Score Produced by ‘bur Produced by Mixed by Conducted by Scoring Manager: Scoring Coordinator Scoring Assistants Assistant to the Composer Music Editor. Recording Engineer: Assistant Engines Mastered by Masi History Constant: Executive in Charge of Masi for Sony Pictures Teleison (SPT) Masic Creative Min for SPT Music Business Alas for SPT; Business Aas for Madison Gate Records ‘Album Coordinator: ‘Are Direction and Design: Bear McCreary & Steve Kaplan Joe Augustine & Bear McCreary Stove Kaplan Bear McCreary Jessica Rae Huber (Otivi Baste Michel Beach, Omer Ben Zi Jonathan Chau, Sam Ewing, Andrew Hares, David Matic Melisa Ase Michael Baber Laurence Sehware Ryan Sanchez Pat Sullivan at Berle Grundman Mastering, Los Angeles, CA ‘Adam Knight Gilbert ‘Shelly Bunge “Tony Seudellan Rod Davie Dan Brecol Jaime Gye Jen Tndat Tear McCreary wishes to thank: Ronald D. Moore for tovdog me to join the pi adveneare, and Diana Cabaldon for creating ths vibrant naratve word {or us, Special thanks ae due to Edvard Tiybe, Henri Wikio, Ea Bese, Jamer ncoby, Tt Graphs, Cire Purell at Sony, at well ax Chris Albrecht Carmi Ziotnck, Janine Scalise and everyone at Starz, and all the musicians sho dedicated ther energy and talent 10 my sore, | could never have fined {hs score without the love and patience of ny ends and family, cpectaly ay ‘ele who Tovngly tolerated si stright months of Bagpipe music inthe car ero!Widows Lament” performed by fide and supported by strings. Towards the end of the episode, Clare remembers discussing the Battle of Culloden with Frank, where dhe Kee ofthe Seat! Gant dont For this moment, I wrote sparve Celi harp arangement of “Ye Jacobites By Name." Both songs have moving yes by Robert Burns, adding extra meaning to the scenes fr anyone who knows them Onlrdalso gave me the opportuniy ‘oinvent new folk musi. The third episode features several musical performances by Gwyllyn the Bard, played by Sotish musician Gallerie Mech! His foal song, “The Woman Of Balen referencesa woman who journeys through standing Hine eit iste hope Ha she can esape back ther ove dime. 1 composed an orginal song. based on Diana Gabaldoné ext and collaborated ‘ith Gilbride BUNE.coGll perfor it on set. then incorporated his performance Into my score to crete a single piece of musi that seamlessly transitions from on camera performance 49 narrative score In che lat ehree episodes represented here, the theme lintroducedeatier evolve dramatically s the narrative picks up pace. In “The Marriage Contac from Episode Six, Clare lationship with Jame i fst. tracked when she fared to marry him to ‘scape prosecution from the Bish. For this moment, I wrote arousing solo idl sroove to set up the most boisterous version of their theme in the sere, ‘That story leads directly ito The ‘Wedding rom Epiode Seven, a tracks from escalating variations of the Clute and Jamie Theme, Here, 1 could fly tnketah the Fall romance of the tng penny whistle, and bagpipes as Clute nd Jamie consummate thelr marrage ). This epiode og dream of Scoring a steamy sex scene with bagpipes. Lal, “The Vel OF Time" compiles the cinematic cues from the eighth «pisode, The episode peaks as Frank and (Chie run towards the stones at Crigh (again and again and agin allowed me to full ie Na Dun, hustling toward one another from across time, Here, 1 revived the Stones Theme introduced in the Best episode, My intention was to give the Bist sight cpiodera mosis arc. The narrative Feturns to where tstarted. My hope chat the musics epic enough that it makes you think, even usar Rete mene at she might make ie back after all. Alas, she oes not, and the episode, a5 well as thisBomber note, with the promise of (Onder ha allowed me to write the Ind of sore Fhave been dreaming about foray entre ie. All those years hang fut atthe Highland Games, listening to bgpipe music and arranging folk so culminated in the score I feel vas bow to write. Hearing the orchestra each its highest notes while wate ‘was overvhelmed with emotion de just getting, started ‘More drama and music await. Thank you for Joining me on this musiat journey! ear McCreary February, 2015‘and bodhrin. By the end of the fist Seer cic, Wal ME cen diferent version ofthe main ile Perhaps one dy, we can release an album of nothing but ferent versions ofthe main tte theme. Later inthe st episode, the score Introduces another important new theme, the Somoed Thee, whet it 1943, Chie snd her husband Frank witness the dance of che Druid a the stones at CCaigh na Dun, 1 called ia my resident music historian, Adam Knight Gilbert. He confirmed my suspicion that no music from the Druids survives today. With no taly authentic piece to draw upon, 1 decided instead to adapt the older lyric from the region Adam could fod, the frst stanza of 2 pocm called "Duan Na Mutheirn” of ‘Rute of the Muthars These were drawn from a collection by Aevander Carmichael called. Cains ua, fist published ia 1900, th vasa the forefront of the Gace revival movement of the time period, The track i sung in Gaelic, agnin by Raye, Yarbrough. In English, the text means: Thou King of the moos, Thou King ofthe sun, “Thos King ofthe planets, Thou King of che stars, Thou King ofthe globe, Thou King ofthe sky, (Obs Tovely Ty countenance, Thou besuteous Beam. T set this ext € an_ongial chem, composed inDorian mode, scale empl frequently for this show for “old world favor, and clegant implied. harmonies, ‘The cues from the second half of the fest episode are gathered topether ina suite called ‘Fallen Through Tine Here you will hear the Chire and Jamie Theme, a8 Claire travels with her new companions towards Cocknammon Rock. The visuals are stunning, 1 could have easily fled those sweeping vistas and misty forests with soaring orchestral lines. Instead, you hear an intimate Scottish folk ensemble of bodheén, melancholy small