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Attack of the Clones

- The Complete Score -


Private Compilation Composed and Conducted by John Williams
Format: mp3 (Thanks to Bernard!) Produced by John Williams
Total Playing Time: 3:22:22 Performed by the London Symphony Orchestra
Date: April 13, 2008 Director: George Lucas
Cat. No. SC326

Compiled and edited by Bernard Kyer

Track Listing

CD 1 (1:05:55)

1. Fox Fanfare (ESB Recording) (0:22)
2. Main Title (TPM Recording) (1:32)
3. Arrival at Coruscant  (0:19)
4. Ambush on the Landing Platform (2:16)
5. The Security Council (2:41)
6. Old Friends - Annie (1:37)
7. The Nightshift Begins (0:54)
8. Setting the Trap (2:51)
9. Chase Through Coruscant (11:49)
10. Executive Orders and Obi Wan's Concern (1:38)
11. Going into Hiding (2:46)
12. Departing Coruscant (1:42)
13. Jedi Archives (1:21)
14. Yoda and the Younglings (4:00)
15. Audience on Naboo (2:26)
16. Arrival at Kamino (Film Alternate) (1:44)
17. The Army of the Republic (Film Ending) (0:51)
18. Glass Sculptures - Forbidden Kiss (2:18)
19. Inspecting the Army (1:52)
20. The Meadow Picnic (2:32)
21. Interview with Jango (2:50)
22. Anakin and Padme (3:59)
23. Making Contact - Dreams (Film) (2:45)
24. Tatooine Resolution (Tracked) (1:36)
25. Jango's Escape - Arrival at Tatooine (3:46)
26. Meeting Watto (0:54)
27. Bounty Hunter Pursuit - Arrival at Geonosis (2:21)

CD 2 (1:08:38)

01. The Lars Homestead - Searching for Shmi - Spying on the Separatists (6:54)
02. Tuskan Camp - Return to the Homestead (Film) (5:52)
03. Anakin's Confession (2:38)
04. Shmi's Funeral - To Geonosis (3:46)
05. A Crisis (0:58)
06. Dooku's Offer (Tracked) (1:24)
07. Emergency Powers (1:52)
08. Arrival at Geonosis (Tracked) (1:38)
09. The Droids Confer (0:36)
10. On the Conveyor Belt (3:05)
11. Captured (0:39)
12. Love Pledge (2:39)
13. The Arena (4:28)
14. Battle for Geonosis I (Tracked) (2:17)
15. Battle for Geonosis II (Tracked) (3:32)
16. Battle for Geonosis III (Tracked) (1:38)
17. Battle for Geonosis IV (Tracked) (1:55)
18. The Ultimate Weapon (Tracked) (0:51)
19. Dooku's Escape (Tracked) (1:28)
20. Going After Dooku (Film Alternate) (2:20)
21. Confronting Dooku (Original) (2:14)
22. Yoda Vs Dooku (Original) (2:28)
23. The Clone Wars - Finale) (5:16)
24. End Credits (Album Intro) (0:53)
25. Across the Stars (Album) (5:32)
26. End Credits (Extended Album Alternate) (1:34)

CD 3 (1:08:13)

01. Fox Fanfare (1999 Recording) (0:21)
02. Attack of the Clones- Music Video (4:34)
03. Across the Stars (Intro) (0:38)
04. Across the Stars (Musical Journey) (5:27)
05. Dex's Diner (Available Source) (1:50)
06. Dex's Diner (Film Version Source) (1:16)
07. Arrival at Kamino (Album Alternate) (1:33)
08. Making Contact - Dreams (Album Orchestration) (2:45)
09. Tusken Camp - Return to the Homestead (Album Orchestration) (5:52)
10. Arena Source (Ben Burtt) (2:39)
11. Going After Dooku (Album Alternate) (2:16)
12. Confronting Dooku (Film Edit) (1:17)
13. The Jedi Fall (Film Edit) (1:10)
14. Yoda Vs. Dooku - Finale (Film Edit) (3:42)
15. The Clone Wars - Finale - End Credits (Suite) (11:13)
16. The Story of Attack of the Clones (15:13)
17. Film End Credits Suite (6:20)

Many tracks include  SOUND EFFECTS and VOICE ECHOES.

