Editing Music of Battlestar Galactica (RDM)

While ''[[Battlestar Galactica (RDM)|Battlestar Galactica]]'' uses a wide variety of ethnic instruments and styles to create a soundscape that is not usually found in television science fiction, it nonetheless makes use of various [[w:leitmotif|leitmotifes]] for characters, events and places.

==Development and Production Background==

The distinctive musical approach of ''Battlestar Galactica'' originated from executive producer [[David Eick]]'s vision to create something radically different from traditional space opera. "I remember saying early on when we were making the miniseries that we needed to do to ''[[Star Trek]]''<nowiki/>'s music what [[w:Ridley_Scott|Ridley Scott]] and [[w:Vangelis|Vangelis]] had done to [[Star Wars|''Star Wars'']]' music with the [[w:Blade_Runner|''Blade Runner'']] soundtrack," Eick explained. "Just as ''Blade Runner''<nowiki/>'s score completely cut against ''Star Wars'' and made it clear that you weren't watching a [[w:George_Lucas|George Lucas]] movie, I felt ''Battlestar Galactica'' needed to do something that wasn't in any way, shape or form the usual sort of orchestral bombast of contemporary science fiction."<ref group="production" name="official_companion_eick_blade_runner_philosophy">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=152|year=2005|note=David Eick's philosophy on distinguishing Battlestar Galactica's music from traditional space opera}}</ref>

The task initially fell to composer [[Richard Gibbs]], whose credits included films like ''[[w:Say_Anything_(film)|Say Anything]]'', ''[[w:The_Book_of_Stars_(film)|The Book of Stars]]'', and ''[[w:Doctor_Dolittle|Doctor Dolittle]]'', as well as the [[w:Michael_Rymer|Michael Rymer]] film ''[[w:Queen_of_the_Damned|Queen of the Damned]]''. When Gibbs accepted the assignment, he was presented with a rough cut of the [[miniseries]] featuring a temporary soundtrack. This 'temp track' utilized elements from the scores of ''[[w:The_Last_Temptation_of_Christ|The Last Temptation of Christ]]'' and ''[[w:Solaris|Solaris]]'', and employed [[w:Taiko_drum|taiko drums]] for battle sequences. Given just three weeks to create a completely original score for the four-hour production, Gibbs enlisted [[Bear McCreary]], a young composer and protégé of film music legend [[w:Elmer_Bernstein|Elmer Bernstein]].<ref group="production" name="official_companion_gibbs_temp_track_three_weeks">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=152|year=2005|note=Richard Gibbs was given just three weeks and worked from a temp track using Last Temptation of Christ and Solaris elements}}</ref>

Gibbs described the fundamental challenge: "The main challenge presented by ''Battlestar Galactica'' was finding different ways to score scenes that would traditionally be scored with a big blazing orchestra. The producers wanted us to shy away from musical melodrama, for the most part, and get the emotion across in a different way. They were looking for a much more minimalist approach than taken by other space operas."<ref group="production" name="official_companion_gibbs_minimalist_challenge">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=152|year=2005|note=Richard Gibbs on the compositional challenges and minimalist approach}}</ref> The solution involved "combining a mix of musical sources from around the globe with a western orchestra, and by using odd time signatures rather than just the traditional 4/4."<ref group="production" name="official_companion_gibbs_global_sources_odd_time">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=152|year=2005|note=Richard Gibbs on combining global musical sources and using odd time signatures}}</ref>

Following the miniseries, Gibbs passed on scoring the weekly series but ensured musical continuity by scoring two early [[Season 1 (2004-05)|Season 1]] episodes, "[[Water]]" and "[[Bastille Day]]". Bear McCreary then took over as primary composer, given between two and seven days to score each episode. His approach expanded on the foundation: "Much like the work Richard and I did on the miniseries, my approach to the series has been to take elements from cultures all over the world and combine them into a unique, other-worldly texture. Japanese taiko, Middle-Eastern frame drums, Eastern-European stringed instruments, African percussion, Celtic pipes and even big band and Italian opera have all found their way into the musical soundscape of the show."<ref group="production" name="official_companion_mccreary_global_approach_instruments">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=153|year=2005|note=Bear McCreary's multicultural approach to instrumentation}}</ref>

==Main Title Music==

The [[Opening credits|main titles]] have been set to two distinct pieces of music. For the [[Season 1 (2004-05)|first season]], a different cue was used in North America than for broadcasts taking place in other regions. The North American cue was a modification of the track "[[#Religious ceremony theme|Two Funerals]]" from "[[Act of Contrition]]," followed by a segment played on [[w:taiko|taiko]] drums that played over a [[w:Montage sequence|montage]] of scenes from the upcoming episode. 

