FAHRENHEIT 451 - Film Score Rundowns

to Eb up to Bb to (Bar 27, in ¾ time) Eb down to Bb up to Eb. CB play it as Eb-down to
Bb (repeated same bar) to (Bar 27) Eb-Bb-Eb. In Bar 26, harp I, after a quarter rest,
plays Line 3 D 32 nd note gliss line down to small octave G (repeat same bar) while harp II
plays rising gliss from small octave A up to Line 3 E.
Etc etc etc.
“The Books” Cue XXIII [7M4] Allegro in C time. 42 bars, 1:04. Pages 51
thru 53 in the score. Track #16 starting at :14. Scene: The firemen confront the Book
Lady at her house and start the destructive search for her books. Music starts at Chapter
10 at 2:49 in the dvd.
Note: The music that is played in the first 13 full seconds is not from this cue.
Rather it is from a later cue (XXXI) titled “T.V. Aerials.” Why it was inserted here, I do
not know. Here the high sords strings play whole note triads while the glock plays 8 th
notes (see Cue XXXI for details).
Another curious note is that “The Books” was originally written with the use of
the harps and xylophone, but for some reason Herrmann decided to exclude them,
making it a strings soli cue (which is still quite effective). But this cue begs for a
rerecording of the way it was originally intended.
In Bar I, violins I (not marked as “sords”) plays sff > the B (b) dotted half note
(followed by a quarter rest), repeated next bar. Violins II play lowest or small octave G
dotted half note, repeated next bar. Viole play sff > the E dotted half note, repeated next
bar. The combined sound is that of the E min (E/G/B). VC/CB pluck fortissimo
pizzicato quarter notes Great octave Bb up to Db back to Bb to Gb (repeat next bar).
Although you do not hear them in the final version, originally harps play sff (L.V)
Right Hand and Left Hand small octave E/G.B whole notes in Bar 1 (silent in bar 2).
After a half/quarter/8 th rest marks in Bar 1, the xylophone play fortissimo two Line 1 B
16ths to (Bar 2) the B 8 th . After an 8 th /two quarters/8 th rest marks, it again plays two B
16ths to (Bar 3) the B 8 th . Then after another rest sequence, it plays two D# 16ths, etc.
The harps in Bar 3 play the G minor (G/Bb/D) whole note chord. In Bar 5, they play the
Ab min (Ab/Cb/Eb) whole note chord.
Back in Bar 3, non div (non divisi), violins I play the Bb/D dotted half note dyad
(followed by a quarter rest), repeated in Bar 4. Violins II play it as small octave G/Line 1
D. Viole play small octave G dotted half note. VC/CB pluck pizz quarter notes Great
octave B up to small octave D# down to B down to G (repeated in Bar 4). In Bar 5,
Violins play sff > Line 1 Eb dotted half note, repeated next bar. Violins II play middle
Cb dotted half note. Viole play the Ab dotted half note. VC/CB pluck quarter notes
small octave C up to E down to C down to Ab (repeated next bar). In Bar 7, violins I
play Line 1 F# dotted half note decrescendo and followed by a quarter rest (repeated next
bar) while violins II play Line 1 D note. Viole play small octave B (so the combined B
minor or B/D/F# sound). VC/CB pluck quarter notes small octave D-F-D-B (repeated in
Bar 8).
A new phrase development occurs in Bar 9. Here violins I are bowed trem on
Line 1 B to Bb half notes (repeated next bar). Violins II are bowed trem on Line 1 G to
Gb; viole are bowed trem on Line 1 E to Eb (so E min to Eb minor). VC/CB are pizz on
quarter notes small octave C-E-C-A. In Bar 11, violins I are bowed trem on F to A half
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