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

those men are nowhere to be seen.Anyway, this music is coma sopra (or come sopra) from Reel 2/C, Bars 37-47.Here the music changes to molto moderato in C meter. As the soli horns on note G[written D, being transposed to "C" concert pitch for this analysis] die down (ritard), thestrings at the end of Bar 38 are "molto espr" playing rising quarter notes unison on note Cto Bb major quarter note chord (Bb/D/F) to C major (C/E/G). The primary orhighest rising notes, then, are C to F to G. Bassoons and celli descend quarter notesC/Bb/C(octave lower).Bar 39= Violins rise to F major 2nd inversion (C/F/A) or primary note A.Flutes/E.H./clarinets play mf (mezzo-forte), after a quarter rest, a traditional horse gallopfigure of C 8th dotted note to D 16th up to F 8th dotted down to D, up to F to G.Sparkling bells play the same pattern. The harp, after a quarter rest, plays wavy line glissquarter note chords F major 2nd inversion (actual notes C/F/A/C)), F major rootposition (F/A/C/F) down to D minor (D/F/A/D).Bars 40-41= Harp finishes that pattern back on the F major 2nd inversion(F/A/C/F). The organ/violins/violas continue to play the melody line with quarter notechords F major 2nd inversion (C/F/A), Bb major 1st inversion (D/F/Bb), G minor 7(notes G/Bb/D/F) to (Bar 41) F major 2nd inversion (C/F/A)whole notes connected toquarter notes next bar. In Bar 40, the horns play the gallop figure soli, ratherunpronounced in the background. Etc.Bars 42-43= Organ/violins/violas play rising quarter note chords F major root to Fmajor 1st inversion (A/C/F) to F major 2nd inversion (C/F/A) to (Bar 43) A minor 2ndinversion whole note chord (E/A/C) tied to quarter notes next bar. In Bar 42, the hornsagain play the gallop figure soli.The passage climaxes in Bar 49 with the emphasis on Db major 2nd inversion(Ab/Db/F). The soli trumpets are accented on quarter notes Ab to Bb down to Db to (Bar50) F half note. The harp plays largely legato triplets (Db-Ab-Db, F-Ab-Db, etc). Andso on.Reel 1/B "Matlock's The Villain" Moderato in 6/8 meter. 15pp., 57 bars.Cue # 9893. 1:59. This is "seque and overlap" from the Main Title. Scene: Captain JohnParrish(Glenn Ford)rides in alone into town. Wade Matlock and his rowdy bunch ridejust inches from him on the street, nearly hitting him.Flutes/oboes/clarinets/horns/violins/violas mf play a sweep of six 16th notes in thegrace bar. Violins I play the sweep an octave higher. Violins play Lines 1& 2 D-E-F-F#-G-G# 16ths to (Bar 1) A dotted half note tied to next bar and to dotted quarter note in Bar3 and tied to 8 th to B to Lines 2 & 3 C 8 th . Violas in the grace bar play dyads F/A to G/Bto Ab/C to A/C# to Bb/D to C/E 16ths.The clarinets and horns play the same dyads as thehorns. Combined you have swiftly rising 16th triads D minor 1st inversion (F/A/D), Eminor 1 st (G/B/E), F minor 1 st (Ab/C/F), F# minor 1 st (A/C#/F#), G min 1 st (Bb/D/G) andC augmented (C/E/G#).In Bar 1, the violins are sustained (tied) on notes (octave apart) A for over twobars. The clarinets and horns play the melody line dyads D/F quarter notes to two D/F8ths. So we have the D minor sound starting off (D/F/A). The harp plays the D minarpeggiando (actual notes Great octave D/A/small octave F/A/Line 1 D/F). Pos I plays,after two 8th rests, small octave F 8th note rinforzando (sf) tied to quarter dot note, then E88