The creation of the main title theme proved particularly complex for Richard Gibbs. Working from a rough version of the title sequence that was accompanied by a Sanskrit chant and a piece of music by [[w:Peter_Gabriel|Peter Gabriel]], Gibbs developed several possible versions before arriving at a piece approved for international use. This "worldwide" version replaced the funeral cue with a rendition of the [[w:Gayatri|Gayatri]] [[w:mantra|mantra]].<ref group="production" name="official_companion_gibbs_title_theme_sanskrit_gabriel">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=153|year=2005|note=Gibbs worked from a rough version with Sanskrit chant and Peter Gabriel music to develop the title theme}}</ref> This version accompanied [[Sky1|Sky TV]]'s world premiere of season one, but was later reworked by McCreary for the show's US broadcast. "The title theme went through a lot of revisions," McCreary recalled. "The process was challenging, but ultimately rewarding."<ref group="production" name="official_companion_mccreary_title_revisions">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=153|year=2005|note=Bear McCreary on the title theme revision process}}</ref>

The "worldwide" cue followed the same structure, but with the funeral cue replaced by a rendition of the [[w:Gayatri|Gayatri]] [[w:mantra|mantra]]:

{| cellspacing="0" cellpadding="5" class="messagebox" align="center"
! class="infoboxheader" | '''Lyrics ([[Wikipedia:Sanskrit|Sanskrit]], [[Wikipedia:IAST|IAST]] transliteration):'''
! class="infoboxheader" | '''English translation (one version)):'''
|-
| Oṃ bhūr bhuvaḥ svaḥ<br />
Tat savitur vareṇyaṃ<br />
Bhargo devasya dhīmahi<br />
dhiyo yo naḥ pracodayāt

|O earth, atmosphere, heaven: <br />
May we attain that excellent glory <br />
of [[Wikipedia:Savitr|Savitr]] the God:<br />
So may he stimulate our prayers.
|}

Since the [[Season 2 (2005-06)|second season]], all broadcasts of the show use the "worldwide" version of the main title cue.

===Compositional Philosophy and Techniques===

McCreary's scoring of "[[33]]" exemplified his approach to combining action and drama. For ''[[Olympic Carrier]]''<nowiki/>'s climactic destruction, he explained: "At a surface level, that sequence looks like an action scene, so I put it against a backdrop of driving frame drums and taikos. But as the scene ultimately boils down to the terrifying decision that the main characters must make, I layered in dark orchestral textures and ambient soloists to play more to the drama and less to the spectacle. The result was one of my favorite cues for the entire series."<ref group="production" name="official_companion_mccreary_33_olympic_carrier">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=47|year=2005|note=Bear McCreary's approach to scoring the Olympic Carrier destruction scene}}</ref>

Similarly, "[[The Hand of God (RDM)|The Hand of God]]" showcased innovative musical elements when McCreary incorporated the producers' request for "choir, bagpipes and drums for the final celebration," weaving them throughout the score including "the bombastic [[Battle for the Tylium Asteroid|battle scene on the asteroid]]." He also noted that "[[Gaius Baltar|Baltar]]'s final scene with [[Messenger Six|Number Six]] in that episode also stands out for me — there's an ambient and bizarre metallic riff that builds steadily as he slowly gives in to her seduction," while "[[Laura Roslin|Roslin]]'s vision of snakes in the beginning was equally creepy and challenging to score. It's set to wailing duduks and vocalists."<ref group="production" name="official_companion_mccreary_hand_of_god_musical_elements">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=83|year=2005|note=Bear McCreary's innovative musical elements in 'The Hand of God'}}</ref>

The season one finale "[[Kobol's Last Gleaming, Part I]]" and "[[Kobol's Last Gleaming, Part II|Part II]]" became McCreary's favorite first season episodes to score. "Not only did I have a full string orchestra to work with on those episodes, but I was lucky enough to write music for incredibly powerful and moving sequences. The teaser to 'Part I' is almost counterintuitive, as the sheer intensity and physicality of each cut is set against a haunting and elegant cascade of orchestral strings. That theme returns for the finale of 'Part II' and accompanies [[Gaius Baltar|Baltar]] and [[Messenger Six|Number Six]] through the [[Opera House|great concert hall]]."<ref group="production" name="official_companion_mccreary_kobol_string_orchestra">{{cite_book|title=[[Battlestar Galactica: The Official Companion]]|author=David Bassom|publisher=Titan Books|page=93|year=2005|note=Bear McCreary's favorite first season episodes to score with full string orchestra}}</ref>

== Character Themes ==

=== William Adama ===

==== Adama Family theme ====

Initially composed for "[[The Hand of God (RDM)|The Hand of God]]" it appears twice in this episode. Once as a quiet background piece when Lee talks with his father before the battle ("A Good Lighter") and as a rousing song at the end after the Cylons are defeated ("Wander my Friends").

