Music of Battlestar Galactica (RDM)

While Battlestar Galactica uses a wide variety of ethnic instruments and styles to create a soundscape that is not usually found in television science fiction, it nonetheless makes use of various leitmotifes for characters, events and places.

Development and Production Background

The distinctive musical approach of Battlestar Galactica originated from executive producer David Eick's vision to create something radically different from traditional space opera. "I remember saying early on when we were making the miniseries that we needed to do to Star Trek's music what Ridley Scott and Vangelis had done to Star Wars' music with the Blade Runner soundtrack," Eick explained. "Just as Blade Runner's score completely cut against Star Wars and made it clear that you weren't watching a George Lucas movie, I felt Battlestar Galactica needed to do something that wasn't in any way, shape or form the usual sort of orchestral bombast of contemporary science fiction."

The task initially fell to composer Richard Gibbs, whose credits included films like Say Anything, The Book of Stars, and Doctor Dolittle, as well as the Michael Rymer film Queen of the Damned. When Gibbs accepted the assignment, he was presented with a rough cut of the miniseries featuring a temporary soundtrack. This 'temp track' utilized elements from the scores of The Last Temptation of Christ and Solaris, and employed taiko drums for battle sequences. Given just three weeks to create a completely original score for the four-hour production, Gibbs enlisted Bear McCreary, a young composer and protégé of film music legend Elmer Bernstein.

Gibbs described the fundamental challenge: "The main challenge presented by Battlestar Galactica was finding different ways to score scenes that would traditionally be scored with a big blazing orchestra. The producers wanted us to shy away from musical melodrama, for the most part, and get the emotion across in a different way. They were looking for a much more minimalist approach than taken by other space operas." The solution involved "combining a mix of musical sources from around the globe with a western orchestra, and by using odd time signatures rather than just the traditional 4/4."

Following the miniseries, Gibbs passed on scoring the weekly series but ensured musical continuity by scoring two early Season 1 episodes, "Water" and "Bastille Day". Bear McCreary then took over as primary composer, given between two and seven days to score each episode. His approach expanded on the foundation: "Much like the work Richard and I did on the miniseries, my approach to the series has been to take elements from cultures all over the world and combine them into a unique, other-worldly texture. Japanese taiko, Middle-Eastern frame drums, Eastern-European stringed instruments, African percussion, Celtic pipes and even big band and Italian opera have all found their way into the musical soundscape of the show."

Main Title Music

The main titles have been set to two distinct pieces of music. For the first season, a different cue was used in North America than for broadcasts taking place in other regions. The North American cue was a modification of the track "Two Funerals" from "Act of Contrition," followed by a segment played on taiko drums that played over a montage of scenes from the upcoming episode.

The creation of the main title theme proved particularly complex for Richard Gibbs. Working from a rough version of the title sequence that was accompanied by a Sanskrit chant and a piece of music by Peter Gabriel, Gibbs developed several possible versions before arriving at a piece approved for international use. This "worldwide" version replaced the funeral cue with a rendition of the Gayatri mantra. This version accompanied Sky TV's world premiere of season one, but was later reworked by McCreary for the show's US broadcast. "The title theme went through a lot of revisions," McCreary recalled. "The process was challenging, but ultimately rewarding."

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

Lyrics (Sanskrit, IAST transliteration):	English translation (one version)):
Oṃ bhūr bhuvaḥ svaḥ Tat savitur vareṇyaṃ Bhargo devasya dhīmahi dhiyo yo naḥ pracodayāt	O earth, atmosphere, heaven: May we attain that excellent glory of Savitr the God: So may he stimulate our prayers.

Since the second season, all broadcasts of the show use the "worldwide" version of the main title cue.

Compositional Philosophy and Techniques

McCreary's scoring of "33" exemplified his approach to combining action and drama. For Olympic Carrier's climactic destruction, he explained: "At a surface level, that sequence looks like an action scene, so I put it against a backdrop of driving frame drums and taikos. But as the scene ultimately boils down to the terrifying decision that the main characters must make, I layered in dark orchestral textures and ambient soloists to play more to the drama and less to the spectacle. The result was one of my favorite cues for the entire series."

Similarly, "The Hand of God" showcased innovative musical elements when McCreary incorporated the producers' request for "choir, bagpipes and drums for the final celebration," weaving them throughout the score including "the bombastic battle scene on the asteroid." He also noted that "Baltar's final scene with Number Six in that episode also stands out for me — there's an ambient and bizarre metallic riff that builds steadily as he slowly gives in to her seduction," while "Roslin's vision of snakes in the beginning was equally creepy and challenging to score. It's set to wailing duduks and vocalists."

