AN ESSAY ON THE SIGNIFICANT TRANSFORMATIONS OF THE MAIN THEME AND WHAT THEY CONVEY
According to an article written by Kelly Konda, "Wrath of Khan was a purposeful soft reboot of everything Star Trek, shoving Gene Roddenberry’s wide-eyed idealism aside for a world in which people get old, forgotten vendettas come back to haunt us, Starfleet is basically the outer space Navy, not a glorified UN, and people wore red, militaristic nautical-themed uniforms....". Reboot or not, Star Trek II certainly resonated more than The Motion Picture. Interestingly, the original series started in much the same way: a successful pilot episode preceded by an unsuccessful pilot episode.
Jerry Goldsmith's fee, now too high for the filmmakers' budget, resulted in James Horner being drafted. Rather than use Goldsmith's theme, Horner went in a different direction. Horner recounts, “[Nicholas Meyer] told me what his ideas were, which were very literary, very sea-faring in his mind. The producer, Harve Bennett, would have probably been more comfortable had I reused material from the television show, but I chose not to do that and Nick backed me up on that decision. They didn’t want to repeat the theme of Star Trek 1. They wanted a new theme."
THE MAIN THEME
The term sea-faring seems to have been a major influence for Horner. His new theme is saturated with the traditional pentatonic folk scale, a major characteristic of sea chanties. Like its two predecessors, this theme evokes optimism. Its most frequent association throughout the film is with the Enterprise itself. It also adds a nobility to her crew in times of danger, ingenuity, and uncertainty.
THE A THEME
Having an A theme and a contrasting a B theme, Horner further divides each of them into two subsections, just as Goldsmith did for Star Trek: The Motion Picture. In Horner’s A theme, there is a call and response structure. The call is a pentatonic tune, the response is the “heave-ho” that was used to help crews work in rhythm together. The eight bar A theme is heard twice. The first time it is fanfare-like. This is where we hear the “heave-ho”.
This grandiose presentation of the theme brings to mind the large sailing ships of the past in all their regal spender as they glide across the sea.
A much more lyrical treatment is given to the A theme when it is repeated, this time without the “heave-ho”. Here, Horner links together three pentatonic phrases. The first and last phrases, being the opening step-wise figure, bookend this statement of the A theme. In fact, the A theme is characterized by step-wise motion, the opposite approach Jerry Goldsmith took with The Motion Picture theme. Horner seamlessly moves from the key of E to G. This technique was also used by Goldsmith for his theme.
THE B THEME
Continuing to employ the pentatonic approach, the tune for the B theme is very lyrical with a greater use of much wider intervals. Perhaps meant to emulate a ballad, this theme rises dramatically, covering the span of an octave and a sixth, descending rapidly back down to its starting pitch. Horner may be comparing the tumultuous waves of the sea to the dangers sometimes encountered in space travel. Ultimately, it may be pointing to the painful loss of Spock at the end of the film.
As we examine each context in the film when the theme appears, a clear picture of its overall functions begins to emerge. Chief among them is an over-arching sense of warmth and camaraderie through adversity.
Star Trek 2: Main Theme
SIGNIFICANT THEMATIC TRANSFORMATIONS
ADMIRAL KIRK BOARDS THE ENTERPRISE
Surprisingly, the first fourteen minutes of the film proceeds with no music. Only when we see the belt buckle with the words SS Botany Bay imprinted on it do we hear music for the first time. This is not a music of optimism, but of angst and tension as Chekov realizes upon what and who they have stumbled.
It is not until twenty-two minutes into the film that we hear the main theme, since the opening main title. Kirk’s shuttle is on it’ way to the Enterprise, in space dock, for an inspection. A very similar event took place in Star Trek: The Motion Picture. This time, instead of just Scotty, Kirk is accompanied by Sulu, Shura, and Dr. McCoy. We are reminded of the awesome experience of approaching the Enterprise, getting that first look at her. Horner does not give us the grand thematic treatment that Goldsmith had provided in The Motion Picture. Instead, he provides the warmth of camaraderie between the shuttles’ passengers in non-formal, intimate conversation. We hear a solo horn with a tender statement of the theme. A little transformation takes place here as the last portion of the phrase is echoed. Portions of the theme are quoted in light orchestration as the shuttle moves along side the Enterprise. The B theme is used when we see the small shuttle next to the immense Enterprise.
