From the moment John Williams’ now-iconic fanfare blared into life alongside the Star Wars: Episode IV – A New Hope opening crawl, the world George Lucas created has been tied closely to its music. Few, if any, other film franchises have music as instantly recognizable as Star Wars, and while Lucas built the world, Williams brought it to life. Several decades and one corporate takeover later, the Star Wars universe has expanded greatly, and so too have the bounds of its musical identity.
While Williams will forever be the Star Wars composer, plenty of other talented creators have contributed incredible pieces of music to the franchise. By volume, no one has written more Star Wars music than Star Wars: The Clone Wars composer Kevin Kiner, and Ludwig Göransson brought classic Western flair with a contemporary bent to his work on The Mandalorian.
Here, find the most unforgettable Star Wars music moments in no particular order, most from composers not named Williams (though that composer’s arguably most underrated Star Wars piece does make an appearance.)
Menu Screens – Star Wars: Rogue Squadron
Music by Chris Huelsbeck
Those who didn’t play 1998’s Star Wars: Rogue Squadron on Nintendo 64 or PC may find the game’s inclusion on this list confusing. To those who played the game and its sequels, however, German composer Chris Huelsbeck’s main title theme is unforgettable.
Blaring to life as the game’s title card appears on screen and continuing as players choose their mission and spacecraft, the John Williams-esque fanfare is the perfect accompaniment to the daring actions of the galaxy’s most competent pilots.
“Fields of Dusk” – Star Wars Jedi: Survivor
Music by Stephen Barton & Gordy Haab
Flying in the face of the Rule of Two, the duo of Stephen Barton and Gordy Haab has proven that harmonious collaboration can yield unforgettable results. The pair composed incredible music for Respawn’s Star Wars Jedi: Survivor, immersing players in the universe in a way that no other Star Wars game music has so fully and consistently.
“Fields of Dusk” appears both in-universe and as underscore, and while the fact that the game should be enjoyed spoiler-free makes it better to omit the exact instances, the piece is worth a listen. Fans of stellar Star Wars music and storytelling should do themselves a service and play this game.
“Ahsoka – End Credits” – Ahsoka
Music by Kevin Kiner (with Sean and Deana Kiner)
Ahsoka broke open the bounds of Star Wars in a way that likely made George Lucas proud. With the series’ episodes often ending with revelations about the universe and the Force itself, the haunting, rhythmic strings of “Ahsoka – End Credits” spurned audiences to reflect on what they had witnessed.
The string-heavy arrangement at the beginning of the end credits, arranged by Sean and Deana Kiner from their father’s original theme for Ahsoka Tano, also brought new musical textures to live-action Star Wars.
“Journey Into the Star Cluster” – Star Wars: Rebels Season 2, Episode 13
Music by Kevin Kiner (with Sean and Deana Kiner)
One of the most unforgettable moments of the entire Star Wars: Rebels series was the end of season 2, episode 13 when the Ghost crew flew into a seemingly unnavigable star cluster. Once again, with the help of Sean and Deana, Kevin Kiner crafted a string suite that felt unlike anything heard before in the franchise.
The music, set against the stunning animated visuals, made for one of the most memorable sequences across live-action and animated Star Wars alike.
First Title Screen – The Mandalorian Season 1, Episode 1
Music by Ludwig Göransson
Ludwig Göransson’s Western-meets-Williams theme for The Mandalorian doesn’t play in full until the end of the show’s pilot episode.
Still, early in the episode when Pedro Pascal’s Din Djarin coolly told his quarry “I can bring you in warm, or I can bring you in cold,” and the theme’s trademark whistle and pulsing drums burst to life over the title card, audiences instantly knew that scum and villainy were alive and well in Disney’s Star Wars universe.
Leia’s Introduction – Obi-Wan Kenobi Episode 1
Music by Natalie Holt
While introducing a young Princess Leia, Obi-Wan Kenobi gave viewers a glimpse of Alderaan, further setting up the tragedy of the planet’s eventual destruction at the hands of the Empire.
Natalie Holt’s elegant “Days of Alderaan” cue, however, that elevates the scene, driving home the beauty and refinement of what would later be lost.
The Obi-Wan/Vader Rematch – Obi-Wan Kenobi Episode 6
Music by William Ross
Lucasfilm head Kathleen Kennedy promised “The Rematch of the Century” in Obi-Wan Kenobi, and the clash between the former master and apprentice was indeed the highlight of the limited series. John Williams protégé William Ross composed the piece, titled “I Will Do What I Must.”
Like its namesake, the piece harkens back to one of the most compelling moments of the Star Wars prequel trilogy while still standing on its own as a worthy addition to this list.
