SAHARA rundown

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Bill Wrobel	SAHARA rundown	Lead	[-]
Posts: 216 (09/03/09 23:59:24) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Tags : None I researched the full score and sketches of Rozsa's Sahara (aka Somewhere in Sahara) back in October 26, 2000 at Sony/Columbia Studios (actually, at that particular period, offsite near the studio). Unfortunately I did not have time to work on even half the cues, so I'll never do a rundown per se on my site. So I'll offer what I have here. Note that the cue numbers are not necessarily aligned with the Reel/Letter numbers, suggesting perhaps that Rozsa later changed his mind and decided to write music at particular locations after all. These unaligned cues were also at the end of the full score material after "The End." The scores are physically located in Boxes 12 and 304 (under "Somewhere in Sahara") and also Box # 301 (under "Sahara"). Here is the rundown of the cues: [Cue # 3757] "Title Music" Reel 1/A. 9 pages, 34 bars, full score orchestrated by Eugene Zador. Included are the three-stave sketch of Rozsa's, and also the piano-conductor score. Zador wrote in pencil on Carl Fischer No. 23 paper (20 staves). Production # 181. Duration is 1:24. Instrumentation: 2 flutes, oboe, 2 clarinets, bassoon, 2 horns, 3 Bb trumpets, 3 trombones, tuba, timp, cymbal, piano, harp, 6 violins I, 6 violins II, 4 violas, 4 celli,1/2 CB. The whole note tonality in Bar 4 (brass & piano) is the F# half-diminished 7^th (F#/A/C/E) as the strings and woodwinds play a run of two "6" 16^th figures and then two "7" 32^nd note figures. [Cue # 3809] "Tank Retreat" Reel 1/B. Con moto in 4/4 time, 10 pages, 37 bars. Duration is 1:26. Instrumentation: flute, oboe, clarinet, bassoon, 2 horns, 2 trumpets (initial trumpet I at the start of the cue is muted or sord ), 2 trombones, timp, piano, 4 violins I, 4 violins II, 2 violas, 2 celli, 1 CB. I believe the closing whole note tonality in Bar 37 is the B half-diminished 7^th (B/D/F/A). It appears Rozsa was fond of the half-dim 7ths as Herrmann was! [Cue # 3810] "Running Tank" Reel 1/C. Con moto in 4/4 time. 9 pages, 36 bars. Duration is 1:11. [Cue # 3811] "Tank Over Hill" Reel 2/Bx. 4 pages, 16 bars. Duration is 00:33. [Cue #3758] "Nostalgia" Reel 2/A. Moderato in C time, 12 bars. Duration is :45. Starts as Bates says, "Why?" :04= "But we got a big-" Ends as Gunn snatches canteen. Instrumentation: 2 clarinets, harp, strings. In the grace bar, clarinet I plays mp dolce Line 1 A [written B] dotted 8^th to Bb [written Line 2 C natural] 16^th legato to (Bar 1) C dotted 8^th to D 16^th to C down to A quarter notes to A dotted 8^th to Bb 16^th. The harp in Bar 1 is arpeggiando (vertical wavy line rolled chord) on Great octave F?small octave C/A/Line 1 C/A half notes to Great octave Bb/small octave F/Bb/Line 1 D/F half notes (repeated next bar). Violins I play p Line 1 A down to F half notes (repeated next bar) while violins II play G to F quarter notes to D half note. Violas play small octave A half note to F dotted 8^th to E 16^th to D quarter note (repeated next bar). VC play Great octave F/small octave C double-stopped half notes to Great octave Bb half note. CB plucks pizzicato small octave F quarter note (followed by a quarter rest) down to Great octave Bb quarter note (followed by a quarter rest). So we have the F major (F/A/C) tonality to Bb major (Bb/D/F) tonality in Bar 1. [Cue # 3759] "Tambul & Giuseppe" Reel 2/B. 29 bars. Duration is 1:11. Spotting example in the piano-conductor score: "That's what I'm trying" ( :07). Instrumentation: piccolo, flute, oboe, 2 clarinets, bassoon, 2 horns, trumpet, 2 Pos, timp, celeste, harp, full strings. Rozsa initially gives perfect 4^th dyads of E/A (celli) and perfect 5^th (A/E) but the A is highlighted by the solo horn, the celeste's "6" sextuplet 16^th note figures on three registers of A notes, etc. [Cue # 3760] "Compassione" Part I. Reel 2/C. Molto Modto in C time, 47 bars. Duration is 2:35. End reel. Spotting examples: 1:28 = Cut to Leroux.2:07 = "Uh-huh. They agree now." [Cue # 3761" "Compassione" Part II. Reel 