FAHRENHEIT 451 - Film Score Rundowns

In Bar 11, violins I play Line 1 Ab-Fb 8 th to G-Eb 8 th (repeated same bar and next
bar). Violins II play Line 1 Db up to Fb then C to Eb 8ths (repeated same bar and next).
Viole play G to F# half notes to (Bar 12) F to E.
In Bar 13, the vibe returns playing descending half note triads Line 2 Eb min
(Eb/Gb/Bb) to D min (D/F/A) to (Bar 14) Db min (Db/Fb/Ab) to C min (C/Eb/G) to (Bar
15) B min (B/D/F#) to Bb min (Bb/Db/F) to (Bar 16) A min (A/C/E) to Ab min
(Ab/Cb/Eb) to (Bar 17) G min (G/BB/D) to F# min (F#/A/C#) to (Bar 18) F min
(F/Ab/C) to E min (E/G/B) to (Bar 19) Gb/Bb half notes to F/A dyad to (Bar 20) Fb/Ab
dyad to G unison half note.
Back in Bar 13, the violins play a series of 8 th note with legato slur lines over each
two-note pattern. Violins II play an octave lower. So we find violins I playing Line 3 D-
Eb-C#-D 8 th notes (connected by a crossbeam) with each two-note unit having a
slur/curve line over them, as indicated. Repeat same bar. In Bar 14, D-Eb-C-Db, then
Db-D-B-C. In Bar 15, C-Db-B-C (repeated same bar). In Bar 16, C-Db-Bb-B to B-C-A-
Bb. In Bar 17, Bb-Cb-Ab-A to A-Bb-Ab-A. Etc etc.
Bars 21-24 = Bars 1-4.
In the final bar (Bar 25), we find the viole and celli playing mp > Line 1 D whole
note, held fermata. After a quarter rest, violins II play Line 2 Db dotted half note, held
fermata, while violins I play Line 3 Eb dotted half note, held fermata. After a quarter
rest, the vibe softly strikes mp on Line 2 Db/Eb dotted half notes held fermata. End of
cue.
“Home” Cue IX [3M2] 12 bars, 38.5 seconds. Track # 7 from :00 to :35.
Scene: Montag returns home from the office (where he received good news from the
Captain that he will be promoted) and finds his wife, Linda, on the floor over-dosed with
pills. Note: Once again, part of this cue was deleted as well. Only the first three bars are
played when Montag enters the home. Later, when he sees his unconscious wife on the
floor, Bars 8 thru 12 are played.
In Bar 1, harp I plays ff Line 3 acciaccatura (grace) F note down to Line 2 F
quarter note. Continue the pattern with notes Eb-Db-C. In Bar 2, that pattern is played
an octave lower, forte decrescendo. Harp I reverses the pattern with Line 2 acciaccatura
F grace note up to Line 3 F note, and so forth. Vibe strikes ff the F-Eb-Db-C quarter
notes, repeated next two bars. In Bar 3, the harps are unison on that descent of quarter
notes with no grace notes from Line 1 in Bar 3 to small octave (bass clef) in Bar 4. Bar 3
is mf decrescendo while Bar 4 is pp decrescendo. Meanwhile, sords celli and basses play
forte decrescendo Line 1 F whole note to (Bar 2) middle C whole. In Bar 3, they play mf
> the Ab whole note down to (Bar 4) D whole note.
In Bar 5, the violins and violas are soli for the rest of the cue playing half note
chords. We find violins I playing Line 2 Gb/Bb to D/Gb half notes with the legato curve
lines between hem. Violins II play Bb/D to G/Bb half note. Repeat next bar. Viole top
staff play middle C/E down to G/C; bottom staff plays E/G to C/E (repeat next bar) So
we find the violins playing the Gb augmented chord in different inversions, while the
violas play the C major.
In Bar 7, violins I play Line 2 F/A legato to Db/F half notes, while violins II play
A/Db to F/A (repeat next bar). So we have the Db augmented chord. Viole top staff play
15