FAHRENHEIT 451 - Film Score Rundowns

up to small octave F (these four notes are crossbeam connected) and then Great octave
Gb up to small octave Gb down to Great octave F up to small octave F.
In Bar 33 (new page, or page 7), we see a coma sopra of Bar 1, etc. So Bars 33-
41 = Bars 1-9. But since that page is missing (lost), we do not exactly how the music is
notated. In Bar 42, violins I are fortissimo on middle C# dotted half note, decrescendo
(followed by a quarter rest). Violins II play small octave A# dotted half note ff >
(followed by a quarter rest). Viole play on the small octave F# dotted half note. VC
play Great octave F/small octave C dotted half notes; CB on Great octave F. Harps are
arpeggiando (vertical wavy line rolled chord) quarter note chords. So, after a quarter rest,
harp I (bottom staff) plays middle C/E/G/Line 2 C (C major) while the top staff plays
Line 2 E–G-Line 3 C-E. This is played 3 times. Harp II bottom staff plays small octave
F#-A#-C#-E (F# Dom 7 th ); top staff plays the same (but octave higher). Play this 3X.
Repeat next three bars (Bars 43-45). In Bar 43, violins I play small octave B/Line 1 D
dotted half notes decrescendo (followed by a quarter rest). Violins II play lowest small
octave G/Line 1 D dotted half notes. Viole play small octave C#; VC on Great octave
F#; CB also on Great octave F#.
Bars 44-45 = 42-43.
In Bar 44, after a half rest, the glock returns playing 8 th notes Line 1 Ab up to E
(e’’) down to Bb up to A (a’’). Repeat next bar.
In Bar 46, the harp is C Major gliss fortissimo descending to ascending to
descending (followed by a quarter rest). Start on Line 4 C down to Line 1 C back up to
Line 4 C (repeat thru Bar 52). Harp II, after a quarter rest, plays a rising to descending
gliss (followed by a quarter rest) on Cb major key signature (7 flats). Start on Great
octave E 32 nd note gliss line up to Line 3 G 32 nd note gliss line back down to Great octave
E. Repeat thru Bar 52. Harps are silent last two bars (Bars 53-54).
Meanwhile, in Bar 46, violins I play Line 2 E and Line 3 C dotted half notes to
F/Db quarter notes. Repeat thru Bar 52. Violins II play Line 2 G dotted half notes to Bb
quarter notes. Repeat thru Bar 52. Viole (in treble clef) play I believe Line 1 Bb/Line 2
Db dotted half notes to C/E quarter notes. Repeat thru Bar 52. After a half and quarter
rest, VC/CB play marcato e pesante Line 1 D quarter note rinforzando tied to (Bar 47) D
dotted half note, and then small octave B quarter note rinforzando tied to (Bar 48) B
dotted half note up to Line 1 Ab quarter note rinforzando tied to (Bar 49)dotted half note,
and then down to small octave G quarter note rinforzando tied to dotted half in Bar 50.
Then they play up to Line 1 Eb tied to dotted half in Bar 51 down to Great octave B
quarter note rinforzando tied to dotted half in Bar 52 down to E quarter tied to dotted half
in Bar 53 (followed by a quarter rest).
In Bar 53, violins I play Lines 2 & 3 E whole notes tied to whole notes next (end)
bar, held fermata. Violins II play Line 2 B whole note tied to next bar, held fermata.
Viole play Line 1 G/B notes in that pattern. So we hear again the E minor (E/G/B)
tonality in the final two bars. End of cue.
“Clarisse” Cue IV [1M3] Moderato in C time, 14 bars, :44. The cue is split
into two halves (Bars 1-7 on the top half page) on page 8 of the complete score. Harp I is
on top. Harp II is below that, then glockenspiel, violins I & II, viole, VC and CB.
This is one of my favorite cues. Scene: Montag leaves the fire station and
embarks on the monorail journey back home. Most of the riders there are rather
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