If the Force has a soundtrack, it’s John Williams.
Across nine episodic Star Wars films, Williams crafted music that is instantly iconic — a universe in sound. From the heroic blasts of the Main Title to the sinister sighs of the Dark Side, his scores elevate every lightsabre clash and starship chase.
But not all scores are created equal. Some sequels lean heavily on recycled themes, some struggle under narrative weight, and a few embrace fresh ideas that either soar… or stumble. Williams’s genius lies in weaving leitmotifs into a cinematic tapestry so rich that even minor variations feel monumental.
Ranking nine Star Wars scores from worst to best is no easy task — each has moments of brilliance — but it’s a thrilling ride through triumph, tension, and occasional missteps. Strap in, cue the opening crawl, and let the music decide.
Best Star Wars music
9. Attack of the Clones (2002)
Even in last place, this score delivers thrills, spills and romance. Williams’s score suffered from heavy editing – particularly in the third act, but there are standout moments.
Top of the list is a tragic love theme, ‘Across the Stars’. It soundtracks the forbidden romance between Anakin Skywalker and Padme (future parents of Luke Skywalker and Princess Leia). There’s a chase in the skies above the city-planet Coruscant that will leave you breathless. Beyond that, though, it’s a lot of action-heavy music designed to tie up disparate locations and story threads.
8. Revenge of the Sith (2005)
This third act of George Lucas’s ‘Prequel Trilogy’ (ie. films set before the original 1977-83 trilogy but made 20+ years after) delivers much drama, darkness and some absurdity. Williams takes it all in his stride, though. There are broad Mahlerian strokes to underline Anakin Skywalker’s fall from grace – spoiler alert, he becomes Darth Vader – and what amounts to a Jedi genocide.
This one's probably the most choir-heavy of all the scores. And it’s marvellous stuff, but perhaps quite removed from the sound of Star Wars we know and love. The appearance of babies Luke and Leia, and the ‘birth’ of Darth Vader, in the finale allows Williams to dust off some classic themes, though.
7. The Last Jedi (2017)
The middle film of the most recent trilogy saw Williams build on an arsenal of new themes he introduced in The Force Awakens. There is rather less looking over the shoulder to ‘classic’ themes in this one. That said, a much-anticipated ‘reunion’ of siblings Luke and Leia sees the return of the composer’s 1983 theme for the pair. Action music is rife, but not trivial; Williams seems to have been much-inspired and revels in it.
There’s lightness and brevity, too, with memorable new music for the resistance fighter Rosie, an unusual casino scene and rollicking music for a chase on horse-like creatures called ‘Fathiers’.
6. The Rise of Skywalker (2019)
Williams’s final entry in this Star Wars saga doesn’t see him resting on his laurels or showing any signs of boredom. Given this film ties up a story which began in 1977, Williams brings out many classic themes and moments to create bridges between plot moments and characters. It’s deftly done, sometimes thrillingly.
There’s an abundance of new material, too, with a lyrical new theme of belonging and destiny, a delightful speeder chase through the desert and no end of despicably dark modes for the evil Emperor – including an ‘Anthem of Evil’.
5. The Phantom Menace (1999)
This was Williams’s first return visit to the galaxy far, far away and the beginning of a new trilogy of films with director George Lucas. The 16-year gap had left fans anticipating greatly what a new Star Wars score would sound like. There’s a sophistication and opulence to be found here, fresh sounds for colourful new worlds and characters. It remains an underrated score, one which is a masterclass is musical storytelling.
Williams cleverly pre-empts themes and material that would ‘follow’ in later instalments in the timeline. Indeed, his theme for the child Anakin Skywalker ends with a subtle quotation of what will be Darth Vader’s theme. The crowning glory of the score is ‘Duel of the Fates’, a choral-symphonic tone poem of sorts. With a complex story to set out, it’s Williams’s music which binds this galaxy together.
4. The Force Awakens (2015)
Given this most recent, and final, trilogy of films picks up some 35 years after the original trilogy ended, you’d expect John Williams to rely heavily on established themes. What he did, though, was embrace fully the new threads and faces that director JJ Abrams brought to life.
It feels like the composer was really inspired with this film and these characters, as he created a raft of new and memorable themes and motifs. At the heart of the score is ‘Rey’s Theme’, written for a character (and actress) who Williams admits enchanted him. The references to established musical material are effectively executed and have a lot of impact – in particular the reunion of the estranged Han Solo and Princess (General) Leia.
3. Return of the Jedi (1983)
The original third film in third place… by this point the soundworld and themes were well established and already much-loved. There’s an emotional depth and charm to this score which can be overlooked. Williams composed new themes, including one for the ‘vile gangster’ Jabba the Hutt, an ominous choral chant for Emperor Palpatine and a colourfully riotous piece for the diminutive Ewok warriors.
The space and forest battle music is some of the composer’s finest, perfectly balancing pace, action, emotion and humour as the rebels triumph over the empire.
2. A New Hope (1977)
This is the one that started it all. George Lucas asked Williams for an old-fashioned symphonic film score and it was a request that would see a resurgence in thematic, orchestral music in films. It also secured Williams’s place at the top of the A-list of Hollywood’s composers and established what would really be his signature style.
The root of all the scores that followed is established here and with the familiarity of the ‘Main Title’ (aka Luke Skywalker’s theme) in mind, it’s easy to forget the rest of the score. It’s inventive, exciting and introduced a generation of filmgoers to the concert hall thanks to its life beyond the screen. Star Wars music doesn't get much better than this.
BBC Music Magazine named Star Wars: Episode IV as one of the best movie scores of all time.
And the Star Wars film with the best music is...
1. The Empire Strikes Back (1980)
Williams could never have known just how impactful the first Star Wars film, and score, would be. With the follow-up, though, he knew what he was dealing with, so he could play around and dig a little deeper.
Themes returned, were embellished and an established soundworld was mined ever deeper, eliciting some of the composer’s most dynamic and thrilling dramatic scoring. Highlights include the Battle of Hoth, the chase through the Asteroid Field and a nail-biting finale showdown between Luke Skywalker and Darth Vader.
There were strong new themes for this film, too, including a march for Vader, a furtive love theme for Han Solo and the Princess and a noble, poetic piece for the ancient Jedi Master, Yoda. It doesn’t get better than this. Undoubtedly, the best Star Wars music and theme tune of the lot.
We named the London Symphony Orchestra's recording of this soundtrack as one of John Williams's best recordings. We also named this as one of John Williams's best film scores.
Pics Getty Images