Artwork by Miguel Andrade

Notes on "The Complete Score" by Bernard:

Over the years, a great deal of misinformation has been dispersed amongst the fans. I hope to put to rest a great deal of that here and now. First off let me start off with the back story...

Episode I was the first Star Wars score Williams had composed in over Sixteen years. The amount of effort put into the composing of the score is absolutely breathtaking. You need but look at the Complete 4 Disc set I edited to see that.

After Williams was finished composing, however, is where the story truly begins. During late post-production, and after Williams was no longer available to continue rescoring the final battle sequence, Lucas and Ben Burtt worked tirelessly to edit a sequence that would highlight each of the three battles taking place on and in orbit of Naboo. The final edit, however, bore little resemblance to what had originally been seen by Williams or scored by him, so the effect was to void out almost the entire final battle score, creating a problem for the editors. They then turned to the score for bits and pieces, using Duel of the Fates far more times than had originally been slated, and replacing music with cues from earlier in the film: this would be the way of things to come.

Williams has been quoted as responding to this as feeling artistically betrayed. His score, which he worked on up until the last minute to rescore each new edit of the film, was butchered and lay now splayed upon the film's carcass.

Years later, Williams is again to score a Star Wars film; this time it's Attack of the Clones. Many fans saw this as Williams weakest score, and understandably so. Much of the score is filler music and does nothing more than to accompany what s going on with some leitmotif and then move into grand statements of themes as we transition from one location to the next. Many also point to the lack of battle music for the final sequence of the film. This is due in part, to the problems that faced the first film. The amount of time it takes to create the CG scenes, accompanied by how much time it takes to spot, score, and then record the music for them. All of this takes a great deal of time and money with neither in infinite supply.  So, seeing the way things were going, Williams decided to not score the final battle, instead letting Lucas and Burtt have their way with Ken Wannberg and the music composed for Episode I to create entirely new action music sourced from the old.

Another interesting aspect of the film is the lack of music in The Arena. Many have argued both for and against the utilization of this music. During production, Ben Burtt was working on the SFX mix for the Conveyor Belt sequence, another sequence added quite late in the game. Originally, he conceptualized using percussive instruments in the mix of the mechanical SFX to create a sort of SFX/Music hybrid: it failed. When placed against Williams score for On the Conveyor Belt, the two meters simply didn t mesh and No one thought that Burtts beat alone would be strong enough to hold the scene. So it was decided that Williams score for On the Conveyor Belt would be used, perhaps even just partially after the amount of editing that Burtt did to the film. The tradeoff was The Arena. Burtt argued to watch the scene initially without music and to see how strong it was on its own. Lucas liked the idea enough that he let the sequence go without music until nearly the end. Burtt then stepped in and added crowd noises and endemic percussion, horns, and whistles to create a sort of familiar aspect to the Romanesque execution.

The score in the main stretch of the film is not without its edits. On the contrary, a great deal of the score is edited prolifically and much effort was put in replacing the unused music into this set and restoring the original order and flow. Chimes, percussion, and other transitional elements were used to help better the transitions from the new music to sourced music, or to simply create variety. Several cues have synth voices/instruments mixed in now that were not original to the score, perhaps to heighten moments without having Williams rescore the scene due to it being late in the game. Many cues as heard in the film are really combinations of fragments from several different cues edited together, layered over eachother, or simply combined in new ways.

For example, the music that plays as Yoda stops the ceiling from collapsing is not authentic to the Williams score. It is created from several elements: the music before it, the horn blasts, the ending from the music that was supposed to go there, synth voices over it with chimes mixed in. Another interesting aspect to the score are the two source cues for Dex's Diner. They are almost identical excepting for tempo, some orchestration, and somewhat compositionally. The film version is similar to the other, but restructured and with an extra section.

Perhaps one of the strangest things about the score is how little is released and how little is known. For almost every other Star Wars score, most of the music has now been released in some form, excluding Episode II. Despite this vacuum, several cues have surfaced in the video games, but for some reason most are edits. It took a lot of work but it eventually was discovered and confirmed that after the Episode I Ultimate Edition was created, there were plans to create UE's for each of the prequel scores. After the album was released for Episode II, a UE was produced but never released. Exactly why remains unknown, but perhaps one day the complete score will be released for each of the Prequels.

Through all of this, I hope that you may enjoy the set and have learned something from it as well about the film scoring process for Episode II.

BrachioInGen (GoodMusician)