Bill Wrobel's DVD - Film Score Rundowns

“I’m A Genius” [R1/4] 20 bars in 6/8 time. The harp plays p small octave Eb
up to Bb down to Eb 8ths (crossbeam connected) up to Bb up to Line 1 Eb down to Bb
8ths (crossbeam connected) down to (Bar 2) Eb up to Bb down to Eb up to BB up to Eb
8ths. 12 violas play pp Line 1 Eb dotted half note tied to (Bar 2 in 5/8 time) dotted
quarter note and quarter note to (Bar 3 in 6/8 time) dotted half note, and so forth. VC/CB
pluck pizz Great octave Eb 8 th note mp (followed by rests) to (Bar 2) Eb 8 th (followed by
two 8 th rests) to small octave Cb down to Bb 8ths. After a quarter rest and 8 th rest in Bar 2
in 5/8 time, the clarinet plays Line 1 Cb to small octave Bb 8ths. Etc.
“Chasing Isabelle” [Reel 1/6] 69 bars, 2:00 duration. Dvd 00:09:48. I am not
sure if the written music in this version I studied is faithful to what is heard in the final
edit. Two horns in Bar 1 are stopped mp on Line 1 G [written Line 2 D] whole note mf >
pp tied to 8 th note next bar (followed by rests). 4 violas play mfz Line 1 G half note to Ab
half note tied to (Bar 2 in 7/8 time) whole note and dotted quarter note and tied to (Bar 3
in 3/4 time) dotted half note and tied to (Bar 4 in 4/4 time again) whole note. Goldsmith
loves frequent time signature changes (whereas Herrmann didn’t!). Altri violas play on
G notes to F# tied notes. In Bar 2, flutes are trem (flutter I normally assume) mp > pp on
Line 1 D and Line 2 Eb quarter notes (followed by a quarter rest) to same quarter notes
(followed by an 8 th rest), etc. Violins I and II play the same notes (but not bowed trem).
Etc.
“Isabelle Comes Back” [R1/7] Long 175 bars, 5:56 duration. Goldsmith
must’ve had a lot of coffee and cigarettes that night he wrote this cue! In Bar 1 in 6/8
time, violas pluck pizzicato middle C 8 th (followed by two 8 th rests) to same C 8 th
(followed by two 8 th rests) to (Bar 2 in 5/8 time) C 8 th (followed by two 8 th rests) to C 8 th
note (followed by one 8 th rest) (repeat these two bars in the next two bars). VC/CB pluck
this same pattern on Great octave C 8 th notes. In Bar 3 the marimba plays Line 1 D# 8 th
down to small octave G# quarter note (followed by a quarter rest) up to Line 2 C quarter
note. The harp and piano play small octave and Line 1 D# 8ths to Great octave and small
octave G# quarter notes tied to dotted quarter notes. Skipping to Bar 136 in 6/8 time (I
believe at 00:15:14) six horn are prominent playing p < mf small octave F#/B/Line 1 D
[written Line 1 C#/F#/A] dotted half notes B min tonality) tied to (Bar 137 in 5/8 time)
dotted quarter notes and quarter notes to (Bar 138 back in 6/8 time) Ab/middle C/Eb (Ab
maj) dotted half notes tied to dotted quarter notes and quarter notes next bar in 5/8 time.
Etc. The strings pluck pizzicato notes. Etc.
“Linda and Sebastian” [R2/1] 52 bars, 2:42 duration. Dvd 00:20:01. The
electric piano is solo here playing Line 2 G to F# half notes and also small octave E
whole note, and also ascending 8ths small octave E up to B (crossbeam connected) to “3”
triplet value 8ths Line 1 E-A-Line 2 D to D (and F#) half notes tied to dotted quarter
notes next bar in 3/8 time. Skipping to Bar 17 (dvd 00:20:56) the flute plays solo espr and
p Line 2 Gb to F half notes to (Bar 18) Eb down to Line 1 Bb half notes. Violas play Line
1 Db/Bb whole notes to (Bar 18) small octave BB/Line 1 G whole notes. VC play Great
octave BB/small octave Gb whole notes to (Bar 18) Great octave G/small octave Eb
whole notes. CB play mp small octave Eb whole note down to (Bar 18) C whole note. So
Goldsmith chose the tonalities of Eb min 7 th (Eb/Gb/Bb/Db) to C min 7 th (C/Eb/G/Bb).
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