For which TV theme did Ron Grainer ask the B.B.C sound workshop for sounds like wind bubbles and clouds
"the introduction and its reprise. One of the best known examples of music featuring reverse tape effects is the ""Doctor Who"" theme (1963), composed by Ron Grainer and realised electronically by Delia Derbyshire of the BBC Radiophonic Workshop. Another famous example of the use of reverse tape effects is The Beatles' 1967 single ""Strawberry Fields Forever,"" written by John Lennon and produced by George Martin. During the verses, Lennon's voice is accompanied by a series of rapid ""swooshing"" sounds; these are actually the sounds of Ringo Starr's drum and cymbal accompaniment. These patterns were carefully pre-recorded, the tape reversed and"
"influenced ambient music for ""The Sound Machine"" episode of ""Tales of the Unexpected,"" accompanied a central character obsessed with ""Sounds I long to hear – Songs beyond the planets."" The last of Grainer's TV themes, ""It Takes A Worried Man,"" was broadcast on 21 October 1981, and featured a closing credits film clip of the series hero gradually losing pieces of his torso and face until all that is left are his eyes. Grainer died from a spinal tumor on 21 February 1981. Only three compilations of Grainer's output have been released commercially. 1969's ""Themes Like —"" (RCA) was a"
"his theme tunes for ""Doctor Who"", ""Steptoe and Son"", ""Tales of the Unexpected"" and ""The Prisoner"", Australian-born composer Ron Grainer moved to Brighton in the 1970s and later died in Cuckfield. The winner of a BAFTA Award and Oscar nomination for ""Walking in the Air"", Howard Blake grew up in Sussex and continues to live in the county. The song was used for the 1982 animated film ""The Snowman"" of the Sussex-based author Raymond Briggs. Blake also wrote the orchestral works in the film score for the film ""Flash Gordon"". Nat Gonella was part of the Brighton jazz scene and"
"It has been said that one of his pieces was used as the signature-tune for the original ""Maigret"" series for BBC Television in 1960, although the credit for the theme tune and background music goes to composer Ron Grainer. He joined London music publisher Francis, Day and Hunter and later rose to become head of their light orchestral department, where in addition to composing gave advice to other composers in this field. It was during this period he composed numerous short orchestral pieces include ""Frankfurt Polka"", ""Bavarian Polka"", ""Budgerigar Polka"", ""Pas de Trois"", ""Pizzicato Playtime"", ""Waltz for a Bride"", ""September"
"by Matt Berry, for """". Sequences involving Bubbles included a blend of stop motion and traditional animation. A second special animated in stop motion, themed around Halloween and using the same Rankin/Bass-inspired character models, was produced for season 11. The theme song was composed by Mark Harrison and Blaise Smith, while the lyrics to the song were written by series creator Stephen Hillenburg and the series' original creative director Derek Drymon. The melody was inspired by the sea shanty ""Blow the Man Down"". An old oil painting of a pirate is used in the opening sequence. It has been dubbed"
"that is soon joined by a distinctive theme in brass. The musical theme of ""Bugler's Dream"" is based on Joseph-David Buhl's ""Salut aux étendards"", a typical cavalry trumpet's call, composed during Napoleon's Consulate. Arnaud was commissioned by conductor Felix Slatkin to create a piece for his album ""Charge!"" in 1958. For this, he wrote ""The Charge Suite"", published by Shawnee Press, which included ""Bugler's Dream"". ABC began using the composition as the theme to its coverage of the 1964 Winter Olympics in Innsbruck, Austria, and in future Olympics. It was also used as the title piece for the series ""ABC's"
"traditional images of angels descending from Heaven. Further to the titles, Gray recorded incidental music for individual episodes in three additional four-hour sessions. For the first, held at the Olympic Studios in London on 12 November 1968, an orchestra of 29 musicians played tracks to feature in the pilot episode, ""A Case for the Bishop"". Recording for ""A Question of Miracles"" took place on 11 December, at Gray's private studios and with eight musicians. The only other episodes to have original scores are ""The Feathered Spies"" and ""Last Train To Bufflers Halt"", with the remaining episodes tracked with the four"
"Prisoner"", among others) in collaboration with the BBC Radiophonic Workshop. While Grainer wrote the theme, it was Delia Derbyshire who was responsible for its creation, using a series of tape recorders to laboriously cut and join together the individual sounds she created with both concrete sources and square- and sine-wave oscillators. Grainer was amazed at the results and asked ""Did I write that?"" when he heard it. Derbyshire replied that he mostly had. The BBC (who wanted to keep members of the Workshop anonymous) prevented Grainer from getting her a co-composer credit and half the royalties. The title sequence was"
"smaller projects such as ""Iris"", ""Radio"" and """". He received his eighth and ninth Academy Award nominations for ""A Beautiful Mind"" (2001) and ""House of Sand and Fog"" (2003), but lost on both occasions to composer Howard Shore. Horner composed the 2006–2011 theme for the ""CBS Evening News"", which was introduced during the debut of anchor Katie Couric on September 5, 2006. He wrote various treatments of the theme, explaining, ""One night the show might begin with the Iranians obtaining a nuclear device, and another it might be something about a flower show... The tone needs to match the news."""
