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Glynn's theme reverts to the traditional key of E minor, even though it is slightly detuned in some episodes perhaps as a result of a mistake in the dubbing stage. The bassline was performed on a Roland Juno-6 synthesiser, while the melody and filtered noise effects were performed on a Yamaha DX21 and Korg respectively.
The Glynn arrangement was itself replaced by a new arrangement by Keff McCulloch for the Seventh Doctor 's era beginning with Season 24 McCulloch's arrangement was made using a Sequential Circuits Prophet-5 synthesiser, with the initial 'sting' replaced by a crashing explosive sound. Producer John Nathan-Turner stated that the new music, logo and title sequence were to signal a fresh start to the programme. This was the first version of the theme since the little-used Delaware version to incorporate the "middle eight" into the opening credits as well as the closing - Although the closing credits saw them extended slightly.
McCulloch's theme is in the key of A minor. Delia Derbyshire was reportedly very unhappy with McCulloch's version. The Doctor Who television movie used a fully orchestrated version, arranged by John Debney. This contained a new introduction, being a quieter piece of music over which part of the Eighth Doctor 's Paul McGann opening narration was read, leading into a crescendo into the "middle eight", a departure from previous versions of the theme.
Debney's version of the theme begins in A minor, but after the middle eight the main melody is transposed back to E minor, as in the original score. Less evident in this version of the score is the rhythmic bassline that opens and underscores all previous and later televised versions of the theme; a bassline is present, but it does Theme Tune rise and fall in the same way.
Debney is the only composer that receives screen credit during the movie, with the by-then-deceased Grainer not being credited on screen for composing the theme. Debney at one point was nearly asked to compose a new theme due to licensing issues regarding the Grainer composition. They proceeded to use this theme arrangement again from 's Dark Eyes onward.
Inthe television series was revived. Murray Gold 's theme arrangement featured samples from the original with further elements added: an orchestral sound of low horns, strings and percussion and part of the Dalek ray-gun and TARDIS materialisation sound effects, Theme Tune. Rapidly rising and falling strings is an element that was not present in any prior version of the theme. The sting once again served as the lead-in to the theme, but Gold omitted the "middle eight" from both the opening and closing credits.
Gold has said that his interpretation was driven by the title visual sequence he was given to work around. Unlike his arrangement for the series, this version restored the "middle eight"; it was also used for the closing credits of the and series. A soundtrack of Gold's incidental music for the new series was released by Silva Screen Records on 4 December Included on the album are two versions of the theme: the second opening version, as arranged by Gold, and a longer arrangement that includes the middle eight.
Often erroneously cited as being the same as the end credits version, this second version is in fact a new arrangement and recording. In Novemberfollowing the BBC's announcement that it was requiring all series to implement a shorter closing credits sequence,  Murray Gold produced a third version featuring additional drums, piano and bass guitar and a variation of "The Chase" counter-melody while retaining the original Derbyshire electronic melody line, used from the Christmas episode.
The series featured a modified arrangement of this version. From " The Eleventh Hour " the theme received a complete reworking to tie in with the new cast, production design and title sequence design. Arranged by Murray Gold, this theme, while still retaining Gold's own "The Chase" counter-melody, has the bassline and electronic melody redone by Gold on a synthesizer. The reworking was something of a departure from all previous arrangements, with a prominent new melodic fanfare theme playing in the opening bars, and a percussion sound accenting each quaver of the rhythm.
The end credits featured only a short arrangement with introductory fanfare and the final notes of the main theme. The only exception to this was at the end of " The Beast Below ", where the full theme tune begins under the trailer for " Victory of the Daleks ". This is the only episode with this arrangement to feature the 'middle eight'. A leaked playlist for the Summer Olympics opening ceremony suggested that the theme would be performed,  but this did not occur. The theme and title sequence was revised yet again the Christmas Special, " The Snowmen " to coincide with a change of companion.
