Editing Music of Caprica

For the music of ''[[Caprica (series)|Caprica]]'', composer [[Bear McCreary]] strove to create a soundscape reminiscent of, but vastly different from that of  its predecessor, calling it a "distant cousin" of ''[[Battlestar Galactica (TRS)|Battlestar Galactica]]''.  The music includes the continued use of [[w:leitmotif|leitmotifes]] for characters, events and places - but with a decidedly more "western" feel; the distinctly ethnic instrumentation and percussion from ''Battlestar Galactica'', while featured in ''Caprica'', is heard in a diminished capacity.<ref group="commentary" name="syfy_caprica_commentary_ep106">{{cite web|url=http://www.syfy.com/_cache/assets/assets/caprica_episode106_commentary.mp3|title=Caprica Episode 106 Commentary|accessdate=27 July 2025}}</ref>

== Musical Direction ==

McCreary described his ''Caprica'' score as "surprisingly restrained and melodic" compared to "the percussive bombast and world-music influence" of his ''Battlestar Galactica'' compositions.<ref group="soundtrack" name="mccreary_caprica_restrained_melodic">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=surprisingly%20restrained%20and%20melodic,-score%20that%20made |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref> This shift reflected the series' move away from the military overtones of its predecessor while still exploring similar themes of digital self-identity, religious zealotry, and corruption in power.<ref group="soundtrack" name="mccreary_caprica_themes_digital_identity">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=themes%20of%20digital%20self-identity%2C%20religious%20zealotry,-and%20the%20risks |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

=== Compositional Philosophy ===

McCreary's approach for ''Caprica'' was designed to be "the polar opposite" of ''Battlestar Galactica''.<ref group="themes" name="mccreary_themes_caprica_polar_opposite">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> He explained that since the events take place in an entirely different environment—[[Caprica City]] as "a familiar society at its most decadent and opulent peak"—he needed to strip away the "urgent, tribal, primitive and mystical elements" that characterized the ''Battlestar Galactica'' soundtrack.<ref group="themes" name="mccreary_themes_caprica_strip_away_mystical">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> Director [[Jeffrey Reiner]] described the setting to McCreary as a city that "on the outside was modern, structured, and efficient," but "on the inside, things were rotten."<ref group="themes" name="mccreary_themes_caprica_reiner_rotten_inside">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

To achieve this tonal shift, McCreary concluded that to make the ''Caprica'' score more "different," he had to make it more "normal." The result was '''an intimate, contemporary chamber orchestra''', recorded at the [[w:Warner_Bros._Eastwood_Scoring_Stage|Warner Bros. Eastwood Scoring Stage]].<ref group="themes" name="mccreary_themes_caprica_chamber_orchestra">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> While ethnic percussion and solos occasionally appear in the texture, the score is fundamentally orchestral in nature. McCreary's harmonic language for ''Caprica'' is "far more lyrical and rich than the simple drones and dissonant clusters that permeate the majority of ''Galactica''."<ref group="themes" name="mccreary_themes_caprica_lyrical_rich_harmonic">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

=== Influence on ''Battlestar Galactica'' ===

The tight post-production schedule forced McCreary to begin writing music for the ''Battlestar Galactica'' finale "[[Daybreak]]" within days of finishing ''Caprica''. He acknowledged that ''Caprica'' had "an undeniable influence" on his ''Battlestar'' finale score, explaining that he "couldn't get the lush harmonies out of his head" and applied the orchestral sensibilities from ''Caprica'' to "Daybreak," creating what he considered "the best score of my ''Battlestar'' career."<ref group="themes" name="mccreary_themes_caprica_influence_daybreak">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> The similarities in tone between ''Caprica'' and "Daybreak" are obvious, as both were written within the same five-week span.<ref group="themes" name="mccreary_themes_caprica_daybreak_five_weeks">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

=== Long-term Vision ===

McCreary developed an ambitious long-term musical plan for the series. Should ''Caprica'' have lasted three or four seasons, moving chronologically closer to the events of the ''Battlestar Galactica'' miniseries, his goal was for the score to "slowly devolve from the crisp, classical chamber orchestra" back to "the tribal percussion and ethnic soloists of ''Battlestar''" over several seasons. If successful, "the last episode of ''Caprica'' may have had a soundtrack that sounds like the first episode of ''Galactica''."<ref group="themes" name="mccreary_themes_caprica_longterm_devolve">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

The series leaned away from the military focus of ''Battlestar Galactica'' but continued to explore themes that would eventually connect to its successor series. McCreary noted that these thematic connections, however, were not enough to retain a significant percentage of the ''BSG'' fan base, and the series struggled in its time slot.<ref group="soundtrack" name="mccreary_caprica_fanbase_time_slot">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=not%20enough%20to%20retain,-a%20significant%20percentage |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