"show had a revival in the 1946-47 season. When it was revived in 1956, it was retitled the ""CBS Radio Workshop"". The ""Columbia Workshop"" gave authors, directors, sound engineers and composers many opportunities to experiment with the use of sound as a device for enhancing narrative. ""Buck Rogers"" was broadcast from a 21st-floor studio that had been troubled with air conditioning noises. At a bend in a duct the air gave a ""whoosh"" that had been difficult to dampen. Later, when it became necessary to suggest a rocket traveling through outer space, someone remembered the duct and put a microphone"
"and Ronnie Barker. The series used accents and characterised voices to supplement the humour, as well as a good deal of innuendo. The show's theme tune was ""Trade Wind Hornpipe"" written and performed by Tommy Reilly on a Barry Music compilation of short interlude pieces published in 1958 on BMC118. The programme was strong on creating identifiable characters, the listener was able to clearly differentiate each person Laurie Wyman created; many of whom acquired enduring catchphrases, most notably from Sub Lieutenant Phillips: ""Corrrrr"", ""Ooh, nasty..."", ""Oh lumme!"", and ""Left hand down a bit"". ""Ev'rybody down!"" was a phrase of CPO"
"was originally going to produce a noir version of an '80s song for the theme. However, Rob Thomas was ""pretty much set on finding a song"", and ""We Used to Be Friends"" was chosen right from the beginning. Kramon wrote the original background music to convey the film noir themes. For the pilot, Thomas wanted ""a really atmospheric, kind of modern noir type of vibe"", and Kramon used sounds similar to that of Air and Zero 7. Kramon used ""traditional sounds"" for the series, but also processed and filtered them. Among the instruments used were piano, vibraphone and guitar. When"
"1962 she assisted composer Luciano Berio at a two-week summer school at Dartington Hall, for which she borrowed several dozen items of equipment from the BBC. One of her first works, and the most widely known, was her 1963 electronic realization of a score by Ron Grainer for the theme tune of the ""Doctor Who"" series, one of the first television themes to be created and produced by entirely electronic means. When Grainer first heard it, he was so amazed by her rendering of his theme that he asked ""Did I really write this?"" to which Derbyshire replied ""Most of"
"In this capacity, he created a new arrangement of the show's theme (originally composed by Ron Grainer) and also composed the show's incidental music. Silva Screen released a compilation of Gold's ""Doctor Who"" incidental music from the first and second series, entitled """", on 11 December 2006. A second CD, """", was released on 5 November 2007 and a third, """", was released in November 2008. He has also been seen very briefly in the show itself, making a cameo appearance (and wearing a false moustache) in the 2007 Christmas special ""Voyage of the Damned"". Also, music from the 2008–2010"
"a Windy Day"", ""Limelight Lady"", ""Dot and Carry One"", ""Mosquito"", ""City Desk"", and ""Fashion Parade"". In Britain he is remembered for his ""Changing Moods"", which was used as the theme for the radio serial ""Adventures of P.C. 49"". After emigrating to Australia in 1975 he was surprised to discover that his short composition ""Pastorale"" introduced the famous long-running radio serial ""Blue Hills"". He later re-worked the piece into a longer orchestral work named ""Blue Hills Rhapsody"", a recording of which was made with the composer conducting the Queensland Symphony Orchestra. His works for wind ensembles included clarinet quartets and trios,"
"he worked on many TV episodes of ""Gunsmoke"" and ""The Twilight Zone"", where he pioneered the use of the theremin in television scores. In the ""Gunsmoke"" episode ""The Quest for Asa Janin,"" the last episode of season 8, from June 1963, with music by Van Cleave, the five-note main theme used throughout 1964's ""Robinson Crusoe on Mars"" can be heard several times. Van Cleave Van Cleave (born Nathan Lang Van Cleave, May 8, 1910 – July 3, 1970) was a composer and orchestrator for film, television, and radio. Born in Bayfield, Wisconsin, he played with big bands, including Doc Fenton"
"a building shaped like a giant TV set taking guests through several rooms featuring animatronics of new and old Hanna-Barbera characters. Its theme song was composed by well-known Hanna-Barbera music producer Paul De Korte, and the lyrics were written by William Hanna and former Coney Island executive Dennis Speigel. It played throughout the ride, reciting themes from familiar characters such as Fred Flintstone, Scooby-Doo, and Yogi Bear. Less common shows such as ""Wacky Races"" and ""The Banana Splits"" were also eluded to. The first room introduced the song while the second room changed to a western accent, the third utilized"
