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Digital Booklet ORIGINAL TELEVISION SCORE ADDITIONAL CUES FOR 4-PART VERSION 01 Doctor Who - Opening Theme (The Five Doctors) 0.36 34 End of Episode 1 (Sarah Falls) 0.11 02 New Console 0.24 35 End of Episode 2 (Cybermen III variation) 0.13 03 The Eye of Orion 0.57 36 End of Episode 3 (Nothing to Fear) 0.09 04 Cosmic Angst 1.18 05 Melting Icebergs 0.40 37 The Five Doctors Special Edition: Prologue (Premix) 1.22 06 Great Balls of Fire 1.02 07 My Other Selves 0.38 08 No Coordinates 0.26 09 Bus Stop 0.23 10 No Where, No Time 0.31 11 Dalek Alley and The Death Zone 3.00 12 Hand in the Wall 0.21 13 Who Are You? 1.04 14 The Dark Tower / My Best Enemy 1.24 15 The Game of Rassilon 0.18 16 Cybermen I 0.22 17 Below 0.29 18 Cybermen II 0.58 19 The Castellan Accused / Cybermen III 0.34 20 Raston Robot 0.24 21 Not the Mind Probe 0.10 22 Where There’s a Wind, There’s a Way 0.43 23 Cybermen vs Raston Robot 2.02 24 Above and Between 1.41 25 As Easy as Pi 0.23 26 Phantoms 1.41 27 The Tomb of Rassilon 0.24 28 Killing You Once Was Never Enough 0.39 29 Oh, Borusa 1.21 30 Mindlock 1.12 31 Immortality 1.18 32 Doctor Who Closing Theme - The Five Doctors Edit 1.19 33 Death Zone Atmosphere 3.51 SPECIAL EDITION SCORE 56 The Game of Rassilon (Special Edition) 0.17 57 Cybermen I (Special Edition) 0.22 38 Doctor Who - Opening Theme (The Five Doctors Special Edition) 0.35 58 Below (Special Edition) 0.43 39 The Five Doctors Special Edition: Prologue 1.17 59 Cybermen II (Special Edition) 1.12 40 The Eye of Orion / Cosmic Angst (Special Edition) 2.22 60 The Castellan Accused / Cybermen III (Special Edition) 0.35 41 Melting Icebergs (Special Edition) 0.56 61 Raston Robot (Special Edition) 0.24 42 Great Balls of Fire (Special Edition) 0.56 62 Not the Mind Probe (Special Edition) 0.32 43 My Other Selves (Special Edition) 0.35 63 Where There’s a Wind, There’s a Way (Special Edition) 0.31 44 Nothing Can Go Wrong (Special Edition) 0.35 64 Cybermen vs Raston Robot (Special Edition) 2.04 45 Bus Stop (Special Edition) 0.22 65 Above and Between (Special Edition) 1.41 46 No Where, No Time (Special Edition) 0.36 66 The Fortress of the Time Lords (Special Edition) 1.04 47 Enter Borusa (Special Edition) 0.28 67 As Easy as Pi (Special Edition) 0.22 48 Enter The Master (Special Edition) 0.14 68 I Hope You’ve Got Your Sums Right / Phantoms (Special Edition) 2.29 49 Dalek Alley and The Death Zone (Special Edition) 3.06 69 The Tomb of Rassilon (Special Edition) 0.29 50 Hand in the Wall (Special Edition) 0.20 70 Killing You Once Was Never Enough (Special Edition) 1.26 51 Recall Signal (Special Edition) 0.34 71 Oh, Borusa (Special Edition) 1.21 52 Who Are You? / Tell Me All About It (Special Edition) 0.49 72 Mindlock (Special Edition) 1.11 53 Thunderbolts (Special Edition) 0.33 73 Immortality (Special Edition) 1.17 54 The Dark Tower (Special Edition) 0.25 74 Doctor Who Closing Theme - The Five Doctors Edit (Special Edition) 1.16 55 My Best Enemy (Special Edition) 1.11 SOUND EFFECTS 75 The Eye of Orion Atmosphere 3.07 76 Time Scoop 0.24 77 Transmat Operates 0.09 78 Rassilon Background 3.49 79 Borusa Ring Sequence 0.37 80 The Five Doctors Titles Zap 0.10 Tracks 1 and 38 composed by Ron Grainer (Chappell Music), realised by Peter Howell, BBC Radiophonic Workshop Tracks 32 and 74 composed by Ron Grainer (Chappell Music), realised by Delia Derbyshire and Peter Howell, BBC Radiophonic Workshop Tracks 2-31, 33-37, 39-73 and 80 composed and realised by Peter Howell, BBC Radiophonic Workshop Tracks 75-79 composed and realised by Dick Mills, BBC Radiophonic Workshop Album compiled, mastered and produced by Mark Ayres ‘The Five Doctors’ Written by Terrance Dicks Produced by John Nathan-Turner Directed by Peter Moffatt Executive Producers for Silva Screen Records Ltd: Reynold D’Silva and David Stoner Sleeve Illustration: Clayton Hickman Album Artwork: Stuart Ford On 13th July 2013, Mark Ayres and I did instrument), that also contributed to co-written scores for Meglos and The track of the multitrack. Another two something outrageous. We played to the metronomic ticking that became so King’s Demons. All that time I had been performances were then added on two a sell-out audience at London’s Royal pivotal in the final scenes. It may come as grappling with one big challenge; other tracks and the three played