The Black Hole (John Barry, 1979)

  

The Black Hole - John Barry (1979)
1	Overture
2	Main Title
3	The Door Opens (Shuttled to Bridge)
4	Zero Gravity (Cygnus Flyover, Caught by BH Pull, Vincent Repair 2:31, Kate's ESP 3:33, Escape 4:34)
5	Six Robots (Robot Funeral Procession, Empty Crew Quarters, Coffin Jettison)
6	Durant is Dead (Cygnus Changes Course, Kate Prisoner, Cygnus Launch 1:50)
7	Start the Countdown (Truth Learned, Plan to Escape, Durant Wants to Stay, ESP 1:48, Cyborg Face 3:23)
8	Laser (Saving Kate from Cyborg Factory, Laser Battle Back to Palomino 1:41)
9	Into the Hole (Probe Goes Into BH, Hellish Visions 0:35, Heavenly Gates 3:03, Emergence 4:08)
10	End Title
11	Suite

 

The Black Hole - John Barry (1979/Intrada 2011)
1	Overture
2	Main Title
3	That's It (Viewing the BH on the Bridge, Ship Spotted)
4	Closer Look (Decision, Bucking Gravity, Cygnus Spotted)
5	Zero Gravity (Cygnus Flyover, Caught by BH Pull, Vincent Repair, Kate's ESP, Escape)
6	Cygnus Floating (Looking for Landing on Cygnus, Lights On, People Onboard?)
7	The Door Opens (Disarmed, Shuttled to Bridge)
8	Pretty Busy (Led Thru Ship By Maximillian)
9	Six Robots (Robot Funeral Procession, Empty Crew Quarters, Coffin Jettison)
10	Can You Speak? (No Response From Robot, Limp)
11	Poor Creatures (Cyborg Factory, Guard Battle, Hiding Evidence)
12	Ready to Embark (Reinhardt Speech about Immortality)
13	Start the Countdown (Truth Learned, Plan to Escape, Durant Wants to Stay, ESP, Cyborg Face)
14	Durant is Dead (Cygnus Changes Course, Kate Prisoner, Cygnus Launch)
15	Laser (Saving Kate from Cyborg Factory)
16	Kate's O.K. (Sneak Back to Palomino, Laser Fight)
17	Hot and Heavy (Pinned Down, Harry Tries To Escape, is Destroyed
18	Meteorites (Battle in Windy Greenhouse)
19	Raging Inferno (Cygnus Bridge Damage, Reinhardt Trapped but No Help)
20	Hotter and Heavier (Bob Showdown w Maximillian, Climb to the Probe)
21	Bob and V.I.N.C.E.N.T. (Farewell)
22	Into the Hole (Probe Goes Into BH, Hellish Visions, Heavenly Gates, Emergence)
23	End Title
24	In, Through... And Beyond! (Electronic Tracks Remix)

  

The Little Mermaid, ie Malá morská víla (Liska, 1976)

     Zdenek Liska had a notable filmography with the avant-garde stop-motion film-maker Jan Švankmajer, but he also wrote a delightful score to Karel Kachyna's Czech adaptation of Han Christian Anderson's "Malá morská víla"- i.e. "The Little Mermaid".

     As in the original story, a Mermaid encounters a human Prince while visiting the surface world.  She rescues him from death, but when he wakes up, he mistakes a newly-arrived human girl for his savior.  Later, in order to be with the Prince, the Mermaid visits a Sea Witch and sacrifices her aquatic form (and voice).  All goes well until the Prince marries the wrong girl.  In the end, the Mermaid tragically chooses to die rather than harm the Prince.

     Liska uses a variety of instruments in the score including some unusual synthesizer (Moog?) textures, treated with reverb to create an "underwater" flavor.  The Sea King's celebrations are accompanied by on-screen musicians who play conch shells, and these are presented in the score with flutes and hand percussion.  The songs sung by the Mermaid are enchanting, but also sophisticated, using some exotic melodic ideas.  Several themes and textures include:

• Pendant theme: Vibrating organ drone with swelling textures.
• Mermaid theme: A childlike song which includes some ethnic melodic twists.
• Sea theme: Sea King's royal theme, opens with 4 rising notes, heard in the Main Title.
• Announcement themes: Short fanfares used to announce the arrival of the various families and rulers of the sea.
• Sea Witch theme: Somewhat melancholy song which the Mermaid had overheard being sung by the Sea Witch.
• Siren theme: Used to lure sailors to their deaths, choral and ethereal, derived from Sea Witch theme.
• Prince theme: Opens with an accent followed by a 4-note figure (rising and then with a falling tail), somewhat fateful.

     The tracks below are listed in chronological film sequence. A few tracks include the Mermaid's vocal track, and these I put at the end (tracks 4, 11).