This new piece retains the melodic fanfare of the opening bars, as well as Gold's bassline and lead - albeit with all of them modified with the latter two's timbre modified - especially the bassline, and the lead dipping slightly downwards during the first high B note and lacking both the heavy use of percussion from the previous arrangement and "The Chase" counter-melody that featured in all previous Gold arrangements as well as, probably, the bass slides.
However, for the end credits of this episode, the previous arrangement was still used this possibly being a production update. This arrangement was revised further for " The Bells of Saint John ", featuring a more prominent bassline and removing the electronic beeps during the opening fanfare.
The end credits were updated to use this version of the theme, now featuring the main melody repeated twice, in place of the fanfare. The ending of the opening theme was altered to incorporate some orchestral elements from the version, along with some other minor changes.
The 'sting' is unusually quiet in this closing arrangement, often being drowned by the last seconds of the 'Next Time' trailer and the start of the actual theme. A further revision of the arrangement was made for the 50th Anniversary special " The Day of the Doctor ".
The fanfare over the opening bars was absent for the first time sinceand more of the electronic elements were removed or replaced but the percussion and bassline were made more prominent, and the bass slides were re-instated as well.
The 'middle eight' section was also reinstated, for the first time since 's " The Beast Below ". The arrangement of the theme was once again revisited in to mark the introduction of Peter Capaldi as the twelfth incarnation of The Doctor. This version removed the opening fanfare of the —12 and versions, returning to the traditional opening bars with a prominent bassline, accompanied by bells and a variety of futuristic sound effects, as well as a new sting as the theme opens.
This leads into the main melody, now more electronic and screech-like in homage to the Howell and Glynn themes of the s. The 'middle eight' is absent from any broadcast version of the theme, and as such the closing credits cut straight to the main melody as they did in Series 7 Part 2.
However, it was reinstated for an extended version of the theme released on the series 8 soundtrack album in May As of the third episode of Capaldi's debut season, " Robot of Sherwood ", the new theme was suddenly polished further, blending in the intro transition sound and bass elements of the version.
In the fourth episode of the ninth seriesthe intro has an electric guitar playing throughout, which continues from the Doctor playing Beethoven 's Fifth Symphony in the pre-intro scene on an electric guitar.
The theme music received another revision in for Jodie Whittaker 's first series as the Doctorthis time by new composer Segun Akinola. It was recorded at very short notice, and for that reason Bassey has never considered it to be her own song — performing it far less frequently than her other two Bond themes.
It was a major hit and was nominated for Golden Globe and Academy Awards, whilst in was listed as the 67th Theme Tune film song ever by the American Film Institute.
John Barry considers this track to be his weakest musical contribution to the franchise, and is the only Bond theme not to have charted in either the UK or America. Still one of the most iconic Bond themes, this notable track reunited McCartney with Theme Tune Martin — who had produced many of The Beatles biggest hits and most famous albums. At the time of its release it was the best performing Bond song ever — charting at number two in the US and nine in the UK, and being nominated for the Best Song Oscar.
Jones allegedly fainted while singing the final high note of this song — which might not had been a Bond theme at all had the original track, titled Mr Kiss Kiss Bang Bang which had versions recorded by Dionne Warwick and Shirley Bassey not fallen through.
This was the first Bond film for which Barry was the primary composer, with the title song sung by popular cabaret singer Matt Monro. One of the most famous pieces of film music of all time, this has featured in every single Bond film in some form or another since it played over the opening credits of Dr No back in Theme Tune The definition of iconic! Sign up to get alerts for movie news, reviews and recommendations plus receive television and entertainment email newsletters from our award-winning editorial team.
A theme song may be an instrumental or have lyrics, although most dramatic shows including, as far as America is concerned, those animated use an Instrumental Theme Tune. Sitcom theme song lyrics have gone through various phases. Radio theme songs were generally instrumentalpossibly because it was hard to hear lyrics over music on old low-fidelity radio sets. Sitcoms that moved to television kept their old instrumental tunes, while new sitcoms created for television could choose an instrumental tune or an Expository Theme Tune.
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