O R I G I N A L T E L E V I S I O N S C O R E

01 Doctor Who - Opening Theme (The Five Doctors) 0.36

02 New Console 0.24

03 The Eye of Orion 0.57

04 Cosmic Angst 1.18

05 Melting Icebergs 0.40

06 Great Balls of Fire 1.02

07 My Other Selves 0.38

08 No Coordinates 0.26

09 Bus Stop 0.23

10 No Where, No Time 0.31

11 Dalek Alley and The Death Zone 3.00

12 Hand in the Wall 0.21

13 Who Are You? 1.04

14 The Dark Tower / My Best Enemy 1.24

15 The Game of Rassilon 0.18

16 Cybermen I 0.22

17 Below 0.29

18 Cybermen II 0.58

19 The Castellan Accused / Cybermen III 0.34

20 Raston Robot 0.24

21 Not the Mind Probe 0.10

22 Where There’s a Wind, There’s a Way 0.43

23 Cybermen vs Raston Robot 2.02

24 Above and Between 1.41

25 As Easy as Pi 0.23

26 Phantoms 1.41

27 The Tomb of Rassilon 0.24

28 Killing You Once Was Never Enough 0.39

29 Oh, Borusa 1.21

30 Mindlock 1.12

31 Immortality 1.18

32 Doctor Who Closing Theme - The Five Doctors Edit 1.19

33 Death Zone Atmosphere 3.51

A D D I T I O N A L C U E S F O R 4 - P A R T V E R S I O N

34 End of Episode 1 (Sarah Falls) 0.11

35 End of Episode 2 (Cybermen III variation) 0.13

36 End of Episode 3 (Nothing to Fear) 0.09

37 The Five Doctors Special Edition: Prologue (Premix) 1.22

S P E C I A L E D I T I O N S C O R E

38 Doctor Who - Opening Theme (The Five Doctors Special Edition) 0.35

39 The Five Doctors Special Edition: Prologue 1.17

40 The Eye of Orion / Cosmic Angst (Special Edition) 2.22

41 Melting Icebergs (Special Edition) 0.56

42 Great Balls of Fire (Special Edition) 0.56

43 My Other Selves (Special Edition) 0.35

44 Nothing Can Go Wrong (Special Edition) 0.35

45 Bus Stop (Special Edition) 0.22

46 No Where, No Time (Special Edition) 0.36

47 Enter Borusa (Special Edition) 0.28

48 Enter The Master (Special Edition) 0.14

49 Dalek Alley and The Death Zone (Special Edition) 3.06

50 Hand in the Wall (Special Edition) 0.20

51 Recall Signal (Special Edition) 0.34

52 Who Are You? / Tell Me All About It (Special Edition) 0.49

53 Thunderbolts (Special Edition) 0.33

54 The Dark Tower (Special Edition) 0.25

55 My Best Enemy (Special Edition) 1.11

56 The Game of Rassilon (Special Edition) 0.17

57 Cybermen I (Special Edition) 0.22

58 Below (Special Edition) 0.43

59 Cybermen II (Special Edition) 1.12

60 The Castellan Accused / Cybermen III (Special Edition) 0.35

61 Raston Robot (Special Edition) 0.24

62 Not the Mind Probe (Special Edition) 0.32

63 Where There’s a Wind, There’s a Way (Special Edition) 0.31

64 Cybermen vs Raston Robot (Special Edition) 2.04

65 Above and Between (Special Edition) 1.41

66 The Fortress of the Time Lords (Special Edition) 1.04

67 As Easy as Pi (Special Edition) 0.22

68 I Hope You’ve Got Your Sums Right / Phantoms (Special Edition) 2.29

69 The Tomb of Rassilon (Special Edition) 0.29

70 Killing You Once Was Never Enough (Special Edition) 1.26

71 Oh, Borusa (Special Edition) 1.21

72 Mindlock (Special Edition) 1.11

73 Immortality (Special Edition) 1.17

74 Doctor Who Closing Theme - The Five Doctors Edit (Special Edition) 1.16

S O U N D E F F E C T S

75 The Eye of Orion Atmosphere 3.07

76 Time Scoop 0.24

77 Transmat Operates 0.09

78 Rassilon Background 3.49

79 Borusa Ring Sequence 0.37

80 The Five Doctors Titles Zap 0.10

Tracks 1 and 38 composed by Ron Grainer (Chappell Music), realised by Peter Howell, BBC Radiophonic Workshop

