Alf Clausen

And that's what I tried to reach for in the Ion Springfield theme, the rock groove plus the electronic synthesized music that everybody has come to know and love.

Well, TV themes has not been my bailiwick, as they say. I co-wrote the theme to the Elf series. And other than that, I have been basically known as an underscore music person, not a theme writer.

Well, TV themes has not been my bailiwick, as they say. I co-wrote the theme to the Elf series. And other than that, I have been basically known as an underscore music person, not a theme writer.

Well, TV themes has not been my bailiwick, as they say. I co-wrote the theme to the Elf series. And other than that, I have been basically known as an underscore music person, not a theme writer.

Underscoring is all of the music that you hear within the body of the show other than the theme. Underscore music that accompanies dialogue. Underscore music that takes us from one scene to another. Underscore music is often feature music that really is designed to complement the mood of a particular scene.

Underscoring is all of the music that you hear within the body of the show other than the theme. Underscore music that accompanies dialogue. Underscore music that takes us from one scene to another. Underscore music is often feature music that really is designed to complement the mood of a particular scene.

Underscoring is all of the music that you hear within the body of the show other than the theme. Underscore music that accompanies dialogue. Underscore music that takes us from one scene to another. Underscore music is often feature music that really is designed to complement the mood of a particular scene.

It's quite extensive. On my normal schedule, I have about 30 music cues to write for an episode, and I have about a four-day turnaround for that. And the music is all written for a 35-piece orchestra, so it's pretty intense.

It's quite extensive. On my normal schedule, I have about 30 music cues to write for an episode, and I have about a four-day turnaround for that. And the music is all written for a 35-piece orchestra, so it's pretty intense.

It's quite extensive. On my normal schedule, I have about 30 music cues to write for an episode, and I have about a four-day turnaround for that. And the music is all written for a 35-piece orchestra, so it's pretty intense.

Well, again, the lyric originated as part of the script. And when I was given the sample that this was supposed to follow, when I heard the original, my first comment was, well, that's Jack Sheldon singing. And the producer said, do you know him? And I said, oh, yes, he's a friend of mine. He's worked for me.

Well, again, the lyric originated as part of the script. And when I was given the sample that this was supposed to follow, when I heard the original, my first comment was, well, that's Jack Sheldon singing. And the producer said, do you know him? And I said, oh, yes, he's a friend of mine. He's worked for me.

Well, again, the lyric originated as part of the script. And when I was given the sample that this was supposed to follow, when I heard the original, my first comment was, well, that's Jack Sheldon singing. And the producer said, do you know him? And I said, oh, yes, he's a friend of mine. He's worked for me.

Many times in the past, he worked for me on Moonlighting, playing some of his beautiful, beautiful trumpet solos. He's one of the best jazz trumpet players in the world. And I said, wouldn't it be funny if we could get Jack to sing on our parody as well as the original and... And the comment was made of, do you think we'd be able to get him? And I said, sure, let me make the call.

Many times in the past, he worked for me on Moonlighting, playing some of his beautiful, beautiful trumpet solos. He's one of the best jazz trumpet players in the world. And I said, wouldn't it be funny if we could get Jack to sing on our parody as well as the original and... And the comment was made of, do you think we'd be able to get him? And I said, sure, let me make the call.

Many times in the past, he worked for me on Moonlighting, playing some of his beautiful, beautiful trumpet solos. He's one of the best jazz trumpet players in the world. And I said, wouldn't it be funny if we could get Jack to sing on our parody as well as the original and... And the comment was made of, do you think we'd be able to get him? And I said, sure, let me make the call.

I called Jack, and Jack said, I'd be glad to do this. So it really, I think, makes it come that much closer to home and gives the bite that much more significance.

I called Jack, and Jack said, I'd be glad to do this. So it really, I think, makes it come that much closer to home and gives the bite that much more significance.

I called Jack, and Jack said, I'd be glad to do this. So it really, I think, makes it come that much closer to home and gives the bite that much more significance.

Absolutely. Absolutely. I'm very, very serious about this. And I hearken back to another phrase that an old trumpet player friend of mine told me a long, long time ago. You can't vaudeville vaudeville. meaning that if something is funny already, if you try to put something funny on top of it, it will dull the issue rather than enhance it.