Awesome Music / Doctor Who

The Doctor Who score is chock full of Awesome Music.

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    Doctor Who theme 


Televised Doctor Who

    Season 1 
  • The intensely creepy leitmotif of The Daleks, which is reused in other Dalek stories in the 60s era.

    Season 2 
  • The background music during the Daleks' fight with the Mechanoids at the end of The Chase is also pretty awesome.
  • From The Time Meddler, the plainchant that the Meddling Monk puts on to create the illusion of many actual monks.

    Season 3 
  • The music that plays over the Blind Man's Buff games in The Celestial Toymaker, especially how they harmonize with the buzzers.
  • The Ballad of the Last Chance Saloon from The Gunfighters, while hard to find a complete version of, is a really catchy western tune.

    Season 4 

    Season 5 

    Season 6 
  • The soundtrack for The Invasion, a cross between a soundtrack from a western and one from a spy thriller.
  • That motif that plays over the film trims of the pirates planting the charges in The Space Pirates.

    Season 7 
  • The Ambassadors of Death has a catchy synthesizer tune which shows up a few times and can be heard in its entirety in episode 2, when the UNIT convoy drives Recovery 7 back to the space center.
  • And check out this "UNIT theme" also from "Ambassadors of Death".

    Season 9 
  • Everyone seems to hate the "Sea Devils" soundtrack, calling it a glorified series of electronic fart noises- listen to this arrangement, which captures the most eerie parts of the music and avoids the least well-regarded snippets.

    Season 13 

    Season 16 / The Key to Time 
  • The music in The Androids of Tara, especially that absolutely gloomy wedding march in Part 4.

    Season 17 
  • The fabulous, Gershwin-inspired "running through Paris" music from City of Death.

    Season 18 
  • The score to Logopolis. Although it was really just a simple bit of 80s incidental music, the haunting "flashback" music that plays as the Fourth Doctor is seeing the images of his old enemies taunt him before he falls is unforgettable. And the slow descent of single synthesiser tones down a minor scale as we see him lying on the floor just prior to regeneration. Very simple and yet very effective.
  • The cool 80's music playing while K-9 travels through the forest in Full Circle.

    Season 19 
  • The score to Castrovalva. In particular, the scenes in the Zero Room. So pretty sounding...
  • The score to The Visitation is a real gem, and it's a shame that it's so hard to find.
  • "March of the Cybermen" from Earthshock.

    Season 20 
  • All of the music from Mawdryn Undead was fantastic, making it even more amazing than it already was.
  • Enlightenment tries to provide a much more ambitious soundtrack than most other stories from this era, and succeeds in spades. The Eternals' mind-reading theme and the music playing over Turlough drifting in space stand out in particular.

    Season 21 
  • Resurrection of the Daleks has possibly the most memorable Dalek theme in the original series, as well as a touching piece of music to accompany Tegan's departure.
  • Planet of Fire had an atmospheric soundtrack for many of the scenes set on Sarn.
  • The Caves of Androzani has a wonderfully grim and atmospheric soundtrack. Bonus points for the rattlesnake sound.

    Season 22 
  • The unused alternate soundtrack for The Mark of the Rani is not only a very solid piece of work, in particular giving the Master a wonderfully ominous theme, but a sad case of What Could Have Been if the composer hadn't suddenly died after finishing work on the first episode. That said, the soundtrack used on the finished episode is itself quite nice.
  • While the story itself might not take full advantage of the Spanish location filming, the soundtrack to The Two Doctors certainly helps the footage seem even more beautiful than it already was.

    Season 23 / The Trial of a Time Lord 
  • The opening music from the first episode of "Trial of a Time Lord", with the epic computer-controlled whirling shots of the Time Lord space station, all done with model effects that, in a rare moment for classic Doctor Who, still hold up as excellent today-watch it here. Definitely the best bit of "Trial of a Time Lord" and the most expensive special effects done on the original series (it shows).
  • The second segment, Mindwarp has a wonderfully chilling piece of music as Kiv wakes up in Peri's body, starting out as mysterious, then becoming unnerving, and finally pure Nightmare Fuel.

    Season 24 
  • Paradise Towers has not one but two awesome soundtracks; the standard one and another, more atmospheric, soundtrack.