Trk	Dur	Title	Film Sequence/Themes
1	4:02	Malá Mořská Víla	0:00: The Sea King throws a sword at the screen.  Cut to waves crashing on rocks, distorted beach camera shot with main titles, credits over waves crashing on a beach. Pendant theme as organ drones, Sea theme (opening rising 4-note figure), choral glissandi/accents, theme, bridge, theme recap, coda. 3:02: As the camera gradually pans underwater, a voice-over explains that an aquatic race populates the seas.  The scene lands on 2 sisters at the bottom of the sea. Sea theme coda developed on subdued choir/winds/timpani, underwater pops/Pendant theme organ drones.
5	2:20	The Pendant / The Little Mermaid (Theme)	The Mermaid sings a song to her father the Sea King.  Meanwhile the King uses his magic ring to observe a ship on the surface crash and sink (version without vocal). Pendant theme organ drones, Mermaid theme in strings/bass/guitar/synth, high percussion leads to harpsichord, then brass/percussion/bass, recap percussion/harpsichord coda
3	2:46	Pearls From The Deep	0:00: The various peoples of the sea gather and exchange gifts/food.  The Sea King displays a ship's masthead and other things he has obtained from the humans.  They joke about the humans' misconceptions of underwater people.  The Sea Prince talks to the Mermaid. Sea theme in flute/hand percussion/synth/bass, crossfaded into electronic pulses/sliding ambient drones. 2:11: The Mermaid's sisters playfully throw pearls at her and the Sea Prince.  The king displays his collection of human weapons. Metallic percussion/ambient drones, Pendant theme organ drones/underwater pops.
7	3:11	The Sixth Sister	0:00: The Sea Prince tells the Mermaid about her father's magic viewing room. Pendant theme organ drones/electronic pulses/sliding ambient drone. 0:35: The Sea Prince departs.  All of the mer-people begin to ascend stairs towards the surface.  Announcement Theme 1 in flutes/bass, tic toc guitar/hand percussion/ambient sounds, joined by strings. 1:48: The Mermaid stays behind in order to explore her father's collection. Electronic pulses/sliding ambient drones, scuffling sounds. 2:41: The Mermaid enters the forbidden cave. Mysterious strings dialogue with slow tic toc guitar/perc., underwater pops.
8	1:38	Statue Of Salt 1	The Mermaid comes across a beautiful statue of a woman.  Her father appears and tells her that it is her mother. Mysterious strings/underwater pops, Pendant theme organ drones with pops developed into a rhythm, pops and ambient accents.
9	1:22	Aquatic Babička (Theme)	0:00: The Sea King's musicians play.  The Mermaid talks about her magic pendant, which glows. Announcement Theme 2 (Crown Prince of the Sunset Sea) in flutes/bass. 0:22: The Mermaid sings the song of the Sea Witch to her grandmother (no vocal). Sea Witch theme in harpsichord/strings/cymbals.  Theme developed with accents/swells/wind sounds.
6	1:19	The Song Of The Siren (Theme)	The (human) Prince hears the Mermaid's song and tells his ship's crew to pursue it. Siren theme in gliding choral textures, ambient textures/pops/glass clinking.
19	0:31	Ascension To Fireworks	The Sea King tells everyone to ascend to see the fireworks.  The Mermaid is amazed. Harpsichord/organ accents with tic toc guitar/hand perc./synth accents, ending in strings accent.
10	0:48	In Safe Hands	On the shore, the Mermaid cares for the rescued Prince and kisses him.  She sees a rooster.  The Princess and her friends approach on horseback. Prince theme in harpsichord in 4-note figure (rising-falling), with zigzag falling figure, mysterious string textures becoming darker.
22	0:23	Behind The Rock	The Princess finds the Prince lying on the shore, as the Mermaid hides behind a rock. Poignant strings derived from Mermaid sub-theme.
13	1:05	Statue Of Salt 2	After the Mermaid has disappeared, the Sea King visits the mother's statue, and then leaves.  The Mermaid returns from rescuing the Prince. Pendant theme organ drones/underwater popping developed into rhythm, joined by echoed ambient sounds/roaring.
12	2:04	The Black Sea	The Mermaid sits on ocean rocks and pines for the departed human Prince.  She daydreams about different natural locales on land. Prince theme in vibraphone/bass/hand perc., joined by flute, clarinet, developed with strings/perc./flute/clarinet/music box/synth.
2	1:28	Witches Firewall	The Mermaid carefully ascends a staircase to the Sea Witch's cave while evading flames. Underwater popping in rhythm, developed with high ambient accents/hissing.
14	1:31	Čarodějnice's Castle	0:00: She asks to become human, but the Witch demands to have her song (voice) in return. Sound effects/ambient textures, with howling/whirring sounds/accents. 1:05: The Sea Witch prepares a magic drink for the Mermaid. Pendant theme organ drone joins.
21	1:16	The Voice	The Mermaid sacrifices her voice so she can become human. Sound effects/ambient textures, underwater pops, water sounds, Pendant theme organ drones with halting solo vocal chant.
17	3:25	Games / Echoes	The Prince and his retinue playfully duel and flirt.  The Prince hears echoes from the Siren song, drawing him away from the party and towards the beach. Medieval dance rhythm with winds/lute/percussion intercut with Siren theme in gliding choral textures and clapping, ending with gong cadence.
15	1:10	The Song Of The Siren (Song)	The Prince leaves his retinue and is drawn to the beach.  He sees the Mermaid land on the sand, unconscious and transformed. Siren theme blended with Sea Witch song vocal, clapping, joined by bass flourishes, a gong leads to a scream.
16	0:10	Prince Of The Southern Empire	The Prince and the Mermaid (now human) emerge from the palace. Regal bells texture.
18	2:06	The Kiss	0:00: On the beach, the Prince tells the Mermaid that they will have a great future together.  She kisses him and walks towards the sea and finds a dagger from her father. Beach sounds/synth swells, strings/harpsichord rhythm, Mermaid theme fragments in strings/guitar/ambient textures leading to climax. 1:53: A ship is seen on the ocean, carrying the Mermaid with the Prince on an expedition. Creaking sounds.
23	5:57	Sunken Dagger / The Little Mermaid (Song)	0:00: After the Prince gives up the Mermaid for the Princess, the Sea King and his people are seen on the rocks. Accented and percussive variation of Sea theme. 0:52: The Mermaid is seen on the ship with her dagger among the sleeping crew.  Her father urges her to kill the Prince and Princess before it's too late.  She kisses the Prince instead.  Mermaid theme fragment in strings, becoming poignant with subtle harpsichord/piano ornaments, swells, male choir/low organ/cymbal, poignant strings becoming sweetened with choir/synth/bass 3:20: The sun rises and the Mermaid is seen drowned in the ocean. Joined by high winds/synth swells, Pendant theme organ drones. 4:01: The Prince looks for the Mermaid but only sees flowers on the ocean.  The flowers prevent the ship from being destroyed on the rocks. Mermaid theme with vocal/winds/bass/synth/strings, joined by trumpet ornaments/percussion, sweet strings, Pendant theme organ drones.
24	0:21	The Pendant	Final Pendant theme organ drones.
20	0:46	Bird In A Cage	Unused: Sound effects/ambient textures.
4	3:37	King Of The Ocean	The mermaid sings a song to her father the Sea King.  Meanwhile the King uses his magic ring to observe a ship on the surface crash and sink. Ambient textures, underwater popping, Mermaid theme in solo voice, joined by strings/synth, brass/percussion/bass, 2nd verse joined by trumpet ornaments, ending in solo voice/ambient sounds.
11	2:31	Aquatic Babička (Song)	0:00: Source music: the Sea King's musicians play.  The Mermaid talks about her magic pendant, which glows. Announcement Theme 2 (Crown Prince of the Sunset Sea) in flutes/bass. 0:16:The Mermaid sings the song of the Sea Witch to her grandmother. Ambient sounds, Sea Witch theme in strings/perc/harpsichord with vocal, wind sounds.

