FAHRENHEIT 451 - Film Score Rundowns

quarter notes. Violins I play Line 1 G dotted half to F quarter to (Bar 22) E-D quarter
notes.
In the final bar (Bar 23 in C time), violins I sound pp > Line 1 E whole note, held
fermata. Violins II play small octave B whole note, held fermata. Violas play small
octave G# whole note; VC sound Great octave E/B whole notes; CB sound small octave
E whole note, held fermata. So combined we hear the E major string sonority (E/G#/B).
End of cue.
“Montag’s Books” Cue XX [7M1] 6/8 meter, 36 bars, 1:11. Pages 41-42 in
the score. Track # 13 on the cd. Start of Chapter 9 on the dvd. There is no tempo
marking (however, the violins are marked molto tenuto). Scene: Montag tells Clarisse in
the school elevator, “Last night I read one.” After a monorail cut as he goes home, we
come to a dead of night scene of Montag reading his books. Linda wakes up and objects.
Sords violins play an ostinato rhythmic pattern f > and molto tenuto. We find
violins I playing Line 2 G/B 8 th notes to two such quarter note dyads to 8 th dyad again.
Repeat in Bar 2 (now pp or pianissimo) and repeat thru Bar 5. Violins II play the ostinato
on Line I G/B (repeat thru Bar 5). In Bar 2, the vibe plays pp(L.V) descending Line 2
dotted quarter notes F# to F to (Bar 3) E to Eb down to (Bar 4) Line 1 B dotted whole
note. In Bar 4, the viole and celli continue the dotted quarter note descent (viole Line 1
and celli small octave registers) with F# to F to (Bar 5) E to Eb to (Bar 6) B dotted whole
note. The CB also join in on the B dotted whole note, p >.
In Bar 6, violins play the ostinato on Lines 1 & 2 Gb/Bb dyads, p > then repeated
pp thru Bar 11. In Bar 8, the vibe plays pp descending dotted quarter notes F to E to (Bar
9) Eb to D to (Bar 10) the Ab dotted half note. In Bar 10, the viole and VC play that
exact pattern as well. CB join in on the Ab dotted half note in Bar 12.
In Bar 12, the violins play the ostinato rhythm on Line 1 (violins II) and Line 2
(violins I) F/A dyads to (Bar 13) E/G# dyads. Repeat next two bars. The vibe plays in
Bar 14 descending dotted quarter notes E-Eb to (Bar 15) D to C# to (Bar 16) G dotted
half note. In Bar 16, viole and celli take over that pattern.
In Bar 18, the violins play the ostinato on Eb/G to (Bar 19) D/F#, < p > (repeated
next two bars). In Bar 20, he vibe plays descending dotted quarter notes D to Db to (Bar
21) C to B to (Bar 22) F dotted half note. Then the viole & celli take over in Bars 22-24.
In Bar 24, violins play the ostinato on Db/F to (Bar 25) C/E. In Bars 26-28 play
descending dotted quarter notes C-B-Bb-A to E dotted half note. The viole/VC take over
in Bars 28-30.
In Bar 30, violins play the ostinato on Lines 1 & 2 Cb/Eb to (Bar 31) Bb/D. In
Bars 32-34, the vibe plays descending dotted quarter notes B-Bb-A-Ab to F dotted half
note. In Bars 34-35, he viole & celli play B-Bb-A-Ab crescendo to (Bar 36) I believe
(my notes are a bit unclear) the E Dom 7 th flat 5 th (E/G#/Bb/D) dotted half note chord,
held fermata. Specifically, violins play sff the Bb/D (d’) notes; viole on (I believe) G#
(although it may be F#, but unlikely); VC & CB on E (E). End of cue.
“The Pole” Cue XXI [7M2] Lento in 4/2 time, 17 bars, 1:08. Pages 43-44 in
the score. Track # 14 on the cd. Note: Only the first nine and a half bars were used in the
final print of the film. The rest of the music was dialed out as Montag speaks with
Fabian (Anton Diffring).
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