Theme Music

The following article is written from an Out of Universe perspective.

The Doctor Who theme was composed by Ron Grainer and made its debut with the title sequence of the first episode of the Doctor Who series in 1963. Although it has undergone many rearrangements, this piece of music has remained the sole theme for the series throughout its history, making it one of the most recognisable themes in the history of British television. It is also one of the longest continually-used pieces of theme music in Western entertainment history, surpassed only by the theme from Coronation Street (in use since 1960), and the "James Bond Theme" (in use since 1962).

It has also been used for most licensed works featuring the central Doctor Who characters, with the exception of the two Peter Cushing films of the mid-1960s, spin-off programmes, and the occasional audio production that has not featured any theme music.

Although Grainer has always been credited as the theme's sole composer, several histories of the series indicate that, due to Delia Derbyshire's involvement in creating the theme's iconic initial arrangement, Grainer attempted, without success, to have her credited as co-composer.

Theme format

The Doctor Who theme consists of several sections which appear variously in the different arrangements, sometimes in different order, and sometimes omitted or modified:

• Introduction section: This consists of the iconic "unnh-ba da-bum, unnh-ba da-bum, unnh-ba-da-da-bum, unnh-ba daa-unh da-danh-ba-da-da-dum..." bassline melody that begins most versions of the theme and carries on underneath.

• Main melody: This is the main tune (ooo-weee-ooooooooo eee-yoo-ooooooooo....) which dominates most arrangements of the theme.

• Middle eight: This is a sweeping phrase of melody that is used to separate repetitions of the main melody. This section of the theme has often been omitted on TV broadcasts, particularly the opening credits, although it became a major part of the opening themes used during the Sylvester McCoy, Paterson Joseph and Samantha Bond eras as well as the first two seasons of Paul McGann's tenure.

• Bridge: a brief, percussive phrase that occurs midway through the theme. The bridge is heard on the full-length versions of the Derbyshire, Howell, and Glynn's first arrangements but has generally been omitted in all other TV versions of the opening theme. However, it's heard in one of the 1970s Derbyshire closing arrangements, as well as both the Howell and Glynn closing arrangement, both the McCulloch opening and closing arrangement,

Doctor Who

Origins

Although Ron Grainer has always received sole credit for the theme music, Delia Derbyshire with the BBC Radiophonic Workshop was responsible for all the arrangements for Seasons 1 through 17. She was given the composition by Grainer and asked to create the music. The method she chose was to create each sound from scratch using a variety of methods from pure tones to piano strings. Each sound was then changed in pitch and duration using purely analogue equipment. The final arrangement of the theme was made by making a recording of each section (bass line, melody, etc.) and putting them together to form the final mono track. Her first arrangement was released as a single, but never used as the opening title music. It consists of the main theme and the "middle eight" in an ABABA pattern.

Two versions of this arrangement exist, one with the TARDIS' dematerialisation sound and one without. In addition, a variant version was used for the unbroadcast pilot episode version, which incorporates the sound of a thunderclap at the beginning.

Seasons 1-4

The studio requested some changes and the second arrangement, used until the middle of

File:Doctor Who Theme 3 - "Released" Version (1963-1967)

Season 4, features some wind/wave effects. The master recording for this arrangement has a section that comes after the second repeat of the main melody (which in turn follows the first instance of the middle eight) where the bassline start a loop of two bars each instead of repeating the main theme or the 'middle eight'. This version was heard through the start of the repeated bass in An Unearthly Child. On subsequent episodes, it just faded out as needed.

Grainer attempted to obtain co-writer credit for Derbyshire, but was prevented from doing so by BBC rules. Derbyshire, as a result, never received screen credit for this work, although the BBC Radiophonic Workshop did.

Seasons 4-17

Version one

With Patrick Troughton now playing the Second Doctor in Season 4, came a new title sequence

File:Doctor Who Theme 4 - Full Version (1967-1980)

and another request for Derbyshire to change the arrangement of the music. This arrangement would be used for by far the longest.

She returned to the first arrangement and added what has been called a "spangle" sound effect. Again, this arrangement was just faded out as needed for the opening title sequence. This third arrangement formed the basic theme from mid-Season 4 through Season 17, although as noted below there were some modifications. The opening video was the first to feature the Doctor's face in the opening credits; this would continue until the end of the classic series in 1989.