    Season 25 
  • The soundtrack from Remembrance of the Daleks is '80s-licious, especially the bit (0:00 - 1:15) where Seven and Ace are tearing down the street with the Daleks hot on their heels.
  • The soundtrack to The Greatest Show in the Galaxy.

    Season 26 
  • The epic guitar riff from Survival that plays on the cheetah planet.
    • The final peice of music in the classic series (apart from the theme) as the Doctor and Ace walk away.

    TV Movie 
  • A good portion of the TV movie soundtrack falls into this, more specifically "Breakout", "The Chase" and "Open the Eye".

    Series 1 / Season 27 
  • "Rose's Theme". Especially when it plays at the end of "The Stolen Earth" when the Doctor and Rose see each other for the first time in years.
  • "Westminster Bridge", which Murray Gold admitted was based on "Cecilia Ann" by The Pixies. The version from the Doctor Who Concert is especially epic.
  • "Slitheen" is some really cool action music.
  • "Harriet Jones, Prime Minister" is by turns solemn, sweet, beautiful, stately, determined, and triumphant, just like the woman herself.
  • Whenever the Daleks' leitmotif begins, you know that the body count is going to start soaring.
  • "The Lone Dalek" Not only was it beautifully used during the episode "Dalek" and the closing coda of "The Satan Pit", but it was AMAZINGLY used at the end of "Doomsday" (admittedly, most people assume that the last piece of music in that episode is Doomsday or Rose's Theme). But when the music reaches its final climax JUST as the tear falls down the Doctor's cheek as he finds himself alone in the TARDIS at the also has the benefit of providing another point of comparison for the Doctor and the Daleks that a song about a Dalek's loneliness can be used so effectively for the Doctor. This piece of music is one of the most beautiful and haunting pieces of music EVER.
  • "Father's Day" is so downbeat and haunting.
  • "Hologram" alternates between emotional and triumphant.
  • "Rose Defeats the Daleks"...where, um.

    Series 2 / Season 28 
  • "Song for Ten" from "The Christmas Invasion".
  • It's not on the soundtrack album, but "School Reunion" has a beautiful little instrumental version of "Song for Ten" at the end of the episode as Sarah Jane says her farewells.
  • "Madame de Pompadour" was already good, but then the Proms came along and made it all dramatic and chorussy.
  • "The Cybermen".
  • "The Impossible Planet". Some rather scary, mournful strings, evoking the ancient and impossible setting of the episode of the same name well, before turning to a more emotional piece of Murray's midway through.
  • "Doomsday", from the episode of the same name, contributes just as much to the Tear Jerker ending as the acting.

    Series 3 / Season 29 
  • "Love Don't Roam".
  • "The Runaway Bride". What better song to accompany the TARDIS chasing a London cab with a kidnapped bride?
  • "After The Chase"...which is after the "The Runaway Bride"'s chase scene, another one of Murray's slower, peaceful ones.
  • "Martha's Theme".
  • "The Shakespeare Code" has the track "The Carrionites Swarm", which rivals even "All the Strange Strange Creatures" in soaring epicness.
  • The Doctor Forever has an epic part about 2 minutes in. It involves the score when the Doctor is hopping through the cars in "Gridlock".
  • "Gridlock" includes a bit of tear-jerking religious music: the thousands of travelers, stuck on the motorway, clinging to their hope and seeking solace by singing a beautiful choral version of "The Old Rugged Cross."
  • "Boe", also from "Gridlock".
  • My bad, bad angel/Ya put the devil in me!
  • "All the Strange, Strange Creatures" is particularly good, especially during "Utopia" as Professor Yana becomes the Master. Russell T. Davies' instructions were to "give it everything". Magnificent piece, used to perfection in the series.
    • That song was used in the final few minutes of "Turn Left". As the Doctor questions Donna on the alternate reality that had been built around her, the music is soft and in the background. Then when she talks about Rose, the music picks up, and when Donna passes on the message, "Bad wolf", the music picks right the hell up and punches you in the gut. It's fast and crazy and can't help but get your heart pounding.
    • The scene in question; you can clearly see how the music builds up with the Doctor's Oh, Crap! face.
    • Also used to great effect in "The End of Time" as the Doctor finishes his frantic race back to Earth to face The Master and Rassilon.
  • "The Dream of a Normal Death" is one of the most beautiful orchestral pieces from Doctor Who. Soaring, gorgeous, and heartbreaking.
    • Especially the way it was used at the end of "Journey's End".
  • The "Blink" suite.
  • The glorious "This is Gallifrey: Our Childhood, Our Home". Absolutely perfect, soaring, gorgeous, heartbreaking and utterly epic.
    • This is Gallifrey slowed down by 25% and with the pitch lowered by 25%. Wow...
    • Behold this bassoon-eriffic, subdued version from the 2010 Proms—followed by the magisterial "Vale Decem" no less, and showing footage of all the Doctor's regenerations. Extra points for the audience's standing ovations at Pertwee, Tom Baker and Tennant. Starting "Vale Decem" 2 seconds before "This Is Gallifrey", and playing with the latter's volume just a bit at times, produces a heartrendingly beautiful song. They play off of each other really well... the beginning is a little discordant, but it soon resolves. For example: the swell in T.I.G. at ~1:45 - it's perfectly mirrored in Vale Decem, and that's only the most prominent matchup.
  • The Master, Magnificent Bastard that he is, gets multiple pieces of Awesome Music:
  • "Martha Triumphant" is Exactly What It Says on the Tin.
  • The start of "Martha's Quest" is even more awesome than Martha's main theme.
    • ...and the ending is such a tear jerker. Makes sense considering there are Toclafane decimating the world's population right above Martha.

