FAHRENHEIT 451 - Film Score Rundowns

and then down to Eb quarter note up to (Bar 12) G quarter note to F half note. Violins II
play middle C/Eb whole notes to (Bar 12) Ab/C dotted half notes decrescendo (followed
by a quarter rest). Viole play unison small octave Ab whole note to F dotted half note.
VC play Ab/Eb to F/D. Combined we hear the Ab major to D half diminished 7 th
(D/F/Ab/C) chords.
At the end of Bar 12, violins I continue the melody line with middle C quarter
note up to (Bar 13) E quarter note to D half note down to small octave A quarter note up
to (Bar 14) middle C whole note, held fermata and decrescendo. Violins II play small
octave A dotted half note followed by a quarter rest and then the Ab whole note in Bar
14, held fermata. Viole play the small octave F dotted half note decrescendo in Bar 13
followed by the quarter rest, and then D/F whole notes held fermata in end Bar 14. VC
play F/small octave C dotted half notes in Bar 13 (followed by a quarter rest), then F/D
whole notes in Bar 14, held fermata. End of cue.
“Happiness” Cue V [1M4] Lento molto tranquillo in 9/8 time. Grace bar plus
eight full bars. Page 9 of the full musical manuscript. Track # 4 on the Soundstage cd,
and end of Chapter 2 on the dvd. Scene: At the conclusion of the walk home together,
Clarisse asks Montag, “You’re happy?” and runs to her door. Music starts. Note: the
complete cue is not used The 29 seconds used extend from the grace bar up to most of
Bar 5. Apparently Herrmann had to adjust to the final film edit by the time the recording
took place and accordingly shortened the cue.
Instrumentation: Sords violins, viole and celli.
In the grace bar, muted violins I are alone playing pp crescendo ( < ) Line 1 triplet
8 th notes (connected by a crossbeam) B-A-B up to (Bar 1) Line 2 E tenuto 8 th down to B-
A 8ths (all three 8ths connected by a crossbeam) to B dotted quarter note, decrescendo.
Violins II play p > Line 1 E dotted half note (followed by quarter and 8 th rest marks).
Violas play small octave B (just below middle C on its standard alto clef) legato to A
dotted quarter notes (followed by quarter/8 th rests). VC play p > small octave E down to
C dotted quarter notes (followed by rest marks).
Violins I continue the melody line at the end of Bar 1 with Line 1 B-A-B 8 th notes
(connected by a crossbeam) up to (Bar 2) Line 2 D tenuto 8 th down to G-A 8ths (all three
connected by a crossbeam) to the B dotted quarter note. This phrase is under the legato
slur (curve) line, just as the previous one. Violins II play Line 1 D to C dotted quarter
notes (followed by rest marks). Violas play G to E dotted quarter notes, and celli play B
to A.
Violins I continue the melody line in Bar 2 with triplet 8ths B-A-B up to (Bar 3)
A tenuto 8 th down to E-D 8ths (crossbeam connected) to the E dotted quarter note (all
notes under the slur legato line). Violins II play C down to A dotted quarter notes
(followed by quarter/8 th rests). Viole play small octave C up to F dotted quarter notes;
VC play Great octave F up to A dotted quarter notes.
Violins I continue the melody line at the end of Bar 3 with E-D-E 8ths to
(Bar 4) D dotted quarter note (these four notes are a new phrase pattern under the slur
line) to E-D-E 8ths (crossbeam connected) to D dotted quarter note to (Bar 5) E-D-E 8ths
to D dotted quarter ( but probably dotted half note held fermata in the new version at the
recording sessions, but not marked in the original written cue). In Bar 4, violins II play
the small octave Ab dotted half note to A dotted quarter note tied to A dotted quarter note
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