Star Wars Thematic Material
Graphic Score: Padms Destiny / Rise of the Death Star.

Steve Beaty - 12 - Revenge Of The Sith

 Star Wars Episode III
Revenge Of The Sith

Cue Sheet

Timestamp Action / dialogue in film Musical Cue

01:00:38:09 Main Title and opening text crawl Star Wars Main Title Theme played by full
orchestra.
01:02:02:21 Pan through space across Destroyer Ship Solo war bass drum.
bow
01:02:17:21 Two Jedi Starfighters appear Snare drums, brass stabs, brass & strings playing
a highly militarised version of the Force Theme.
01:02:44:09 Fighters weave through the ensuing space Dramatic, military orchestral incidental music.
battle
01:03:14:09 Lock onto them Artoo Snare rolls & brass ostinato underscoring
dialogue.
01:03:24:18 Vulture Droids leave Grievous ship. Trumpet development of the Force Theme.
01:04:38:21 Missiles pull up! Double-time rhythmic feel increases tension.
1
01:07:09:27 Artoo defeats Buzz Droid Brass play The Rebel Fanfare .
01:07:15:12 The Generals command ship is dead Woodwind, brass, string ostinato music shifts up
ahead. a gear. (part of Escape from Naboo Theme from Episode I -
2
The Phantom Menace) .
01:08:35:00 Grievous arrives on the bridge Low brass & timpani menacing anti-fanfare.
01:12:00:24 Count Dooku arrives with Super Battle Low brass, timps, and strings held chord.
Droids.
01:13:17:06 Dooku kicks Anakin & Force holds Obi High brass ostinato & allegro string arpeggios.
Wan.
01:13:22:18 Anakin looks at prostrate Obi Wan Mid range string arpeggios increase drama.
01:14:31:24 Kill him nowdo it! Timpani roll (pre decapitation).
01:14:39:21 Anakins reaction to killing Dooku High violin tentatively sustained.
01:14:53:09 Its not the Jedi way Slow violin descending scale pattern.
01:15:18:27 before more security droids arrive Harp chords (derived from Imperial March).
01:15:18:27 theres no time High strings over harp chords.
01:15:28:15 His fate will be the same as ours Orchestral swell to punctuate exterior battle shot
01:16:10:24 Grievous ship begins to tilt. Brass fragment (Escape from Naboo Theme from Episode
2
I - The Phantom Menace)
01:20:27:09 Grievous bodyguard falls apart Brass syncopated ostinato (allegro) with pitched
percussion melodic fragments.
01:20:40:26 Anakin vaults over console Chromatic fall in trumpets leading to big action
cue.
01:22:12:01 We lost something. Timp roll into dramatic orchestral action cue
(Anakin Destroys The Federation Battleship from Episode I -
3
The Phantom Menace)
01:22:39:02 Ship continues through the atmosphere Brass rendition of the Force Theme over leaping
strings and woodwind.

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Steve Beaty -1- Cue Sheet

01:23: 02:04 Fire ships on the leftand right Reintroduction of rhythmic orchestral action (Anakin
Destroys The Federation Battleship from Episode I - The
4
Phantom Menace)
01:23:42:29 Another happy landing Calm collected strings motif with timp
underpinning and brass flourishes.
01:25:52:25 Anakin leaves Bail Organa as he spots Celli introduce a string moment that leads into a
Padm. woodwind rendition of Across The Stars (Love
Theme).
01:26:14:02 Ive missed you Padm Celli and Basses more prominent create slight
feeling of unease. Allusions to the Love Theme.
01:26:56:24 Something wonderful has happenedIm Clarinet melodic fragment leading to more uneasy
pregnant. low strings.
01:27:23:23 Were not going to worry about anything Clarinet and flute Love Theme over harp
right now. accompaniment .
01:27:43:11 Grievous transport heads for Utapau, then Celli and Viola arpeggios with brass flourishes
flies into the sinkhole. leading to brass melodic cells over militarised
percussion.
01:28:22:06 Grievous exits his transport. Large choir interjections.
01:28:27:21 Grievous private quarters. Strings only ostinati.
01:28:39:28 Grievous speaks to Darth Sidious. Low string tremolo with harp pulses, punctuated
by woodwind cries and bass drums.
01:29:18:14 Fly through night time Coruscant. Violins ostinato over harp arpeggios and French
horn melody.
01:29:32:25 Anakin and Padms apartment. Solo violin melody over harp chords.
01:29:49:29 where we can be safe. Solo clarinet Love Theme against solo violin
descant.
01:30:06:08 Youre so beautiful. Flute also playing the Love Theme.
01:30:34:15 Anakins Dream. Horns and woodwind dischord with string melody
falling over it.
01:30:48:00 Anakin wakes. High violin / synth pedal.
01:31:11:10 Anakin leaves the bedroom. Strings plus harps and woodwind crescendo.
01:31:28:12 Anakin in fountain room. Bass motif leading to sombre strings and
woodwind phrase.
01:32:55:00 This baby will change our lives. French horn rendition of the Love Theme
01:33:14:20 Our baby is a blessing String crescendo to bold scene transition cue.
01:33:30:22 Jedi temple meeting with Yoda. Tense bass and cello underscore.
01:33:41:05 They are of pain, suffering, death. High violins meander over bass rumblings.
01:34:08:14 The fear of loss is a path to the Dark Uneasy bass clarinet version of the Force Theme.
Side.
01:34:37:25 Train yourself to let go of everything you 3 note (root fourth & fifth) fanfare-like flourish
fear to lose. signifying scene transition, leads to underscore.
01:34:52:10 Anakin arrives in briefing room. Low strings underscore.
01:35:27:20 Be careful of your friend Palpatine. Bassoon and clarinet version of The Emperor
Theme.
01:35:56:12 Anakin in Palpatines antechamber. Tense strings & woodwind give the Emperor
Theme a suggested vulnerability.
01:36:53:04 Transition to the Jedi Council Chamber Brass and strings take the edge off the tension.
01:37:14:26 but we do not grant you the rank of Edgy high string tremolo to atonal woodwind and
Master. string clusters. Imperial March phrased.
01:38:10:08 Go, I will. Good relations with the Disappointed woodwind representation of the
Wookies I have Force Theme.
01:38:29:10 Anakin & Obi Wan discuss decision. Low strings, brass and woodwind tension.