Links
Soundtrack at finderskeepersrecords.com
The Little Mermaid, ie Malá morská víla on YouTube (full film)
Zdenek Liska Wiki

Halloween (Carpenter, 1978)

New picture disc release of Halloween rerecording

     John Carpenter has written almost all of the music for his directed films, and the first "Halloween", his 3rd film, was no exception.  Originally released in an 11-track album consisting of partially alternate mixes (including the Main Title), it got an expanded release for the film's 20th anniversary, but with film dialogue and effects blended into the tracks.  In any case, the Halloween theme is one of Carpenter's most infectious, and comes from a bongo rhythm pattern that he had learned as a child from his father.  Though the film credits the "Bowling Green Philharmonic Orchestra", the entire score was performed by Carpenter on piano and synthesizer, with technical assistance from Dan Wyman.  Carpenter's first screening without music left the studio unimpressed (not scared), so his mission in scoring the film (inspired by Bernard Herrmann's Psycho and Ennio Morricone's work) was to make it actually scary.  The themes created for Halloween would reverberate in its future sequels as well.

     Carpenter does an amazing job of building varying layers of extreme atmosphere with 5 basic themes and not much else.  It was composed in 3 days and recorded in 2 weeks.  The film itself is obviously a low-budget affair (aren't all slashers?) and the simplistic music fits the tone and pacing very well.