After that it can be heard in many scenes involving a friendly moment between the two Adamas like [[Lee Adama]] visiting his injured father in "[[Valley of Darkness]]," Lee being promoted to ''[[Pegasus (RDM)|Pegasus]]'''s CO {{TRS|The Captain's Hand}}, the two parting before the [[Battle of New Caprica]] {{TRS|Exodus, Part I}}, and Lee receiving [[Joseph Adama|his grandfather]]'s law books in "[[A Day in the Life]]". It even appears as a general theme for family when [[William Adama|Adama]] decides to "Reunite the Fleet" in "[[Home, Part I]]".<ref group="themes" name="mccreary_blog_themes_part_one_adama_family_heartfelt_moments">{{cite_web|url=http://www.bearmccreary.com/blog/?p=33#:~:text=appears%20in%20many%20scenes%20involving%20a%20friendly%20moment%20between%20the%20two%20Adamas|title=The Themes of Battlestar Galactica, Part I|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

An arrangement very similar to the original one at the end of "The Hand of God," but without the vocals, is played during [[Lee Adama]]'s official send-off into retirement in "[[Six of One]]". Instead of [[w:Uilleann pipes|Uilleann pipes]], Scottish pipes are used to create a more foreign and intimate sound.<ref group="episodes" name="mccreary_blog_six_of_one_scottish_pipes_intimate_sound">{{cite_web|url=http://www.bearmccreary.com/blog/?p=242#more-242#:~:text=Scottish%20pipes%20are%20used%20to%20create%20a%20more%20foreign%20and%20intimate%20sound|title=BG4: "Six Of One"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

=== Connection to ''Caprica'' ===

The theme reappears in the spin-off series ''[[Caprica (series)|Caprica]]'' representing the Adama Family and [[Joseph Adama]] specifically. It appears in the [[Caprica pilot|pilot episode]] when Joseph tells young [[William Adama|Willy]] of his true last name and Tauron heritage, featuring a subtle statement of "[[Music of Caprica#Adama Family Theme|Wander My Friends]]."<ref group="external" name="mccreary_caprica_themes_adama_family_tauron_heritage">{{cite_web|url=https://bearmccreary.com/the-themes-of-caprica/#:~:text=when%20Joseph%20tells%20young%20Willy%20of%20his%20true%20last%20name%20and%20Tauron%20heritage|title=The Themes of Caprica|author=Bear McCreary|website=BearMcCreary.com|access-date=27 July 2025}}</ref> McCreary was given no creative direction from the producers whether to reference themes from ''Battlestar'', but felt this moment was "too perfect to resist" since he first used this theme when Adama and Lee discuss Joseph's lighter in "The Hand of God."<ref group="external" name="mccreary_caprica_themes_too_perfect_to_resist_lighter">{{cite_web|url=https://bearmccreary.com/the-themes-of-caprica/#:~:text=too%20perfect%20to%20resist%20since%20he%20first%20used%20this%20theme|title=The Themes of Caprica|author=Bear McCreary|website=BearMcCreary.com|access-date=27 July 2025}}</ref>

This scene gave McCreary chills when he finally saw it completed, and he hoped that hearing this melody would subconsciously make an audience that had seen ''Galactica'' remember Lee, Kara, Roslin and all the emotional experiences that "this little boy doesn't yet know he will see one day."<ref group="external" name="mccreary_caprica_themes_mccreary_chills_emotional_experiences">{{cite_web|url=https://bearmccreary.com/the-themes-of-caprica/#:~:text=This%20scene%20gave%20McCreary%20chills,-when%20he%20finally%20saw%20it%20completed|title=The Themes of Caprica|author=Bear McCreary|website=BearMcCreary.com|access-date=27 July 2025}}</ref> The theme also appears in the Tauron funeral scene in "[[There is Another Sky]]" and in a fragmented statement in "[[The Dirteaters]]," making the Adama family the only outright thematic link between ''Battlestar Galactica'' and ''Caprica''.<ref group="external" name="mccreary_caprica_themes_only_outright_thematic_link">{{cite_web|url=https://bearmccreary.com/the-themes-of-caprica/#:~:text=making%20the%20Adama%20family%20the%20only%20outright%20thematic%20link|title=The Themes of Caprica|author=Bear McCreary|website=BearMcCreary.com|access-date=27 July 2025}}</ref>

