This is one of JW's most impressive skills. He takes a fairly basic theme which identifies a particular character or characters and makes certain subtle -- or not-so-subtle alterations to make it fit the situation. A great example is the theme "Han Solo and the Princess," first appearing in ESB. Just listen to its adaptibility: 1. Its first major appearance is as a transition from Leia's theme, a delicate, gentle bit that provides the perfect background for the bickering lovebirds ("I'd just as soon kiss a Wookie"). 2. Later on, during the asteroid "I happen to like nice men" scene, it begins quietly and then develops into a swelling crescendo during the kiss, finally trickling off as Threepio interrupts, and getting blasted away entirely as it is replaced by Vader's theme. 3. The theme appears during the carbon freeze scene (this is my particularly favorite use of it) as a passionate, surging theme that heightens into a frenzy as they are torn apart and becomes a dark, bad-guy-is-winning bit of music when Han is frozen. Then it slips in again as an agonized cry of pain when Leia sees Han in carbonite. 4. As Leia, Chewie and Lando chase after Boba Fett and are subsequently pursued by stormtroopers, the theme becomes an action piece, fast-paced and exciting. A far cry from the delicate piece at the beginning of the movie -- and yet still carrying some of the same flavor. 5. At the movie's end, the theme is bittersweet but hopeful; portending a new chance. As it finishes the end credits music, a repeat of the rebel's fanfare turns it into something almost triumphant. That's just a small slice of the possibilities; the same could be said of the Force theme, for sure, and even the Imperial March. It's just amazing to me that a single tune could serve so many diverse purpose.