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

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Reel 11 pt 8 [?? Typo error no doubt--probably should be Reel 11 pt1] "Finale" Allegro maestoso in 3/2 meter. 5 bars, :13.Bass Cls/Fag I/PosI/Tuba play "pesante" half notes D/A/F to (bar 2) E whole note. Then Dhalf note to (bar 3) the B-flat(major)chord 2nd inv (F/Bb/D). Then theHorns & Tpts play half notes Bb/F/D to (bar 4) note A. The Pos thenresound a D (major)1st inv chord (F#/A/D)along with the Studio Organand Bass Cls. etc.Bill Wrobel wj@pavenet.net**********************************The same applies to Steiner’s The Violent Men starring Glenn Ford. I havequite detailed information on this score so maybe some day I’ll expand on this oldrundown below written originally in 1999. I’ll add some new material below usually ayadding today’s date [2-13-10] or simply sentences within brackets [ ].VIOLENT MENMusic byMax SteinerThe following is a cue rundown and analysis of Max Steiner's vibrant score to the1955 motion picture, The Violent Men (aka "Rough Company"). Only the second and lastscore Max composed for Columbia Pictures, THE VIOLENT MEN proved to be anappealing B western, thanks in large part to Glenn Ford's likeable performance as JohnParrish, to the stunning CinemaScope location shooting of Alabama Hills(Lone Pine, Ca),and to the rousing stereo score of Max Steiner. Edward G. Robinson (one of my favoriteactors) plays Lew Wilkerson, an overly ambitious but crippled rancher, and BarbaraStanwyck plays his scheming, cheating wife, Martha. Brian Keith plays his jealousforeman brother, Cole. Richard Jaeckel gives a dynamic performance as Wade Matlock,the evil enforcer-hired gun. The full score is orchestrated by Murray Cutter.THE VIOLENT MENReel 1/A "Main Title" Robusto in C time, 12pp., 56 bars. 1:37. Cue #9882.Orchestration: flute/piccolo, oboe/English Horn, 2 clarinets, 2 Fags(bassoons), 4 frenchhorns, 3 trumpets in B-flat, 3 Pos(trombones), tuba, timpani, snare drum, cymbals, bells,harp, piano, organ, 12 violins, 4 violas, 4 VC (celli), 3 CB(basses).As the Columbia Pictures logo lady shines her torch on the screen, the musicimmediately provides a sweeping six-note figure of 16th notes (G-A-Bb-C-D-D#) of theE.H./clarinets/Fags/horns/strings, with the snare drum adding sharp percussion. Thissweep of the grace bar leads to the four quarter note beat of Bar 1 (and Bar 2).[added 2-13-10: Specifically, the violins/violas/English horn/clarinets/horns I-II(top staff) sound ff small octave (Great octave for bassoons/VC/CB) “6” sextuplet 16ths86
G-A-Bb-Line 1 C-D-D# (connected as a figure by two crossbeams). The snare drumsounds f < six 16ths (notated on the second space of the staff from the top).]The primary beat notes played rinforzando ( > ) in Bar 1 are E-F#-G-A. Thehorns/trumpets/Pos/harp/piano/violins play the beats in combined triadic fashion: Eminor 1st inversion (G/B/E) on the first beat, then D major 2nd inversion (A/D/F#), Cmajor (C/E/G), and D major root position (D/F#/A). Repeated next bar (Bar 2).Bassoons/tuba/bass clef of harp & piano/VC play the march in descending notes orchords. Bassoons play descending dyads E/B, D/A, C/G, B/F#. Timp beats quarter notesA to D, A to B. Etc. [added 2-13-10: Specifically, violins I in Bar 1 play on the downbowsmall octave G/Line 1 E quarter notes to Line 1 F# quarter note to G quarter note toF#/A quarter notes to (Bar 2) Line 1 E to F# to G quarter notes to F#/A quarter notes onthe forceful down-bow. Violins II play small octave G/Line 1 E quarter notes to smalloctave A/Line 1 D quarter notes to Line 1 C/E quarter notes to A/Line 1 D quarter notesto (Bar 2) small octave B quarter note to A/D quarter notes to Line 1 C/E quarter notes tosmall octave A/Line 1 D quarter notes. Violas play small octave G /Line 1 E quarternotes to small octave F# quarter note to small octave E/G quarter notes to F# quarter note(all on the down-bow) to (Bar 2) E/G quarter notes to F# quarter note to E/G quarternotes to F# quarter note. VC/CB play small octave E-D-C-Great octave B quarter noteson the down-bow (repeated next bar). The oboe plays ff Line 1 E to F# to G to Arinforzando-marked quarter notes (repeated next bar). The english horn plays Line 1 E[written Line 1 B] 8 th note (followed by an 8 th rest) down to small octave F# [writtenmiddle C#] rinforzando quarter note to G [written D] to A [written A] rinforzando quarternotes down to (Bar 2) small octave E-F#-G-A rinforzando quarter notes. Etc.]The cue changes