Bear McCreary has an in depth essay on his blog about the song "Gaeta's Lament" written for Guess What's Coming To Dinner:
This episode is a special one for me, because it represents the first time I’d been brought onboard at the script level. The scoring process is generally the last step in the journey of completing an episode. I’m accustomed to writing music for a finished story. Here, I had the unique opportunity to help shape the musical identity before production even began. Writer Michael Angeli, director Wayne Rose and actor Alessandro Juliani and I all worked closely together to bring this song to the screen.
...Michael [Angeli] sent me his lyrics and I set out shaping them into a song. The lyrics were poignant and melancholy, but with an odd sense of hope, setting an ambiguous emotional tone that suits our show’s music very well. To create the melody for the Lament, I started with a melody conceived for Gaeta in Season 1, an idea that ultimately never developed fully. However, in this context, it fit perfectly.
I shaped Angeli’s lyrics into a simple Verse / Pre-Chorus / Chorus structure. The line “To have her, please, just one day wake” really struck me. So, I set it as the Chorus, making it the most powerful and emotional moment in the song.
Read the entire post at Bear's blog for really informative quotes from Michael Angeli, and Alessandro Juliani about their collaboration.
Bear reports that he's currently in Vancouver on set:
Guess What’s Coming to Dinner was a wonderful experience for me, but it would not be the last time the writers asked me for music at the script stage. In fact, I’ve been working with writers Bradley Thompson and David Weddle for two months on their final script for the series (the fourth to last episode of them all). This episode will integrate music directly into the story in incredibly daring ways.
And the timing of tonight’s episode is ironic. Guess What’s Coming to Dinner, the first episode to feature music recorded on the set, happens to premiere at the same time as I’m actually on the set myself, supervising new on-set Galactica music. I’m literally sitting on the hangar deck set in Vancouver right now, as I write this blog from my laptop!
I’m here for two weeks helping out with Weddle and Thompson’s new, unusually musical episode. I am observing on-set instrumental performances and even composing original music each night, churning out sheet music pages for the next day’s shoot. And they are allowing the show’s score to evolve in an unprecedented manner. Frak, this upcoming episode may perhaps redefine the role that music can play in narrative.
Something else to look forward to, probably in 2009...