Bill Wrobel's DVD - Film Score Rundowns
Bill Wrobel's DVD - Film Score Rundowns
Bill Wrobel's DVD - Film Score Rundowns
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-Reel 14/3 Altered Maestoso, 2 pages, 7 bars.<br />
-End-Cast 19 bars<br />
***********************************<br />
-Old Man and the Sea (1958) **** [music *****]<br />
http://www.amazon.com/Old-Man-Sea-Spencer-<br />
Tracy/dp/B00004YRID/ref=sr_1_1?s=dvd&ie=UTF8&qid=1293329428&sr=1-1<br />
Spencer Tracy gives a very touching performance here, and a few of the dream<br />
sequences were quite moving (the lions on the beach). The music by Dimitri Tiomkin<br />
was terrific. I am so happy that he was assigned this project. I think it was a perfect<br />
match.<br />
-“Main Title” Cue # 38056, key signature of two sharps (D maj/B min).<br />
Manuel Emanuel did the orchestrations for this cue (but not the entire score), using long<br />
36-stave paper. Violins are separated into three staves (12, 4, 4); violas into 2 staves (2,<br />
4); celli into 2 staves (2, 4); CB has 3 players. In Bar 1 in C time, top staff violins sound<br />
pp Lines 2 & 3 F# to G 8 th notes bowed trem (crossbeam connected) to same G to F#<br />
bowed trem 8ths (crossbeam connected) to F# to E bowed trem 8ths (crossbeam<br />
connected) to E-D bowed trem 8ths (crossbeam connected) to (Bar 2 in 2/4 time) Lines 2<br />
& 3 C# half notes bowed trem > ppp. Middle staff violins are bowed trem on Line 2<br />
B/Line 3 E quarter notes to A/D quarter notes to unison C# quarter note to Line 2 B-A<br />
8ths to (Bar 2) A half note bowed trem. Bottom staff violins play Line 2 A/Line 3 D<br />
quarter notes twice to unison A quarter note to A to F# 8ths to (Bar 2) F# half note bowed<br />
trem. Top staff violas are bowed trem on small octave F# up to B up to Line 1 G up to B<br />
quarter notes to (Bar 2 in 2/4 time) “3” triplet value legato 8 th notes (non-trem) Line 2<br />
C#-E-D (crossbeam connected) to C#-Line 1 B-Line 2 C# triplet 8ths. Bottom staff violas<br />
pluck pizz the same quarter notes as the top staff violas sown to (Bar 2) now arco<br />
fingered trem between small octave E and A half notes. Top staff VC play small octave<br />
F# bowed trem quarter note to “3” triplet value bowed trem 8ths B down to D up to A up<br />
to non-trem Line 1 G quarter note to D-F#-D-small octave A 16ths to (Bar 2) small<br />
octave F# half note bowed trem. Bottom staff celli play all bowed trem effect on “3”<br />
triplet value 8ths Great octave D up to A up to small octave F# (crossbeam connected) up<br />
to A quarter note tied to “3” triplet value 8 th and then sounding again that same A triplet<br />
value 8 th to B triplet 8 th up to Line 1 D quarter note down to (Bar 2) small octave D/A<br />
quarter notes bowed trem to Great octave B/small octave F# quarter notes bowed trem.<br />
CB play small octave D whole note to (Bar 2) D to D# quarter notes. So you can see the<br />
layers of complexity here or intricacies of notation in just the strings alone. If you add all<br />
of the other instruments, then you can see why I was reluctant to do an official and full<br />
delineation of this score—it would take way too long to do! Tiomkin was an allencompassing<br />
type of composer, and he would throw almost anything into the mixing<br />
bowl of tricks and phrases. Tiomkin’s compositions tended to be the “Everything and the<br />
Kitchen Sink” type that he would later need to whittle down by the actual recordings. His<br />
philosophy was, “If some is good, more is better!” This is especially seen in the need for<br />
longer orchestrated pages than the usual norm for most composers. Unfortunately, most<br />
times these abundant subtleties of multi-phrasing will not be noticed by most listeners<br />
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