== Soundtrack Production ==

The release of a complete series soundtrack faced significant obstacles due to ''Caprica'''s abrupt cancellation. McCreary explained that the "sudden cardiac arrest of the show put my hopes for a full series soundtrack album in deep freeze."<ref group="soundtrack" name="mccreary_caprica_sudden_cardiac_arrest">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=The%20sudden%20cardiac%20arrest,-of%20the%20show |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref> Corporate restructuring following NBC Universal's purchase further delayed the project, putting all non-essential projects on the back burner.<ref group="soundtrack" name="mccreary_caprica_corporate_restructuring">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/ |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

Despite these setbacks, persistent fan demand eventually led to the release of the ''[[Soundtrack (Caprica series)|Caprica Series Soundtrack]]'' through [[La-La Land Records]]. McCreary credited both continued fan pressure and album producer Ford Thaxton's efforts in securing studio approval for the release.<ref group="soundtrack" name="mccreary_caprica_fan_demand_thaxton">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=Fan%20demand%20for%20the%20release,-of%20this%20music |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

=== Recording Details ===

The pilot episode score was recorded at the Warner Bros. Eastwood Scoring Stage in January, with McCreary conducting the chamber orchestra.<ref group="themes" name="mccreary_themes_caprica_recording_january">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> Director Jeffrey Reiner recalled: "Bear sent me very complete demos against picture that worked great, but it wasn't until I sat in the scoring stage at Warner Bros., and heard the maestro conduct his orchestra, that I was blown away."<ref group="themes" name="mccreary_themes_caprica_reiner_blown_away">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

== Main Title Music ==

Beginning in the series' second episode, "[[Rebirth]]," a main title sequence is established utilizing a theme from the [[Caprica pilot|pilot episode]] - the [[Graystones|Graystone Family]] Theme  - as an overarching theme for ''Caprica'' as a whole.  According to composer Bear McCreary:

:"The title begins with a pounding percussion fill that introduces the Main Theme (technically the Graystone Theme), played by Chris Bleth on flute.  The track builds in intensity, incorporating electric guitars and bass, played by Steve Bartek and Mike Valerio respectively.  Towards the end, a distorted drum kit enters (played by Nate Wood) that gives the track a hard-rock feel, completely unique from anything we heard in the pilot.  I wanted to give our delicate, plaintive melody a bad ass metal backbone, representative of the [[V-Club]]s and cultural underbelly of [[Caprica City]] that the series depicts." <ref group="episodes" name="mccreary_caprica_rebirth_main_title">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-rebirth/|title=BearMcCreary: Caprica - Rebirth|accessdate=27 July 2025}}</ref>

== Character & Event Themes ==

Bear McCreary described the music of ''Caprica'' as featuring three spokes: music representing the [[Graystones|Graystone Family]], the [[Tauron]] elements of the series, and sequences taking place in the [[virtual world]].<ref group="commentary" name="syfy_caprica_commentary_three_spokes">{{cite web|url=http://www.syfy.com/_cache/assets/assets/caprica_episode106_commentary.mp3|title=Caprica Episode 106 Commentary|accessdate=27 July 2025}}</ref>  However there are a litany of themes and motifs branching from those three spokes.

=== Thematic Development ===

McCreary clarified that the musical themes of ''Caprica'' begin tied to emotional arcs or narrative lines rather than individual characters, similar to his approach in Season One of ''Battlestar Galactica''. The story focuses on two families, leading him to write '''two thematically meaningful melodies''': the Graystone Theme and the Tauron Theme, held together with series of [[w:ostinato|ostinatos]] thematically connected to each family.<ref group="themes" name="mccreary_themes_caprica_two_melodies">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

=== Main Characters ===  

==== Graystone Family Theme ====

Described as the de facto ''Caprica'' theme, the Graystone Family Theme was initially created to underscore scenes featuring the Graystones, but later evolved into the series main title.  Executive producer [[David Eick]] later recalled in "The Music of Caprica" video blog that theme was a remarkable achievement as it was instantly recognizable and easily associated with ''Caprica''.<ref group="commentary" name="syfy_caprica_eick_remarkable_achievement">{{cite web|url=http://video.syfy.com/shows/caprica|title=The Music of Caprica Video Blog|accessdate=27 July 2025}}</ref>

McCreary described this melody as "the first thing I wrote when I began scoring the [[Caprica pilot|pilot]]" and felt that it "captures the complex characters and arcs in a single elegant melody."<ref group="themes" name="mccreary_themes_caprica_graystone_first_elegant">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> The theme first appears in the [[Caprica pilot|pilot]] immediately following the train explosion during the montage where the parents grieve the loss of their children.<ref group="themes" name="mccreary_themes_caprica_graystone_train_explosion">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> It appears in every episode of the series, generally played on flute or strings, underscoring scenes related to the Graystone Family and [[Graystone Industries]], as well as [[Lacy Rand]].

