Bill Wrobel's DVD - Film Score Rundowns

[The Fight] Reel 5/1, Agitato in C time. Dvd location 00:35:39. Scene: Lex
(Cooper) and Pete (Lon Chaney) fight. Horns play mf small octave and Line 1 tenuto Eb
[written Bb] dotted half notes to A tenuto quarter notes to (Bar 2) Db tenuto dotted half
notes to C tenuto quarter notes. Fags play Great octave Eb tenuto dotted half note to D
tenuto quarter note to (Bar 2) Db tenuto dotted half note to C tenuto quarter note. VC top
staff play Line 1 tenuto dotted half note to D tenuto quarter note to (Bar 2) Db tenuto
dotted half note to C tenuto quarter note. Bottom staff celli play this an octave lower
register (small octave register). The same applies for the CB. After a half rest in Bar 1,
flutes, oboes and violins play Line 1 D# half note trill tied to dotted quarter note next bar
to E-E# 8ths to F# 32 nd note with the gliss line extending out from it “chromatic” up to
Line 2 D 32 nd note (with the “8” above the gliss line to signify eight 32 nd notes) and then
a gliss line from that Line 2 D 32 nd note (with “12” above it) up to (Bar 3 in 6/8 time)Line
3 D 8 th rinforzando-marked down to Line 2 F rinforzando quarter note to G rinforzando
8 th up to Line 3 D rinforzando quarter note. Violas play the same in Bars 1-3 but an
octave lower register. The piano plays both (right hand/left hand). Clarinets play the
same. The bass clarinets plays as the violins (same register) to the “8” gliss to Line 1 D
8 th (but then followed by rests).
Cutting to Bar 72 (dvd 00:37:15) when Lex cuts Pete’s rump twice with Pete’s
knife, the time signature is now 2/4. Steiner created an interesting tonal effect to capture
the cutting into Lon Chaney’s butt! Violins I play forte Line 3 A rinforzando 16 th to A#
16 th to B 8 th figure (followed by a quarter rest), while violins II in harmonics
(artificial/diamond-shaped above the notes) of written Line 1 A to A# 16ths to B 8 th
figure. The piccolo here plays ff Line 2 A-A# 16ths to B 8 th figure. After an 8 th rest in Bar
73, violins I then play (second knife cut) Line 3 B rinforzando 16 th to Bb 16 th to A 8 th
(followed by an 8 th rest). Violins II play this in artificial harmonics once again in the Line
1 register (but sounding two octaves higher). The piccolo once again plays as the violins
I. After an 8 th rest in Bar 74, all violins pluck pizzicato descending 8 th notes Line 1 Bb-A-
G to (Bar 75 in 3/4 time) F-E-Eb-D-C#-small octave Bb to (Bar 76 in C time) A 8 th
(followed by rests). Violas pluck this pattern also (two octaves until towards the end), and
VC in the small octave register but continue in Bar 76 on (now arco) Great octave A-G-
F-E 32 nd notes to E 8 th tied to half note and 8 th note (followed by an 8 th rest). CB show up
in Bar 76 on the same VC pattern but written an octave higher register. The piano here
plays both registers. Bassoons play this as well as staccato notes in the Line 1 and small
octave registers to (Bar 76) the same pattern as the CB/VC. After an 8 th rest in Bar 76, the
Pos play Great octave F/A/small octave D sforzando 8ths (followed by a quarter and half
rest), tuba on Great octave D 8 th , and timp on small octave D 8 th . After a half rest in Bar
77 (dvd 00:37:25) Max employs a comic effect he hired many times in his scores,
utilizing a solo trombone. So Pos II plays mp molto vibrato Line 1 B double-dotted
quarter note to Bb to A 32 nd notes to (Bar 78) G# whole note held fermata. In Bar 77
violins are arco on small octave A/Line 1 D whole notes p tied to whole note held
fermata next bar. Violas are p molto vibrato on small octave F tied whole notes, VC on
Great octave A tied whole notes, and CB on small octave F.
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