THE VISITATION PART THREE Music by Paddy Kingsland 12 Trouble at the Mill 1.05 and the BBC Radiophonic Workshop 13 Laying a Trap 1.26 14 More Trouble at the Mill 2.30 15 Oh for a Proper Key 1.28 PART ONE 16 The End for us All 0.39 1 Doctor Who Opening Title Theme 0.40 PART FOUR 2 Have You Seen the Sky? 2.44 3 Heathrow, 1666 1.55 17 A Final Visitation 1.40 4 Richard Mace and the Miller 1.31 18 Almost Your Old Self 0.20 5 A Fascinating Wall 2.05 19 Eureka! 2.16 20 The Sonic Booster 4.05 PART TWO 21 Almost as If We Were Expected 1.34 22 The Great Fire 2.22 6 An Incredible Illusion 1.27 23 Doctor Who Closing Title Theme 1.19 7 Death in the Cellar 1.55 8 Activation 1.12 BONUS TRACKS 9 Grim 0.47 10 The Poacher and his Friends 1.25 24 Activation (Unused Version 1) 1.10 11 Looking for the Miller / Not Again! 2.19 25 Not Again! (Unused Version 1) 0.37 Music composed and realised by Paddy Kingsland, BBC Radiophonic Workshop Published by BBC Worldwide Except tracks 1 & 23 Composed by Ron Grainer, realised by Peter Howell (BBC Radiophonic Workshop) Published by Warner/Chappell Music Compiled, Produced and Mastered by Mark Ayres I was lucky enough to write the incidental music fight each other; simplifying one or other at the has more filmed sequences than many Doctor for 21 episodes of Doctor Who during my time outset saves later difficulties. Who adventures and I think this really helps to at the BBC Radiophonic Workshop, which was create the gritty atmosphere. Also, this was based at the Maida Vale Studios in Delaware In those days we worked with VHS copies of the the time when electronically produced visual Road, London. edited tapes. These had a window at the top of effects were coming in. Peter preferred to use the screen containing a timecode reference. the best of previous technology when possible; For many years, the incidental music for Doctor By pausing the tapes we could see exactly glass shots and so on, which I think were more Who had been composed by Dudley Simpson, a where we were in the episode. We stopped effective at that time. prolific composer of TV music during the 1960s and started the VHS tape, sometimes looking and ‘70s. When John Nathan-Turner took over at a scene several times, taking down notes I had about a week to put together the music for as producer in 1980 he wanted to create a and precise timings for the moments where an episode before going to the dub; the session new look and sound for the series and decided our contributions would start and end. This is at Television Centre where all the various to commission the Radiophonic Workshop to called “spotting”. It has often been said that elements in the soundtrack were finally mixed provide the incidental music. I was lucky enough the precise positioning of musical moments together. Incidental music should always fit into to be involved in this, initially alternating with and silences is the most important decision to the overall atmosphere of the show and not two other composers at the Workshop, Peter be made when putting together a soundtrack. draw attention to itself. At best it can transform Howell and Roger Limb. Full Circle was the first For example if a music cue ends with a dramatic a scene without getting in the way; the penalty adventure I worked on, followed by one episode flourish, it gives extra weight to the line of for this being that it often goes unnoticed. So of Meglos, then State of Decay, Logopolis and dialogue which follows. here is a chance to hear it on its own, away from Castrovalva. The end of the fourth Doctor and all those actors, costumes and sound effects! the beginning of the fifth. The Visitation came Peter had already roughly worked out where he next and, later - as a freelance composer after I wanted music. Much of the action takes place The score is quite sombre although there are had left the BBC - I would add Mawdryn Undead near London 300 years before the present day. elements of “yea verily” type music to set some and Frontios to the list. We decided early on that the music should have scenes, which have a lighter texture. I played a period flavour together with the usual high all the parts, using the synthesisers of the day, The Visitation was the fourth adventure in tech (at the time!) synthesiser sounds. Peter Oberheim, Roland and ARP, adding bass guitar the nineteenth season of Doctor Who, and was my favourite Doctor Who director and was plus drums and cymbals… not to mention my in late 1981 I went over to Shepherds Bush for always enormously encouraging and positive. trusty Fender Mustang guitar. a meeting with the director Peter Moffatt He was very experienced and had nothing to to view the edited tape of episode one. My prove; he generously gave me the freedom to It is curious listening to the music nearly 40 Radiophonic Workshop colleague Dick Mills, do my own thing, but always knew if something years later; it brings back so many memories who was providing electronic sound effects, needed to be adjusted. of my times at the BBC and I feel privileged to was also present. We would decide whether have been allowed to contribute something each sequence would be better served by an In those days Doctor Who was recorded in a to a programme that has been enjoyed by so emphasis on effects or music. It is easy to reach TV studio with pre-shot film sequences played many people down the years. Paddy Kingsland, April 2019 a state of affairs where the music and effects in between the studio scenes. The Visitation DOCTOR WHO THE VISITATION Written by Eric Saward Produced by John Nathan-Turner Directed by Peter Moffatt Starring Peter Davison as the fifth Doctor With Janet Fielding as Tegan, Sarah Sutton as Nyssa, and Matthew Waterhouse as Adric Transmitted on BBC1, 15/02/82-23/02/82 Executive Producers for Silva Screen Records Ltd: Reynold D’Silva and David Stoner Digital Manager James Borrer Sleeve Illustration by Clayton Hickman Design Layout by Stuart Ford SILCD1570 Original music recorded in 1982. Ⓟ & © 2020 BBC Studios Distribution Limited under exclusive licence to Silva Screen Records Limited. All rights reserved. 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