Music Analysis
The following is the text posted on our website circa 2001. Many thanks to Bill Wrobel for providing this detailed analysis. Please note that we will be updating this page.
Film Score Rundowns
Author :
Bill Wrobel
SEA HAWK cue Rundown

I will preface by saying that it is beyond the scope of this word-driven format of Film Score Rundowns to adequately describe the multi-layered complexity of this incredibly large score by the prodigy composer, Erich Wolfgang Korngold, who turned his attention to film scoring.
Normally I say one look(of a cue)is worth a thousand words. In Korngold’s case, one look is worth ten thousand words. When I studied the score at UCS/Warner Brothers archives nearly ten years ago, I managed to xerox about only 90 pages of the fully orchestrated score to SEAHAWK which ran a total of about 650 pages! There are 79 or 80 cues. As was common for spectacles at that period of movie music history, this pic followed the practice of “wall-to-wall” music(sometimes referred to as “carpet music”). I believe 126 minutes of music was recorded for this motion picture!
So, once again, I cannot here do justice to this glorious score and all of its multi-textured notation in each cue. With Herrmann(whose notational orchestrations are pure minimalist in comparison to Korngold)it is relatively easy to even verbally describe many complete cues to a given score to every detail. The pastiche of complexity in Korngold’s music makes this impossible. His musical style conformed perfectly to the idiom of the lush Hollywood film scores of the period. His late Romantic symphonic traditional training served well in such Errol Flynn swashbuckler vehicles as CAPTAIN BLOOD, THE ADVENTURES OF ROBIN HOOD[see my cue rundown on that score], and of course SEA HAWK. Korngold’s genius and uncanny dramatic sense made his music, in analogy, a very rich cream on top of the full-bodied milk of composers working in that period(Max Steiner, Alfred Newman, etc). His music displays a virtuoso expansion of the Viennese sound which Hollywood adopted up to that point. Curiosly, however, modernist American style music was beginning to show itself then as well in film(Herrmann’s CITIZEN KANE the following year, Copland’s OF MICE AND MEN in 1939, etc).
I consider SEA HAWK as Korngold’s film score masterpiece, eclipsing even the fabulous Robin Hood score. It’s a better movie as well, in my opinion, not quite so formula-driven. It’s more adult-oriented. The Captain Thorpe character Flynn plays is a bit less stereotyped and cocky as his Robin character. Distant cousins perhaps with similar characteristics, but I enjoy the Thorpe character as being more accesible and less the pure “hero-type.”
It is a masterfully executed swashbuckler score, full of leitmotiv music both heroic and romantic, and so intricately interwoven that you have to admire Korngold’s genius and craftsmanship. I cannot praise the score enough for it indeed deserved all the accolades critics have heaped on the music. Charles Gerhardt conducted a wonderful suite of this score a few decades back, but I will be relying here, as a reference for this analysis, on the excellent varese rendition of the score conducted by Varujan Kojian(produced by george Korngold) released in 1988. You can access the cover and review of this cd in the following “Film Music On The Web” site:
Another web review of a different rendition by dePriest(including Korngold’s Symphony in F# is by Paul Remington:
In his book “Overtones and Undertones,” Royal S. Brown devotes a scholarly analysis of about twenty pages to the SEAHAWK score. My analysis here is far less admirably dissective, meant more as a research supplement of the actual orchestrated pages.
THE SEA HAWK 1940 Warner Bros
[1] Reel 1/part A {Main Title} Note: Sorry, the M.T. was not available for study when I researched the score. Curiously the main body of the score that I did research actually starts the numbering of pages for this orchestrated score(as well as “The Adventures of Robin Hood”). On the upper left hand side of each cue, a bold black number is assigned to it. Apparently [1] is assigned for the Main Title, while [2] is assigned for the next cue sequentially, Reel 1, part B. However, at the bottom right of the first or title page of 1/B is “1” (of about 640 or more pages). Apparently the Main Title was given its own identity apart from the rest of the orchestrated score.
However, cue [9] or Reel 2/B is virtually coma sopra(repeat)of the Main Title. Written on that cue after the grace bar is “Main Title, Original Key.” Then only the solo trumpet I is notated.
[2] Reel 1/B {Map On Wall}[Note: Almost all of the cues in the orchestrated format are not given titles, so I am making up approximation names/titles here in brackets] Misterioso in C. Pages 1 thru 9 in the full score. Approx 1:24 in duration. Key signature of for sharps(C# minor in this case, not E major). [Note: Bb instruments such as the clarinets and bass clarinets are assigned six sharps since naturally in C major or A minor key sig the trumpets are assigned two sharps(F#, C#)automatically. This was the practice of most composers/orchestrators then, although Herrmann did NOT follow that practice. Curiously, the trumpets here(also Bb instruments here, not the “C” tpts)are NOT assigned key sig sharps, although in most other cues they are assigned. Normally the “French” horns or horns in “F” are not assigned accidentals such as sharps for key signatures, although in several of the cues here they are. The english horn in this cue, however, is assigned five sharps.]
This cue is not in the reference cd.
Instrumentation: 3 flutes/piccolos doubling, 2 oboes/E.H. doubling, 2 clarinets, bass clarinet, 2 bassoons/contra bassoon doubling, 4 horns, 3 tpts, 4 trombones, tuba, timp, vibe, tamb., gong, cymbal, 2 harps, piano, celeste, 12 violins, 4 violas, 4 celli(VC), 3 contra bass(CB).
This cue was orchestrated by Ray Heindorf. Note: I prefer reading ray’s or Milan Roder’s orchestrated pages over the masterful Hugo Friedhofer since Hugo’s handwriting is so small and lightly etched so that it’s harder to read the faded notation.
Scene: The King of Spain discusses expansionist plans when viewing a map of the world on the wall. He boldly states that some day the map will no longer be the map of the world but the map of Spain! In the grace bar, the solo bass clarinet plays p(piano sound level dynamic)a seven-note ascent of 32nd notes of G#[written A# but henceforth transposed by me to “C” pitch for this analysis], A#, B#[enharmonic C], C#, D#, E, F#.
In Bar 1, the bass clar continues with a flourish figure of dotted G# 16th to G 32nd, then rising 32nds G#, A#, B, C# down to the G# quarter note tied to 8th and 32nd, to rising 32nds A, A#, B to next figure(I will not go into all the crossbeams for all the figures)of bracketed “3” figure of C quarter note trill(to #)to 16ths C#, D# to(Bar 2)E 8th, followed by rest marks.
After a half, 8th, and 32nd rest marks, clarinet I joins in Bar 1 pp(piannisimo). We find 16th A, A#, B to that bracketed “3” figure of the bass clar. Then it continues on in Bar 2.
Meanwhile, the contra bassoon and CB I play sustained(tied)C# whole notes pp. The vibe and oboe I play G# half notes tied to 8th(followed by an 8th and quarter rest marks)in Bar 1. Then, in Bar 2, E half note tied to 8th. The vibe is rolled(notated like a string bowed tremolo).
In Bar 1, four violins I(in two staves)play pp(largely in the three-line range)the A maj 7(A/C#/E/G#)dotted half note chord to the unusual quarter note chord sound of B# dim 7th 3rd inversion(A/B#/D#/F#). Vlns II play it as bowed trem.
In Bar 2, the violins play the F# min 7(F#/A/C#/E)dotted half note chord to the quarter note chord of B# dim 7th 2nd inversion(F#/A/B#/D#). This leads in Bar 3 to the E/A whole note dyad.
The top staff of Vlns I play the C# briefly with the quarter note, creating(total combination)the A major 2nd inv sound temporarily(E/A/C#). The celeste also plays these overall chords.
In Bar 3, the solo flute plays mf(mezzo-forte)a slowed down version of a spanish idiomatic melody fragment initiated by the bass clarinret and clar I earlier. Here the flute plays the C#(C-sharp ”’ or 3 line, or two octaves above middle C)quarter note to B to A 16ths[the last three notes under bracketed “3” which is a quarter note value]to A quarter note tied to[also bracketed “3” triplet value]A, C#, B to another triplet A, E, F# to(Bar 3, now 3/4 meter)G# 8th(followed by rest marks). In bar 4, the solo oboe takes over the melody line with the G# quarter to G# 16th(again, under bracket 3 triplet)to quarter notes G# to A. then the same in the next bar, except for the last note(now the B quarter)tied to half note next bar.
In Bar 3(as flute I plays)the bass clar plays rising combined tunuto and staccato dot 8th notes. This symbol means that the player must hold the note firmly but make a slight separation between each following note. Harp I also plays(tenuto only)rising 8th notes E, A, B, E, F# to(Bar 4)G# quarter. The vibe is rolled on C# in Bar 3.
In Bar 4, sordini horns quietly join in(p or piano sound level)as the solo oboe plays. Horns play half notes D#/F#/G# triad notes to quarter notes D/G/A. Harp II plays the last quarter notes D/E/G/A arpeggiango fashion(rolled chord).
