The following is a cue rundown analysis of Anthony Mann's 1964 epic "The Fall of the Roman Empire" music by Dimitri Tiomkin. With the recent resurrection and popularity of this genre pic in the form of GLADIATOR, I wish to pay homage to its far more distinctive predecessor. Not only did the film present an intelligent script, it showcased a stellar cast ( Alec Guinnes, James Mason, Christopher Plummer, Stephen Boyd, Sophia Loren), and fabulous set designs and locales. The film is a strange mix of political intrique, battlefield scenes, and romantic subtexts. Far more importantly, it showcased one of the finest and most mature scores by Dimitri Tiomkin. I studied the fully orchestrated score at USC several years ago. It was held in Boz 18A in the Dimitri Tiomkin Archives. Box 1 held the full score to THE ALAMO ( 175 "leaves" or pages) ; RIO BRAVO ( 423 leaves) is held in Box 54, and so forth. There were no cue titles ( except for "Main Title") in the fully orchestrated pages, so I will use brackets ( { } ) to designate acceptable titles ( many derived from the reference cd's, if available). As audio reference sources, I will rely on two compact discs: ( 1) "The Fall of the Roman Empire" Varese-Sarabande VSD-5228 with 16 tracks ( this is the same original rerecordings by Tiomkin of the CBS 83119 LP) ; ( 2) "More Music From the Fall of the Roman Empire" Cloud Nine Records ACN 7016 produced by David Wishart ( mono and stereo mix). As a side note, there are several cues I could not identify. Some may not have been used in the final pic, but also there are deleted scenes in even the "official" version which probably contain music ( for instance, Lucilla's attempted assassination of her brother, Commodus). I have not yet been able to find the complete or "restored" version. Now:There is a great deal of multi-layered notation activity going on in Tiomkin's score ( indeed, in most of his scores!), so I cannot really do it full justice in my brief analysis. His music tends to be quite "busy" and highly embellished. In part, its roots may've been in his concert pianist days and penchant for rapid execution and flourishes. His rather virtuosic ( albeit sometimes meandering) flair had to struggle to translate effectively into the full orchestral pallette, and many times adjustments had to be made even during the recording sessions. Often each line of a certain choir ( such as 3 clarinets) had its own variation. For example, if clarinet I held the prinpical melody phrase, clar II would play a complementary yet different string of notes, and clar III would have its own line of development or counterpoint. There are critics of Tiomkin's music, therefore, complaining that it's usually over-the-top or overblown ( bombast quality), and that he poorly handled music under dialog. A New York Times reviewer stated in effect that after being subjected to three hours of Tiomkin's music, he felt as if the Roman Empire had fallen on him! Another reviewer, however, had commented that Tiomkin's score was the grand-daddy of epic scores. One needs to remember that his score was Oscar nominated as Best Score in 1964 ( MARY POPPINS won out!). Tiomkin's music was as colorful and lively and was his personality. FOTRE is a dazzling score, full of pomp & circumstance pageantry, vibrancy, splashes of colorful instrumentation and pulsing rhythmic drive. There are noble musical sequences, lyrical beauty, and soft ethereal passages as well between the fanfares and hammering chords! It was well-deserving an Oscar nomination, and it is my pleasure to share my notes of analysis with you.
THE FALL OF THE ROMAN EMPIRE
Music By Dimitri Tiomkin
Reel 1/A "Main Title" Allegro modto e ben sostenuto in 2/4 time. Key signature of E min ( 1 sharp or F#). 17pp, 66 bars, 2:16.[Note: The first 26 seconds of the "Overture"/"Prelude" from both compact discs is an organ solo which I either failed to research or it simply was not available. I do not remember. The fully orchestrated score begins as Bar 1 at about :26] The Main Title is a rather dirge-like motif, noble yet sad ( after all, the subject matter is the "Fall" of Rome, not her "Rise"!). In Bar 1, the organ plays ( "pedal") chord half notes E ( EE) /E ( E) /B/E ( e) /B/E ( e'). After a quarter and 8th rest, 20 vlns I, 20 vlns II, 14 viole ( treble clef), 14 VC ( celli) also in treble clef play unison G ( g') 8th note "sul G" on the downbow down to ( Bar 2, now C time) the E whole notes tied to dotted half next bar, played "molto espr." 8 basses ( CB) join in playing mf E/e whole notes tied thru Bar 9. The organ ( 3 staves) is forte playing the counterpoint phrase of bass clef dyad quarter notes B/G to 8th dyads B/G to C/A to B/G/B quarters to dyads 8ths C/E to A/F to ( Bar 3) B/E quarter dyad to 8th dyads A/C to B/D to tenuto quarter notes E/B/E to E/B/G/B ( E min sound). The strings take over the primary melody line ( Fall motif) at the end of Bar 3 with the downbow on G ( g') quarter to ( Bar 4) G to F# quarter notes to A half note tied to dotted half next bar. Then down to tenuto E quarter to ( Bar 6) E to D# quarter notes to F# half tied to dotted half next bar. Then G quarter down to E whole note tied to next bar ( Bar 9) descrescendo volume. At the end of Bar 9 ( :43), the organ is now heard prominently again at a higher register taking over the motif. We find the doubled G ( g' g'') quarter notes crescendo to ( Bar 10) "full sound" E whole notes tied to dotted half in Bar 11. Then G quarters to ( Bar 12) G to F# quarter notes to A half tied to next bar, etc. After a quarter rest in Bar 10, the first three ( of six) Bb trumpets and vlns I play forte the counterpoint figure ( played previously by the organ in the first several bars). We find D to E 8ths down to B quarter, A to B 8ths down to ( Bar 11) G quarter. Then F# to G 8ths down to E quarter, up to G quarter, etc. Vlns II/viole/celli/Pos play tenuto quarter notes. Divisi vlns II, for example, play tenuto dyad quarter notes F#/A to D/F# to C/E to ( Bar 11) unison middle C ( c') to D to C tenuto quarter notes to upbow quarter notes D-C#. Viole ( back to its normal alto clef) play unison D to dyads A/B to G/A to ( Bar 11) E/G to unison A-G-G quarters. Celli ( back to normal bass clef) play unison E to dyads D/A down to A/G, etc. Six horns are mf on E min 2nd inversion ( B/E/G) whole notes tied to quarter notes next bar. Specifically, horns V & VI play low D, altri horns play the E/G dyad. Two harps are arpeggiando ( vertical wavy line rolled chord) forte on E min whole notes ( actual positioning E ( E) /B/E/G/E ( e'). The timp is mf playing two E grace notes to the E whole note toll tied to dotted half next bar. Etc. At 1:02 ( end of Bar 17) the brass are now prominent playing ff ( fortissimo) the Fall motif. We have the G maj 7 ( G/B/D/F#) quarter note chord forte to ( Bar 18) playing ff the G maj/9th ( added 9th, or note A in this case) sforzando whole note chord ( G/B/D/A) tied to dotted half notes next bar ( for the horns). The tpts and Pos ( trombones) play rinforzando 8th notes fff chord E min ( E/G/B) to C maj ( C/E/G) connected by a crossbeam, to next crossbeams 8th chord figure of B min 2nd inv ( F#/B/D) to E min ( E/G/B) to stand alone E min 8th chord ( for the tpts). Pos play the G maj ( G/B/D) half note chord rinf. Then E minor to ( Bar 20) the Cmaj7 ( C/E/G/B) to A min ( A/C/E) quarter note chords to A min7 ( A/C/E/G) half note chord. Etc. Meanwhile, in Bar 17, vlns/viole/celli play fff the B ( b'') quarter note on the upbow to ( Bar 18) G whole note tied to dotted half in Bar 19. Then ( divisi) the E min 7 quarter note 3rd inv hord ( D/E/G/B) to ( Bar 20) quarter note chord B/C/E/B to A min ( actual notes A/C/E/A) quarter note chord to the Amin7 2nd inv ( E/G/A/C) half note chord, etc. In Bar 12, the organ and basses play a counterpoint phrase of rinforzando 8th note figures. At 1:21 ( end of Bar 33) four mandolins ( two large) join in to play the motif with the strings. Large mandolins strum the E ( e') whole note tremolo; regular mandolins play e'' tied to dotted half note next bar. Then G quarter trem to ( Bar 36) G to F# quarter trems up to A half note trem tied to next bar. Etc. Vlns play forte ( in Bar 34) the E min whole note chord ( actual notes E ( e'') /G/B/E ( e''') tied to dotted half notes next bar, etc. Viole play on B/EW; VC on G/B. The organ plays the descending counterpoint figures of two 8ths to quarter note figures. In Bar 36, horns I & II and trpts I & II join in mp espr on the counterpoint figures. Shortly the vlns & viole play a series of dual 8th note figures ( two 8th notes connected by a crossbeam). Then midway the brass ( at 1:42) powerfully sound a majestic restatement of the motif, ending on A min ( A/C/E). The violins are center stage again in Bars 57-58 ( 2:14) with a motif embellishment highlighted with a trill on B half note to 16ths A#-B to ( Bar 52) E ( e'' e''') dotted half notes, etc etc.
R2/1 {Dawn On The Northern Frontier"} Andte ( in a lonely manner) in C time. Key sig of G maj/Emin ( 1 sharp). 9pp, 37 bars. Track # 3 in the "More Of..." cd. Scene:We hear the offscreen narrator saying: "Two of the greatest problems in history are how to account for the Rise of Rome, and how to account for her Fall..." We see out in the Danube frontier Marcus Aurelius ( Alec Guinnes) and Timonides the Greek ( James Mason) speaking together in a windy predawn height at Caesar's Germanic fortress. We begin with the alto G flute playing a lonely solo passage.[The alto flute in G means that the concert pitch sound of C is written a perfect 4th below as G for that transposing instrument. Put differently, the written G on the alto flute sounds a perfect 4th higher as concert pitch C] So we find it playing "molto espr" the B ( b) half note in Bar 1 ( which probably should simply be a grace bar) up to ( Bar 2) the E dotted half note to F# quarter to ( Bar 3) G quarter to A-G 8ths to F# to E quarter notes to ( Bar 4) F# dotted half note, etc. In Bar 3, after a quarter rest, vibe I ( "no motor") plays pp the B dotted half notes an octave apart ( b' b'') tied to whole notes next bar. Vibe II plays b, b'). Piano is ppp "pedal" on b'' b''' In the end of Bar 9, the english horn takes over the plaintive melody line. In Bar 10, the harp joins in ( with the vibe & piano) with a short response figure of C ( c'') quarter to B ( b') half note, etc. At the end of Bar 15 ( :51) when the dialog commences, the solo clarinet plays mp "molto espr" the expanded melody line of B quarter up to ( Bar 16) the E dotted half note to F# quarter to ( Bar 17) G quarter tied to dotted 16th to A 32nd to G 8th ( last three notes connected by crossbeams) toF# to E quarter notes to ( Bar 18) F# dotted half, etc. Normal flute plays pp the A quarter up to ( Bar 16) C quarter to B half to D quarter to ( Bar 17) C half note, etc. The alto flute plays the E whole note in Bar 17. Clar II and bass clar also join in on separate note lines. Horns I & II are stopped on E in the beginning of Bar 15. Then horns III & IV ( "wood mutes") play B quarter tied to ( Bar 16) dotted half. The harp plays E/B/E/A/B quarter note chord to ( Bar 10) various arpeggiandos. Divisi viole are pp bowed trem A/B quarter note dyad to ( Bar 16) A/C to G/B to G/B half note trem, etc. 4 celli play E/B quarters tied to ( Bar 16) dotted half notes next bar. Etc etc.
