Theme music

Theme music is a piece that is often written specifically for a radio program, television program, video game or movie, and usually played during the intro, during title sequence and/or ending credits.

The phrase theme song or signature tune may also be used to refer to a signature song that has become especially associated with a particular performer or dignitary; often used as they make an entrance. The purpose of a theme song is often similar to that of a leitmotif. Such songs can also be used in other ways. One author has made extensive use of them in an effort to explore the feelings behind world views.

Purpose

The purpose of the music is to establish a mood for the show and to provide an audible cue that a particular show is beginning, which was especially useful in the early days of radio (See also interval signal). In some cases, including The Brady Bunch, Gilligan's Island, The Fresh Prince of Bel-Air, both versions of Land of the Lost (1974 and 1991), The Nanny and The Beverly Hillbillies the lyrics of the theme song provide some necessary exposition for people unfamiliar with the show.

The Family Way (soundtrack)

The Family Way is a soundtrack recording composed by Paul McCartney, released in January 1967. The album is the soundtrack to the 1966 film of the same name, directed by Roy Boulting and starring Hayley Mills. Produced and arranged by George Martin, the album was credited to "The George Martin Orchestra" and issued under the full title The Family Way (Original Soundtrack Album). A 45rpm single, again credited to the George Martin Orchestra, was issued on 23 December 1966, comprising "Love in the Open Air" backed with "Theme From 'The Family Way'", as United Artists UP1165.

The Family Way won an Ivor Novello Award in 1967. It was remastered and released on CD in 1996 with new musical compositions not on the original 1967 soundtrack album.

The recording took place over November and December 1966, before the Beatles began work on their album Sgt. Pepper's Lonely Hearts Club Band. McCartney's involvement in the project was minimal, according to biographer Howard Sounes, who quotes Martin's recollection that he had to "pester Paul for the briefest scrap of a tune" with which to start writing the score. After McCartney had provided "a sweet little fragment of a waltz tune", Martin continued, "I was able to complete the score."