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

case the scene works better without the music. No need for a 30's style of wall-to-wallmusic inserted in this complete scene. Still, it would be nice to hear it on, say, analternate track of a future DVD with that lost music somehow restored.The cue resumes in Bar 66 with Judith riding back to the ranch and going into thehouse. Here we find a very delightful, bright movement of the Judith theme, starting withthe flute playing F (f'') 8th note up to (Bar 67, now in 6/8 time) F 8th note an octavehigher (f'''), played "Grazioso"(gracefully). The oboes also play the melody, but anoctavelower. So F to F octave higher, then an 8th rest, back to lower F 8th note to Gb to high Fnote again, etc. Clarinets and bassoons play two quarter dot notes per bar, Bb to A forthe bassoons, dyads D/F to Eb/Gb for the clarinets. So in effect we start off with the Bbmajor 7 chord (Bb/D/F/A) as supported by the harp figures and pizz strings. Thatsequence ends in Bars 76-77 with the descent of 8th notes by the piano (mostprominently) and harp with descending notes Ab-Gb-F-Eb-Db to (Bar 77) Bb majorchord held fermata.In Bar 78 (now in Cut time or C with a vertical line thru its center), Martha isupstairs looking out of the bedroom window at Cole passing by Judith. He rides off andJudith walks in. The harp and piano are wavy line gliss "a tempo" on Db major(notesDb/F/Ab), etc. The music swells to a crescendo tutti performance.As Judith spots Martha looking at them, the music quickly winds down in adescending series of half note chords starting in Bar 89. Here we find D major 1stinversion (F#/A/D) half note chords to Db major 1st inversion (F/Ab/Db). Piano is wavygliss.Bar 90 = C major 1st inversion (E/G/C) to Cb major 1st inversion (Eb/Gb/Cb).Bar 91 = Bb major 1st inversion (D/F/Bb) to A major 1st inversion (notesC#/E/A).Bar 92 = F minor 7 (F/C/Eb/Ab) to Eb major 7 (Eb/Bb/D/G). By this bar all youfind now are harps wavy gliss and strings "dolce."Bar 93 = D half-diminished 7th chord (D/F/Ab/C) "rall" to G major (notesG/B/D)tied to next bar and held fermata.Bar 94 = Cue now in 4/4 time, not Cut time. The harp plays a nice legato stringof rising 16th notes Great octave G-small octave D-G-B (connected by two crossbeams)to Line 1 D-G-B-Line 2 D 16ths up to G quarter note held fermata. The vibe and bells,after a half rest, strike Line 2 G half note held in fermata, and then solo on Line 1 Gquarter note (see the sequence starting in Bar 95). The strings are still descrescendo on Gmajor. Specifically, Violins play Line 1 D whole note decrescendo hairpin and heldfermata; violins II on small octave B whole note; violas on small octave G; VC on Greatoctave G/small octave D; CB on small octave G whole note. Then the celeste and harpplay Line 1 G (above middle C) quarter notes.Bars 95-98 = Very beautiful end sequence when Judith comes into the house andlooks at his napping dad on the chair. Judith starts to walk up the stairs when Marthagreets her. The cue ends with Martha saying, "Judith, I've been looking for you." Theceleste and harp play the Judith Theme here "delicato." Cue changes to 3/4 time,"slower." One of my favorite musical sequences in the whole score.Bar 95 = In detail, both staves of both harp and celeste are in the treble clef fortwo bars. Upper staves play Line 2 G half note back down to G (octave lower) quarter95