    Series 4 / Season 30 
  • "The Stowaway".
  • The "Voyage of the Damned" suite from the Series Four soundtrack. In particular, three passages: Astrid's Theme followed by a Braveheart-flavoured rendition of "The Doctor Forever"; the reworking of "All the Strange, Strange Creatures" as the Titanic falls before rising into a glorious instrumental of "The Stowaway"; and the finale with the Doctor's goodbyes to Astrid and Mr. Copper.
  • How awesome did Donna Noble turn out to be? This track sums it up nicely. Seriously, it sounds like the sort of music that would be playing if the girls from Sex and the City were out saving the freaking universe.
  • "Life Among the Distant Stars". Quieter, softer and sadder than, but just as beautiful as, any action theme.
  • The Ood songs, "Songs of Captivity and Freedom".
  • Unit Rocks, the second version of UNIT's theme in the Russell T. Davies era. Wherein UNIT stops being the Redshirt Army, finally kicking ass and taking names.
  • A slower, sadder version of "This is Gallifrey" pops up in "The Doctor's Daughter", when, to steal from Russell, "things get Time Lordy".
  • That moment when Jenny steps out of the clone machine. That electric guitar riff...
  • "The Source", from "The Doctor's Daughter", which is another one of Murray's gentler and still-epic pieces.
  • The upgrade of "The Doctor's Theme" from "Forest of the Dead".
  • "The Girl with no Name" and "Silence in the Library" from "Silence in the Library"/"Forest of the Dead". Very eerie, almost fairy-tale, quality to it.
  • "The Greatest Story Never Told". Very moving piece, especially in light of how little we know of River Song at that point.
  • The music from "Midnight".
  • "The Rueful Fate of Donna Noble"; Donna's decision to go to her death in "Turn Left". The latter is reprised with Donna's final sacrifice in "Journey's End"; and it's even been bolstered with the riff from "Doomsday".
  • "Turn Left" got one of the most chilling themes ever, combining all sorts of recognizable snippets into one haunting piece that NEVER gets old. EVER.
  • "A Dazzling End" is the music played in "Turn Left" as Donna chooses to sacrifice her potential future self to save her potential past self so that her life with the Doctor continues to exist.
  • The Daleks up the ante in series 4, with the absolutely terrifying "The Dark and Endless Dalek Night".
    • Bonus points for being brought back and used brilliantly in The Day of the Doctor and then yet again during the reveal of Skaro in Series 9.
  • Davros gets his own motif in Series 4, which doesn't quite suit him but is creepy as hell.
    • That descending brass sound midway through sounded like something straight out of Lost.
  • "A Pressing Need to Save the World". Says it all, really.
  • In "Journey's End," when the TARDIS is towing the Earth back home, there is some truly, truly awe-inspiring music: the "Song of Freedom", the Oodsong writ large and glorious as the "Song of Freedom". Ten minutes later, however, and it's back to being a Tear Jerker. 5 years after "Journey's End", Murray remains the maestro of this show.
  • "A Victorian Christmas". A beautiful, epic Christmassy theme...interrupted by the sweeping jazzy entrance of "the next Doctor".
  • The Cyberman theme from series 2 turns into a dark march for "The Next Doctor", ending with a rousing hint of "The Doctor Forever".
  • "Goodbyes". Bravo sir indeed.
  • "A Special Sort of Bus". No kidding.
  • "Lithuania", a joyous fanfare.
  • In "The Waters of Mars", a fast-paced, action-oriented piece of music begins to play in the climactic scene of the episode, continuing on until the base explodes at the end. It's such a fitting piece that pretty much defines the urgency and heroic nature of the situation.
  • "The Council of the Time Lords", a short, dark, and utterly awesome version of "This is Gallifrey" that plays at the beginning of Part 2 of "The End of Time". The song, along with Gallifrey's ruined, Dalek-saucer-littered landscape, gives an inkling of just how twisted and desperate the Time Lords have become in the last days of the Time War.note 
  • "The Master Suite", an even more sinister version of "The Master Vainglorious".
  • Breaking news, from the "Final Days" of Planet Earth: the Master is everyone. The second half of the piece also serves as the true gamechanger of "The End of Time" Part One's cliffhanger: the Time Lords are returning, and the narrator is the President of the High Council.
  • From "The End of Time" part two, "The Clouds Pass", the music that started up when the Master told the Doctor to get out of the way. That was pure badass. And it's a heroic sounding theme, used for the Master, without feeling the slightest bit out of place.
  • "The End Draws Near", from "The End of Time" Part One, another soft, emotional Tennant piece that increases into a Time Lord march.
  • "Vale Decem", the song sung by Ood Sigma for the Tenth Doctor. Translated as "Farewell Ten", it's in Latin, and it is actually a true goodbye to the Tenth Doctor. Apparently this translation is a bit rough and inaccurate, but it's close enough for us to get the overall meaning. That made the scene even more meaningful. If it was a Tear Jerker before, it's even more now.
    "We will sing to you, Doctor. The universe will sing you to your sleep."
    • The rousing choral crescendo that plays as the Tenth Doctor begins to regenerate in the TARDIS. It's a reprise of "The Doctor's Theme" that's been with us since "Rose" in 2005, but it manages to be bombastically triumphant and desperately sad at the same time.
  • Two more saddening and heart-wrenching tracks from David Tennant's final moments: Four Knocks and this reprise of "Song for Ten".
    • Even more heart-wrenching when you consider the fact that the last thing the Doctor said before Wilf knocks was his astonished statement of "I'm still alive."
  • The music for Matt Smith's first scene at the very end of The End of Time. Geronimo, indeed.
  • A piece of awesome music for all of David's seasons. It is a beautiful, epic, and deep piece that very much sums up the 10th Doctor.