It notably appears in the series finale "[[Apotheosis (episode)|Apotheosis]]," underscoring the [[U-87 Cyber Combat Unit|U-87s]] battling [[STO]] terrorists in [[Atlas Arena]].  For that episode, McCreary described the piece, titled "Apotheosis," as an extension of the main title, combining strings, percussion and electric guitars.  The Graystone Theme is also integral in the final moments of the series, played on string and accompanied by percussion in what McCreary described as a "soaring" final statement.<ref group="episodes" name="mccreary_caprica_apotheosis_soaring_final">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-apotheosis/|title=BearMcCreary: Caprica - Apotheosis|accessdate=27 July 2025}}</ref>

McCreary considered "Apotheosis" one of his favorite instrumental cues from the entire series, representing the final acts of the last episode. He intended it to "bring a sense of epic importance and closure, while simultaneously setting up the promise of further mysteries and adventure," not realizing at the time that he was scoring his final episode of ''Caprica'' ever.<ref group="soundtrack" name="mccreary_caprica_apotheosis_favorite_cue">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=bring%20a%20sense%20of%20epic,-importance%20and%20closure |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

In the episode, "[[End of Line]]," Daniel Graystone appears playing the Graystone Theme on the piano in his [[Graystone Estate|home]] lab.<ref group="episodes" name="mccreary_caprica_end_line_daniel_piano">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-end-of-line/|title=BearMcCreary: Caprica - End of Line|accessdate=27 July 2025}}</ref>

Bear McCreary intended the Graystone Family Theme to be heard one last time in the pilot movie for ''[[Blood and Chrome]]'', underscoring a scene between Graystone Industries scientist [[Becca Kelly]] and a young Ensign [[William Adama]].  The cue, however, was cut from the finished episode.<ref group="episodes" name="mccreary_blood_chrome_graystone_cut">{{cite web|url=http://www.bearmccreary.com/#blog/battlestar-galactica-3/battlestar-galactica-blood-chrome/|title=Battlestar Galactica: Blood & Chrome|accessdate=27 July 2025}}</ref>

==== Graystone Family Ostinato ====

McCreary described the Graystone Ostinato as a "simple oscillating pattern...woven throughout the score, serving as the canvas upon which the longer melodies are painted."<ref group="themes" name="mccreary_themes_caprica_ostinato_oscillating">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> Usually appearing in the harp, piano and gamelan, at its simplest the ostinato is a minor third and major third, but McCreary discovered "an exciting way of harmonizing this simple figure, creating an infinitely more interesting harmony."<ref group="themes" name="mccreary_themes_caprica_ostinato_harmonizing">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> This harmonic progression gives the pattern a "slippery, seductive quality" where "you can never quite tell where it's going emotionally."<ref group="themes" name="mccreary_themes_caprica_ostinato_slippery_seductive">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

This ostinato frequently underscored [[Zoe-A]]'s conversations with [[Lacy Rand]] and [[Daniel Graystone|Daniel]].<ref group="themes" name="mccreary_themes_caprica_ostinato_zoe_conversations">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> The [[Wikipedia:Ostinato|ostinato]] was restated in the series finale in a more aggressive variation, heard in the climactic battle at Atlas Arena.<ref group="episodes" name="mccreary_caprica_apotheosis_aggressive_ostinato">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-apotheosis/|title=BearMcCreary: Caprica - Apotheosis|accessdate=27 July 2025}}</ref>

==== Daniel Graystone Ostinato ====

An ostinato representing Daniel Graystone also appears in the pilot episode and transitions to represent the character in the series proper. This repetitive figure signifies Daniel's "increasing obsession with [[Zoe-A|Zoe]]" and represents his transformation "from grieving father to a crazy Dr. Frankenstein figure."<ref group="themes" name="mccreary_themes_caprica_daniel_frankenstein">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> Early in the film, it appears as a solo harp, but as Daniel becomes more ruthless in his pursuit of the secret of Zoe's avatar, the ostinato is handed over to the low strings for more energy.<ref group="themes" name="mccreary_themes_caprica_daniel_low_strings">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

This thematic idea reaches its peak when Daniel downloads Zoe-A into a memory stick and kicks Lacy out of his house—the turning point where he begins his transformation. McCreary needed "an aggressive, dissonant ostinato that could represent his growing madness."<ref group="themes" name="mccreary_themes_caprica_daniel_growing_madness">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> Usually played on harp, the ostinato was also accompanied by aggressive percussive elements in the pilot as well as in "[[Know Thy Enemy]]" and "[[Ghosts in the Machine]]."<ref group="episodes" name="mccreary_caprica_know_enemy_aggressive">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-know-thy-enemy/|title=BearMcCreary: Caprica - Know Thy Enemy|accessdate=27 July 2025}}</ref>

==== Amanda Graystone Theme ====

A lesser used melody, the Amanda Graystone Theme notably appears during the Graystones' love scene during the pilot.<ref group="themes" name="mccreary_themes_caprica_amanda_love_scene">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> McCreary described it as "a unique set of ascending scales, with the top note descending in each statement."<ref group="themes" name="mccreary_themes_caprica_amanda_ascending_scales">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> More often than not, he used it as an ostinato underneath other themes, but featured it prominently in key scenes involving Amanda.<ref group="themes" name="mccreary_themes_caprica_amanda_key_scenes">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