to 6/8 in Bar 3 thru Bar 6. The notation changes to Line 1 (forviolins I and oboe) E quarter note to E 8th note, and then F# quarter note to F# 8th note to(Bar 4) G quarter note to 8th note to A quarter note to 8th. Repeat next two bars. At theend of Bar 6, the Pos and trumpets are prominent playing notes A-B-D in quasi-tripletnotation [added 2-13-10: A dotted 8 th to B 16 th up to D 8 th three-note figure].Bar 7= Cue changes to C meter and the trumpets/Pos descend on whole note E(small octave E for Pos and Line 1 E for trumpets and tied to half note next bar) as therest of the orchestra plays the beat pattern. Strings play quarter notes, all down-bowed.Bar 8= After an 8th rest following the E note, the trumpets/Pos play 16th notesF/G to quasi triplet A/B/D, with a crescendo marking underneath.Bar 9= The cue changes to 6/8 meter again. The trumpets and Pos rise to Eb halfnote dotted tied to quarter note next bar. The orchestra plays a syncopated beat on the1st/3rd/4th/8th sub-beats. [For example, Pos II and VC/CB play small octave Eb 8 th9followed by an 8 th rest) to Eb 8 th (these two notes are crossbeam connected) to Db 8 th9followed by an 8 th rest) to Db 8 th to (Bar 10) Cb 8 th (followed by an 8 th rest) to same Cb8 th to Great octave Bb 8 th (followed by an 8 th rest) to Bb 8 th .] The piano plays Eb minor(Eb/Gb/Bb) on the 1st quarter beat (specifically Great octave Eb/Bb/small octaveEb/Gb/Bb/Line 1 Eb), Db major (Db/F/Ab) on the 3rd beat.Bar 10= Piano on Cb major (Cb/Eb/Gb) to D major, etc.By Bar 36, the music dramatically changes from the adrenalin rush of the ViolentMen motif to the bucolic sereneness of what I call the Lone Rider Theme. The onlyproblem is that the editing is bad! You see in the distance Parrish's men following him,and towards the end of the cue you see the men quite plainly. When the next cue starts,87
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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#,
Page 36 and 37: Bar 24 = Bis on E min again. Bass c
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Page 40 and 41: amongst them. Very interesting chas
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Page 56 and 57: Bars 26-32 = The strings and organ
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Page 61 and 62: At the end of Bar 4 the baritone tr
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Page 67 and 68: hiding), Rune questions Frail. The
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Page 73 and 74: [“Like what?!”] R6/5. Dramatic
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Page 85: 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 113 and 114: Talking Herrmann: ON DANGEROUS GROU
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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 133 and 134: While Herrmann was not the King of
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So Herrmann was playing with heavil
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different takes). I wonder if Bill
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Talking Herrmann: SUSPENSE THEME (C
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Talking Herrmann: Mind in the Shado
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13. Nathan Hale - Cue #8 1:48 Berna
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NotHitch:"Coll" or "col" (normally
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{Image http://img252.imageshack.us/
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I had long ago written a paper on t
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I will provide more examples shortl
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Below is another image from "A Man'
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CBS-television score for the pilot
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The image below is my own personal
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**********************Talking Herrm
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talkingherrmann mailing list*******
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six versions of the last two bars t
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You know, I've been trying to recal
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http://img695.imageshack.us/img695/
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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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