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Steve Beaty -2- Cue Sheet

01:39:22:28 they want to know what hes up to Disintegration of the Force Theme in woodwind.
01:40:15:25 Why are you asking this of me? Crescendo in orchestra and choir.
01:40:52:18 A prophesy, that misread could have Bass and cello downbeat rumblings with timp hits.
been.
01:42:12:05 Make a motion in the Senate where that Minor strings and woodwind phrases.
kind of a request belongs.
01:42:45:09 Transition to Coruscant theatre. Single violins chord.
01:42:56:24 Source music: Mon Calamari water ballet Throat singing source music for ballet.
01:44:31:08 Theyre planning to betray me Basses and celli begin low tension device.
01:45:01:08 Why? Trombones add to the tension then clarinets enter
slightly later.
01:46:13:19 Did you ever hear the tragedy of Darth Throat singing becomes more prominent though
Plageis the Wise? now more as sinister scoring rather than source.
01:48:05:21 Yodas arrival on Kashyyyk. Brassy, militaristic battle prelude (The Confederation
March from Episode II - Attack Of The Clones) 5.
01:48:35:16 Holographic conference between Fragments of the Imperial March and also the
members of the Jedi Council. Force Theme in woodwind.
01:49:39:15 Battle Of Kashyyyk begins. Military snare and brass battle music (Activate the
Droids from Episode I - The Phantom Menace)
01:51:20:03 Goodbye old friend. Cello and violin motif leading to flute and oboe
playing a laid back Force Theme.
01:52:05:04 Obi Wans fighter leaves the larger ship. Full orchestrated triumphant Force Theme.
01:52:29:09 Anakins second dream. Heavy horrific dischords from orchestra.
01:52:42:22 Anakin and Padm in their apartment. High violin pedals clashing ominously.
01:53:07:00 He says youve been under a lot of Bass cello and bassoon low pedal comes in.
stress.
01:53:55:04 No, I promise you. Strings crescendo and timpani roll.
01:54:01:24 Obi Wans ship comes out of hyperspace. Woodwind and brass fanfare like motif.
01:54:12:25 Obi Wan flies down over Utapau Driving string rendition of the Force Theme.
01:54:36:03 Obi Wan disembarks his Starfighter Bass and trombone under woodwind mutterings
underscore the dialogue.
01:55:37:21 Obi Wan goes back to his fighter. String crescendo interjection.
01:56:07:05 Obi Wan rides Boga the lizard to the Tenth Ethnic percussion with brassy flourishes up tempo
level to find Grievous. rhythmic cue
01:56:45:29 Im sending you to the Mustafar system in Trombones support the travelling rhythmic piece
the Outer Rim with the Force Theme.
01:57:19:14 Your ship is waiting. Sinister low brass clusters.
01:57:35:28 Obi Wan jumps down to Grievous. String and brass crescendo over harp arpeggio.
01:57:51:28 Kill him. Low brass suggests a threat to Obi Wan.
01:58:04:10 Obi Wan tak es out remaining bodyguard. Brass crescendo in volume and pitch.
01:58:24:19 Grievous removes his cape. Menacing brassy rumblings
01:58:55:13 Obi Wan lunges at Grievous Trumpets and trombones enter.
01:59:33:21 Clone troopers storm the sinkhole Major key statement of triumph in full orchestra.
02:00:20:03 Grievous vehicle rumbles toward Obi Wan Frenetic, rhythmic action scoring continues.
02:01:00:07 Jedi Temple exterior shot. Trombone and timp unsettling chord.
02:01:04:10 Jedi Council War Room meeting Subtle woodwind Force Theme underscore.
02:01:24:10 Mace Windus reflections Trombones and cello rumblings.
02:03:29:06 You know the Dark Side? Menacing double bass rumblings
02:03:54:02 Only through me can you achieve a Trumpet off-kilter countermelody references to
power greater than any Jedi. Shmis Theme from Episode I - The Phantom Menace6

