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* The emotional yet intense score that is "Raph Fights Leo" from ''WesternAnimation/{{TMNT}}''
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* The emotional yet intense score that is "Raph Fights Leo" from ''WesternAnimation/{{TMNT}}''
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* The emotional yet intense score that is “Raph Fights Leo” from ''WesternAnimation/{{TMNT}}''
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* The emotional yet intense score that is “Raph "Raph Fights Leo” Leo" from ''WesternAnimation/{{TMNT}}''
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* The emotional yet intense score that is “Raph Fights Leo” from “WesternAnimation/TMNT”
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* The emotional yet intense score that is “Raph Fights Leo” from “WesternAnimation/TMNT”''WesternAnimation/{{TMNT}}''
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* The emotional yet intense score that is “Raph Fights Leo” from “WesternAnimation/TMNT”
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* ''Series/InterviewWithTheVampire2022'': In "[[Recap/InterviewWithTheVampire2022S1E7TheThingLayStill The Thing Lay Still]]", Daniel Hart's "[[https://www.youtube.com/watch?v=6UdbYl9My50 Laudanum and Arsenic]]" is the BackgroundMusic in the second-half of TheClimax, and it's a dramatic track that builds tension in a scene where two pairs of vampires with their own murder plots face off against each other: Louis & Claudia vs. Lestat & Antoinette.
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* ''Series/InterviewWithTheVampire2022'': In "[[Recap/InterviewWithTheVampire2022S1E7TheThingLayStill The Thing Lay Still]]", score was composed by Daniel Hart's Hart.
** "[[Recap/InterviewWithTheVampire2022S1E1InThroesOfIncreasingWonder In Throes of Increasing Wonder...]]": In TheClimax, the unsettling notes of "[[https://www.youtube.com/watch?v=3PdKzRSqDmU Permanent Exile]]" echo Louis de Pointe du Lac being very disturbed when his lover Lestat de Lioncourt [[NonhumanLoverReveal unveils his true vampire nature for the first time]]; the latter butchers and exsanguinates Father Matthias with his [[FangsAreEvil fangs]], and then he slaughters a second priest by ramming his fist at SuperSpeed through the man's skull.
** "[[Recap/InterviewWithTheVampire2022S1E7TheThingLayStill The Thing Lay Still]]": "[[https://www.youtube.com/watch?v=6UdbYl9My50 Laudanum and Arsenic]]" is the BackgroundMusic in the second-half ofTheClimax, the climax, and it's a dramatic track that builds tension in a scene where two pairs of vampires with their own murder plots face off against each other: Louis & Claudia vs. Lestat & Antoinette.
** "[[Recap/InterviewWithTheVampire2022S1E1InThroesOfIncreasingWonder In Throes of Increasing Wonder...]]": In TheClimax, the unsettling notes of "[[https://www.youtube.com/watch?v=3PdKzRSqDmU Permanent Exile]]" echo Louis de Pointe du Lac being very disturbed when his lover Lestat de Lioncourt [[NonhumanLoverReveal unveils his true vampire nature for the first time]]; the latter butchers and exsanguinates Father Matthias with his [[FangsAreEvil fangs]], and then he slaughters a second priest by ramming his fist at SuperSpeed through the man's skull.
** "[[Recap/InterviewWithTheVampire2022S1E7TheThingLayStill The Thing Lay Still]]": "[[https://www.youtube.com/watch?v=6UdbYl9My50 Laudanum and Arsenic]]" is the BackgroundMusic in the second-half of
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* ''Series/InterviewWithTheVampire2022'': In "[[Recap/InterviewWithTheVampire2022S1E7TheThingLayStill The Thing Lay Still]]", Daniel Hart's "[[https://www.youtube.com/watch?v=6UdbYl9My50 Laudanum and Arsenic]]" is the BackgroundMusic in the second-half of TheClimax, and it's a dramatic track that builds tension in a scene where two pairs of vampires with their own murder plots face off against each other: Louis & Claudia vs. Lestat & Antoinette.
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Alphabetizing.
* ''Series/BattlestarGalactica2003'':
** The third season finale included an instrumental version of Bob Dylan's "All Along the Watchtower," a tune that had mysterious plot significance. Characters had been hearing snatches of the tune during the previous few episodes, but it played in full durng the finale's climax. It returned as the climactic music of more than one episode from the final season, including the series finale.
