The Doctor Who theme music is a piece of music written by Australian composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Created in 1963, it was one of the first electronic music signature tunes for television. It is used as the theme for the science fiction programme Doctor Who, and has been adapted and covered many times. Although numerous arrangements of the theme have been used on television, the main melody has remained the same. The theme was originally written and arranged in the key of E minor. Most versions of the theme – including the current arrangement by Segun Akinola – have retained the use of the original key, with exceptions being Peter Howell (F# minor) and Keff McCulloch's (A minor) arrangements. Although widely listed in reference works, and many series soundtrack albums, under the title "Doctor Who Theme", its official title is "Doctor Who", although its initial sheet music release used the now-deprecated form "Dr. Who". History 1960s The original 1963 recording of the Doctor Who theme music is widely regarded as a significant and innovative piece of electronic music, recorded well before the availability of commercial synthesisers. Delia Derbyshire (assisted by Dick Mills) of the BBC Radiophonic Workshop used musique concrète techniques to realise a score written by composer Ron Grainer. Each note was individually created by cutting, splicing, speeding up and slowing down segments of analogue tape containing recordings of a single plucked string, white noise, and the simple harmonic waveforms of test-tone oscillators which were used for calibrating equipment and rooms, not creating music. The main, pulsing bassline rhythm was created from a recording of a single plucked string, played over and over again in different patterns created by splicing copies of the sound, with different pitches and notes achieved by playing the sample in different speeds. The swooping melody and lower bassline layer were created by manually adjusting the pitch of oscillator banks to a carefully timed pattern. The non-swooping parts of the melody were created by playing a keyboard attached to the oscillator banks. The rhythmic hissing sounds, "bubbles" and "clouds", were created by cutting tape recordings of filtered white noise. Once each sound had been created, it was modified. Some sounds were created at all the required pitches direct from the oscillators, others had to be repitched later by adjusting the tape playback speed and re-recording the