    Series 5 / Season 31 
  • "Down to Earth" is a sweeping big bang of an action theme that starts off series 5 pretty well.
  • The Eleventh Doctor's theme — "I Am the Doctor" (Version from the 2010 Proms included, for extra goodness). It sounds like the orchestra managed to purify badass down to its essence, drenched their instruments in it, and just started to rock the hell out. You know things are about to get intense.
  • "Onwards!" is the version of "I Am the Doctor" from the "Basically... Run." scene, and oh yes it is epic.
  • "The Sun's Gone Wibbly".
  • Amy's theme is a mixture of haunting and calm.
  • "A Lonely Decision" from "The Beast Below", which is both beautiful and haunting.
  • Another theme of Eleven, "The Mad Man With a Box".
  • The bonus track "Emotions Get the Better of Him" from the Series 5 soundtrack is intense, to say the least.
  • The stirring, Dambusters-esque march heard during the Spitfire sequence in "Victory of the Daleks". It's given the fitting name "Battle in the Skies".
  • "The Vampires of Venice" is a very awesome song. It is also used in the 2010 Christmas Special trailer too. Good god, that's scary.
  • "Signora Rosanna Calvierri" from "The Vampires of Venice," particularly from the 2:50 mark, where you can almost feel the Doctor's promise to "tear down the House of Calvierri brick by brick."
  • "A Troubled Man"
  • "With Love, Vincent".
  • Athlete's "Chances" at the museum scene in "Vincent and the Doctor".
  • "A Useful Striker" is a football themed remix of "I Am the Doctor". It sounds EXACTLY how you think it does.
  • The music playing over his Badass Boast at Stonehenge is a track called "Words Win Wars". Trust me, he's the Doctor. This theme gets reused in Day of the Doctor.
  • The Dark Reprise of "The Mad Man With a Box", "The Sad Man With A Box".
  • "A River of Tears" is not only a very haunting piece, it also features backmasked sections, which symbolise River's relationship with the Doctor, always meeting in reverse order. And if you play it backwards you get a similar piece that sounds a little darker and more intense...
  • "You and Me, Amy" is a sad remix of several series 5 pieces, before closing with a quiet, soft piece.
  • "The Patient Centurion" is lovely. Listen closely and you'll hear a slower, more melancholy version of the melody in "I Am The Doctor".
  • "I Remember You" plays over the climax in "The Big Bang" at Amy's wedding. It's, in a word, triumphant.