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Steve Beaty -3- Cue Sheet

02:04:15:06 Anakin activates his lightsaber High violin pedals add tension.
02:05:20:00 ..know the power of the Dark Side. Female chorus and woodwind (pseudo-Satanic)
02:06:00:22 Obi Wan and Grievous turn the corner. Dramatic full orchestra rhythmic action cue.
02:06:17:10 Obi Wan acquires electrostaff. Music loses timp driving force but retains rhythm.
02:07:29:17 Obi Wan pulls himself up over the edge. Respite for now flutes and woodwind feature.
02:07:42:24 Master Windu, I must talk to you. Brass and bass rumblings with violin dissonances.
02:08:15:17 Are you sure? Brass slow Imperial March statement.
02:08:20:19 We must move quickly if the Jedi Order is Violin repeated ostinato over brass and cello
to survive. pedals.
02:08:55:00 Yes Master. Strings repeated motif, atonal and unsettled.
02:09:10:02 Anakin / Padms ruminations. Dark, brooding synthesised female vocal wailing
over synth bass pedals. Synthesised moments of
the Love Theme.
02:10:44:25 Anakins fighter prepares for launch. Brass and orchestral flourishes with the Force
Theme played on trombone.
02:10:56:05 The Jedi enter Palpatines office. Violin tremolo and timpani hits; very suspenseful.
02:11:06:28 I take it General Grievous has been Violin shrieking dissonance interjection.
destroyed then?
02:11:20:29 I am the Senate. Trombone allusions to the Emperor Theme.
02:11:34:22 Darth Sidious launches himself over his Shrieking strings and trumpet hits over cello
desk and attacks the Jedi. ostinato punctuate this scene.
02:12:12:29 Anakins fighter lands on the roof. Trombone and bass driving ostinato with
flourishes from brass and strings.
02:12:23:04 Anakin runs into the Senate building. Trumpet fragments of the Force Theme.
02:12:27:19 Mace Windu and Darth Sidious continue Disintegration of rhythm; flourishes from brass,
to duel in Palpatines office. tremolo high violin dissonances.
02:12:58:00 Windu forces Sidious to retreat. Brass dramatic climactic stabs.
02:14:12:16 Sidious ceases his Force Lightning attack Timp roll heralds trombone, bass and cello slow
on Mace Windu. movement in sequence.
02:14:26:04 You cant; he must stand trial. Trombone and cello version of the Force Theme.
02:14:42:12 Windu makes his decision. Orchestral dissonance crescendos.
02:14:55:16 Sidious launches more lightning. Tutti arpeggios very forceful in execution.
02:15:21:28 What have I done..? Cello and bass hint at Emperor Theme.
02:16:06:00 To cheat death is a power only one has Violin pedal enters as lower strings drop out.
achieved Dissonant, sinister cue.
02:17:00:29 as DarthVader. Trombone strong Imperial March motif enters.
02:17: 23:07 Sidious gives Vader his orders. Low strings & brass rumblings with male chorus.
02:18:09:11 it will be civil war, without end. Double bass Imperial March motif.
02:19:17:18 Vader leads the Clones up the steps of the Snare drums and brassy militarised march. (The
7
Jedi Temple. Arena from Episode II Attack Of The Clones ).
02:20:34:08 Weve got a battle to win here. Pitched percussion arpeggio over brassy chord.
02:20:45:20 Cody receives Order 66. Trombones & cello chords, the woodwind and
violins hint at the Emperor Theme.
02:20:57:23 Obi Wan rides Boga up the cliff path. Rhythmic pulse from brass and woodwind
arpeggios.
02:21:09:22 Obi Wan falls through the air. String lament phrase begins.
02:21:35:08 Ki-Adi-Mundi turns as his Clones halt. Mixed choir joins powerful strings section.
02:22:07:21 Yoda drops his cane and stumbles. Trombone allusion to the Force Theme.
02:22:30:09 Plo Koons fighter is fired upon by Clones. Violin reinforcement of Force Theme elements.
02:23:13:08 Clones approach Master Yoda. Timpani roll and general crescendo.
02:23:29:14 Wookies talk to each other Choir upper parts give slight hope to lamentation.
02:23:39:13 Return to the Jedi Temple purge. Hope is lost as choir modulates to minor

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Steve Beaty -4- Cue Sheet

02:23: 53:16 What are we going to do? Woodwind dissonance heralding horror.
02:24:59:04 Young Jedi appears on landing platform. Violin ostinato and brass stabs reflecting action.
02:25:18:04 Obi Wan surfaces. Twinkling woodwind and string suspensions.
02:25:36:12 AT-TE walkers on Kashyyyk. Brass and woodwind ostinati, more tension.
02:25:46:21 All these Wookies are dead Subtle woodwind Imperial March motif.
02:25:52:24 Yoda bids Tarful & Chewbacca farewell. Strings and woodwind rendition of Yodas Theme.
02:26:34:02 Tantive IV takes off from Senate. Woodwind and strings imperfect fanfare.
02:26:42:14 Bail Organa prepares to track down any Snares and low string pulse with military
Jedi still alive. flourishes by flutes and trumpets.
02:26:58:00 Obi Wan peers round the corner High violin pedal.
02:27:08:16 Obi Wan finds a ship. Military flourishes continue.
02:28:00:06 Padm talks with Vader. Woodwind melody over subtle strings.
02:28:16:04 The Jedi have tried to overthrow the Low brass and strings sinister pedal. Low brass
Republic. dischords fall over the top.
02:30:00:14 Obi Wans ship approaches the Tantive IV Brassy fanfare motif (Arrival at Coruscant from Episode I
The Phantom Menace)
02:30:19:28 Obi Wan, Bail and Yoda converse. Solemn cello melody under a violin high pedal.
02:31:04:06 Initial viewing of Mustafar. Militarised snare, strings and brass.
02:31:24:06 Nute Gunray talks with Sidious. Cello ostinato with violin meanderings above it.
02:31:46:04 Tantive IV arrives in orbit of Coruscant. Sweeping strings and brass fanfare like motif.
02:31:57:13 Bail communicates with the Senate office. Tension building strings and woodwind.
02:32:37:06 Vader arrives at Mustafar. Militarised brass, strings, snare and bass drum.
02:33:36:29 Vader uses to Force to draw the shutters. Trombone recital of Imperial March motif.
02:33:44:29 Yoda and Obi Wan battle outside the Sweeping harsh strings and trumpet clusters.
temple.
02:33:59:23 Yoda powers down his lightsaber. Trombone loud Force Theme statement.
02:34:06:10 Sidious addresses the Senate chamber. Cello slow exposition of Emperor Theme, with
trumpet Force Theme also present.
02:34:32:28 Yoda and Obi Wan see the fallen Mournful female synthesised vocals.
Younglings.
02:35:03:23 Vader killing the Separatists on Mustafar. A mixed chorus singing aggressively over a highly
dramatic orchestral suite.
02:35:49:07 The Empire is created. Dramatic crescendo in orchestra and choir.
02:36:42:22 Obi Wan changes the transmission in the Harp slow arpeggios and tense strings and
Jedi temple. woodwind.
02:37:24:27 I must know the truth Master. Bass and cello sequence adding tension.
02:37:54:24 Destroy the Sith we must. Low horns playing Emperor Theme fragments.
02:38: 36:24 Obi Wan at Padms apartment. Violin tremolos and woodwind tension device.
02:40:05:22 Youre going to kill him arent you? Solemn violin disintegration of the Force Theme.
02:40:31:26 Anakin is the father, isnt he? Crescendo strings to emotional scene climax.
02:40:49:28 Vader alone on Mustafar. Rising sinister brass fanfare motif
02:41:40:09 C3PO approaches Padms ship. Violins enter with tentative phrase, then cellos
suggest the Love Theme accompaniment.
02:42:17:16 Exterior of Senate Chamber. Solo trumpet phrase.
02:42:55:26 Padms ship appears on the scope. Dissident violin clusters appear.
02:43:02:09 Padms ship approaches the landing Brass and strings fanfare-like motif heralding
platform on Mustafar. Padms arrival.
02:43:20:05 Padm sighs. Soprano sax and Clarinet play slow Love Theme.
02:43:33:09 Vader sees Padm from the balcony. Trombone plays sinister fanfare.
02:44:15:18 Obi Wan is trying to turn you against me. Sinister undercurrent in brass and strings begins.
02:45:43:03 The Jedi turned against me Trombone hints at the Imperial March.
02:45:52:09 Anakin, youre breaking my heart Slow crescendo of orchestra and strings
predominantly.
02:47:43:20 then youre my enemy Thick dischordant strings layered over orchestra.