3/A. 14 pages, 54 bars. Duration is 1:58. Spotting examples: "I'm sorry" - :08. Gunn pushes him = :38. Dissolve to plane - 2:37. [Cue # 3762] "Clarkson Falls Victim" Reel 3/B. Molto Modto in 4/4 time, 8 pages, 29 bars. Duration is 1:39. Spotting examples: "We didn't know" = :25. P/U Clarkson = :53. "Did you get him?" = :53. End on "What are you-" Instrumentation initially: clarinets, bassoon, 2 horns, trombone, piano, harp, strings. Horn I starts the cue (muted) mf marcato. The initial tonality is C# minor (C#/E/G#). CB play small octave C# whole note rinforzando-marked, while celli play double-stopped Great octave C#/G# whole notes, and violas on small octave C#/E mp. The harp is arpeggiando on Great octave C#/G#/small octave C#/E/G#. Horns I, after an initial 8^th rest, plays small octave G# [written Line 1 D#] 8^th to A# [written E#] dotted quarter note to B to C# [written F#-G#] 16ths to D# 8^th to C#-D# 16ths to (Bar 2) small octave G#/A# dissonant whole notes mf. The sord trombonre in Bar 3 plays a similar pattern, joining two horns. [Cue # 3763] "Clarkson's Death" Con moto in 4/4 time, 16 pages, 63 bars. Duration is 2:47. Spotting examples: "After there" = :00. "Hello, Cathy" = 1:56. Dies = 2:13. "He did it" = 2:44. Out of radio voice. Zador did this one. [Cue # 3764] "Desert Storm" Reel 4/B. Adagio in C time, 14 bars. Duration is :50. "Cut to int. fort." Ends at "Diss Morning Scene." Instrumentation: flute, vibe, celeste, harp, 2 solo violins, altri violins, violas, VC/CB. The vibe in Bar 1 sounds pp the devil's tritone of Line 1 Bb/Line 2 E (augmented 4^th), and so do the two solo violins harmonics Line 3 Bb/Line 4 E. Violas are sul pont. on small octave F/Bb/Line 1 Db whole notes. Violins II play Line 1 F/Bb whole notes, and violins I on Line 2 C#/E whole notes (curious Zador uses the enharmonic C# for Db). Etc. [Cue # 3765] "Search For Well" Part I. Reel 4/C. Con moto in C time, 14 pages, 54 bars. Duration is 2:21. Morning Scene. [Cue #3766] "Search For Well" Part II. Reel 5/A. Molto Modto in C time, 5 pages, 19 bars. Duration is :55. Spotting examples: "C.S. of Them Looking at Each Other"= :00. Tambul Reacts = :55. [Cue #3767] "Discovery of Well" Reel 5/B. 27 pages, 105 bars. Duration is 3:56. Opens I believe at "L.S. Opening of Well." Spotting examples: "For the German" = 3:24. "5 Gallon Can" = 3:30. Diss to Grave. [Cue # 3768] "Gunn's Preparation" Reel 5/D. Moderato in 4/4 time, 13 pages, 52 bars. Duration is 2:17. End "Signore." [Cue # 3769] "Interrupted Siesta" lento in C time, 6 pages, 41 bars. Duration is 2:39. Note: This cue was orchestrated by Sid Cutner. Music starts = "Stegman Looking Thru Glasses." Other spotting examples: "How Do You Spell?" = :06. "Sergeant, Something's-" = 2:39. [Cue # 3770] "Nazi Intruders" Reel 6/B. 11 pages, 88 bars. Duration is 3:01. Music starts = "Sergeant, something's headed this way." "German Gunner Shooting" = 2:44. Note: This cue was orchestrated by Sid Cutner. [Cue # ????] "Intro to Waco Leaves" Reel 6/C. 3/4 time, 6 bars. Note: This cue was orchestrated by Sid Cutner. [Cue #3771] "Waco Leaves" Modto in C time, 13 pages, 50 bars. Spotting examples: After "Beat it!" = :00. "Here's Five" = 1:09. Note: This cue was orchestrated by Zador. [Cue # ????] "Intro to Trapping the Nazis" 3 bars. Note: Orchestrated by Cutner. [Cue # 3772] "Trapping the Nazis" Reel 7/B. 23 pages, 92 bars. Duration is 3 minutes. "Cut to Jimmy & Gunn Laying Mines" = :00. end 3:000 as "Shooting Starts." Note: Orchestrated by Zador, [Cue # 3773] "Stegman's Death" Reel 8/A. Modto in 4/4 time, 7 pages, 28 bars. Duration is 1:10. Music starts as Stegman Falls. Out on dialog. Note: Orchestrated by Zador. [Cue # 3774] "Nazi Officer" Reel 8/B. Modto in 4/4 time, 5 pages, 40 bars. Duration is 1:34. After "Water For Guns" = :00. Out= "They're Getting." Note: This cue was orchestrated by Cutner. [Cue # 3775] "William's Death" Reel 8/C. Molto Adagio in 4/4 time, 2 pages, 14 bars. Duration is :42. End on explosion. Note: Orchestrated by Cutner. [Cue # 3776] "Tambul's Death" Reel 9/B. 23pages, 90 bars. Duration is 3:02. After "I'll Get Him." White Flag = 2:48. Note: Orchestrated by Zador. [Cue # 3777] "Waco Is Lost" Reel 9/C. 9 pages, 35 bars. Duration is 1:42.End as Doc and Gunn duck. [Cue # 3778] "Waco's Rescue" Reel 10/A. Allegro in 3/4 time, 16 pages, 61 bars. Duration is 2:21. Note: Orchestrated by Zador. [Cue # 3779] The End" 108 bars. Duration is 4:10. L.S. Germans' Coming Fwd. Note: Only the piano-conductor score was available when I researched. -Insert to 10/B (Bars 44-53_ Marching Prisoners. Bars 1-9. -New Ending to 7/A (Waco Leaves). 4 pages, 13 bars. Start 1:57.
