Carol Burnett Theme Song Sheet Music

[Munir Junker]

Thefollowing list contains scores or songs which are the primary theme music of a television series or miniseries. They are sorted alphabetically by the television series' title. Any themes, scores, or songs which are billed under a different name than their respective television series' title are shown in parentheses, except in cases where they are officially billed as "Theme from [Series' Name]", "[Series' Name] Theme", etc., which are omitted. This list does not include television series whose broadcast run was less than ten episodes (i.e. a "failed" series) unless officially designated as a television miniseries. In cases where more than one piece of music was used for the main theme during the broadcast run of a television series (Baywatch, Happy Days, Starsky & Hutch, for example), only the most widely recognized score is listed.[1][2][3]

Adapted and expanded from the order on -score.blogspot.com, with info from the Cue List and Additional Notes by Mike Matessino on the main page, and the sheet music.

Empire of the Sun (with songs/source music):

In this thread you can request the chronological film order (or rather: the intended film order) of scores and soundtracks, and post your own sequencings.

Here are a few general links you might try first:

Chronological Scores/Soundtracks Blog

The Cat's The Daily Film Music Blog (DFMB)

Ralf's Chronological Filmscore List

Indiana Jones Music

Sequencing Bond (thread)

The Cat's Corner (James Bond Music)

It's great. Have you considered revisiting The Taking Of Pelham One Two Three by using the slightly expanded 20-track version instead of the 11-track one? Maybe you could also find cuesheets to get the actual cue titles, like:

2M1 Blue's Speech

6M2/3 Money Montage

10M2 Smoking More

Thanks for reposting that Falafel. I'll admit, when I originally did that list I couldn't find where Approaching the Enemy could be found (the asterisk is misplaced which I corrected) so I made my best guess based on the content of the film. As I do not have the new release yet, Jason does it state in the liner notes that Approaching the Enemy can be found after Omaha Beach?

The film dropped music and tracked stuff into other places as usual, etc. In this case Approaching the Enemy was dropped entirely from where it was intended and a portion of Finding Private Ryan was tracked in for part of it instead.

That music was written for the part where they are walking and talking and it ends when the raindrop falls on the leaf. It is actually meant to start after the crane shot of the blimps in the aftermath of omaha but the theme was tracked again which was not good for the movie. I remember one reviewer as well as one personal friend who discredited Williams' approach for that very scene, not realizing the music was retracked.

There's also no reason to include the album "version" of High School Teacher for any reason. It's simply the opening 43 bars of High School Teacher segueing to a massive repeat of Omaha Beach seguing back to bars 48-end of High School Teacher. The track called "High School Teacher (Film Version)" is simply all of High School Teacher with no edits and nothing missing.

The personal website of Andy Hill, author of SCORING THE SCREEN: The Secret Language of Film Music. The principal purpose of the site is to relay information about the upcoming publication of the book and to provide information and services related to the composition of original music for the screen.

Online purchases of the SCORING THE SCREEN e-book are non-returnable. You can review many key sections of the book, as well as read composer testimonials, both on this site and at prior to purchase to make certain that it's what you're looking for. Your purchase of the digital file will entitle you to updates on the manuscript and any additional chapters or supplementary material for this edition.

All sales are final, but comments are very welcome. This is a dynamic, continuing work and will be updated regularly. Permissions for featured musical works are in many cases still pending and are now limited to personal educational use. Circulation, reprinting, or re-publication of the manuscript or musical materials therein in any form is strictly forbidden and is an express violation of copyright law.

Pending final approval for the reprint of copyright protected material featured in this book, the manuscript file is for personal use only. Circulation, reprinting, or re-publication of the manuscript or musical materials therein in any form, whether online or in print, is strictly forbidden and is an express violation of copyright law.

Composers Jeff and Mychael Danna have taken individual paths from a common point of origin. Mychael's early association with filmmakers like Atom Egoyan and Ang Lee won him serious art house credibility, and ultimately a Best Score Oscar for "The Life of Pi." Jeff has traveled the indie trail and created evocative soundscapes colored by his rock sensibilities. Both have an enduring fascination with those non-Western musical forms that are typically lumped together as "ethnic." Occasionally, and with striking results, their separate paths have merged on collaborative scoring projects such as the Netflix miniseries, "Alias Grace," which was the take-off point for our chat.

MD: Both Jeff and I have spent our careers moving in all directions on the axes of time and place. I think a 21st-century Composer has to be comfortable with this. And that suits me, because my musical tastes have always been all over the map.

AH: John Carpenter...wow. That would've been another direction! Were you left pretty much alone to compose, or did you all, say, rent a cabin for a few weeks, load in the gear, and work through it together?

AH: You mention the circular nature of time in the story. There seems to be something else, too. Are you and the director saying something about time and what it really means to die? Does it go that deep?

AH: In general, the Saints score feels looser, more improvisational, and more impressionistic. Its depiction of the land and the people is almost real enough to touch. You feel the wind on your face. At times, I was reminded of the work of the great contemporary composer, John Luther Adams. Do you know his work? Was it any kind of inspiration?

MY FIRST ENCOUNTER with Amie Doherty was--as might be expected--by way of her music. It was in the late spring of 2012 and I was in Valencia, Spain, the first American hire for Berklee's new (and still very much unfinished) international campus. The school had set up a makeshift FTP site for applicants to the maiden class of the MA in Scoring for Film, Television & Videogames (of which I was, at the time, director) to post their audio submissions. Many of the applicants, trained in European or Asian conservatory settings, had submitted chamber music or raw orchestral recordings--some quite good, some not so, but few evidencing much understanding of what we think of as "film music." Amie's file included a full-blown digital mockup of a symphonically orchestrated cue with a stylistic lineage that somehow encompassed BACK TO THE FUTURE, HARRY POTTER, and GLADIATOR. It wasn't the style choices, however, that made me shout across the room, "We've gotta get this girl to Spain!" It was the command of the language. This was a composer with ears.

Getting the girl to Spain wasn't a piece of cake. Her application gave County Galway, Ireland as her home, but Amie was off the grid. When I first managed to track her down, she was in a remote village outside of Hanoi, teaching English to Vietnamese children. Our cell phone connection was tentative, as was her readiness to abruptly abandon her mission for an untested post-grad program. And Amie did seem to be a creature with missionary impulses and a strong sense of duty. Before Vietnam, she'd been a kindergarten teacher in Seoul, a post she'd taken shortly after earning her degree in composition from Trinity College, Dublin. And at 19, she'd undergone a baptism by monsoon, teaching the rudiments of English to eighty-five kids in a rural village outside of Calcutta, all under one corrugated aluminum roof.

Students in college fiction writing programs are told that they should "write what they know," and that if all they know is the work of other writers as opposed to life-shaping personal experience, the best they can do is to hit their marks and pray that a winning style will offset the lack of authenticity. The longer I work with aspiring film composers, the more I come to believe that the same imperative holds true for musical authors. The best film music emerges from an understanding of story, and understanding emerges from a life deeply lived. This story has a happy ending, as we finally did convince Amie to migrate to Valencia for the one-year program (she made stops in Thailand, Cambodia, Laos, the Philippines, and Indonesia en route). She worked as hard in the composer lab as I presume she did in those Third World schoolhouses. She listened. In fact, Amie was so diligent that I took to calling her Hermione. Diligent, but never stuffy or self-important. Always the Irish wink and an attitude that said, "Teach me." Soon after graduating and securing an artist visa, she migrated again, to perhaps the most exotic and culture-shocking of all her destinations: Hollywood.

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