Valentine's Day, Sunday, February 14, 2010 at 10:20 am

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Went out with the wife for dinner at Red Brick Pizza (delicious Greek salad and whiteBianco pizza with sausage and vegetarian on my half), then Trader Joe's, then Walgreens,etc.Quote: "In For the Fallen, Herrmann immediately plays with use of linear fifths andoctaves, slowly infusing the melodic line with super-imposed augmented fifths and majorsevenths ..."The VC/CB play an ostinato on Great octave E quarter note to E 8th figures. Combinedmuted violins play Line 2 B quarter note up to Line 3 E 8th up to B quarter note down toE 8th. So that's a P4 interval (B up to E) and a P5 interval (E up to B, its inverserelationship). So we have an octave with the B and a fifth but also a 4th. In Bar 2, in thesame pattern, we have A up to E up to A down to E. So now we have a P5 (A up to E)and then P4 (E up to A). In Bar 3, we have G up to D up to G down to D. So P5 to P4again. In Bar 4, the pattern is still there but now the intervals are tritones (unexpectedly)with F# up to C (d5 tritone) and that C up to F# (A4 tritone)--classic and familiardissonant device used by Herrmann right up to the end of his career. So Herrmann had aM2 (whole tone) descent of starting B to (Bar 2) A, and then another M2 descent of thatA in Bar 2 to (Bar 3) G starting note, but then a m2 descent of that G to (Bar 4) F#.What's interesting in Bar 2 is that top staff celli start to play the ostinato on Great octaveB notes (while the lower staff VC and CB still play on E notes). So Herrmann in effect iscleverly playing with the inherent quartal pattern of B to E to A. In Bar 3 the violas nowstart the ostinato on small octave C notes to (Bar 4) D notes. But then the music becomesclearly ambiguous (hmmm...is there such a thing as "clear ambiguity"?!) in Bars 3 & 4with the added layer of notes.Quite frankly, I never much cared for this "berceuse" but Herrmann constructed itcleverly. Normally I associate a berceuse as a lullaby, and this work hardly qualifies inthat specific sense. Perhaps it demonstrates a certain tranquil nature but it's a very sad onein terms of subject matter (for the fallen). So did Herrmann misinterpreted or mislabeledthis work as "A Berceuse"I wonder?? It's nothing in character to that famous berceuse ofBrahms' lied Wiegenlied (cradle song) or Chopin's Opus 57. I don't know. But it's aminor subject for debate perhaps.He employs quartal harmony far less frequently in his later works, although you hear itnow & then (such as the "Stone Faces" cue of N by NW). In Bar 16 he has in effect theF# half-diminished 7th (F#/A/C/E) and other half-dim sevenths later on--and he reallyloved that tonality throughout his writing career! Herrmann is certainly not ambiguous atthe end of the piece. We hear a clear Bb major (Bb/D/F) tonality. Herrmann tempo-marksthis end section as an appropriate Molto Tranquillo (berceuse-speaking!).Time for a tranquil sleep!_______________________________________________talkingherrmann mailing list124
********************************10-19-09:Talking Herrmann: Box 95 UCSB Torn CurtainNew topic by: Bill Wrobel ()______________________________________________________________________I visited UCSB on Friday, October 16 for a fruitful full day of Herrmann research. Iworked on various materials: CBS Radio microfilm created in 1990 (Pegasus call #M1527.5 H47 C6);sketches from various feature films; personal materials (Box 1, 4, etc);Early Works and other materials once again (Box 55, 53, 68); Herrmann's Symphony(Box 114), and so forth. I also took four rolls of film of the materials using 400 ASA filmon my old Canon FTb camera using the5.6 f-stop and 125 shutter speed. I tried to replacethe old Mercury battery but the camera's internal cell no longer works (so the newmodern battery could not activate it) and the camera was discontinued long ago (no partscan be replaced). In my prior September research at UCSB I used 200 ASA film and set itat 8 in the shutter speed of 60. Probably Kurt will eventually update and expand myPhoto Tour with the new images (perhaps over 100 photos) if he is interested. But I willprovide a few photos this week to show what research materials are available at UCSB.Once again I thank David Seubert for providing the materials! He was very helpful.Now: In Box 95 (Torn Curtain materials) are the xeroxed reproductions of the fullscore as well as many (but not all) of the sketches Herrmann wrote. All together I believethere are 35 pages of sketches. I'll provide a few examples below. First, however, I wantto point out that there is also a MUSIC TIMING book (bright red cover) of the movie.Immediately below is the first overview page. If people had any questions regarding howHerrmann's music should've been placed, the timing instructions should answer them:{Image http://img188.imageshack.us/img188/5720/r123d.jpgNext is Herrmann's sketch to cue 301 ("Travel") and then, below that image, the FullScore version:{Image http://img291.imageshack.us/img291/3852/r17.jpg{Image http://img188.imageshack.us/img188/7816/r118j.jpgSince Herrmann wrote the sketch for himself (not for an orchestrator), he did not feelthe need to specify the instrumentation. But you will notice Herrmann made a significantchange. In the sketch, he first had the "3" triplet value quarter note chords followed bytwo normal value quarter note chords. By the time he full-scored the cue, he changed hismind and decided instead to have two normal value quarter note chords followed by three"3" triplet value quarter note chords.125
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FILM SCORE BLOGS [Blog # 41]Valenti
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I enjoyed watching The Fugitive but
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-“Fugitive Susp.” [I assume Fug
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Then in the Fugitive episode comes
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One purchase I did take advantage (
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session but almost always left behi
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pages to UCSB. The person is Marcus
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triplet value 8ths down to (Bar 2)
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for $2.50 long ago (probably at the
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marriage with Groucho was a joke?