R2/1A {Arrival of Livius} Allegro marziale in C time. 9 pp, 34 bars. Key sig of G maj/E min again ( 1 #).Track # 4 in the "More Of" cd. Scene: The music commences shortly after Marcus Aurelius states, "As you predicted....""" Martial Roman music plays as Livius ( Stephen Boyd) arrives by chariot. Note: There are 16th notes in the grace bar of rinforzando B up to F#, but they were deleted in the recording session. Horns I & II and tpts I & II are soli playing forte the fanfare/announcement one-bar phrase. Then horns III & IV and tpts III & IV take over. So, in Bar 1, we find Line 1 rinforzando F# 8th down to B back up to F# staccato 16ths ( all three notes connected by a crossbeam) to next figure of rinf F# 8th to staccato 16ths B up to G, to rinf 8ths F# up to B down to stand alone rinf E 8th ( followed by an 8th rest). In those last three 8th notes, 12 vlns I are pizzicato plucking F# up to B down to E 8ths ( followed by an 8th rest). At that 8th rest, horns III & IV & tpts III & IV take over the phrase. We find A up to E rinf 16ths to ( Bar 2) rinf E down to A back up to E staccato 16ths, to next figure of E 8th down to A up to F 16ths to E up to A rinf 8ths down to E 8th ( followed by an 8th rest for the tpts only).Timp beats mf A up to D 8ths 4 X per bar. Etc. Harps/pianos/altri strings join in Bar 3 on various figures. 10 celli play E/A up to A/E 8th note dyads 4 X per bar. 4 CB play A up to D 8ths 4 times. Viole are double stopped on E/A 8ths, etc.
R2/1B {Old Acquaintances} Andante assai in C time. 15 pp, 58 bars. Key sig of Eb maj/C min ( 3 flats). Track # 5 in the "More Of..." cd. Scene: Livius asks Timonides "How is Caesar?" Later on, in Bar 40, Livius meets Lucilla ( Caesar's daughter). Viole and celli and basses sound as the backdrop texture for the soli mandolins. In Bar 4 ( :14) the finger cymbals sound p ( though still piercing) notated as a diamond-shaped half note with the stem pointing down. Harp I/vibe/marimba ( "soft mallets") play mp, after a quarter rest, rising quarter notes B-E-G#. CB play the E ( e) dotted half note. VC and viole and harp play an undetermined chord. At the end of Bar 10 ( :47) the woodwind and solo stopped horn play a short passage of 16th to dotted 8th note. For instance, flute I and oboe play D ( d'') staccato 16th to ( Bar 11) D tenuto dotted 8th down to Ab 16th ( both notes connected by a crossbeam) to next figure of same Ab tenuto dotted 8th up to C staccato 16th to next figure of C tenuto dotted 8th down to G staccato 16th, to next crossbeam figure of G dotted 8th up to staccato Bb to ( Bar 12) tenuto Bb dotted quarter note. Stopped horn II plays B 16th to ( Bar 11) Ab dotted 8th down to F 16th, etc. Harp and piano in Bar 11 play staccato 8th note chords ( separated by 8th rests). So we find what appears to be the D maj flat 5th chord ( D/F#/Ab) but actually laid out as D/Ab/D, F#/Ab/D. Then, after an 8th rest, F min ( A/Ab/C) 8th chord ( actual positioning F/C/F/Ab), then C min ( actual positioning C/G/Eb/G/C), then the G min ( G/Bb/D) 8th chord ( positioned as G/Bb, Bb/D/G). By Bar 26 ( 1:52) in C time ( now key sig of A maj/F# min or 3 sharps), the flute and especially solo cello play the Fall motif "molto espr." They play Line 1 register F# dotted half tied to 8th to A 8th to ( Bar 27, now 5/4 time) A 8th to G# 8th up to the B dotted half tied to 8th down to F# 8th, etc. In Bar 26, the harps play, after an 8th rest, Great Octave register F# 8th up to small octave C# 8th up to F# 8th up to A ( a) half note. Then, in Bar 27, the B min triad quarter note chord ( B/D/F#), let vibrate. Viole and 4 altri celli are bowed trem pp ( celli on C#, etc). 2 clarinets and bass clar play in Bar 27 the B min combined sound. At the end of the cue in Bar 56 ( 4:190, the high viole play ( in 2/4 time) Line 2 F# 8th down to Line 1 F# 8th up to E ( e'') 8th down to Line 1 E# 8th to ( Bar 57, now 4/4 time) "very slow" E#-F#-G# triplet value 16ths to F# 8th tied to half note ( held fermata) and tied to 8th in the final bar ( Bar 58), cresc pp. Celli play B ( b) note for most of Bar 56, then tacet to end.
R2/2-3/1 {Pax Romana} Allegro modto in C time. 33 pp, 130 bars, 5:12 duration. Track # 6 in "More of..." cd, and track # 8 in the original rerecording cd. Key sig of Gb maj ( 6 flats). Scene: The grand procession in which representatives of the Roman Empire and allies from around the world parade past Caesar in chariots. Bravado brassy opening of the half muted/half open tpts and horns, highlighted by a heavy flutter-tonguing effect sff. Skipping to Bar 7, we hear a similar restatement. We find horns I, II, III and sordini tpts IV, V, VI play forte unison notes of rinforzando Gb dotted 16th to Fb 32nd to Db 8th ( all three notes connected by crossbeams) up to the Gb half note flutter-tonguing tied to 8th to sforzando Ab 16th ( followed by a 16th rest). Open tpts I, II, III join in on the flutter tongue note to Ab 16th. The cymbal is also rolled forte on that half note. In Bar 8, all six horns ( horns IV, V, VI an octave lower) repeat the Gb-Fb-Db beginning figure, with sordini Pos I & II also joining in. At the flutter tongue half note, all brass ( including Pos III & IV) sound sff the Fb note tied to 8th to the Eb 16th ( followed by a 16th rest). By Bar 11 in 2/4 time, 2 flutes/2 picc/4 cls/2 pianos play two sextuplet ( double triplet 016th note figures per bar. It appears to be rinf 16th notes Ab-Cb-Eb to descending notes Db-Ab-F, repeated same bar. Two oboes play rinf 8th notes unison Cb to Ab/Db, repeated same bar. English horns play a similar line. Pizz violins play Eb/Cb to Ab/Db, repeated same
bar. Pizz viole play Ab to Db. Pos play forte the Db Dom 7th ( Db/F/Ab/Cb) sforzando half note chord ( actual positioning Ab/F/Cb/Db ); tuba on the Db half note. Fags play the Db/Ab notes. The timp beats a Db rinf quarter note. Celli on Ab/F half notes; CB on Db. At 2:14 ( end of Bar 60) when Marcus asks "And who would this be, Timonides?" muted tpts I, II, III prominently play mf on three triplet value Line 2 Db 16ths to ( Bar 61) rinf descending 16th notes Db-Bb-Gb back up to Bb to Db 8th to three triplet 16ths again ( repeat same bar ). Then, in Bar 62, 16th staccato notes Bb-Db down to Line 1 Eb up to Bb to Db rinf 8th ( followed by a rest mark). Mid-Bar 61 stopped horns play forte the triplet Db 16ths. Fls/oboes/cls/Fags/harp also join in with accompanying figures. At about 2:46 ( Bar 70) the brass is silent for awhile. Here a softer texture is played by arpeggiando quarter note chords of the harps and pianos, and a leisurely passage of the viole and celli. bells are prominent. In Bar 71 in 4/4 time playing descending quarter notes Ab-Gb-F-Eb.
Harps & pianos play the Ab minor ( Ab/Cb/Eb) quarter note chord arpeggiando ( actual positioning for harp II = Cb/Ab/Eb/Ab/Cb/Eb ( Line 1) ; harp
I = Line 1 Eb/Ab/Cb/Eb/Ab). Then the next arpeggiando of Eb min ( Eb/Gb/Bb) to F half diminished 7th ( F/Ab/Cb/Eb), etc. The brass statements return at the end of Bar 89 ( 3:24) with the tpts play three triplet value Db 16ths to ( Bar 90) normal 16ths Db-Bb-Bb-Eb to Db 8th. Horns are unison with a similar response statement, followed again by the tpts, then horns for three notes. Then fls/obs/cls for three notes, etc etc.
Reel 3/2 in C time. One bar only.[unknown]
R 3/3 {Lucilla Enroute} 4/4 time. 3pp, 10 bars. This cue comes before the conversation between Caesar and his daughter ( R 3/3A). Quite a gorgeous sounding cue, but alas it is not included in any of the two reference cd's. The cue begins after the roaring crowd shouts repeatedly "Caesar!" The timp plays two high A ( a) 16ths to rolled A dotted half pp <> ( cresc-descr) tied to 16th ( followed by a 16th rest). Then two 16ths again to ( Bar 2) rinf rolled dotted half tied to 8th, etc. Marimba is rinf rolled ( soft sticks) mpz-pp on A ( a) whole note tied to whole note next bar. Two celli play the A ( a) staccato quarter note ( followed by a quarter & half rest). Repeat next bar. Viole are bowed trem ponticello mfz-p whole note tied to next bar. Piano ( pedal) is also on A tied to next bar. Alto flute is flutter tongued on A[written D above]half note tied to 8th, etc. Harp I plays the A ( a) rinf quarter note followed by a quarter & 8th rest. Then it plays rising 32nd notes A-Bb-D-F-A-Bb up to the next figure of F ( f'') 8th down to A to
D ( d') 16ths to ( Bar 2) A ( a) staccato 8th, etc. Harp II, after a half & 8th rest, plays contrary motion 32nd notes of descending F ( f'') -D=Bb=A=D up to F-D-Bb to ( Bar 2) A ( a) staccto 8th, etc. The harps repeat the contrary motion, but harp I plays rising "5" 32nd notes A-B-C#-F-G to A ( a') 8th to descending G-F 16ths.Harp II plays descending 32nds A ( a'') -F-C#-B-G-F-C#-B ( b). Vlns join in on the 4th beat with a bowed trem pont, etc. In Bar 3, the strings are prominent as they play mf espr cres ( < ) a rising passage. After an 8th rest, vlns I and viole play middle C# stand alone 8th note to D to F# 8ths ( connected by a crossbeam) toEb up to A crossbeam 8ths to Line 2 C# quarter note, etc. Vlns I has two staves ( as do the other strings except CB) so that the bottom staff now plays ( in Bar 4) rapid two-note alternations of 32nd notes ( C#-A, C#-A to D-A, D-A figure) to next figure of C#-A, C#-A, B-A, B-A, to fingered trem figure between B-G to final ( 4th beat) figure of D-G-D-G, C#-G-C#-G. Top staff of vlns II play largely fingered trem figures ( A-F#, A-D#, G-B). then final 4th beat figure of 32nd notes G up to D, G-D, G-C#, G-C#. Bottom staff of viole follow suit. Top staves of vlns I/viole/celli play the continuing melody phrase line. For example, vlns I play Line 2 C# to D 8ths ( crossbeam connected) toD# tenuto quarter, then F#-E 8ths up to G tenuto quarter. Celli play A-G 8ths to G# quarter, etc. Nice, intricate string embellishments here.
