Music
Father-and-son composer team Keith Strachan and Matthew Strachan wrote the Millionaire franchise's original musical score. Brought in after the initial pilot with a brief instructing them to create music providing mood and tension, they decided to approach the project like a film score with music playing almost throughout the entire show, a unique approach for a game show at the time. After almost completing the task they came up with the idea of taking the pitch up a semi-tone for each subsequent question in order to increase tension as the game progressed. The music has received numerous ASCAP awards.
When the U.S. version of Millionaire was honored by GSN on its Gameshow Hall of Fame special, the narrator described the show's original music tracks as "mimicking the sound of a beating heart," and stated that as the contestant works their way up the money ladder, the music is "perfectly in tune with their ever-increasing pulse." Although most international versions of the show still continue to use the Strachan score, in 2010 the U.S. version retired it altogether in favor of a new musical score, with cues composed by Jeff Lippencott and Mark T. Williams.
A soundtrack album was released, featuring most of the musical stages, but not all of them.
Read more about this topic: Who Wants To Be A Millionaire? (Thai Game Show)
Famous quotes containing the word music:
“The great challenge which faces us is to assure that, in our society of big-ness, we do not strangle the voice of creativity, that the rules of the game do not come to overshadow its purpose, that the grand orchestration of society leaves ample room for the man who marches to the music of another drummer.”
—Hubert H. Humphrey (19111978)
“His style is eminently colloquial, and no wonder it is strange to meet with in a book. It is not literary or classical; it has not the music of poetry, nor the pomp of philosophy, but the rhythms and cadences of conversation endlessly repeated.”
—Henry David Thoreau (18171862)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
—Imamu Amiri Baraka (b. 1934)