    Series 6 / Season 32 
  • "Abigail's Song" from "A Christmas Carol". Haunting, beautiful, and with a slight suggestion of the Arc Words "Silence will fall".
  • "Come Along Pond", which later became used as the trailer music to "The Doctor, the Widow and the Wardrobe".
  • "Goodlucknight" from "A Christmas Carol", the swelling music from when Abigail kisses Kazran for the first time.
  • "1969", which was played during "The Impossible Astronaut" during the Doctor's later revealed to be fake death. It was also heard during the 50th Anniversary Prequel "The Night of the Doctor", during the Eighth Doctor's regeneration into the War Doctor.
  • "I Am the Doctor in Utah"
  • "The Impossible Astronaut", yet another creepy One-Woman Wail.
  • "The Majestic Tale (Of A Madman In A Box)", the epic, triumphant variation of "I Am the Doctor" that plays as the Doctor defeats the Silence and River's ensuing ass kicking of said Silence in "Day of the Moon", and as all 13 Doctors save Gallifrey in "The Day of the Doctor". There's also a live version.
  • "Help Is On Its Way". Scary, intense, foreboding, and all round epic.
  • The soundtrack to "The Curse of the Black Spot" called "All For One" is awesomely Pirates of the Caribbean-like.
  • "Loving isn't Knowing (The Almost People Suite)", which weaves together the tender, emotional beats of "The Almost People" and "The Girl Who Waited"; part of it was used beautifully near the end of "Dinosaurs on a Spaceship".
  • "Your Father, the Last Centurion", aka the epic, swashbuckling march of Rory-badassery.
  • "The Enigma of River Song".
  • "Day of the Moon", truly heroic music played in "The Girl Who Waited" during the scene where Amy, Rory and...Amy fight off the handbots while heading back to the TARDIS.
  • "Tell Me Who You Are", "Melody Pond", "Forgiven" and "The Wedding of River Song" are all beautiful, heartbreaking pieces symbolizing River, her identity, and her past as revealed in Series 6.
  • "Brigadier Lethbridge-Stewart" is an amazing piece starting out small and sad, yet quite beautiful as the Doctor finds out about one of his oldest and best friends' death, then builds up to an awesome arrangement of I Am The Doctor that captures the bittersweetness of revisiting the events of The Impossible Astronaut and the death of the Doctor from the Doctor's perspective.

