Check at the bottom of this page for mega-qualifiers to what's here (and not!)...
Westminster Bridge, the original action motif, with the first Rose variations.
The Doctor's Theme motif (which changes key constantly). Otherwise known as the "Bad Wolf" or "Chancellor Flavia" music. Now in two parts, which were used separately by the Christmas Invasion.
The Seeking the Doctor (or "TARDIS") motif. For this one, I am confident that I have the notes/pitches right, but the note duration is... very squirrely.
The last of these oo-ee usually-vocal motifs... we all thought came from Doomsday. But... as patiently pointed out by Outpost Gallifrey regulars (w3lshrugby, elephant, and Ryker), it was first played in Rose! (I was calling it "Worlds Apart" before the soundtrack release named it "Doomsday"...)
The (original) Cassandra motif from The End of the World.
The "home" motif, from The End of the World and often since. The B section was used more by itself in Series Two; especially at the end of Age of Steel.
The framing melody from Father's Day.
The main motif from Father's Day.
The "rescue" motif in two parts, from Bad Wolf / Parting of the Ways. Or, at least to me it was one motif. Jar of Clay from Outpost Gallifrey has pointed out the distinctiveness of the two parts, and I can see them as separate--except that they've since been used pretty much together in The Impossible Planet. So, whatever...
The Face of Boe motif, from New Earth.
The final "Beautiful" Cassandra motif at the end of New Earth.
The motif for Reinette, Madame de Pompadour in the Girl in the Fireplace, with just a hint of the (many) variations. Doesn't include the vamp-like bits in the last scenes...
but I will include the last "music-box" version.
I have 'upgraded' the Cyberman II motif to a full action motif becaŭse of its complexity...Notice the rhythms and time signatures!
The motif for the majority of the Impossible Planet's outer space shots.
The "escape" vamps from The Impossible Planet / The Satan Pit. Both chunks are 3-3-2 for rhythm, and clearly no more than vamps, and are used in similar scenes. (Although, like the clockwork music from The Girl in the Fireplace, well, they're not really the same to each other!)
The four motifs below are all from the Runaway Bride...
Below is just a tiny fraction of what plays when Donna and the Doctor are trying to catch a cab (specifically it's when the Doctor is in line at the cash machine). There are otherwise another three major sections, probably four different connecting vamps, and five or six key changes! And that is just in the two minute and forty-odd seconds before the episode's "Chase" scene and music!
The Doctor gets a rousing battle tune as he (goes over the edge a bit and) fights the Racnoss...
And in the more usual episodes of Series Three...
Martha's Theme appeared in several different arrangements in the series' first episode Smith and Jones, as we were meeting this new companion. So I'm presenting it in two different levels of ornamentation, and 'swing,' here. Slurs added by special request.
The primary action theme of Series 3, "All the Strange, Strange Creatures," premiered in the episode Gridlock. However, it was already familiar as the music from the pre-season video 'trailer' clips, so much so that it is often described as "the trailer music."
The motif gets a special dress-up for Evolution of the Daleks; a 'layer' of Dalek chorus is added. The action theme also has a "helper" motif in the continued use of the "Urban Battles" cue from Runaway Bride. See, they have a different rhythm, but they use sort of the same melodic line!
A bit of Talullah's torch song "My Angel Put the Devil in Me" from Daleks in Manhattan. The jazz "swing" notation is still a work in progress... Stories across Time / Utopia is first used in Blink, but really it comes into its own as Professor Yana explains the humans' destination--and in the scene for Jack's backstory. This is Gallifrey is heard during the Doctor's Gallifrey flashback in the Sound of Drums (and near the end of Last of the Time Lords) but it's actually also used a couple of times in Utopia for Professor Yana. The lovely tune (part of Martha's Quest) from the Utopia/Sound of Drums/Last of the Time Lords trilogy. We first hear it in Utopia as the mother and son(s) are reunited, and then in Sound of Drums as the Doctor, Martha, and Jack don their perception filters (and then at the end of that episode as Martha teleports away from the Valiant). The tune gets an orchestral re-working for the restoration scene in Last of the Time Lords. We heard Stowaway in Voyage of the Damned. Note that it also functions as a thematic instrumental tune in the episode. (This is a corrected transcription of the song.) And, though they're part of Murray Gold's music from Casanova and not Doctor Who, because the motifs have been compared to the Reinette motif in TGITF... These are completely from memory, so go easy on the details: Henrietta's motif. The motif for both Venice in general and Bellino in particular. Before you go "what the heck?"... Return to the top of this page. Return to my Musical Motifs in New Who page. Copyright © 2008 L. Robin C. LaPasha. Updated as of 02/01/2008. Comments and responses to Robin LaPasha 
From the Series Four Christmas special (2007):
Qualifiers to the Above
So you won't see them here.
I will include some variations as my energy and interest takes me.