• Halloween theme: Piano rhythm over percussive electronic pulses in 5/4 (or 10/8), joined by variations of a 3-note rising piano/synth motif (with a shadowing 2-note falling line), with a secondary "bridge" section based on a rising 4-note figure.
• Michael theme and fanfare: 3-note Michael fanfare in high synth, Michael theme in slow piano chord pulses under variations of 3-note rising-falling motif in piano, synth.
• Laurie theme: Modulating 2-note piano ostinato with 4-note rising-falling motif and a slow 2-note falling figure in 2 synths.
• Evil theme: slow, wide 4-note descending figure passed from piano to synths, often ending in high metallic hits.
• Stalking theme: 3-accent piano theme, joined by keening pulses and dissonant synth layers.

Trk	Dur	Title	Film Sequence/Themes
1	2:23	Halloween Theme	Main Title, credits, zoom in to lit Halloween pumpkin (also retracked many places, especially whenever Michael stalks from afar). Piano rhythm over percussive electronic pulses in 5/4, joined by variations of a 3-note rising piano/synth motif (with a shadowing 2-note falling line), then a repeated rising 4-note figure, then back to the 3-note motif in synth, a final 4-note figure statement (dissolves to a children's Halloween chant).
2	3:13	Halloween 1963	(with film dialogue) 0:00: POV of a stalker outside a house observing young lovers, then entering the house and picking up a carving knife. 3-note Michael fanfare in high synth, Michael theme in slow piano chord pulses under variations of 3-note rising-falling motif in piano, synth. 1:00: The boy leaves, and the grandfather clock strikes. Held synth texture, Michael fanfare. 2:00: Michael kills his sister Judith and then runs downstairs and outside. Low drone accent, Michael theme with added synth layers.
3	4:08	The Evil Is Gone	0:00: Dr. Loomis and a nurse arrives at the hospital in a rainstorm (film dialogue). 2:16: Inmates are seen wandering around.  Michael commandeers Loomis' car and escapes. 5/4 Halloween theme on piano/high pulse with rising 3-note motif, various electronic stingers.
4	2:50	Halloween 1978	Laurie walks down the street of a suburb.  She heads towards the Myewr house to drop off a key. Also: in class, Laurie, sees someone staring at her from across the street, and later, Laurie walks with her friends after encountering a mysterious car. Laurie theme: Modulating 2-note piano ostinato with 4-note rising-falling motif and a slow 2-note falling figure in 2 synths, repeated twice in lower registers with added oscillating synth tones, ending in low synth drone.
5	0:40	The Boogie Man Is Coming	After the school bell rings, kids taunt a boy (dialogue only).
6	1:42	The Shape	One of the boys bumps into the escaped Michael (the Shape), who stalks the school grounds on foot and in Loomis' car. Stinger leads to Halloween theme with developed held synth textures (filtered), ending in piano figure/pulses alone.
7	1:35	The Hedge	Laurie sees someone duck behind a hedge.  Her friend Annie taunts her but there is no one there. Michael theme in piano chord pulses/synth drone joined by 3-note rising-falling piano/falling synth line, descending and joined by lower textures, ending in higher register.
8	2:40	He Came Home	0:00: Loomis and a detective explore the cemetery (dialogue). 0:49: They finds that Judith's tombstone has been dug up and Loomis realizes Michael has returned home (dialogue). Michael piano pulses with synth, descending. 1:14: Michael stalks Laurie in his car. Stinger, Halloween theme in piano/synth with 3 and 4 note motifs, ending in electronic pulses.
9	0:38	Trick Or Treat	0:00: "Trick or Treat!" (dialogue). 0:12: Michael sees Laurie arrive at Tommy's house, as Tommy's parents depart. Michael theme in piano pulses/3-note piano/synth figure.
10	1:44	The Haunted House	Loomis arrives at the old Myer house.  He and the detective discover a dead dog. Evil theme: slow, wide 4-note descending figure passed from piano to synths, joined by oscillating synth line. A man wouldn’t do that. This isn't a man.