    Series 7 / Season 33 
  • "Bah Bah Biker", a catchy tune that plays while the Doctor and Clara ride to the cafe in "The Bells of Saint John".
  • "The Long Song", the hymn the people of Akhaten sing in "The Rings of Akhaten" while trying to quell the sentient sun.
  • "The Final Chapter of Amelia Pond", including "Together or Not At All", the heartbreaking music that plays as Amy and Rory commit suicide to create a paradox big enough to destroy the Angels.
  • "The Name of the Doctor Suite", starting off with a Triumphant Reprise of "This is Gallifrey", (known as "To Save the Doctor") bringing to mind the image of the Gallifrey of the Doctor's youth, with the Time Lords at their very height.
  • "A Secret He Will Take To His Grave", the sad, gentle reprise of "This Is Gallifrey" that plays as the Doctor breaks down knowing he must go to Trenzalore.
  • "Remember Me", starting with Clara's emotional piano Leitmotif before building in an epic variation of "I Am The Doctor", which plays at the end of both "Asylum of the Daleks" and "The Name of the Doctor".
  • "Infinite Potential", a moving instrumental of "The Long Song", which plays as Clara sacrifices her leaf in "The Rings of Akhaten", and as the Eleventh Doctor delivers his dying speech in "The Time of the Doctor".
  • "Song for Four/Home", which was originally intended to play over the Curator scene in "The Day of the Doctor" but ultimately used for the phone call in "Deep Breath", is a very moving theme that culminates in an epic, cinematic variation of "The Majestic Tale (Of A Madman In A Box)".
  • "Never Tell Me The Rules", the very triumphant and very epic rearrangement of "This is Gallifrey" that plays as the Eleventh Doctor starts his regeneration, which then segues into a very epic arrangement of "The Doctor's Theme (Series 4)".
  • "Trenzalore", a low-key, tragic recurring theme based around the Doctor's fate on the planet Trenzalore heard in "The Name of the Doctor", "The Day of the Doctor" and "The Time of the Doctor".
  • "Trenzalore/The Long Song/I Am Information (Reprise)" brings together the previously released tracks "Trenzalore", "Infinite Potential" and "My Silence" to score the Eleventh Doctor's last moments. While the 10th Doctor's theme was a choir singing of his funeral hymn, this is a gentle lullaby to sing the Eleventh to sleep.
  • Clara's leitmotif, first heard briefly in "Asylum of the Daleks" and then debuted properly in "The Snowmen" and "The Bells of Saint John" is one of the most memorable pieces of music in the show's history. It takes on even greater significance in Series 9 (see below).

    Series 8 / Season 34 

    Series 9 / Season 35 
  • One could safely say "Heaven Sent", all of it. Four people are responsible for making this episode such a masterpiece and besides Steven Moffat, Peter Capaldi and Rachel Talay, Murray Gold's praise is truly deserved. The score is absolutely majestic, and helps build the atmosphere of both Doctor's loneliness and the surreal grandeur of the castle. And when it really picks up during the reveal and the climax, it's just the music and the editing that keep you short on breath, while the visuals are 100% recycled. In addition, fans of the old-school electronic scores of the 1970s and 80s era of Doctor Who appreciated the part of the score (specifically the section heard when the Doctor discovers Clara's portrait) that adopts the retro style briefly.
    • The rearrangement of "This Time There's Three of Us" that plays during the montage of the Doctor breaking the wall is particularly noteworthy.
  • Fittingly for the Singing Towers of Darillium, Murray Gold has managed to produce a masterpiece of awe and heartbreaking sadness and beauty with a lot of singing.
  • During Series 9, the Doctor adopted a new character trait: playing the electric guitar (allowing guitarist Capaldi a chance to show off his skills). As such, whenever the Doctor breaks out the guitar, you're almost guaranteed a "crowning music of awesome" moment. Key examples include:
    • In "The Magician's Apprentice" playing a somewhat warped version of the Doctor Who Theme while riding a tank. And then, a few moments later, playing the opening to "Oh Pretty Woman" by way of acknowledging Clara in the audience (giving viewers the first of many Ship Tease moments for the season).
    • In "Before the Flood," punctuating a fourth wall-breaking monologue on the bootstrap paradox by strumming the first notes of Beethoven's 5th Symphony, which then segues into a one-off variant of the opening theme featuring Capaldi on guitar.
    • An all-too-brief untitled blues riff at the end of "The Woman Who Lived" as he awaited the arrival of Clara.
    • Playing "Amazing Grace", Hendrix-style, to amuse himself in "The Zygon Invasion".
    • Playing Clara's theme in "Hell Bent".
  • Clara's theme music, one of the most beautiful ever composed for a TV series, has been a part of the series and its identity since Series 7 when it was first truly heard in "The Snowmen" when Clara Oswin Oswald climbs onto a cloud and discovers the TARDIS. In Series 9 the music became a character all its own, underscoring numerous emotional scenes throughout the season and then, in "Hell Bent" the song goes full-out meta by becoming part of the narrative as it's established that the Doctor composed it and strongly hinted that it's meant to represent his suppressed memories of Clara, specifically something she told him (which we, the audience, were never privy to) in a private moment soon before his memories of her were blocked. Not only that, but every single use of the music going back to 2012 is now a full-fledged call-forward to Clara's eventual fate. On top of all that, Peter Capaldi plays the melody himself. Although no audio recording has yet surfaced, Capaldi was videotaped and photographed playing the tune on an acoustic guitar off camera as Jenna Coleman filmed her final moments as Clara.