In "[[Daybreak, Part II]]," "Wander My Friends" plays multiple times during the finale's emotional farewell scenes. Eric Rigler's [[w:Irish whistle|Irish whistle]] states the theme as [[William Adama|Adama]] prepares to fly the last [[Viper (RDM)|Viper]] off ''[[Galactica (RDM)|Galactica]]'', and later the [[w:Uilleann pipes|Uilleann bagpipes]] and Irish whistle perform the B-Theme as he hugs [[Lee Adama|Lee]] goodbye. The theme has evolved to represent not just the [[Adama family]], but ''Galactica'''s crew and the ship itself as Adama's extended family.<ref group="episodes" name="mccreary_blog_daybreak_part_two_extended_family_evolution">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=The%20theme%20has%20evolved%20to%20represent%20not%20just%20the%20Adama%20family%2C%20but%20Galactica's%20crew|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

* Note: The Gaelic lyrics are printed in the [[Soundtrack (Season 1)|Season 1 soundtrack]].

==== Adama and Tigh theme ====

A military theme to underscore the friendship between [[William Adama]] and [[Saul Tigh]], usually accompanied by [[w:snare drums|snare drums]]. It can be heard in many scenes with the two: Adama relieving Tigh of duty in "[[You Can't Go Home Again]]," Adama thanking Tigh for saving his life in "[[Litmus]]," Adama watching marines restraining [[Sharon Valerii|Boomer]] to abort her child in "[[Epiphanies]]," and Adama and Tigh talking about [[Ellen Tigh]]'s death in "[[Hero]]".

It was first conceived as theme for the military aspects of the [[Colonial Fleet]] and appears as such when [[Lee Adama|Apollo]] briefs the [[Viper (RDM)|Viper]] pilots in "[[33]]". Played on a [[w:bansuri|bansuri]] at first, it evolved over time.<ref group="themes" name="mccreary_blog_themes_part_five_military_bansuri_evolved">{{cite_web|url=http://www.bearmccreary.com/blog/?p=154#:~:text=first%20conceived%20as%20theme%20for%20the%20military%20aspects%20of%20the%20Colonial%20Fleet|title=The Themes of Battlestar Galactica, Part V|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref> It plays a large role throughout "[[Sine Qua Non]]" in [[Season 4 (2008)|Season 4]], where it is used for all scenes between Adama and Tigh and when Adama boards the [[Raptor]] at the end.<ref group="episodes" name="mccreary_blog_sine_qua_non_large_role_adama_tigh">{{cite_web|url=http://www.bearmccreary.com/blog/?p=367#:~:text=plays%20a%20large%20role%20throughout%20Sine%20Qua%20Non|title=BG4: "Sine Qua Non"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

In the "Daybreak" episodes, this theme appears prominently in several key moments: during [[William Adama|Adama]]'s flashback when he decides he doesn't want to give up military life, when he makes his final speech to the crew before the [[Colony]] battle, and when he promotes [[Louis Hoshi|Hoshi]] to [[Admiral]]. The theme represents the noble and honorable relationship between Adama, Tigh and their military responsibilities.<ref group="episodes" name="mccreary_blog_daybreak_adama_tigh_noble_honorable_military">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=The%20theme%20represents%20the%20noble%20and%20honorable%20relationship%20between%20Adama%2C%20Tigh|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

=== Lee Adama ===

==== Apollo theme ====

[[Lee Adama|Apollo]] also has his own theme first appearing when he destroys the ''[[Olympic Carrier]]'' in "[[33]]". Then in the flashback in "[[Act of Contrition]]" at [[Zak Adama]]'s coffin, and in "[[The Hand of God (RDM)|The Hand of God]]" when he improvises his attack plan.<ref group="themes" name="mccreary_blog_themes_part_three_apollo_olympic_carrier_attack">{{cite_web|url=http://www.bearmccreary.com/blog/?p=86#:~:text=Apollo%20also%20has%20his%20own%20theme%20first%20appearing%20when%20he%20destroys%20the%20Olympic%20Carrier|title=The Themes of Battlestar Galactica, Part III|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref> 

It is seldom heard, because it's not as dynamic as other character themes, but serves as the main theme for all the flashbacks in "[[Black Market]]".<ref group="themes" name="mccreary_blog_themes_part_three_apollo_black_market_flashbacks">{{cite_web|url=http://www.bearmccreary.com/blog/?p=86#:~:text=seldom%20heard%2C%20because%20it's%20not%20as%20dynamic%20as%20other%20character%20themes|title=The Themes of Battlestar Galactica, Part III|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

