I finished up the cues from the Death Star escape scenes at the beginning of the week. I really enjoyed writing music for “The Trash Compactor,” because it provided me another genre of music to write. This scene is the scene where a monster attacks Luke, and it’s the closest to a horror scene as the film ever gets. Dr. Moser had suggested listening to Krzysztof Penderecki’s The Dream Of Jacob and borrowing orchestration techniques and timbres for suspenseful or scary scenes. I particularly employed his use of a low, pulsing brass, and screechy, sliding strings for this scene.
For “The Walls Close In,” I wanted to keep a sense of fun in the piece, because this is a fun, adventurous rescue mission, and the movie stays playful even in the face of peril. I also continued my contrast between the droids’ mission and the team’s, as C-3PO and R2-D2 get a totally different key and tempo of the main music.
I then completed writing “Mos Eisley Spaceport” so that my second “reel” would be finished. I wrote a Middle Eastern piece for the drive through the spaceport, almost functioning as diegetic music.
Once I had completed reels 2 and 3, I moved on to the final battle. “Assault on the Death Star.” Though I did not use any specific passages for inspiration in this cue, I drew heavily from the orchestration techniques in Night on Bald Mountain and the 1812 Overture. This scene was easy and fun to write music for, but I spent most of my time trying to line up my musical beats with important moments in the scene. This requires many tempo changes, time signature changes, and offbeat “hits” in the orchestra. I also tried a little of the “mickey mousing” technique, in which the music directly corresponds to an event onscreen, such as a loud beat when an explosion occurs, or fast descending flute parts as something falls.