Theme Music

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 Michael French'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,

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 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.

Version one
With Patrick Troughton now playing the Second Doctor in Season 4, came a new title sequence 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 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 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 music composers 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 Dilemma and 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.

Season 23
Season 23 saw another new arrangement by Dominic Glynn. It was more haunting 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 the official Doctor Who YouTube channel.

Seasons 24-27
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
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 heavily taking elements from the Delaware and Howell themes and was notably slower. The theme was in F-minor; a semitone higher than the previous McCulloch 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 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 33-34
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 Michael French 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 opening titles. For the closing credits, it was decided to start from the second half, which had a more fast-paced beat.

Season 35-37
Season 35 brought in a raft of changes, with David Renwick as executive producer and the show being co-owned between Paramount and the BBC, plus the change of production location to Wales. A new theme arrangement was introduced for the season, by recurring incidental music composer, Julian Stewart Lindsay, which saw a few radical departures from the usual theme format. Firstly, the theme was now fully orchestral, and going for a waltz style instead of the sci-fi electronic tones it normally had. The familiar bassline and parts of the main melody have been tweaked to fit the waltz style. Also for the first time since the original Derbyshire theme, there was no accompanied sting in any of the arrangements whatsoever. The theme was in D-minor and saw the middle eight return to the closing theme, now at the start of the piece than in the middle. This theme was in use for the remainder of Michael French's tenure as the Ninth Doctor.

Season 38-40
For Season 38, 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 being more connected with the edgier tone the programme was going for at the time, as Renwick felt that recent arrangements contrasted too much to the usual elements of a Doctor Who theme. This theme was in use throughout Richard E. Grant's tenure as the Doctor. The full theme echoes previous arrangements, such as the 'Howell Trombone' from the full 1980 Howell theme. The sting returns to the theme; reusing the 1970 Derbyshire variant for the opening and closing arrangements with a slightly different version used in the extended theme. As with the Howell, Glynn '86, McCulloch, Ayres and Lindsay arrangements, the middle-eight was used only in the end credits.

Rogue Who
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
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, Redston suggested for John Debney to compose a new arrangement that was meant to have a darker edge in comparison to Gold's arrangement. This was the second version of the theme to not feature the middle-eight in any of its arrangements. The opening variant seems to shy away from the main theme, which are more prominent in the closing version and the second half of the full version.

Seasons 44-46
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. 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.

Seasons 47-48
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.

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 composed this version of the theme. An extended version was created.

Season 49-50
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 well as the theme being in F-minor. 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 the McCulloch theme that the middle-eight was on both the opening and closing arrangements.

Season 51-52
For the introduction of Adjoa Andoh's Doctor along with a new set of titles and the mixed reactions amongst the previous theme, another new arrangement was commissioned for Season 51 which in fact debuted in the 2016 Christmas special, The Last Winter, also by McCreary. The theme takes on a more contemporary sci-fi approach; once again using elements of the original Derbyshire theme, by only using the melody this time accompanied with a hard-synth reverb bassline. The theme went back to the usual E-minor key. As the opening titles were much shorter, the bassline build-up was rejected for the first time since the McCulloch theme which begins immediately with the melody as the first section of it is repeated again at the end. Once again, the middle-eight is heard only in the end credits.

Season 52
Due to the negative response to the Season 51 titles, they were replaced with a new title sequence and with it a new rendition of the theme song for Season 52 in 2018, arranged yet again by McCreary. The main section of the theme was used for the opening titles, which hearkens back to the style of Seasons 49 and 50 as the theme starts off in an orchestra arrangement. As it goes on, synths and drums are gradually included. The full theme uniquely includes a bass drop just before the middle eight halfway through as well as the odd TARDIS sound effect. This theme, like the McCulloch 1987 arrangement, was in A-minor.

Season 53
To be added.

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. An extended version was also created.

Series 1-4
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 first part of the theme was used for the opening titles, with the last section used for the closing credits.

Season 5 - End of Days
With John Debney returning to compose the music for the three-part special, he also arranged a new rendition of the Leftover theme for End of Days. This rendition was made to be more creepy; notably slower and bleak and only vaguely echoing the opening bars of the original theme with a piano bassline.

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.

Series 1-3
John Debney returned to compose the theme tune for the next spin-off, Panopticon. The theme was given a grandiose orchestral feel to it, focusing on the vast size of the universe. The first half of the theme and the ending was used for the opening credits while the second half was used for the closing credits. This theme was actually arranged a year earlier; being a part of the Doctor Who: Revelation soundtrack titled 'Gallifrey'.