Steve Beaty -5- Cue Sheet

02:47:58:14 Vader leaps backwards towards Obi Wan. Bass & cello ostinato begins followed by brass
stabs.
02:48:06:03 Obi Wan and Vader duel. Trombone and strings 9 note melodic motif (Battle
Of The Heroes Theme).
02:48:20:05 Yoda enters Sidious office. Sustained high violin pedal and woodwind
phrases.
02:48:55:14 Sidious launches Force Lightning at Yoda Brass Imperial March statement and string
arpeggiation.
02:49:03:12 Obi Wan and Vader duel. Battle Of The Heroes Theme development.
02:49:35:06 Sidious approaches Yoda cackling. Yoda Sustained, dramatic Imperial March motif (extract
gets to his feet. from The Clash of Lightsabers from Episode V The Empire
Strikes Back ) 8.
02:50:13:12 At an end your rule is Frenetic string arpeggios with building brass
chords.
02:50:34:18 Sidious activates his lightsaber Highly dramatic Imperial March passage in brass.
02:51:00:19 Vader chokes Obi Wan Timpani pulse and tremolo strings dissonance.
02:51:11:12 Obi Wan kicks Vader. Further Battle Of The Heroes development.
02:51:27:08 Yoda and Sidious rise on the platform Rising orchestra joined by large choir.
02:51:55:25 Vader and Obi Wan continue to duel on Battle Of the Heroes theme ensues in full
Mustafar. orchestra.
02:52:07:08 Vader & Obi Wan locked with opposing Choir sustaining chords against brass statements.
Forces.
02:52:15:19 Vader and Obi Wan push each other Forceful, urgent Force Theme in the strings.
across the room.
02:52:20:19 Obi Wan and Vader continue on the Cellos begin recurring arpeggio (beginning of Duel Of
balcony. The Fates from Episode I The Phantom Menace).
02:52:44:13 Yoda leaps down onto Senate pod. Choir enters with Duel of the Fates Theme with
great force. Woodwind arpeggios and brass enter.
02:54:07:21 Yoda loses his grip on the pod. Sustained brass note with timp rolls.
02:54:13:04 Sidious laughs. Melancholy cello and trombone melody.
02:54:23:18 Vader and Obi Wan on beam. Frenetic ostinati from Battle Of The Heroes.
02:55:06:21 Yoda crawls through the access tunnel. Staccato trombone interjections.
02:55:19:04 Theres no sign of his body sir. Imperial trombone beats under woodwind and
string fragments.
02:55:38:11 Vader and Obi Wan duel continues as the Dramatic brass hits and arpeggios. Trombone
platform they are perched on breaks and takes up the 9 note Battle Motif. Ends with
lands in the molten lava. dramatic brass stabs.
02:56:42:27 Yoda joins Bail Organa. Melancholy strings and woodwind.
02:56:55:04 Vader and Obi Wan cling to unstable Battle Of The Heroes continues unabated by full
floating platform and continue to fight. forceful orchestra and choir.
02:58:29:26 I have failed you Anakin Horns play the Force Theme over a choral
accompaniment.
02:58:46:02 Well then you ARE lost! Battle Of The Heroes theme returns.
02:59:46:03 Vader lies groaning. Solemn mournful strings lament.
03:00:47:07 Vader begins to burn. Dissonance creeps into strings.
03:01:47:21 Obi Wan strokes Padms face. Double bass ostinato with horns and woodwind
suggesting the Force Theme.
03:02:20:23 Vader claws himself up the bank. Dissonant sinister brass rumblings.
03:03:32:14 Hidden asteroid base exterior. Violin slightly dissonant suspensions.
03:03:44:18 Excuse me Master Yoda Cello entrance.
03:03:55:05 Obi Wan flies into the base. Uncertain cello Force Theme joined by flutes.
03:04:17:17 Rainstorm on Coruscant. Blatant menace in strings, low brass and male