R3/3A {Caesar's Wish} Very slow in 4/4 time. 3pp, 12 bars. Key sig of A maj ( 3 sharps). Scene: Caesar tells Lucilla that his time is short, and informs Livius that he wants him to have the throne, not Commodus ( Caesar's son). In Bars 6-8 ( when caesar peaks to Lucilla about his body turning to dust) there is a nice, gentle woodwind passage supplemented by the vibe, harp, viole and celli. The oboe and harp play Line 2 register C# to E 8th notes back down to ( Bar 7) C# half note tied to 8th to tenuto B 8th ( both 8ths connected by a crossbeam) to tenuto C# down to tenuto F# 8th notes to ( Bar 8) G# whole note held fermata. Clarinets play pp the D/F# dotted half note dyad tied to 8ths, to B/D 8ths to ( Bar 8) C/F ( E# enharmonic) whole notes held fermata. The flute plays pp in Bar 7 the A dotted half note tied to 8th to F# 8th to ( Bar 8) G# whole note held fermata. Viole play pp the A dotted half note bowed trem tied to 8th to F# 8th to ( Bar 8) E# whole note held fermata. Celli play D/F# dotted half tied to 8ths to B/D 8ths to ( Bar 8) unison C# whole note held fermata, descrescendo. The harp plays D/F#/A/C# half note arpeggiando ( followed by a half rest) to ( Bar 8) C#/E#/G# half note ( C# maj). Finally, completing the picture, the vibe strikes softly pp the D Dom 7th ( D/F#/A/C#) half note chord let vibrate ( followed by a half rest) to ( Bar 8) C# maj ( C#/E#/G#) half note triad. Etc.
R3/4-4/1 {Commodus Arrives} 4/4 time. 6pp, 23 bars. Scene: Commodus and his chariots arrive at camp. The cue is played out just before Commodus says "Livius! Livius!" and Livius returns, "Commodus! Commodus!" Six horns play exactly the same procession or Pax Romana cue ( R2/2-3/1) for the first two bars, but this time Pos I & II ( not the tpts) reinforce the half note flutter tonguing in the 1st bar. The tpts ( V, VI) join in sforzando in Bar 2, as also Pos II & IV. This is a huge cue orchestrated in terms of length of orchestrated page ( 46 staves) orchestrated by Herb taylor. It was dated 10-1-64. In Bar 1, Pos I is flutter tongue on Line 1 Gb half note tied to 8th to Ab 16th ( followed by a 16th rest). Next bar it is the D half note flutter to Eb 16th. Pos II plays 8 basso, so Gb half note flutter in the small octave register below middle C. The xylophone and choke cymbal ( hard stick) sound an 8th note at the end of the bar ( Lines 1 & 2 Ab rinf notes for the xyl). Then Eb 8ths in bar 2. Two pianos play similar, but as 16th notes. In Bar 13, the horns/Pos/tuba are prominent ( supplemented by the celli & basses) playing the fanfare statement as a chordal as well as melodic ( horizontal line) phrase. So, for instance, horns I & II play triplet 16ths E-D-B up to E 8th rinf tied to 8th to F 16th ( followed by a 16th rest). Horns III & IV play B-A-B to B 8ths tied to C 16th. Horns V & VI play G#-F#-B to G# tied to 8th 7 16th notes. So, when combined, we have the E maj 1st inv ( G#/B/E) to D maj 1st ( F#/A/D) to unison B note to the E maj 1st inv ( G#/B/E) to the G/C/F triad chord. Combined with the celli etc., we have the F min Maj 9th sound ( F/Ab/C/E/G). In Bar 14, the woodwind & tpts join in with the response call of a similar natures ( sans the Pos/tuba/strings).
R4/1A { ? } Adagio in C. 8pp, 30 bars. [Note: To tell you the truth, I am not sure what this gentler ( piannissimo) cue is since the R 4/2 cue appears to seque from R3/4-4/1 at some point. This dolce cue appears out of place. In Bar 4, for instance, we have the bassoon and 6 muted viole playing a melody phrase of F 8th to ( Bar 4) E 8th up to Eb 8th tied to quarter and tied to 8th, up to Gb 8th to Fb to Eb 8th to ( Bar 5) D note ( half for viole tied to 8th). Stopped horns sound p, as also the harp. Then 6 viole and 6 celli are bowed trem in Bars 6-7 as the solo oboe plays the melody phrase "dolce" of G-Bb-Db 8ths to ( next bar) B dotted half tied to 8th, etc.
R4/2 {Commodus & Livius Greet} Allegro Assai in 3/4 time. 14pp, 53 bars. Track # 7 ( "The Dawn of Love") in the "More Of..." cd, and track # 11 of the original recording cd. You'll notice in the film/video that the beginning bars of this cue were cut ( first second seconds) as this cue seques from R3/4-4/1. Obviously part of the film was edited out ( and thus so the music). Scene: Livius & Commodus greet each other out in the field and then chariot ride back to caesar's camp. There is a very uplifting two-bar friendship motif starting in Bar 29 ( 1:16) in the key sig of Ab maj'F min ( 4 flats) in C time. Fls/cls/pno/vlns play the melody line starting on Line 3 C ( c''' or two octaves above middle C). So rinforzando C 8th down to dotted 8th Ab to F 32nd note figure ( connected by crossbeams) to the Eb quarter note rinf. Then up to a "7" note 32nd figure of Line 3 C up to G to F to descending Eb-C-Ab-F to tenuto Eb quarter note. Then up to ( Bar 30) rinf Ab 8th down to rising triplet value 16ths Db-Eb-F down to the Eb dotted 16th up to Ab 32nd down to C dotted 16th up to F 32nd ( previous four notes connected by crossbeams). Then to a new figure of Eb 8th to rising triplet value 16th dyads ( for flutes) of F/Ab-Ab/C-Bb/D to G/Bb rinf quarter dyad. The harp is arpeggiando on Ab major ( actual 8th notes Ab/Eb/C, C/Eb/Ab/C ( c''') down to Ab 8th to Eb tenuto half note. In Bar 30, Ab down to Db 8th to Eb-Ab-C-F 16ths to Eb up to Ab 8th back to Eb quarter. Etc. In Bars 40-41, the Fags/Pos/tuba/stgs play a two-bar phrase which is responded to in Bar 42 by the horns & tpts ( most notably the tpts) and the fls/obs/cls. For instance, Pos play in Bar 41 ( 1:40) the eb maj 2nd inv ( actual notes Bb/Eb/G/Bb) to F min 2nd inv ( C/F/Ab/C) tenuto 8th note chords ( connected by a crossbeam) to next figure of Eb maj 2nd inv to Db maj 2nd inv ( Ab/Db/F/Ab) 8th note chords to next figure of Eb maj 2nd inv 8th to F min 2nd inv dotted 16th to Eb min 2nd 32nd chords. Then next figure of F min to Db maj 8th chords to ( Bar 42 in 3/4 time) Eb maj 2nd inv half note chord sforzando tied to dotted 8th notes. After a dotted 8th rest, the horns/tpts etc respond with a rinf phrase. etc. The cue ends with the Pos/pno/VC/CB playing the concluding phrase as the harps are arpeggiando quarter note chords. After two quarter rests in Bar 52, the horns are "tightly stopped" p on the Eb Dom 7th/11th ( added 11th02nd inv ( Eb/G/Bb/Db/Ab) quarter note chord. Actual positioning Db/Ab/Bb/Db/Eb/G) tied to whole notes next bar, held fermata. Etc.
R4/3 { ? } Andte espr in C. 11 pp, 43 bars. Key sig of Ab maj/F min ( 4 flats). Note: Unknown cue. Probably not used, unless a brief portion of it was used in the section when Commodus exclaims, "I'm Caesar's son! I can have you burned alive!"
R 5/1 { ? } 9 pp, 36 bars. Note: Again, unknown cue. Perhaps THIS was used in part as Commodus exclaims "I'm Caesar's Son!..."
R5/2 {Livius & Lucilla} Molto espr in C time. 10pp, 38 bars. This distinctice cue is unfortunately not on any of the two cd's. After a brief appassionato opening, the cue becomes quite delicately emotive as Livius & Lucilla speak from the heart. Livius declares his love for her with the famous "known yet not known" line! 12 muted vlns I play "molto espr" the rising series of impassioned 8th note groupings of two. So we find Line 1 register A to B ( b') 8ths ( connected by a crossbeam) to next crossbeam figure of Line 2 D ( d'') to C 8ths ( previous 4 notes have a phrase legato/slur line over them, as also the next three groupings). Then D to E, G to F down to ( Bar 2) D to E, A to F. then F to G, Bb to Ab to ( Bar 3) Gb to G ( on the downbow) to B to A ( on the upbow), then C# tenuto down to F#, D ( d''') tenuto down to F# at the end of Bar 3. In Bar 4, Line 3 Eb down to F#, Eb to Bb up to Gb dotted sforzando-marked quarter notes. Vlns II double starting in Bar 4 ( octave lower).Previously, vlns II play a different line f development. In bar 1, they play A to B 8ths to A quarter, G# 8th to A dotted quarter to ( Bar 2) G# to A quarter notes, etc. The harpsichord largely plays the vlns II line ( in small octave and Line 1 registers). Muted viole play F to E bowed trem quarter notes to F half note trem, etc. Muted celli play F ( f') down to A ( a) quarters to B to C 8ths, etc. Marimba rolls p F down to A ( a) quarter notes to F half note, etc. After a half rest, 3 clarinets play, as well as 2 flutes and oboe, etc. In Bar 8, the vlns are bowed trem ppp on whole note A. Viole ( treble clef) are espr playing the Fall motif on Line 2 Db 8th down to ( Bar 9) Bb dotted half tied to
8th to Db 8th to ( bar 10) Db to C 8ths up to Eb half down to Bb quarter to ( bar 11) Bb to A 8ths to C half tied to 8th to Db 8th down to ( Bar 12) Bb whole note tied to whole note next bar. Meanwhile, in Bar 9, the violins are bowed trem on Db to Bb for vlns I, Bb to Db for vlns II. Then bowed trem on notes Gb down to Eb ( vlns I), Eb up to Gb ( vlns II). In bar 11, Eb down to C ( c'') for vlns I; C up to Eb for vlns II. The vibe is trem rolled on Eb/Gb whole notes in Bar 10, then C/Eb in Bar 11, then Bb/Db in Bar 12. The flute is dolce pp at the end of Bar 9 ( supporting the viole melody line) with the Db 8th to ( Bar 10) D to C 8ths up to Eb half note down to Bb quarter tied to 8th next bar. The oboe takes over in Bar 11 with the bb to A 8ths to C half note tied to quarter note. Then the clarinet takes over with the Db 8th to ( Bar 12) Bb whole note tied to half next bar. In Bar 12, the bells/celeste/harpsichord/arpeggiando harp I play descending chords. After a quarter & 8th rest, they play Bb/Eb/Gb ( Eb min 2nd inv) 8th chord, to Ab/Db/F ( Db maj 2nd inv) 8th note chord to Eb/Gb/Bb ( Eb min), Gb/C/Eb ( C min 2nd inv) to Gb/Bb/Db ( Gb maj) 8th to ( Bar 13) Db/F/Bb ( Bb min 1st inv). Vlns I also play these chords as bowed trem. Shortly you hear the vlns in piercing harmonics as the celli play the Fall motif while Lucilla & Livius converse. First 12 vlns play harmonics in Bar 20 ( just before the "known yet not known" line). Then 16 vlns play the harmonics pp in Bar 23 ( Db to Bb quarter notes, with the harmonics dismond symbol resting on Gb to Eb). In Bar 32 ( just after Lucilla says, "Do you, Livius?") vlns I are down bowed on Lines 2 & 3 Bb dotted half note pp < ( cres) tied to 8th, to tenuto Bb 8th on the upbow to ( Bar 33) Cb to Bb 8ths to Gb-F 8ths to Eb half. Vlns II are bowed trem F down to D dotted half note ( sounding, in combination, the Bb maj sound or Bb/D/F). Etc etc.
