The Music - Revision history

Joe Beaudoin Jr. at 17:52, 25 December 2025

2025-12-25T17:52:51Z

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	{{Spoiler}}		{{Spoiler}}

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	{{Quote		{{Quote
	\| context = At the end of "[[Crossroads, Part II]]", the song starts playing as background music for the viewers to hear. The lyrics are a recurring motif throughout the [[Season 3]] finale:		\| context = At the end of "[[Crossroads, Part II]]," the song starts playing as background music for the viewers to hear. The lyrics are a recurring motif throughout the [[Season 3]] finale:
	\| text = There must be some way out of here<br>		\| text = There must be some way out of here<br>
	Said the joker to the thief<br>		Said the joker to the thief<br>
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	* The song is '''not''' intended to indicate that the Colonials have picked up an Earth communication. Series executive producer [[Ronald D. Moore]] considers the song to be an "invention" created by a Colonial citizen in a curious parallel to what developed on Earth.		* The song is '''not''' intended to indicate that the Colonials have picked up an Earth communication. Series executive producer [[Ronald D. Moore]] considers the song to be an "invention" created by a Colonial citizen in a curious parallel to what developed on Earth.
	** Moore offers that "things that happened on ''Galactica'' were tied into our reality here on Earth in some way, in the past or the future, or some other connection."<ref>{{cite_web\|url=http://www.avclub.com/content/interview/ronald_d_moore\|title=AV Club interview with Ronald D. Moore\|accessdate=2007-04-22\|language=English}}</ref> In the series finale, it's revealed the events of the series transpired 150,000 years ago.		** Moore offers that "things that happened on ''Galactica'' were tied into our reality here on Earth in some way, in the past or the future, or some other connection."<ref>{{cite_web\|url=http://www.avclub.com/content/interview/ronald_d_moore\|title=AV Club interview with Ronald D. Moore\|accessdate=2007-04-22\|language=English}}</ref> {{Spoilli\|In the series finale, it's revealed the events of the series transpired 150,000 years ago.}}
	** Moore's point of view mirrors Dylan's own early philosophy on songwriting:		** Moore's point of view mirrors Dylan's own early philosophy on songwriting:
	{{Quote		{{Quote
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	==References==		==References==
	{{reflist}}</tabber>		{{reflist}}

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	[[Category:A to Z]]		[[Category:A to Z]]

Joe Beaudoin Jr. at 17:47, 25 December 2025

2025-12-25T17:47:32Z

← Older revision		Revision as of 17:47, 25 December 2025
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	{{Quote		{{Quote
	\| context = At the end of ~~{{TRS\|~~Crossroads, Part II}}, the song starts playing as background music for the viewers to hear. The lyrics are a recurring motif throughout the [[Season 3]] finale:		\| context = At the end of "[[Crossroads, Part II]]", the song starts playing as background music for the viewers to hear. The lyrics are a recurring motif throughout the [[Season 3]] finale:
	\| text = There must be some way out of here<br>		\| text = There must be some way out of here<br>
	Said the joker to the thief<br>		Said the joker to the thief<br>
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	==References==		==References==
	{{reflist}}		{{reflist}}</tabber>

	</tabber>

	[[Category:A to Z]]		[[Category:A to Z]]

Joe Beaudoin Jr. at 17:44, 25 December 2025

2025-12-25T17:44:21Z

Show changes

Joe Beaudoin Jr.: /* Notes */

2025-12-25T17:37:42Z

Notes

← Older revision		Revision as of 17:37, 25 December 2025
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	\| sign = Christopher Ricks		\| sign = Christopher Ricks
	}}		}}
	** Several people have pointed out that Dylan's lyrics echo lines in the [[w:Book of Isaiah\|Book of Isaiah]], Chapter 21, verses 5-9:
			* Several people have pointed out that Dylan's lyrics echo lines in the [[w:Book of Isaiah\|Book of Isaiah]], Chapter 21, verses 5-9:
	{{Quote		{{Quote
	\| text = Prepare the table, watch in the watchtower, eat, drink: arise ye princes, and prepare the shield. For thus hath the Lord said unto me, Go set a watchman, let him declare what he seeth. [...] And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen, and all the graven images of her gods he hath broken unto the ground.		\| text = Prepare the table, watch in the watchtower, eat, drink: arise ye princes, and prepare the shield. For thus hath the Lord said unto me, Go set a watchman, let him declare what he seeth. [...] And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen, and all the graven images of her gods he hath broken unto the ground.

Joe Beaudoin Jr.: /* Notes */

2025-12-25T17:37:10Z

Notes

Show changes

Joe Beaudoin Jr.: /* "All Along the Watchtower" */

2025-12-25T17:26:25Z

"All Along the Watchtower"

← Older revision		Revision as of 17:26, 25 December 2025
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	{{Quote		{{Quote
	\| context = At the end of ~~the episode~~, the song starts playing as background music for the viewers to hear. The lyrics are a recurring motif throughout the finale:		\| context = At the end of "[[Crossroads, Part II]]", the song starts playing as background music for the viewers to hear. The lyrics are a recurring motif throughout the [[Season 3]] finale:
	\| text =		\| text = There must be some way out of here<br>
	There must be some way out of here<br>
	Said the joker to the thief<br>		Said the joker to the thief<br>
	There's too much confusion<br>		There's too much confusion<br>
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	All along the watchtower<br>		All along the watchtower<br>
	All along the watchtower		All along the watchtower
	\| sign = [[Bear McCreary]] ''(arrangement)''		\| sign = [[Bear McCreary]] ''(arrangement)'', [[Brendan McCreary]] ''(vocals)''
	}}		}}

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	{{Dialogue		{{Dialogue
	\| context = Several of the song's lines appear in dialogue throughout the episode:		\| context = Several of the song's lines appear in dialogue throughout the episode:
	\| lines =		\| lines = '''[[Samuel Anders\|Anders]]:''' That song you're hummin'. What is that?
	'''[[Samuel Anders\|Anders]]:''' That song you're hummin'. What is that?