Series 4
For the fourth series, a new composer, Bear McCreary, was brought on board and new Showrunner, Ronald D. Moore, was looking to give the season a darker feel, including several more adult storylines. In turn, a new version of the theme tune was produced for such an occasion. This theme, however, was unpopular with fans and scrapped after just one season.

Series 5-7
The fifth series' theme was composed by McCreary again and based upon the Series 4 version, but the theme was slowed down and rearranged as a softer piano version and it was extended in the middle. This version of the theme was used for most episodes, and came first in a DWM poll for spinoff theme tune, in 2013.

Series 1-2
Rolf Løvland composed the theme tune for The Elysium, which was Secret Garden's 2004 hit Sleepsong of which he was part of. This was the first theme tune to have full lyrics

The lyrics featured in the opening titles are


 * May you sail far to the far fields of fortune
 * With diamonds and pearls at your head and your feet
 * And may you need never to banish misfortune
 * May you find kindness in all that you meetThe Elysium Theme 2 - Full Theme (2017)

Series 3-5
A new version of the song was used for Season 3 with an extended version of the title sequence to go with it. This version was arranged by Tony Duke with vocals from Anjali Varghese with the chorus from Sleepsong also included in the opening titles.

Doctor Who: The New Renegade
To be added.

Doctor Who: Adventures
To be added.

Doctor Who
For the first movie in the Doctor Who motion picture franchise, Murray Gold was asked to compose a new rendition of the theme song. This version of the theme has an orchestral prelude to the first part of the theme. For the rest of the theme Murray Gold went back to basics. Gold's theme is based on the electronic melody sound sampled from the original 1963 Derbyshire arrangement with rapidly upward- and downward-arpeggiating strings added as a counter melody, later nicknamed by fans as the "chase". The main part of this rendition follows the normal pattern of the main theme and features a reprise of the orchestral prelude in the second half.

A cut-down version of the second half of the theme was used in the Season 41-42 closing credits due to the Season 41-42 theme not suiting the end credits. The full version of the theme was subsequently used for the first half of the end credits in Doctor Who: Revelation and Doctor Who: Vengeance.

Doctor Who: Revelation
For Doctor Who: Revelation John Debney was asked to compose the main theme. This rendition was done in the style of a horror movie theme by John Carpenter. Like the previous film, the first part of the theme was used in the opening credits while the full version was used in the second half of the closing credits.

Doctor Who: Vengeance
Composer David Arnold was approached to create a new rendition of the theme song for Doctor Who: Vengeance. This version of the theme has a slow quiet start with the rest of the theme being more loud and exciting. Just like the previous films the first half was used for the opening titles with the full version used in the second half of the closing credits.

Doctor Who: Endgame
Due to the fact that David Arnold wanted to focus on the TV series, Murray Gold was brought back to compose the music for Doctor Who: Endgame. Unlike the previous films a new rendition of the Doctor Who theme is not used. Instead a piece of music known as Thirteen's Song by Gold is used. This was done to give the audience a sense of unease and foreboding.

A new rendition of the Doctor Who theme was created and is used during the closing credits. This rendition had a sombre and bittersweet tone with the sound of a faint breeze in the background to reflect the mood following the death of The Doctor in the film.

Doctor Who: Genesis
Murray Gold was once again brought on to compose the music for Doctor Who: Genesis. Since it was the 50th Anniversary movie, the new arrangement of the theme is a modernised version of the original 1963 version. The first part of the theme is heard in the main title card in a slower variant while the full version is used for the closing credits, harkening back to the original Derbyshire theme.

Doctor Who: Until the World Ends
John Debney once again returned to Doctor Who, to compose the music for Until the World Ends. With Paterson Joseph returning to the role as the Doctor, the theme music was an adaptation on the theme used during his era in Seasons 44-46, but freshened up for the big screen. It follows a similar structure to the full version, with a longer build-up, although the bassline is more prominent. It also contains a reference to the full 2004 Gold and 2010 Arnold themes with the fanfare incorporating the bassline. The theme follows on as normal before gradually phasing away at the end.

Dokter Wie
To be added.

Doctor Misterio
To be added.

Doctor Who: Through Time and Space
To be added.

Mysteriet Doktorn
Unlike the other foreign adaptions, Mysteriet Doktorn has a theme song of its own, sung by none other than Anna Bergendahl. It appears at the closing credits.