R5/3-6/1 {Trap For Ballomar} Allegro Modto in C. 13 pp, 51 bars. Scene: Livius sets a trap for the barbarian leader, Ballomar ( John Ireland). There is no dialog during this cue except for the very end when Livius says, "Get these men behind the ines!" Marvelous cue, but unfortunately it is not included in either of the reference cds. The first two bars repeat again the brass opening pf the Procession/Pax Romana of R2/2-3/1, but starting on Eb instead of Gb. So we find 4 horns ( "brass mutes") playing forte rinf triplet value Eb 8th to Eb dotted 8th to Bb 16th ( a manner of delayed triplet) up to Eb rinf half note fz < ( cres) tied to 8th to F sforzando 16th ( followed by a 16th rest). Two Pos are flutter-tongued on the Eb half note tied to quarter to F 8th. The timp and picc timp are rolled on Eb. The susp cymbal is rolled. The harpsichord and pizz strings play a 16th note chord ( F/Bb/C) at the end of the bar. In Bar 2, three tpts play the martial figure, with the Pos flutter tongue on Db. In Bar 3, the bassoons and viole play grace notes Eb-F-G to A tenuto half note to Bb tenuto half note, cresc-desc ( < > ). The pizz celli and the staccato piano play 8th notes ( after an 8th rest) of Gb-F-Eb, then ( after an 8th rest) F-Eb-Db, etc. In Bars 19-20, the vlns & celli play a largely staccato 16th motion phrase to great effect, leading to a brass statement in Bar 21. So, in Bar 20, vlns I and celli play triplet calue C ( c' for vlns) quarter to Db 8th to staccato 16th figure Bb-C-Ab-Bb to Ab-Bb-Db-A to Ab-Bb-Db-Eb clarinets/viole/basses join onn the last 16th figure. Then, in Bar 21, the tpts and Pos ( with the fls/obs/cls) play the response figure. For example, three clarinets play triplet value C/F/A ( F maj 2nd inv) 8th chord to Db/F/Bb ( Bb maj 1st inv) dotted 8th to same 16th chord to same 8th chord, etc. In Bar 30, the viole/VC/CB play a low dramatic phrase pp of Bb dotted 8th ( followed by a 16th rest) up to F tenuto dotted 8th ( 16th rest) to tenuto Gb dotted quarter trill to Ab grace ( viole only are trill) to tenuto F 8th to ( Bar 31) Eb 8th to Db-C 16ths figure to Db dotted quarter trill ( viole trill only) to C to bb 16ths to C to Db 16ths to next bar, etc. Bass cl/Fags/Pos III/tuba also join in on the phrase, as also the harpsichord.
R6/1A { Decoy Patrol } C time. 8 pp, 31 bars, :57 duration. Fortunately this exciting cue is included in the "More Of" cd, track # 8. The woodwind and brass are silent on the first quarter note beat, but the timp is rinforzando on Bb 8th ( followed by an 8th/quarter/half rests). The harp/piano/harpsichord play the Bb maj ( Bb/D/F) 8th note chord sforzando ( actual notes Bb/F/Bb/D/F). 12 vlns I are pizz forte on F ( f') 8th note rinforzando; 12 vlns II pizz on D ( d'). 12 viole are pizz forte on Bb; 10 VC pizz on F ( f), CB on Bb ( just below middle C). Then the woodwind and brass play a forte fanfare highlighted by the Flute I/clar I/tpt I. Taking the highest line, we have the rinforzando Bb dotted 8th to C 16th ( connected by a crossbeam) to rinf 8ths D-Bb to Eb-D to ( Bar 2, in 3/4 time) D quarter to C dotted 8th to Bb 16th figure to C dotted 8th rinf. In combined fashion, we have the Bb maj 1st inv ( D/F/Bb) dotted 8th to F maj ( F/A/C) 16th note chord to Bb maj 2nd inv ( F/Bb/D) to Eb maj ( Eb/G/Bb) 8th chord tothe C min 2nd inv ( G/C/Eb) to G min ( G/Bb/D) 8th note hord. Then, in Bar 2, G min quarter note chord to C min 1st inv ( Eb/G/C) dotted 8th to Eb maj ( Eb/G/Bb) 16th to F maj 8th ( F/A/C). In Bar 3 ( back to C time), the Pos join in with the horns & tpts on the conclusion of the phrase on the D min 2nd inv ( actual notes A/D/F/A) dotted quarter chord down to Eb maj 2nd inv ( Bb/Eb/G/Bb) 16th note chord to the C min 1st inv ( Eb/C/G/Eb) dotted quarter note chord to Ab
maj 1st inv ( actual Ab/C/Eb/Ab) to ( Bar 4 in 3/4 time) same Ab half note chord tied to 8th. Chimes, susp cymbal, large bass drum also play, as do the
strings on the primary quarter note beats. For example, vlns I play D/A/F ( f'), and vlns II play A/F/E ( e'') quarter note in Bar 3, etc. Flutes and oboes play rising grace notes C/D/E to F 8th rinforzando. In Bar 5 in C time ( :08) the oboes play triplet value figures of rinf A 8th to C dotted 8th to C 16th to half note trill ( Db grace) to Bb 8th sforzando ( fz). Clarinets play it as A-C-Db to C trill to Bb 8th. Pos play it as F-C-Eb to C half note. Tpts are flutter tongue mf on the C ( c' c'') half note to Bb 8th. Picc timp is rolled on middle C half note. They finish the response phrase in Bar 6. Vlns I play Line 2 trill on F, and the chimes strike on C on the 3rd beat. In Bar 8, fls/oboes/cls/Fags/xyl play a short phrase, with the horns & tpts responding in Bar 9 ( :16) with the F-Gb-Eb triplet 16ths to F 8th tied to dotted quarter, etc. In Bar 11 in 4/4 time ( :19), the clarinets/2 open-2 stopped horns play a new phrase line. We find horns playing mp tenuto low F up to C quarter notes to Db 8th to C-Bb 16ths figure to C-Ab 8ths to ( Bar 12) B to Ab tenuto quarters to G-F 16ths to G 8th figure to F dotted 8th. Bassoon/celli play staccato 8th note figures of F-Eb, Db-C, Bb-G, Ab-F, then the bass clar takes over the bassoon I line. In Bar 28 ( :44) vlns I are bowed trem p on whole notes D ( d'') /A/D ( d'''). Marimba is rolled on D/A ( a') while clarinets/bass cl/Pos/viole/celli play tenuto quarter notes, etc etc.
R6/2 {Pre-Battle Quiet} Andante misterioso in C. 11 pp, 42 bars. Not on reference cds. The flute plays pp the neutral melody line of A ( a') up to E ( e'') quarter notes to D-C 8ths to E quarter, etc. Vibe ( "no motor") is p trem on A ( a). Harpsichord plays D/F whole notes pp. 8 muted viole play pp the E/A whole notes; 10 muted celli play D/A; 4 basses on A ( a). In Bar 5, the 12 vlns play on A ( six play the harmonics special effect). Horn I is stopped on A whole note. Marimba also plays with the alto flute's melody line. Then the clarinets and "tightly stopped" horns and viole play the melody line.
R 6/3 {Battle Barbarian} 4/4 time. 33 pp, 131 bars. Titled "The Battle In The Forest", track # 9, in the "More Of...." cd. The three timps are emphasized starting in Bar 15 ( :27). They play forte two grace notes to 8th note figures ( "drag") on, I believe, C, Eb, G ( C minor). Etc.