Skipping to Bar 10(page 3), the scene dissolves quickly to the Spanish ship at sea in the English Channel. Four natural signs cancel the C# min?E maj key signature, substituted by three flats(Eb maj/C min key sig)in C time. Here the Spanish theme is majestically played ff by the flutes, oboes, clarinets, vlns and violas. Violins play the notes an octave apart starting on G(g”, g”’). So we find G dotted 16th to F# 32nd to(same cross beams figure)rising 32nd notes G, Ab, Bb, C back to G quarter notes(again, octave apart). These are tied to bracketed “3” figure og G quarter to 16ths F to Eb to F quarter notes with the sforzando mark(^)overhead(more emphasis than the rinforzando >).
In Bar 11, the melody descends a mediant(major third)to Eb[the first melody figure started on G which is a major third interval higher than Eb]. So we find Eb dotted 16th to D 32nd to rising 32nd notes Eb, F, G, Ab back to Eb quarter tied to bracketed “3” triplet value figure of Eb quarter to 16ths D to C to sforzando D quarter notes.
In Bar 12, they play bracketed “3” figure notes C quarter to(henceforth all notes are unison, not octave apart)16ths Bb to Ab to Ab quarter tied to bracketed triplet figure 8th notes Ab/C/Bb to triplet value figure Ab, Eb, F to(Bar 13)dyad D/G. Incidentally, in Bar 10, the open trumpets sound the C minor(C/Eb/G)dotted half note chord to I the B dim triad(B/D/F)quarter note triad. In bar 11, they play the Ab maj triad(Ab/C/Eb)to B dim 2nd inv(F/B/D). Open horns, Pos, tuba etc join in various patterns.
Etc etc.
[3] R1/C {The Tennis Game} Allegretto giocoso in 2/4 time. Master pages 10 thru 14 in the orchestrated pages. Approx :20 in duration.
Orchestrated by Ray Heindorf. Note: This cue is not on the reference CD.
Scene: The Capatain(played by a young Gilbert Roland)speaks to the Spanish ambassador Alvarez(played by Claude Rains). When the cpt says, “Your niece will have no trouble” the cue starts(sequed from the previous cue 1/B). We see Dona Maria and her oldish(and British)handmaidenplaying tennis(if they called it tennis back then). No accidental key signature; that is, key sig of C maj/A minor. Except of course the clarinets, bass clarinet, and trumpets(as Bb instruments)are given two sharps(F#, C#) to adjust to the C score[eg., C# written = B concert pitch; F# written = E concert pitch].
In the grace bar, harp I is gliss starting on G below middle C to(Bar 1)C 8th. the harp is tuned “Ab Bb.” The vlns make an upward sweep of nine 16th notes, G/Ab/Bb/C/D/E/F/A/B(the lasts notes of A and B are indeed natural).
In bar 1, the bouncing impact effect of the tennis swings are accentuated by the flutes, clar II and tpt I, celeste, bells, and pizzicato strings. Cl II plays staccato 8th notes C up to C octave higher down to D up to D octave higher, down to(Bar 2)G up to G octave higher tied to G 8th. So major 2nd intervals here to perfect 4th intervals. The muted tpt I plays mf the C 8th, then 8th rest, followed by D 8th(then 8th rest)to(Bar 2)G tenuto 8th tied to 16th. After an 8th rest, the flutes/bells/celeste/pizz strings join in on the second 8th(sub)beat. Flutes play acciaccatura D/E to 8th dyad notes C/G(then 8th rest)followed by D/F acciaccatura to C/A 8th dyad. In Bar 2, after an 8th rest, we see D/E acciaccatura to B/G 8ths descrescendo( > ).
In Bar 1, the bells sound mf, after an 8th rest, C on the 2nd second 8th sub-beat then D on the 4th sub-beat. The celeste plays C/G/E/C/E/G/A(C maj 6)which suggests a bright and happy tonality to notes G/D/A/D/F/A/C/D. Pizz vlns play G/E/G/A/C to A/D/F/A. Violas play C/E to D/C. VC play C/G/E to G/D/A. CB play, again after the 8th rest, on tenuto 8th notes(tied to 8ths)B/D/E/G(G maj 6th 1st inversion). Etc.
The harp strums 8th notes E/B/G, G/B/D/E/G in Bar 2 after an 8th rest. After an 8th rest in Bar 2, Cl I plays G 8th tied to an 8th note, then descending 32nd figure notes G/E/D/B/G/E/D/B to(Bar 3)A 8th. Etc etc.
[4] R1/D {Lookout Aloft} Moderato in C. Master pages 15-22. Aprox 1:03 in duration. Key signature of four flats(Ab maj/F min). Note: Bb instruments are given accidentals of two flats as their key sig. Orchestrated by Ray Heindorf. Scene: The Captain orders his lieutenant to send another lookout aloft as a precautionary measure in case Sea Hawks(British pirates)are nearby.
The Spanish theme is played again, this time by flute I. We find C(c”’)dotted 16th to B 32nd to rising 32nds C, Db, Eb, F to C quarter to bracketed figure of C 8th(???–probably should be a quarter note as in the previous cue since it is a bracketed triplet value figure)to 16ths Bb to Ab to Bb quarter. Heindorf even makes a mistake with that Bb quarter note, inverting the sforzando symbol to look like a string upbow symbol( V ). The theme is played in Bar 2 a mediant(maj 3rd)lower starting on Ab dotted 16th , etc. Muted tpts play mp Db maj(Db/F/Ab)dotted half to E dim(E/G/Bb)quarter note chord. The celeste plays(both hands)the D min 7(D/F/A/C)or actual notes C/D/F/A/C/C/A/C dotted half note chord to the E half dim 7th(E/G/Bb/D)or actual notes D/E/G/Bb/D/E/G/Bb).
Four vlns I are bowed trem on C(c”’)fzp to B quarter then(in Bar 2)Ab to G, etc. Eight vlns II, after quarter & 8th rest marks, are pizz on C 8th up to C quarter octave higher. Violas are divisi. Top staff plays F/Ab to E/Bb; bottom staff plays C/Db to G. Clar I and harp play, after quarter & 8th rest marks, C 8th up to C quarter octave higher.Etc.
Skipping to master page 18(page 4 of this specific cue), refer to the cd on Track # 2, :21 on. here, when the captain says about the Sea Hawk(“They say the devil blows in her sails”), the strings play a misterioso series of 16th note figures(four figures per bar, four 16ths per figure)starting in Bar 14. Interestingly, it is written looking more complex than it sounds. celli play F/E/Eb/Db, F/E/E/D up to Ab and followed by rest marks. Repeat next bar. Violas play Ab/G/Gb/F 3 X, then Db/C/B/A. Repeat next bar. Vlns II play, after a quarter rest, Db/C/Cb/Bb, Db/C/Cb/Bb, F/E/Eb/Db. Repeat next bar. Vlns I play, after a quarter rest, Db/C/Cb/Bb, F/E/Eb/D, Ab/G/Gb/F. Repeat next bar. Etc.
Then in Bar 16, violas play Ab/G/Gb/F to Db/C/B/A, repeated same bar. Vlns II play Db/C/Cb/Bb to F/E/Eb/Db, repeated same bar. Vlns I play F/E/Eb/D to Ab/G/Gb/F, repeated same bar. Vibe plays risng notes in Bar 15.
In bar 14, sordini horns play rising quarter and half notes. bassoons are sustained on F/Ab; bass clar on Db; clars on F/Ab. In Bar 16, after a quarter rest, two flutes and the alto flute join in on the 16th note figures on beats 2 and 4.
Etc etc.
[5] R1/E {Raise The Beat} Grave in 4/4 time. Hear Track # 2 from :51 on. No key sig(C maj/A min). Master pages 23-27. Approx 1:20 in duration. Orchestrated by Milan Roder(whose clearly bold and aesthetic inscriptions I enjoy the most of all the orchestrators). Scene: Powerful cue when the galley slaves are ordered to raise the beats to eight.
Trombones(Pos)and trumpets are forte and sforzando-marked on half notes tied to 8ths(followed by 8th and quarter rest marks)answered in response by flutes and picc and rest of(altri)orchestra. Trombones play the root position C# half diminished 7th(C#/E/G/B). Tpts play notes E/G/B/E. After a quarter rest, two flutes and a picc play a response figure of 16th notes B, C, D,to E(e”’)8th, signifying the crack of the whip. After a half rest, altri orchestra play forte sforzando half notes. We find the piano on lowest half notes C#/G/C#, G/B/E. CB is on C#; VC on G/B/E/G; violas on E/G/B; vlns on G/B/E. the harp plays E/G/B/E. The CF is on C#; Fags on G/B; bass clar and cls on E.
In Bar 2, Pos play the C half dim 7th 1st inv sound(actual notes used Eb/F#/Bb/C). Technically the tritone should be written as Gb instead of F#(but enharmonically the same). Tpts play C/F#/Bb/C. After a quarter and dotted 8th rest, the piano plays two 32nd note chords of notes C/B/Eb/F#/Bb/C to same half notes. After the same rests, CB plays on two Eb 32nd notes to Eb half; VC on Eb/F#, B/C in the same pattern. Violas play, after a half rest, Eb/F# half note dyad; vlns on Bb/C. Horns play Eb/F#/B/C. Timp also joins in on C. This half dim pattern “speeds up” notationally until shortly the brass and piano play a rapid, largely triplet pattern(too much to “talk through” here).