11	1:35	The Devil's Eyes	In Judith's old room, something flies in through the window.  They discuss Loomis' history with Michael.  Loomis decides to wait for him to return (dialogue). Evil theme in piano/synth, ending in high metallic hits.
12	1:27	The Boogie Man Is Outside	Tommy interrupts Laurie's phone call with Annie to tell her that he sees the Boogeyman outside (dialogue).  She looks but sees nothing.  Meanwhile Michael approaches Annie's window.  He watches Annie change. Michael theme in piano pulses/3-note figure, descending and joined by lower textures, held synth texture/piano pulses.
13	1:34	Damn You For Letting Him Go!	0:00: Loomis teases kids near the Loomis house.  He talks with the detective about Michael (dialogue).
14	0:33	Empty Street	Lynda and a boy make out in Annie's living room as Michael watches from the other room. Michael theme (falling piano pulses/3-note figure).
15	2:22	See Anything You Like?	0:00: Lynda and a boy get intimate in Annie's upstairs room (stinger, dialogue). 0:26: Later, the boy is killed by Michael in the kitchen. Noisy synth chord stingers. 0:52: He then proceeds to the bedroom under a sheet (dialogue). 1:36: Lynda calls Laurie, but Michael begins strangling her (dialogue). Stalking theme in low rhythmic piano accents/high electronic pulses.
16	2:52	Lock The Door	(alternate) Laurie, concerned, tries calling her back but no one answers. Evil theme on piano/synth, intercut with high metallic hits and modulating downwards, ending with added oscillating synth.
17	0:55	He's Here	(unused) Loomis finds the car which Michael stole sitting in the neighborhood. Halloween theme with piano/pulses only.
18	2:50	Lights Out	Outside, Laurie notices that the lights are out in Annie's house.  She rings the doorbell but no one answers.  She enters the house. Laurie theme in piano/synth, repeated lower with additional oscillating synth layers (reprise of Halloween 1978).
19	1:18	Cut It Out	Laurie goes upstairs (dialogue, score). Evil theme.
20	1:09	Tombstone	Laurie sees Annie's body with Judith's tombstone next to it.  Michael's body swings into view, and Lynda's body turns up.  Michael stabs Laurie and she falls over the railing (with dialogue). Michael fanfare stinger, held synth tones, noise synth chords, Michael theme with fanfare/stinger.
21	1:33	The Shape Stalks Laurie	Michael comes down the stairs.  Laurie tries to escape but finds herself trapped.  She escapes and eventually makes her way back to Tommy's house and locks the door. Stalking piano theme joined by high keening pulses/held synth, developed with added lower textures.
22	0:33	Turn Around	The phone is dead and Laurie cowers.  Michael stabs at her but she stabs him back with a knitting needle. Michael theme in piano/synth.
23	2:09	Unlock The Door	Laurie grabs the knife and sees Michael collapsed.  She drops the knife.  Loomis walks the streets looking for Michael.  Laurie goes upstairs to check on the kids.  Michael appears behind her. Laurie theme and variations, ending in added oscillating synth. I killed him. You can't kill the Boogeyman.
24	3:04	The Hanger	The kids lock themselves in and Laurie looks for a hiding place, as Michael approaches.  Michael tries to break into the closet where Laurie is hiding.  Laurie uses a wire hanger to stab Michael.  She grabs the dropped knife and stabs him again.  Michael falls. Stalking piano theme, joined by keening pulses and dissonant synth layers, building with added layers/drones.
25	0:25	Call The Police	Laurie tells the kids to go outside (dialogue).
26	1:33	Last Assault	Michael sits up as the kids get Loomis' attention.  Michael sneaks up on Laurie and then tries to strangle her.  Laurie tears off Michael's mask, just before Loomis shoots Michael. Stalking theme in piano/keening pulses/synths.
27	0:32	Was It The Boogie Man?	Loomis shoots a few more times and Michael falls out the window (dialogue, stinger).
28	3:33	End Credits: Halloween Theme - Reprise	Loomis discovers Michael's fallen body has disappeared.  Images of several houses at night pass by in a collage.  End credits. Halloween theme alt. mix with 3 and 4-note rising motifs.