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Steve Beaty -6- Cue Sheet

 chorus.
03:04:41:00 Bail Organas medical centre. Woodwind and strings melancholy phrases.
03:05:02:00 Shes carrying twins. Flute and chimes reflect everybodys surprise.
03:05:20:14 Vader is probed by medical droids. Melancholy strings mixed with low brass menace.
03:05:39:25 Luke is born first. Chime arpeggios punctuate Lukes birth.
03:06:22:29 Vader lies prostrate with new robotic body. Tension filled brass and strings passage.
03:06:46:19 Darth Vader helmet is locked in place. Cello Imperial March reference.
03:07:02:29 Obi Wan Brass solemn suspended chords.
03:07:10:21 Theres good in him Choral solemn funereal dirge (New arrangement of Qui
Gons Noble End from Episode I - The Phantom Menace).
03:07:31:23 Luke starts to cry as Padm dies. Cello plays mournful Force Theme.
03:07:37:24 Vaders ope rating table rises. Choirs lament becomes thicker. Orchestral
accompaniment solidifies.
03:08:32:25 Vaders anger destroys the room. Force theme reprise by trombones.
03:08:59:17 Tantive IV flies towards Theed. Unresolved orchestral cadence.
03:09:16:28 Split up, they should be French horn solo of Leias Theme.
03:09:32:10 To Tatooine, to his family send him. The cello reinforces the Force Theme.
03:09:44:29 Until the time is right, disappear we will. Oboe countermelody makes an appearance.
03:09:58:04 training, I have for you. Hopeful interaction between strings and oboe.
03:10:04:04 An old friend has learned the path to Regal, majestic but relaxed Force Theme by
immortality strings, flute and French horn.
03:10:25:10 Bail Organa and the droids. Muted brass flourishes.
03:10:39:20 Padms funeral on Naboo. Orchestral reprise of funereal dirge including
tubular bells.
03:11:08:27 The Queen of Naboo. Choir joins the orchestra gently.
03:11:31:11 Vader on the bridge. Cello reprise of the Force Theme
03:11:40:22 The Emperor & Darth Vader oversee Orchestral funeral dirge crescendo with double
construction of the Death Star. bass and trombone Imperial March motif.
03:12:04:18 Tantive IV flying over Alderaan. Violin recapitulation of the Force Theme.
03:12:24:04 Bail presents Leia to his wife. French horn and orchestra play the Leia Theme.
03:12:50:13 Obi Wan at the Lars homestead. Strings play a hopeful Lukes Theme.
03:13:11:03 Obi Wan hands Luke over to Beru. Celes te delicate melodic feature.
03:13:17:02 Obi Wan smiles as Beru moves to join French horn Force Theme. A deliberate homage
Owen gazing at the sunsets. to Binary Sunset from Episode IV A New Hope.
03:13:32:04 Owen gazes at the child Luke. Orchestra crescendos to finalise the Force Theme
/ Binary Sunset.
03:13:46:14 End Credits. Full orchestral exposition of the Main Title / Lukes
Theme (Ending Version).
03:14:34:21 End Credits. The original orchestration Of Leias Theme (from
Episode IV A New Hope).
03:16:01:24 End Credits. Full orchestra playing The Battle Of The Heroes.
03:18:33:14 End Credits. Recapitulation of the Main Title Theme.

Steve Beaty -7- Cue Sheet

 Star Wars Episode III
Revenge Of The Sith

Appendix: Graphic Score

In the scene Padms Destiny / Rise of the Death Star, previous Star Wars cues are
reintroduced in a climactic, emotional scene that had a few in the cinema in tears on the opening
night.
Padms Destiny is a reintroduction of Qui-Gons Noble End from Episode I The
Phantom Menace. Its use here is not as forceful as in that film, here it beautifully scores Padm's
funeral procession. The piece opens with a low brass (horns and trombones ) introduction of the
themes harmonic progression. This is then reinforced by the strings and woodwind once Padm
is seen lying in state.
This scene marks the finale of the film emotionally, with Padms death juxtaposed
against the birth of Darth Vader in his new form. It also introduces Governor Tarkin, and the
Death Star to the audience, both of which will become much better known in A New Hope.
In this respect Williams saves his most bombastic use of thematic motifs for that film,
and only makes subt le brass and string references to the Force Theme (reflecting that there is
still good in Vader) and the Imperial March (showing him to be in the clutches of the Emperor).
***

Graphic Score Key:

X Tubular bell strike.

Thick (processed) fade -out

Held diminuendo (by musicians)

Sustained note by group of instruments (line thickness reflecting volume)

(Shape vertical alignment in regions indicates respective pitch. Horizontal alignment reflects
time.)

Steve Beaty -1- Graphic Score

 Timestamp 03:10:39:02 03:10:52:07 03:11:09:16 03:11:12:23 03:11:25:25

Cut to over- Padm lying Queen of Camera tilts Wipe to outside of

Action cast Naboo. in state in Naboo in down Padms Imperial Destroyer
transit. procession. body. and TIE Fighters.

Qui-Gons Noble End /

Padms Destiny theme.

Background talking of mourners. Roar of TIE fighter fly-by

Other /
Sound FX
Horses hooves and chains.

Flutes and Clarinets

Woodwind

Violins and Violas

Strings celli Pizz.

Horns and trombones

Brass

Aahs in place of Sanskrit lyrics

Choir

Tubular Bells x x
Percussion
x x x x x x x

Steve Beaty -1- Graphic Score

 Timestamp 03:11:29:19 03:11:33:05 03:11:42:23 03:11:51:17 03:12:04:00 End

Vader Imperial staff Tarkin leaves Sidious Vader and Wipe to Tantive flying
Action walking onto look at Vader. and Vader to look at Sidious together. towards Alderaan.
the bridge the Death Star.

The Force theme in Celli. Imperial March theme in trombones. Imperial March motif
Padms Destiny theme in violins. in brass and Celli.

Harp arpeggio
Tantive IV engine roar.
Other / Darth Vaders breathing.
Sound FX

Woodwind
Very quiet flutes

Violins
Strings Celli
Celli

Trumpets and
Trombones Trombones French horn leading
Brass to Leias theme...

