Video
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Music

Only the first two episodes have proper soundtracks as found on the now-defunct official website for the series; the official mod releases of Episodes III and IV re-use music from the first two episodes (as well as the base game iirc) and Matt never got around to scoring them due to IRL commitments. Someone could make a gamerip of the latter two episodes (see df-21.net for the necessary tools), but it won't have anything not found in the other Dark Tide and Dark Forces uploads on this site.

Will anyone be uploading the soundtracks for Episodes III and IV of this Star Wars: Dark Tide game series?

Here are the track descriptions by composer Matthew Hallaron from official website (https://web.archive.org/web/20180111185127/http://www.thedarktide.com/); these are embedded in the files as "lyrics", but I'm duplicating them here for ease of viewing, as well as quick access to the original MIDI files.
He discusses how he used John Williams's, Joel McNeely's, and Clint Bajakian's themes, and mixed them with his own original themes for this Dark Forces mod.

[HEADING=3]Opening Cutscenes[/HEADING]
The cutscene after the textcrawl is a simple pan down to the planet, which uses "twinkling star" music like that in the first movie, and is immediately followed by the Dark Tide credits.

The Dark Tide (https://web.archive.org/web/20171209005414fw_/http://www.thedarktide.com/music/thedarktide.mid - thedarktide.mid)

The Outrider (https://web.archive.org/web/20171209005414fw_/http://www.thedarktide.com/music/dt2-outrider.mid - dt2-outrider.mid) - The story continues where we left off in part I, with Kyle and Dash traveling to the Imperial garisson on Tatooine. As the Outrider skims the surface of the planet, the music opens with some music taken from a cutscene from X-Wing. But instead of playing the Star Wars main theme, I changed it to play Dash's theme. Once in the cockpit, the men are discussing Jan, and we are first introduced to the main motif of Jan's theme. As they talk about Kyle and his upcoming mission, we hear a little bit of Kyle's theme, along with more Imperial and Shadows of the Empire melodies. The scene ends more music taken from Tatooine in Star Wars.

[HEADING=3]In Game[/HEADING]
Stalk Music (https://web.archive.org/web/20171209005414fw_/http://www.thedarktide.com/music/dt2-stalk.mid - dt2-stalk.mid) / Fight Music (https://web.archive.org/web/20171209005414fw_/http://www.thedarktide.com/music/dt2-fight.mid - dt2-fight.mid) - I had wanted to use music from "The Battle of Gall" for the fight music for some time, so I transcribed a section that I thought would work well (not to mention one of my favourite parts of that piece). However, it was a little short in its length, compared the the original game's fight musics.

On the internet, I came across a midi arrangement some fan had made based on some of the themes used during the Hoth battle in The Empire Strikes Back. It used Star Wars themes, but wasn't from any of the movies, and I really liked it. (Unfortunately, the author remains anonymous. I have been unable to find out who actually wrote/arranged the piece, so I have been unable to give that person proper credit.) Though also a little short, I thought that it too could be used as fight music. So I transposed it to match the "Gall" music, wrote some transition music to go between them, and put the two pieces together.

Since I already had the fight music, I needed stalk music that would be able to easily transition into either of the two fight pieces (depending on which point the game would chose to start the fight music from.) I decided to write my own music, deriving material from the fight music. That way, the music would be a bit of a hybrid of the two pieces, allowing it to keep the same feel and easily flow into either piece.

The Stalk music opens with more of Dash's theme, as the Outrider drops Kyle off and takes off. It then goes into the main body of the piece. Much of the stalk music uses the opening build up of the "Hoth" music, only it's lengthened and expanded on. Various Star Wars, Shadows, Dark Tide, and fight music themes are then built on top of it, layer upon layer. The second part uses a counter line from "Battle of Gall" as an ostinato, with the Force theme playing over it. That leads to a bit of music taken from the end of The Empire Strikes Back (when Luke gets his new hand.) But it's slightly modified, to have more Dark Tide and Shadows themes in it. It then transitions back to the beginning.

[HEADING=3]Closing Cutscenes[/HEADING]
Talmont/Shuttle Escort (https://web.archive.org/web/20171209005414fw_/http://www.thedarktide.com/music/dt2-talmont.mid - dt2-talmont.mid) - We hear an Imperial type opening as we pan to see Prefect Talmont discussing Kyle and Jan's capture with Xizor. As one would expect, we hear a bit more of Xizor's theme, along with a little more of Jan's theme. As the shuttle with Kyle is boarded and takes off, the duo discuss Kyle's penchant for escaping, which is accompanied by derivations of Kyle's theme. It transitions into a military march as the shuttle receives its Tie Fighter escort. This music is an expansion and development of the original Dark Tide theme.

End Title (https://web.archive.org/web/20171209005414fw_/http://www.thedarktide.com/music/dt2-close.mid - dt2-close.mid) - As before, the credits appear with the the main Star Wars closing theme, and again goes to a reprise of the Dark Tide theme. This time, instead of going to the original game's music, it is followed by a reprise of the fight music as the game's credits roll on. It finally ends with the fanfare from the very end of the "End Title" music from The Empire Strikes Back.

[HEADING=3]Bonus Track (from Twilight on Tatooine)[/HEADING]
Nightfall Music (both stalk and fight music, digital mix/recording) (https://web.archive.org/web/20171209005414fw_/http://www.thedarktide.com/music/nightfall.mp3 - nightfall.mp3) - Patrick's Jedi Academy free-for-all level Twilight was initially based on the Tatooine garrison of Nightfall. So for the music we used an arrangement of the Nightfall stalk and fight music. It's a mix of both synthesized renderings of the midi music along with some of the original orchestral recordings of John Williams and Joel McNeely.