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Soulja Boy Group

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Levi Diaz
Levi Diaz

LEGO Batman Music - Title Screen



"Batman Theme", the title song of the 1966 Batman TV series, was composed by Neal Hefti. This song is built around a guitar hook reminiscent of spy film scores and surf music. It has a twelve bar blues progression, using only three chords until the coda.




LEGO Batman Music - Title Screen


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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).


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.


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.


For the made-for-TV movie in 1996, composer John Debney did the incidental music and arranged Ron Grainer's theme. Unlike all other versions, Debney's arrangement begins with a building introduction (to coincide with the on-screen narration setting up the tale), before opening with the Middle 8 (in similar fashion to the Delaware theme). 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. Again, no extended version was created.


Although the revived series, unlike the TV movie, did give Grainer screen credit for his composition, some reviewers of the new series, unfamiliar with its history, erroneously considered the theme music a Murray Gold composition.


Gold composed yet another new version of the title music for the new title sequence used from The Eleventh Hour to The Angels Take Manhattan. This version of the theme is noticeably more electronic than his previous themes, yet with the opening bass line lowered in volume in favour of a new counter-melody. This element is reminiscent of the Debney arrangement from the 1996 movie, while the main melody line is reminiscent of the Glynn "Trial" arrangement, with the added element of the melody being partially rendered by a vocal choir.


A one-off modification to the theme was made in Before the Flood, with the Doctor playing his electric guitar over the normal theme tune. In a unique exception, TV: Sleep No More aired without an opening credits sequence (other than a title screen showing the name Doctor Who on a mosaic of letters), making it the first standard episode to not play the theme at the start.


Few characters in superhero movie history has been brought to life on the big screen as often as Superman, most recently by Zack Snyder within the DC Extended Universe. And with every new iteration of Superman comes a new round of theme music - most of which has become iconic in the annals of movie scores over the years.


The show's eponymous theme song is sung by Ward, accompanied by a ukulele. It is first heard in the pilot episode; in that version Ward is accompanied by an acoustic guitar. For the version used in the series, Ward sung in a higher register to match with the higher range of the ukulele.[42] The finalized version of the theme song was originally supposed to be a temporary version. Ward said, "I recorded the lyrics for the opening title in the animatics room where we have this little crummy microphone just so that we could add it to the titles and submit it to the network. Later, we tried re-recording it and I didn't like it ... I only liked the temp one!"[42] Because the series' finalized theme song was originally recorded as a temp track, ambient noises can be heard throughout. For instance, the sound of Derek Drymon typing can be heard while Jake is walking through the Ice Kingdom. According to Ward, much of the series' music has similar "hiss and grit" because one of the show's original composers, Casey James Basichis, "lives in a pirate ship he's built inside of an apartment [and] you can hear floorboards squeak and lots of other weird sounds".[42] As the show progressed, Basichis's friend Tim Kiefer joined the show as an additional composer.[78] The two now work together on its music.[79] 041b061a72


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