The most prominent appearance is at the beginning of the montage where Daniel and Amanda make love while [[Sam Adama|Sam]] kills the defense minister, played as an English Horn solo by ''Galactica'' woodwind maestro [[Chris Bleth]].<ref group="themes" name="mccreary_themes_caprica_amanda_english_horn">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> It also accompanies [[Jordan Duram|Duram]] questioning Amanda at her office.<ref group="themes" name="mccreary_themes_caprica_amanda_duram_office">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> A simple, ascending scale, the theme is also prominently featured in the Amanda-centered episode, "[[The Imperfections of Memory]]" in which it was adapted for her deceased brother [[Darius]].  Utilized as both a theme and in the form of an ostinato, the Darius melody is Amanda's theme played in reverse order.<ref group="episodes" name="mccreary_caprica_imperfections_darius_reverse">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-the-imperfections-of-memory/|title=BearMcCreary: Caprica - The Imprefections of Memory|accessdate=27 July 2025}}</ref>

==== Zoe Graystone Chords ====

While both the Graystone Theme and Ostinato are utilized to represent Zoe Graystone, a third musical idea is more specifically attached to the character. This progression of four chords is first heard when [[Lacy Rand]] discovers [[Zoe-A]] in the [[V-Club]] after the flesh and blood Zoe was killed. As the new relationship forms between the girls, this progression appears in the score.<ref group="themes" name="mccreary_themes_caprica_zoe_chords_four">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

The '''Zoe Chords''' make two other appearances in the [[Caprica pilot|pilot]]: when Daniel first embraces Zoe-A and when the [[U-87 Cyber Combat Unit|U-87]] with Zoe's data installed sputters to life before Daniel's eyes. Each of these scenes is related narratively as they are about people in Zoe's life coming to terms with her new state.<ref group="themes" name="mccreary_themes_caprica_zoe_chords_new_state">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> This is technically not a theme in the traditional melodic sense, because it never appears with the same melody twice—each time this chord progression is used, it is in a different meter or with different melodic lines.<ref group="themes" name="mccreary_themes_caprica_zoe_chords_different_meter">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

The progression first appears when Lacy Rand discovers the Zoe avatar in the [[virtual world]] and later recurs in "Rebirth" as Lacy embraces Zoe in her robotic form.<ref group="episodes" name="mccreary_caprica_rebirth_zoe_robotic">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-rebirth/|title=BearMcCreary: Caprica - Rebirth|accessdate=27 July 2025}}</ref>

The chords are later heard prominently during Zoe's virtual dates with [[Philomon]] in the episodes "The Imperfections of Memory" (notably during the simulated [[Viper (RDM)|Viper]] flight) and "[[End of Line]]."  In the episode "[[Things We Lock Away]]" this  motif is heard subtly mixed with repeating gamelan notes similar to those of the [[Music of Battlestar Galactica (RDM)#Six theme|Six Theme]] from ''Battlestar Galactica'', referencing [[Messengers#Messenger Zoe|Messenger Zoe]]'s connection to "[[Head Six]]" from that series.

==== Tauron Theme ====

While neither [[Joseph Adama]] nor his brother [[Sam Adama]] receive specific themes or motifs, the second most prominent musical identity in ''Caprica'' is the Tauron Theme.  With the themes for the Graystones given a more traditional Western sound, the Tauron Theme was created as a more ethnic and chaotic counterpoint mirroring the depiction of the [[Tauron]] home planet.  Bear McCreary compared the Tauron themes to the Italian music from ''[[Wikipedia:The Godfather|The Godfather]]''.<ref group="commentary" name="syfy_caprica_commentary_tauron_godfather">{{cite web|url=http://www.syfy.com/_cache/assets/assets/caprica_episode106_commentary.mp3|title=Caprica Episode 106 Commentary|accessdate=27 July 2025}}</ref>  

This theme signifies Joseph's connection to the Tauron mob and his ancestral family lineage.<ref group="themes" name="mccreary_themes_caprica_tauron_ancestral">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> Unlike the Graystone Theme, which feels very classically Western, the Tauron theme has a "distinctly ethnic, modal flavor."<ref group="themes" name="mccreary_themes_caprica_tauron_ethnic_modal">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> It is played either by [[Paul Cartwright]] on the acoustic fiddle, or by Chris Bleth on the Chinese membrane flute.<ref group="themes" name="mccreary_themes_caprica_tauron_cartwright_bleth">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

McCreary wanted it to capture the mood of Tauron the same way [[Wikipedia:Nino Rota|Nino Rota]]'s ''Godfather'' theme evokes Italy. His task was "relatively easy because Tauron and its musical traditions are entirely fictional," so he could make Tauronese music sound like whatever he wanted. He drew his inspirations from '''Russian folk music''', and asked Paul Cartwright to play in that style as opposed to the Scottish Fiddle feel he frequently evokes for "[[Music of Battlestar Galactica (RDM)#Roslin and Adama theme|Roslin and Adama]]" on ''Battlestar''.<ref group="themes" name="mccreary_themes_caprica_tauron_russian_folk">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