R6/4-7/1 {Lucilla To Be Wed} Andante in 3/4 time. 12 pp, 38 bars. Key sig of E maj ( 4 sharps). Not on 2 cds. Another interesting cue in terms of varied orchestral color. Scene: Lucilla calls "Father! Father!" in his quarters. He appears and sadly informs her that she must, for the sake of the Empire, be given to the King of Armenia. Flute I/vibe ( "no motor") /celeste/harpsichord play the first part of the two-bar phrase pf B 8th mp cresc ( < ) up to triplet value 16ths D-F#-A to descending 8ths G#-E, D-B to ( Bar 2) G# 8th. In Bar 2 ( now 4/4 time), the english horn takes over the passage mp with the G#-A grace notes to G# 8th cres to F#-E 16ths to F# dotted half note, desc to p. After a quarter rest, oboe and harpsichord play F#-A 8ths to grace notes G#-A to G# 8th to F#-E 16ths to next figure of C# 8th to B to G# 16ths to ( Bar 3, back to 3/4 time) E ( e') 8th. Back in Bar 1, the finger cymbal sounds distinctively on a quarter note. Harps play pp half notes E/B/E/B ( part of the E maj tonality). 12 muted vlns II play pp the E/B ( b') half note trem, then F-A to unison G 8ths in tremolo, etc. Muted viole play E dotted half note to ( Bar 2) middle C to B quarter note trem to A half note trem. Muted celli play E/B ( b) bowed trem, etc. In Bar 3, the stopped horns play p the A maj ( A/C#/E) quarter note triad to F# min ( F#/A/C#) half note triad held fermata. In Bar 7 in 3/4 time ( after Caesar says, "A part of Rome, a lovely part..."), the picc/celeste plays a one-bar phrase of G# quarter tied to 16th ( part of a 16th figure) to 16ths G-F#-G# to next 16th figure E#-G#-E-G# to Eb-G-D-G#. In Bar 8, we hear a very Tiominish effect of the flutes and picc in rapid 32nd note flutter-tonguing. After a quarter rest, picc flutter-tongues mp a "7" 16th note figure of Line 2 register descending F#-C#-Bb to rising G-Bb-C#-F# to next figure of descending F-Db-Bb, G-Bb-Db-F, etc. Flutes I & II also flutter-tongue. Oboe & clar I play rinf C# half note tied to 8th ( followed by an 8th rest). Bass clar on A. Horns on C# notes ( octave apart). Timp is rolled on A dotted half note mf. Vibe is gliss mf on low G up to F#, etc. Bells strike Lines 1 & 2 C# half notes mf. Finger cymbals sound also. Harp I is rising gliss F-Gb-A#-Bb-C-D#-E up to Line 3 F#. Then, after a dotted 8th rest, descending gliss F-Eb-Db-C#-Bb-A#-G down to E. Celeste & harpsichord play rising 16ths. Vlns are bowed trem 16th notes. Viole & celli also trem on different notation figures. In Bar 11 ( just before Caesar says, "Lucilla, I want you to take care of these..."), the vlns are "appassionato" molto espr mp on Lines 2 ( vlns II) and 3 ( vlns I) G# dotted quarter cres to F# 8th to E-D 16ths to ( Bar 12) C# 8th to B quarter to A 8th to G#-F# 8ths to ( Bar 13) D 8th ( followed by rests). In Bar 13, the viole ( treble clef) take over the melody line molto espr mf on Line 2 D quarter to C# half down to F# quarter up to B to A quarters to ( Bar 14) G#-A-B quarters, etc. Clar I also plays the melody line mp level. In Bar 15, the celli and flutes take over. In Bar 25 in 5/4 time ( now key sig of F# min or three sharps) ( as caesar says, "I had hoped uou would not have to make a marriage without love..."), the music plays pathos with the celli playing a sorrowful Fall motif of A quarter down to ( Bar 25) F# whole note tied to 8th up to A tenuto 8th to ( Bar 26) A to G# 8ths to B dotted half tied to 8th down to F# 8th, etc. After a quarter rest in Bar 25, vlns I respond pp with Line 3 C# quarter to B-A 8ths, to G#-F# 8ths ( F# tied to quarter note). After a quarter rest in Bar 26, Line 3 D quarter to C#-B 8ths, A-G# 8ths ( G# tied to quarter). Meanwhile, the harpsichord is trem between dotted whole notes Line 1 F# down to C# ( top staff) and octave lower F# up to A ( a). So we have the F# min ( F#/A/C#) sound, also supported by the viole trem on C#/A, celli II on F# trem, etc. In Bar 33 in 5/4 time ( after Lucilla says, "...to find another way" and Caresar responds sorrowfully, voice cracking, "Yes, I have...") the celli I play E to D 8ths to F ( f') whole note held fermata, descrecendo pp.VC II and viole play a combined Bb maj sound. Vlns I respond with the Lines 2 & 3 Bb half note to A quarters ( a'' a''') to ( Bar 34 in C) G# whole note, pppp >. Viole play D/G# whole notes bowed trem. The cue ends gently with the vibe/harp/celeste playing A ( a', a'') quarter notes down to A ( a, a') up to F ( f', f'') down to G# quarter notes to ( Bar 38) A ( a, a') whole notes held fermata. Finger cymbals sound a half note in bar 37.
R7/2 {Executed Romans} Adagio Lugubre in C time. 6pp, 23 bars. Scene: Commodus executes Roman soldiers under Livius' ranks, hanging them as cowards. The somber circumstances is characterized in Bars 16-17 with the descending passage played by the bass cl/bassoon/tuba. They play Gb 32nd to ( Bar 16) F double-dotted 8th to Eb 32ns ( F to Eb notes connected by a crossbeam) to next figure of Db double-dotted 8th to C 32nd, then Eb double-dotted 8th to Db 32nd. Then C double-dotted 8th to Bb 32nd to next bar's continuation of the phrase. Rolled marimba/harp play rinf dotted 8th notes on the four beats of F to Db, Eb to C ( each notes separated by an 8th rest). Piano/VC/CB play dotted quarter to 16th pattern.. Etc.
R7/3 { Plot Against Caesar's Life} C time. 8pp, 30 bars. Scene: Julianus and others make treacherous talk against Caesar because they do not want him to have time to publically declare Livius as his heir to the throne. So they plan to poison an apple. In Bar 14 ( when it is said, "Caesar is dying and knows it"), four horns are "tightly stopped" pp on Ab whole notes ( octave apart) tied to half notes next bar. Vlns II are fz decrescendo of F# whole note. After a quarter rest, the cls/basscl/muted Pos/harpsichord/viole/VC play tenuto to quarter note patterns in Bars 14-15. Cls/bass cl/Pos play D/F# half notes to C/D/F# quarter notes, etc. Etc.
R8/1 {Blind Assassain} 1 page, 4 bars. I am not sure what this tiny cue is except that it is probably a transition cue in which a blind man will poison Caesar's apple.
R8/2 {Poisoned Apple} C time. 11pp, 42 bars. 24 muted vlns; 8 muted viole; 10 muted celli, CB, etc. In Bar 2, the flutes are flutter-tongued on D whole notes fz > pp. Picc timp plays two C# grace notes to C# half note rolled fz > pp. The chimes strike on D, bells on D/F whole notes. Vibe is rising & falling gliss on B. Harps are gliss. After a quarter rest, stopped horns play C#-B 16ths tied to B 8th to B half note flutter tongue. Strings play various figures ( basically rising 32nd notes) to dotted half notes D/F/A/D ( D min), D min Maj 7 ( D/F/A/C#), etc. In Bar 3, after a quarter rest, vlns are bowed trem pp on the G Dom 7th ( G/B/D/F) half note chord ( actual positioning 3rd inv Line 2 notes F/G/B/D) to Db/Bb/Db quarter note chord, etc. Vibe strikes softly pp the G maj root ( G/B/D) half note trem, etc. Harpsichord is arpeggiando on G Dom 7th 3rd inversion. In Bar 20, just before Lucilla tells Livius that she must marry the Armenian king, vlns I play C ( c'') 16th up to ( Bar 20 in 3/4 time) C ( c'''). dotted quarter down to G 8th to 16ths Bb-Ab down to B ( b') to D to ( Bar 21) F ( f'') tenuto 8th, etc. Vlns are mp boweed trem on Line 1 Ab half to D/F quarter down to ( Bar 21) Gb to G to bb quarters tremolos. Viole & celli are also bowed trem ( C for viole, Eb for celli, etc). So we have the combined Ab maj sound context ( Ab/C/Eb). Etc etc.
R8/3 {Dying Caesar} Andante Doloroso. 3pp, 9 bars. [Note: This cue was deleted or scene edited out, probably a scene just prior to Caesar's actual death]
R9/1 {Caesar's Death} Allegro Mod in C. 7pp, 26 bars. Scene: Lucilla is shocked to see her father dead.[Sorry, no notes on this cue]
R9/2 {Caesar's Funeral} Andante assai ( in a solemn manner) in C. 10pp, 40 bars. Track # 6 ( "Profundo") in the original rerecording cd, and track # 9 ( "The Funeral of Marcus Aurelius") in the "MOre Of..." cd. Focusing on the strings line, we find a variation of the solemn R7/2 execution of the Roman soldiers. Here we find viole playing the phrase, with the VC/CB adding counterpoint & rhythmic emphasis. Viole play p on the downbow the E ( e') dotted 8th to the Eb 16th on the upbow to the D dotted 8th way down to the small octave C ( c) 16th on the downbow up to the B ( b) double-dotted quarter, etc. VC I plays the C acciaccatura ( grace note) up to F# tenuto half note to the G tenuto half note. VC II plays grace to the B-Bb-Db quarters to the C-B 8ths, etc. In Bar 3, 16 vlns I and 14 vlns II join in the pattern. Vlns I play p middle C# tenuto dotted 8th to C 16th to B dotted 8th ( followed by a 16th rest). Then D dotted 8th to C 16th to B dotted 8th. Vlns II play pp lowest G ( g in the small octave register) half note bowed trem to A to G# quarter note
trems. etc.
R9/3 {Rome} 4/4 time. 13 pp, 50 bars. Very long orchestrated pages by Parrish. [Note: Apparently this cue was cut, at least in the official version. Perhaps it is in the restored version] Vlns I ( bottom staff) play ( with fls & oboes) F# grace note up to Line 2 F# tenuto half note tied to 8th, to E quarter to Eb 8th tied to ( Bar 2) 8th to C# 8th to C# dotted half, etc. Vlns II top staff plays Line 1 F#-F# 8ths ( with 8th rest) to F# 8th ( followed by an 8th rest again) to F# 8th. Repeat next bar. Vlns II bottom staff plays the same pattern but on middle C#. Same arrangement for viole ( C#/F# dyad) but as 8th rinf to three quarters to 8th staccato ( repeated next bar). VC top staff play like top staff of vlns II as notes Bb/G. Etc etc.
R10/2 {The Roman Forum} C time. 36 pp, 144 bars. Scene: Coronation of Commodus as the new Caesar. Track # 11 ( "The Roman Forum") in the "More of..." cd. 6 horns & 6 tpts open the cue with the heroic fanfare celebration figure ff ( fortissimo) of triplet value 16ths D-C-A to G/D 8th dyad ( all notes connected by a crossbeam) tied to a half note flutter-tonguing tied to 8th to Bb/F sforzando 16th. Pos I & II join in on a similar line, especially flutter-tongue on G/D. Woodwind join in after a quarter & 8th rest, etc. In Bar 13 ( :23) now key sig of G maj ( one sharp), 2 piccs/2 fls/clar I/tpts I & II/xyl/piano play a rapid phrase of ( after an 8th rest) rinf D-E 16ths up to rinf F-E-F-D, D-C-D-C, B-A-B-G. Altri instruments play a supportive role in similar notation ( for example, quarter notes figures rather than 16ths). Strings are pizz. In bar 14, the now arco strings respond in low
register phrasing along with the cls/bass cl/Fags/horns/Pos/timp. Then the picc etc return with a shorter phrase than before, but the bells &
vibe join in with the harp playing arpeggiando 8th note chords starting with the D maj ( D/F#/A) sound to the A min7th ( A/C/E/G) to the B min 7th ( B/D/F#/A), etc. Skipping to the end of the cue, in Bar 136 ( 4:25) the strings play molto espr the melody phrase. Vlns play Line 3 ( viole Line 2) tenuto D ( d''') quarter note to tenuto D dotted 8th to C 16th figure ( crossbeam connected) to same D-C. Repeat next bar. Then, in Bar 138, D-E 16ths to F# 8th figure to tenuto E to D 8ths, E-D 8ths again to ( Bar 139) tenuto C-B 8ths to B-A 8ths figure. Etc. In Bar 140, the viole are bowed trem, In Bar 143 ( 4:40) the 6 tpts sound the final fanfare playing Lines 1 & 2 B rinf B quarter note tied to 8th to three triplet value B 16ths rinf to B rinf quarter to B rinf quarter tied to half note next bar. In the final Bar ( 144), 6 horns are soli playing that same phrase ( Great and small octave registers). Back in Bar 143,, the bass cl/bassoon/contra-bassoon/Pos/tuba/chimes/VC/CB play F to A rinf quarter notes to Ab rinf half note. Picc/fls/obs/cls/xyl/harp/bowed trem vlns & viole play the F/B half note dyad sforzando to F/B half note tied to dotted half note next bar.