Choir

Percussion

Steve Beaty -2- Graphic Score

 Appendix: Star Wars Thematic Material
Music by

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JOHN WILLIAMS
Star Wars (Main Title) / Luke's Theme

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Steve Beaty Star Wars Thematic Material
{
2

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Steve Beaty Star Wars Thematic Material

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Steve Beaty Star Wars Thematic Material

4

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Slowly and gently Across The Stars (Love Theme)

q=76

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Princess Leia's Theme
Gentle Flow
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Steve Beaty Star Wars Thematic Material

 5

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Steve Beaty Star Wars Thematic Material

6

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Battle Of The Heroes / Anakin vs Obi Wan
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Maestoso, Duel Of The Fates
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Kor ah, Mah tah. Kor ah, Rahtahmah_____

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Steve Beaty Star Wars Thematic Material

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Dirge Padm's Destiny / Qui- Gon's Noble End
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Steve Beaty Star Wars Thematic Material
 Star Wars Episode III
Revenge Of The Sith

Appendix: Synopses

Star Wars Episode I The Phantom Menace (1999)

The Trade Federation blockades the planet of Naboo, and the Jedi Master Qui-Gon
Jinn and his padawan apprentice Obi Wan Kenobi are dispatched by the Chancellor of the
Republic to negotiate for a resolution. Finding that the Trade Federation droid army is actually
invading and holding the planet hostage, the Jedi release the Queen of Naboo (Padm Amidala)
and hide out on the planet Tatooine to repair their spaceship.
It is on Tatooine that they meet the young slave-boy Anakin Skywalker. Qui -Gon
senses the Force (the mystical energy surrounding everything that gives the Jedi their power) is
unusually strong with the boy. After encountering the Sith Darth Maul, the Jedi and the Queen
return to Coruscant, capital of the Republic where Qui-Gon requests that Anakin is trained in the
Jedi arts. The Jedi Council refuses, stating that the boy is too old to have the discipline a Jedi
requires.
After consulting with Palpatine, the Senator for Naboo, the Queen calls for a vote in the
Senate to replace Chancellor Valorum. With the subsequent election of Chancellor Palpatine,
Queen Amidala decides to go back and retake her planet, little knowing that the Trade Federation
are under the control of the Sith Lord Darth Sidious. Qui-Gon and Obi Wan are sent by the
council to help her, and it is there that whilst Padm and Captain Panaka retake the Palace, the
two Jedi face off against the Sith apprentice Darth Maul.

Whilst the Jedi and Sith duel, Anakin finds himself on a Naboo fighter ship on autopilot,
and subsequently uses his Force-induced skills to destroy the Trade Federation control ship and
incapacitate their droid army.
In the ensuing lightsaber duel, Qui -Gon is killed by the Sith, and Obi Wan has to destroy
his Masters killer. As he dies, Qui-Gon makes Obi Wan promise to train Anakin as a Jedi, as Qui-
Gon believes that the prophesy of the one who will bring the Light and Dark Sides of the Force
back into balance refers to Anakin.
As Naboo is freed from the Trade Federation, padawan Anakin Skywalker and Jedi
Knight Obi Wan Kenobi begin the training together.

Star Wars Episode II Attack Of The Clones(2002)

10 years later, Anakin is a powerful and successful apprentice to Obi Wan, but the
council do not yet think he is ready to be a Jedi Knight, he is arrogant and impulsive, mostly
coming from starting the training too late. However, Obi Wan has taught his pupil magnificently,
and Anakin and Obi Wan are an unstoppable partnership.
The ex-Queen of Naboo Padm Amidala is now Senator for Naboo (taking Palpatines
office). There is unrest in the Galactic Senate. A number of star systems are withdrawing from the
Republic, and under the title of The Confederacy of Independent Systems (Separatists).
After an assassination attempt on Padms life, the two Jedi are ordered to investigate.
Reuniting after 10 years, Anakin feels pulled strongly towards Padm.

Steve Beaty -1- Synopses

 After another failed assassination attempt, Obi Wan follows up a lead and arrives on
the planet Kamino, where a Jedi Master ordered the manufacture 10 years previously of a clone
army. The DNA the clones were based on was provided by the Bounty Hunter Jango Fett. It
appears Fett was hired by the Separatist leader (and ex-Jedi) Count Dooku. Obi Wan follows Fett
to the planet Geonosis where he finds Dooku but is captured.
Meanwhile Anakin has been assigned to protect Padm and they lay low on Naboo.
However, being so close to her Anakin finds his love for Padm growing, yet for a Jedi all
attachments are to be forsaken. After having nightmares about his mother, Anakin and Padm
travel to Tatooine, where he finds his mother dead at the hands of Tusken Raiders. Anakin in a
fit of rage, murders every single man woman and child in the Tusken camp.
After receiving a transmission from Obi Wan, Padm and Anakin travel to Geonosis
and are also captured by Dooku. Just before their planned execution at the hands of Dooku,
Padm and Anakin admit their love for each other, and seal it with a kiss.
Whilst imprisoned, Obi Wan is interrogated by Dooku and is told that the Senate is now
under the command of a Sith Lord known as Darth Sidious. Obi Wan cannot believe it, but
intends to inform the Jedi Council.
During the intended execution of Obi Wan, Padm, and Anakin, Master Yoda brings
the Clone Army from Kamino to aid them and the three are released after a gripping arena battle.
The Clones face off against the droid army of the Separatists (including the Trade Federation),
and thus begins the many battles between the Republic and the Separatists. The Clone Wars
have begun.

Obi W an and Anakin face off against Count Dooku (Darth Tyranus), but Anakins
impulsiveness enables Dooku to render Obi Wan unconscious and Anakin to have his arm
removed. Yoda arrives in time to save them both, but is unable to defeat the Sith apprentice
Dooku.
Dooku escapes to Coruscant where he meets his Master Darth Sidious, handing over
the plans for a battle station known as the Death Star.
Unaware of this, Anakin (compet e with new robotic arm) meets up with Padm on
Naboo and their love for each other is finalised with their marriage.