	'''[[Galen Tyrol\|Tyrol]]:''' Oh, uh. Ah you know I don't even know, it's just something I can't get outta my head. '''Some way outta here'''.		'''[[Galen Tyrol\|Tyrol]]:''' Oh, uh. Ah you know I don't even know, it's just something I can't get outta my head. '''Some way outta here'''.
			\| source = "[[Crossroads, Part II]]"
	}}		}}

	{{Dialogue		{{Dialogue
	\| lines =		\| lines = '''{{callsign\|Racetrack}}:''' Yo, Anders! Do you need a frakking invitation? Move it!
	'''{{callsign\|Racetrack}}:''' Yo, Anders! Do you need a frakking invitation? Move it!

	'''[[Samuel Anders\|Anders]]:''' Alright. '''No reason to get excited'''.		'''[[Samuel Anders\|Anders]]:''' Alright. '''No reason to get excited'''.
			\| source = "[[Crossroads, Part II]]"
	}}		}}

	{{Dialogue		{{Dialogue
	\| lines =		\| lines = '''[[Saul Tigh]]:''' You'll look into it? You'll look into it? I am here telling you there is Cylon sabotage aboard our ship.
	'''[[Saul Tigh]]:''' You'll look into it? You'll look into it? I am here telling you there is Cylon sabotage aboard our ship.

	'''[[William Adama]]:''' Sabotage? With music?		'''[[William Adama]]:''' Sabotage? With music?

	'''Saul Tigh:''' I know, I know. I can't quite understand it myself. '''There's too much confusion'''.		'''Saul Tigh:''' I know, I know. I can't quite understand it myself. '''There's too much confusion'''.
			\| source = "[[Crossroads, Part II]]"
	}}		}}

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	\| text = '''There must be some kinda way out of here.'''		\| text = '''There must be some kinda way out of here.'''
	\| sign = [[Saul Tigh]]		\| sign = [[Saul Tigh]]
			\| source = "[[Crossroads, Part II]]"
	}}		}}

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	\| text = '''I can't get no relief.'''		\| text = '''I can't get no relief.'''
	\| sign = [[Tory Foster]]		\| sign = [[Tory Foster]]
			\| source = "[[Crossroads, Part II]]"
	}}		}}

Joe Beaudoin Jr. at 17:18, 25 December 2025

2025-12-25T17:18:54Z

← Older revision		Revision as of 17:18, 25 December 2025
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	The four are able to assemble the lyric fragments with the intact music to form a strange song. The musical experience is associated with a "switch going off" in the minds of the four, who suddenly become aware that they are [[Cylons (RDM)\|Cylons]]. The source or cause of the music is not known, but [[Final Five]] Cylon [[Samuel Anders]] recalls that in a past life on [[Earth (RDM)\|Earth]], he wrote the song<ref>In the commentary podcast for "Sometimes a Great Notion," Ronald D. Moore explains that Anders wrote the song in ''Galactica'' universe, and acknowledges that he and the writers & editors failed to adequately get that across to the audience.</ref> and used to play it for the woman he loved and his friends {{TRS\|Crossroads, Part II\|Sometimes a Great Notion}}.		The four are able to assemble the lyric fragments with the intact music to form a strange song. The musical experience is associated with a "switch going off" in the minds of the four, who suddenly become aware that they are [[Cylons (RDM)\|Cylons]]. The source or cause of the music is not known, but [[Final Five]] Cylon [[Samuel Anders]] recalls that in a past life on [[Earth (RDM)\|Earth]], he wrote the song<ref>In the commentary podcast for "Sometimes a Great Notion," Ronald D. Moore explains that Anders wrote the song in ''Galactica'' universe, and acknowledges that he and the writers & editors failed to adequately get that across to the audience.</ref> and used to play it for the woman he loved and his friends {{TRS\|Crossroads, Part II\|Sometimes a Great Notion}}.

	~~At the end of the episode the song starts playing as background music for the viewers to hear. These are the complete lyrics that are sung:~~		== Music ==

	~~:''There must be some way out of here''~~		=== "All Along the Watchtower" ===
	~~:''Said~~ the ~~joker to the thief''~~
	~~:''There's too much confusion''~~
	~~:''I can't get no relief''~~
	~~:''Businessmen they drink my wine''~~
	~~:''Plowmen dig my earth''~~
	~~:''None of them along the line''~~
	~~:''Know what any of it is worth''~~

	:~~''No reason to get excited''~~		{{Quote
	~~:''The thief he kindly spoke''~~		\| context = At the end of the episode, the song starts playing as background music for the viewers to hear. The lyrics are a recurring motif throughout the finale:
	~~:''~~There ~~are many~~ here ~~among us''~~		\| text =
	~~:''Who feel that life is but a joke'~~'		There must be some way out of here<br>
	~~:''But you and~~ I~~, we've been through that'~~'		Said the joker to the thief<br>
	~~:''And this is not our fate''~~		There's too much confusion<br>
	~~:''So let us not talk falsely now''~~		I can't get no relief<br>
	~~:''The hour~~ is ~~getting late''~~		Businessmen they drink my wine<br>
			Plowmen dig my earth<br>
			None of them along the line<br>
			Know what any of it is worth<br><br>

	~~:''All along the watchtower'~~'		No reason to get excited<br>
	~~:''All along the watchtower''~~		The thief he kindly spoke<br>
			There are many here among us<br>
			Who feel that life is but a joke<br>
			But you and I, we've been through that<br>
			And this is not our fate<br>
			So let us not talk falsely now<br>
			The hour is getting late<br><br>