Another distinct occurrence of this theme is in the episode "[[Six of One]]," when he visits [[Kara Thrace]] in the [[brig]] and tells her about his future.<ref group="episodes" name="mccreary_blog_six_of_one_apollo_kara_brig_future">{{cite_web|url=http://www.bearmccreary.com/blog/?p=242#more-242#:~:text=when%20he%20visits%20Kara%20Thrace%20in%20the%20brig%20and%20tells%20her%20about%20his%20future|title=BG4: "Six Of One"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref> It further appears during his confrontation with [[Romo Lampkin]] in "[[Sine Qua Non]]" when he makes his last argument.<ref group="episodes" name="mccreary_blog_sine_qua_non_apollo_lampkin_last_argument">{{cite_web|url=http://www.bearmccreary.com/blog/?p=367#:~:text=during%20his%20confrontation%20with%20Romo%20Lampkin%20in%20Sine%20Qua%20Non|title=BG4: "Sine Qua Non"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

In "[[Daybreak, Part II]]," the [[Lee Adama]] Theme appears when Apollo commands the [[Marines]] to repel down into the [[Colony]], marking the only place McCreary found for it in the finale episodes.<ref group="episodes" name="mccreary_blog_daybreak_apollo_marines_colony_only_place">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=when%20Apollo%20commands%20the%20Marines%20to%20repel%20down%20into%20the%20Colony|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

=== Kara Thrace ===

==== Starbuck theme, triumph theme ====

This theme first appears in a track called "Starbuck on the Red Moon" in "[[You Can't Go Home Again]]," in the scene where she leaves the planet in the captured [[Raider (RDM)|Raider]], and in the same episode in "Forgiven" when [[William Adama|Adama]] forgives her for the death of [[Zak Adama|Zak]]. After that it makes many appearances in scenes with [[Kara Thrace|Starbuck]], sometimes used a simple fanfare {{TRS|Home, Part I}}, or in the background of other tracks, like "[[Flesh and Bone]]" or more subtle in the pounding "Prelude to War" in "[[Resurrection Ship, Part II]]".

It wasn't initially intended as a theme solely for [[Kara Thrace|Starbuck]], but since she is the center of many of the show's heroic and triumphant moments, it became associated with her. However, it sometimes appears in scenes involving other characters, most notably ''[[Galactica (RDM)|Galactica]]'''s daring jump into [[New Caprica]]'s atmosphere in "[[Exodus, Part II]]".

It has been performed by all major instruments of the show, but usually heard in [[w:duduk|duduk]], vocals and strings.<ref group="themes" name="mccreary_blog_themes_part_one_starbuck_duduk_vocals_strings">{{cite_web|url=http://www.bearmccreary.com/blog/?p=33#:~:text=performed%20by%20all%20major%20instruments%20of%20the%20show%2C%20but%20usually%20heard%20in%20duduk%2C%20vocals%20and%20strings|title=The Themes of Battlestar Galactica, Part I|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

In "[[Daybreak, Part II]]," the theme makes two final simultaneous statements as [[Lee Adama|Lee]] says goodbye to [[Kara Thrace|Kara]] after she vanishes. The lower strings play the theme in a relatively fast phrase while the first violins play an elongated version above them, creating a complex farewell to the character who embodied the series' heroic spirit.<ref group="episodes" name="mccreary_blog_daybreak_starbuck_farewell_heroic_spirit">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=creating%20a%20complex%20farewell%20to%20the%20character%20who%20embodied%20the%20series'%20heroic%20spirit|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

==== Leoben and Starbuck theme, Destiny theme ====

While their first meeting is in "[[Flesh and Bone]]," this theme was composed for their changing relationship in "[[Occupation]]" and beyond. It's a small fragment always performed on a Chinese [[w:Erhu|erhu]] - which is similar to a violin - or [[w:Zhonghu|zhonghu]]. It is a representation for [[Kara Thrace|Starbuck]]'s anger at being imprisoned, [[Leoben Conoy|Leoben]]'s love towards her, her self-doubt, fears and the uncertainty about her [[The Destiny|destiny]]. 

