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Utterly haunting, “The Emperor Arrives” is the sound of the dark side.Ĩ. The piece would be revisited at the film’s climax, and appear in different arrangements throughout the prequel trilogy. The melody here is simple, dark, and foreboding, driven by - for the first time in Star Wars - a male choir, adding a new aural color to Star Wars. “The Emperor Arrives,” Return of the JediĪccompanying our first real look at the Emperor as he arrives on the Death Star in Return of the Jedi, there is no life or punch to this composition, compared with the iconic “Imperial March” or other Empire-centric music. The idea of a Star Wars love song or composition seems almost impossible, but John Williams pulled it off with aplomb.ĩ. A grand, romantic work, “Across the Stars” succeeds on numerous levels - its melody hits a balance between melancholy and a feeling of longing, and the powerful use of strings conveys what the forbidden love between Anakin and Padmé means for both characters and the galaxy. The most memorable piece of music composed for Attack of the Clones, which manages to sound like a lost classical masterpiece yet still very Star Wars. We opted to count only the primary composition, and not alternate arrangements or reworkings - for example, “Yoda’s Theme” is used in various places and arrangements in both The Empire Strikes Back and Return of the Jedi, but we based our voting only on the main piece.ġ0. Note: This list is based on the tent-pole symphonic music (thus, no cantina band, “Jedi Rocks,” etc.) found on the official soundtracks of the Star Wars films. Today, we pick the top John Williams compositions of the Star Wars films. Welcome to The 10, a feature where ’s editorial staff huddles to discuss - in a committee - various topics relating to a galaxy far, far away.