Every TV show now begins with that insignificant little button in the right-hand corner, innocently urging you to ignore the opening credits. Each episode brings a new temptation to click it, a renewed desire to dive straight back into the story you love. The unrelenting nature of modern life designs us to be impatient, yearning for action before the events has even begun. However, I can never bring myself to choose that option. Just like with a piece of music, the introduction immediately channels you into the right state of mind to experience what the director or composer intended. Before Game of Thrones begins, we already feel like we're riding into battle on our mighty steeds, whilst Stranger Things sends us straight back to the 1980s. A huge part of the music industry is dedicated to creating these unskippable themes. Without music, TV wouldn't have the same transporting effect and same level of suspense. So, without further ado, here are 11 of my favourite main title themes - each one communicating a different mood, location or character.
Game of Thrones
Game of Thrones composer, Ramin Djawadi was first spotted by the legendary score writer, Hans Zimmer, after graduating from the Berklee College of Music in 1998. Working alongside Zimmer for huge Hollywood blockbusters such as Pirates of the Caribbean and The Time Machine, he became accustomed to the tools of the trade and by 2011 he was composing for the world-renowned HBO fantasy drama, Game of Thrones. In only two minutes, Djawadi takes us through everything that defines this thrilling drama. The sheer force of the track calls to mind the show’s epic journeys. As the melody climbs higher and higher, it is gradually joined by instruments until we hear the entire orchestra playing. The tune is actually inspired by the traditional music of Afghanistan. Meanwhile, its pounding drums and enormous choirs evoke the rage of war and the marching of soldiers into battle. The sombre and disturbing parts of the fighting are equally portrayed by the choice of the cello as the main instrument. Djawadi lurches between the relative major and minor keys, creating a call and response between the solo violincello and the rest of the ensemble. Through this, we hear the endless twists and turns, alliances and betrayals that are woven into the plot. Finally, the melody is played on two types of zither (a dulcimer and a kantele), evoking the mysterious nature of the programme at the very last minute.
Westworld
In 2016, Ramin Djawadi was hired by Netflix to write the score for a new and entirely different TV show, set far from the fantasy continents of Westeros and Essos. Westworld instead takes place in a futuristic Wild-West-themed attraction park run by androids. This distinctly unique plot required a composer who was unafraid to experiment in order to combine the dark and brooding nature of the science-fiction world and the unashamedly energetic music we associate with theme parks. Djawadi did just that. He introduces the track with throbbing synthesisers playing rapid arpeggios in the bass whilst harsh chords strike amongst a pallet of electronic sounds. The track is a world away from the driving force of The Game of Thrones soundtrack; the melody is lingering and melancholy, played on a single violin. It is when the piano becomes a central part of the tune that the music begins to swell, suddenly reminiscent of the old refrains that blare out of a merry-go-round. Even this doesn’t last long. Quick swipes up the piano form the basis of a second and equally huge melody which concludes an unusually subdued but no less memorable TV title track.
Stranger Things
It was an exciting day for Texans Kyle Dickson and Michael Stein when they received an e-mail from The Duffer Brothers asking them to be a part of their new sci-fi horror show, Stranger Things. The two are members of a relatively unknown band, named S U R V I V E, who specialise in dark and cinematic electronic music – in short, the perfect mix for a series seeping with terror and mystery. The directors had deemed their track ‘Dirge’ ideal for use in a promotional trailer and wanted to see what else they could bring to the table. It turns out they had been waiting for an opportunity like this since their formation. They already had a library full of unusual sounds they hoped to one day use for film and TV – a collection which contained the early traces of the simple yet foreboding theme we hear today. The pair were inspired by the horror movie soundtracks and minimalist music of the 80s: Jean Michael Jarre, Tangerine Dream, John Carpenter, Georgio Moroder… They went back to basics, digging out their old analogue synthesisers such as the Prophet V, the Roland SH-2, and of course, the Mellotron. The melody is actually comprised of a single major seventh arpeggio with the composers using electronic filters to alter the sound, creating a sinister swelling theme which builds to a terrifying climax. A kick drum imitates a beating heart, foreshadowing the fear which is yet to come. In one foul swoop, S U R V I V E went from an unknown entity to number one on the charts by providing a window into the childhoods of many of the show’s fans.
Poldark
Anne Dudley instantly transports viewers back to 18th century Cornwall with her soundtrack for the immensely successful period drama, Poldark. Based on the novels by Winston Graham, the series follows a captain of the American Revolutionary War who returns home to find his old life in ruins. Dudley captures this sombre, serious element of the show with waves of harmonious strings. However, it is that lilting melody on the violin which evokes the romance which is yet to come. The piece is thrilling simultaneously. The drama is first unveiled through the urgent hammering of arpeggiated piano and a single sustained note on the violin. The instrumentation is based off traditional English folk; the main melody is played on a fiddle with interjections on the piano and the harp. Anne Dudley has proven herself to be a master in all areas, from being the first BBC Concert Orchestra’s Composer in Association to being a prominent member of the chart-topping synth pop band, Art of Noise. Over the course of her career, Dudley has proved that music has a universal power to produce complex emotion – whether it be through her grand orchestral scores or her sampled pop hits. Poldark is just one example in the myriad of scenes, characters and stories she has translated into musical form.
Succession
The internet has laid the foundations for an entirely new age of composers, one of whom is Succesion's Nicholas Brittel. With a whole library of different music readily available online, these talented artists can reach to all corners of the musical stratosphere to concoct a chaotic blend of different genres. For Brittel, his influences include the minimalist pianist Phillip Glass, jazz age Gershwin and hip-hop producer Dr. Dre. These can all be heard in the skin-crawlingly sinister introduction to this satirical comedy. The series follows the evil inner dealings of the family behind one of the largest media and hospitality empires in the US. In that respect, Brittel combines carefully calculated hip hop beats, long jazz piano lines and grand orchestral strings to conjure up the essence of suspicion, wealth and power. The contradiction between the very traditional classical music and more modern, dissonant popular song evokes the two-faced nature of the family in the show. One particularly strong element of jazz and ragtime which Brittel has used is stride piano. The emphasis on the 2nd and 4th beats in the bass instantly transports listeners to their imaginary mansions, where they can strut around, exert their power and manically laugh to bursts of theatrical strings. The second theme reflects the uncertainty surrounding the leader of the empire's health. A smooth and solemn melody communicates not sadness, however, but a subtle greed as his children all attempt to crawl up the ladder of inheritance. A dynamic accompaniment causes the tension to remain palpable throughout, initiating a thrill before the actors even begin to perform.
Stay Tuned. Part 2 Coming Tomorrow.
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