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I discuss this in my final Talking
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“Main Title” Cue #35885 Maestos
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on note B.Bars 13-14 = The ostinato
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whole notes. Timp trill (roll) on G
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Bar 14= The melody line continues w
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find 16th notes G#-A-B-C-D-E to 32n
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sound). In Bar 12, notes F#-C#-F#,
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Bar 24 = Bis on E min again. Bass c
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Cmaj7#9 (C/E/G/B/D#), etc. Clarinet
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amongst them. Very interesting chas
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"Maria's Room" Lento (mesto) in C."
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Principal recording date was July 1
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to quarter notes as Hugo jokes abou
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whole notes D/G held fermata. Bass
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music "vira do minho" [unknown auth
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ut with notes D-Eb-E, F, Gb-Ab to (
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Bars 26-32 = The strings and organ
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minor 2nd inversion 8th note chord
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At the end of Bar 4 the baritone tr
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octave F up to small octave C 8ths
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(Bar 3) F/small octave C half notes
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hiding), Rune questions Frail. The
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on G note tied to next few bars. Th
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the beat and the cymbal sounds off
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Page 75 and 76: In Bars 12-19, as she opens her eye
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Page 83 and 84: Reel 5 pt 4 "Little Mama" Slow & Te
Page 85 and 86: Reel 9 pt 7 "The Camp(original)" Sl
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Page 105 and 106: First is John Barry's simple but ef
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Page 111 and 112: -All cues # entries (whether 1 page
Page 113 and 114: Talking Herrmann: ON DANGEROUS GROU
Page 115 and 116: Idea for Markus M.: It would be fas
Page 117 and 118: last one is weirdly notated by Herr
Page 119 and 120: I did like DePalma's stylist approa
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Page 123: Thanks for your interesting observa
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Page 133 and 134: While Herrmann was not the King of
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Page 137 and 138: So Herrmann was playing with heavil
Page 139 and 140: different takes). I wonder if Bill
Page 141 and 142: Talking Herrmann: SUSPENSE THEME (C
Page 143 and 144: Talking Herrmann: Mind in the Shado
Page 145 and 146: 13. Nathan Hale - Cue #8 1:48 Berna
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Page 153 and 154: I had long ago written a paper on t
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Page 157 and 158: Below is another image from "A Man'
Page 159 and 160: CBS-television score for the pilot
Page 161 and 162: The image below is my own personal
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Page 167 and 168: six versions of the last two bars t
Page 169 and 170: You know, I've been trying to recal
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Page 173 and 174: The top of the scan shows On Danger
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Personally I was a bit disappointed
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5. BH discussed his meeting with Co
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Crime school, Four Daughters, Break
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I wonder if anybody here knows (per
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talkingherrmann mailing list*******
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was far more adaptable and willing
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I forgot to mention that the Wester
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On Monday, they will start showing
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Vera Miles is in episode # 19, "The
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gets a revelation at that instant w
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***************************Sunday,
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2010 and maybe into 2011). This esp
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Herrmann television scores, various
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I archived into Word whatever inter
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Valentine's Day, Sunday, February 14, 2010 at 10:20 am

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