Star Wars Episode III Revenge Of The Sith 2005)

After three long years of relentless fighting, the Clone Wars are nearly at an end.
Howe ver, the leader of the droid armies General Grievous sweeps into Coruscant and kidnaps
Chancellor Palpatine. During an all-out assault on Coruscant, the Jedi Council dispatches Obi-
Wan Kenobi and newly promoted Jedi Knight Anakin Skywalker to rescue the Chancellor.
During their rescue, the Jedi face off once more against Count Dooku. Although his
impulsiveness has been reigned in, allowing Anakin and Obi Wan to work together in their duel
with Dooku, Anakins hate and anger have not been controlled. After Obi Wan is rendered
unconscious, Anakin bests Dooku. Under orders from close advisor Chancellor Palpatine, Anakin
kills the unarmed prisoner Dooku.
Once safe back on Coruscant, Padm announces to her husband Anakin that she is
pregnant. Anakin then has horrific nightmares that Padm will die in childbirth, similar to the
nightmares he had of his mothers torture at the hands of the Tusken Raiders. Anakin resolves to
not lose Padm the same way he lost his mother.
Chancellor Palpatines closeness to Anakin results in the young Knight being promoted
to the Jedi Council (as Palpatine wants a representative on the Council). Perturbed at the
Chancellors meddling with the Council, Anakin is granted a seat, yet is not recognised as a Jedi

Steve Beaty -2- Synopses

Master. Obi Wan regrettably informs his former student and closest friend that the Council only
admitted Anakin to their meetings to report on the Chancellors dealings.
Anakin, confused by the Councils lack of trust in the Senate is further manipulated by
Palpatine. The Chancellor gradually convinces Anakin that the Jedi mean to overthrow the
Senate and have absolute power in the galaxy. Palpatine also tells Anakin where Grievous is
hiding and the Council dispatches Obi Wan instead of Anakin to bring him to justice.

Whilst Obi Wan finds and kills General Grievous on Utapau, marking the end of the
Clone Wars, Anakin is further taught by Palpatine. Palpatine tells Anakin of a Sith power to
prevent people from dying. After pleading with Anakin to use his knowledge of the Dark Side of
the Force, Anakin realises that Palpatine is in fact the Sith Lord Darth Sidious the Jedi have been
searching for for over thirteen years. Anakin resolves to tell Mace Windu and the Council of this
but Palpatine tells Anakin that if he dies then all knowledge of how to save the life of his wife will
die too.
Mace Windu, and a number of other Jedi attempt to arrest the Chancellor, who shows
his true Dark Side self and after a battle with Windu bides his time until Anakin arrives. Once
Anakin is there, Sidious fires Force lightning at Windu who reflects it back. Sidious pretends to be
beaten and Windu goes to finish him off, despite Anakins protestations that he should stand trial.
As Windu strikes, Anakin comes to the defence of the scarred Sidious, and through that action
alone his fall to the Dark Side is complete. Sidious finishes off Windu, and Anakin realises that
through his actions all he can now do is pledge his allegiance to Sidious, and become his new
apprentice Darth Vader.
Sidious instructs Vader to take the Clones to the Jedi Temple and exterminate all the
Jedi. Every single Jedi, including your friend Obi Wan Kenobi, is now an enemy of the Republic.
As Vader kills all in the Temple, including the Younglings, Sidious activates Order 66,
making all Clones kill the Jedi they were serving. Only Obi Wan and Yoda manage to escape.
As Vader travels to Mustafar to kill the Separatist leaders, Sidious reorganises the
Republic into the Galactic Empire, to the disgust of Bail Organa and the heavily pregnant Padm.
Bail Organa manages to rescue Yoda and Obi Wan on his ship the Tantive IV, and they
learn of Anakins fall to the Dark Side. Yoda tells Obi Wan he is not strong enough to fight Sidious
and so must go after Vader. Obi Wan tells Padm of Anakins betrayal but she will not believe it.
Obi Wan discovers that Padm is pregnant with Vaders child. Padm goes after Vader on
Mustafar and Obi Wan hides aboard her ship.
Yoda is unable to beat the Emperor despite a valiant attempt, and resolves to go into
exile until the time is right.
On Mustafar Padm realises that Anakin is now Vader and consumed by the Dark
Side. After Obi Wan shows himself, Vader believes Padm betrayed him and led Obi Wan right to
him. Vader confronts Padm, and uses the Force to choke her until she falls unconscious at his
feet.
Obi Wan and his friend and student must then battle for the good of the galaxy, and
after an emotional confrontation Obi Wan removes Vaders arms and legs and takes his
lightsaber from him. Vader is immolated on Mustafar and Obi Wan leaves, believing his old friend
to be finished.
However, the Emperor finds Vader still alive and builds him into a robotic suit that
enables him to move and breathe. The Emperor tells Vader that in his anger he himself killed
Padm, so Vader has nothing else to live for except his service to the Emperor. As the Emperor
consolidates his Empire with the construction of the Death Star, Vader joins him on the bridge as

Steve Beaty -3- Synopses

his new lieutenant. As Darth Vader is reborn more man than machine, Padm loses the will to live
and as Obi Wan and Yoda watch on, gives birth to twins Luke and Leia.
Realising the danger to the children if Vader finds them, Bail Organa takes Leia to live
with him and his wife on Alderaan, whilst Obi Wan takes Luke to live with Anakins step-brother
and his wife back on Tatooine and promises Master Yoda that he will watch over him.

