FAHRENHEIT 451 - Film Score Rundowns

line on descending Line 3 Db-Line 2 Ab-Gb-F up to (Bar 22) Line 3 C down to Line 2 G-
F-E. In Bar 22, violins II play the ostinato on E/C; viole on C/G; VC on E/G.
In Bar 23, violins II play the ostinato on F/Db; viole on Db/Ab; VC on F/Ab
(again the Db maj). In Bar 24, violins II play G/B; viole on E/G; VC on B/G (the E min
sound). Back in Bar 23, violins I continue the melody line Line 2 Ab down to F back up
to Ab to Bb to (Bar 24), B-G-F#-E.
In Bar 25, violins II play the ostinato on A/Line 2 D; violas on D/F; celli on F/A
(D minor). Then, in Bar 26, violins II play on Line 1 G.B; violas on B/Line 1 E; VC on
small octave E/G. Combined we hear the E minor tonality again. End Bar 27 is tacet for
those strings. Back in Bar 25, violins I continue on Line 2 A-F-E-D quarter notes to (Bar
26) triplet value E half to D quarter notes (repeated same bar) to (Bar 27) Line 2 E whole
note, held fermata. End of cue.
“The Café” Cue XVII [6M2] Moderato in C time, page 36, 12 bars, :30.
Scene: After the book-reading duo follows Montag, Clarisse goes alone to greet Montag
on the bridge. They proceed to go to a nearby café to engage in coffeee-talk. Nice,
gentle, soothing, undulating cue.
Harp I plays p 8 th note figures (four notes per figure connected by a crossbeam).
We find Line 3 E down to Line 2 F up to A up to Line 3 C (F maj 7 or F/A/C/E
structure). Then the harp plays Line 3 D down to Line 2 E up to G to B (E min 7). In
Bar 2, the harp plays Line 3 C down to D up to F to A (D min 7), and then B-C-E-G (C
maj 7). Harp II plays ascending 8 th note figures starting on Line 1 F. So we find F-A-C-
E to E-G-B-D to (Bar 2) D-F-A-C to C-E-G-B. The vibe softly hits pp half notes Line 2
E (let vibrate) to D to (Bar 2) C to B.
Muted violins I play pp crescendo Line 3 descending half notes E-D to (Bar 2) C
to B (decrescendo). Violins II play the same but an octave lower. Muted viole play
rising half notes small octave C to E to (Bar 2) G to B. All four half notes are under the
legato slur line.
In Bar 3, harp II plays on ascending Line 1 E-G-B-Line 2 D back down to
ascending to D-F-A-C. Harp plays those notes in its own pattern as given earlier. The
vibe hits Line 2 D to C half notes. Violins play Lines 2 & 3 D to C half notes; viole
rising half notes small octave G to A.
In Bar 4, harps play on C-E-G-B to B-D-F-A. Vibe plays Line 1 B to A half notes
(as also violins II). Viole play rising half notes B to middle C.
In Bar 5, harps play on A-C-E-G to B-D-F-A. Vibe sounds G to A (as also the
Violins). Viole play A to B half notes.
In Bar 6,harps play on C-E-G-B to B-D-F-A. Vibe play on B to A (as also the
Violins). Viole play C to D half notes.
In Bar 7, harps play on A-C-E-G to G-B-D-F. Vibe sounds on A to G.
Etc. The cue end on the Eb major (Eb/G/Bb) whole note combined chord, held
fermata.
The Box” Cue XVIII [6M3] Allegro in C time, pages 37-38, 26 bars, :55.
Quarter note = 120. Scene: Within the café, Montag and Clarisse watch a nervous man
outside pacing around an information box.
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