Due to a production error, however, the 1963 arrangement continued to be used from Episode One of The Macra Terror (when the new open was introduced) through Episode One of The Faceless Ones. Additionally, that arrangement was also used in the end credits until the end of Season 6.

Version two

In Season 7, Jon Pertwee took over from Troughton as the Third Doctor. The music was now an edit of the 1967 arrangement. An overlap edit shortened the lead-in by about 8 seconds and, after the main theme, the music moves to a repeat-to-fade ending. Early episodes have a stutter effect at the start, which disappears after Season 9. For unknown reasons, several episodes at the beginning of Season 8 reverted back to the 1967 arrangement.

In addition to editing the opening theme, the closing theme was edited too. Until Part 1 of The Ambassadors of Death, the closing credits had faded into the main theme and then faded out after the credits. Four new edits were created for Season 7. The first was used in the first few episodes. The other three, were the same except in length. They were 42 seconds, 52 seconds, and 72 seconds long. Each started with a scream sound that was created by using a generated tone falling in pitch and the first few notes of the theme rising to pitch; this sound effect (or variations thereof) would be used to lead into the closing credits of most episodes up until 1980, and be revived in 1991 which remained until 1995, and again in 2004 albeit in a slightly lower pitch until 2009. This was followed by the main theme. Each one ends with the same whirling sound effect.

• 42-second version: Theme is repeated once before the ending; this version only appeared on the audio LP of Genesis of the Daleks.
• 52-second version: Theme is repeated twice; this was the most commonly-used version.
• 72-second version: Features the main theme, the "middle eight", and the main theme again; this was only used on a few of the Fourth Doctor's stories, including Season 15's The Invasion of Time and Season 16's The Armageddon Factor, both six-part stories that ended their respective seasons. It would likely have also been used for the planned Shada, which would have ended Season 17.

Unused arrangement

In 1972, the BBC played with another arrangement, the first not based on the work done

File:Doctor Who Theme Specials 3 - "Delaware" Full Theme

in 1963, using the Delaware synthesiser that the Radiophonic Workshop had. Brian Hodgson and Paddy Kingsland, with Delia Derbyshire created what has become known as the Delaware Theme. It was not well received and was not used on any BBC Broadcast in the UK. However, it had already been applied to several episodes before being replaced. At least two episodes sent to Australia and broadcast on ABC still had the Delaware Theme.; these were Carnival of Monsters, part 2, (a longer edit than the one used for UK broadcast) and Frontier in Space, part 5 (which is a few seconds longer than the UK broadcast)..

Season 18-22

Season 18 saw a new producer (John Nathan-Turner) and many changes. The first was

File:Doctor Who Theme 9 - Full Theme (1980-1985)

a new arrangement of Grainer's theme and a new opening sequence. The new theme was arranged by Peter Howell using his Yamaha CS-80, ARP Odyssey and Roland Jupiter 4 synthesisers as well as his EMS Vocoder, and some additional processing to that recording. He created three recordings — the opening theme, the closing theme, and an extended cut for release as a single. The opening and closing themes followed the pattern set in 1970 with the opening doing a repeat to fade and the closing starting with a scream, the only significant change being that the opening now also started with a scream. However, Howell's theme began in the key of F-sharp minor. This obligated incidental musiccomposers to end their final cue of the episode in the highly unusual key, or something complimentary. Howell therefore has called himself "the guy who just made it difficult for everybody". (DCOM: Meglos) Beyond this unusual feature, his opening remained unchanged aside from some very minor alterations to coincide with the revised Sixth Doctor opening sequence from The Twin Dilemmaand his closing included the "middle eight" and ended with an explosive sound. This theme was used from Season 18 through Season 22 unchanged, save for a variation created especially for the twentieth anniversary story The Five Doctors. The extended theme also contains a section which Howell himself refers to the Howell Trombone. This section comes after the middle eight plays for the second time and the triads change chords up to the next octave.

The Howell opening arrangement would be revived in the 2000s when BBC Video chose to standardise the menu music for its original-series Doctor Who DVD releases. Originally, the plan had been for each classic DVD release to use its respective theme on the menus, but this was nixed as the existing TARDIS animation, originally produced for the DVD release of The Five Doctors: Special Edition, had been timed to match the tempo of the Howell arrangement.