Skipping to master page 26(page 4 of this cue)[hear Track # 2, 1:35 on]we come to a “misterioso” section labeled “Twice as Slow” as a couple of galley slaves/rowers reaffirm that the ship is indeed in the English Channel. Here the violins are bowed trem(written as “tremolando”)as largely diminished 8th note triads overall: F/B/D, E/A#/C#, F/B/D, Ab/C/E(all connected by a cross beam)to F/B/D, E/A#/G#, F/B/D, D/G#/B. The harp plays 8th note triads separated by 8th rests.
Meanwhile solo cello and solo horn I above middle C play “espr” a plaintive three-note figure[the first casting of the the shadow of the upcoming so-called Romance motif]mp of G double-dotted quarter note to F# 16th to G double-dotted quarter again(followed by a 16th rest). In the next bar, it plays the pattern on Eb to D to Eb, etc. Shortly the solo viola and solo oboe take over the pattern. The cue changes to 3/4 time in the next bar. etc etc.
[6] R1/F {Prepare for Attack} Allo molto agitato in C. Master pages 28-32. Orchestrated by Milan Roder. Scene: The Captain prepares for a battle and advises Don Alvarez to get below. This cue in not on the reference cd.
Sordini trombones play a repeat figure of minor triads. We find C# min 1st inversion(E/G#/C#)quarter note triad to D min 1st inv(F/A/D)8th note triad to D# min 1st inv(F#/A#/D#)staccato 8th note triad. This three-note figure is repeated same bar. The figure is played again in the next bar followed by rising 8th note triads in sequential half tones; that is, E min 1st inv(G/B/E), then F min 1st inv(Ab/C/F)toF# min 1st inv(A/C#/F#)to G min(G/Bb/D). Piano, celli and brass play the same figure. After a 16th rest, vlns/violas/bass clar play 16th note figures. Vlns play C down to G up to E, Eb down to Bb up to G to F#. Repeat same bar.
Etc etc.
[7] R1/G {Raise The Beat To Twenty} Pesante ma agitato in 4/4 time. Master pages 33-36. Orch by Milan Roder. Same general pattern as in the previous cue(galley slave rowing)but quicker. The trombones this time start on the C half dim 7th(C/Eb/Gb/Bb)instead of the C# half dim 7th previously, then the B half dim 7th(B/D/F/A). Etc.
On master page 35(page 3 of this cue)the lookout declares, “Ahoy, Captain! It’s Thorpe’s ship!”(the Albatross). Just before this, the high vlns were bowed trem and held fermata on B. Flutes were fp < on the B maj triad(B/D#/F#). Immediately after he says that, the Sea Hawk(Albatross)motif is played as a four-note fragment by the open tpts forte starting with the Ab maj 1st inv triad(Eb/Ab/C). So we find Ab/Ab/C 8th to same 16th to Eb/Ab/Bb 16th to the Ab/C/Eb(root Ab maj)dotted half note chord tied to quarter notes next bar. The trombones play an emphasis 8th note chord only on the 1st beat(notes F#/Ab/C). The timp beats the Ab 8th note. Violas and celli and CB are pizz. Etc. The Captain is incredulous about the news of Thorpe, and the clas and violins make a rapid descent of 16th notes(seven notes to six notes connected by two cross beams). So we find E/D/C/B/A/G/F# to E/D/C/B/A/G. Etc etc. [8] R2/A {The Albatross} Glorioso in C. Key sig of D maj(2 sharps). Alto saxes have five sharps; tenor sa/cls/bass cl/tpts have four sharps. Master pages 37-49(13 pages). Track # 2, starting 2:06. Orchestrated by Ray Heindorf. Quite a familiar, popular cue in this score, a favorite performance. This heroic fanfare will repeat itself in various forms later in the score. Open tpt Iis solo in f(forte)playing the fanfare prelimThe glock(“with one hard and one soft stick”)and cymbal are present also. The tpt plays A[written B but transposed here]quarter note up to A(a” or highest A for the tpt)quarter note to F# quarter note tied to(Bar 2)a quarter note, then bracketed “3” triplet value figure of E, F#, D down to A(a’)16th up to G 8th to E 16th(all three notes connected by a cross beam). The E 16th is connected(tied)to next bar(Bar 3, now 2/4 time)as a quarter note to tenuto & sforzando-marked 8th notes D to C# to(Bar 4, now 3/4 time)bracketed “3” delayed triplet figure of D 8th(followed by a 16th rest), E 16th, F# 16th, then down to A quarter up to pure triplet 8ths D/E/F#, etc. Altri trumpets join in Bar 3 with the emphasis chord of D/G/A. The harp plays 8th note chord A/E/G/A, A/D/E/A, etc. The flute/2 alto saxes/oboe/vlns/violas play a rising sweep of eleven 32nd notes on the second beat of Bar 3 in 2/4 time, and the harp is upward gliss. The high violins(largely 3-line range)play the melody line of tpt I. two clars and the tenor sax and violas play a rapid figure on the second beat of Bar 4 in 3/4 time leading to the trill of the clars and violas. Korngold’s strength is his extradimensionality of notational devices, so it starts to get pretty complex to describe in drawn-out, tedious words! At 2:17 of the reference cd, you haer the insertion of the monkey music as it romps about deck. This brief passage is overlaid(extra dimension, almost like counterpoint)on the thematic thrust of the Albatross/heroic motif. It briefly dominates the attention with the high pitchness of the flute/picc/xylophone/piano/celeste/vlns. In C time, the monkey passage commences in Bar 7 as a series of four figures in triplet bracket time value(six 16ths per figure). So the flute/picc plays risng 16th notes(first two notes are legato, the other four are staccato)of A(a”)/D#/B/G/F#/F to next figure of E/Eb/D/Bb/F#/D, then C#/C/C/C/C/C to B/Bb/Bb/Bb/Bb/Bb. The other instruments play along juxtaposed positions in this complex but unified whole. The bells join in with punctuated notes. In Bar 10, the celli are soli f espr with the main motif, playing A up to A(a)octave higher down to F# quarter notes to triplet 8ths E, F#, D down to(Bar 11)A 16th up to G dotted 8th to Eb half note to E quarter(hear at 2:27). Then the espr horns largely take over the motif development. Etc. Then the vlns/violas/celli start to play a swelling and rapidly rising series of 16th note figures, eacg figure bracketed as “6”(per quarter note value)ending as a trill figure of the vlns. Then the the key sig cancels the two sharps and inserts three flats(Eb maj/C min). Then the horns play the theme on Bb up to Bb octave higher to G quarter note to triplet F, G, Eb to(Bar 18)triplet value figure notes Bb 8th up to Ab to F quarter to 8ths Eb and D. Etc. Then in Bar 22(2:45 of cd)the vlns and violas take over the theme as low B up to B(b’)octave higher to G# quarter notes to triplet 8ths F#, G#, E. The three flats are canceled in Bar 36, substituted with four sharps(E maj/C# min). Here(3:05 on cd)you get to hear(if you play the video version also)Captain Thorpe for the first time: “You’ll fire when I give the word, Mr. Pitt.” First the horns play the Main title theme as a fragment, playing in maj 6 intervals. So we find B/G# 8th to B/G# to A/F# 16ths(16th played staccato)back to B/G# half notes tied to 16ths. Then the open tpts and trombone I take over briefly starting on the E maj chord(E/G#/B). So, combined, we have the B/E/G# to B/E/G# to A/E/F# 16ths to(Bar 32)B/E/G# 8th chord to B/E/G# to A/E/F# 16ths up to E/A/C#(A maj 2nd inv)to same 8th chords tied to half notes, etc. Then the staccato vlns/violas etc alternate with the woodwind. The cue ends aftre the last “Lower your flag” command and its brief flash of music. [9] R2/B {Gun Battle} Key sig of Bb maj(two flats)in C time. “Main Title, Original Key.” Master pages 50-57. The flutes/clars/bass clar/vlns/violas play an upward sweep of twelve 32nd notes, and the harp is gliss in the grace bar. This leads to the Main title music as the gun volley commences. The highlighted tpt plays D 8th to two D 16ths up to F quarter tied to F 16th to descending D, D, C 16ths to the first figure in D. Then, in Bar 2, G 8th rinforzando to F dotted quarter tied to F 16th to D, D, C 16ths to D 8th to D, C 16ths up to(Bar 3)G rinforzando 8th to F 8th tenuto to 16th figure Eb, D, D, F to C 8th to C to D 16ths to Eb quarter tied to quarter & 8th notes next bar. Etc. The written cue orchestrates the grace bar, then from Bar 1 on the bars are empty(coma sopra from Main Title)exceot for the tpt which IS written, as seen above. Later on in the cue, new development necessitates orchestration being written. [10] R2/C {Gun Battle II}Key sig of G maj(one sharp). Master pages 58-62. Seque music of the battle. In the grace bar, the picc/flute/cls/vlns play descending 16th notes A/F#/Eb/D/C/A. The snare drum is