R10/3 { By Jove} C time. 3pp, 10 bars. Instrumentation: 3 timps, field drum, picc timp. Track #11 in the "More Of" cd ( "By Jove") right after "The Roman Forum" segment, located 4:50-5:11. Timp I is solo for nearly the first half of Bar 1, hitting ff two C grace notes to a C 8th note ( "drag" figure) to three triplet value 16ths ( 8th & 16ths connected by a crossbeam) to the C half note roll tied to 8th to four 32nd notes. Repeat. After a quarter & dotted 8th rest, timp II plays the Eb 16th tied to half note roll, while timp III plays the F# 16th tied to half note roll. After a half & 8th rest, picc timp plays forte four 32nd notes on middle C to C quarter roll. Repeat. In Bar 2, the field drum plays the same notation figures as timp I ( except the initial grace notes).
R11/1 { ? } 12/8 time. 5 pp, 19 bars. [Note: I do not know what this cue is] This cue apparently would've been placed after the Intermission.
R11/2 { ? } 3/4 time. 7pp, 27 bars.[Note: Unknown cue]
R11/3-12/1 {Barbarians' Human Sacrifice} Andante mod e misterioso in C time. Very nice, atmospheric cue. Too bad it was not included in any of the two reference cds. Stopped horns I & II play mp small octave register F[written middle C above]8th to two F 16ths ( all three notes connected by a crossbeam) up to Ab back to F 8ths ( F being tied to a half note). The timp beats p a repeat figure of F 8th to two F 16ths ( played 4X in the bar), repeated next bar. Top staff ( yet bass clef) of piano II & top staff of 6 VC play pp a series of dual 8th note figures ( 4 per bar) of dyad 8ths Great Octave C/F to D/Ab to next figure of Ab/Db down to A/Ab, to next figure of unison Bb down to F 8ths, to next figure of Ab to F. Six VC II play the same ( "col but tremolo"). Six CB play the top line 8ths; so F-Ab, Db-Ab, etc. The bottom three CB play it bowed trem. Bottom staff of piano II play it as the CB, but an octave lower in contra-octave register. Harp II pretty much plays as the piano II line. Two cls/harp I top staff/pno I top staff/10 viole ( bowed trem) play a rising to falling motion figure of 16th notes. After a half rest, they play rising 16ths F-G-Db-F ( f') to falling Eb-C-G-F ( f) to ( Bar 2) Eb-F-Bb-Eb to descending Db-Ab-Gb-F. Then rising Eb-F-A-Eb to falling Eb-D-Eb-Ab. In Bar 2, bassoon/muted Pos play tenuto Eb down to Bb half notes back up to Eb whole note in Bar 3. In Bar 3, sordini horns return with that initial phrase but a m7 interval higher on Eb. So Eb 8th to two 16ths up to Gb 8th to Eb 8th ( Eb 8th tied to half note). Then the fls/harp I/pno I/16 vlns I play the 16th note rising to falling passage of Eb-F-Cb-Eb to falling Db-Gb-Eb-Db, etc. In Bar 8 ( :19) 2 Fags/6 horns in wood mutes/4 Pos play a short phrase. So, after a quarter rest, they play mp the combined C maj ( C/E/G) rinf dotted 8th to G min ( G/Bb/D) staccato 16th chord back to the C maj rinf dotted quarter note chord to two A maj 1st inv ( C#/E/A) staccato 16th chord to ( Bar 9) same A maj rinf 8th chord. Then the vlns play a two-bar phrase of E ( e) rinf 8th to D-E 16ths to next figure of C#-C rinf 8ths down to A dotted 8th to Bb 16th to next figure of A-B-C#-D 16ths to ( Bar 10) C dotted 8th to D 16th to C-D-E-F 16ths to Eb 8th ( followed by rest marks). At that Eb 8th point, two flutes and two clarinets continue the phrase with the Eb dotted 8th to F 16th to Eb-F-G-Ab 16ths, etc. Altri strings, meanwhile, play various busy figures of course! Etc.
R12/2 {Barbarian Battle, Part I} 4/4 time. 12 pp, 46 bars. Scene: Livius exclaims, "Ballomar! Lay down your weapons and swords. We have fought each other enough!" In Bar 41, when Ballomar is almost finished talking ( disbelieving Rome's pledge of freedom), the music is a soft pp A diminished ( A/C/Eb) dotted half note chord to the F min ( F/Ab/C) quarter note chordtied to half note next bar. then the Eb min 1st inv ( Gb/Bb/Eb) half note chord, etc. Strings are bowed trem pont; harps are arpeggiando. Marimba rolls on the Eb whole note tied to next bar. Celeste, vibe, bells & triangle sound, as well as the flutes, oboes, cls and bassoons.
R12/3 {Barbarian battle, Part II} 12pp, 48 bars.
R12/4 {"We Want You"} Molto espr in C. 2pp, 8 bars. Key sig of Db maj ( 5 flats). Scene: Timonides ( James Mason) risks his life to plead with the barbarians. In Bar 2 ( after he says, "We want you"), vlns I play the melody line of Ab-Bb 8ths to new figure of C 8th to Db-Eb 16ths to E-F 8ths to tenuto E quarter note. Altri strings play the usual standard practice of Tiomkin not to double but play somewhat different line of notation, etc.
R13/1 {"Wild Rumors"} C time. 8pp, 32 bars. Scene: Livius and Commodus talk together in private. Cue ends with Commodus stating, "I've been hearing wild rumors that you've come with your head full of ideas." In Bar 1, the timp plays a Db drag to the Db whole note roll mf cresc-desc ( < > ), while the chimes strike the enharmonic C# whole note. Harps and piano are non-arpeggio playing sforzando whole notes C#/G#/F/B/C#. Vlns I play forte the middle C# whole note sforzando; vlns II on B; viole play on, I believe, E#; VC on Ab, CB on Db; E H plays the B whole note; clarinets on F/B/Db; bass cl on Db; Fags on Db/Ab. Unusual! After a dotted 8th rest, tpts I & II are prominent playing forte a fanfare fragment, part of a call-and-response setup with the horns and tpts III & IV. So tpts I & II play Ab 16th to three-note triplet figure of Ab 8th down to Eb dotted 8th up to Bb 16th to stand alone Ab 16th ( followed by an 8th & quarter rest). After a half rest, open horns play ( on the last Ab note of the tpts) the same triplet value figure of Cb down to Gb up to Db, then stand alone Cb 8th ( followed by an 8th rest). Aftr a half & dotted 8th rest, tpts III & IV play Ab 16th to same triplet value figure of Ab down to Eb up to Db, etc. In Bar 3, clarinets and vlns play the rising melody line passage of natural ( not delayed) 8th note triplet Db-Eb-F to next triplet value figure ( for vlns I) of F 8th to G dotted 8th to Bb 16th up to Line 2 Eb tenuto quarter note to triplet value Db quarter to Cb 8th, etc. Vlns II play a different line, as also the viole and celli. Typical Tiomkin multi-layered complexity. In Bar 30 ( when Livius says, "I heard a whisper that Lucilla's here in Rome), vlns play p a sweet phrase of Line 2 Ab quarter note on the downbow to triplet value duo notes F quarter down to C ( c'') 8th to triplet 8th note figure C-Db-F to ( for vlns I) triplet value B quarter to Ab 8th to ( Bar 31 in 5/4 time) triplet value Line 3 C-Eb-D to Ab whole note. etc etc.
R13/2 { ? } 4/4 time. 8pp, 32 bars. [Note: I am not sure what this is. Perhaps the chorus ( voices), then the final orchestral music as Livius & Lucilla speak. If so, it would be track # 12 in the "More Of..." cd]
R14/1 {Senate Won} Allegro assai in C time. 3pp, 12 bars. Scene: Lucilla is exuberant when she greets Livius: "Livius, you've won! We've won!" Fast paced cue. In Bar 2, 24 violins play four 16th note figures forte of Line 1 F-E-F up to D ( d''), then descending Line 2 F-D-F ( f') up to D. Then Line 2 G#-F down to G# up to D 16th, then Line 2 A-F#-C-Eb. Top staff viole play rinf bowed trem quarter notes D-D-F-A, etc. Two flutes are highlighted playing the three-note 16th figures. Then the Fall motif is played in a D#min 7 context harmonically ( D#/F#/A#/C#). So vlns I play Line 2 & 3 tenuto F# dotted quarter cres to F# 8th to G-F# 8ths to D-C# 8ths to ( Bar 11) B half to D rinf half note bowed trem, held fermata, cres to pp and tied to 8th note in the final bar.
R14/1A { ? } C time. 4pp, 15 bars. Key sig of F# min ( 3 sharps). No dialog in this scene. 16 vlns I, 14 vlns II, 10 viole, 12 VC, 6 CB, 3 fls, oboe, EH, 3 clarinets, bass cl, 2 bassoons, 4 horns, tpts, timp, marimba, chimes, harps, pianos, harpsichord. The Fall motif or theme is played initially by the horn I solo, with the fls/cls/Fags playing an ornamental touch in counterpoint. In the grace bar, horn I plays mf the A 8th to ( Bar 1) the F# half note "molto espr" and tied to 8th to Ab tenuto 8th, etc. In Bar 1, viole play p the C# whole note bowed trem; VC on F# whole note bowed trem; CB on whole note A. So we have the combined F# min triadic sound ( F#/A/C#). Chimes softly strike pp low F# whole note. Harp I strums p A/F#/C# ( middle C#) half notes, let ring. harp II is trem between C#-A, and A-F#. Highlighted are th flutes/cls/Fags with the espr response figures. After a quarter & 8th rest, flutes play triplet 16ths C#/F#/G#-C#/F#/G#-C#/F#/A up to tenuto D/F#/B back down to C#/F#/A 8th chordal notes played 2X. Etc. In bar 12, vlns I and viole play a rolling 16th note figure of Lines 2 & 3 C#-B-C#-B to A-G#-A-G# to G#-F#-G#-F# to F#-E#-F#-E# to ( Br 13) F# quarter notes. Vlns II are bowed trem quarter note dyads Line 1 D/F# to B/D to B/D to G#/B to ( Bar 13) A/C# whole note trem. In Bar 13, the EH sounds p the end of the Fall motif. Then vlns I play rising harmonics notes "sul A," then "sul E," ending on F# held fermata.
R15/1 {Livius Appeals to Barbarians} C time. Key sig of A maj/F# min. 10pp, 38 bars. Scene: Barbarian camp in which Livius feels downhearted: "All these years in this wildness! And what have we accomplished?!"
