Music
The opening and closing credits theme during the first two seasons was called "Rise and Shine", a lively instrumental underscore accompanying Fred on his drive home from work. The tune resembled "The Bugs Bunny Overture (This Is It!)," the theme song of The Bugs Bunny Show, also airing on ABC at the time, and may have been the reason the theme was changed in the third season.
Starting in Season 3, Episode 3 ("Barney the Invisible"), the opening and closing credits theme was the familiar vocal, "Meet the Flintstones". The melody is derived from part of the 'B' section of Beethoven's Piano Sonata No. 17 Movement 2, composed in 1801/02. The "Meet the Flintstones" opening was later added to the first two seasons for syndication.
The musical underscores were credited to Hoyt Curtin for the show's first five seasons; Ted Nichols took over in 1965 for the final season.
During the show's final season, "Open Up Your Heart (And Let the Sunshine In)", performed by Pebbles and Bamm-Bamm, in a clip from that season's first episode, was used as alternate close music.
In 2010 a PRS for Music survey of 2,000 adults in the UK found that the "Meet the Flintstones" theme tune was the most recognised children's' TV theme, ahead of those for "Top Cat" and "Postman Pat".
Read more about this topic: The Flintstones
Famous quotes containing the word music:
“If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
—W.H. (Wystan Hugh)
“Who that has heard a strain of music feared then lest he should speak extravagantly any more forever?”
—Henry David Thoreau (1817–1862)
“And in the next instant, immediately behind them, Victor saw his former wife.
At once he lowered his gaze, automatically tapping his cigarette to dislodge the ash that had not yet had time to form. From somewhere low down his heart rose like a fist to deliver an uppercut, drew back, struck again, then went into a fast disorderly throb, contradicting the music and drowning it.”
—Vladimir Nabokov (1899–1977)