They first met in August 2020, joined by the executive producer Kathleen Kennedy, who demanded the series have a unique sound.

Britell agreed that the score would be "orchestral-plus" with a "wide range of sounds", adding that the large scope of the series meant that "every episode has new demands, new music, and new ideas."

[3] Recording for the series, which took place at the Lyndhurst Hall in Air Studios, London, began two years before Britell was announced in February 2022 as the composer.

Britell was not present at the venue due to COVID-19 pandemic restrictions, and his team supervised the recording sessions in his place while also managing other television series.

[2] The title theme consists of multiple versions which are recorded for each episodes, which either include synth or cello or a band performing the track.

[5] For Kenari's theme, Britell had to "create that sense of a lost world and of childhood", hence he used wooden blocks and percussions, consisting of literally branches and leaves, and much of sonic creation and string motif mixed with synthesiser, adding "When you first see that ship smoking and about to crash, there's this shaking sound of percussion, almost like an alarm.

Britell said, "For the Time Grappler with the anvil, we have a whole musical lexicon where the different tones he plays correspond to different signals to the Ferrix community.

"[7] For Luthen's theme, he had used an orchestra, to give the "rich swelling sound to those strings that Tony [Gilroy] was drawn to" and a felt-piano score, played between Luthen and Kleya (also heard in the sequences between Cinta and Vel), which was "miked so closely that you really hear the mechanism of the piano and the felt on the hammers hitting the string".

When Cassian was given a sentence of six years on the prison planet Narkina 5, the theme for the location had a new soundscape with synths that are "strange, dark, and almost subterranean".

In the pen-ultimate episode, a cello nonet of Maarva's theme was played with minimalistic music as to describe the silence in the score, feeling Cassian to be "let alone in the world".

It was played in the end of episode three as suite theme, which Britell described it as "there’s a kind of cumulative building process; you may hear things almost subconsciously early on, and perhaps it evolves.