rolled. then the cue is “Allegro impetuoso”as the music is coma sopra from [3] R2/F. The tpt is notated only. This time, however, the tpt plays the Main Title motif with B 8th to B to A 16ths up to D quarter tied to 16th, then descending 16ths B, B, A to the first figure, etc. [11] R2/D {Cease Fire} Allo molto agitato in 3/4 time. Key sig of 2 sharps(D maj/B min). Master pages 63-69. Orchestrated by Milan Roder. Scene: The Albatross is hard starboard and the spanish ship is listing from a direct hit below. The captain orders cease firing of the canons. Basically we have a recurring pattern of B 8th to B quarter rinforzando to 16th notes B to A# up to D 8th wedge staccato-marked or VERY staccato! Etc. [12] R2/E {“Hard Over Starboard”} Allo moderato in Cut time(suggests a fast piece). Key sig of three sharps(A maj/F# min). Start master page 70. Orch by Hugo Friedhofer. Scene: The Albatross is using grapple hooks and the men and ready with swords to jump aboard the spanish ship. Three flutes and two clarinets are trill forte on B/C# on 8th notes(1st and 2nd main beats). The vlns and violas play largely descending 16th in two bracketed “5” figures(repeated same bar). Vlns I play octave higher starting on c-sharp ”’. So we find rinforzando C#/D/C#/B/A, G#/F#/E/D/C#(repeat again these two figures in the same bar). Repeat next several bars. The cymbal with drum sticks play 8th to 16th figures. Harp also plays. In Bar 2, sordini tpts play C# whole notes sforzando, octave apart. In Bar 3, the horns are flutter-tongued trill on B/C#. Also, the tuba and three sordini Pos play rising 8ths(except the last being a 16th). Pos I is octave higher starting on C#. So C#/D/D#/E, E#/F#/A/G#. Etc etc. [13] R2/F {Deck Battle} Ends on master page 97. No info on this cue. [14] R2/G {Thorpe Sword Fights} Furioso in 3/4 time. Master page 98 only(1 page cue). Orch by Milan Roder. Seque music again. Just before Thorpe says, “Your ship’s sinking, Captain<” low woodwind, brass and strings play three wedge staccato 8th notes(one oer beat)for two bars. etc etc. [15] R2/H {“Your Ship’s Sinking”} Presto in 6/8. Start master page 99. Orchestrated by Hogo Friedhofer. Similar to [12]as the flute, picc, oboes, clars are trill on 8th notes. Etc. [16] R2/I “”Convincing The Trumpeteer”} Three bars in C meter. Master page 112. Here the piccolo is solo playing a comic rendition of the trumpet surrender call. The harp and strings play the sustained C half dim 7th chord(C/Eb/Gb/Bb). The chord is notated as quarter notes in the grace bar tied to whole notes, then half notes to 8ths in the final bar. The piccolo starts to play in Bar 1, after an 8th rest, playing two staccato Eb(I believe, not E natural)8ths to two 16ths in a cross beam figure up to Bb back down to Eb 8ths to(Bar 2)Bb/Eb/Bb/Eb, Bb/Eb/Eb/Eb tied to Eb 8th next bar. [17] R3/A {Salvage} Poco pesante in C. Master pages 113-126. Orch by Ray Heindorf. Immediately after the picc solo this cue seques. The muted brass and low woodwind play a quick variation of the slave galley music starting on C# half dim 7th(C#/E/G/B). Then, in Bar 4, the open tpt I plays the Albatross motif forte as F# quarter note up to F# higher octave to D# quarter to triplet figure 8th notes C#, D#, B, etc. Meanwhile, the celli play a rapidly rising 32nd note figure on the first beat, then violas on the 2nd beat, then vlns II on the 3rd beat, and vlns I are trill on F# on the 4th beat. Clarinets play the seven 32nd notes on the 2nd beat, flutes on the 3rd. In master page 119 in 3/4 time(page 7 of this cue)a theme associated with Dona Maria is played as Thorpe enters her cabin and sees her for the first time. This motif is also a heartfelt variation of the Thorpe fanfare elevated or transmuted into this theme associated, as given, with Dona Maria. Violas are sul G espr. 12 violins, 4 violas, 3 celli, 1 bass. The harp strums quarter notes C#/E/G#(C# min). The bass clarinet is sustained on B dotted half note. the total tonal sound is that of the C# min 7(C#/E/G#/B). The strings play the theme espressivo. Taking the vln I line(other lines vary slightly in development)we have the G(g’)quarter note rinforzando to quarter note(part of a triplet value figure)to F 8th. Then to(Bar 2)B dotted quarter down to G 8th to 8ths G to F. etc. Celli II & III play on B to A, etc. CB is pizz 8th note on B. Clarinets also sound. etc etc. [18] R3/B {Disembarking}C time. Start master page 127. Orch by Ray Heindorf. Scene: Thorpe says, “Mr. Pitt, this young lady, I hope, will change her mind. If she doesn’t, change it for her and have her carried aboard.” then the music seques to this cue with the Albatross theme. Clars and violas play rising 32nd notes in the grace bar. then the unison horns play G up to G higher to E quarter notes, to triplet figure 8th notes D, E, C. etc. The bass cl/violas/celli are trill on the 4th beat, etc etc. [19] R3/C {Ship Sinks} The ship is seen to sink starting on master page 148(page 14 of this cue). The violins are bowed trem on F#(” and ”’)and held fermata. Then the celeste rolls on F# an octave apart. The harp is gliss descent on F# starting, then D, then Bb, then F# octave lower from the first F#. The vlns play a rapid 32nd note figure(ten notes0on the last beat. In the next bar, the flutes make a chromatic gliss descent on the 1st beat, obs/cls on the 2nd beat, then repeat the pattern. The harp is gliss again starting on B, then another gliss on G#, etc. The vlns/violas/celli play the impassioned descent passage sforzando starting on B. Etc. [20] R3/D {Fanfare for England & Queen} [21] R3/E “Night Shot–Banquet” Note: This title was actually written in pencil on the orchestrated title page. Tranquillo in C. key sig of A maj(3 sharps). Four sharps for english horn. Master pages 155-169. Orch by Milan Roder. The plaintive english horn plays mp the Albatross motif of low E up to E to C# quarter notes tenuto to triplet figure 8th notes B, C#, A to(Bar 2)triplet figure E 8th up to D to Bb half note, etc. Bass clar is sustained on E. The timp is trill roll on E. I believe the vibe is pedal gliss rising to falling. The violins are in four sections(A, B, C, D)play rising 16th note figures(six per figure). On the 4th beat, section A alone plays(E bowed trem an octave apart on e” e”’). Cello II and CB play on sustained A whole notes. Then in Bar 4(now modto comodo in 6/8 time), the sharps are canceled when we cut from the tranquil ship at sea to the banquet feast. Two clars/2 bassoons/2 Eb alto saxes play the motif. Clas are customary two sharps for C major, while the saxes are three sharps. On master page 168(page 14 of this cue)when Thorpe starts to propose a toast to the health of the queen, Dona Maria interrupts, objecting to being here among thieves and pirates. Part of the romantic theme shows itself in the “piu mosso” section in C time. Vlns play Dominant 7ths. We find tenuto F# Dom 7th 3rd inv(E/F#/A#/C#)to tenuto G# Dom 7th 2nd inv(D#/F#/G#/B#/D#)back to the F# Dom 7th 2nd inv(C#/E/F#/A#/C#/F# actual notes). The solo I cello plays the theme p espr with F# to G# quarter notes to C# half note in the treble clef. Then B to C# quarter notes to F# half notes. the harp plays on the 3rd beat, and the celeste plays eight rising 32nd notes on the 4th beat(F#/G#/A#/B, C#/D#/E/F#). The vibe strikes F# quarter note on the 4th beat. the flutes play rising quasi triplet figures. Sordini tpts I & II in the next bar joins in with vlns/violas/celli on F# to G# quarter to D#, etc). Etc etc. [22] R 4/A {“All’s Well”} Poco sostenuto in 2/2-6/4 time. Key sig of C# min(four sharps). Six sharps for the bass cl and tpts; five sharps for the english horn and(unusually)the horns. Master pages 170-196. Start track # 4 on the reference cd. Orch by Milan Roder. Scene: The bell rings and the shipmate yells, “All’s well!” The tpts and Pos play a pronounced chord on the 1st bar with also the timp roll on G# to(Bar 2)the C# min chord(C#/E/G#)half notes tied to 8ths. Repeat next bar. The 12 violins with the violas/celli play a rapid rising to falling set of figures of 8th and 16th notes. the organ is introduced in this cue playing whole notes G#/C#/C#/E/G#/C#. Ditto piano(but starting on note E). The celeste plays G#/C#/Ehalf notes after a half rest. After a half rest, the woodwinf mf sound off tenuto C# min half note chord as a response. Etc. The gentle Dona Maria theme makes an appearance here as thorpe is seen above on deck talking to her on a below-deck loft. We heard this theme far more playfully in the tennis game cue[3] R 1/C. On master page 188(page 19 of this cue)when Thorpe says, “I wonder how these Indians were persuaded to part with it?”