Editing Stargate SG-1 (section)

=== Music ===
According to composer [[Joel Goldsmith]], ''Stargate SG-1'' had a traditional action-adventure score, "with a sci-fi, fantasy flair" that goes "from comedy to drama to wondrous to suspense to heavy action to ethereal".<ref>{{cite magazine |last=Burlingame |first=Jon |url=https://variety.com/2002/scene/markets-festivals/sci-fi-series-a-musical-odyssey-1117870437/ |title=Sci-fi series: a musical odyssey |magazine=[[Variety (magazine)|Variety]] |date=July 29, 2002 |access-date=March 26, 2009}}</ref> Brad Wright and Jonathan Glassner had known Goldsmith since the second season of ''The Outer Limits'' before they approached him to work on the pilot episode of ''Stargate SG-1''. Goldsmith and [[David Arnold]], the composer of the original feature film score, discussed themes for a television adaptation. The main titles of ''Stargate SG-1'' were a medley of several themes from the feature film, although Goldsmith also wrote a unique end title for ''SG-1'' to establish the show as its own entity.<ref name=joel/> MGM eventually insisted on using Arnold's score in the pilot episode instead of Goldsmith's, but Brad Wright's 2009 direct-to-DVD recut of ''[[Children of the Gods]]'' uses Goldsmith's original score.<ref>{{cite web|last1=Sumner|first1=Daren|last2=Read|first2=David|name-list-style=amp|url=https://gateworld.net/news/2008/05/breaking-the-ice-part-2/|title=Breaking The Ice – GateWorld talks with Brad Wright (Part 2)|publisher=[[GateWorld]]|date=May 23, 2008|access-date=March 24, 2009|archive-date=November 26, 2018|archive-url=https://web.archive.org/web/20181126092605/https://www.gateworld.net/news/2008/05/breaking-the-ice-part-2/|url-status=live}}</ref>

For each episode's score, Goldsmith simulated a real orchestra with a synthesizer palette of an eighty-piece symphony orchestra for budgetary reasons,<ref name=joel/> although he occasionally used two or three musicians for added orchestral authenticity.<ref name=companion56_150_151/> Goldsmith's long-time assistant Neal Acree started composing additional music for ''Stargate SG-1'' in Season 8.<ref name=gw_emotion/> The amount of composed music varied between 12 and 33 minutes out of a 44-minute episode, with an average of around 22 to 26 minutes,<ref name=gw_emotion>{{cite web|last=Read|first=Darren|url=https://gateworld.net/news/2009/03/the-language-of-emotion/|title=The Language of Emotion – GateWorld talks with Neal Acree|publisher=[[GateWorld]]|date=March 28, 2009|access-date=March 31, 2009|archive-date=November 27, 2020|archive-url=https://web.archive.org/web/20201127175838/https://www.gateworld.net/news/2009/03/the-language-of-emotion/|url-status=live}}</ref> making the full symphonic score of ''SG-1'' more time-consuming to create than for general TV shows.<ref name=joel/> Since Goldsmith lived a thousand miles away from Vancouver, he and the producers discussed ideas over the phone<ref name=companion56_150_151>Gibson 2003, pp. 150–151.</ref> and exchanged tapes via [[Federal Express]] for several years until the show switched to Internet file transfers.<ref name=joel2>{{cite web|last=Read|first=David|url=https://gateworld.net/news/2006/11/gate-harmonics-part-2/|title=Gate Harmonics – GateWorld talks with Joel Goldsmith (Part 2)|publisher=[[GateWorld]]|date=November 30, 2006|access-date=March 24, 2009|archive-date=November 28, 2020|archive-url=https://web.archive.org/web/20201128081429/https://www.gateworld.net/news/2006/11/gate-harmonics-part-2/|url-status=live}}</ref>

Goldsmith's reliance on Arnold's score decreased over the seasons when ''Stargate SG-1'' departed from the Goa'uld theme and introduced new characters and races. Goldsmith had a thematic approach to races and spaceships.<ref name=joel>{{cite web|last=Read|first=David|url=https://gateworld.net/news/2006/11/gate-harmonics-part-1/|title=Gate Harmonics – GateWorld talks with Joel Goldsmith (Part 1)|publisher=[[GateWorld]]|date=November 23, 2006|access-date=March 24, 2009|archive-date=November 26, 2018|archive-url=https://web.archive.org/web/20181126051019/https://www.gateworld.net/news/2006/11/gate-harmonics-part-1/|url-status=live}}</ref> For example, he wanted a mechanical, repetitive musical motif for the Replicators;<ref name=joel2/> Gothic, [[Gregorian chant|Gregorian]] and Christian themes were the inspiration for the Ori motif.<ref name=joel/> The Ancient theme was deliberately carried over to ''Stargate Atlantis''. The end of "Lost City" has a basic melody that would become part of the main title of ''Atlantis'' per a suggestion by Goldsmith's assistant.<ref name=joel2/> Non-original music was rarely used on ''SG-1'', although Goldsmith chose the aria "[[Vesti la giubba]]" from [[Leoncavallo]]'s ''[[Pagliacci]]'' for season 3's "[[Shades of Grey (Stargate SG-1)|Shades of Grey]]".<ref name=gw_brad>{{cite web|last=Sumner|first=Darren|url=https://gateworld.net/news/2002/07/the-man-at-the-top/|title=Interviews – Brad Wright|publisher=[[GateWorld]]|date=July 14, 2002|access-date=March 24, 2009|archive-date=August 5, 2020|archive-url=https://web.archive.org/web/20200805132228/https://www.gateworld.net/news/2002/07/the-man-at-the-top/|url-status=live}}</ref> Additionally, [[Lily Frost]]'s song "Who am I" played in Season 7's "[[Fragile Balance (Stargate SG-1)|Fragile Balance]]" and [[Creedence Clearwater Revival|CCR]]'s song "[[Have You Ever Seen the Rain?]]" played in the series finale "[[Unending]]". A television soundtrack with Goldsmith's adapted score was released in 1997,<ref name="ost1997">{{cite web |title=Stargate SG-1 Soundtrack |url=http://www.soundtrack.net/albums/database/?id=1044 |publisher=SoundtrackNet |access-date=May 29, 2010 |archive-date=November 21, 2011 |archive-url=https://web.archive.org/web/20111121132730/http://www.soundtrack.net/albums/database/?id=1044 |url-status=live }}</ref> followed by a best-of release in 2001.<ref name="ost2001">{{cite web |last=Goldwasser |first=Dan |title=The Best of Stargate SG-1 Soundtrack |url=http://www.soundtrack.net/albums/database/?id=2844 |publisher=SoundtrackNet |access-date=May 29, 2010 |date=August 29, 2001 |archive-date=November 21, 2011 |archive-url=https://web.archive.org/web/20111121130225/http://www.soundtrack.net/albums/database/?id=2844 |url-status=live }}</ref> In Season 1 Episode 7, "[[The Nox]]", the music that played when The Nox appeared was Spinning The Silk from the album Chrysalis by 2002.