Original 1983 Release

Trk	Dur	Title	Film Sequence/Themes
1	2:55	Halloween Theme - Main Title	Halloween theme alt. "beat" mix with added low downbeat pulse, extended with added synth swells/drones.
2	2:05	Laurie's Theme	0:00: (Halloween 1978 alt mix): Laurie theme. 1:05: The Haunted House (part 1): Evil theme.
3	1:42	Shape Escapes	The Evil Is Gone: Inmates are seen wandering around.  Michael commandeers Loomis' car and escapes. Halloween theme beat mix with added low downbeat pulse, stingers, 3-note motif.
4	5:35	Meyers' House	0:00: Lock the Door: Laurie, concerned, tries calling Lynda back but no one answers: Evil theme/metallic hits. 2:55: Unlock the Door (edit): Michael theme. 3:26: Halloween theme beat mix, noise synth stinger. 3:50: Cut it Out (edit): Evil theme. 4:16: Noise stinger, Halloween theme beat mix with 3 and 4-note motifs.
5	3:11	Michael Kills Judith	Halloween 1963 (alternate): 0:00: POV of a stalker outside a house observing young lovers, then entering the house and picking up a carving knife. 3-note Michael fanfare in high synth, Michael theme in slow piano chord pulses under variations of 3-note rising-falling motif in piano, synth. 1:00: The boy leaves, and the grandfather clock strikes.  Michael stabs his sister. Held synth texture, synth stinger, Michael theme, held synths. 2:39: After killing Judith, Michael goes outside. Stinger, Michael theme.
6	3:31	Loomis And Shape's Car	Halloween Theme alt beat mix 2 (extended The Evil Is Gone?: Inmates are seen wandering around.  Michael commandeers Loomis' car and escapes).
7	3:33	"The Haunted House"	0:00: Lights Out: Outside, Laurie notices that the lights are out in Annie's house.  She rings the doorbell but no one answers.  She enters the house. Laurie theme in piano/synth, low drone. 2:58: Turn Around: The phone is dead and Laurie cowers.  Michael stabs at her but she stabs him back with a knitting needle. Michael theme in piano/synth.
8	1:35	The Shape Lurks	The Shape Stalks Laurie: Michael comes down the stairs.  Laurie tries to escape but finds herself trapped.  She escapes and eventually makes her way back to Tommy's house and locks the door. Stalking piano theme joined by high keening pulses/held synth, developed with added lower textures.
9	3:02	Laurie Knows	0:00: Unlock The Door: Laurie grabs the knife and sees Michael collapsed.  She drops the knife.  Loomis walks the streets looking for Michael.  Laurie goes upstairs to check on the kids.  Michael appears behind her. Laurie theme and variations, ending in added oscillating synth. 2:08: Halloween Theme beat mix
10	3:26	Better Check The Kids	0:00: The Boogie Man Is Outside: Laurie looks outside for the "boogieman" but sees nothing.  Meanwhile Michael approaches Annie's window.  He watches Annie change. Michael theme in piano pulses/3-note figure, descending and joined by lower textures, held synth texture/piano pulses. 1:38: Cut It Out: Laurie goes upstairs looking for her friends. Evil theme, descending.
11	3:09	The Shape Stalks	The Hanger: The kids lock themselves in and Laurie looks for a hiding place, as Michael approaches.  Michael tries to break into the closet where Laurie is hiding.  Laurie uses a wire hanger to stab Michael.  She grabs the dropped knife and stabs him again.  Michael falls. Stalking piano accents theme, joined by keening pulses and dissonant synth layers, building with added layers/drones.

Links
John Carpenter Site
John Carpenter Wiki Entry
New picture disc single release of Halloween (Carpenter rerecording)
20th Anniversary CD on Amazon

The Cat O' Nine Tails (Morricone, 1971)

     Ennio Morricone's second collaboration with director Dario Argento resulted in his score for 1971's "The Cat O' Nine Tails" (Italian: "Il gatto a nove code"), again conducted by Bruno Nicolai and featuring contributions from the siren-like vocals of Edda Dell'Orso.  This film is probably not quite as vivid or stylistic as 1970's "The Bird With the Crystal Plumage", but it still has a fascinating and fun score (the plot is like a very long episode of Columbo and frankly not really worth getting into).

     Morricone's technique of using abstract textures and free-floating themes continued from the previous Argento film, but this time he incorporated a tense, funky bass groove for most of its suspense scenes, lending it a somewhat more playful texture.  This concept of atonal music made "palatable" by blaxploitation grooves would also resurface a few years later in David Shire's 1974 score for The Taking of Pelham One Two Three).  John Zorn approached things from the other end of the telescope when, in his 1986 Morricone tribute album "The Gig Gundown", he took Morricone's "straight" themes and revisited them by placing free improvisation textures over thematic groove structures.

     In any case, the main groove theme for "Cat" is based on a 5-note figure, and this appears several times in different tempos and arrangements.  Some additional bass patterns also surface (having 6, 8 or 12 notes), but these usually only appear once, or were unused in the film.  The second track, "1970", has some very interesting elements (including a new atonal, twelve-tone-ish "Tension theme"), but was sadly unused in the film.

     Instrumentally, the textures for the second film feature more organ, electric guitar and various noises made from "abusing" the cello or piano.  The only track really featuring a "song" is the first track, and this "lullaby" was retracked several times for any scenes involving the young girl Lori.  There is much less of Edda Dell'Orso in this score (no lala's) , but instead one can find some male vocal shouting sounds.  This score has been released in a few forms but the most comprehensive is the 2006 GDM release, which includes every cue used in the film, as well as an interview with the director (in Italian).  The below table is based on the 2006 GDM Special Edition release of this score (GDM CD Club 7037).