R15/2 {Morning} 3/4 time. 5pp, 19 bars. Key sig of E maj ( 4 sharps). Track # 5 ( "Morning") in the original rerecording cd. Scene: Livius enroute to Rome, he meets Timonides who says, "All is well with us!" Very nice, pleasantly surging strings and harpsichord. Vlns I play mp espr Line 1 E down to B ( b) 8ths to C# half note to ( Bar 2) B-C#-A ( a) quarter notes to ( Bar 3) B-E to G#-A ( a') to G#-E ( e'') 8th note figures ( duo 8ths connected by a crossbeam) to ( Bar 4) D# down to B 8th down to E ( e') quarter note tied to 8th. Vlns II play lower G# ( small octave register below middle C) quarter note to B-A 8ths to ( Bar 2) B-B-C# quarter notes down to ( Bar 3) G#-B up to G# quarters down to ( Bar 4) D# quarter tied to 8th ( with 8th rest), etc. After a full bar rest, viole in Bar 2 play E quarter to F#-E 8ths down to C#-D# 8ths down to ( Bar 3) B up to E 8ths tied to E quarter to E quarter, etc. Harpsichord top staff plays E-B 8ths to E-F# 8ths to E quarter, etc. Clar I also plays a similar line. Harp I plays the E maj ( E/G#/B) quarter arpeggiando chord, etc. By Bar 5 in 4/4 time, the register of the violins are raised and notes doubled. The total cumulative effect is an intense surge of lyric warmth conveying the
village/family sense of togetherness that is "well" in Timonides' mind. It climaxes, starting at the end of Nar 7 ( :17) with the vlns I playing Line 2 A# grace note up to Line 3 F#-E 8ths to ( Bar 8) E-D#, D#-C# 8th note figure up to triplet value 8ths G#-F#-D# up to F#-E 8ths, etc. Viole I play it treble clef Line 2 register. The xyl highlights the piercing effect of the triplet figure, etc.
R15/3 {The Prophecy} 4/4 time. 6pp, 21 bars. Track # 9 ( "The Prophecy") in the original rerecording cd. Key sig of A maj/F# min ( 3 sharps). Scene: Famine in Rome. Two tpts in straight mutes sound a deahly figure. In Bar 8 ( :21) oboe I is prominent playing mf a 16th note sextuplet ( actually a double triplet figure) of Line 2 C#-D-C#, B-C#-B to next "6" figure of A-B-A, G#-A-G# ( followed by a half rest). Then clarinet I takes over that figure's descent. Marimba is rolled between half notes A-C# ( notated like a fingered trem) to A-C, etc.
R15/4 {"Terrible Days, Livius"} 6/4 time. 6pp, 24 bars. Key sig of F# min ( 3 sharps). Scene: Commodus welcomes Libius and laments about the "terrible days" in Rome recently and requests that Livius ( as head of the Northern army) to fight against the Eastern armies who have sided with the Armenians. Quiet cue ( calm before the storm of the next cue) highlighted by the mandolin. Very nice. After an 8th rest, the mandolin and marimba are soli playing F#-G# 16ths to A#-B grace notes to A#-G# 8ths to A# quarter note trem ( for mandolin) toA#-B grace notes to A#-G 8ths to A# trem quarter note to B-C# grace notes to B-A# 8ths to G quarter trem. Harp I is arpeggiando on low F# maj triad ( F#/A/C#). Finger cymbal and celeste delicately sound. In Bar 5, the flute joins with the mandolin ppp. In bar 9, the solo oboe plays a one-bar descending passage of LIne 2 F# 8th to G#-F# 16th to next figure, etc. The flute plays a short response. Then, in Bar 10, the alto flute takes over, joined by the clarinet.
R15/5 {Persian Front} C time. 7pp, 26 bars. Key sig of A maj/F# again ( 3 sharps). Track #10 ( "Persian Battle") in the original rerecording cd.[Note: The first 14 bars are represented at the start of this audio track, but at :35 the audio version seques or skips to a later battle section] Rousing opening. Taking the vlns only in this analysis at this point, we have rising triplet value 16ths F#-G-C# to F# 8th ( all notes crossbeam-connected), that F# tied to 8th, then to rinforzando F# 8th to sextuplet 16ths E-F#-D, C#-D-B to next sextuplet A-B-A, C#-B-A to next bar ( in 3/4 time) of notes G-A-G, B-A-G to F# to E quarter trills. At the point of the trills, 2 fls/picc/2 oboes/2 cls/2 tpts play descending triplet value 16th to 8th figures. At Bar 15 ( not in the cd recording) 2 EH/2 Fags/4 horns/2 pianos/vlns/viole/VC play a five-note descending 16th figure, transitioning to the dialog with the easterm army commander. So we find stand alone C# 16th rinf to D#-B-C#-A# rinf 16ths ( crossbeam-connected). Horns play it enharmonically as stand alone Db ( instead of C#) to Eb-B-Db-Bb 16ths. In Bar 16, the cls/Fags/Pos/tuba/harp/piano/viole.VC play the combined D# min ( D#/F#/A#) double-dotted quarter note rinf. After an 8th rest, two tpts play the Bb triplet 16ths to quarter note, then the oboes/EH/cls play it. Etc.
R16/1 {Oh, Livius!"} Molto espr in C. 10pp, 38 bars. Scene: Lucilla joyfully greets Livius, exclaiming, "Oh, Livius! The gods were kind to us. They sent you, you, you!" Strings are especially warm and vibrant despite the restrained tone due to the mutes. 24 vlns, 8 viole, 10 celli, 4 CB. The Mahler bell sounds pp a half note. Two stopped horns play the Ab 16th to dotted 8th tied to dotted half, mp > pp. Fags play Ab/Bb whole notes. 4 CB play Db/A dotted half notes. VC play Ab/Bb dotted half notes bowed trem. Viole play the rising note phrase of C# dotted half to F 8th to E up to Db 8ths to Bb quarter, etc. The oboe plays a solo short phrase ( after a half & 8th rest) of Bb 8th down to rising 8th note triplet Gb-Bb-F to ( Bar 2) tenuto Eb dotted half. The vibe and harp also plays the triplet. Soon vlns I play the melody phrase "molto espr" starting mid-bar 2. Flute is dolce on those notes. In bar 6 ( key sig of 3 sharps again), the solo viola ( mute off, and "slow and expressive") plays A 8th on the downbow to ( bar 6) F dotted half tied to 8th to A 8th tenuto to ( Bar 7) A-G 8ths to B half tied to 8th ( the Fall motif). Violins play p a gently divisi a3 descending passage of bowed trem 16th notes. So, after a 16th rest, E/A/C#-D/F#/B-C#/E/A 16th chords to next chordal figure of B/D/G#-A/C#/F#-G#/B/E-F#/A/D, etc etc.
R16/2 {Battle, Part I} Cut time. 8pp, 31 bars. Key sig of A maj/F# min ( 3 sharps). The brass commences the cue with a flutter-tongue battle call in D maj 7 ( D/F#/A/C#). The 6 horns and 6 tpts play divisi A/C#/D/F#/A/C#, while 4 Pos play it as 3rd inversion ( C#/D/F#/A) half note sforzando tied to 16th rinforzando emphasis. Then the oboes/EHs/cls/piano/30 vlns/10 viole/12 VC play
triplet 16th figures of A-B grace notes to Line 2 C-A-C triplet to G#-A-F# triplet to next bar, etc etc.
R16/3-17/1 {Battle, Part II} 4/4 time. 28 pp, 111 bars. Skipping to Bar 97 ( when you hear "The King is dead!") Chime I strikes fz on Eb half note. After a quarter rest, chime II ( "cathedral") strikes F#. Then chime I strikes C ( c'') half note, etc. The glock ( "hard hammers") strike C/Eb half notes fz; then A/C. Vibe strikes Ab/C/Eb, then F/A/C. harp I plays rising "8" to falling "15" figures of 32nd notes and Ab-Eb-Ab-middle C, Eb-B-C-D ( d'') up to "15" descending figure of Line 3 E-C-B-A-E-C-B-A, etc. Then Harp II plays a similar "8" and "15" st of 32nd note figures. Flutes I & II are trill Line 3 C/Eb half notes, flute III & IV on Line 2 Eb/Ab. Oboes are trill on Ab/C/Eb/Ab, etc. Livius was none too happy with the Armenian king ( who said to Livius: "If I die, Livius, know this: I've given orders to have Lucilla killed at once!"), and he summarily kills the king. In Bar 99, he rushes off to rescue Lucilla from an assassain. Vlns ( and partly the celli) play all rinforzando q6th note rising figure of small octave A-B-D-C, C-D-F-Eb, Line 1 A-B-D-C, C-D-F-Eb, etc.
R17/2 {Return To Rome} C time. 7pp, 29 bars. Cue ends with Commodus saying, "Hail, Livius!" 8 viole play the fall moif after a quarter & 8th rest initially. The EH starts off with the B 8th to G half note tied to next bar. Viole play G 8th tied to half to 8th to B 8th to ( Bar 2) B-A 8ths to C half tied to 8th to G tenuto 8th to ( Bar 3) G-F# 8ths to A dotted half. Flute/oboe/cls/vibe also join in molto espr. 24 vlns are bowed trem fz > p on lowest G/E whole notes rinf. 14 celli are bowed trem on E/B/G. 4 basses on the D whole note tied to next bar. So, combined, we hear the E min 7 sound ( E/G/B/D). Timp plays a drag ( 2 grace notes to E dotted quarter note) roll mfz < > tied to 8th. Pos play E/B/E/G whole notes. Marimba and bass marimba also play, etc.
R17/3 {Timonides Appeals To Romans} C time. 7pp, 25 bars. Scene: Peaceful and broad-minded Timonides ( James Mason) has no luck in swaying the Roman mob from sparing the lives of the once barbarians ( Romans believing the barbarians brought the plague). He is then slain himself. The religioso theme is played forte and tenuto. We find tenuto quarter note chord ( using the flutes here) of G min ( G/Bb/D) up to C maj ( C/E/G) to F maj 1st inv ( A/C/F) to an 8th note figure of top line notes D-E & bottom line F-G, with the Bb quarter note. Oboe I plays it flute I line. Oboe II plays G-A-F quarters to F-G 8ths to ( Bar 2) A-F-G-F quarters. In Bar 2, we have the F maj ( F/A/C) to D maj 1st inv ( F/A/D) to G-Bb dyad quarter notes to the D maj 1st ( F/A/D) quarter note chord held fermata. Harps are arpeggiando quarter note chords. In Bar 1, G/D/G/Bb/D quarter note chord up to C/E/G/C/E/G ( g'') to F/C/F/A/C/F to G/D/F/Bb/D, etc. Chims strike D-G-F-D rinf quarter notes to ( Bar 2) C-D-Bb-D ( held fermata). In Bar 3, top line instruments play 8th note figures D-E, F-A to g tenuto quarter to F-E 8ths to ( Bar 4) D-E-C-D ( held fermata) quarter notes, etc etc.
R18/2 {Aftermath} C time, 14 bars.
R18/3 {Plan To Enter Rome Alone} C time. 6pp, 23 bars. Cue ends when Livius says to Lucilla, "If I do not return by sunset, then let the army enter Rome" ( as if she was second in command!). The same religioso music is played ( Livius is mourning next to his body). In Bar 22, 14 vlns I play rising 16ths D-E-F-A to G 8th to F-E 16th figure down to C-D 8ths to D ( d'') quarter held fermata. 16 vlns II play unison A 8th to A/C 8ths dyad to C/E-A/C 8th dyad down to E-A to F/A 8ths to G/B quarter note dyad held fermata ( tied to quarter notes next bar). Chimes play D-C-C-D quarter notes. The Mahler bell rings the B quarter note on the last beat. Etc.