The Tauron Theme is the only theme in ''Caprica'' to receive lyrics, heard in the episode "[[There is Another Sky]]" during the funeral for [[Tamara Adama|Tamara]] and [[Shannon Adama]].  Written by the episode's writer, Kath Lingenfelter, the lyrics for the Tauron Theme were sung in [[Wikipedia:Ancient Greek|Ancient Greek]]:<ref group="episodes" name="mccreary_caprica_another_sky_ancient_greek">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-there-is-another-sky/|title=BearMcCreary: Caprica - There is Another Sky|accessdate=27 July 2025}}</ref>

{| cellspacing="0" cellpadding="5" class="messagebox" align="center"
! class="infoboxheader" | '''Original English lyrics by Kath Lingenfelter:'''
|-
| These are the voices of those <br />
Who have passed over the river heard <br />
On the wind entwined with the <br />
Eternal and the everlasting <br />
These are the voices of those whom <br />
We have loved, who no more will suffer <br />
Who have returned to the mud <br />
This is the voice of the dead <br />
Entwined with the eternal and the everlasting <br />
|}

McCreary later created a version of the Tauron Theme specifically for the [[Soundtrack (Caprica series)|series soundtrack]], featuring vocals by [[Raya Yarbrough]], in addition to a piano sketch version that came from early in his creative process.<ref group="soundtrack" name="mccreary_caprica_tauron_yarbrough_sketch">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/ |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

==== Tauron Ostinato ====

This accompanimental figure is connected with Joseph Adama's storyline and is first heard beneath his tale of arriving on Caprica for the first time.<ref group="themes" name="mccreary_themes_caprica_tauron_ostinato_joseph">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> However, its most prominent appearance is during the montage when Sam kills the defense minister, underscoring Sam's ominous trek up the staircase and playing out through the whole sequence.<ref group="themes" name="mccreary_themes_caprica_tauron_ostinato_sam_minister">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

After the orchestral recording session, Jeff Reiner recalled: "The first piece I heard was the montage where Sam kills the Minister of Defense while Amanda and Daniel make love, not to mention, Joseph breaking down in tears because of guilt and the loss of his family. The score drove the scene, while evoking the intimacy of love, the rage of a gangland killing, and the struggle with ethnic identity. Try that at home!"<ref group="themes" name="mccreary_themes_caprica_reiner_try_that_home">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

The Tauron Ostinato is later heard in a notably different form in "End of Line" in scenes in which Joseph Adama searches [[New Cap City]] for the Tamara avatar, played by electronic instruments.

==== Adama Family Theme ====

Initially composed for  the ''Battlestar Galactica'' episode, "[[The Hand of God (RDM)|The Hand of God]]," the [[Music of Battlestar Galactica (RDM)#Adama Family theme|Adama Family Theme]] continued throughout that series as the defining musical identity for William Adama as well as Adama's relationship with his son, {{callsign|Lee Adama}}.  

McCreary was given no creative direction from the producers whether or not to reference themes from ''Battlestar'', but felt one moment was "too perfect to resist." When Joseph tells young [[William Adama|Willy]] of his true last name and Tauron heritage, the strings swell with a subtle statement of "[[Music of Battlestar Galactica (RDM)#Wander My Friends|Wander My Friends]]"—the same theme McCreary first used in "[[The Hand of God (RDM)|Hand of God]]" when Adama and Lee discuss Joseph's lighter.<ref group="themes" name="mccreary_themes_caprica_adama_wander_friends">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |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="themes" name="mccreary_themes_caprica_adama_little_boy">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> McCreary stated that he tried to "avoid over-using the sole melody from ''BSG'' to carry over," utilizing it only in the pilot episode, the Tauron funeral scene in "[[There is Another Sky]]" and in a fragmented statement in "[[The Dirteaters]]," the Adama family is the only outright thematic link between ''Battlestar Galactica'' and ''Caprica''.<ref group="episodes" name="mccreary_caprica_pilot_avoid_overusing">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-pilot/|title=BearMcCreary: Caprica - Pilot|accessdate=27 July 2025}}</ref>

=== Other Themes ===

==== Cylon Percussion ====

The other prominent musical link between ''Battlestar Galactica'' and ''Caprica'' is the varied use of percussive elements. There are two sequences in the pilot where the [[U-87 Cyber Combat Unit|U-87]] (the Cylon prototype) appears in testing procedures. Since the visual effects designers referenced the look of the Cylons from ''Galactica'', McCreary followed their lead and allowed the music to clearly pay homage to ''Battlestar''.<ref group="themes" name="mccreary_themes_caprica_cylon_percussion_homage">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

These sequences are the only scenes where McCreary brought in the full ethnic percussion ensemble he used for practically every cue in ''Galactica''. Resident percussionist [[M.B. Gordy]] brought in all the taikos, frame drums, dumbeks, chang changs, tsuzumis and other instruments that give ''Galactica'' such a unique, percussive identity.<ref group="themes" name="mccreary_themes_caprica_cylon_gordy_taikos">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

