https://youtube/watch?v=1CmJ-NHDScI “The Cloud” cue of STAR TREWK:TMP, R 8 pt 1. 6/8 time signature. 16 pp, 125 bars. This is a much-revered cue, very Herrmannesque in a rather Vertigo-ish way. Hear track # 9 on the cd, and go to the start of Chapter 19 on the dvd. Unfortunately, the music suffered a bit of editing cuts in order to accommodate this “Director’s Edition” dvd. For instance, the dvd version cuts into the :38 point for four seconds. The Bar 25 section following (the two pianos’ slow ostinato) on the dvd is at :50, whereas in the uncut cd version, it arrives at the :54 point (perhaps a half second later). Although I like not having the annoying cuts to the crew’s startled faces so often in the original version of the movie, I’d prefer having the music uncut. Anyway, I wonder if Goldsmith consciously or unconsciously was paying a homage to Herrmann’s style here (perhaps his most sustained Herrmannesque cue). Initially we hear in Bar 1 a strange wind like whooshing effect that one might construe as being purely an electronic effect. Actually it was created in large part by four horns (according to the sketch score—but six horns according to Cameron’s analysis). Goldsmith wrote the direction, “Reverse mouth pieces and blow air.” He also created this effect, as given further in his written directions: “Serge synth filtered white noise.” The Tam Tam also contributes with the direction, “Rub with superball.” These are played p (piano level) and notated in 6/8 time as the triangle note head that is dotted, placed on the G space on the top line of, say, the treble clef staff, and with a stem pointing down, as well as a wavy line slanting down to the southeast. This effect is repeated in Bars 3, 5, and 7. The organ plays pp the Line 1 D/F/A (D min) dotted half note triad tied to dotted half notes next bar. It is marked as “8’” or 8 feet stop (that sounds the written pitches as a piano would sound), but no tone-color indication (such as the diapason stop, the most organ-like). The VC/CB play respectively the small and Great octave register D dotted half notes tied to dotted quarter note & 8th notes next bar (followed by a quarter rest), then C# notes in Bars 3-4. Violins II are fingered trem between Line 2 D/A dotted quarter notes and the F dotted quarter note; whereas the lower “B” stands (say) play that Line 2 F to D/A. This is followed by a dotted quarter rest. Repeat next bar. The violas play the same divisi pattern but on Line 1 register notes, played p > pp. The most characteristic Herrmannesque pattern of course is the rising & falling 8th note ostinato (repeat) figures played p < mp > by two harps.
Posted on: Thu, 23 Oct 2014 04:54:19 +0000
Trending Topics
Recently Viewed Topics
© 2015