Tracks 32 and 74 composed by Ron Grainer (Chappell Music), realised by Delia Derbyshire and Peter Howell, BBC Radiophonic Workshop

Tracks 2-31, 33-37, 39-73 and 80 composed and realised by Peter Howell, BBC Radiophonic Workshop

Tracks 75-79 composed and realised by Dick Mills, BBC Radiophonic Workshop

Album compiled, mastered and produced by Mark Ayres

‘The Five Doctors’Written by Terrance DicksProduced by John Nathan-TurnerDirected by Peter Moffatt

Executive Producers for Silva Screen Records Ltd: Reynold D’Silva and David StonerSleeve Illustration: Clayton HickmanAlbum Artwork: Stuart Ford

On 13th July 2013, Mark Ayres and I did something outrageous. We played to a sell-out audience at London’s Royal Albert Hall. Yes we were a very small ingredient in a very big show, and yes we were tiny dots in the distance at the back of a giant orchestra, but we were playing live: what you saw was really what you got.

It was a suite of classic pieces from the early years as part of the Doctor Who 50th Anniversary Prom, and I mention it here because one of the most enjoyable moments for me was to play the Horn of Rassilon on an Akai wind controller in that vast space. It makes it even more appealing to think of how I made the sound: it is in fact a compressed and re-pitched recording of the hooter from the HMS Queen Mary liner taken from an old BBC effects disc, layered and pitch-changed, then made into a sample that can be played using a MIDI controller. It just sums up the whole production of The Five Doctors story for me; epic, innovative and exciting.

Doctor Who was a programme that gave me many opportunities to experiment; there are a host of techniques used in the music and it was a chance to use a variety of sound sources. For The Five Doctors, the Daleks’ sequences for instance were all made using the Fairlight CMI (that massive, expensive, early sampling

instrument), that also contributed to the metronomic ticking that became so pivotal in the final scenes. It may come as a surprise to realise that The Five Doctors was the only opportunity I had to write music for the Daleks or the Cybermen. We were allocated adventures in a purely random manner initially, and then based on our availability at certain times. It just turned out that the adventures I ended up with did not feature either of the iconic adversaries.

With The Five Doctors the breakthrough came when I decided to use samples of the original theme music (as composed by Ron Grainer and realised by Delia Derbyshire) embedded in my music. This then led on to the idea that each strand of the story would have a different sound treatment, and the scenes with Borusa (as played by Philip Latham) would underpin the whole thing with Fairlight-generated sounds based on the idea of time. But the thing that gives all these ideas perspective and in a way provides the landscape in which all this can happen is that distant tower and the Horn of Rassilon.

The reason the music for The Five Doctors is so particular for me is its position in the cycle of Doctor Who adventures that I scored. I had already composed The Leisure Hive, Warriors Gate, Kinda and Snakedance and had

co-written scores for Meglos and The King’s Demons. All that time I had been grappling with one big challenge; how to deliver so much music in such a short time and still produce sonically interesting material. The Leisure Hive being the first gave me more time to work, and benefitted from some classical references; the remainder had been an exercise in inventing a focussed sound-world that would work for the stories but at the same time could be achieved with a minimum amount of resetting of synths and other devices. In an age of little or no preset memories, changing things could be very tedious and labour intensive. It was only when I came to The Five Doctors that I felt I had really mastered the technique. The secret was to play the whole studio.