However, McCreary intentionally kept these cues relatively small. The train sequence and ending scene were scored almost entirely with small hand-percussion, such as shakers, claves and shime daiko. The big taiko drums were used very sparingly.<ref group="themes" name="mccreary_themes_caprica_cylon_small_percussion">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> For all the action cues in ''Caprica'', he avoided the bagpipes, erhu, zhong hu, duduk, bansuri, shamisen, biwa, orchestra, vocals and rock band that combined into mega-action-cues for ''Galactica''. After all, they were watching a prototype Cylon, so McCreary wanted the score to sound like '''prototype ''Battlestar'' music'''—more raw, edgy and unpolished.<ref group="themes" name="mccreary_themes_caprica_cylon_prototype_music">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

While heard on a smaller scale than in ''Galactica'', the percussion is frequently heard during scenes featuring the [[U-87 Cyber Combat Unit|U-87 Cylon]], such as the U-87 test scene in the pilot, various scenes featuring [[Zoe-R]] in "[[Rebirth]]" and "[[There is Another Sky]]," and [[Sam Adama]]'s Cylon scene in "[[False Labor]]."

Though McCreary intended to keep the use of the percussive element so heavily used in ''Galactica'' to a minimum, as ''Caprica'' progressed, the identity increasingly asserted itself.<ref group="episodes" name="mccreary_caprica_rebirth_percussion_asserted">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-rebirth/|title=BearMcCreary: Caprica - Rebirth|accessdate=27 July 2025}}</ref>  By late series episodes like "[[Here Be Dragons]]" and "[[Apotheosis (episode)|Apotheosis]]," the percussive and ethnic instrumentation was increased, most notably in the climactic Cylon battle at the series conclusion.<ref group="episodes" name="mccreary_caprica_apotheosis_climactic_cylon">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-apotheosis/|title=BearMcCreary: Caprica - Apotheosis|accessdate=27 July 2025}}</ref>

==== Clarice's Theme ====

A theme for [[Clarice Willow]] is heard beginning in "Rebirth" and is featured in all subsequent episodes to underscore the character's scenes, frequently played on flute or oboe.  It later branches out to scenes featuring the [[STO]] even when Clarice is not present, such as the "secrets and mysteries" conversation between [[Mother]] and [[Diego]] and the virtual love scene Lacy Rand and [[Odin Sinclair]] share in "[[The Heavens Will Rise]]."<ref group="episodes" name="mccreary_caprica_rebirth_clarice_sto">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-rebirth/|title=BearMcCreary: Caprica - Rebirth|accessdate=27 July 2025}}</ref>

==== Tamara's Theme ====

While not established until her third appearance in "[[There is Another Sky]]," Tamara Adama receives a musical identity associated with her action in [[New Cap City]], but also featuring a structure reminiscent of the Tauron Theme.  Played on electric violin by Paul Cartwright and layered with distorted drum kit, electric guitars, bass and synthesizers, the identity is also heard in an English Horn solo, flutes and harp.  According to McCreary: "The violin represents her Tauron heritage and connection to her father, because the acoustic violin always plays the Tauron Theme.  However, running it through Paul's amp and distortion effects represents the change Tamara has undergone and her new surroundings in New Cap City."<ref group="episodes" name="mccreary_caprica_another_sky_tamara_violin">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-there-is-another-sky/|title=BearMcCreary: Caprica - There is Another Sky|accessdate=27 July 2025}}</ref> The theme appears in all episodes featuring Tamara in New Cap City, notably in "End of Line" and "Things We Lock Away," before being diminished by a secondary virtual world theme in "[[The Dirteaters]]" and "[[The Heavens Will Rise]]."  

McCreary also considered "The Differently Sentient" one of his favorite instrumental cues from the entire series, representing the final acts of the last episode alongside "Apotheosis."<ref group="soundtrack" name="mccreary_caprica_differently_sentient_favorite">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=The%20Differently%20Sentient.%22%20These%20cues,-represent%20the%20last |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

==== Vergis' Theme ====

Another Tauron sub-theme is that attached to the character [[Tomas Vergis]] which is first used in that character's debut, "[[Know Thy Enemy]]."  Described by Bear McCreary as "simple and repetitive, evocative of a folk song" and played on Chinese membrane flute, the theme was intended to subtly reference Vergis' Tauron heritage while giving the antagonistic character an ominous musical identity, closely related in tone to ''Battlestar Galactica''<ref group="episodes" name="mccreary_caprica_know_enemy_vergis_folk">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-know-thy-enemy/|title=BearMcCreary: Caprica - Know Thy Enemy|accessdate=27 July 2025}}</ref>  The theme would recur throughout the series, most notably during the character's final appearance in "Things We Lock Away." 