	~~Several of~~ the ~~lines appear in dialogue throughout~~ the ~~episode:~~		All along the watchtower<br>
			All along the watchtower
			\| sign = [[Bear McCreary]] ''(arrangement)''
			}}

	~~:Anders: That song you're hummin'. What is that?~~
	~~:Tyrol: Oh, uh. Ah you know I don't even know, it's just something I can't get outta my head. '''Some way outta here'''.~~

	~~:Racetrack: Yo, Anders! Do you need a frakking invitation? Move it!~~		== Noteworthy Dialogue ==
	~~:Anders: Alright. '''No reason to get excited'''.~~

	:~~Saul Tigh: You'll look into it? You'll look into it? I am here telling you there is Cylon sabotage aboard our ship.~~		{{Dialogue
	~~:William Adama: Sabotage? With music?~~		\| context = Several of the song's lines appear in dialogue throughout the episode:
	~~:Saul Tigh: I know, I know. I can~~'~~t quite understand it myself.~~ '''~~There~~'~~s too much confusion~~'''.		\| lines =
			'''[[Samuel Anders\|Anders]]:''' That song you're hummin'. What is that?

	:~~Saul Tigh (to self~~, ~~after Adama exits):~~ '''~~There must be some kinda~~ way ~~out of~~ here.'''		'''[[Galen Tyrol\|Tyrol]]:''' Oh, uh. Ah you know I don't even know, it's just something I can't get outta my head. '''Some way outta here'''.
			}}

	:Tory Foster (while washing her hands): '''I can't get no relief.'''		{{Dialogue
			\| lines =
			'''{{callsign\|Racetrack}}:''' Yo, Anders! Do you need a frakking invitation? Move it!

			'''[[Samuel Anders\|Anders]]:''' Alright. '''No reason to get excited'''.
			}}

			{{Dialogue
			\| lines =
			'''[[Saul Tigh]]:''' You'll look into it? You'll look into it? I am here telling you there is Cylon sabotage aboard our ship.

			'''[[William Adama]]:''' Sabotage? With music?

			'''Saul Tigh:''' I know, I know. I can't quite understand it myself. '''There's too much confusion'''.
			}}

			{{Quote
			\| context = Saul Tigh (to self, after Adama exits):
			\| text = '''There must be some kinda way out of here.'''
			\| sign = [[Saul Tigh]]
			}}

			{{Quote
			\| context = [[Tory Foster]] (while washing her hands):
			\| text = '''I can't get no relief.'''
			\| sign = [[Tory Foster]]
			}}

	Since their awakening was precipitated by hearing this music, Anders, Foster, Tigh, and Tyrol become sensitive to mentions of music by others, believing they may be clues to the identity of the then-unknown member of the Final Five. These include [[Gaius Baltar]] using music as a metaphor for spiritual awareness {{TRS\|Six of One}}, an idea [[Virtual Six]] told Baltar of in his first vision of the [[Opera House]] {{TRS\|Kobol's Last Gleaming, Part II}}, [[Number Two]]'s description of a subtle music underscoring reality that only a few individuals, including [[Kara Thrace]] could hear {{TRS\|Faith}} and [[Felix Gaeta]] singing to distract himself from the pain of his amputated leg {{TRS\|Guess What's Coming to Dinner?}}.		Since their awakening was precipitated by hearing this music, Anders, Foster, Tigh, and Tyrol become sensitive to mentions of music by others, believing they may be clues to the identity of the then-unknown member of the Final Five. These include [[Gaius Baltar]] using music as a metaphor for spiritual awareness {{TRS\|Six of One}}, an idea [[Virtual Six]] told Baltar of in his first vision of the [[Opera House]] {{TRS\|Kobol's Last Gleaming, Part II}}, [[Number Two]]'s description of a subtle music underscoring reality that only a few individuals, including [[Kara Thrace]] could hear {{TRS\|Faith}} and [[Felix Gaeta]] singing to distract himself from the pain of his amputated leg {{TRS\|Guess What's Coming to Dinner?}}.

Joe Beaudoin Jr. at 03:59, 27 July 2025

2025-07-27T03:59:05Z

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	:Tory Foster (while washing her hands): '''I can't get no relief.'''		:Tory Foster (while washing her hands): '''I can't get no relief.'''

	Since their awakening was precipitated by hearing this music, Anders, Foster, Tigh, and Tyrol become sensitive to mentions of music by others, believing they may be clues to the identity of the then-unknown member of the Final Five. These include [[Gaius Baltar]] using music as a metaphor for spiritual awareness {{TRS\|Six of One}}, an idea [[Virtual Six]] told Baltar of in his first vision of the [[Opera House]] {{TRS\|Kobol's Last Gleaming, Part II}}, [[Number Two]]'s description of a subtle music underscoring reality that only a few individuals, including [[Kara Thrace]] could hear {{TRS\|Faith}} and [[Felix Gaeta]] singing to distract himself from the pain of his amputated leg ~~([[~~Guess What's Coming To Dinner?~~]])~~.		Since their awakening was precipitated by hearing this music, Anders, Foster, Tigh, and Tyrol become sensitive to mentions of music by others, believing they may be clues to the identity of the then-unknown member of the Final Five. These include [[Gaius Baltar]] using music as a metaphor for spiritual awareness {{TRS\|Six of One}}, an idea [[Virtual Six]] told Baltar of in his first vision of the [[Opera House]] {{TRS\|Kobol's Last Gleaming, Part II}}, [[Number Two]]'s description of a subtle music underscoring reality that only a few individuals, including [[Kara Thrace]] could hear {{TRS\|Faith}} and [[Felix Gaeta]] singing to distract himself from the pain of his amputated leg {{TRS\|Guess What's Coming to Dinner?}}.

