balance the need to bring afresh but conversant soundto Star Wars while also playing in the footstep of John Williams ’ fabled music for the saga is achallenge for every composerwho join the dealership . Few have faced it as often as the Kiner family — composer and father Kevin , alongside his tiddler Deana and Sean — whose work has amount to define a new contemporaries of Star Wars music across Clone Wars , Rebels , Bad Batch , and now Ahsoka . But even then , some moments will always discover a path to acquaint young challenges .
Such was the pillow slip this hebdomad for the Kiners when they had to score a abbreviated , surprising moment for this week’spenultimate installment of Ahsoka : the return of Anthony Daniels as C-3PO . Racing in — well , as fast as thosegoldenrod droid legswill run him — to provide a message of clemency from an absent Senator Leia Organa to save Hera from the ire of a New Republic disciplinary judicature , 3PO ’s brief moment in Ahsoka ’s narrative is a touching link between the events of the franchise ’s stream TV creation and the wider Star Wars flick mythology . But it was also a moment where , asAhsoka ’s composers , the Kiners found themselves grappling with the musical theme of playing with the iconic motifs of John Williams .
“ frankly , not putting in any music [ at first ] , ” Deana Kiner — who , alongside her Church Father and as the music group Kiner Music with her brother Sean , has helped score Star Wars Rebels , the seventh time of year of the Clone Wars , The Bad Batch , and now Ahsoka — tell reflecting on the process of scoring Threepio ’s arrival .

Screenshot: Lucasfilm
“ primitively , that scene dally whole dry until we take in it was playing too empty , ” Sean contribute . “ And then the euphony come very , very naturally because we had license to apply those themes , [ but ] that ’s just how it was pick out , ” he stay , mention to the stage of the composition process where the footage is looked over to see how and where the composer ’ lashings will be most effectively placed .
“ It ’s a strong scene , but I think that was the degenerate cue — in terms of piece of writing — for the full season , ” Sean state , when the composers at last settle to spotlight Threepio with a moment that merge Ahsoka ’s thematic workfor the New Republicwith elements of some of Williams ’ most iconic pieces from the film , the main Star Wars fanfare and , of course , Leia ’s incredibly poignant theme . “ That come out in under an hour , I believe . That ’s right smart faster than anything we ’ve ever written . But we were just channeling John a petty bit , and it was just natural to survey in terms of leitmotif for this . When you see C-3PO , you just get those iciness . ‘ Oh valet de chambre , there ’s the cat I ’ve been watching since I was a kid , ’ you know ? He ’s talking about Leia , and Leia ’s pulling a baller move keep Hera from these politicians . It all just felt very lifelike . ”
“ I in person have been working 17 class trying to fine-tune what it means to sound like Star Wars without aping John Williams , without being Mini Me John Williams , ” Kevin — who has been a part of Star Wars since scoring Clone Wars almost two decades ago — enunciate of the push and rive between incorporating elements of Williams ’ iconic euphony and chart his own sonic way of life in the galaxy far , far away . “ And they [ Deana and Sean ] have been spending 10 years at the same metre . And it ’s really tough . It ’s a super , first-rate fine line because you want the feeling of … the very first cue stick on [ Ahsoka ’s ] soundtrack get out with this Japanese percussion , kind of woody percussion , but then it conk kind of interchangeable to the Star Wars sound . With the New Republic [ scores ] , I ’m pretty gallant of the fact most of the feedback I ’ve received has been positive . So I consider we ’ve been successful in not just rehashing , or whatever you want to call it — we endeavor to give it the Star Wars sound , the auditory sensation John Williams used . ”

“ Part of our glide path is to progress on what influenced John , so by fundamentally building on our master ’s master . Like , definitive pieces he was cite , pieces he would force from , we would also take care at those pieces , ” Deana tot up . “ We find that implementing those and utilise them can be just as effective to make it sense more Star Wars . ”
“ A few times we surprise Dave [ Filoni ] by assign the Force theme in , ” Kevin go along . “ One clock time he changed it and said , ‘ No , let ’s do it in this other fit , ’ but most of the prison term if we ’re move to habituate a John Williams paper , Dave has the idea to use it . And out of five hours on the soundtrack , there ’s probably a minute and a half of John Williams ’ themes . But it mouth to how powerful those themes are , that you remember at the end of episode four[when Anakin appear ] , and all of a sudden part of the Imperial March boot in . Oh boy , thumbs up ! ”
“ We attempt to treat it like the strongest spice in our arsenal . We do n’t want to put too much of it , because otherwise it will start to suffer its potency . Very standardised to cooking , really , where we do it how impactful it will be if you just get a small taste of it and it hits you at just the correct import , ” Deana reflected . “ That ’s how we judge to set about it , using it as tastefully as we can . ”

“ The cooking source is , we ’ve been cooking with this stew for a long metre . It ’s kind of ingrained in the pot , ” Kevin close . “ So now it kind of comes naturally that when it ’s clip to fathom like Star Wars , we sound like Star Wars . It ’s our phone , and yet it harken to what John was doing , as well . ”
Stay tune up to io9 for more from our chat with the Kiners soon .
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