Editing Monty Python and the Holy Grail (section)

==Soundtrack==
{{See also|The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail}}

In addition to several songs written by Python regular [[Neil Innes]], several pieces of music were licensed from [[De Wolfe Music]] Library. These include:
* "Wide Horizon", composed by Pierre Arvay; used during the opening titles.
* "Ice Floe 9", composed by Pierre Arvay; used during the opening titles.
* "Countrywide",<ref>{{cite web |url=http://www.dewolfemusic.co.uk/musicsearch/track_detail.php?primaryid=18731 |title=Countrywide |publisher=Dewolfemusic.co.uk |access-date=16 June 2011 |url-status=dead |archive-url=https://web.archive.org/web/20111003081713/http://www.dewolfemusic.co.uk/musicsearch/track_detail.php?primaryid=18731 |archive-date=3 October 2011 }}</ref> composed by Anthony Mawer; used during the beginning titles after the first titlers are sacked.
* "Homeward Bound", composed by [[Jan Stoeckart|Jack Trombey]]; used as King Arthur's heroic theme.
* "Crossed Swords",<ref>{{cite web |url=http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=3917 |title=Crossed Swords |publisher=Dewolfe.co.uk |access-date=1 March 2013 }}{{Dead link|date=September 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> composed by Dudley Matthew; played during King Arthur's battle with the Black Knight.
* "The Flying Messenger",<ref>{{cite web |url=http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=18572 |title=Flying Messenger |publisher=Dewolfe.co.uk |access-date=16 June 2011 |archive-date=22 July 2011 |archive-url=https://web.archive.org/web/20110722054550/http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=18572 |url-status=dead }}</ref> composed by Oliver Armstrong; played during Sir Lancelot's misguided storming of Swamp Castle.
* "The Promised Land",<ref>{{cite web |url=http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=39658 |title=The Promised Land |publisher=Dewolfe.co.uk |access-date=16 June 2011 |archive-date=22 July 2011 |archive-url=https://web.archive.org/web/20110722054650/http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=39658 |url-status=dead }}</ref> composed by [[Stanley Black]]; used in the scene where Arthur approaches the castle on the island.
* "Starlet in the Starlight",<ref>{{cite web |url=http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=18667 |title=Starlet in the Starlight |publisher=Dewolfe.co.uk |access-date=16 June 2011 |archive-date=22 July 2011 |archive-url=https://web.archive.org/web/20110722054714/http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=18667 |url-status=dead }}</ref> composed by Kenneth Essex; briefly used for Prince Herbert's attempt to express himself in song.
* "Love Theme",<ref>{{cite web |url=http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=20680 |title=Love Theme |publisher=Dewolfe.co.uk |access-date=16 June 2011 |archive-date=22 July 2011 |archive-url=https://web.archive.org/web/20110722054721/http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=20680 |url-status=dead }}</ref> composed by [[Peter Knight (composer)|Peter Knight]]; also used briefly for Prince Herbert.
* "Revolt",<ref>{{cite web |url=http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=13136 |title=Revolt |publisher=Dewolfe.co.uk |access-date=1 March 2013 |archive-date=12 October 2006 |archive-url=https://web.archive.org/web/20061012220934/http://www.dewolfe.co.uk/musicsearch/track_detail.php?primaryid=13136 |url-status=dead }}</ref> composed by Eric Towren; used as the army charges on Castle Aaargh.

Innes was supposed to write the film's soundtrack in its entirety, but after the team watched the movie with Innes's soundtrack, they decided to go instead with "canned" music, music borrowed from existing stock recordings. One problem with Innes's music, apparently, was that they considered it too appropriate, so that, according to Python scholar Darl Larsen, it "undercut the Pythons' attempt at undercutting the medieval world they were trying to depict".{{sfn|Larsen|2015|pp=2-3}}