[37] Besides the main theme and a handful of other principal themes, Williams forged several smaller motifs for each episode, which are generally not as memorable and at times interchangeable. Including all the alternate takes of the recording, Williams has recorded about 21 hours of music for the series, although much of it remains unreleased. The material was lifted for the revised Sail Barge Assault cue, and – more importantly the Superstructure Chase sequence, tying it to spaceship battles involving the Millennium Falcon. Some of this music was re-tracked into other parts of the film, or even another film in the series, by the filmmakers. Throughout all of the franchise, which consists of a total of over 18 hours of music,[3] Williams has written approximately fifty themes in one of the largest, richest collection of themes in the history of film music. As a result, a number of themes and motifs from the previous films are constantly repeated, often in very familiar settings, such as statements of Yoda's and Leia's theme that are lifted from the concert arrangements, a reprise of the Binary Sunset rendition of the Force theme, and recurring statements of Rey's and Kylo's themes. In fact, some of Williams' themes are written from the outset purely to convey a certain mood rather than evoke a character or setting, such as the Throne Room music of the original Star Wars or the Pursuit motif from The Force Awakens. By John Williams. [a] Otherwise, however, his later scores were mostly tracked with music of his own composition,[14] mainly from previous Star Wars films. – are often treated as separate leitmotifs (see Lehman's catalog) although Williams never referred to them as such, nor assigned them with an identifiable dramatic purpose in the score. all of Alberich's themes or all of the Hobbits' themes) are connected in melody, harmony, key and orchestration, so as to create sets and subsets of inter-connected thematic "families." Also, in the prequels the motives are often associated with places and events, rather than with characters as they are in the rest of the scores, creating a further discrepancy in the musical narrative. By John Williams. In my case however, to bring high quality realistic orchestral sounds to Star Wars The New Era, I had to write, record, and mix this time. Written by John Williams, it is played in the Mos Eisley Cantina on Tatooine. Even when some of these figures do recur, it is often unclear whether they are substantial enough to be assigned with thematic significance, as these instances often includes material that is incidental in nature, such as several figures used in the finale of The Empire Strikes Back;[132] material with overly broad (and therefore vague) association to the story such as tragic music written for the Starkiller sequence in The Force Awakens returning for Han Solo's death[133] or "Tension" music from Episodes 7 and 8;[56] material that is purely rhythmic or timbral like various "bouncing" horn figures for Luke's landspeeder search in the original Star Wars,[130] the use of the synthesizer to represent Vader's menace in The Empire Strikes Back,[134] a women's chorus for the underwater scenes of The Phantom Menace; material that is of a generic nature, such as his use of "mournful homophonic" choir in The Last Jedi for climactic moments; or material that is part of Williams' stylistic choices as a composer, more than a thematic statement unique to the series. 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