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in the music, how it functions within the film and its structural implications. Usingtranscriptions and portions of Herrmann’s original manuscript, this paper explores therhythmic and tonaltransformation of the Psycho Theme and illustrates how the celebrated slasher themerelates to it.The author asserts that Norman’s Bates’ “mother” is represented by the concept ofatonality (and not a theme) and explores the origins and dramatic implications ofatonality in the second half of thefilm. The psychiatric death of Norman Bates is related to thematic transformation andatonality.Constructs borrowed from the fields of drama and acoustics provide a new context forunderstandinghow the timbre of Herrmann’s monochromatic string orchestra is appropriate for thisfilm."Interesting assumptions. However, I wonder if Herrmann was ever asked about it??What did HE intend?? What Husarik, Fred Steiner, Brown, Wrobel (etc.) may read into aHerrmann score may not necessarily be what Herrmann actually envisioned.... Perhaps hesimply thought, "Well, Norman Bates is a looney tune (and a very dangerous one), solet's musically characterize that with atonal music (crazy music!)".....!!!___________________________________________________________________________________________________________talkingherrmann mailing list************************************1-7-10:Bombay Mail by Roemheld on YouTube:http://www.youtube.com/watch?v=1pdDeQ3UL_MTalking Herrmann: Roemheld as Herrmann Precursor?Reply by: Bill Wrobel ()______________________________________________________________________I am no expert on Roemheld and have seen (or rather, heard) relatively few of his movies,but based on what I heard on Bombay Mail in that YouTube clip, I hear far more MaxSteiner than I do Bernard Herrmann. At the 00:18 point, Roemheld really musicallymimics train effects with the rhythmic patterns and the high tooting of the trumpets as theaudience watches the approaching train. Herrmann wouldn't do that--or at least soobviously in that "mickey-mousing" manner that Steiner was adept at. Then at the 00:33point he plays the rather Green Hornet rapid run figures (again at 00:56). True, at the01:09 point in the teletape sequence, we hear the rather Herrmannesque ominous lowwoodwinds that is effective. At 03:43 we hear the stopped horns as the private secretary192
gets a revelation at that instant when reading an official communication--a bitHerrmannesque but also reactive as Steiner would've done it.Roemheld has a highly reactive (to screen) score here, not necessarily strongly moodsetting as Herrmann would've done it (except at spots here by Roemheld). At 04:06 hemimics the drunk with the piccolo or flute with the tipsy music. Roemheld is reactingstrongly to the events on the screen, just as Max Steiner usually did.Don't get me wrong: I like the music. It has great locomotive propulsion and energy,but it's not Herrmannesque except for a few isolated spots. More Steiner with a hint ofTiomkin perhaps. I would think B. Kaun would be a far more likely candidate thanRoemheld! I'm no expert of his music either but I appreciated his contributions in SHE(especially the highly atmospheric "Saber-tooted Tiger" cue), and his Black Legion scoreat times, especially the Main Title, and of course the M.T. of Frankenstein. Kaundemonstrates, I feel, more of the Herrmann sensibility than Roemheld--but, once again, Ineed to hear all or most of the scores of Kaun and Roemheld become I come to any finalconclusion. But neither one of them would be a "precursor." They were maybe only adecade older, something like that. And Herrmann was writing his type of music in thelate 1920's and early 1930's (in his Early Works) before sound pictures took hold.Precursors would be the composers of merit who came before them, influenced themperhaps to some extent. This would include Balakirev, Wagner, maybe Alfven, maybe abit of R. Strauss, Charles Koechlin, and even Tchaikovsky had similar effects in hisreactive ballets such as the Nutcracker in some of the moody scenes.I agree with Avie in the sense that Herrmann tends to have a "deeper" effect, and evenmeditative at times (almost "dream-like" in effect). It cuts to the core or heart of thedramatic moment, so I guess that would be "primal."Well, it's well past my bedtime--time to enter my own dreams...._______________________________________________talkingherrmann mailing list***********************1-10-10:Talking Herrmann: chandosReply by: Bill Wrobel ()______________________________________________________________________What does it mean here when the label says of this recording, "Arranged from theoriginal manuscripts by Stephen Hogger"??? My initial reaction, ala Hans Solo, is that Ihave a bad feeling about it. The full scores exist so why "arrange" anything?? I can see ifthe producer wants to augment the strings, for instance, to reflect modern recordings, butotherwise I hope they didn't diminish instrumentation. Besides, I am not too excited aboutanother Citizen Kane recording! I still haven't purchased a film music cd in a year so if I193
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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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locations after all. These unaligne
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[Cue #3767] “Discovery of Well”
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First is John Barry's simple but ef
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different. But my guess is that the
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Universal-Revue Studios Television.
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-All cues # entries (whether 1 page
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Talking Herrmann: ON DANGEROUS GROU
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Idea for Markus M.: It would be fas
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last one is weirdly notated by Herr
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I did like DePalma's stylist approa
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___________________________________
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Thanks for your interesting observa
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Mer,”…certain passages of it, I
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{Image http://img193.imageshack.us/
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talkingherrmann mailing list*******
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While Herrmann was not the King of
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___________________________________
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So Herrmann was playing with heavil
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different takes). I wonder if Bill
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Page 167 and 168: six versions of the last two bars t
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Page 173 and 174: The top of the scan shows On Danger
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Page 185 and 186: was far more adaptable and willing
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