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

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