	The music is heard again during a standoff between ''Galactica'' and the rebel [[Basestar (RDM)\|basestar]]. It draws Tigh, Tyrol and Anders to [[Viper 8757\|Kara Thrace's Viper]], which causes the three to believe there's something special about it. Thrace investigates their claim, and discovers a clue that ultimately leads the Fleet to [[Earth (RDM)\|Earth]]: a Colonial emergency locator beacon signal. Upon the Fleet's arrival at Earth, they land and survey a radiated wasteland of crumbled skyscrapers and a collapsed bridge <ref>with which many viewers perceived a [http://img406.imageshack.us/img406/913/bsgbrooklynbridgeyx0.jpg similarity to real-world New York City], as viewed from near the east tower of the Brooklyn Bridge, [http://maps.google.com/maps?ie=UTF8&q=watchtower&near=Brooklyn,+NY&fb=1&t=h&ll=40.702879,-73.994551&spn=0.003221,0.00559&z=17 specifically the site] of the [[w:Jehovah's Witnesses\|Jehovah's Witnesses]] office building known as "[http://www.kelebekler.com/cesnur/txt/sedewts.jpg The Watchtower]"</ref> {{TRS\|Revelations}}.		The music is heard again during a standoff between ''Galactica'' and the rebel [[Basestar (RDM)\|basestar]]. It draws Tigh, Tyrol and Anders to [[Viper 8757\|Kara Thrace's Viper]], which causes the three to believe there's something special about it. Thrace investigates their claim, and discovers a clue that ultimately leads the Fleet to [[Earth (RDM)\|Earth]]: a Colonial emergency locator beacon signal. Upon the Fleet's arrival at Earth, they land and survey a radiated wasteland of crumbled skyscrapers and a collapsed bridge <ref>with which many viewers perceived a [http://img406.imageshack.us/img406/913/bsgbrooklynbridgeyx0.jpg similarity to real-world New York City], as viewed from near the east tower of the Brooklyn Bridge, [http://maps.google.com/maps?ie=UTF8&q=watchtower&near=Brooklyn,+NY&fb=1&t=h&ll=40.702879,-73.994551&spn=0.003221,0.00559&z=17 specifically the site] of the [[w:Jehovah's Witnesses\|Jehovah's Witnesses]] office building known as "[http://www.kelebekler.com/cesnur/txt/sedewts.jpg The Watchtower]"</ref> {{TRS\|Revelations}}.
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	Later Kara starts playing a song with [[Slick\|the composer]] at the piano in [[Joe's Bar]]. It was a song that when she was little made her happy and sad. [[Hera Agathon\|Hera]] drew a picture of some dots and gave it to her. Thrace realizes that the dots represent notes. She and the composer play the notes and they turn out to be The Music. Ellen, Saul, and Tory hear it and are shocked especially at the fact that Hera was able to draw the notes to it. The significance of this is unknown, but the composer disappeared during the song and it is indicated that he was some kind of vision of [[Dreilide Thrace\|Kara's father]]. Though she is present to hear the song, and has regained her memories of her former life, Final Five member [[Ellen Tigh]] seems not to understand fully the implications of the song either and if she knows when they last heard it and in what context, she does not say.		Later Kara starts playing a song with [[Slick\|the composer]] at the piano in [[Joe's Bar]]. It was a song that when she was little made her happy and sad. [[Hera Agathon\|Hera]] drew a picture of some dots and gave it to her. Thrace realizes that the dots represent notes. She and the composer play the notes and they turn out to be The Music. Ellen, Saul, and Tory hear it and are shocked especially at the fact that Hera was able to draw the notes to it. The significance of this is unknown, but the composer disappeared during the song and it is indicated that he was some kind of vision of [[Dreilide Thrace\|Kara's father]]. Though she is present to hear the song, and has regained her memories of her former life, Final Five member [[Ellen Tigh]] seems not to understand fully the implications of the song either and if she knows when they last heard it and in what context, she does not say.

	After being fatally injured by a hull breach, a dying Eight's last words are "too much confusion"~~. ([[~~Islanded in a Stream of Stars~~]])~~		After being fatally injured by a hull breach, a dying Eight's last words are "too much confusion" {{TRS\|Islanded in a Stream of Stars}}.

	==Deriving Earth's Coordinates==		==Deriving Earth's Coordinates==
	Later Kara tries to get answers from Anders, but fails and attempts to figure out some kind of meaning for it by assigning numbers to the notes, but that fails as well. Later, when she is ordered to jump ''Galactica'' away from the Colony and has no idea where the Fleet is, she gets an idea and uses the numbers from The Music (with The Music playing over the scene) as the coordinates to jump to, saying "there must be some kind of way out of here." She jumps ''Galactica'' there and they find a habitable planet for the Fleet to settle on that they name Earth.<blockquote>According to series composer [[Bear McCreary]], Kara derives the coordinates by assigning each note in the [[Final Four Theme]] a number based on the diatonic scale system, where each note corresponds to its scale degree (1 through 7). This approach was chosen as the most intuitive solution that someone with Kara's musical background would arrive at, as basic ear training exercises teach students to think of the tonic as '1', the second scale degree as '2', and so forth.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref></blockquote><blockquote>The melody generates the coordinates: 112 carom 365 dist 365321. McCreary worked closely with the series' science advisor [[Kevin Grazier]] to ensure the coordinates would be mathematically valid for stellar navigation, requiring two angular measurements and a distance value. The process became so complex that McCreary began to empathize with Kara as she struggled to crack the code in the music.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref></blockquote>150,000 years later, a new rendition of the song is heard on a radio on contemporary Earth. It is Jimi Hendrix's version of "All Along The Watchtower".		Later Kara tries to get answers from Anders, but fails and attempts to figure out some kind of meaning for it by assigning numbers to the notes, but that fails as well. Later, when she is ordered to jump ''Galactica'' away from the Colony and has no idea where the Fleet is, she gets an idea and uses the numbers from The Music (with The Music playing over the scene) as the coordinates to jump to, saying "there must be some kind of way out of here." She jumps ''Galactica'' there and they find a habitable planet for the Fleet to settle on that they name Earth.<blockquote>According to series composer [[Bear McCreary]], Kara derives the coordinates by assigning each note in the [[Final Four Theme]] a number based on the diatonic scale system, where each note corresponds to its scale degree (1 through 7). This approach was chosen as the most intuitive solution that someone with Kara's musical background would arrive at, as basic ear training exercises teach students to think of the tonic as '1', the second scale degree as '2', and so forth.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref></blockquote><blockquote>The melody generates the coordinates: 112 carom 365 dist 365321. McCreary worked closely with the series' science advisor [[Kevin Grazier]] to ensure the coordinates would be mathematically valid for stellar navigation, requiring two angular measurements and a distance value. The process became so complex that McCreary began to empathize with Kara as she struggled to crack the code in the music.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref></blockquote>150,000 years later, a new rendition of the song is heard on a radio on contemporary Earth. It is Jimi Hendrix's version of "All Along The Watchtower" {{TRS\|Daybreak, Part II}}.