The season one finale "Kobol's Last Gleaming, Part I" and "Part II" became McCreary's favorite first season episodes to score. "Not only did I have a full string orchestra to work with on those episodes, but I was lucky enough to write music for incredibly powerful and moving sequences. The teaser to 'Part I' is almost counterintuitive, as the sheer intensity and physicality of each cut is set against a haunting and elegant cascade of orchestral strings. That theme returns for the finale of 'Part II' and accompanies Baltar and Number Six through the great concert hall."

Character Themes

William Adama

Adama Family theme

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

After that it can be heard in many scenes involving a friendly moment between the two Adamas like Lee Adama visiting his injured father in "Valley of Darkness," Lee being promoted to Pegasus's CO ^{(TRS: "The Captain's Hand")}, the two parting before the Battle of New Caprica ^{(TRS: "Exodus, Part I")}, and Lee receiving his grandfather's law books in "A Day in the Life". It even appears as a general theme for family when Adama decides to "Reunite the Fleet" in "Home, Part I".

An arrangement very similar to the original one at the end of "The Hand of God," but without the vocals, is played during Lee Adama's official send-off into retirement in "Six of One". Instead of Uilleann pipes, Scottish pipes are used to create a more foreign and intimate sound.

Connection to Caprica

The theme reappears in the spin-off series Caprica representing the Adama Family and Joseph Adama specifically. It appears in the pilot episode when Joseph tells young Willy of his true last name and Tauron heritage, featuring a subtle statement of "Wander My Friends." McCreary was given no creative direction from the producers whether to reference themes from Battlestar, but felt this moment was "too perfect to resist" since he first used this theme when Adama and Lee discuss Joseph's lighter in "The Hand of God."

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." The theme also appears in the Tauron funeral scene in "There is Another Sky" and in a fragmented statement in "The Dirteaters," making the Adama family the only outright thematic link between Battlestar Galactica and Caprica.

In "Daybreak, Part II," "Wander My Friends" plays multiple times during the finale's emotional farewell scenes. Eric Rigler's Irish whistle states the theme as Adama prepares to fly the last Viper off Galactica, and later the Uilleann bagpipes and Irish whistle perform the B-Theme as he hugs Lee goodbye. The theme has evolved to represent not just the Adama family, but Galactica's crew and the ship itself as Adama's extended family.

• Note: The Gaelic lyrics are printed in the Season 1 soundtrack.

Adama and Tigh theme

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

It was first conceived as theme for the military aspects of the Colonial Fleet and appears as such when Apollo briefs the Viper pilots in "33". Played on a bansuri at first, it evolved over time. It plays a large role throughout "Sine Qua Non" in Season 4, where it is used for all scenes between Adama and Tigh and when Adama boards the Raptor at the end.

In the "Daybreak" episodes, this theme appears prominently in several key moments: during Adama's flashback when he decides he doesn't want to give up military life, when he makes his final speech to the crew before the Colony battle, and when he promotes Hoshi to Admiral. The theme represents the noble and honorable relationship between Adama, Tigh and their military responsibilities.

Lee Adama

Apollo theme

Apollo also has his own theme first appearing when he destroys the Olympic Carrier in "33". Then in the flashback in "Act of Contrition" at Zak Adama's coffin, and in "The Hand of God" when he improvises his attack plan.

It is seldom heard, because it's not as dynamic as other character themes, but serves as the main theme for all the flashbacks in "Black Market".

Another distinct occurrence of this theme is in the episode "Six of One," when he visits Kara Thrace in the brig and tells her about his future. It further appears during his confrontation with Romo Lampkin in "Sine Qua Non" when he makes his last argument.

In "Daybreak, Part II," the Lee Adama Theme appears when Apollo commands the Marines to repel down into the Colony, marking the only place McCreary found for it in the finale episodes.

Kara Thrace

Starbuck theme, triumph theme

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

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

It has been performed by all major instruments of the show, but usually heard in duduk, vocals and strings.

In "Daybreak, Part II," the theme makes two final simultaneous statements as Lee says goodbye to Kara after she vanishes. The lower strings play the theme in a relatively fast phrase while the first violins play an elongated version above them, creating a complex farewell to the character who embodied the series' heroic spirit.

Leoben and Starbuck theme, Destiny theme

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

After the New Caprica storyline it is featured throughout "Maelstrom," where it is combined with Starbuck's own theme.

After her mysterious return in "Crossroads, Part II," the theme reappears in the following episode in many of Thrace's scene to represent her confusion about her situation and her higher purpose.

In "Daybreak, Part II," Martin St. Pierre's solo erhu plays one final statement of the Kara Thrace Destiny Theme when she vanishes after completing her destiny, providing perfect closure to her spiritual journey that began with this very theme.