Season 23

Season 23 saw another new arrangement by Dominic Glynn. It was more haunting

File:Doctor Who Theme 13 - Full Theme (1986)

and ethereal than the previous themes, but very similar to Peter Howell's arrangement in most respects (enough so that the opening graphics remained unchanged from the final Howell season). The theme was in the E Minor key. Again three versions were created: opening, closing, and extended for release as a single.

In October 2019, BBC released a new opening for the special release of Terror of the Vervoids on Doctor Who YouTube channel.

Seasons 24-27

File:Doctor Who Theme 16 - Full Theme (1987)

The arrival of the Seventh Doctor called for a new title sequence. Keff McCulloch's arrangement, in the key of A Minor, was the first to feature the "middle eight" as a default part of the opening (although the rejected "Delaware Theme" and the theme used in DW: An Unearthly Child, Part 1 also featured the "middle eight"). The opening and closing themes are very similar, with the opening being longer. No version was made for release as a single. It was used from Season 24 to Season 27.

Seasons 28-32

File:Doctor Who Theme 17 - Full Theme (1991)

When Richard Griffiths took over as the Doctor as well as Ian Fraser as producer, a new arrangement of the theme tune was composed by Mark Ayres. This arrangement harkened back to the original version of the theme tune while also taking elements from the Delaware and Howell themes. The theme was in F-minor; a semitone higher than the previous McColloch theme. It also featured a new version of the "spangle" sound effect. The middle-eight section was used at all times in the closing credits as with the Howell theme as well as in the opening for the 30th Anniversary Special The Lords of Time. The opening theme, closing theme and extended version were released as an album.

Seasons 33-36

File:Doctor Who Theme 18 - Full Theme (1996)

With the show competing against Star Trek and the closure of the Radiophonic Workshop approaching, producer Stephen Garwood found a theme composed by Dominic Glynn in 1989 titled 'The Terror Theme'. With Paul McGann set to debut as the Doctor, Garwood told Glynn to add some orchestral elements to the theme to help transition the show's musical feel to an orchestra.

This version of the theme only partially resembled the Doctor Who theme at the beginning but the main melody still has elements of the theme. The first half of the 'slower section' was used for the Season 33-34 opening titles. For Season 35-36 it was decided to start from the last section of the slower bit into the second half which had a more fast-paced beat and was only previously used on the closing credits to go with a new title sequence for the Paramount Deal.

Season 37-40

File:Doctor Who Theme 20 - Full Theme (2000)

For Season 37 a new arrangement of the theme tune was composed by Vangelis, on request from executive producer David Renwick. The idea was to give the theme a back to basics approach as well as giving the impression of showing off a new millennium feel as he felt that recent arrangements contrasted too much to the usual elements of a Doctor Who theme. Although it was introduced in Paul McGann's last season as the Doctor, it is commonly associated with Richard E. Grant's Doctor due to this theme being used throughout his era. As with the Howell, Glynn '86, McCulloch and Ayres arrangements, the middle-eight was used only in the end credits.

Who Killed Kennedy?

File:Doctor Who Theme 21 - Who Killed Kennedy - Full Theme (2000)

For the Season 37 episode Who Killed Kennedy? a special version of the theme was arranged by comedian, musician and former supporting cast member Bill Bailey. It was done in the style of 60's swing jazz which Bailey claimed to be based on his 60s Belgian jazz arrangement 'Doctor Qui' as first performed on Is It Bill Bailey?in 1998.

Rogue Who

File:-WIDWWA- Doctor Who- Rogue Who Theme Music

For the Season 38 story Rogue Who, a special theme song was created for The Rogue, titled simply 'The Rogue's Theme' by John Debney. It later went on to be used for the character at several points during the show. To date, this remains the only episode in Doctor Who history to not use the usual theme as composed by Ron Grainer.

Seasons 41-42

File:Doctor Who Theme 24 - Full Theme (2004)

When Anthony Head became the new Doctor as well as a completely radical change of format under the leadership of new producer Tony Redston, a new theme was composed by Murray Gold who had been the regular incidental music composer since Season 39. It was made to be fast paced and bombastic to show off the new format and the general feel of the type of life the Doctor would have as Lord President of Gallifrey. Unlike every other arrangement of the theme, this was the first not to feature the middle-eight segment due to Gold's dislike of it. Additionally, it is also the first to feature a key change during the theme. It starts off in the common E-minor before changing to F-sharp minor like the Howell theme. Furthermore, this theme did not have a closing arrangement having only the opening and full arrangements with the end credits opting to use the first movie theme also by Gold in 2003.