	==Notes==		==Notes==

Joe Beaudoin Jr. at 03:56, 27 July 2025

2025-07-27T03:56:17Z

← Older revision		Revision as of 03:56, 27 July 2025
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	The Music recurs again and again throughout history. [[Samuel Anders]], [[Dreilide Thrace]] and [[Hera Agathon]] have all drawn versions of it from the same cosmic source of inspiration.		'''The Music<ref>{{bsgwiki term}}</ref>''' recurs again and again throughout history. [[Samuel Anders]], [[Dreilide Thrace]] and [[Hera Agathon]] have all drawn versions of it from the same cosmic source of inspiration.

	As the [[The Fleet (RDM)\|Fleet]] approaches the [[Ionian nebula]], four people, [[Saul Tigh]], [[Samuel Anders]], [[Tory Foster]] and [[Galen Tyrol]], begin hearing fragments of strange music that only they can hear. The music becomes more distinct and distracting as the Fleet gets closer to the nebula.		As the [[The Fleet (RDM)\|Fleet]] approaches the [[Ionian nebula]], four people, [[Saul Tigh]], [[Samuel Anders]], [[Tory Foster]] and [[Galen Tyrol]], begin hearing fragments of strange music that only they can hear. The music becomes more distinct and distracting as the Fleet gets closer to the nebula.

	Once the Fleet arrives at the Ionian nebula, ~~'''~~the music~~'''<ref>{{bsgwiki term}}</ref>~~ reaches a piercing shrill. The Colonials affected not only hear the music complete, but begin to add lyrics as well. As the Fleet plunges into darkness, losing electrical power for reasons unknown, the music compels the four to meet in an isolated room.		Once the Fleet arrives at the Ionian nebula, the music reaches a piercing shrill. The Colonials affected not only hear the music complete, but begin to add lyrics as well. As the Fleet plunges into darkness, losing electrical power for reasons unknown, the music compels the four to meet in an isolated room.

	The four are able to assemble the lyric fragments with the intact music to form a strange song. The musical experience is associated with a "switch going off" in the minds of the four, who suddenly become aware that they are [[Cylons (RDM)\|Cylons]]. The source or cause of the music is not known, but [[Final Five]] Cylon [[Samuel Anders]] recalls that in a past life on [[Earth (RDM)\|Earth]], he wrote the song<ref>In the commentary podcast for "Sometimes a Great Notion," Ronald D. Moore explains that Anders wrote the song in ''Galactica'' universe, and acknowledges that he and the writers & editors failed to adequately get that across to the audience.</ref> and used to play it for the woman he loved and his friends ~~([[~~Crossroads, Part II~~]], [[~~Sometimes a Great Notion~~]])~~.		The four are able to assemble the lyric fragments with the intact music to form a strange song. The musical experience is associated with a "switch going off" in the minds of the four, who suddenly become aware that they are [[Cylons (RDM)\|Cylons]]. The source or cause of the music is not known, but [[Final Five]] Cylon [[Samuel Anders]] recalls that in a past life on [[Earth (RDM)\|Earth]], he wrote the song<ref>In the commentary podcast for "Sometimes a Great Notion," Ronald D. Moore explains that Anders wrote the song in ''Galactica'' universe, and acknowledges that he and the writers & editors failed to adequately get that across to the audience.</ref> and used to play it for the woman he loved and his friends {{TRS\|Crossroads, Part II\|Sometimes a Great Notion}}.

	At the end of the episode the song starts playing as background music for the viewers to hear. These are the complete lyrics that are sung:		At the end of the episode the song starts playing as background music for the viewers to hear. These are the complete lyrics that are sung:
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	After being fatally injured by a hull breach, a dying Eight's last words are "too much confusion". ([[Islanded in a Stream of Stars]])		After being fatally injured by a hull breach, a dying Eight's last words are "too much confusion". ([[Islanded in a Stream of Stars]])