After the [[New Caprica]] storyline it is featured throughout "[[Maelstrom]]," where it is combined with [[Kara Thrace|Starbuck]]'s own theme.<ref group="themes" name="mccreary_blog_themes_part_five_leoben_starbuck_erhu_chinese">{{cite_web|url=http://www.bearmccreary.com/blog/?p=154#:~:text=small%20fragment%20always%20performed%20on%20a%20Chinese%20erhu|title=The Themes of Battlestar Galactica, Part V|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref><ref group="episodes" name="mccreary_blog_maelstrom_starbuck_combined_theme">{{cite_web|url=http://www.bearmccreary.com/blog/?p=144#:~:text=featured%20throughout%20Maelstrom%2C%20where%20it%20is%20combined%20with%20Starbuck's%20own%20theme|title="Maelstrom"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

After her mysterious return in "[[Crossroads, Part II]]," the theme reappears in the [[He That Believeth in Me|following episode]] in many of [[Kara Thrace|Thrace]]'s scene to represent her confusion about her situation and her [[The Destiny|higher purpose]].<ref group="episodes" name="mccreary_blog_he_that_believeth_starbuck_confusion_purpose">{{cite_web|url=http://www.bearmccreary.com/blog/?p=241#more-241#:~:text=to%20represent%20her%20confusion%20about%20her%20situation%20and%20her%20higher%20purpose|title="He That Believeth…"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

In "[[Daybreak, Part II]]," Martin St. Pierre's solo [[w:erhu|erhu]] plays one final statement of the [[Kara Thrace]] Destiny Theme when she vanishes after completing her destiny, providing perfect closure to her spiritual journey that began with this very theme.<ref group="episodes" name="mccreary_blog_daybreak_starbuck_destiny_erhu_vanishes_closure">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=providing%20perfect%20closure%20to%20her%20spiritual%20journey%20that%20began%20with%20this%20very%20theme|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

=== Laura Roslin ===

==== Roslin theme ====

Another mystical theme that replaced the original religious theme. It first appears in "[[Kobol's Last Gleaming, Part I]]," during the discovery of the planet; a discovery which is directly linked to [[Laura Roslin|Roslin]]'s path. Musically, it is a boy soprano singing in [[w:Latin|Latin]] ("All of this has happened before, all of this will happen again. So say we all.").

After that it appears in many scenes featuring [[Laura Roslin|Roslin]] like her in the [[brig]] in "[[Fragged]]," dying in "[[Epiphanies]]," as well as "[[Lay Down Your Burdens, Part I]]" and "[[Exodus, Part I]]". Its most prominent use though, is in the opening montage of "[[Occupation]]" ("A Distant Sadness"), where it is set to [[Soundtrack (Season 3)#Lyrics for "A Distant Sadness"|new lyrics]] sung in [[w:Armenian language|Armenian]], thus making it the only theme in the show to have two sets of lyrics.<ref group="themes" name="mccreary_blog_themes_part_two_roslin_armenian_lyrics_only_theme">{{cite_web|url=http://www.bearmccreary.com/blog/?p=69#:~:text=making%20it%20the%20only%20theme%20in%20the%20show%20to%20have%20two%20sets%20of%20lyrics|title=The Themes of Battlestar Galactica, Part II|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

==== Roslin Religious Theme ====

A distinct theme from [[Laura Roslin|Roslin]]'s main theme, the Religious Theme appears prominently in the finale during her traumatic fountain scene on [[Caprica (planet)|Caprica]]. Elongated and muted contrapuntal string lines build intensity as she packs up presents after learning of her family's death. When she steps into the waterfall, the full [[w:orchestra|orchestra]] erupts into a huge statement of her theme, with cascading [[w:violin|violin]] and [[w:viola|viola]] phrases representing the falling water.<ref group="episodes" name="mccreary_blog_daybreak_roslin_fountain_waterfall_orchestral_eruption">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=the%20full%20orchestra%20erupts%20into%20a%20huge%20statement%20of%20her%20theme|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

In "[[Daybreak, Part II]]," this theme appears multiple times: as an ethereal voice singing in [[w:Latin|Latin]] as [[Hera Agathon|Hera]] runs through the battle-stricken hallways, and during [[Laura Roslin|Roslin]]'s visions of the [[Opera House]]. [[Raya Yarbrough]] creates a "Raya Choir" by overdubbing her voice fifteen times, marking [[John Cavil|Cavil]] and his forces as the horsemen of the apocalypse on a biblical scale.<ref group="episodes" name="mccreary_blog_daybreak_roslin_raya_choir_apocalypse_biblical">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=Raya%20Choir%20by%20overdubbing%20her%20voice%20fifteen%20times|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

