The flowing hiss pattern ends when the wind bubble begins at the end of the theme. The only minor deviation from this pattern is a temporary increase in the volume of the hissing over the second repeat of the bassline solo. Approaching the first Melody 1, the alignment shifts into its standard rhythm, and continues to loop this way throughout the rest of the theme. This pattern begins halfway through the bassline intro with a slightly different (later) alignment relative to the rest of the theme. The relative pitch of each note is represented by the following numbers, with "1" being the highest in pitch: This is due to the fact that the noise bursts were generated as percussive sounds and then reversed (with additional echo applied afterward). The flowing hiss pattern used in the original theme consists of eight repeating notes, forming a pattern that repeats continuously. ![]() These bursts, or notes, fade in softly but end abruptly. The rhythmic hissing consists of a series of short bursts of filtered white noise at varying pitches. ![]() It fades in with a series of quick volume fluctuations, peaks, then trails away again. ![]() It serves as an "intro hiss," designed to accompany the titles graphics and also setting up for the presence of white noise hissing throughout the remainder of the theme. This single hiss comes in and goes out softly over the third and fourth bar in the bassline intro, just before the rhythmic hissing begins. Throughout the theme, bursts of white noise are used to add the "clouds" called for in the original notes and in the visuals of the title sequence. The first hiss in the theme is a fairly long, loud pulse of white noise. In the original composition of the music - written on a single sheet of paper - composer Ron Grainer had asked for occasional atmospheric noises like a "wind bubble" and "cloud":
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