How John Williams and Michael Giacchino Use Music to Say 'Superman' and 'Fantastic Four'

Superhero themes are more than just background music — they’re branding. The best ones become musical catchphrases, embedding the character into our memory with just a few notes.

Let’s break down two perfect examples:

Superman March by John Williams

The new Fantastic Four theme by Michael Giacchino

Both scores use melody to say the name — but in very different ways.

Superman March – John Williams (1978)

John Williams’ Superman theme is iconic, grand, and unapologetically heroic. But what really sets it apart is how it sings the name “Superman” — even without lyrics.

At 0:18, listen for these three notes from the main theme — E, D, D — which rhythmically spell out "Su-per-man!"

It’s musical speech. The phrasing and melodic contour mimic the way we actually say the name. With powerful brass and sweeping strings, the theme becomes Superman’s sonic identity. It doesn’t need a choir or voiceover — the orchestra says it all.

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Fantastic Four – Michael Giacchino (2025)

Fast forward to Michael Giacchino’s new theme for Fantastic Four, and we hear a completely different approach — but with the same goal: make the audience remember the name.

At 2:57, the choir sings it out loud:

“Fan-tas-tic Four!”

Musically, those syllables are mapped to the notes: G – G – G – Eb.

Sound familiar? That’s the exact same rhythmic and melodic contour as the opening of Beethoven’s 5th Symphony — da-da-da-dum!

Maybe it’s a coincidence. Or maybe it’s a clever homage — linking Marvel’s “first family” to one of the most iconic openings in classical music history. Either way, it immediately grabs attention.

And there’s more happening under the hood: the inclusion of Eb over a G root forms a G augmented chord (G – B – Eb). That unexpected color gives the phrase a touch of mystery and grandeur. Augmented chords are often used in space fantasy scores to evoke wonder, tension, and emotional elevation — all fitting for a story that spans science, family, and the cosmos.

Giacchino taps into that tradition while still keeping the theme direct and memorable. The result is a theme that sounds classic, cosmic, and unapologetically heroic.

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Both themes are exercises in musical identity. One uses subtle melodic mimicry, the other uses literal lyrics — but both succeed in making the name unforgettable.

John Williams lets the orchestra imply the name. Michael Giacchino gets a choir to sing it.

In both cases, the melody becomes the message. And once it’s in your head, it stays there.

When a superhero walks on screen, their theme should do more than just sound cool — it should say who they are. Whether through a clever three-note phrase or a full choral hook, these composers understand that music can carry identity as powerfully as a logo or costume.

Want to create your own heroic theme?

Watch the quick 1-minute video below where I build a bold, cinematic motif step by step using Strike Strings. Whether you’re scoring for superheroes or crafting your next trailer cue, Strike Strings gives you the tools to create epic melodies, driving ostinatos, and instant impact — fast, musical, and cinematic.