Laura Roslin

Roslin theme

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

After that it appears in many scenes featuring Roslin like her in the brig in "Fragged," dying in "Epiphanies," as well as "Lay Down Your Burdens, Part I" and "Exodus, Part I". Its most prominent use though, is in the opening montage of "Occupation" ("A Distant Sadness"), where it is set to new lyrics sung in Armenian, thus making it the only theme in the show to have two sets of lyrics.

Roslin Religious Theme

A distinct theme from Roslin's main theme, the Religious Theme appears prominently in the finale during her traumatic fountain scene on Caprica. Elongated and muted contrapuntal string lines build intensity as she packs up presents after learning of her family's death. When she steps into the waterfall, the full orchestra erupts into a huge statement of her theme, with cascading violin and viola phrases representing the falling water.

In "Daybreak, Part II," this theme appears multiple times: as an ethereal voice singing in Latin as Hera runs through the battle-stricken hallways, and during Roslin's visions of the Opera House. Raya Yarbrough creates a "Raya Choir" by overdubbing her voice fifteen times, marking Cavil and his forces as the horsemen of the apocalypse on a biblical scale.

Roslin Flashback Theme

A variation of the Roslin Religious Theme originally written for Season Two's "Epiphanies," this motive underscores her memories of President Adar in the Caprica flashbacks. The theme consists of an oscillating open fifth in the gamelan and harps and connects the flashback scenes to her eventual decision to join Mayor Adar's national campaign.

Gaius Baltar

Baltar theme

This started as a very short and simple theme first appearing in "Six Degrees of Separation". In the albums it is included in "Baltar Speaks with Adama" (Season 1) and "Dark Unions" (Season 2). It is quoted in the piano basestar theme from "Torn" and appears in more complex arrangements in "Taking a Break from All Your Worries".

With Baltar's rise to a messianic figure and cult leader ^{(TRS: "He That Believeth in Me")} a new theme is used for him. While evolved from and intertwined with the original theme, it is nearly entirely new, in order to reflect his change and growth. While the old theme represents his dark and sinister side, the new theme stands for his serenity and spirituality. However, the two versions interact and are used as counterpoints in various scenes. The supposedly dark theme used to score spiritual moments and the spiritual theme to score dark moments. Bear notes that his the two sides of Baltar's personality cannot be easily separated.

This new theme has lyrics sung by Raya Yarbrough. They represent a prayer to Baltar and are heard throughout the episode:

Translated Anglo-Saxon lyrics by Alison Walker:	Original English lyrics by Bear McCreary:
We gadriaþ in nihtscuan Neoðan þin gledstede, þin liċfæst in blode ond lieġe. Nu þin ġebann, æþreddaþ us To þæm anliċum æltæwan gastcyninge Gaius Baltar, ure dryhtweorþ nergend Nu ond æfre to alder. Swa we ġehwilc ġehalsiaþ.	We gather in shadow, Beneath your altar, Your image in blood and flame. By your command, deliver us Unto the One True God. Gaius Baltar, our divine savior Now and for eternity. So say we all.

Another version of this theme can be heard in "Six of One" when Baltar sees and talks to a virtual version of himself. This arrangement is a musical palindrome; a cue that reverses itself in the middle and sounds exactly the same being played forward or backward.

In "Daybreak, Part II," the Baltar Religious Theme receives its most lyrical and beautiful setting when he talks the two warring civilizations away from the brink of destruction. The theme represents the better side of his personality and his ultimate redemption.

Head Baltar Theme

This theme features reversed bells and gamelans and represents Baltar's conversations with his virtual self. It was most recently featured in "Six of One" and appears in "Daybreak, Part II" when Head Six and Head Baltar reveal themselves to Caprica-Six and Gaius during the Colony battle, paired with Richard Gibbs' iconic Number Six theme from the Miniseries.

Saul Tigh

Tigh theme

A military-sounding brass and choir theme scored for the scene where Tigh declares martial law in "Fragged" and appearing as "Martial Law" on the Season 2 soundtrack. It can also be heard when Sesha Abinell threatens to kill Ellen Tigh in "Sacrifice". The theme appears again in Season 3 on New Caprica ("Occupation," "Precipice"), and when Tigh needs to pull himself together again after the escape from the planet ^{(TRS: "Hero")}.

In "Escape Velocity," the theme is reworked to a much more gentler, introspective version. Instead of a clearly western military piece, a duduk and and electric violin are scored in an atonal, middle eastern style.

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

Sharon Valerii / Athena

Boomer theme

Another very common theme, that plays in many scenes with Boomer, especially in Season 2. Initially created as a Helo/Boomer theme for "33" it quickly turned into Boomer's theme. Sometimes played with woodwinds of string orchestra, it is usually performed by gamalans and bells.

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

References