	Later Kara tries to get answers from Anders, but fails and attempts to figure out some kind of meaning for it by assigning numbers to the notes, but that fails as well. Later, when she is ordered to jump ''Galactica'' away from the Colony and has no idea where the Fleet is, she gets an idea and uses the numbers from The Music (with The Music playing over the scene) as the ~~coordinants~~ to jump to, saying "there must be some kind of way out of here." She jumps ''Galactica'' there and they find a habitable planet for the Fleet to settle on that they name Earth.		==Deriving Earth's Coordinates==
			Later Kara tries to get answers from Anders, but fails and attempts to figure out some kind of meaning for it by assigning numbers to the notes, but that fails as well. Later, when she is ordered to jump ''Galactica'' away from the Colony and has no idea where the Fleet is, she gets an idea and uses the numbers from The Music (with The Music playing over the scene) as the coordinates to jump to, saying "there must be some kind of way out of here." She jumps ''Galactica'' there and they find a habitable planet for the Fleet to settle on that they name Earth.<blockquote>According to series composer [[Bear McCreary]], Kara derives the coordinates by assigning each note in the [[Final Four Theme]] a number based on the diatonic scale system, where each note corresponds to its scale degree (1 through 7). This approach was chosen as the most intuitive solution that someone with Kara's musical background would arrive at, as basic ear training exercises teach students to think of the tonic as '1', the second scale degree as '2', and so forth.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref></blockquote><blockquote>The melody generates the coordinates: 112 carom 365 dist 365321. McCreary worked closely with the series' science advisor [[Kevin Grazier]] to ensure the coordinates would be mathematically valid for stellar navigation, requiring two angular measurements and a distance value. The process became so complex that McCreary began to empathize with Kara as she struggled to crack the code in the music.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref></blockquote>150,000 years later, a new rendition of the song is heard on a radio on contemporary Earth. It is Jimi Hendrix's version of "All Along The Watchtower".
	150,000 years later, a new rendition of the song is heard on a radio on contemporary Earth. It is Jimi Hendrix's version of "All Along The Watchtower".

	==Notes==		==Notes==
	*The music is, indeed, a version of [[w:Bob Dylan\|Bob Dylan]]'s song, "[[w:All Along The Watchtower\|All Along the Watchtower]]," specially arranged by series composer [[Bear McCreary]], the lyrics sung by his brother, [[Brendan McCreary]] (known professionally as Bt4) <ref>{{cite_web\|url=http://www.bearmccreary.com/blog/?p=164\|title=Bear McCreary's Blog\|date=March 25, 2007\|accessdate=\|last=\|first=\|format=\|language=English}}</ref>. The song is available on the [[Soundtrack (Season 3)\|Season 3 soundtrack]].		*The music is, indeed, a version of [[w:Bob Dylan\|Bob Dylan]]'s song, "[[w:All Along The Watchtower\|All Along the Watchtower]]," specially arranged by series composer [[Bear McCreary]], the lyrics sung by his brother, [[Brendan McCreary]] (known professionally as Bt4) <ref>{{cite_web\|url=http://www.bearmccreary.com/blog/?p=164\|title=Bear McCreary's Blog\|date=March 25, 2007\|accessdate=\|last=\|first=\|format=\|language=English}}</ref>. The song is available on the [[Soundtrack (Season 3)\|Season 3 soundtrack]].
			**McCreary described the Final Four Theme as being the only new melodic idea he wrote for the "Daybreak" episodes, with the rest of the score comprised of variations and developments of familiar themes.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref>
	**The song is apocalyptic in nature.		**The song is apocalyptic in nature.
	**Christopher Ricks has commented that "All Along the Watchtower" is an example of Dylan's audacity at manipulating chronological time: "at the conclusion of the last verse, it is as if the song [[Pythia\|bizarrely begins at last, and as if the myth began again]]."		**Christopher Ricks has commented that "All Along the Watchtower" is an example of Dylan's audacity at manipulating chronological time: "at the conclusion of the last verse, it is as if the song [[Pythia\|bizarrely begins at last, and as if the myth began again]]."
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	**:''And he saw a chariot with a couple of horsemen, a chariot of asses, and a chariot of camels; and he hearkened diligently with much heed.''		**:''And he saw a chariot with a couple of horsemen, a chariot of asses, and a chariot of camels; and he hearkened diligently with much heed.''
	**:''...And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen, and all the graven images of her gods he hath broken unto the ground.''"		**:''...And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen, and all the graven images of her gods he hath broken unto the ground.''"
	*The song is ''not'' intended to indicate that the Colonials have picked up an Earth communication. Series executive producer [[Ron D. Moore]] considers the song to be an invention created by a Colonial citizen in a curious parallel to what had or will develop on Earth. The series creators had intentionally avoided citing whether ''Battlestar Galactica'' occured in the series' [[Earth (RDM)\|Earth]]'s past, present, or future. Moore offers that "things that happened on ''Galactica'' were tied into our reality here on Earth in some way, in the past or the future, or some other connection"<ref>{{cite_web\|url=http://www.avclub.com/content/interview/ronald_d_moore\|title=AV Club interview with Ronald D. Moore\|date=\|accessdate=April 22, 2007\|last=\|first=\|format=\|language=English}}</ref>. In the series finale, it's revealed the events of the series transpired 150,000 years ago.		*The song is ''not'' intended to indicate that the Colonials have picked up an Earth communication. Series executive producer [[Ron D. Moore]] considers the song to be an invention created by a Colonial citizen in a curious parallel to what had or will develop on Earth. The series creators had intentionally avoided citing whether ''Battlestar Galactica'' occured in the series' [[Earth (RDM)\|Earth]]'s past, present, or future. Moore offers that "things that happened on ''Galactica'' were tied into our reality here on Earth in some way, in the past or the future, or some other connection"<ref>{{cite_web\|url=http://www.avclub.com/content/interview/ronald_d_moore\|title=AV Club interview with Ronald D. Moore\|date=\|accessdate=April 22, 2007\|last=\|first=\|format=\|language=English}}</ref>. {{Spoilli\|In the [[Daybreak, Part II\|series finale]], it's revealed the events of the series transpired 150,000 years ago.}}
	*Ron D Moore's point of view actually mirrors what Bob Dylan himself had said about his songwriting early in his career: "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.'"<ref><i>Sing Out!, October–November 1962</i></ref>		*Ron D. Moore's point of view actually mirrors what Bob Dylan himself had said about his songwriting early in his career: "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.'"<ref><i>Sing Out!, October–November 1962</i></ref>
	*Over 25 notable bands have performed cover versions of "All Along The Watchtower"; the definitive cover was performed by [[w:The Jimi Hendrix Experience\|The Jimi Hendrix Experience]]. Many people are unaware that his version was not the original <ref>{{cite_web\|url=http://www.dmbalmanac.com/SongStats.aspx?sid=96\|title=Song Stats for ''All Along the Watchtower'' at DMBAlmanac.com\|date=\|accessdate=April 22, 2007\|last=\|first=\|format=\|language=English}}</ref>.		*Over 25 notable bands have performed cover versions of "All Along The Watchtower"; the definitive cover was performed by [[w:The Jimi Hendrix Experience\|The Jimi Hendrix Experience]]. Many people are unaware that his version was not the original.<ref>{{cite_web\|url=http://www.dmbalmanac.com/SongStats.aspx?sid=96\|title=Song Stats for ''All Along the Watchtower'' at DMBAlmanac.com\|date=\|accessdate=April 22, 2007\|last=\|first=\|format=\|language=English}}</ref>
	*Bob Dylan has indicated that the events in the song's lyrics are "in a rather reverse order," beginning logically in time with the "All Along The Watchtower" verse and ending with the now-famous opening lines, "'There must be some way out of here,' said the Joker to the Thief." <ref name="dylanlyrics">http://bobdylan.com/songs/watchtower.html</ref>		*Bob Dylan has indicated that the events in the song's lyrics are "in a rather reverse order," beginning logically in time with the "All Along The Watchtower" verse and ending with the now-famous opening lines, "'There must be some way out of here,' said the Joker to the Thief." <ref name="dylanlyrics">http://bobdylan.com/songs/watchtower.html</ref>
	*The version used in the series omits the final stanza, though the full song (including this stanza) is included in the season soundtrack:		*The version used in the series omits the final stanza, though the full song (including this stanza) is included in the season soundtrack:
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	*The jump coordinates that Kara Thrace deduces from the music, 1123,6536,5321. If treated as the notes of a Phrygian mode scale, with "1" representing the root note, a tune is played identical to that which is heard as Thrace keys in the jump coordinates.		*The jump coordinates that Kara Thrace deduces from the music, 1123,6536,5321. If treated as the notes of a Phrygian mode scale, with "1" representing the root note, a tune is played identical to that which is heard as Thrace keys in the jump coordinates.
	*The first four numbers of Kara Thrace's jump coordinates—1, 1, 2, 3—are the first four numbers of the most common Fibonacci Sequence (starting with 1, 1), where each number is the the sum of the previous two. The last four numbers in reverse—1, 2, 3, 5—are the start of another Fibonacci Sequence (starting with 1, 2).		*The first four numbers of Kara Thrace's jump coordinates—1, 1, 2, 3—are the first four numbers of the most common Fibonacci Sequence (starting with 1, 1), where each number is the the sum of the previous two. The last four numbers in reverse—1, 2, 3, 5—are the start of another Fibonacci Sequence (starting with 1, 2).
			*In the series finale, the use of Jimi Hendrix's version of "All Along the Watchtower" was intended to underscore the concept that the song itself is an ethereal presence that becomes known to selected individuals across the universe and over the eons, bigger than any single person or group.<ref>{{cite web \|url=https://bearmccreary.com/bg4-daybreak-pt-2/ \|title=BG4: "Daybreak, Parts I & II" \|author=Bear McCreary \|date=March 20, 2008 \|access-date=July 26, 2025}}</ref>

