Bill Wrobel's DVD - Film Score Rundowns

strings and also the harp. The second staff shows the flute, and the third staff has the
violas and celli. The fourth staff comes later in bar 6 with the harp and piano. In Bar 1,
the violins are bowed trem p on Lines 1 & 2 G dotted half notes to (Bar 2) Ab dotted half
notes (Repeat these two bars in Bars 3-4) to (Bar 5) G dotted half notes to (Bar 6) Lines 2
& 3 C# dotted half notes. The harp plays two-note 8 th note figures of Line 2 G down to
Line 1 G (crossbeam connected) sounded three times and repeated thru Bar 5. The flute
plays Line 2 G up to Ab 8ths figure played 3X and repeated thru Bar 5. Violas and celli
are fingered trem between small octave G-Ab dotted half notes to (Bar 2) B/Line 1 C
dotted half notes (repeat these two bars in Bars 3-4) to (Bar 5) D#/E dotted half notes to
(Bar 6) C# 8 th (followed by rest marks). In Bar 6, four violins are naturale playing bowed
trem dotted half notes on Lines 2 & 3 C# (repeated next bar). On the second staff, six
violins. Violas and celli combined play bowed trem dotted half notes online 1
C#/G/A#/Line 2 D#/F# (repeated next bar). Etc.
M-12 is “Police Car Mystery” with the time signature of C. The first several
bars of this cue were not used—recorded but dialed out in the final edit of the film. O.S.
(off screen) is the scorpion sound. The high strings located on the top staff are fingered
trem between Line 3 D#/E/G whole notes and D/E#/A whole notes (unless D#/E#/A),
repeated next bar. Violas on the second staff are fingered trem between I believe Line 2
F/Gb Line 3 C/Db whole notes and (unclear). The xylophone (and maybe also the piano)
play “6” sextuplet 32 nd notes F-F#-Line 2 C-E-F-G to F# 8 th . On the bottom or fourth
staff, the flutter trumpets and trombones combined play Great octave Bx/small octave
C#/D/G#/A/B#. Of course a Bx would be in effect the C# note, so perhaps I did not write
down the notes properly…. In Bar 3 is when Hank exclaims, “What the devil was that?!”
The celli are fingered trem between small octave B/middle C whole notes (repeated next
three bars). After a quarter and 8 th rest, clarinets play small octave B-middle C-Eb-Gb
32 nd notes to F rinforzando half note tied to 8 th note next bar. After initial rests, stopped
horns sound fz Line 1 E/F half notes tied to 8ths next bar. After a quarter rest in Bar 4, the
strings start a series of bowed trem quarter notes starting with Line 1 F/Bb/Line 2 F to
F#/B/Line 2 E to G/Line 2 C/Eb, and so forth.
The music is dialed back in for the audience to hear when likeable Hank (Richard
Denning) and his colleague (played by Carlos Rivas) enter a farmhouse area. In Bar 21,
low strings and woodwinds play Contra-octave and Great octave F dotted half notes
(repeated next three bars) to (Bar 25) same notes tied to dotted half notes next bar. AT the
end of Bar 26 is when you hear, “Hey, Hank!” Muted horns and tuba in Bar 21 play small
octave E/Ab/middle C dotted half notes to (Bar 22) F/A/middle C# to (Bar 23)
Gb/Bb/Line 1 D dotted half notes to (Bar 24) G/B/Eb dotted half notes to (Bar 25)
Ab/middle C/E/G dotted half notes tied to dotted half notes next bar. Combine this with
the F notes you have the F minMaj 9 th (F/Ab/C/E/G) tonality. However, after a quarter
rest in Bar 25, the top staff shows strings, woodwinds and organ playing Line 2
C/E/G#/B, the augmented major 7 th (maj 7#5 th ). Back in Bar 21, after a quarter rest, they
had played Line 1 F#/Bb/Line 2 D/E/G#/Line 3 C. After a quarter rest in Bar 22, they
then play F/A/Line 2 C#/Eb/G/B half notes (repeat these two bars in Bars 23-24).
Interesting tonalities by Sawtell. It appears he favors augmented chords (F/A/C#, Eb/G/B,
Gb/Bb/D, etc.). The combined chords shows he liked the clashing polytonality effect,
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