"They were launched into the world of professional music in 1962 upon being noticed by composer Ron Grainer, probably best remembered for his theme to ""Doctor Who"". Grainer was interested in The Eagles for a film project he was working on, ""Some People"", about a fictional Bristol band not unlike themselves. The Eagles contributed to the ""Some People"" soundtrack, and became Grainer's protégés, recording new versions of some of his film score work like the theme of the Maigret television series. The ""Some People"" soundtrack reached No.2 on the EP charts, and remained on the charts for a stay of"
"the theme) by Charles Randolph Grean, who released a three-and-a-half-minute single, ""The $128,000 Question"" (the show's music and cues as an instrumental), with the B-side (""Sentimentale"") on the Ranwood label (45rpm release R-1064). For the show's second season, Grean's music package was re-recorded by Guido Basso. There were numerous parodies of the program, including in the Foghorn Leghorn cartoon ""Fox Terror"", Bob and Ray's ""The 64-Cent Question"". ""The Jack Benny Program"" featured Hal March as a contestant in an October 20, 1957 spoof with Benny asking the questions. As a gag, Benny actually appeared as a contestant on ""The $64,000"
"Electro-Theremin, an electronic musical instrument that mimics the sound of the theremin. He can be heard performing on the opening title theme music of the 1963-66 CBS-TV comedy series ""My Favorite Martian."" The Electro-Theremin is featured on several 1966-1967 recordings by The Beach Boys, with Tanner as the guest player ; most notably on the Capitol Records singles ""Good Vibrations"", ""Wild Honey"", and the album track ""I Just Wasn't Made For These Times"". Tanner died of pneumonia on February 5, 2013 at the age of 95. He was the third-to-last surviving member of the Glenn Miller Orchestra, with the bass"
"Henry Kolarz, said, ""Even if I spoilt it, Böttcher's music is much too good for everything to go wrong."" Throughout the following years Martin Böttcher composed yet more evergreen themes for TV-series, such as """"It can't always be caviar"" (1977), ""Schöne Ferien "" (""Beautiful holidays"") or ""Forsthaus Falkenau"". In the 1990s, among others, ""Air Albatros"" took off - a very special project for the composer, as he could pay a musical tribute to his passion for flying. And when Pierre Brice mounted his horse again as Winnetou for the ZDF television station, he was, of course, accompanied by a score"
"than a theme. It was used while Bean drove between locations intimidating the blue Reliant, and as such, was sometimes heard in later episodes whenever Bean's nemesis is seen. The instrumental of the theme tune was used in animated ""Mr. Bean"" in the original series finale ""Double Trouble"". In the episode ""Tee Off, Mr. Bean"", Howard Goodall's choral theme tune for another Richard Curtis comedy, ""The Vicar of Dibley"", is heard playing on a car stereo. In ""Merry Christmas, Mr. Bean"", while playing with Queen's Royal Guards figurines and the nativity set, he hums ""The British Grenadiers"", which was quoted"
"It!)"", the theme song of ""The Bugs Bunny Show"", also airing on ABC at the time, and may have been the reason the theme was changed in the third season. Starting in Season 3, Episode 3 (""Barney the Invisible""), the opening and closing credits theme was the familiar vocal ""Meet the Flintstones"". This version was recorded with a 22-piece big band, and the Randy Van Horne Singers. The melody is believed to have been inspired from part of the 'B' section of Beethoven's Piano Sonata No. 17 (The ""Tempest""), Movement 2, composed in 1801/02, and reharmonized. The ""Meet the Flintstones"""
"Anacani, who hadn't joined the show until 1973. The show was a top 30 hit for five seasons, according to ClassicTVHits.com's ratings database. The show would often open by showing bubbles floating around and was accompanied by a sound effect of a bottle of champagne opening, including the opening theme (originally ""Bubbles in the Wine"", composed by Welk and Frank Loesser, later replaced with a derivative theme and fanfare composed by George Cates). Each week, Welk would introduce the theme of the show, which usually inspired joyous singing and/or patriotic fervor. He was most known for delivering these monologues in"
"by choice. The show's theme by Alain Legrand, was a cheerful Hammond organ tune while making it sound as if it were played on a fairground organ. On the earliest episodes during the black-and-white series, it was played more slowly with a degree of sadness. There were also two different additional theme songs for reruns of the French version; the first from 1983, ""C'est moi, Pollux"" was a pretty popular single in France, while the theme from 1989 was an upbeat Hammond organ pop tune with children's vocals. Danot made a longer film, ""Pollux et le chat bleu"", in 1970"