Trk	Dur	Title	Music Elements, Film Sequence
1	2:39	Ninna Nanna In Blu (Title)	Theme song with wordless female voice, opening with acoustic guitar and flute, joined by harpsichord/cymbalom, developed on strings and piano, returning to main theme. Main title, panning over night time suburban streets.  Also partially used when Franco's niece Lori arrives with the morning paper with the article about the killing, when Franco introduces Lori to Giordani, when Anna and Giordani get intimate in his apartment, and when Lori is kidnapped by the killer.
2	8:39	1970	Unused: Rhythmic hi-hat and syncopated 12-note bass figure laced with a recurring 9-10-note syncopated Tension theme in piano, electric guitar, prepared/percussive cello, muted brass, wordless female voices, harpsichord, organ, developing through various dynamics.
3	2:20	Sottintesi (Innuendo)	High held textures with strummed ornaments and ambient friction sounds, joined by wordless female vocal tremolo, Tension theme in electric guitar, cascading piano, string clusters, swirling flutter-tongued flute, muted brass accents, piano accents and string clusters. With his niece asleep, Franco reflects on what he overheard while walking down the street.  Meanwhile a killer's POV shows the murder of a security guard and his entrance into a lab building.
4	2:57	Parabola Del Paradosso (Parable Of The Paradox)	0:00: Unused: Web-like texture of harpsichord/cymbalom, cello noise, celeste 0:43: Leisurely, clipped, syncopated 5-note bass and drum rhythm, wordless female vocal layers, cluster swells, harpsichord ostinati, friction/tremolo sounds. Bianca takes a taxi to visit her husband's car to look for the blackmail notes.  She finds the name of the killer and puts the secret into her necklace ornament.
5	3:21	Paranoia Prima	0:00: Flute theme over string cluster textures and bongo rolls, joined by isolated electric bass accents, piano ornaments. Bianca calls Franco and tells her she has found the proof of who the killer is.  She hears a strange sound and investigates but finds nothing.  The killer hides.  Bianca tells Franco that she's coming over.  After she hangs up she is attacked by the killer. 1:30: Unused: Soft piano accents with high oscillating organ tones, winding electric guitar over subdued metallic percussion textures, strummed figures/high tones.
6	1:30	Paranoia Seconda	8-note bass figure (2x4) over bongos blended with string clusters, flute ornaments, rhythmic strummed figures/high tones with celeste ornaments, col legno cello noises and a final vocal swell. Giordani pours out the (poisoned) milk for himself and Anna.  He gets a phone call from Franco warning him of danger.  He stops Anna from drinking the milk (also used when a shaken Franco reopens the vault for Giordani at the cemetery).
7	2:43	Dissociazione (Dissociation)	0:00: Soft piano accents, high organ, celeste, blended with cymbalom strums, winding alto flute ornaments, rhythmic cello accents, wordless vocal tremolo. Giordani opens Terzi's safe and finds out that Anna is adopted.  He reads Terzi's sordid diary entries about Anna. 1:40: Syncopated 5-note bass and drum rhythm, with piano/celeste accents, ambient textures. Franco and Giordani track down the taxi in which Lori was kidnapped.
8	3:01	Dissociazione Seconda	Unused: Blend of piano strings accents, string clusters, slow syncopated 12-note bass and drum rhythm, cello string noises, soft wind accents, Tension theme in piano, high tones, string noise clusters.
9	5:38	Passeggiata Notturna (Night Stroll, Film Version)	Syncopated 12-note bass and drum rhythm (briefly drops out in the middle) with blend of cello string noises, soft wind accents, Tension theme in piano, string clusters, winding flute figure, high organ tones, percussion/cymbalom, wordless vocal tremolo,  rhythmic cello accents, cello noises, soft wind accents, piano/cymbalom/celeste clusters. Franco and Giordani visit the cemetery to look for Bianca's necklace.  Giordani enters the vault and opens the coffin.  He gives the secret note to Franco but is suddenly locked inside.
10	2:32	Metafora Finale	Blend of string clusters, soft piano accents, high organ tones, strummed cymbalom/celeste accents, winding flute figures. Anna comes downstairs with her hand suspiciously wrapped in a bloody bandage.  Giordani interrogates her and suggests that she is the killer.
11	2:35	Placcaggio (The Tackle)	0:00: Lively version of syncopated 5-note bass and drum rhythm with added cello/cymbalom noises, distant muted trumpets and shouting. (End credits). 1:07: Leisurely 6-note bass figure with winding electric guitar, intercut by episodes of growls and cascading accents. As Giordani leaves the lab room, he notices that blood had dripped onto his shirt.  He returns and sees a clue in the skylight.  He runs to the window and starts climbing the fire escape.  He chases the killer on the roof.