After the engineering Inspection, Horner uses a permutation of the opening notes of the theme, timed with the docking lights shining on the Enterprise, as a kind of reveille.
This leads to the bridge where the crew is preparing to leave space dock. Horner provides a quick moving and subtle music to compliment the crews’ activity. As Sulu declares “Admiral on the Bridge”, Horner provides a delicate but dignified statement of the theme. The normal-form major sixth we heard in the main title is now a minor sixth. This may be Kirk’s trepidation at such a young and inexperienced crew. That is quickly quelled as Kirk smiles with satisfaction at a smoothly running bridge. The contrast between a bustling young crew and the steady and seasoned Admiral becomes quite clear.
Sulu repeats the command “ahead one-quarter impulse power”, and Horner teases us with fanfares, flourishes, and rising bell-tones as we see close-ups of the Enterprise as she begins to move forward. Only when the Enterprise is in full view, leaving space dock, does he give us the main theme exactly as it was presented in the main title.
Shuttle Approaches Enterprise, Docking Lights, "Admiral on the Bridge"
ENTERPRISE TRAVELING THROUGH SPACE
After Chekov informs Dr. Marcus that the Reliant is on its way to get Genesis, the scene shifts to the Enterprise still on her training cruise. As the Enterprise comes into view, Horner provides a heroic version of the theme with more rhythmic complexity than has been previously heard up until now. As the Enterprise sails by, we are reminded of Horner’s goal to create a sea-faring sense. A massive sailing ship floating by on the sea could just as easily replace the Enterprise here.
RELIANT’S ATTACK
This section of the film possesses the most concentrated use of permutations of the main theme, thus far. As the situation becomes more and more dangerous, almost indiscernible permutations of the theme are presented.
As the narrative progresses, Khan has found his target and approaches. At the name “Reliant”, we are treated to a multi-faceted permutation of the theme. It is compacted into a sixteenth-note triplet figure and provides the dimension of calm battle-readiness. It also foreshadows and contrasts Khan’s wild theme of chromatically arranged sixteenth-note sextuplet heard moments later.
As Saavik recites general order 12, another variant of the theme is heard, supported by military-like rudiments in the snare drum, a reminder of the naval orientation of star fleet.
Kirk decides to take action, issuing a yellow alert. At Saavik’s directions to energize defense fields, we hear in the low strings a downward moving version of the theme. It bears a distant resemblance to the “Quoting Regulations” variant. Horner is emphasizing Kirk’s realization that something is very wrong.
After the Enterprise has been badly damaged, Khan wishes to initiate a discussion on the terms of surrender. It is here that Horner gives us the main theme in a minor setting. Played by the oboe, the grandeur of the theme is gone. Kirk is taken by surprise and doesn’t seem to know what to do. He looks to Spock. A steady pulse of octaves in the background, like a clock continuously ticking, prolongs the tension until Khan and Kirk see each other face to face. The mournful descending minor second at the end of the variant (heard first as Kirk entered the bridge) is also present in the two previous permutations, highlighting the consequences of not following regulations.
After terms of surrender have been discussed, Kirk gives the command to clear the bridge. Kirk quietly gives the direction pull up Reliant’s prefix code. This variant is barely discernible, matching Kirk’s calculating maneuver. Horner may be indicating the dire situation with such a distorted version of the theme. As Kirk puts his glasses on, we hear the “Kirk enters the bridge” version of the theme. Horner foreshadows the success of the maneuver.
The next permutation occurs at Kirk’s command to fire. It is a very heroic and syncopated statement with the final note sounding at the moment the dome on the Reliant is hit with a violent laser blast from the Enterprise.
Reliant's Attack: Reliant, Quoting Regulations, "Energize Defense Fields", Terms of Surrender, Clear The Bridge, "Fire",
The final transformation of the confrontation occurs when Kirk admits he got caught with his “britches down”. Horner creates a version essentially using whole tones while retaining the descending minor second. It is neither celebratory nor tragic. The effect is ambiguity with a touch of humor at Kirk’s remark about going senile.
Britches Down
CONCLUSION
Horner’s theme, and his nuanced treatment of it throughout the film, tightly unifies the action and emotion. By transforming the theme in a wide variety of rhythmic and melodic permutations, Horner makes his theme fit any situation, complimenting and enhancing the narrative in what is arguably one of the best Star Trek films.