"Estelle Parsons. Some ""callers"" also guest-starred, such as Parsons and Linney, who played Frasier's final love interest in the last season. The show's theme song, ""Tossed Salads and Scrambled Eggs"", is sung by Grammer and is played over the closing credits of each episode. Composer Bruce Miller, who had also composed for ""Wings"", was asked to avoid explicitly mentioning any subjects related to the show such as radio or psychiatry. After Miller finished the music, lyricist Darryl Phinnesse suggested the title as they were things that were, like Frasier Crane's patients, ""mixed up"". The lyrics indirectly refer to Crane's radio"
"theme music to be widely recognizable around the world. The series was a ""global hit"" and its theme song became ""iconic"". However, she notes that copies of the original television soundtrack had become extremely rare by the 2010s. The pilot episode featured a slightly different opening and closing credits and a moustached Gadget. In a later version of the pilot, dialogue by Penny and Gadget was re-dubbed explaining Gadget's mustache as a disguise for the holiday. Since DiC was a French company looking to expand its operations to the US, the show was produced for release in both France and"
"Simpson"" and the well-received scores for ""Tales of the Unexpected"" (1979) and ""Rebecca"" (1979). ""Skin"" (1980), an episode of ""Tales of the Unexpected"" with the theme of exploitation of the socially vulnerable, won the 1980 Edgar Allan Poe Award for Best Television Episode. Grainer had one notable incidental music score and two TV signature tunes debut the year of his sudden illness and death from cancer on 21 February 1981. ""Sunday Night Thriller,"" with its funeral music theme and separation of bodies credits sequence, was broadcast on 18 January 1981. On 17 May 1981, his ""All Things Bright And Beautiful"""
"dubbed German soundtracks. The theme tune of the television series was composed by Ron Grainer, who composed very many tv themes for the BBC during the 1960s. Many of the BBC ""Paul Temple"" radio serials were novelized between 1938 and 1989 by Francis Durbridge from his original scripts. Some of the novels in which the character appears were written in collaboration with John Thewes, Douglas Rutherford or Charles Hatten – and those with Rutherford were even published under the pen-name ""Paul Temple"", thus making the fictional writer a ""real"" one. (*) Indicates released as a CD-only audiobook between 2006 and"
"tenth series. The ""Doctor Who"" theme music was one of the first electronic music signature tunes for television, and after more than a half century remains one of the most easily recognised. The original theme was composed by Ron Grainer and realised by Delia Derbyshire of the BBC Radiophonic Workshop, with assistance from Dick Mills and was released as a single on Decca F 11837 in 1964. The various parts were built up using musique concrète techniques, by creating tape loops of an individually struck piano string and individual test oscillators and filters. The Derbyshire arrangement served, with minor edits,"
"its inception, and is the voice on ""The Economist""’s weekly podcast. In 1990 a John Waite BBC Radio 4 broadcast was sampled by electronic band The Orb and used on their Little Fluffy Clouds single. At the beginning of the track John Waite can clearly be heard saying ""Over the past few years, to the traditional sounds of an English summer, the drone of lawnmowers, the smack of leather on willow, has been added a new noise..."". The Single went on to be a Number 10 hit on a 1993 re-release. As witnessed in April 2017, John Waite does some"
"furniture scraping across the floor. Recorded noise in popular music can be heard as early as in the work of Spike Jones, who in the 1930s performed and released recordings that used buckets, cans, train whistles, neighing, croaking, and chirping sounds. Later in rock music, the 1964 song ""Walking in the Rain"", performed by The Ronettes and produced by Phil Spector contained sound effects of thunder and lightning, which earned engineer Larry Levine a Grammy nomination. In 1966, ""Pet Sounds"" by the American rock band The Beach Boys featured arrangements that included unconventional instruments such as bicycle bells, dog whistles,"
"Dr. Theremin's intentional harmonic generation in the output of the Theremin, which Tanner did not do. Tanner played it for the 1958 LP ""Music for Heavenly Bodies"", the first full-length album featuring the instrument, and played it subsequently on several television and movie soundtracks—most notably on George Greeley's theme for the 1960s TV series ""My Favorite Martian""—and on an LP entitled ""Music from Outer Space"". Most famously, Tanner played his Electro-Theremin on three songs by The Beach Boys: ""I Just Wasn't Made for These Times"", ""Good Vibrations"", and ""Wild Honey"". The instrument used in ""Good Vibrations"" was a Heathkit tube-type"