back Albert Hall. Yes we were a very small a surprise to realise that The Five Doctors how to deliver so much music in such a out onto a stereo recording. This could ingredient in a very big show, and yes was the only opportunity I had to write short time and still produce sonically then form the basis of any of the required we were tiny dots in the distance at the music for the Daleks or the Cybermen. interesting material. The Leisure Hive Cybermen cues, and other synth lines back of a giant orchestra, but we were We were allocated adventures in a purely being the first gave me more time could be added on top. Using the whole playing live: what you saw was really random manner initially, and then based to work, and benefitted from some studio as a palette to draw from went what you got. on our availability at certain times. It just classical references; the remainder had some way to making the sound vivid and turned out that the adventures I ended been an exercise in inventing a focussed interesting. It was a suite of classic pieces from the up with did not feature either of the sound-world that would work for the early years as part of the Doctor Who iconic adversaries. stories but at the same time could be Having said that, for me there is still 50th Anniversary Prom, and I mention it achieved with a minimum amount of some repetition of sound textures two here because one of the most enjoyable With The Five Doctors the breakthrough resetting of synths and other devices. In thirds of the way through the adventure. moments for me was to play the Horn came when I decided to use samples of an age of little or no preset memories, One or two longer and more varied of Rassilon on an Akai wind controller in the original theme music (as composed changing things could be very tedious pieces would have lifted the mood at that vast space. It makes it even more by Ron Grainer and realised by Delia and labour intensive. It was only when that point; but once there is an excuse appealing to think of how I made the Derbyshire) embedded in my music. I came to The Five Doctors that I felt I to revisit the Horn of Rassilon sound, and sound: it is in fact a compressed and This then led on to the idea that each had really mastered the technique. The the Fairlight-derived ticks and runs that re-pitched recording of the hooter from strand of the story would have a different secret was to play the whole studio. accompany Borusa’s scenes, the whole the HMS Queen Mary liner taken from an sound treatment, and the scenes with thing starts to make sense. old BBC effects disc, layered and pitch- Borusa (as played by Philip Latham) For this adventure my studio contained changed, then made into a sample that would underpin the whole thing with the Yamaha CS80 synthesiser, the Listening again to the score for The can be played using a MIDI controller. Fairlight-generated sounds based on Fairlight, a Roland voltage-controlled Five Doctors, it seems to represent a It just sums up the whole production the idea of time. But the thing that gives sequencer playing the Roland System very particular period in time when the of The Five Doctors story for me; epic, all these ideas perspective and in a way 100M modular synthesiser, and - variety of sounds at our disposal was innovative and exciting. provides the landscape in which all this importantly - a Roland sampler in becoming extensive, yet the ability can happen is that distant tower and the addition of course to the tape machines to memorise them was yet to come; Doctor Who was a programme that gave Horn of Rassilon. and all the various techniques that the when the quality of taped sound was me many opportunities to experiment; Workshop had evolved over many years. impressive but the equipment was large there are a host of techniques used in the The reason the music for The Five The rhythmic sound in the march of and the use of it sometimes clumsy and music and it was a chance to use a variety Doctors is so particular for me is its the Cybermen was made by recording mechanical. In those days, you really did of sound sources. For The Five Doctors, position in the cycle of Doctor Who a series of different metallic sounds need a studio full of gear and you really the Daleks’ sequences for instance were adventures that I scored.
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