A Lee Hern	BILL'S TEACHING A CLASS IN SANDY SCHOOL	#1	[-]
Posts: 5038 (09/04/09 00:18:06) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Yeoman work, and very welcome, Bill! Thanks!
Hank V		#2	[-]
Posts: 704 (09/04/09 01:22:55) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Wow, Bill has found us again. But Bill, if you can't put it on your site, what about a link from your Rozsa rundowns page to this forum topic.
thegoldenage3060	Rozsa's masterpiece under the desert sand ?	#3	[-]
Posts: 211 (09/04/09 02:05:33) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	I'm surprised by the amount of the musics, in this movie I dont know the reason some musics are somewhat hidden, and the absence of recordings helped this, fascinating score. I find similarities for the style in A TIME TO LOVE AND A TIME TO DIE and so on
William D McCrum		#4	[-]
Posts: 2181 (09/04/09 03:15:34) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Good info, Bill.
thegoldenage3060	The importance of beig Hungarian	#5	[-]
Posts: 216 (09/04/09 05:00:56) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Rozsa was destined for success, thanks to its brilliant greatness. Him also understood this when he found the horseshoe. Surely the Korda's Brothers are very important for him, giving way to compose the first masterpieces, and open the doors of Hollywood. Korda's Brothers saw the talent of him but there is also a particulary important, fate or destiny, the same provenance Hungarian, which increased the symphaty in 'help a fellow. And it's fun that Alexander asks to Rozsa "are you Hungarian" ? in Hungarian, to have total certainty. Of course if Rozsa with his first salary speaks suddenly a good English, in this case was even better for him
thegoldenage3060	raise the volume ?	#6	[-]
Posts: 224 (09/04/09 09:46:39) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	it's inevitable when the Sahara's music start must raise the volume the kind of music we have a duty, but there is the risk of splitting the cases and some glass www.youtube.com/watch?v=J4DRCqBafEE
Bill Wrobel	Free Offer	#7	[-]
Posts: 217 (09/04/09 12:20:09) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Hank: Instead of a link, when I have my next blog (#41) in autumn, I'll simply cut & paste the post. I routinely do that in many of my Talking Herrmann posts since not everyone visits these forums! I would do more work on Rozsa if the full scores were available. Unfortunately most of them (of course the MGM scores) were dumped in a landfill in southern California. Luckily the Warner Bros and Columbia scores still exist (and some others from other studios), and various full cues from MGM (including King of Kings and a few from El Cid available for research at USC). Fortunately I had the opportunity (thanks to Leith Adams) to research Time After Time and Green Berets before all the post 1966 W/B physical scores were transported to Kansas somewhere for deep ground cold storage. If a reader (especially someone who can read music) is interested, I can mail representative pages of my personal hand-copies of Sahara to him or her for research/study purposes. They are double-sided 11 x 14 sheets, so even if I send overseas, I can manage to fold about three sheets perhaps (six pages) of score with the current 98 cents stamp for half-oz overseas, including the Main Title, "Search for Well," etc. Just go to my Film Score Rundowns site at the bottom and click on my Contact email, and then provide your mailing address (snail mail). As I speak, Sarah is updating the site with my expanded The Black Hole score by John Barry (I'm still looking for Barry's MOONRAKER written score if anyone has clues to its exact whereabouts!), and Markus Metzler's synth performance of the complete cue XXXI from Night Digger (aka Road Builder) MP3 audio file. I may have her update the "Pastorale/The Bluff" MP3 to make it complete (not the formerly partial file). filmscorerundowns@fastmail.fm
