John Coltrane, September 23, 1926 – July 17, 1967.
At the Guggenheim. 1960 photo by William Claxton.
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Ahsoka- Notes on Episode 5 “Shadow Warrior” and Kiner’s score
Episode 5 begins with mystical sounds of Seatos, including the sound of the ocean waves and mysterious music as the setting is established. When Hera appears at the henge, the music subtly suggests the selections from the Rebels soundtrack associated with Kanan’s death (see “Nobody More than Kanan” and “Kanan’s End Credits”). A sweet, innocent sounding theme is associated with Jacen when he exits the Ghost with Chopper. Hera sees that Huyang has recovered Sabine’s helmet, but she and Ahsoka are nowhere in sight.
The Ahsoka main and episode titles appear, followed by a continuation of Ahsoka and Anakin in the World Between Worlds scene from the previous episode. Quiet music accompanies their conversation until the duel begins.
Back at the henge Jacen says there is something about the water. Music becomes a little more intense when Jacen and Hera listen. When Jacen says he hears lightsabers, both a segment of Kanan’s Theme by Kevin Kiner (flute) and the Force Theme by John Williams (French horn) can be heard. The music is used to enhance the idea that young Jacen is Force sensitive like his father, Kanan. Hera orders her pilots to continue the search for Ahsoka. Kanan’s theme is heard once more when Huyang explains to Carson Teva that Jacen’s father was a Jedi.
Ahsoka’s duel with Anakin continues. Ahsoka’s Theme is heard after she kicks Anakin in the head and says “Looks like you don’t have much left to offer.”
A scene of young Ahsoka with Anakin during the Clone Wars follows, accompanied by incidental music that doesn’t refer to major themes.
Ahsoka’s Theme is heard when she comforts the wounded soldier on Ryloth.
Jacen remains at the henge with Chopper as Hera, Huyang, and the surviving pilots continue the search.
During the scene of young Ahsoka at the Siege of Mandalore, an augmented presentation of the heroic Clones’ theme can be heard during and after Rex’s dialogue. (The note values are elongated. Listen to the trumpet part.) Ahsoka’s theme is heard during her conversation with Anakin. The music becomes more sinister and intense when Anakin/Vader draws his lightsaber and another duel begins.
Adult Ahsoka duels Vader in the World Between Worlds. Music ceases when she deactivates her saber and says “I choose to live.” The score resumes when Anakin says “There’s hope for you yet.” Mysterious music with a choral vocalization accompanies her descent into the water. She is rescued by the X-Wing pilots.
Ahsoka’s theme plays as the ships return to the henge. Peaceful music featuring the piano is heard as Ahsoka awakens aboard her Jedi starship. Sabine’s theme is heard when Huyang hands Ahsoka the broken star map. Ahsoka uses psychometric powers to examine the map. She discovers that Sabine went with Baylan and the others aboard the Eye of Sion.
When Ahsoka sees the Purrgil flying across the sky, the hopeful-sounding ostinato that I associate with Sabine’s search for Ezra is heard. This is the same ostinato that plays during the “Path to Peridea” portion of the end credits music. Ahsoka’s priorities have changed. She is now concerned with finding Sabine and Ezra rather than stopping the war.
An augmented version of the “Path to Peridea” becomes a theme with a definite conclusion as the scene ends.
Hera talks with Mon Mothma’s hologram. Hera’s command is in jeapordy of permanent suspension.
Beautiful, majestic music accompanies the starships’ flight through the purrgil pod.
Incidental music that is a little tense but non-threatening accompanies Carson Tera’s conversation with the New Republic ship captain.
Majestic music accompanies Ahsoka’s communication with the Purrgil through the Force. The “Path to Peridea” ostinato resumes when Ahsoka returns to the interior of her ship, this time presented in counterpoint with Ahsoka’s theme. The ostinato is heard (sometimes with doubled pitches) throughout the scene with the New Republic starships until the purrgil pod jumps into hyperspace with Ahsoka’s ship.
As I stated in my episode 4 breakdown, the closing credits music begins with the now-familiar presentation of Kiner’s “ronin” theme, the duet for viola and cello with a pavane-like rhythmic accompaniment. This accompaniment continues during Sabine’s theme. The hopeful-sounding ostinato that I associate with the search for Ezra Bridger plays along the “Path to Peridea” portion of the journey across the star-map. The ostinato continues, accompanying an augmented version of Ahsoka’s theme. A triumphant presentation of Ahsoka’s Theme plays as all of the golden lines meet at Peridea. Hera’s Theme, featuring the French horns, strings, and trumpets plays as the credits continue against the black background, followed by the final reprise of Ahsoka’s theme.
This is the second episode of Ahsoka in which Ezra’s Theme is not heard even though he is mentioned. This might be the first episode that featured Kanan’s theme in association with Jacen’s Force sensitivity.
Edit: I realized there were hints of Kanan’s theme in the previous episodes when I listened to the Ahsoka Soundtrack album for episodes 1-4. I didn’t notice it when I watched the episode on Disney Plus though.
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