Series 5 Doctor Who (TV) Theme

The first few measures of the 2010 (Series 5) Doctor Who theme were enough to make my jaw drop. Wait--that's... not the first 8 bars per Ron Grainer and Delia Derbyshire! It's got another minor 3rd and... and...

Pwnage!--as the kids say.

I cannot imagine another television theme tune as passionately discussed as the Who theme. Though I've not entered that discussion before now. And on a certain level, Murray Gold's 2005-2009 arrangements were so incremental and "evolutionary" that internet arguments over his choice of instrumentation and effects were, honestly, inflated.

Not so much this time. Yes, I recall the new ground broken by the Debney theme arrangement for the 1996 movie, when the order of the sections of the tune was reversed. That version had a robust orchestral arrangement, a natural change after years of thin, underpowered electronic scores. (Not criticizing electronic scores, mind--just some of their 1980s expressions.) And finally, about 2/3 of the way in, the Debney theme finally got a good percussion swing beat going...

This new Gold theme (the "full" version at about 1:01) has a new intro. Cranking up with a chopped, rasping intro scream. As noted above, walking up a melodic progression that was never part of the classic intro. Then a second, high electronic scream. As it shifts into the regular, recognizable tune with Murray's more ordinary mix of rock and orchestral instrumentation, we're tempted to relax.

But then--vocals! in the theme!--for the first time ever. A third scream before the middle eight. A frequently rambunctious driving rhythm--along with a low-pitched element (if you've got the speakers to hear it). A cloister bell ding near the middle of the track.

By that point, during my first listen, I was giggling uncontrollably--thinking of the certain havoc resulting within online fan forums. But well, to think about it--some of the more reasoned criticisms of Murray Gold's previous theme arrangements seem to have implied that he either has been too cautious about the theme modifications (beyond setting it in a primarily orchestral arrangement) or that he has tended to simply 'add' elements along the way, making the resulting mix so full as to risk some of its focus.

This is... not just a tweak to the theme. It is bodacious. He has made this mark on this piece. The first bars shake you, make you sit up and notice that it's not 1963 any more. And that it is Doctor Who, so pay attention!

The drums (which were certainly prominent since Voyage of the Damned, but sometimes bordering on unvarying) seem to have become more crisp, especially in the ra-ta-ta-TA-TA-TA preceding the last run-through of the main version (about 00:44-47). The orchestra is still in there, but in more precise blasts and bowings. The first "oo-ee-oo" is... more audible than it's been for a while.

I can understand one criticism--that the driving electric guitar sound of the introduction is partly overwhelmed by a really lusty brass section. (You can hear the guitar a bit better later in the piece, after the vocals.) But on the other hand, I for one am grateful that the full Howell-esque spangles (pretty audible in the 2008 Proms version) are not in there.

The new theme is a refreshing element marking the new production of the show. It's also a lot of fun. Try listening a few times with the speakers pretty loud, or with a pair of decent headphones. Give it some time to grow on you.