** In the episode "Guess What's Coming To Dinner?", the song 'Gaeta's Lament', which recurs through the episode (live-sung by Alessandro Juliani) finishes as a full orchestral version of this.
** The third season finale included an instrumental version of Bob Dylan's "All Along the Watchtower," a tune that had mysterious plot significance. Characters had been hearing snatches of the tune during the previous few episodes, but it played in full durng the finale's climax. It returned as the climactic music of more than one episode from the final season, including the series finale.
** In the episode "Guess What's Coming To Dinner?", the song 'Gaeta's Lament', which recurs through the episode (live-sung by Alessandro Juliani) finishes as a full orchestral version of this.
* The BBC drama ''Series/OurFriendsInTheNorth'' consisted of nine episodes, each set in a different year from 1964-1995, and each ending with a piece of music from that year playing over the credits. The final episode, ''1995'', was perhaps the most notable for this, ending with ''Don't Look Back In Anger'' by Oasis.
* Many times in ''Series/PersonOfInterest'', usually at the climax of the action or right at the end of the episode.
* Many times in ''Series/PersonOfInterest'', usually at the climax of the action or right at the end of the episode.
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* ''[[Series/BattlestarGalactica2003 Battlestar Galactica]]'':
** The third season finale included an instrumental version of Bob Dylan's "All Along the Watchtower," a tune that had mysterious plot significance. Characters had been hearing snatches of the tune during the previous few episodes, but it played in full durng the finale's climax. It returned as the climactic music of more than one episode from the final season, including the series finale.
** In the episode "Guess What's Coming To Dinner?", the song 'Gaeta's Lament', which recurs through the episode (live-sung by Alessandro Juliani) finishes as a full orchestral version of this.
* Many times in ''Series/PersonOfInterest'', usually at the climax of the action or right at the end of the episode.
* The BBC drama ''Series/OurFriendsInTheNorth'' consisted of nine episodes, each set in a different year from 1964-1995, and each ending with a piece of music from that year playing over the credits. The final episode, ''1995'', was perhaps the most notable for this, ending with ''Don't Look Back In Anger'' by Oasis.
** The third season finale included an instrumental version of Bob Dylan's "All Along the Watchtower," a tune that had mysterious plot significance. Characters had been hearing snatches of the tune during the previous few episodes, but it played in full durng the finale's climax. It returned as the climactic music of more than one episode from the final season, including the series finale.
** In the episode "Guess What's Coming To Dinner?", the song 'Gaeta's Lament', which recurs through the episode (live-sung by Alessandro Juliani) finishes as a full orchestral version of this.
* Many times in ''Series/PersonOfInterest'', usually at the climax of the action or right at the end of the episode.
* The BBC drama ''Series/OurFriendsInTheNorth'' consisted of nine episodes, each set in a different year from 1964-1995, and each ending with a piece of music from that year playing over the credits. The final episode, ''1995'', was perhaps the most notable for this, ending with ''Don't Look Back In Anger'' by Oasis.
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* ''Film/{{Hairspray}}'''s "You Can't Stop the Beat", which the characters perform during the climactic dance showdown.
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* ''Film/{{Hairspray}}'''s ''Film/{{Hairspray|2007}}'''s "You Can't Stop the Beat", which the characters perform during the climactic dance showdown.
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** "Tik Tok" from "Blame It On The Alcohol.
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** "Tik Tok" "[[Music/{{Kesha}} Tik Tok]]" from "Blame It On The Alcohol.
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The swelling, booming music will help add tension or triumph to the scene. It may well be a TriumphantReprise of an earlier piece from the work, and in musicals, it may be a {{Showstopper}} and/or a MassiveMultiplayerEnsembleNumber. If the music is a song, with lyrics, the words may express the work's theme.
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The swelling, booming music will help add tension or triumph to the scene. It may well be a TriumphantReprise of an earlier piece from the work, and in musicals, it may be a {{Showstopper}} ShowStopper and/or a MassiveMultiplayerEnsembleNumber. If the music is a song, with lyrics, the words may express the work's theme.
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Contrast with ElevenOClockNumber, pieces that may feel climactic but that precede the climax.
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Contrast with ElevenOClockNumber, pieces that may feel climactic climactic, but that precede the climax.