For this adventure my studio contained the Yamaha CS80 synthesiser, the Fairlight, a Roland voltage-controlled sequencer playing the Roland System 100M modular synthesiser, and - importantly - a Roland sampler in addition of course to the tape machines and all the various techniques that the Workshop had evolved over many years. The rhythmic sound in the march of the Cybermen was made by recording a series of different metallic sounds from objects like tape reels and waste paper bins, making them into samples, and performing those samples onto a

track of the multitrack. Another two performances were then added on two other tracks and the three played back out onto a stereo recording. This could then form the basis of any of the required Cybermen cues, and other synth lines could be added on top. Using the whole studio as a palette to draw from went some way to making the sound vivid and interesting.

Having said that, for me there is still some repetition of sound textures two thirds of the way through the adventure. One or two longer and more varied pieces would have lifted the mood at that point; but once there is an excuse to revisit the Horn of Rassilon sound, and the Fairlight-derived ticks and runs that accompany Borusa’s scenes, the whole thing starts to make sense.

Listening again to the score for The Five Doctors, it seems to represent a very particular period in time when the variety of sounds at our disposal was becoming extensive, yet the ability to memorise them was yet to come; when the quality of taped sound was impressive but the equipment was large and the use of it sometimes clumsy and mechanical. In those days, you really did need a studio full of gear and you really did need to play it all.

Peter Howell, January 2018

‘The Five Doctors’, made and transmitted as a 90-minute special in 1983, was the 20th anniversary outing for the good Doctor, seeing the incumbent Peter Davison joined by previous incarnations Richard Hurndall (standing in for the deceased William Hartnell), Patrick Troughton, Jon Pertwee and Tom Baker. The latter declined to return in person so soon after he had left, so was represented by some footage from “lost” story ‘Shada’ and (in the press call) by his Madame Tussauds waxwork facsimile.

As he himself describes above, the music was composed by Peter Howell at the BBC Radiophonic Workshop. It was, in accordance with normal practice at the time, mixed in mono, so is presented here within a subtle mono-compatible stereo image. The sound effects for the story were by Dick Mills, but Peter was anxious

to include The Death Zone atmosphere as part of the score so - with Dick still working on a previous project for a while - created that effect himself. The story would later be edited into the standard 4 x 25m episode format for syndication, for which Peter provided some additional “cliff hanger” cues.

In 1995, producer Paul Vanezis was contracted by BBC Video to produce a “Special Edition” of the story, extended beyond the original length (as determined by the transmission slot) and featuring updated visual effects. It was also decided to mix it in Dolby Surround (later updated to full 5.1 surround for DVD) so Peter Howell was called in to rework the music.

First, he transferred the original analogue mono 1/4” tape masters to non-

linear digital format (an AKAI DD-1000 Magneto Optical Disk Recorder) so that he could easily re-edit them to fit the recut pictures. To produce a rudimentary stereo effect, he offset the playback of the music against itself by about 1/4 frame, panned left and right (very easy, digitally!). Then he composed a number of new cues where the old could not fit and in other cases (such as the new opening, and a new theme recalling a Gallifreyan nursery rhyme mentioned in the script) as necessary. The completed revised score was output to synchronised DAT and sent to the dub.

In reconstructing the music for this release I have worked with the original 1/4” masters, the Special Edition DAT masters, and an image of the DD-1000 disk I made a few years ago. This was fortuitous - as an experiment I recently

powered up my own DD-1000 to see if it would still read the disk and it expired with a soft pop and a subtle wisp of smoke. The later digital formats are, sadly, less reliable than the older analogue!

Both versions of the score are presented complete on this release. Peter’s “offset stereo” produced some - how can I put it? - “interesting” phase effects so has been gently adjusted so that it is (hopefully) cut-able to vinyl.

Mark Ayres, January 2018

Original music recorded in 1983Ⓟ & © 2018 BBC Studios. Under exclusive licence to Silva Screen Records Ltd. All rights reserved. Made in the E.U.

SILCD1553

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