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Home , BBC Radiophonic Workshop, Borusa, Castellan (Doctor Who), Clayton Hickman, Doctor Who (season 1), Doctor Who (season 10)

ORIGINAL TELEVISION SCORE ADDITIONAL CUES FOR 4-PART VERSION

01 - Opening Theme () 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 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 0.18 16 Cybermen I 0.22 17 Below 0.29 18 Cybermen II 0.58 19 The Accused / Cybermen III 0.34 20 Raston 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, 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 (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 , BBC Radiophonic Workshop

Tracks 32 and 74 composed by Ron Grainer (Chappell Music), realised by 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 , BBC Radiophonic Workshop

Album compiled, mastered and produced by

‘The Five Doctors’ Written by Produced by John Nathan-Turner Directed by Peter Moffatt

Executive Producers for Silva Screen Records Ltd: Reynold D’Silva and David Stoner Sleeve Illustration: Album Artwork: Stuart Ford

On 13th July 2013, Mark Ayres and I did instrument), that also contributed to co-written scores for 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 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 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 ’ sequences for instance were adventures that I scored. I had already from objects like tape reels and waste did need to play it all. all made using the Fairlight CMI (that composed The Leisure Hive, Warriors paper bins, making them into samples, massive, expensive, early sampling Gate, and and had and performing those samples onto a Peter Howell, January 2018 ‘The Five Doctors’, made and transmitted to include The Death Zone atmosphere linear digital format (an AKAI DD-1000 powered up my own DD-1000 to see if it as a 90-minute special in 1983, was the as part of the score so - with Dick still Magneto Optical Disk Recorder) so that would still read the disk and it expired with 20th anniversary outing for the good working on a previous project for a while he could easily re-edit them to fit the a soft pop and a subtle wisp of smoke. Doctor, seeing the incumbent Peter - created that effect himself. The story recut pictures. To produce a rudimentary The later digital formats are, sadly, less Davison joined by previous incarnations would later be edited into the standard stereo effect, he offset the playback reliable than the older analogue! (standing in for the 4 x 25m episode format for syndication, of the music against itself by about 1/4 deceased ), Patrick for which Peter provided some additional frame, panned left and right (very easy, Both versions of the score are presented Troughton, and Tom “cliff hanger” cues. digitally!). Then he composed a number complete on this release. Peter’s “offset Baker. The latter declined to return in of new cues where the old could not stereo” produced some - how can I put it? person so soon after he had left, so was In 1995, producer Paul Vanezis was fit and in other cases (such as the new - “interesting” phase effects so has been represented by some footage from “lost” contracted by BBC Video to produce opening, and a new theme recalling a gently adjusted so that it is (hopefully) story ‘’ and (in the press call) by his a “Special Edition” of the story, Gallifreyan nursery rhyme mentioned in cut-able to vinyl. Madame Tussauds waxwork facsimile. extended beyond the original length (as the script) as necessary. The completed determined by the transmission slot) and revised score was output to synchronised Mark Ayres, January 2018 As he himself describes above, the music featuring updated visual effects. It was DAT and sent to the dub. was composed by Peter Howell at the also decided to mix it in Dolby Surround BBC Radiophonic Workshop. It was, in (later updated to full 5.1 surround for In reconstructing the music for this accordance with normal practice at the DVD) so Peter Howell was called in to release I have worked with the original time, mixed in mono, so is presented here rework the music. 1/4” masters, the Special Edition DAT within a subtle mono-compatible stereo masters, and an image of the DD-1000 image. The sound effects for the story First, he transferred the original disk I made a few years ago. This was were by Dick Mills, but Peter was anxious analogue mono 1/4” tape masters to non- fortuitous - as an experiment I recently

SILCD1553 Original music recorded in 1983 Ⓟ & © 2018 BBC Studios. Under exclusive licence to Silva Screen Records Ltd. All rights reserved. Made in the E.U. OTHER DOCTOR WHO TITLES AVAILABLE ON ITUNES:

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