=== Songs ===

==== Caprican National Anthem ====

For the second episode of the series, Bear McCreary created a recording of the Caprican national anthem, "[[Caprica Abides]]."  Though only a small portion of that recording was used during that episode's scene at [[Atlas Arena]], the entire song was later utilized at the arena in "[[Apotheosis (episode)|Apotheosis]]."<ref group="episodes" name="mccreary_caprica_apotheosis_caprica_abides">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-apotheosis/|title=BearMcCreary: Caprica - Apotheosis|accessdate=27 July 2025}}</ref>  

"Caprica Abides" was a collaboration between McCreary and writer [[Jane Espenson]], representing McCreary's approach to world-building through collaborative musical works.<ref group="soundtrack" name="mccreary_caprica_abides_espenson_collaboration">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/ |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref> In "[[Rebirth]]," the anthem was sung by [[Mack Donnelly|Mack "Mr. O Canada" Donnelly]] who frequently sang the Canadian National Anthem before [[Wikipedia:Vancouver Canucks|Vancouver Canucks]] games.<ref group="external" name="canucks_mack_donnelly">{{cite web|url=http://canucks.nhl.com/club/page.htm?id=58673|title=Mack Donnelly|accessdate=27 July 2025}}</ref> For the [[Soundtrack (Caprica series)|soundtrack]] version of the song, the vocals are performed by [[Steve Amerson]].

{| cellspacing="0" cellpadding="5" class="messagebox" align="center"
! class="infoboxheader" | '''Original lyrics by [[Jane Espenson]]:'''
|-
|Caprica let us celebrate <br />
Raise our hands despite the weight <br />
And all her joys we extol <br />
Caprica abides!<br />

Caprica let us persevere <br />
Blind ourselves to doubt and fear <br />
And to the burdens of the soul <br />
Caprica abides!<br />

Caprica the humble beast <br />
Nurtures more than she <br />
Who gave the twins their noble feast <br />
And saved them from the sea. <br />

Caprica let us tolerate <br />
Differences may separate, <br />
Yet form the bonds that make us whole. <br />

[[So say we all]], <br />
So say we all, <br />
Caprica abides!
|}

==== Tauron Gangster Rap ====

For a scene at the [[Ha'la'tha]] hangout in "[[Reins of a Waterfall]]" the producers initially intended use an "old-timey blues music, appropriate for the fedoras and suits on screen."  Bear McCreary however felt the scene warranted a much more modern take, instead creating a song "electronic and contemporary but also be uniquely Tauron, called "[[Voices of the Dead]]."  Performed by McCreary's brother [[Brendan McCreary]], "[[Voices of the Dead]]" features lyrics sung in Ancient Greek and acoustic fiddle solos by Paul Cartwright.<ref group="episodes" name="mccreary_caprica_reins_waterfall_voices_dead">{{cite web|url=http://www.bearmccreary.com/#blog/caprica/caprica-reins-of-a-waterfall/|title=BearMcCreary: Caprica - Reins of a Waterfall|accessdate=27 July 2025}}</ref>

This track was one of several source pieces McCreary produced to expand the audience's sense of the world, representing his approach of bringing in unique sounds to enhance the fictional universe.<ref group="soundtrack" name="mccreary_caprica_voices_dead_fictional_universe">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=There%20are%20many%20fun%20source,-pieces%20that%20I%20wrote |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

== Special Musical Works ==

=== Capricoperatica ===

Perhaps the most notable musical achievement of the series was "[[Capricoperatica]]," which McCreary described as "perhaps the most essential cut on the record."<ref group="soundtrack" name="mccreary_caprica_capricoperatica_essential_cut">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=Perhaps%20the%20most%20essential%20cut,-on%20the%20record |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref> This lyrical work for voices and chamber orchestra featured lyrics written by novelist [[Laura Kalpakian]] (McCreary's mother) and was performed by soprano [[Elissa Johnston]] and tenor [[Alessandro Juliani]], who also portrayed [[Felix Gaeta]] on ''Battlestar Galactica''.<ref group="soundtrack" name="mccreary_caprica_capricoperatica_kalpakian_juliani">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/ |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref> The piece was heard in the episode "[[End of Line]]" and became a centerpiece of the series soundtrack.

Most of the major themes from the [[Caprica pilot|pilot]] can be heard in the [[Caprica pilot|pilot]]'s end credit suite, released as part of the ''[[Soundtrack (Caprica pilot)|Caprica pilot soundtrack]]'' by [[La-La Land Records]] on June 16, 2009.<ref group="themes" name="mccreary_themes_caprica_pilot_end_credits">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> The first sound is Paul Cartwright's solo fiddle playing the Tauron Theme, followed by the chamber orchestra with the Graystone Theme at 0:25. At 1:02, after the theme is fully stated, the low strings enter with an ominous version of the Graystone Ostinato. A harp begins the Tauron Ostinato at 1:22, and a solo flute introduces the Tauron Theme at 1:30, with the orchestra building cascading variations. At 2:44, the strings and bassoons burst into an energetic version of the Daniel Ostinato that gradually fades out.<ref group="themes" name="mccreary_themes_caprica_pilot_credits_breakdown">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