Star Wars Episode IV A New Hope (1977)

20 years have passed and the grip of the Empire is as tight as ever. Nevertheless
there is unrest and civil war reigns supreme. Leia is now Princess of Alderaan and Senator, and
she uses her ship the Tantive IV to run the Imperial blockades.
As part of the Rebel Alliance she has acquired the plans for the Death Star, and stores
them in R2D2s memory banks. Darth Vader attacks the Tantive and boards the ship. Leia,
remembering a General Obi Wan Kenobi who served with her father during the Clone Wars ,
records a message for Obi Wan on Artoo, and both Artoo and C3PO escape to Tatooine. Leia is
captured by Vader.
On Tatooine, Luke Skywalker acquires the droids and accidentally reads the message
for Obi Wan. Luke wonders if Ben Kenobi knows anyone called Obi Wan and goes to find him.
Ben Kenobi reveals he is in fact Obi Wan Kenobi. As Obi Wan reads the message from Leia he
reveals that he knew Lukes father Anakin Skywalker. He tells Luke that Anakin was killed by
Darth Vader and that his father wanted him to have his lightsaber and learn the ways of the
Force.
Luke argues that he cant do anything about the Empire, and must go back to his Uncle
Owens farm. However Imperial troops have been there and killed Owen and Beru, so Luke
decides to help Obi Wan.
In finding a transport to Alderaan to converse with Bail Organa, Obi Wan and Luke
meet with Han Solo, a maverick pilot. Solo agrees to transport them and as they leave Tatooine,
they are attacked by an Imperial Cruiser, which they manage to evade.
On the Death Star Vader interrogates Leia as to the location of the Rebel base.
Threatening to destroy her home planet of Alderaan, Vader makes Leia tell them the Rebel base
is on Dantooine. However Governor Tarkin powers up the Death Star and fires on Alderaan
anyway, immediately destroying the entire planet.
On Solos ship, the Millennium Falcon, Obi Wan feels a disturbance in the Force as
Alderaan is destroyed. Once they arrive at Alderaan, they discover a meteor shower where the
planet once stood, and a tractor beam pulls them into the Death Star.
Once within the Death Star, Han, Luke and Hans co-pilot Chewbacca infiltrate the
battle station, and eventually rescue Princess Leia from its bowels. In rendering the tractor beam
useless, Obi Wan feels the presence of his old padawan, and knows their final battle must ensue.
Obi Wan and Vader square off against each other, but Obi Wan has learned the secret
of immortality; so once Luke is watching them duel on the way back to the Falcon, Obi Wan
sacrifices himself to Vaders lightsaber.

The Falcon escapes, and with the plans for the Death Star in their possession the
Rebellion can mount an attack on the station.
In the ensuing battle, Vader destroys a number of Rebel craft but is bested by a Wedge
Antilles. This leaves Luke free to (under Obi Wans ghostly tutelage) fire the missile that would
destroy the Death Star once and for all.

Steve Beaty -4- Synopses

 After the battle Han and Luke are awarded medals by the grateful Leia and on behalf of
the Rebellion as a whole.

Star Wars Episode V The Empire Strikes Back (1980)

The Rebels have made a temporary base on the ice-world of Hoth. Whilst out on the
Ice Fields Luke is trapped and, almost frozen, has a visit from Obi Wan telling him to go to
Dagobah and search for the great Jedi Master Yoda.
Han puts his own life at risk to find the freezing Skywalker boy and manages to bring
him back to the safety of Echo Base. Once there, the Empire tracks them down and attacks in full
force in an attempt to destroy the base. Luke, Han and the other Rebels escape from the Empire
and take transports into space and make those their base of operations.
The Emperor tells Vader that they have a new enemy, Luke Skywalker, who must be
turned to the Dark Side.
Whilst Luke travels to Yoda to continue his Jedi training, Han Solo, Princess Leah,
Chewie and the droids stop off at Bespin to refuel the Falcon. Hans old friend Lando Calrissian
greets them, but has secretly made a deal with Vader in order to keep his mining facility open.
Han, Leia and Chewie are captured and Han, having a price on his head by Jabba the Hutt, is
frozen in carbonite and taken off by Boba Fett. Luke, sensing trouble rushes off to help them,
despite Yodas protestations.

Once at Bespin Luke and Vader engage in a dramatic lightsaber duel that culminates in
Vader slicing off Lukes arm. It is at this moment that Vader reveals to Luke the true identity of his
father, that Vader is Lukes father.
Luke is rescued from certain death by Lando, Chewie and Leia aboard the Falcon, and
they resolve to rescue their friend Han from Jabba the Hutt.

Star Wars Episode VI Return Of The Jedi (1983)

Jabba the Hutts palace is infiltrated by Leia posing as a bounty hunter with Chewie as
her prize for Jabba. However, she is captured after releasing Han from his frozen prison.
Luke Skywalker then breaks into the palace and threatens Jabba, but finds himself
bested. Luke, Han, and Chewie, all destined to be thrown into the Pit of Sarlaak, escape with a
little help from Lando and Artoo. Leia also manages to strangle Jabba, and they are all reunited.
Once his friends are safe, Luke then goes to complete his training with master Yoda,
but it is too late and the 900 year old Jedi dies before he can complete his training. Luke
discovers the truth that Vader really is his father, and Obi Wan explains that Leia is his twin sister.
As the Rebellion gains intelligence that a second Death Star is under construction in
orbit of the moon of Endor, they infiltrate the moon. Luke, knowing that his presence puts them all
in danger gives himself up in order to turn his father back from the Dark Side.
The Rebel Fleet is waiting on the other side of Endor so that once Han has disabled the
shield generator on the moon; they can destroy the Death Star. Han and Leia are captured in a
clever ruse by the Emperor; a trap to crush the Rebellion, for the Death Star is fully operational.
As the Emperor tempts Luke ever closer to the Dark Side, Han and Leia put the shield
out of commission and Lando is tasked with using the Falcon to destroy the station.

Steve Beaty -5- Synopses

 Luke uses his anger over the Emperor targeting Leia to defeat Vader, but is attacked
by Force Lightning by Sidious. Nearing death, Luke is saved when Vader redeems himself and
turns on his former master. Absorbing the lightning himself, Vader flings Sidious into the main
reactor of the Death Star.

It is too late for Anakin, the force of the lightning affords him only fleeting moments with
his son before he dies, and Luke escapes just before Lando destroys the Death Star.
With the Emperor and Vader gone, and the Empire in tatters, a new dawn arrives for
the galaxy, and the New Republic gives hope to those across the galaxy

Steve Beaty -6- Synopses