Bill Wrobel	Updated Site	#8	[-]
Posts: 218 (09/04/09 13:59:00) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Yes, indeed. Sarah has completed most of the update on my site. I just posted Talking Herrmann about it: http://herrmann.uib.no/ta...thGeneral&topic=3292 For Herrmann fans on this Rozsa site, you will enjoy listening to the complete Cue XXXI from NIGHT DIGGER (formerly unheard) here performed by Markus Metzler on his synth. So, in a sense, this is a world premiere event!
Bill Wrobel	"Title Music" image	#9	[-]
Posts: 226 (10/24/09 23:07:06) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Below is my own personal research hand-copy of a small portion of the "Title Music" from Sahara meant for your study and appreciation. I researched the score nine years ago this month at Sony/Columbia Studios.At Bar 23 this Main title is then marked as "Foreward" at the :57 point with the tempo-marking of quasi marcia in the key signature of four sharps (E major statement in this case). It is not one of my favorite movies by any means, and I rarely ever place the dvd into my player(!) but the film has two things definitely going for it in its favor: Bogart and Rozsa. http://img200.imageshack.us/img200/659/img0004be.jpg http://img12.imageshack.us/img12/1015/img0005dl.jpg
A Lee Hern	'SAHARA': SANDS AND SANDSABILITY	#10	[-]
Posts: 5096 (10/25/09 02:39:50) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	You should take another look at it sometime; it's a wonderful film, rugged and thoughtful, and filled with exactly the kind of anti-Fascist humanism that got its writer, John Howard Lawson, unjustly pulled in front of the House Un-American Activities Committee only four years later (Lawson became one of the "Hollywood Ten," eight screenwriters, a director and a producer who were ultimately sent to prison on charges of contempt of Congress). It was reportedly one of Bogart's personal favorites of all his movies. Add to its strengths the performances of Rex Ingraham, J. Carroll Naish, Bruce Bennett and Lloyd Bridges, and the sturdy direction of Zoltan Korda, and you have a minor classic so very typical of wartime propaganda, but one that also rises above most others. Last Edited By: A Lee Hern 10/25/09 23:50:44. Edited 1 times.
thegoldenage3060		#11	[-]
Posts: 359 (10/25/09 05:06:41) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	yes Avie here Rozsa, Bogart and Korda are fantastic. The movie is compelling, fascinatig with a final incredible. Also this is a Korda's fable, the movie is intelligent with many human aspects very deep, there is the propaganda, reflections about the drawbacks of the war, but also Korda shows that for win the war is more important the intelligent of few people respect the strength of an army.
Bill Wrobel		#12	[-]
Posts: 233 (10/25/09 20:11:28) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	The image below is my research hand-copy of the first several bars of the "Search for Well" cue Part I from Sahara. http://img98.imageshack.us/img98/3610/img0004k.jpg
Bill Wrobel	"Nostalgia"	#13	[-]
Posts: 252 (11/01/09 20:11:03) Reply Quote More My Recent Posts Message Me Connection Blocking Invite Ignore User's Posts	Below is my personal research hand-copy of the first eight bars of the "Nostalgia" cue from Sahara. I do not have the dvd location at the moment but it is notated that it starts as Bates says, "Why?" and ends as Gunn snatches the canteen. It shows a small arrangement of reduced strings, two clarinets, and a harp. The initial tonalities appear to be F maj/9th (F/A/C/G) to Bb maj (BB/D/F) in Bar 1. In Bar 7 we have the D min 7th (D/F/A/C) as a solo violin starts to play a mild passage. http://img688.imageshack.us/img688/117/img0010f.jpg

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