	==References==		==References==
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	==External links==		==External links==
	~~{{wikifrakr\|All Inside the Bong Water}} <!-- Do not add a new line between this template or the bullet points! -->~~
	*[http://www.amazon.com/gp/product/B000UZ4C4A/ref=s9_asin_title_1/103-7723281-5296603?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=142PG250BG9FW5010JP2&pf_rd_t=101&pf_rd_p=278240301&pf_rd_i=507846 Season 3 OST at Amazon, including "All Along the Watchtower"]		*[http://www.amazon.com/gp/product/B000UZ4C4A/ref=s9_asin_title_1/103-7723281-5296603?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=142PG250BG9FW5010JP2&pf_rd_t=101&pf_rd_p=278240301&pf_rd_i=507846 Season 3 OST at Amazon, including "All Along the Watchtower"]
	*[http://www.reasontorock.com/tracks/watchtower.html An analysis of "All Along the Watchtower" at Reason to Rock]		*[http://www.reasontorock.com/tracks/watchtower.html An analysis of "All Along the Watchtower" at Reason to Rock]
	*[http://click.linksynergy.com/fs-bin/stat?id=VWbyALbmqZY&offerid=78941&type=3&subid=0&tmpid=1826&RD_PARM1=http%253A%252F%252Fphobos.apple.com%252FWebObjects%252FMZStore.woa%252Fwa%252FviewAlbum%253Fi%253D91218865%2526id%253D91218823%2526s%253D143441%2526partnerId%253D30 "All Along the Watchtower"], sung by [[w:Bob Dylan\|Bob Dylan]], at iTunes
	*[http://click.linksynergy.com/fs-bin/stat?id=VWbyALbmqZY&offerid=78941&type=3&subid=0&tmpid=1826&RD_PARM1=http%253A%252F%252Fphobos.apple.com%252FWebObjects%252FMZStore.woa%252Fwa%252FviewAlbum%253Fi%253D79674825%2526id%253D79674801%2526s%253D143441%2526partnerId%253D30 "All Along the Watchtower"], sung by [[w:Jimi Hendrix\|Jimi Hendrix]], at iTunes
	{{ext-wikipedia-name\|article=All Along the Watchtower\|name=All Along the Watchtower}}		{{ext-wikipedia-name\|article=All Along the Watchtower\|name=All Along the Watchtower}}
	* Analysis and commentary in [http://www.amazon.com/Cylons-America-Critical-Battlestar-Galactica/dp/0826428487/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1235253480&sr=8-1 ~~“Of~~ Duduks and Dylan: Negotiating Music and the Aural Space,” by Eftychia Papanikolaou.] In ''Cylons in America: Critical Studies of Battlestar Galactica''. Edited by Tiffany Potter and C. W. Marshall, Continuum, 2007.		* Analysis and commentary in [http://www.amazon.com/Cylons-America-Critical-Battlestar-Galactica/dp/0826428487/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1235253480&sr=8-1 "Of Duduks and Dylan: Negotiating Music and the Aural Space," by Eftychia Papanikolaou.] In ''Cylons in America: Critical Studies of Battlestar Galactica''. Edited by Tiffany Potter and C. W. Marshall, Continuum, 2007.

