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

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(F/Ab/Cb/Eb/G) in Bar 11 obviously seen by the piano. If it wasn't for the G note, youwould have the F half-dim 7th (F/Ab/Cb/Eb) or otherwise identified as the min 7 b 5th. IfHerrmann added an 11th, then you would have F/Ab/Cb/Eb/G/Bb.These Ellery Queen scores are in effect forgotten gems--but fortunately not "lost" gemsbecause the written scores are available. Hopefully it will not take another 70 yearsbefore it is finally performed and hopefully recorded!{Image http://img249.imageshack.us/img249/4100/img0002oo.jpghttp://img249.imageshack.us/img249/4100/img0002oo.jpg_______________________________________________talkingherrmann mailing list**********************************Talking Herrmann: 'Dracula Bell'New topic by: Bill Wrobel ()______________________________________________________________________The image below is my own personal research hand-copy of the only cue Herrmannoriginally wrote for the first Mercury Theatre On The Air episode dated Seven-Eleven-1938.The tonality is not atonal but it is ambiguous. For instance, we have both the B and Bbtones sounding. The piano plays an unusual (for Herrmann) G Dom 9 b 5th(G/B/Db/F/A). CB (that is cropped off in this image) play exactly as the VC; that is,Great octave E/Bb whole notes which, not so surprisingly for Herrmann (and consideringthe evil Dracula character), is a tritone highly dissonant interval (the diminished 5thversion). Rather predictable and standard device for Herrmann. "Miser Stevens" in Devil& Daniel Webster has the augmented 4th version of C up to F# and F# up to C.Devilish/evil tritone! The bell itself sounds a dissonant M2 tight interval. So do thetrumpets and other instruments. I wonder if Herrmann chose the "E" tone as the base orroot note on purpose specifically--like "E" for "evil"?.....{Image http://img337.imageshack.us/img337/1525/img0004j.jpghttp://img337.imageshack.us/img337/1525/img0004j.jpg_______________________________________________talkingherrmann mailing list*****************Talking Herrmann: Herrmann's Self-BorrowingsNew topic by: Bill Wrobel ()______________________________________________________________________152
I had long ago written a paper on the self-borrowing habit of Herrmann. Steiner was anactive self-borrower as well but certainly not as frequently as Herrmann, who was theKing. His creations were literally a gift to himself that just kept on giving! Perhaps somecomposers would prefer not to be so predisposed of this practice (I think Goldsmith wasone of them) because they may not find it necessarily "creative" or interesting ifoverdone. But the practice would certainly be a time & effort saver when a composer hasa deadline to get a big job done. It is unfortunate that composers with contract for-hireprojects seem to always be rushed in the creative process. I wonder if this is essentiallydetrimental? In Herrmann's case with his great talent, I suppose in most cases the qualityand aptness of music for the scenes did not suffer. I have not done a percentage of thecases but perhaps he tended to self-borrow far more in his radio and television scores thathe considered less important than his feature films and concert works. After all, he hardlykept any of his radio and tv scores but insisted on clutching his film scores after arecording and keeping the originals in his collection.The first image below shows two cues from the Crime Classics radio episode, "Deathof a Picture Hanger" dated July 20, 1953. This image is my own personal research handcopythat I worked in back in 1994 at UCLA. Cue I is an example of self-borrowing. Bars1-4 were later utilized in the 1957 Western Saga suite, specifically the "Open Spaces"cue. So below the first image is my hand-copy of "Open Spaces." Instead of just threetrombones as given in the Crime Classics episode, you have two trombones and a tuba, 3trumpets, 4 horns, and timp. Same notes & chords. The first bar is actually a grace bar.Bar 2 shows major tonalities of F maj (F/A/C) to C maj (C/E/G.Death of a Picture Hanger image:{Image http://img688.imageshack.us/img688/2765/img0005n.jpghttp://img688.imageshack.us/img688/2765/img0005n.jpg"Open Spaces" image:{Image http://img526.imageshack.us/img526/5245/img0006gw.jpghttp://img526.imageshack.us/img526/5245/img0006gw.jpg_______________________________________________talkingherrmann mailing list******************Talking Herrmann: 'Dracula Bell'Reply by: Bill Wrobel ()______________________________________________________________________Well, before you curse the darkness, "Jeff," with your apparent sarcasms, why don't youconstructively light a candle and tell us about YOUR researches of Herrmann's primary153
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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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[“Like what?!”] R6/5. Dramatic
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In Bars 12-19, as she opens her eye
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C#/E/G#/B) followed, after a half n
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starting on F minor by the violins
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twice more. Bar 1 = VC/CB B half no
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Reel 5 pt 4 "Little Mama" Slow & Te
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Reel 9 pt 7 "The Camp(original)" Sl
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G-A-Bb-Line 1 C-D-D# (connected as
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next bar in the same rest pattern.
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D-F#-A-D-F#-A-D). The last note D (
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and violas play "rubato" quarter no
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case the scene works better without
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on the first two beats by the flute
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Reel 9/A "Judith Rejected". Deleted
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Page 111 and 112: -All cues # entries (whether 1 page
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Page 115 and 116: Idea for Markus M.: It would be fas
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Page 119 and 120: I did like DePalma's stylist approa
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Page 123 and 124: Thanks for your interesting observa
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Page 127 and 128: Mer,”…certain passages of it, I
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Page 131 and 132: talkingherrmann mailing list*******
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
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Page 143 and 144: Talking Herrmann: Mind in the Shado
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Page 155 and 156: I will provide more examples shortl
Page 157 and 158: Below is another image from "A Man'
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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
Page 175 and 176: Personally I was a bit disappointed
Page 177 and 178: 5. BH discussed his meeting with Co
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Page 181 and 182: I wonder if anybody here knows (per
Page 185 and 186: was far more adaptable and willing
Page 187 and 188: I forgot to mention that the Wester
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Page 191 and 192: Vera Miles is in episode # 19, "The
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