=== Demo Tracks and Sketches ===

The ''Caprica'' series soundtrack marked only the second time McCreary allowed the release of his sketches and demos, following the three-CD set of ''[[w:Human_Target|Human Target]]''.<ref group="soundtrack" name="mccreary_caprica_sketches_human_target">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=marks%20only%20the%20second%20time,-I%27ve%20allowed%20for |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref> These included theme sketches for both the Main Series Theme and [[New Cap City]], which allowed McCreary to develop ideas without the constraints of matching picture, exploring "mood, energy and melody" freely.<ref group="soundtrack" name="mccreary_caprica_sketches_mood_energy">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=explore%20mood%2C%20energy%20and%20melody,-Generally%2C%20no%20one |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

McCreary included these materials specifically to reward the vocal fan community that campaigned for the album's release, explaining: "Generally, no one but the executive producer or director ever hears these sketches, and sometimes even they never hear them. I included sketches on this ''Caprica'' record because I wanted to reward fans with something extra special for staying so vocal about this one and making it possible for the record to be released."<ref group="soundtrack" name="mccreary_caprica_sketches_reward_fans">{{cite web |url=https://bearmccreary.com/caprica-series-soundtrack-album/#:~:text=I%20wanted%20to%20reward%20fans,-with%20something%20extra |title=Caprica Series Soundtrack Album |author=Bear McCreary |website=BearMcCreary.com |date=August 29, 2013 |access-date=May 14, 2019}}</ref>

== Behind the Scenes ==

=== Creative Collaboration ===

Director Jeffrey Reiner worked closely with McCreary throughout the [[Caprica pilot|pilot]]'s production, providing creative direction about the tone and character motivations. Reiner told McCreary that the [[Caprica pilot|pilot]] was "filled with the emotions of loss and the struggles with guilt," and wanted the music to "drive the story in an unrelenting manner, but evoke the inner emotions of the characters without falling into schmaltz."<ref group="themes" name="mccreary_themes_caprica_reiner_loss_guilt">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

Rather than trying to compensate for the characters' emotional ambiguity, McCreary embraced it with the score. Daniel Graystone and Joseph Adama are restrained characters, even during family crises, keeping their emotions hidden from peers and visible only to those closest to them. McCreary strove to "reach beneath their muted exteriors and reveal the longing, brooding emotions within."<ref group="themes" name="mccreary_themes_caprica_muted_exteriors_emotions">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref> Having taken his cue from the nuanced writing and acting performances, the score is "restrained and subtle, bittersweet and elegant," with sweeping emotional phrases reserved for only the most important moments.<ref group="themes" name="mccreary_themes_caprica_restrained_bittersweet">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

Reiner later reflected: "It's always nerve-wracking engaging in a new relationship with composer, but Bear erased any doubt when we talked story. He liked the ideas that I approached him with, but most importantly he seemed to have a deep understanding of the characters' inner lives. He also has a great command of an orchestra and an instinct for using the right instruments."<ref group="themes" name="mccreary_themes_caprica_reiner_inner_lives">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

After the scoring was completed, Reiner said: "Bear is a talented man with a strange name. I can't imagine the movie without his score."<ref group="themes" name="mccreary_themes_caprica_reiner_strange_name">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

=== Musical Personnel ===

Key musicians who contributed to the ''Caprica'' scores include:

* '''[[JoAnn Turovsky]]''' - harp on ''Caprica''<ref group="themes" name="mccreary_themes_caprica_turovsky_harp">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>
* '''[[Chris Bleth]]''' - put down his duduks and bansuris to play mostly orchestral woodwinds on ''Caprica'', including English Horn and Chinese membrane flute<ref group="themes" name="mccreary_themes_caprica_bleth_woodwinds">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>
* '''[[Paul Cartwright]]''' - acoustic fiddle for the Tauron Theme and electric violin for Tamara's Theme<ref group="themes" name="mccreary_themes_caprica_cartwright_fiddle">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>
* '''[[M.B. Gordy]]''' - nagado daiko and ethnic percussion for Cylon test scenes<ref group="themes" name="mccreary_themes_caprica_gordy_daiko">{{cite web |url=https://bearmccreary.com/the-themes-of-caprica/ |title=The Themes of Caprica |author=Bear McCreary |website=BearMcCreary.com |access-date=27 July 2025}}</ref>

== See Also ==

* [[Music of Battlestar Galactica (RDM)]]
* [[Soundtrack (Caprica pilot)]]
* [[Soundtrack (Caprica series)]]

== External Links ==

* [http://www.bearmccreary.com/ Bear McCreary's website]
* [http://www.bearmccreary.com/blog/ Bear McCreary's blog]
* [https://bearmccreary.com/caprica-series-soundtrack-album/ Bear McCreary's blog entry] about the ''Caprica'' series soundtrack
* [https://bearmccreary.com/the-themes-of-caprica/ "The Themes of Caprica"] - Bear McCreary's detailed analysis of the pilot's musical themes

== References ==

=== Main Themes Analysis ===
{{reflist|group=themes}}

=== Soundtrack Album ===
{{reflist|group=soundtrack}}

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

=== Commentary and Interviews ===
{{reflist|group=commentary}}

=== External Sources ===
{{reflist|group=external}}

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