[hear 4:00], the cue is poco agitato now(after the vlns soli)in the key sig of A maj/F# min in 3/4 time. Horns are stopped(looks like notes F/G#/B/D). Vlns and celli play an impassioned forte figure(vlns play it an octave apart). So B, C#, D 16ths to C# rinforzando quarter notes to C# 8th, etc. Later, upon sight of England(track # 4, 5:09), the violins are bowed trem on I believe C# min(C#/E/G#). The bell is rolls between G/A, etc. The violas and celli play a rapid sweep of ten 32nd notes to the next “Grandioso” bar. Here the tpts play the triumphant England theme of doubled dotted C# rinforzando quarter note to B 16th rinforzando to C# quarter(followed by a quarter rest). Then(with horns)Ab double dotted quarter to G 16th to Ab quarter. etc etc. [23] R4/B {Queen’s Court} Master pages 197-206. Scene: Right after the sailor exclaims “England!” the music seques here with the timp trill rol mf on low E(half to 8th notes). The piano finger rolls between E/F. The snare drum also trill rolls. Then the four trumpets play the robust fanfare on(largely)major triads. After a half & 8th rest, the tpts play two 16th note E maj traids(E/G#/B)as part of a triplet value, then the next triplet of 8th note triads E maj/C# min(C#/E/G#)/E mag. Then it moves to(Bar 1)the G maj half note triad(G/B/D)down to the D maj(D/F#/A)dotted quarter note chord to the F# maj(F#/A#/C#)16th note chord to(Bar 3)the F# maj chord. The violas/celli play rapid 16th figures, as does the bassoons and contra bassoon and piano. Etc. On master page 201(page 5 of cue)you hear(track # 4, 5:54)the “piu mosso” section as the tpts and Pos play the prominent Queen’s court motif of Ab maj(Ab/C/Eb)quarter note chord to Eb(Eb/G/Bb)dotted 8th to F# maj 16th(F#/A#/C#)to F# half note chord. After a half rest, the bass clar/Fags/pno/violas/celli/CB play descending 16th note figures. Then the tpts and Pos again play with the A maj(A/C#/E)quarter note chord down to the E maj(E/G#/B)dotted 8th to Ab maj(Ab/C.Eb)16th to Ab maj half note chord. etc. [24] R4/C “The 7 Sea Hawks”[Note: This title was written on the title page] Marcia in C time. Master pages 207-211. Scene: the seven Sea hawks(minus Thorpe)assemble in front of the queen. The celli and CB play on the G whole note. Then, after an 8th rest, horn I plays two G 16ths up to the D quarter(tied to 8th). Then muted horns II, III, IV play the C# min 2nd inv chord(G#/C#/E). The oboe/E.H./clars/bass clar/violas/ top staff celli are combined trill on that chord. Etc. [25] R4/D {The Monkey} Allo Grotesque in 3/4 time. Master pages 212-218. Orch by Milan Roder. Scene: Delightful cue and scene as we see Thorpe trying to catch his escaped monkey running about in the Queen’s antechamber, and then explaining his tardiness to her. Hear the start of track # 5 on the reference cd. Clarinet II and violas play a rapidly rising 16th note figure(D, E, F#, G#, Bb, C, D, E)in the grace bar. Two harps are upward gliss, as also the distinctive xylophone. The tambourine and cymbal also play with trill rolls. Then, in Bar 1, two flutes and a picc play the monkey passage with the piano and celeste. Oboes and celeste offer acciaccatura to staccato quarter notes patterns. For the fls etc we see 8th notes A, F#, C back down to G, F#, E. The first two notes are legato, the other four are staccato. Then, in Bar 2, we find grace notes D to E to 8th notes D, C, Bb up to G# down to E, C. Etc. Too involved notationally to get into here. By :17(page 3 of the cue)three tpts are mf “wah” on various triads starting on G augmented(G/B/D#). Clar I plays the melody figure of four rising 16ths to half note, then in the next bar descending 16ths to half note. So we see rising 16ths D#, F, G, A to B half note. Then(in the next bar)descending 16ths Bb, G#, F#, E to D half note. Etc. Vlns are “col legno” principally on the 3rd beat(“with the wood” or bouncing the wood part of the bow on the strings). So, after a quarter & dotted 8th rest, vlns play the G aug 2nd inv(D#/G/B)16th tied to quarter notes. Then notes D/F#/Bb in the next bar. Etc. Shortly the Thorpe theme is played in section “10” on master page 217(page 6 of cue)as he enters the Queen’s throne room. This theme , once again, was played earlier on the ship, associated with Dona Maria as well). the key sig here is now four sharps(C# minor in this case). Three violins of lowest section C play note C#; three violins section B play note E; and six violins section A play espr the full melody line starting on G# quarter note to G# quarter tied to(triplet figure)quarter note to F# 8th up to(next bar)B dotted quarter note to G# 8th. Etc. The top staff celli also plays the melody. The bass clar plays on sustained B[written middle C#]. So combined we have the C# min 7 sound. Etc etc. [26] R5/A {“I’m Not Finished With You”} Modto in C. 13 pages. Scene: The Queen orders Thorpe to remain with her. A variation of the Queen’s motif(see [24])is played here by the low strings. Key sig of five sharps(celeste, stgs, etc)but six flats for the harps only. The CB and lower staff celli play F# dotted half notes. Altri celli, violas, violins play the C# min 7 again(C#/E/G#/B). With the F#, the total sound is that of the C# min/11(added 11th or F# in this case). So, after an 8th rest, the upper staff celli play two B quarter notes; VC play E; vlns II play G#; vlns I play C#. Then the combined C min 1st inversion(Eb/G/C)8th to the E maj 1st inv(G#/B/E)quarter note chord tied to(Bar 2, now 3/4 time)8th notes. Etc. The harp strums(L.V)low G# dotted quarter notes in Bar 1. The horns play D#. Etc etc. [27] R5/B {Dialogue With Queen}32 pages. Ends with the celeste and the harmonics of the high violins. [28] R5/C {Thorpe’s Plan to Plunder} Misterioso in C. Key sig of four flats(Db maj/Bb min).11 pages. Start of track # 6 on the reference cd. Instrumentation: cls, bass clar., two bassoons, contra-bassoon, 4 horns, 3 tpts, 4 trombones, marimba, hawaiian guitar, cymbal, vibe, gong, harp, piano, celeste, bowed trem violins, pizz altri strings. Moody, mysterious, exotically orchestrated cue! In the grace bar, the trombones play pp two 16th chords(part of a triplet value connected with a quarter rest)of notes Eb/Bb/Db/Eb to(Bar 1)the Eb min(Eb/Gb/Bb/Db)sound. Actual notes sequentially are Eb/Bb/Db/Gb of half notes tied to 8ths(followed by 8th and quarter rest marks). The gong sounds on the 1st beat of Bar 1, and the cymbal and vibe on the 2nd beat. The harp is 8th note arpeggiando on the 4th beat, and the altri strings are pizz there as well. Principally, in Bar 1, the piano and celeste and bowed trem violins play the rising triplet value figures. In Bar 3(now 3/4 time)as the vlns etc(horns also join in)settle on the empathic F min(F/Ab/C)chord, the marimba/Hawaiian guitar and clar II(all after an 8th rest)play a descending three-note figure of Eb quarter to C 8th to Eb quarter. Etc etc. [29] R 6/A {Rose Garden} Andante Amabile in 6/8 time. Key sig of two sharps(D maj/B min).14 pages. Scene: Dona Maria and Martha are picking roses in the garden Martha spots Captain Thorpe approaching. She makes a hasty retreat, leaving Dona Maria alone with him. In Bar 1, the 1st stand celli are sustained on dotted half note A(just below middle C)tied to next bar. Same for the clarinet. The harp plucks A as well. The Dona maria theme is played by the altri strings, supported by the harp, etc. The harp is arpeggiando quarter notes A/B/D/F#(B min 7th 3rd inv)chord followed by an 8th rest. Then on the 2nd beat, it plays notes B/D/E/G(E min 7th 2nd inv)also followed by the 8th rest. This leads to Bar 2’s arpeggiando F# min 7th 3rd inv chord(E/F#/A/C#. The vibe and flute play the D dotted quarter to E dotted quarter notes to(Bar 2)the A dotted half note. Violas play A/B to B/D dotted quarter notes to(Bar 2)E/F# dotted half notes.Vlns II play D/F# to E/G to(Bar 2)A/C#. After an 8th rest, the solo vl I plays the response notes of tenuto D(d”’)then 8th rest, followed by tenuto E quarter to(Bar 2)the8th rest and then the high A(a”’)quarter note tied to quarter(half note value)followed by an 8th rest. Meanwhile, the celeste plays a rapid 8th * 