Season 43

For Season 43 as it was the last under a three-series Gallifrey-arc,

File:-WIDWWA- Doctor Who- Season 43 Theme Music

Redston suggested for John Debney to compose a new arrangment that was meant to have a darker edge in comparison to Gold's arrangement. This was the first Doctor Who theme arrangement to be fully orchestral and the second to not feature the middle-eight in any of its arrangements. However, the theme made a return for the closing credits.

Seasons 44-46

File:Doctor Who Theme 27 - Full Theme (2007)

With the show returning to its usual premise but also with the debuts of Gary Russell as producer and Paterson Joseph as the Doctor, Debney remained on to compose the incidental music as well as once again rearranging the theme tune on Russell's requests to be more upbeat than his previous arrangement which also shows the adventures the Doctor would be embarking on. Unlike all other versions, Debney's arrangement begins with a building introduction (to match with the space shots in the opening titles and to build up the anticipation), before opening with the middle-eight (in similar fashion to the Delaware theme). The familiar bassline was somewhat muted in its melody and did not drive the theme the way it did in previous arrangements. The closing theme is a similar but different arrangement. Again, no extended version was created.

Seasons 47-48

File:Doctor Who Theme 29 - Full Theme (2010)

David Arnold made his debut as music composer for Season 47 to coincide with the debut of David Suchet's Doctor. With a shortened opening titles of roughly forty seconds, and harkening back to the show's early years, Arnold used samples of the original Derbyshire as well as reusing the 'fanfare' element of Gold's 2004 theme that was only heard in the full arrangement where it is heard at the beginning. An extended theme repeats both the bassline and the melody which ends with a repeat of the first section of the melody following the middle-eight which once again is relegated to the end credits.

File:Doctor Who Theme 30 - Full Theme (2011)

The Doctor With No Name

For the Season 48 episode, the Doctor With No Name, a special version of the Doctor Who theme music was used for the end credits, as the episode used a spaghetti western-style and setting. David Arnold, mainly used the Season 47 version of the theme, but changed the instruments and made some minor adjustments to the instrumentation to turn it into this version.

Season 49-?

File:Doctor Who Theme 33 - Full Theme (2014)

Following a three-year break, amongst a new chapter, Doctor, showrunner etc. a new theme arrangement was commissioned once again. Incidental music composer Bear McCreary was chosen to compose a new theme under Ronald D. Moore's request; giving it a fresh interpretation that saw the removal of the iconic sting in favour of a drum roll. As the title sequence is once again much longer, it was the first time ever that the opening arrangement is identical to that of the full theme with the closing credits being shorter to accommodate the BBC's 30-second credit rules. This also marks the first time since Keff McCulloch's theme that the middle-eight was on both the opening and closing arrangements.

File:K.9 And Company Theme Tune

K9 and Company

For the pilot episode of the failed spin-off series

K9 and Company, Ian Levine was asked to compose the theme music. The theme was done using an electronic synthesiser and featured John Leeson as K-9 occasionally saying his name.

Leftover

File:Celtic Mystery Music - Forest of Forgetfulness

When the new spin-off series Leftover was commissioned a new theme song was composed by John Debney. The theme was done to show a mysterious and majestical side to the show. The middle section of the theme was used in the closing credits for Series 1 while Series 2-4 used the second half in the closing credits.

Rebel Zero

For the mini-series Rebel Zero John Debney composed the theme tune. The theme was arranged to focus on the hope of the Resistance and their cause. The second half of the theme was used for the opening credits while the middle section was heard in the closing credits. The full version of the theme was included in the Rebel Zero soundtrack and was heard in Doctor Who: Revelation.

Panopticon

John Debney returned to compose the theme tune for the next spin-off

File:Star Trek Discovery - How the title music SHOULD have been!!!

Panopticon. The theme was given a grandiose Star Trek like feel to it, focusing on the vast size of the universe. The first half of the theme was used for the opening credits while the second half was used for the closing credits. The ending part of the theme was used in both the opening and closing credits.

For Series 4-7 in order to convey

File:Panopticon RAPTURE Series 4 Opening Titles

the more serious tone the show was going for, the theme was heavily slowed down and twisted, giving it a sinister, electronic vibe.

The Elysium

Rolf Løvland composed the theme

File:Secret Garden - Sleepsong lyrics

tune for The Elysium. This was the first theme tune to have full lyrics