Since the franchise spans over half a century, it seems best to organize and discuss the main themes by decade. Unlike the Star Wars saga films, The Lord of The Rings and The Hobbit trilogies, ten different composers wrote main themes for the existing twenty Star Trek manifestations. As we move through this cursory cataloging process, it becomes apparent that similar characteristics are present in each theme, linking all of them, one with another.
Is there a common mood shared by the main themes? Do similar instruments state the principal and secondary melodies? Are there predominant formal structures among the main themes? The answers to these questions become clear as we engage in the cataloging process.
1960’s-1970’s
With the uncertainty plaguing Star Trek at its beginning, its original television run was only three years, from 1966 to 1969. It did (and still does), however, live on in syndication. From 1966 to 1978, there was only one main theme for Star Trek, written by Alexander Courage. As we will see, many of the characteristics of Courage’s theme manifest themselves in every Star Trek theme that follows. Courage’s theme possesses optimism, energy. Its melody is expansive and soaring (symbolizing the vastness of space), while its harmonic and rhythmic accompaniment are quick and driving. Courage established a form that many Star Trek composers have followed. A delicate four-note motif followed by a fanfare leading into the main theme.
It wasn’t until thirteen years later that we would hear from Star Trek again, this time in the form of a motion picture. Jerry Goldsmith would provide a new theme. It captures the optimism and energy of Courage’s theme and adds a sense of nobility. There is no fanfare in Goldsmith’s melody, however, its melody is fanfare-like. There is a more legato and fleshed out B theme that provides a very nice contrast. Goldsmith does not employ the form used by Courage. However, Goldsmith does employ it in future Star Trek films, Goldsmith’s theme, more than Courage’s, establishes a pattern that most of the other Star Trek themes will adopt, namely, the ABA form.
1980’s
In the 1980’s, five new installments of Star Trek were added to the franchise: four films and another television series. Also, three new composers, James Horner, Leonard Rosenman, and Dennis McCarthy were added.
All the films of the 80’s, except for one, possessed the established mood of optimism. The theme for Star Trek III: The Search For Spock was much more tender with a bit of mystery added. As was the case for Courage and Goldsmith in 1966 and 1979, all themes in the 80’s were in a major key.
Star Trek III’s theme incorporated a portion of the B theme from Star Trek II. Instead of using brass for the principal melody, as all the themes in this decade did, Horner introduces Star Trek III’s theme with a brief solo horn and then again in the celli for the main statement.
All the films and Star Trek: TNG employ the use of Courage’s fanfare, however, only Star Trek III includes the four-note motif. All the themes use the ABA structure, having a principal and secondary theme. At this point, Jerry Goldsmith’s “Star Trek Sound” is becoming evident.
1990’s
The most fertile decade for Star Trek activity was without a doubt the 1990’s, with the addition of four films and two television series. Cliff Eidelman joined the ranks of Star Trek composers with his score to Star Trek VI. Dennis McCarthy contributed themes for Deep Space Nine and Star Trek: Generations, while Jerry Goldsmith contributed themes for Star Trek: Voyager, First Contact, and Insurrection.
The 90’s saw the end of the TNG television series and the end of films involving the original cast as they handed the baton off to the next generation cast.
With two exceptions, the mood of the themes remained optimistic, noble, and majestic. Eidelman’s theme is dark and suspenseful, utilizing a minor key while Goldsmith’s theme for Insurrection is tranquil.
Principal themes are still, for the most part, stated initially by the brass while secondary themes are given to the brass and strings. Goldsmith’s Insurrection theme differs by assigning both to woodwinds.
Five of the six themes employ the use of a fanfare stated before the theme. Cliff Eidelman’s theme does not. Dennis McCarthy uses melodic material to create the fanfare for the Deep Space Nine theme.
2000-the present
These twenty-some years saw the end of Star Trek: Voyager, the beginning and end of Enterprise, and the beginning of Star Trek: Discovery and Picard. Films with the TNG cast came to an end with Star Trek: Nemesis. Three new reboot films were also introduced.
Veteran Star Trek composers Dennis McCarthy and Jerry Goldsmith continued to contribute themes as well as new comers Michael Giachinno and Jeff Russo.
These themes covered a wider range of emotion than had the themes of the previous decades.
Dennis McCarthy composed an optimistic and majestic theme for Enterprise, although only heard during the end credits. In 2002, Jerry Goldsmith completed his contribution to the franchise with a subdued, sad, and tragic theme for Star Trek: Nemesis, the final film with the TNG cast. It wasn’t until 2009 that Star Trek was rebooted with three more films with a new theme and score by Michael Giachinno. This theme, while maintaining a majesty and nobility, is quite different from all its predecessors. It is considerably darker, framed in a minor key. Jeff Russo created a minimalistic and driving theme for Star Trek: Discovery, also in a minor key. The theme for Picard, also by Jeff Russo, elicits wisdom and majesty. Of all the themes from 2000 to the present, only two are written in major keys.
Principal and secondary themes were assigned to a greater variety of instruments and a fanfare, with the exception of Star Trek: Discovery, all but disappeared and replaced with a brief introduction.
CONCLUSION
It is remarkable that for over fifty years Star Trek has, for the most part, maintained its optimistic outlook. Ten different composers wrote main themes for twenty Star Trek manifestations. Almost all of them captured this optimism. The most notable contributor and the one composer who essentially defined the Star Trek “sound” is unquestionably Jerry Goldsmith.
Alexander Courage - Star Trek: TOS
Jerry Goldsmith - Star Trek: The Motion Picture (first new theme since TOS)
Star Trek V: The Final Frontier
Star Trek: TNG (theme only)
Star Trek: Voyager
Star Trek: First Contact
Star Trek: Insurrection
Star Trek: Nemesis
Dennis McCarthy - Star Trek: Deep Space 9
Star Trek: Generations
Enterprise
James Horner - Star Trek II: The Wrath of Khan
Star Trek III: The Search For Spock
Leonard Rosenman - Star Trek IV: The Voyage Home
Cliff Eidelman - Star Trek VI: The Undiscovered Country
Michael Giachinno - Star Trek
Star Trek: Into Darkness
Star Trek: Beyond
Jeff Russo - Star Trek: Discovery
Picard