    Series 10 / Season 36 

    Trailer music 

K-9 and Company

    K- 9 and Company 



The Sarah Jane Adventures

    The Sarah Jane Adventures 
  • The Sarah Jane Adventures theme.
  • Mr. Smith? I need you. (cue awesome fanfare) Made even better by the reveal in "The Stolen Earth" that Mr. Smith actually plays the fanfare in-universe.
  • One more: the "next time" theme.
  • At the conclusion of many episodes, there's this beautiful heartwarming little piano piece that just screams "it's not all doom and gloom".
  • The really lovely music that plays when Sarah Jane sees her parents in The Temptation of Sarah Jane Smith, as well as the heartwrenching score from the beginning.


    Dr. Who and the Daleks / Daleks' Invasion Earth 2150 A.D. 


    Big Finish Doctor Who 
  • David Arnold's remix of the main theme adds layers of Creepy Awesome to an already awesome theme.
  • Gallifreyan Buccaneer is no less than a Continuity Porn Modern Major General song.
  • The theme from The Natural History of Fear. A Suspiciously Similar Song has never sounded so eerily cool.
  • The unbelievably creepy music in the Eighth Doctor's "The Chimes of Midnight" is probably part of the reason why it's considered one of the best audios.
  • "The Light at the End" gets a remix of the main theme which sounds like all of the themes mixed into one.
  • The gorgeous music from "The Stones of Venice". From the chase music at the start to the final scene in the gondola, it is fantastic.
  • Begin The Big Adventure, the Fourth Doctor's bouncy leitmotif mainly on piano with some string backing. Very fitting for the rambunctious and eccentric Fourth Doctor.
  • The Eighth Doctor's incidental theme There's A Man I know from Big Finish is incredible. Jamie Robertson makes this theme feel like a mix of "I am the Doctor", "A Good Man", "Captain Jack's Theme", and "Somewhere the Tea's getting cold..." This is the kind of music that would play when Paul McGann starts slapping Daleks away on an exploding planet.
  • The War Doctor's Theme - a martial variation of the Doctor Who Theme that combines the idea of him being the Warrior with the hint that he's still the Doctor,


  • Who is the Doctor?, which sets lyrics to the theme song, and is performed by Jon Pertwee in-character as the Third Doctor.
  • The 2008, 2010 and 2013 Doctor Who Proms were a glorious Moment of Awesome for the series' most bombastic themes, reworked to even more awesome levels.
    • Props goes to the medley of Martha and the Master's theme as well as "Martha's Quest", aka "Martha vs. The Master".
    • The Liz, Lizards, Vampires and Vincent tune has got to be one of the most epic themes (especially towards the end) of the 2010 series.
    • Hats must go off to the Doctor Who Symphonic Spectacular concerts, with the show's music performed by Australian symphony orchestras. Two excellent ones by the Melbourne Symphony Orchestra: "Fifty", a performance of "This is Gallifrey" which segues into Murray Gold's "Song for Fifty", and "The Time of the Doctor", a suite of music from the 2013 Christmas special.
  • People should also check out the song 'An Awful Lot of Running' by the band Chameleon Circuit. It's an original song about the Doctor, but it incorporates the tune to the theme song in it. In fact, most stuff by Chameleon Circuit deserves an honourable mention on this page. It might not be actually heard on the show, but it's all one great big celebration of everything which makes the show awesome.
  • Within a year of the fiftieth anniversary, Grottomatic released a parody of the Whitney Houston song "Saving All My Love For You" simply titled "Doctor Who". The sole member even added an extra bridge and verse.
  • Trock group Legs Nose Robinson has several great songs under their belt, both dramatic ("The Oncoming Storm") and comic ("Hey Missy!"), but "Listen", inspired by and named after that Series 8 episode, is their most majestic and moving, especially paired with a spooky and heartbreaking montage.