16th note series of figures(D 8th up to D higher down to 16ths A to F#, etc). Etc. [30] R6/B {Preparation to Leave} “Fresh” in C. Master pages 288-291. key sig of G maj(one sgarp or F#). Orch by Milan Roder. Scene: The Albatross is soon to leave, and she is taking on new sailors and supplies. The timp is trill roll on D, crescendo forte( < f ). The vlns and violas play the upward sweep of eight 32nd notes Eb, F#, G, A, Bb, C, D, Eb to(Bar 1)D 8th. Three tpts play the albatross motif of D up to D octave higher to B quarter notes to triplet 8ths A, B, G. Etc.The bassoons/bass clar and then clars make an upward sweep of largely 32nd notes. The high flutes are trill on G maj whole notes(G/B/D). The oboe is trill on G(g”). Shortly the violas and celli are fingered trem. Etc. [31] R6/C {The Chart Maker} Misterioso in Cut time. Master pages 292-296. Orch by Ray Heindorf. Scene: Thorpe commissions a chart maker in town to make a chart of the Isthmus of Panama. Wonderfully hushed and effective cue. The lowest bass of the piano and the CB sound on low C whole notes p thru Bar 3. Four vlns I play C whole notes(c”’, c””)thru several bars. Harp II plays C/G/C half notes. The celeste plays C/G/C/G/C high half notes. After a half rest, three sordini horns pp play half notes Bb/Eb/Ab tied to whole notes next two bars. After a half rest, four sul ponticello violas play Bb/Eb/Ab half notes as well as bowed trem tied to whole notes next two bars. After a half rest, four celli play half note dyads C/E to(Bar 2)F/A whole note to (Bar 3)B/D whole notes all under the legato phrase slur line. Flute I, after a half rest, play p the Ab half note to(Bar 2)the C# whole note to(Bar 3)F# whole to(Bar 4)C(c”’)8th. After a half rest, the upper register of the piano plays half notes C/E/Bb/Eb/Ab to(Bar 2)F/A/D#/G#/C# whole notes to(Bar 3)B/D/G#/C#/F# whole notes. In Bar 2, eight violins II play whole notes D#/G#/C# to(Bar 3)G#/C#/F#. In Bar 3, harp II plays B/D/F#/Ab whole notes in harmonics. After a half rest, harp I plays a dual gliss(octave apart)of notes F#,G#,Ab,Bb,C,D,E, etc. In Bar 4, the celeste sounds half notes C/G/C/G/C. Repeat again. etc. [32] R6/D {Belt of Orion} Misterioso in C. Master pages 297-301. Orchestrated by Ray Heindorf. Scene: Traitor Wolfingham(played by Henry Daniell) of the Queen’s court(working secretly with the Spaniards)consults a map and constellations expert to tell him what the map he stole tells him of where Thorpe is going. The organ is sustained on low D whole notes, tied for four bars. CB I plucks pizz on low D 8th. Harp plucks on low D quarter. After a quarter rest, the vlns softly play pp dotted half notes A/D/F#(D maj 1st inv)to(Bar 2)half notes Eb/Ab/C(Ab maj 2nd inv)up to half notes G/C/E(C maj 2nd inv). Piano and celeste play same. In Bar 3, flutes play C/F/A dotted half notes tenuto(F maj 2nd inv)to B/E/G# tenuto quarter notes(E maj 2nd inv)to(Bar 4)Eb/Ab/C(Ab maj 2nd inv). Etc. [33] R7/A {“You’re Feeling Very Happy, Uncle?”} Molto modto in C. Key sig of two sharps(D maj/B min). 13 pages. Dona Maria comments on her Uncle’s(Lord Alvarez)good humor. On Bar 4, the bass clarinet is solo p on D 16th to E dotted 8th, then up to next figure of A 16th down to F# dotted 8th, then B 16th to A dotted 8th up to(Bar 5)E half note tied to 8th and 16th. Vlns and celli are harmonics on notes A/E. [34] R7/B {Coach To Dover} Agitato ma amoroso in 3/4 time. 23 pages. Start on master page 311. Orch by Hugo Friedhofer. Key sig of F maj/D min(one flat or Bb). Scene: Dona Maria tells Martha she’s going to Dover and try to warn Thorpe of her uncle’s treachery before Geoffrey leaves for panama. Hear track # 8. By 1:05(page 325 or page 15 of cue)the carriage is finally off. Allo agitato. By 1:24, it gets even more animated, and the cue changes to five flats as the key sig. [35] R 7/C {Farewell} Poco sost. Molto espr. 18 pp. [36] R7/D {Panama} Missing. I believe this is basically coma sopra of the “Thorpe’s Plan To Plunder” cue. [37] R7/E {The Right Trail} 3 pp. Similar again to Thorpe’s Plan. [38] R8/A {Jungle March} Marcia misterioso in C. Key sig of three flats(Eb maj/C min). Start master page 354. Orch by Ray Heindorf. One of the most fascinating and famous cues of this score, intriquingly orchestrated with percussive delights such as the gorde, shake, temple blocks, rhumba drum, etc. The cue starts very simply for a change with sparse orchestration. In the grace bar, two bassoons play p(piano)within the Great Octave range. They play G dotted 8th to Bb 16th(connected by the crossbeam)to(Bar 1)C(c)half note to Bb quarter to Crossbeam figure again of A dotted 8th to G 16th to(Bar 2)F dotted half note. In Bar 1, after an 8th rest, the bell sounds the Bb quarter note(repeat next bar). After an 8th rest, the celeste gently fingers half notes Bb/Eb/Bb. The violins, after an 8th rest, play dotted half notes Bb/Bb(”, ”’)tied to whole notes thru Bar 8. The celli are sustained as such on Eb thru Bar 3. CB is pizz on Eb 8th. More prominently, after an 8th rest, flute I plays p the Eb(”’)dotted half note tied to quarter note next bar. After a quarter rest in Bar 2, it plans Bb(”)half note tenuto tied to(Bar 3)next bar to(Bar 4)the quarter note. Etc. The picc and oboe I play the dotted half note Bb(”)tied to quarter note in Bar 2, then triplet quarter notes Bb, Bb, Bb to(for the piccolo)Bb half note tenuto to whole note next bar. For the oboe, it goes to the Bb 8th, followed by trest marks. In Bar 2, after an 8th rest, the xylophone plays the Bb triplet 8th notes to the 8th note. At the end of Bar 2, the bassoons continue the melody line with the Eb dotted 8th to F 16th to(Bar 3)the G quarter to A to Bb 8ths(in cross beam). The Bb is tied to the next crossbeam figure of Bb 8th to A, then to the G quarter note tied to(Bar 4)the G half note to F quarter. All notes are under the legato slur/phrase line, just as in Bars 1-2. By the end of Bar 8, the english horn and vlns II and celli continue the melody line with the bassoons. The clarinets and violas in Bar 9 play Gb/Bb whole notes to G/B next bar. The vibe joins in Bar 10. The harp plays as harmonics quarter notes Eb/Bb on the third beat of Bar 10. Low vlns I(bottom staff)joins in at the end of Bar 10. Stopped horns sf > p play in Bar 13 as a soft brass emphasis on notes Gb/Bb/Db(Gb major). In Bar 18(master page 357 or page 4 of this cue; hear Track # 10, :28 on)the cue changes emphasis again as the percussive effects take center stage while the strings are pizz. The three flats are canceled, replaced by two sharps(D maj/B min key sig). The cue at this point is marked “misterioso.”
The violas/celli/bass pluck pizz the combined min 7th 8th note chords starting on the B min7(B/D/F#/A). Specifically, CB = D/A; VC = B/D; violas = F#. After an 8th and quarter rest, they pluck the A min 7th 8th note chord(A/C/E/G). Specifically, CB = C/G; VC = A/C; V = E. After an 8th rest, they pluck the G min 7 eight note chord(G/Bb/D/F)to the A min 7 eight note chord again(last two notes in cross beam).
Bar 19 = Bar 18.
The foot cymbal starts the first beat in Bar 18, then the bell 8th note on the 2nd beat. The snare drum taps two quarter notes on the 2nd & 3rd beat. The tambourine and “band” plays the end two 8th notes. IBar 19, we hear, after an 8th rest, the shake on two 16ths to trem quarter note to 8th. The snare drum plays the 8th at the end of Bar 18 , then the 8th on the first beat of Bar 19, then two 8ths at the end of Bar 19. The gourde also plays two 8ths at the end of Bar 19. In Bar 20, you haer “rhumba drum” “or 2 tom toms” in Bar 20 playing two 8th on the 2nd beat, etc. At the end of Bar 21( :35)you distinctively hear the three 8th notes of the temple blocks. The marimbaplays descending 8th notes. Here, on the orchestrated page, somebody incribed “Weird!”
By Bar 26, four vlns I are arco playing A(a”)gliss down to Bb 8th(one line). Violas are gliss in Bar 27 followed by a beat by the celli(Bb down to C# 8th). Listen to the track at :45. The flute and alto flute also play the descending gliss.. Then the clarinet in Bar 27. At :59 you hear the horns play triplet 8th note dyads C#/E, C#/E, B/D to(next bar)A/D/F#(D maj 2nd inv)dotted half notes. Repeat again. On that dotted half note beat you hear the marimba on 8th notes A/D/F#, then the temple blocks and then cymbals and lastly the gong. The strings are col legno(“on the wood”).