==== Roslin Flashback Theme ====

A variation of the [[Laura Roslin|Roslin]] Religious Theme originally written for [[Season 2 (2005-06)|Season Two]]'s "[[Epiphanies]]," this motive underscores her memories of [[President Adar]] in the [[Caprica (planet)|Caprica]] flashbacks. The theme consists of an oscillating open fifth in the [[w:gamelan|gamelan]] and [[w:harp|harps]] and connects the flashback scenes to her eventual decision to join Mayor Adar's national campaign.<ref group="episodes" name="mccreary_blog_daybreak_roslin_flashback_adar_gamelan_harps">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=consists%20of%20an%20oscillating%20open%20fifth%20in%20the%20gamelan%20and%20harps|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

=== Gaius Baltar ===

==== Baltar theme ====

This started as a very short and simple theme first appearing in "[[Six Degrees of Separation]]". In the albums it is included in "Baltar Speaks with Adama" ([[Soundtrack (Season 1)|Season 1]]) and "Dark Unions" ([[Soundtrack (Season 2)|Season 2]]). It is quoted in the [[w:piano|piano]] [[Basestar (RDM)|basestar]] theme from "[[Torn]]" and appears in more complex arrangements in "[[Taking a Break from All Your Worries]]".<ref group="themes" name="mccreary_blog_themes_part_two_baltar_simple_short_theme">{{cite_web|url=http://www.bearmccreary.com/blog/?p=69#:~:text=started%20as%20a%20very%20short%20and%20simple%20theme%20first%20appearing|title=The Themes of Battlestar Galactica, Part II|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

With [[Gaius Baltar|Baltar]]'s rise to a messianic figure and [[Cult of Baltar|cult leader]] {{TRS|He That Believeth in Me}} a new theme is used for him. While evolved from and intertwined with the original theme, it is nearly entirely new, in order to reflect his change and growth. While the old theme represents his dark and sinister side, the new theme stands for his serenity and spirituality. However, the two versions interact and are used as counterpoints in various scenes. The supposedly dark theme used to score spiritual moments and the spiritual theme to score dark moments. [[Bear McCreary|Bear]] notes that his the two sides of [[Gaius Baltar|Baltar]]'s personality cannot be easily separated.<ref group="themes" name="mccreary_blog_he_that_believeth_baltar_two_sides_personality_separated">{{cite_web|url=http://www.bearmccreary.com/blog/?p=241#more-241#:~:text=the%20two%20sides%20of%20Baltar's%20personality%20cannot%20be%20easily%20separated|title="He That Believeth…"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

This new theme has lyrics sung by [http://www.myspace.com/rayayarbrough Raya Yarbrough]. They represent a prayer to [[Gaius Baltar|Baltar]] and are heard throughout the episode:

{| cellspacing="0" cellpadding="5" class="messagebox" align="center"
! class="infoboxheader" | '''Translated Anglo-Saxon lyrics by Alison Walker:'''
! class="infoboxheader" | '''Original English lyrics by Bear McCreary:'''
|-
| We gadriaþ in nihtscuan <br />
Neoðan þin gledstede, <br />
þin liċfæst in blode ond lieġe. <br />
Nu þin ġebann, æþreddaþ us <br />
To þæm anliċum æltæwan gastcyninge <br />
Gaius Baltar, ure dryhtweorþ nergend <br />
Nu ond æfre to alder. <br />
Swa we ġehwilc ġehalsiaþ.  

| We gather in shadow, <br />
Beneath your altar,  <br />
Your image in blood and flame. <br />
By your command, deliver us <br />
Unto the One True God. <br />
Gaius Baltar, our divine savior <br />
Now and for eternity. <br />
So say we all.
|}

Another version of this theme can be heard in "[[Six of One]]" when [[Gaius Baltar|Baltar]] sees and talks to a virtual version of himself. This arrangement is a musical [[w:palindrome|palindrome]]; a cue that reverses itself in the middle and sounds exactly the same being played forward or backward.<ref group="episodes" name="mccreary_blog_six_of_one_baltar_palindrome_arrangement_reversed">{{cite_web|url=http://www.bearmccreary.com/blog/?p=242#more-242#:~:text=musical%20palindrome%3B%20a%20cue%20that%20reverses%20itself%20in%20the%20middle|title=BG4: "Six Of One"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

In "[[Daybreak, Part II]]," the [[Gaius Baltar|Baltar]] Religious Theme receives its most lyrical and beautiful setting when he talks the two warring civilizations away from the brink of destruction. The theme represents the better side of his personality and his ultimate redemption.<ref group="episodes" name="mccreary_blog_daybreak_baltar_redemption_warring_civilizations_brink">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=represents%20the%20better%20side%20of%20his%20personality%20and%20his%20ultimate%20redemption|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