	[[Category:A to Z]]		[[Category:A to Z]]
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	[[de:Die Melodie]]		[[de:Die Melodie]]
			{{indicator\|TRS}}

Joe Beaudoin Jr.: Text replacement - ""," to ",""

2024-02-24T17:39:25Z

Text replacement - ""," to ",""

← Older revision		Revision as of 17:39, 24 February 2024
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	Once the Fleet arrives at the Ionian nebula, '''the music'''<ref>{{bsgwiki term}}</ref> reaches a piercing shrill. The Colonials affected not only hear the music complete, but begin to add lyrics as well. As the Fleet plunges into darkness, losing electrical power for reasons unknown, the music compels the four to meet in an isolated room.		Once the Fleet arrives at the Ionian nebula, '''the music'''<ref>{{bsgwiki term}}</ref> reaches a piercing shrill. The Colonials affected not only hear the music complete, but begin to add lyrics as well. As the Fleet plunges into darkness, losing electrical power for reasons unknown, the music compels the four to meet in an isolated room.

	The four are able to assemble the lyric fragments with the intact music to form a strange song. The musical experience is associated with a "switch going off" in the minds of the four, who suddenly become aware that they are [[Cylons (RDM)\|Cylons]]. The source or cause of the music is not known, but [[Final Five]] Cylon [[Samuel Anders]] recalls that in a past life on [[Earth (RDM)\|Earth]], he wrote the song<ref>In the commentary podcast for "Sometimes a Great Notion", Ronald D. Moore explains that Anders wrote the song in ''Galactica'' universe, and acknowledges that he and the writers & editors failed to adequately get that across to the audience.</ref> and used to play it for the woman he loved and his friends ([[Crossroads, Part II]], [[Sometimes a Great Notion]]).		The four are able to assemble the lyric fragments with the intact music to form a strange song. The musical experience is associated with a "switch going off" in the minds of the four, who suddenly become aware that they are [[Cylons (RDM)\|Cylons]]. The source or cause of the music is not known, but [[Final Five]] Cylon [[Samuel Anders]] recalls that in a past life on [[Earth (RDM)\|Earth]], he wrote the song<ref>In the commentary podcast for "Sometimes a Great Notion," Ronald D. Moore explains that Anders wrote the song in ''Galactica'' universe, and acknowledges that he and the writers & editors failed to adequately get that across to the audience.</ref> and used to play it for the woman he loved and his friends ([[Crossroads, Part II]], [[Sometimes a Great Notion]]).

	At the end of the episode the song starts playing as background music for the viewers to hear. These are the complete lyrics that are sung:		At the end of the episode the song starts playing as background music for the viewers to hear. These are the complete lyrics that are sung:
Line 70:		Line 70:
	*Ron D Moore's point of view actually mirrors what Bob Dylan himself had said about his songwriting early in his career: "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.'"<ref><i>Sing Out!, October–November 1962</i></ref>		*Ron D Moore's point of view actually mirrors what Bob Dylan himself had said about his songwriting early in his career: "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.'"<ref><i>Sing Out!, October–November 1962</i></ref>
	*Over 25 notable bands have performed cover versions of "All Along The Watchtower"; the definitive cover was performed by [[w:The Jimi Hendrix Experience\|The Jimi Hendrix Experience]]. Many people are unaware that his version was not the original <ref>{{cite_web\|url=http://www.dmbalmanac.com/SongStats.aspx?sid=96\|title=Song Stats for ''All Along the Watchtower'' at DMBAlmanac.com\|date=\|accessdate=April 22, 2007\|last=\|first=\|format=\|language=English}}</ref>.		*Over 25 notable bands have performed cover versions of "All Along The Watchtower"; the definitive cover was performed by [[w:The Jimi Hendrix Experience\|The Jimi Hendrix Experience]]. Many people are unaware that his version was not the original <ref>{{cite_web\|url=http://www.dmbalmanac.com/SongStats.aspx?sid=96\|title=Song Stats for ''All Along the Watchtower'' at DMBAlmanac.com\|date=\|accessdate=April 22, 2007\|last=\|first=\|format=\|language=English}}</ref>.
	*Bob Dylan has indicated that the events in the song's lyrics are "in a rather reverse order", beginning logically in time with the "All Along The Watchtower" verse and ending with the now-famous opening lines, "'There must be some way out of here,' said the Joker to the Thief." <ref name="dylanlyrics">http://bobdylan.com/songs/watchtower.html</ref>		*Bob Dylan has indicated that the events in the song's lyrics are "in a rather reverse order," beginning logically in time with the "All Along The Watchtower" verse and ending with the now-famous opening lines, "'There must be some way out of here,' said the Joker to the Thief." <ref name="dylanlyrics">http://bobdylan.com/songs/watchtower.html</ref>
	*The version used in the series omits the final stanza, though the full song (including this stanza) is included in the season soundtrack:		*The version used in the series omits the final stanza, though the full song (including this stanza) is included in the season soundtrack:
	*: ''All along the watchtower, princes kept the view''		*: ''All along the watchtower, princes kept the view''