Then at 1:08 the celli are arco “poco espr” playing the melody line as well as bassoon I. Six vlns II are sustained on F#(”, ”’). You hear the bells and xylophone again.
Etc etc etc.
[39] R8/B {“Dismount, please!”} Master pages 363-365. Orch by Milan Roder. Cue ends on the D augmented chord(D/F#/A#).
[40] R8/C.{“Under Protest, Mr. Thorpe!”} Modto in C. Master pages 366-367. Orch by Milan Roder. Stopped horns play the B aug triad(B/D#/G). The bass clar is sustained on B. Flutes play D#/G whole notes. Then the celeste and 8 vlns are sustained on the B aug triad. Etc.
[41] R8/D {Ready To Move} Marcia. 12 ppages. Orch by Ray Heindorf. More of the jungle march percussive passages.
[42] R8/E {Sneak Attack} Furioso. 18 pp. Milan Roder.
[43] R8/F {The Swamp} Con Dolore. Orch by R. H.
[44] R9/A {Hacking Thru}
[45] R9/B ????
[46] R9/C {The Sea} Con moto espressivo in C. Master pages 412-423. Orch by H. F. Beautiful theme as given in the B development of the Main Title[hear track # 1, :41] Scene: Finally Thorpe and his remaining crew reach the shore and see the Albatross out in the bay. The strings are unison espr <(crescendo)on Ab half note(vlns II => ” line; vlns I = ”’ line)to G 8th to Ab dotted quarter. Then, in Bar 2, E half note to D# 8th to E dotted quarter. In Bar 3, C quarter tied to quarter(part of triplet)to B 8th, etc. Horns play the Ab maj sound(Eb/Ab/C/Eb actual notes). Then E maj whole notes(E/G#/B)next bar. Etc.
[47] R9/D {“Welcome, Capatin Thorpe!”}Misterioso in C. Master page 424 only. Orch by R. H. Scene: Thorpe and his surviving men see a hanged crewman on the Albatross. The spanish captain(played by Gilbert Roland)comes out of hiding.
The muted trumpets are flutter tongued on B/C. The piano and strings play dissonant cluster chords of B/C/Db/F and F/Gb/A/B. Strings are bowed trem. Etc.
[48] R9/E {The Trial} Sorry, no notes on this cue!
[49] R9/F {The Galleys} Sorry. No notes on this cue!
[50] R9/G {Whipping Beat} See cd track #12. Sorry, no notes.
[51] R9/H {Dona Maria’s Song} Andantino in 2/4 time. Master pages 434-437. 23 bars. Orch by Ray heindorf. Hear track #12, :45 on. Key sig of E maj(4 #’s). Instrumentation: 2 flutes, guitar, celeste, vibe, voice, 2 harps, 12 vlns, 4 violas, 4 celli, 1 bass.
I love this song, so I will devote a bit more time into this cue. The “voice”(I assume a dramatic soprano)sings charming yet heartfelt lyrics in the low to mid-range as largely simple 8th notes. In the first four bars, she sings: “Stood a maid-en/at the win-dow/sad-ly gaz-ing out to/sea—-” Starting on E(e’)she sings two E 8ths to two F# 8ths(all connected by a crossbeam)up to(Bar 2)two B 8ths down to two G# 8ths(crossbeam again)down to(Bar 3, now 3/4 time)two C# 8ths back up to two G# 8ths and back down to two C# 8ths(all attached to the crossbeam)back to(Bar 4)the G# dotted quarter tied to 16th(followed by 16th rest as a sort of a breath pause).
In Bar 1, the guitar plays E(e’)8th to E maj 1st inv(G#/B/E)8th note triad, then an 8th rest, then to the F# min 1st inv(A/C#/F#). After an 8th rest in Bar 2, the guitar plays the G# min 1st inv(B/D#/G#), another 8th rest, the E maj 6th 1st inversion(G#/B/C#/E). In Bar 3, after an 8th rest, it plays the A maj 2nd inv(E/A/C#)8th note triad, another 8th rest, then the C# min 2nd inv(G#/C#/E), another res, then A maj 6th 2nd inv(E/F#/A/C#). In Bar 4(back to 2/4 time), after an 8th rest, it plays dyad quarter notes C#/G# to 8th note dyad an octave higher C#/G#(” or line 2 range). Half of Bar 3 into bar 4 is “poco rit.” In Bar 4, after an 8th rest, the vibe strikes one-line quarter notes C#/G#(with the two curved lines signifying Let ring).
Back to Bar 1, harp II bass clef staff plays quarter dyads on the Great Octave range of E/B to E/C#. In Bar 2, it plays B/G# to C#/G# quarter note dyad. In Bar 3(3/4 time)it plays low F#/C# down to Great Octave ranges notes C#/G#/E down to octave A/A(AA, A). In Bar 4, the lower staff plays half notes in Great Octave range C#/G#/F, while the top(treble clef)staff, after an 8th rest, plays rising 8th note dyads middle C#/G# to G#/C# to C#/G#(two-line range).
Back to Bar 1 again, the top(treble clef)staff of harp I plays p the 2nd & 4th sub-beats of Bars 1 & 2. So, after an 8th rest, it plays leger line 8th notes G#/B/E(e’), 8th rest, then A/C#/F#. In Bar 2, after an 8th rest, it plays B/D#/G#/B(b’), 8th rest, then B/C#/E/G#. In Bar 3, after an 8th rest, the bottom(bass clef)staff of harp I plays E/A/C# 8th notes, 8th rest, then G#/C#/G#, 8th rest, then E/F#/A/C#. As for the violins, they are separated in three staves. The top staff of four violins start to play in Bar 4. After an 8th rest, they play tenuto quarter note dyads middle C#/G# up to C#/G# 8th staccato an octave higher, >(decrescendo). The middle staff of four violins play, in Bar 1, divisi dyad quarter notes bottom leger G#/E to A/F# to(Bar 2)G# half note(for top two violins in this middle staff)while the bottom two play quarter notes B(just below middle C)to C#. Tacet next two bars. The bottom staff(of 4 vlns)here has two vlns playing just below middle C the B to C# quarter notes to(Bar 2)D# to E.
The violas start to play in Bar 3 in two staves. Viola I of the top staff plays quarter notes A to G# up to C# down to(Bar 4)G# half note. Viola II of the top staff plays the E dotted half note to(Bar 3)E# half note. Viola III of the bottom staff plays quarter note A to G# to F# to(Bar 4, now 2/4 time again)E# half note. The top staff celli in Bar 1 plays pp low half notes E/B tied to next bar. In Bar 3(3/4 time)they play quarter note dyads F#/C# down to C#/G# up to A(cello I only)to(Bar 4)the G# half note(again, cello I only). In Bar 4, celli III & IV in the bottom staff plays ppp the C# half note(Great Octave or C).
In Bar 3, the solo CB plays pizz 8th note F#, 8th rest, down to C# 8th, 8th rest, then arco A quarter note to(Bar 4)C# 8th.
The cue now is “A tempo” in Bar 5. The voice sings 8th notes E,E,F#,F# up to(Bar 6)B,B,G#,G# to(Bar 7, 3/4 time)middle C#, C#, E,E, C#, C# to(Bar 8, 2/4 time again)E half note tied to 8th next bar(Bar 9, again 3/4 time). Then 8th notes F# up to B down to G# down to C# to B to(Bar 10, 2/4 time)the E half note. Bars 9 & 10 are when she sings “My love is far from me—” Bar 9 starts as “a tempo” and then “poco rit”, then back to “a tempo” in Bar 10. Then “poco piu mosso” in Bar 11.
In Bar 5, the middle and bottom staves of the vlns play quarter note dyads C/E to D#/F# to(Bar 6)B/G down to C#/E#. Then the top staff of the 4 vlns in Bar 8, after an 8th rest, play tenuto quarter note dyads A#/E up to A#/E 8th notes octave higher tied to quarter notes next bar “espr” then 8th note dyads C#/E, D#/B, B/G# down to E/C#, D#/B to(Bar 10)E/E(e’, e”)half notes
The middle staff violins play B/E, C#/F#, D#/G# down to B/D# down to tenuto A to F#/A to(Bar 10)E/B(e’ b’)half notes. Bottom staff plays E(e’), F#, B down to G#, E/C#, D#/B to(Bar 10)B/E(e”)half notes. The violas and top staff celli play a similar pattern as well. Etc.
In Bar 5, after an 8th rest, the guitar plays the C aug 2nd inv 8th notes(G#/C/E), 8th rest, B maj(B/D#/F#)8th. In Bar 6, G maj 2nd inv(B/D/G)then C# maj(C#/E#/G#). In Bar 7(3/4 time)the F# maj(F#/A#/C#), C aug 2nd inv(G#/C/E), F# min(F#/A/C#). In Bar 8(2/4 time), after an 8th rest again, E dim 2nd inv(Bb/E/G).
That should give you a pretty good idea of this beautiful cue. It ends on the E maj chord(E/G#/B). The voice ends on the E half note tied to quarter note in Bar 23. The celeste and guitar play lastly. The celeste plays 8th notes(tied to quarters next bar)B/E, G#/B/E/G#. Guitar on G#/B/E.