“Mod Parlour” – The Book of Boba Fett Episode 4
Music by Joseph Shirley, Ludwig Göransson, and Thundercat
The Book of Boba Fett has proven to be a divisive entry into Star Wars canon, but to its credit, the show wasn’t afraid to explore new avenues. One of which is the body modification scene in episode 4, which is paired with a futuristic, bass-heavy groove aptly titled “The Mod Parlour.”
“The Mod Parlour” was written by Joseph Shirley, Ludwig Göransson, and the virtuosic bass player Thundercat, who is featured on the track and even appears in the scene.
Sabine’s Introduction – Ahsoka Episode 1
Music by Kevin Kiner (with Sean and Deana Kiner), Ludwig Göransson and Noah Gorelick, featuring Sarah Tudzin
Introductions are the best way to make an impression, and Sabine’s jump from the animated world of Star Wars: Rebels to the live-action Ahsoka has the perfect music to match.
The concept of what is musically possible in the world of Star Wars continues to expand in the Disney era, as proven by the futuristic rock song “Igyah Kah” by the Kiner family, Ludwig Göransson, and Noah Gorelick, performed by illuminati hotties’ Sarah Tudzin.
Cassian Andor’s Forward March – Andor Season 1 Episode 2
Music by Nicholas Britell
The end of Andor episode 2 feels like a beginning, with Diego Luna’s Cassian Andor striding toward the camera until a quick cut to black. The audience knows dangerous forces are closing in around Cassian and that it is only a matter of time until he is fully on the path to becoming the character first met in Rogue One: A Star Wars Story.
The driving music by Succession composer Nicholas Britell makes the episode stand out which, for seemingly the first time in Star Wars history, features contemporary instruments with no attempt to sound foreign or alien in any way. The episode ends with a full-on rock beat played by a drum set that sounds exactly like a drum set, which captures attention through every smack of the snare. It’s the most terrestrial Star Wars music has ever sounded, and it works like a charm.
Ahsoka’s Exit From the Jedi Order – Star Wars: The Clone Wars Season 5, Episode 20
Music by Kevin Kiner (with Sean and Deana Kiner)
Ahsoka’s decision to leave the Jedi Order is one of the most impactful moments in all of Star Wars: The Clone Wars.
Kevin Kiner’s “Ahsoka Leaves” uses John Williams’ iconic Force theme as a starting point, but transitions into a poignant reflection on the young Jedi’s journey as she makes one of the most consequential decisions of her life.
“Jabba Flow” – Star Wars: Episode VII – The Force Awakens
Music by J.J. Abrams and Lin-Manuel Miranda
Was there anywhere Lin-Manuel Miranda wasn’t in 2015 and 2016? Hamilton swept the Tony Awards, Disney enlisted him to write the music for Moana, and he even journeyed to a galaxy far, far away to pen the cantina song for the first live-action Star Wars movie in a decade.
In the movie, the song is performed in Huttese by the band Sh-g Kava (whose lead singer sounds suspiciously like Miranda), and helps provide the atmosphere at Maz Kanata’s castle. The most fun aspect of the song is the fact that the singer name-checks Jabba the Hutt, suggesting that all the major players in the Star Wars films could have their own musical homages. Here’s hoping for an Ewok folk ballad about the exploits of Han Solo.
“Galactic Dreamer” – Star Wars: Visions, “Tatooine Rhapsody”
Music written by Masaya Sakuta & Yoshiaki Dewa. Performed by Nonpe (Original Japanese version) and Joseph Gordon-Levitt (English dub)
Star Wars: Visions is a unique anthology series that, despite being outside the main Star Wars canon, offers some of the universe’s most interesting stories. The show’s first season contains the episode “Tatooine Rhapsody”, in which an up-and-coming band called Star Waver performs their song “Galactic Dreamer”.
It’s a straight-up pop-punk piece that may feel a little incongruous even in Star Wars‘ ever-expanding musical identity, but it is inarguably a fun and catchy addition to the universe. The Japanese language version of the song is performed by Nonpe, while none other than Joseph Gordon-Levitt lends his vocals to the English dub.
“The Battle of Hoth” – Star Wars: Episode V – The Empire Strikes Back
Music by John Williams
The 15-minute piece of music that John Williams wrote to underscore the Battle of Hoth may be the composer’s most underrated contribution to Star Wars.
The piece deftly weaves together elements of William’s best themes like “The Imperial March” and “Binary Sunset” (a.k.a. The Force theme) before launching into a frenzy of activity just as chaotic and desperate as the battle between the Rebellion and the Empire. Paired with the iconic visuals of snowspeeders and AT-ATs, this musical moment represents Star Wars at its best.
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