string ensemble and Celue harp laying the foundation for 3 solo penny whistle stating the melody. A lonely small Scotish bagpipe concludes the pice. The tone is almost mournfl, yet emotional, and establishes the distinctly Scottish sound that dominates the score for the rest of the season, (continaedIwas cael i the early episodes not to overstate the Claire and Jamie Theme Ron and I both felt eeir romance was at the core ofthe story, and as such, wedi not need to dive into tin the frst epiode In fact, you will hardly hear anything romantic even in the second episode. | decided to always let their relationship unfold on sereen it, to comment afterwards ‘needs to wait for thei romantic story ¢o ‘pay olf, s the music needs to wait as wcll ‘As Claie adjusts t0 Iie in the eighteenth century in che second, thied and fourth episodes, | explored more Iistoriclly accurate instrumentation (On het frst morning back in cine, Claire is awoken by Mrs. Fitz, bringing her breakfast and dresing her. This piece, Mrs. Fits,” featutes the viola da gambs, 4 string instrument popular in the late Baroque period, and a Scottish fiddle Her theme sounds ike a traditional folk song, but Is i fact a theme I composed for her Her tune i jaunty and Iyi, ‘and slightly intimidating The sudience person all at once, ike Mrs. Fite herself The viola da gamba ie featured fon several other tacks, most notably ‘Castle Leoch,” This marks the fire ime, besides che main tile, 1 incorporated teadional folk muric directly into the The track opens wich » heartfelt rendition of Loch Lomond,” and transitions to 2 vols da gamba playing “Bonny Katherine Opi,” arranged with a sine egal style co capere the feeling ‘of Colums court. | fel these tes helped {ground the story suthenicaly, songs that people ofthis er actully ew and sang Episode Four features a sinilar approach: “Comin! Thro! The Rye is 3 lively arrangement of the wellknown song, underscoring a montage of Chie practicing medicine for the townsfolk, and | underscored a game of shinty with an arrangement of another of my favorite folksongs, “Clean Pease Strae” Even. more folk songs. appear in Episode Five. The narrative deals directly ith raising iegal funds forthe Jacobite army, 50 | drew from the rich musical herieage of that movement w create a score that simultaneously ithe narrative and added historical context, Some of ‘hese songs can be heard in the tack "The Losing Side OF History."The track Begins witha statement of The Skye Bos Song” smarking the fst time I incorporated it fino the narrative score, connecting it direally © the Jacobite uprising for fans ‘who were ot aware ofthe sons history "The Losing Side Of History” Includes two other moments from the fifth episode, Claite and her companions encounter Scots eructed along the side ‘ofthe road, beglaning an elegant montage bridging the scene with a makeshift ural and Dougats heatile speech ally suppoct. underscored this sequence with 8 moving arangement of "The HighlandFrom the beginning, 1 wanted to draw predominantly from Scottish Instrumentation and folk music Instrument such 98 the Bde, bagrines, accordion, penny whistle and bodhrén (2 ‘ype of frame deum) form the backbone of the score, supported by orchestra strings, aunting_ vocals and larger porcusion, (Olander opens with » stunning shot of the Scottish Highlands accompanied by Claire volce-over, She is speaking from the future, looking back on er experiences, so I wanted the music to add 1 sense of wisdom and longing, The fist “The Time," begins with a low sustained Din the orchestral basses and och before combination of bagpipe drones and fiddle enter with haunting, yet distinctly Scottish, drones. During ti elegant prologue, we mecct Claire and fash back to her final day of WWI. As Gil thes 6 Sallewned ewig on te champagne thrust into her hand, a penny whistle offers our fst glimpse of what wil become the most important theme in the sore, the Claire and Jamie Theme This cue leads directly ito. the main tle sequence of Oulloule: ay adaptation of a favorite Scottish folk tune, “The Skye Boat Song.” n fact, Vad ly sent Ron Moore an old econding ‘of me plying the song on my accordion ind he replied immediately that he loved and was certain it would be the serey rain theme! That was the point when 1 Tealied {i would BElgeating the show The use of the melody was decided but the famous lyrics by Sir Harold Boulton didnot capture the essence of the show for me. Thankfully, vocalist Raya Yarbrough recalled another set of Iyeies by Robert Louis Stevenson, The Stevenson Iyics are better suited. to Care story, and we altered two words fo make them even more +0. “Sing we a song ofthe lad that i gone,” «direct reference to Bonnie Prince Chore, wat changed to "Sing me » song of» lee that 's gone." This simple alteration connects the Ire more directly to Clare. Afterall this is & show about ber adventure, not about the polites of the Jacobite era Raya Yarbrough intimate and poignant ‘vocal tone solidifies the notion that we ate hearing a voice from Claire’ perspective [As the series progressed, I composed 2 unique ending to the main te for each episode. The version that aired with the fist episode was released as a Aowaloadable single. The version om this album is from the second episode and features an extended variation ofthe “The Skye Boat Song” melody for penny whistleOUTLANDER ——THE SERIES _aa 1. People Disappear All The Time 12. Outlander ~ The Skye Boat Song (fet. Raya Yarbrough) (Castle Leoch Version) 3, Dance Of The Druids (feat. Raya Yarbrough) 4. Fallen Through Time 5. Castle Leoch 6. Comin’ Thro’ The Rye 7 The Woman Of Balnain (feat. Gillebride MacMillan) 8. Mrs. Fitz 9. The Losing Side Of History 10. Clean Pease Strae 11, The Marriage Contract 12, The Wedding 13. The Veil OF TimeORIGINAL TELEVISION SOUNDTRACK, VOUS OQUTLANDE rE SERIES