Bill Wrobel's DVD - Film Score Rundowns

except as a combined overall effect of complexity. Fortunately, although he would often
get carried away with the process, he had great dramatic musical instincts, and he
managed to veer away from the full orchestra overload, disciplining and limiting his
expression (especially in the quieter scenes of a given movie). Of course the movie opens
with the ever-changing and fluid ocean shore, so perhaps Tiomkin wanted to convey
these multitudinous actions with his music….
Marimba II plays “5” quintuplet 16 th note figures Line 1 F#-A-B-Line 2 D-E
(connected by two crossbeams) to G-A-B-E (I think but the notes on my xerox are quit
faint) to F# “5” 16ths to F#-A-B-C#-E 16ths to E-A-B-Line 2 D normal value 16ths.
After a “3” value 8th rest in Bar 1, marimba II starts to play trem triplet value 8 th notes F#
up to Line 2 D# to next figure of Line 2 G down to Line 1 B up to Line 2 F# triplet 8ths
to F#-F#-G triplet 8ths trem to F#/G/B quarter notes trem. It is hard to read the top staff
horns but it appears in Bar 1 that one horn at least plays Line 1 F# whole note [written
Line 2 C#] to (Bar 2 in 2/4 time) F# down to small octave A [written Line 1 E] 8ths to B
up to Line 1 A 8ths. Two horns on the bottom staff play in Bar 2 small octave A/Line 1
G 8ths to small octave A 8 th to A/B 8ths up to F#/A 8ths. Sord (muted) trombones sound
pp > Great octave D/A/small octave D whole notes. In Bar 2, Pos I then plays F# half
note while Pos II-III play Great octave D/A to D#/B quarter notes. Etc. The first harp
sounds ppp ascending 16 th notes Great octave D-A-small octave F#-A (connected by two
crossbeams) to “5” quintuplet ascending 16ths Line 1 D-F#-A-Line 2 D-F# up to
descending normal value 16ths Line 2 B-F#-D-Line 1 B to A-F#-D-small octave B. Harp
II (top staff) plays p Great octave A half note to “3” triplet value 8ths Line 1 A-Line 2
C#-E down to Line 1 A-B-Line 2 D. The bottom staff of harp II shows “3” triplet value
8ths small octave D down to Great octave A up to small octave F# (crossbeam
connected) to small octave B down to D to A tied to a quarter note up to Line 1 D-F#-Dsmall
octave G 16ths. Piano I plays the pattern of the top staff violins. So we find Line 1
A/B/Line 2 D/E/F#/B/Line 3 D/E/F# 8ths to Lines 2 & 3 G 8ths to Line 1 A/Line 2
D/G/A/Line 3 D/G 8ths to Lines 2 & 3 F# 8ths to Line 1 A/Line 2 C#/F#/A/Line 3 C#/F#
8ths to A/C#/E/A/C#/E 8ths to A/B/Line 2 E/A/B/Line 3 E 8ths to F#/A/Line 2
D/F#/A/Line 3 D 8ths. Piano II (top staff) plays p “3” triplet value 8ths small octave B
down to Great octave A up to small octave F# (crossbeam connected) to A/B down to D
up to A 8ths with that A 8 th tied to triplet A 8 th to same A to B to Line 1 D-F#-D-small
octave A 16ths. The bottom staff shows Great octave D/A whole notes to (Bar 2 in 2/4
time) D/A quarter notes to D#/B quarter notes. Etc. (I won’t get into the woodwinds right
now! : ). [end session Sunday, March 06, 2011 at 11:08 pm]
The Main Title music includes the introduction to the old man (Spencer Tracy).
The Main Title theme lasts only 11 bars. In Bar 12 (dvd 00:00:40), flute I is solo
(highlighted, not actually the only instrument playing sounding ppp Line 2 F# dotted half
note tied to 8 th note to “5” 32 nd notes E-D-C#-Line 1 B-A to (Bar 13, start of page 4) Line
2 D 8 th (followed by rests). The bongo in Bar 13 plays “stile Cubano” (Cuban style) the
rhythmic pattern of 8 th -8th (crossbeam connected) played three times to 16 th -16 th -16 th -
16 th (repeated next two bars). The marimba also plays this rhythmic pattern on small
octave B/Line 1 E 8ths to B/F# 8ths staccato-marked and sforzando-marked, this twonote
figure sounded 3X to B/E-B/F#-B/E-B/F# 16ths to (Bar 14) A/D to B/E 8ths
sounded 3X to G/middle C (natural) to G/D to G/C to G/D 16ths. The two harps plat as
97