[52] R10/A {Talk With Queen} Sorry. No notes!
[53]R10/B {“My Child!”} Sorry. No notes.
[54] R10/C {“Remove That Man’s Portrait!”}
[55] R 10/D {Weeping Dona Maria}
[56] R10/E {Important Dispatch} Allo modto in C. Start master page 468. Orch by Milan Roder. Spanish-idiom music as we cut back to the Spanish galley ship.
[57] R11/A ????
[58] R11/B ????
[59] R11/C ????
[60] R11/D ?????.
[61] R11/E {Loosen Leg chains} Hear start of Track 14. John Williams was obviously inspired by this cue. Listen to his HOOK cue R4/1 “Hook Is Back” starting Bar 16. The low strings section 16ths sound excatly the same, or pretty close to it. Both are pirate movies of course……
[62] R11/F {Out of Chains} Start master page 514. In page 2 of 12/8 time, the vlns and violas play mf < f four figures of staccato 16th notes(six notes per figure). Vlns play C/Db/C/Db/C/Db, Eb/F/Gb/F/Eb/Db, repeat same bar. Etc. [63] R11/G {Stealth} [64] R11/H {Overpowered Spaniards} Start master page 532. Beautiful passage in pp 534-5 before Thorpe says “You men follow me; the rest of you stand guard.” Pos/timp/snare drum/xylo/marimba/stgs play a rapid triplet syncopated passage. Then the flute/picc/celeste play descending triplet 8ths B/A#/C, B/A#/G, F#/D#/C, B/G/F#. Vlns are bowed trem on B. Then, in the next bar, the oboe joins in on the triplet descent. Etc. [65] R12/A {Thorpe’s Reflection on Cup} Master pages 537-544. Cut time(alla breve or 2/2). Orch by Simon Buchariff(I hope I spelled it correctly since it is hard to read). Violins are sul ponticello bowed trem on B/C# in Bar 1. Then, in Bar 2(3/2 time)dotted whole notes B/C#, then back to Cut time whole notes B/C#. Starting in Bar 2, sordini horns also play that dyad thru Bar 4. The xylophone distinctively rolls on notes C#/B starting in Bar 2. Cymab roll as well. Celli are pizz on B/C# 8th in Bar 2. Midwar Bar 3 the violas are trill, as the cl II. Fag I trills on Eb in Bars 3-4. Etc etc. [66] R12/B {“We’re Getting Under Way”} Allo Modto in C. Master pages 545-556. Hear track #14, 2:59 on. Key sig of two flats(Bb maj/G min). Orch by Simon again. Rapid passage of principally 8th note triplets played by the strings low range “sempre spiccato”(light staccato with the bow on that portion between the frog and midway). Top staff vlns play f low A 8th to A to G 16th up to middle C quarter tied to 16th to 16ths A, A, G up to C 8th. The clars/Fags/horns are mf playing that figure. Then the bottom staff of the vlns and violas/celli play the triplet motion as Thorpe’s men hurry to get under way with the now captured spanish ship. We find triplet 8th notes(p < f)middle C/D/Eb to(Bar 2)F/Eb/D top C quarter tied to triplet C/D/Eb, F/Eb/D to(Bar 3)C/D/Eb, F/Eb/D, C/D/Eb, F/G/A to(Bar 4, now cut time, half note = quarter note)where the top staff vlns now join in. Top staff plays Bb/A/G to F quarter tied to triplet, etc. Bottom staff plays rinforzando G/A/Eb to Eb quarter, etc. At 3:29 of the reference cd(page 550, or page 6 of this cue)we come to a series of four bowed tremolos as the preliminary to the “Strike for the Shores opf Dover” men’s chorus. Unfortunately, I do not have that. Perhaps it wasn’t available with the orchestrated pages when I originally had the score pulled by Leith Adams. The vlns are bowed trem on F(”, ”’)then G, then Ab, then A. [67] R12/C {Dona Maria & Uncle} Start master page 557. Scene: Dona Maria says, “Uncle, let’s not talk about it anymore.” On page 2, in the key sig of A maj in 2/4 time(three sharps)and labeled “Marcia vivace ma misterioso” the vlns and violas play low range the Dover motif. Terrific sound! terrific cue! Unfortunately it’s not on the reference cd. We find top staff of the vlns playing p middle C# 8th to C# to B 16ths(16ths are staccato)to E 8th tied to 16th(followed by a 16th rest). Repeat next bar. Then C# 8th to C# to B 16ths to E to C# 8ths(all notes except the first are staccato)to(next bar)F# 8th staccato to E tenuto quarter tied to 16th. The bottom staff vlns are pizz 8ths A/C#. Then after two 8th rests, A/C# to(next bar)C#/E. Etc. Celli are pizz on E/E/C#; CB on E. So combined we hear the A major sound(A/C#/E). Violas play C# 8th to dyad 16ths E/A, E/A to A/C# tenuto, etc. The english horn plays C# 8th to C# to B 16ths to E 8th. Fags also play the pattern. Horns, after a quarter rest, play mp the A/C#/E tenuto. The snare drum hits 8th note on the 1st and last sub-beat. The tpts join p(piano level)on page 567(page 11 this cue)with E/A/C# 8th(A maj 2nd inv)to 16th A maj 2nd to 16th E/A/B up to root position A maj(A/C#/E)tenuto. Repeat next bar. Flutes also play that pattern. The harp is arpeggiango 8th notes A/E/A, C#/E/A/C#, followed by 8th & quarter rests. Repeat next bar. The snare drum sounds as before. Celeste plays, after a quarter rest, on A/C#/E, A/C#/E. Stgs are pizz. Cb on A 8th; celli on A/E/C#; violas on E/C#/A; vlns on E/C#. Ist and last sub-beats. Etc etc. [68] R12/D {Thorpe in Carriage} Start master page 572. In Bar 15(page 4 of cue, master page 575)when Thorpe speaks to Dona Maria, the cue is “Lento dolce” in 4/4 time. The second or B motif of the Main Title is again played(as in The Sea)sweetly here. Both staves of the vlns play the melody line of C(c””)half note to B 8th to C dotted quarter, < > . Then, in the next bar, Ab(a-flat ”’)half note to G 8th to Ab dotted quarter. Violas top staff play on the G whole note to Ab next bar. Bottom staff plays C/E whole note dyad(double stop here, not divisi)to next bar;s C/Eb whole notes.
The top staff celli play(divisi)E/G to next bar’s Eb/Ab. Bottom staff plays G/C to next bar’s low C/Ab/C. Lowest C/Ab are double-stopped. CB plays on G to C.
The celeste is arpeggiando on half notes C/E/G, C/E/G to B 8th to C dotted quarter. Harp I, after an 8th rest, plays E to G 16ths to triplet 32nd note sweep starting middle C/E/G played 3X. Etc etc.
[69] R12/E {Guards Stop Carriage} Modto misterioso in C. Vlns(I believe sordini)are col ponticello bowed trem on C/Eb whole notes. The marimba sounds. Then the clar.
[70] R13/A {Thorpe and Martha}
[71] R13/B {Sword Fight With Guards}
[72] R13/C Not sure. Maybe the start of the swordfight with Lord Wolgingham.
[73] R13/D {Fight With Wolfingham}
[74] R13/E {The Traitor Dies}
[75] R13/F {“Stop It!”} Start master page 620. 6/8 meter. Here Thorpe has already dispatched Wolfingham to another Court, and now the palace guards are duelling with him. Luckily the Queen appears on time and intervenes.
Celli and violas then vlns play a rapid ascent of staccato 16th notes(two figures in the first bar of six 16ths per figure). In Bar 3, the sordini Pos etc play the Db Dom 7th(Db/F/Ab/Cb)emphasis 8th note chord.
[76] R13/G {Queen Fanfare} Maestoso in C. Start master page 624. Hear track #17. Chimes are most prominent here playing low C# sforzando in Bar 1 to(Bar 2)quarter notes A, C#, F, G# to(Bar 3)A whole note. Celli are bowed trem on C#/A. In Bar 3, the tpts and trombones play “pesante e solemne” the fanfare in forte level. They play triplet 8th notes G#/C#/F, F/G#/C#, G#/C#/F to qurater notes F/G#/C#, etc. Strings play bowed trem on, I believe, the A major 7th #5th(A/C#/F/G#).
[77] R13/H {Queen’s Speech}
[78] R13/I {“I Pledge You Ships”} Start master page 633. Poco ma cantabile” in C. Key sig of two flats. Hear track #17 from :25 on. Again the B development of the Main Title, last played in cue [68]. Vlns play octave apart in one-line, two-line range the B half note to A# 8th to B dotted quarter note to(Bar 2)the G half note to F# 8th to G dotted quarter. Etc. Violas play whole notes B/D#/F#; vc play F#/B/D#/F#. So we have the B maj chord here. Etc.
[79] End Credits.

Completed Thursday, August 24, 2000 8:16 pm PDT
Copyright Bill Wrobel