Doctor Who - Audio Details

How do you approach the music for a Doctor Who drama? Easy, from behind the sofa.

I hated music at school, but at least I learned rhythm from my piano teacher hitting me. In 1975 (the year Genesis of the Daleks was first shown) my interest in music was rekindled, and I always wondered what it would be like to write film music.

Now, thanks to Big Finish, I have been given the opportunity to write a mini-score every other month, for a programme that was an integral part of my childhood. I never did get the chance to write music for Doctor Who on television, but audio provides a greater challenge. Every time the orchestra comes in you'll notice it, because there is no picture to distract your attention.

Themes and motifs are important: the harpsichord and flute evoke Valentine's character in Phantasmagoria; drums and metallic synth characterise the unease of The Fearmonger; recorders and hand drums set the scene for The Marian Conspiracy; and dark, ethereal choirs suggest the imps hiding in the mist for The Spectre of Lanyon Moor.

I believe that good music shouldn't intrude on the drama, yet an audience would certainly notice its absence. Here's a chance to hear what happens in the absence of the actors.

Alistair Lock, September 2000