| Description |
| Description: |
This music comes from a scene that was cut from the film; measures 35-42 could have been retained (since they match up with what is happening on screen, according to Steiner's handwritten annotations), but ultimately it was not used |
| Music annotations: |
[m. 24] a tempo / keep going / p / pp / This should be almost like bar 3 etc. (1/2 tone down); [m. 30] pp; [m. 32] This is the last half of bar 7, orig. key; [m. 34] rall; [m. 35] Slower/ much fuller; [m. 37] poco accel / mf |
| Film annotations: |
[m. 29] The motor is heard; [m. 35] License plates; [m. 38] Muni and Leni enter |
| Orchestration annotations: |
[m. 24] fl / vibraph / piccolo; [m. 25] 2nd fl / cel; [m. 26] oboe; [m. 27] cel; [m. 28] vib, oboe / clar; [m. 29] 1st fl / cel / piccolo; [m. 30] clar to 1st harp / violas; [m. 31] 2nd fl / add cel / piccolo; [m. 32] vibra / 2nd fl / 2nd clar / piccolo; [m. 33] oboe / 2nd harp / horn / celli; [m. 34] 2 flts and celeste; [m. 35] viol + oboe cont / w.w. / violas + horns / celli + bassoons; [m. 36] violas, clar; [m. 37] viol; [m. 39] harp |
| Analysis: |
There are at least four separate bird calls that are layered on top of each other in complex ways; some bird motives are varied through inversion or augmentation; most of the melodic material is pentatonic and the key areas that are emphasized are often connected by chromatic mediants; this extended variant adds a passage of rising parallel minor triads |
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| Tags |
augmentation | birds | chromatic mediant | chromatic parallelism | cut from film | inversion | pastoral | pentatonic
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