R18/4 { ? } 9 pp, 35 bars. Not sure what this cue is.
R18/5 {Madness} 9 pp, 35 bars. Scene: Livius speaks to Commodus alone. Caesar is now near madness, thining he is definitely a god. The madness is first conveyed musically in Bar 23 with the flutter-tonguing of the flutes of rinforzando 16th notes, and the bowed trem sul pont ppp of rising 16th notes of the vlns & viole. Celli are fingered trem; basses pluck pizzicato quarter notes. In Bar 30 ( when Commodus thinks he hears the gods laughing) the flutes play rapid agitated 32nd note figures ( 8 per figure, 4 figures per bar). Picc is legato tremolo on E-F#, then Eb-E. Flute I plays C-B-C-B-A-G#-A-B, etc. Harps are glissandi ad lib. Marimba is also legato tremolo. etc.
R18/6 { ? } 4/4 time. 2pp, 8 bars.
R19/1 { ? } C time. 3pp, 8 bars. R19/2-20/1 { ? } C time. 15 pp, 60 bars.
R20/3 { ? } 12pp, 46 bars.
R20/4 {Tarantella} 28pp, 109 bars. Track # 14.
R20/5 { Army Enters Rome} C time. 20 pp, 79 bars. Track # 15 ( "Army Enters Rome/The New God/The Challenge") in the "More Of..." cd ( 4:03). One of the very best cues, and well worth the price of the cd. This cue would definitely be one that most Tiomkin fans would take to a desert isle. The Arrival theme is played ff as rinforzando C quarter to rinf D dotted 8th to C 16th up to rinf F dotted quarter to E 8th to ( Bar 2) D-E, C-D rinf 8th note figures to B to A rinf quarter notes, etc. In terms of chordal construction, we find the C maj 1st inv ( E/G/C) quarter note chord to the D min 1st inv ( F/A/D) dotted 8th back to C maj 1st to the F maj 1st ( A/C/F) dotted quarter to C maj 2nd inv ( G/C/E) 8th chord to ( Bar 2) D min 1st inv ( F/A/D) to A min ( A/C/E) 8th chords to the C maj 1st ( E/G/C) to G maj ( G/B/D) 8th chords to G maj 2nd inv ( D/G/B) to A min 1st ( C/E/A) quarter note chord. The mandolin is prominently played, novachord, arpeggiando harps and 2 pianos, pizz strings, bellsm chimes, triangle, picc timp, stopped horns, susp cy, etc. Six muted tpts play a response 16th note figure in Bar 6. The Arrival music starts to end at Bar 20 ( :41). Vlns II play F#-D-E-F# 16ths to middle C trill dotted half note. After a quarter & 8th rest, vlns I/viole/Vc play ff descending rinf 16th notes Line 1 & 2 A-G, A-F#-E-F#, D-A-G-A, etc. The "New God" section commences in Bar 22 ( :47) with the unison tpts fanfare ( "remove mutes"). We find sforzando Db 8th to three triplet value Db 16ths to next figure ( crossbeam-connected) of D-Bb-Gb-Bb 16ths to Db dotted quarter. At 1:16 we hear the Coronation motif reprised ( Bars 136 on from R10/2 at 4:25 in that reel's track on the cd). So vlns play molto espr in 3/4 time the Line 3 D# tenuto quarter to D# dotted 8th to C# 16th to same D# to C# figure. Repeat next bar. Then, in Bar 35, D#-E 16ths to F# 8th figure to E-D#-D#-C# 8ths, etc. Viole play it ( treble clef) Line 2; VC in treble clef Line 1. Harps & pianos are arpeggiando quarter note chords. Chimes strike middle C# half note up to C# quarter ( Line 2), etc. This "New God" section climaxes at Bars 48-51 ( 2:00) with a vibrant repeat six-note figure of major chords. So we find F maj 2nd inv ( C/F/A) dotted 8th chord to Bb maj ( Bb/D/F) 16th. Then a four-note figure segment of same Fmaj 2nd inv dotted 16th chord to Bb maj 32nd chord to F maj 2nd inv to C maj ( C/E/G) 32nd note chord. Repeat that half-bar phrase in the same
bar, and repeat the bar in bar 49. Chimes play rising 8th notes middle C-F-A-C ( c''), repeated next bar. In Bar 50 ( 2:04) the oboes/EHs/cls/tpts/Pos/harps/pianos play the F maj 2nd inv ( C/F/A) dotted note chord. Two Fags/6 horns/vlns/viole/VC play the low register vestige of the fanfare. For instance, vlns "sul G" play F ( f') 16th on the upbow down to ( Bar 50) middle C rinf dotted 8th on the downbow to lowest G ( g) 16th to four-note figure of C dotted 16th down to G 32nd, Db to C to next figure on Eb 8th to ( on the upbow) the Db dotted 16th to C 32nd, to next four-note figure of Bb ( on the downbow) dotted 16th to Ab 32nd, C to G to ( Bar 51) Bb 8th. AT the end of Bar 50, tpts III & IV are highlighted playing three triplet value F 16ths rinf to ( Bar 51) F dotted half note sforzando, held fermata. Skipping to Bar 63 ( 3:13) we come to the scene when Commodus challenges Livius to combat him to the death: "Kill me, and they're yours." Here the music for Bar 63 only is "strange and weird." The strings play normally ( "remove mutes"). Vlns I play ppp four descending fingered trem dyad figures of Line 3 D/F to C/E, then B/D to A#/C#. then Line 2 G/B to F#/A#, and finally E#/G# to E/G. Vlns II play it unison Line 2 B to A#, F to E, D to C#, Line 1 B to C#. Flute 1 plays legato trem ( notated like a fingered trem) on F to E, D to C#, B to A#, Ab to G. Alto "G" flute plays it Ab to G, F to E, D to C#, B to C#. Fls II & III play it as dyads B/D to A#/C#, G/B to F#/A#, D/G to C#/F#, D/F to C#/E ( e'). bass marimba is rolle don D half, then C to B quarter notes to ( Bar 64) Bb half. Marimba is gliss from F ( f'') to F ( f') back to f'' to f' to next bars's G 8th. Large cymbal is rolled pp. Novachord plays descending quarter note chords. Viole are double stopped on whole notes F/B bowed trem; VC are double stopped on whole notes Ab/D bowed trem; CB plays F half note unison to divisi D/E. Most prominently, harp I is falling to rising gliss of Line 3 F-E#-D-Cb-B-Ab-Gb. Harp II is contrary motion ( rising to falling) gliss of contra-octave F ( FF) -G#-Ab-B-Cb-D-E#. Piano I is legato trem on quarter notes B/D/F to G/C#/E, then F/B/D/G to E/A#/C#, etc. Piano II plays F/D/A/D/F/B half note chord. In Bar 64 ( 3:18) oboes/EH/cls/Fags/horns/tpts play a half bar figure ( F 16th to G 8th to Ab 16th to new figure of Ab 16th to G 8th to F 16th). then the vlns play it ( G# to A# to B, B to Bb to Ab). In Bar 67 ( 3:26) thru Bar 72, we come to an interesting section. Cls III & IV/Fags I & II/piano II/viole/VC/CB play the opening figure of staccato 16th notes pp. So we find G#-A#-B-G# staccato 16ths ( cls play it enharmonically as Ab-Bb-B-Ab). then ( here the vlns & trombones join in) [top line notes being emphasized here]we find E-Eb staccato 8th notes to tenuto C# dotted 8th to B 16th staccato to new figure ( clar I now joins in) of staccato 16ths Bb-A-Bb-Ab. Cls III & IV play it largely enharmonically as E-Eb 8ths to Db-B dotted 8th dyad to F/Bb 8th dyad. In complete chordal construction, we find the E maj 1st inv ( G#/B/E) to Eb maj 1st inv ( G/Bb/Eb) 8ths to C# min 1st inv ( E/G#/C#) dotted 8th chord ( Db min for cls) to E min ( E/G/B) 16th chord to Bb maj 1st inv ( D/F/Bb) 8th. Timp plays pp four Ab 16ths to stand alone 16th ( followed by a dotted 8th rest) to Ab dotted 8th to 16th to Ab 16th ( ddotted 8th rest). Field drum plays a similar rhythmic pattern. In Bar 68, the brass plays p a three-note response figure of ( played by tpt I top line) rinf Cb dotted 8th to staccato Ab 16th to stand alone Bb staccto 8th ( followed by 7th and two quarter rests). In chordal fashion, we find the Cb maj 1st inv ( Eb/Gb/Cb) dotted 16th to Ab maj 1st inv ( C/Eb/Ab) 16th to Bb maj 1st ( D/F/Bb) 8th chord, all played by tpts. Horns play it as Gb/Cb/Eb to Eb/Ab/C, F/Bb/D. the strings respond with pizz notes. In Bar 71 ( 3:35) top tpt I line plays rinf Db 8th to staccato C-C 16ths to Ab-G 8ths to F rinf quarter ( followed by an 8th rest) to Ab-Bb 16ths to ( Bar 72) rinf Cb 8th to Bb-Bb staccato 16ths to rinf Gb-Fb 8ths to Eb quarter. etc. In Bar 74, the open horns are flutter fff while the tpts play Lines 1 & 2 Eb 16ths to ( Bar 74) Eb-Db-Bb triplet value 16ths to Eb flutter tongue 8th tied to quarter note to 16th to the Gb 16th sforzando.
R21/2-22/1 {Commodus Dies} 3/4 time. Similar to the "strange & weird" Bar 63 of the previous cue but muted vlns are also playing harmonics, viole are trill, VC are bowed tre pont. Vibes are trem "no motor." Tpts are flutter with "stuffy mutes." Clarinets and bassoons are trill, while flutes are flutter-tongued. In Bar 2, horns sound pp on the the B/C# notes. Horns I & II play it with brass mutes, while horns III & IV with wood mutes, and V & VI are stopped. In Bar 5, the hammond organ plays on "weird stops" on Lines 2 & 3 Eb half to dotted C quarter to G 8th, etc. Alto flute/cl I/bass cl/harpsichord also play the phrase. Timp is rolled pp on Eb whole note. Vibes ( "with motor") play rising to falling glissandi of Eb-E-F-G-Ab-Bb-C-D. Harp I is bisbigliando between Line 3 Eb whole note to Fb; harp II plays it Line 2. Vlns II is bowed trem Lines 2 & 3 Eb whole note. Viole ( treble clef) is fingered trem between Eb-Fb. By Bar 27 ( in the key sig if A maj/F# min) the fall motif is played ff weightily by the Hammond Organ, woodwind, tpts, horns, pianos, while play "molto espr" alternating downbow/upbow 16th notes F#-C#-A-C#-G#-B, etc.
My notes may not be completed at this point, but I am sure that 22 reels of Tiomkin music is enough! I have researched other Tiomkin scores("Old Man & The Sea" "War Wagon" "Guns of Navarone" "Lost Horizon" and parts of others, so I may add another cue rundown of a Tiomkin score soon!
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Completed Tuesday, March 20, 10:20 am, 2001 PST(first day of Spring)