==== Head Baltar Theme ====

This theme features reversed bells and [[w:gamelan|gamelans]] and represents [[Gaius Baltar|Baltar]]'s conversations with his virtual self. It was most recently featured in "[[Six of One]]" and appears in "[[Daybreak, Part II]]" when [[Head Six]] and [[Head Baltar]] reveal themselves to [[Caprica-Six]] and [[Gaius Baltar|Gaius]] during the [[Colony]] battle, paired with [[Richard Gibbs]]' iconic [[Number Six]] theme from the [[Miniseries]].<ref group="episodes" name="mccreary_blog_daybreak_head_baltar_reveal_six_colony_battle">{{cite_web|url=https://bearmccreary.com/bg4-daybreak-pt-2/#:~:text=when%20Head%20Six%20and%20Head%20Baltar%20reveal%20themselves%20to%20Caprica-Six%20and%20Gaius|title=BG4: "Daybreak, Parts I & II"|author=Bear McCreary|date=March 20, 2008|website=BearMcCreary.com|accessdate=July 26, 2025}}</ref>

=== Saul Tigh ===

==== Tigh theme ====

A military-sounding [[w:brass instrument|brass]] and [[w:choir|choir]] theme scored for the scene where [[Saul Tigh|Tigh]] declares martial law in "[[Fragged]]" and appearing as "Martial Law" on the [[Soundtrack (Season 2)|Season 2 soundtrack]]. It can also be heard when [[Sesha Abinell]] threatens to kill [[Ellen Tigh]] in "[[Sacrifice]]". The theme appears again in [[Season 3 (2006-07)|Season 3]] on [[New Caprica]] ("[[Occupation]]," "[[Precipice]]"), and when Tigh needs to pull himself together again after the escape from the planet {{TRS|Hero}}.<ref group="themes" name="mccreary_blog_themes_part_three_tigh_martial_law_brass_choir">{{cite_web|url=http://www.bearmccreary.com/blog/?p=86#:~:text=military-sounding%20brass%20and%20choir%20theme%20scored%20for%20the%20scene%20where%20Tigh%20declares%20martial%20law|title=The Themes of Battlestar Galactica, Part III|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

In "[[Escape Velocity]]," the theme is reworked to a much more gentler, introspective version. Instead of a clearly western military piece, a [[w:duduk|duduk]] and and [[w:electric violin|electric violin]] are scored in an atonal, middle eastern style.<ref group="episodes" name="mccreary_blog_escape_velocity_tigh_gentler_introspective_duduk">{{cite_web|url=http://www.bearmccreary.com/blog/?p=246#:~:text=reworked%20to%20a%20much%20more%20gentler%2C%20introspective%20version|title=BG4: "Escape Velocity"|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

*Note: Virtually the only brass theme in the show, as such conventional instruments are usually not used.

=== Sharon Valerii / Athena ===

====  Boomer theme ====

Another very common theme, that plays in many scenes with [[Sharon Valerii|Boomer]], especially in [[Season 2 (2005-06)|Season 2]]. Initially created as a [[Karl Agathon|Helo]]/[[Sharon Valerii|Boomer]] theme for "[[33]]" it quickly turned into [[Sharon Valerii|Boomer]]'s theme. Sometimes played with [[w:woodwinds|woodwinds]] of [[w:string orchestra|string orchestra]], it is usually performed by [[w:gamelan|gamalans]] and bells.<ref group="themes" name="mccreary_blog_themes_part_one_boomer_gamelan_bells_woodwinds">{{cite_web|url=http://www.bearmccreary.com/blog/?p=33#:~:text=usually%20performed%20by%20gamalans%20and%20bells|title=The Themes of Battlestar Galactica, Part I|author=Bear McCreary|website=BearMcCreary.com|accessdate=27 July 2025}}</ref>

*Note: [[Bear McCreary]] also composed a percussion theme for "[[Water]]" (heard in the teaser), intended to give [[Sharon Valerii|Galactica-Sharon]] and [[Sharon Valerii|Caprica-Sharon]] different themes, but abandoned that idea.

== References ==

=== Musical Theme Analysis ===
{{reflist|group=themes}}

=== Episode-Specific Commentary ===
{{reflist|group=episodes}}

=== Production and Technical Details ===
{{reflist|group=production}}

=== External Series Connections ===
{{reflist|group=external}}

[[Category:A to Z]]
[[Category:RDM]]
[[Category:Music]]
[[Category:Music (RDM)]]
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