Sheridan Tongue interviewed by Steve Berman of The Composer Works.
Scoring a long-running television drama with ten episodes per series is no small feat (season 28 is now on air). But for Sheridan Tongue, shaping the music of Silent Witness has been a rewarding and ever-evolving journey.
He has scored over 10 series of the show. And with each series, new creative challenges arise (not least, how does a drama composer balance tension, mystery, and human vulnerability in a score, whilst liaising with numerous producers and directors at once?).
In this exclusive interview, Sheridan shares insights into his approach and latest techniques and how he continues to push musical boundaries.
—
Police begin their search (Silent Witness series 28, episode 9 “I Believe in Love… – Part 1” (BBC))
How much autonomy did you have over your score generally for SW28?
One of the most rewarding aspects of scoring Silent Witness is how seriously the production team values the original music. They bring me on board early, which allows me to be part of the creative journey from the start. I receive the scripts before filming begins, and once the shoot is underway, I have in-depth discussions with the director about their vision for the film. At this stage, the picture editor often reaches out to ask for music from my library or new sketches, offering a perfect opportunity to experiment with bold musical ideas.
Being involved early on means I can create music without the influence of a temp score, allowing me to respond more organically to the material. I can make independent choices about style and instrumentation. Sometimes, I request a rough assembly or key scenes from the editor, and I compose music inspired by those sketches, sending my ideas back to the edit along with stems. The editors then can try out my musical ideas in the cut and feed back to me.
I believe the best results in television and film come when the picture and music develop in tandem. This way, my music can influence the edit, and the editor can incorporate it into a rough cut, allowing me to see what’s working and what needs adjustment.
Once filming is complete and the director moves into the editing process, we dive deeper into the musical needs . The goal is to have all new music in place by the time we reach picture lock, so that when I’m handed the final cut, my focus is solely on finessing cues and mixes.
Share a technique about your approach to scoring Silent Witness.
When I scored my first episode of the series back almost 20 years ago, I wanted to find a musical way to capture the idea of how the smallest details, often revealed during the autopsies, can solve the crimes. For those early episodes, I brought in two musicians: electric cellist Philip Sheppard and violinist Sylvia Hallet. I discovered that when they played, I could hear every subtle bow movement or minute sound – the details. It was incredibly compelling. By combining these organic sounds with a sparse electronic score, I found the perfect musical solution.
There’s always a sound reason behind every musical choice I make, and this approach helped me establish a musical entry point for the series. Most importantly, it created a compelling connection between the music and the narrative.
On series 28 I still use this technique for many of the cues. I like spareness, ambiguity and simplicity in music…. and details.
Silent Witness series 28 cast
The sound of the drama has evolved over the years. What new or unique elements have you introduced to the score in Series 28 to keep it engaging for the audience?
For Series 28, I expanded on the instrumentation from previous seasons by bringing in Violetta Vicchi, an incredible musician introduced to me by my publisher. We’re even planning an album together. From the moment I heard her play, I knew she’d be perfect for Silent Witness. Violetta plays both the octave violin and octave viola, instruments that produce notes an octave lower than their standard counterparts. Her technique and sound are sublime, and I love the little details she brings to her playing and my music. I also brought in Bass Viol player Andrew Arcecci, he creates such a low edgy guttural string sound….just perfect for those very dark moments in Silent Witness. He played on episodes 3 and 4, directed by Toby Frow.
In addition to their contributions, I’ve also expanded my use of electronic sounds for this series, incorporating my Moog One in certain parts. Before starting work on any project, I often experiment with creating new patches and sounds that I can weave into the score. For this series, I particularly enjoyed crafting wide, slowly evolving pad sounds. I’m drawn to sounds that are ambiguous and open to interpretation, so I created many of these to add depth and atmosphere.
Sheridan’s Moog One synthesiser
Silent Witness often features shifting tones between tension, mystery and human vulnerability. How did you reflect these elements in your score for the series?
When composing for Silent Witness, I don’t consciously focus on scoring specific elements like tension, mystery, or human vulnerability. Instead, I focus on the bigger picture of the story and the emotional journey the music is trying to support. Those tonal shifts will naturally emerge in the music, but I often find that a single piece can evoke different emotions in different people. A director once said to me that my music is like walking into a building and discovering a whole new floor you never knew existed. I think that’s a lovely analogy—it captures how the music can open up new layers of the narrative and experience.
Can you talk about any specific scenes or episodes in Series 28 where the music plays a particularly pivotal role in enhancing the storytelling?
In the final two episodes of Series 28, the story opens with a shooting in a London café and a gunman at large in London, and director Tracy Rooney wanted to create a sense of unease in the city. I felt there had to be a more original way to convey this without resorting to the usual dark drones or pulses—effective as they are, they can sometimes sound quite conventional. One morning, while experimenting with my Moog One, I created some pitch sliding (portamento) bass tones that were strikingly unsettling. The editor had sent me a 3-minute sequence of the aftermath of a café shooting, and these sounds fit perfectly. I sent them over to the edit, and they ended up being used to create that sense of unease in London, flowing seamlessly into an autopsy scene. I didn’t need to make any changes; it just worked.
Jack & Nikki at the aftermath of the café shooting (Silent Witness series 28, episode 9 “I Believe in Love… – Part 1” (BBC))
Because of the nature of the series (it’s filmed in 5 blocks, each block of two episodes being a distinct story), you collaborate with numerous producers and directors. How were you able to navigate working with so many different creatives?
I’ve always approached Silent Witness as if I’m scoring five different movies, with each block of episodes having a distinct musical approach. I think the directors appreciate this because it allows them to have a unique score tailored to their specific films. Thankfully, the blocks are filmed consecutively, so I’m usually only focused on one block at a time. This allows me to fully immerse myself in crafting the music for those two episodes and deliver exactly what the director needs.
Being organised is key. Working on a multi-episode scripted drama is like being part of a well-oiled machine, and I always want to ensure that the music doesn’t become the part that slows things down. Communication with producers, editors, and directors is crucial, and I thrive on collaborating with such creative people – it pushes me to raise my own standards.
What’s next for you this year and what are your aspirations for the year ahead?
Right now, I’m in the early stages of scoring Silent Witness Series 29. I’ve just read the scripts for block 1. I’m also wrapping up the music for a 3-part true crime series for Netflix (it’s a staggering story), which I’m really excited about. They gave me a lot of creative freedom with the music, and I believe I’ve crafted a bold and original score.
Later this year, I have a documentary series lined up for a streamer. One of my big aspirations is to score a blue-chip natural history series or feature documentary, where I can bring my contemporary sounds to the natural world. That would be an incredibly fun challenge!
This interview first appeared on The Composer Works on 12 Feb, 2025.