FAHRENHEIT 451 - Film Score Rundowns

The vibe softly strikes pp descending quarter notes Line 2 B-A-G-F, repeated thru
Bar 15. Harp I plays p “3” triplet value ascending 8 th notes small octave G-middle Cb-Eb
(connected by a crossbeam), followed by a quarter rest (repeat pattern same bar and
repeat thru Bar 16). Harp II, after a quarter rest, plays rising “3” triplet value 8ths Line 1
A-Line 2 C-Eb (repeat same bar, and repeat thru Bar 16). Incidentally, the pattern you
see with the harps (and the violins) is an alternating augmented (C-flat augmented) and
diminished (A diminished) sonorities, creating an interesting subjective and disjunctive
effect as Montag illegally reads a book in his own home.
Muted violins II play p the lowest Cb augmented triad 2 nd inversion (G/Cb/Eb)
dotted quarter note (followed by an 8 th rest), then repeated same bar and thru Bar 15.
Violins II, after a quarter rest, plays the A diminished triad (A/C/Eb) as tenuto quarter
notes tied to 8 th notes. After an 8 th rest, they play the triad again as quarter notes tied to
(Bar 2) 8 th notes (followed by an 8 th rest) then another tenuto triad quarter note chord tied
to 8ths (then 8 th rest) to quarter triad tied to 8ths next bar, etc (thru Bar 15, except for the
last beat quarter note triad).
In Bar 3, sords VC/CB play pp half notes Great octave G up to small octave Cb to
(Bar 4) Eb half note (followed by a half note rest for the CB only). The viole join in and
also play the Eb half note in Bar 4 up to A half note (as also the celli). In Bar 5, the viole
are now soli playing middle C up to Eb half notes. All four notes are under the legato slur
line.
In Bar 6, the same pattern starts again with the VC/CB playing small octave Cb
up to Eb half notes to (Bar 7, joined by the viole) A to (except CB) middle Cb half notes.
Then the viole are soli in Bar 8 on Eb up to A half notes.
In Bar 9, a new pattern of rising notes emerges. The CB play pp decrescendo the
Great octave G dotted half note (followed by a quarter rest). The VC, however, play
three triplet value half notes G-Cb-Eb to (Bar 10) A half note (followed by a half rest).
In Bar 10, viole play the triplet half notes A-C-Eb. In Bar 11, the basses play the Cb
dotted half note (followed by a quarter rest). The celli play “3” triplet value half notes
Cb-Eb-A to (Bar 12) middle C half note (followed by a half rest). Viole in Bar 12 play
triplet half notes C-Eb-A.
In Bar 13, a new pattern emerges with the VC playing G up to Cb quarter notes to
Eb half note. CB plays the G dotted half note again. After a half and quarter rest in Bar
13, the violas play the A quarter note to (Bar 14) C-Eb-G-A quarter notes. Bar 15 now
has a “rall” indication. The CB play the Cb dotted half note. VC play Cb-Eb quarter
notes to A half note decrescendo. After a half & quarter rest, viole play middle C quarter
note to (Bar 16) Eb-G-A quarter notes (followed by a quarter rest). Violins II continue
the rising quarter notes in Bar 16 with Line 1 Eb-G-A-C. Violins I also plays this but an
octave higher.
Then we come to Page 30 and a new section (1:14). Harps and vibe are tacet al
fine. Violins I play mf > divisi (octave apart) “3” triplet value Lines 2 & 3 F# half note to
E quarter note down to B up to E (e’’ e’’’) quarter notes. Repeat next bar but p Line 2 G/B half note dyad down to E/G half note dyad to (Bar 18)
G/B half notes to E/G. Viole top line play E to D half notes to (Bar 18) C to B. Bottom
line viole play the G whole note to (Bar 18) E whole note. VC play E/B whole notes to
(Bar 18) C/G whole notes (Great octave register). CB play E whole note in Bar 17 (tacet
for rest of cue except the very last bar).
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