12	3:41	Passeggiata Notturna (Night Stroll, Alternate Version)	Unused: Alternate shorter take: syncopated 12-note bass and drum rhythm (briefly drops out in the middle) with blend of cello string noises, soft wind accents, Tension theme in piano, string  clusters, winding flute figure, high organ tones, percussion/cymbalom, wordless vocal tremolo,  rhythmic cello accents, cello noises (fades out).
13	2:34	Placcaggio (The Tackle, Alternate Version)	Unused: Alternate Version with no shouting in first section: lively version of syncopated 5-note bass and drum rhythm with added cello/cymbalom noises, distant muted brass, followed by leisurely 6-note bass/drum rhythm with winding electric guitar, intercut by episodes of growls and cascading accents.
14	12:32	Il Gatto A Nove Code (Cat O' Nine Tails)	Suite (film version excerpts): 0:00: Passeggiata Notturna with added electric guitar/clarinet 1:17: 2-note bass figure with restrained drums, guitar strums, piano/synth clusters, soft wind accents and cello noises. The killer explores the darkened lab by flashlight. 2:26: String/organ clusters with winding flute, soft piano/clarinet accents. Calabresi looks over his secret blackmail notes. 2:57: Rhythmic string accents/tremoli with piano/celeste ornaments. Calabresi tells his wife that he knows who the killer is. 3:21: Passeggiata Notturna with added electric guitar/clarinet 4:05: Parabola Del Paradosso: 5-note bass/drums with distorted electric guitar swells, string noises, piano/celeste ostinato, then with string/piano cluster accents. The photographer looks over photos he took of Calabresi's accident/murder.  He develops the photos, as the killer sneaks in to his room. 6:05: Piano string accents with guttural vocal gasping, vocal tremolo, string clusters, bass ornaments. The killer strangles the photographer and takes all of the photographic evidence. 7:12: 2-bar harpsichord theme with ensemble ornaments, vocal tremolo. Giordani enters the photographer's building as the killer sneaks out. 7:53: Suspenseful piano/celeste/string clusters/organ. Franco visits Calabresi's widow Bianca. 8:12: Winding electric guitar with cello noises, vocal wails. Bianco calls someone and says there's trouble. 8:39: String/piano/cymbalom tremoli/clusters. Bianca searches her husband's desk for something. 9:06: Paranoia Seconda: 8-note bass figure (2x4) over bongos blended with string clusters, distorted electric guitar swells. The killer poisons Giordani's milk, just before Giordani arrives at his apartment. 10:45: Placcaggio: syncopated 5-note bass and drum rhythm with celeste clusters, brief winding sax, plucked noises, string/harmonic tremoli, vocal noises/wails. Franco, Giordani and the police search the lab at night.
15	2:50	Ninna Nanna In Blu (# 2)	Unused: Theme song as an instrumental piano/organ ballad, moving to harpsichord and then celeste.
16	3:20	Placcaggio (The Tackle, Original Single Version)	Unused: Extended version of first part only: lively version of syncopated 5-note bass and drum rhythm with added cello/cymbalom noises, distant muted trumpet and shouting.
17	5:26	Il Gatto A Nove Code (Cat O' Nine Tails #2)	Suite (film version excerpts): 0:00: Paranoia Prima: Flute theme over string cluster textures and bongo rolls. 0:35: Piano cluster ornaments with cymbalom, joined by celeste/organ ostinato figure, female vocal tremolo. Lori is tied up at the lab and faces rats.  The killer threatens her with a knife, but when a car pulls in he leaves. 1:28: High oscillating organ/alto flute, strummed cymbalom/cello noises, muted trumpet. 2:26: Leisurely 5-note bass/drums rhythm with distorted electric guitar swells, string noises, piano/celeste ostinato. 3:15: Two layers of scraped metallic whistling/creaking sounds, rising. 4:37: Faster 5-note bass and drum rhythm with distorted electric guitar swells, string noises, piano string accents, distant vocals, building and then suddenly ending. The killer tries to escape from the police on the roof but is caught by Franco.
18	5:49	Dario Argento Speaks!	(In Italian: Interviewer – Claudio Fuiano)

Links
Ennio Morricone Wiki
The Cat O' Nine Tails GDM Discogs Listing 

The Bird with the Crystal Plumage (Morricone, 1970)

   Several years after pioneering the spaghetti western musical style, Morricone also trail-blazed music for Italian Giallo B-films (thrillers), using unusual instrumentation and employing improvisation as a structural device.  The first mature example of this is probably "The Bird with the Crystal Plumage" (Italian: L'uccello dalle piume di cristallo).

     For this film, director Dario Argento's first feature, Morricone developed two very different compositional tactics: a female lullaby ("la-la") theme song, and a semi-improvised, atonal "indeterminate" piece, which uses free-floating rhythms to create a sense of unpredictable tension.  The lullaby "Crystal Plumage theme" is first heard in the opening track, and is mainly used for flirtatious sleuthing scenes between Sam and his girlfriend Julia back at their apartment.  The improvisational tension theme is titled (appropriately enough) "Phrases Without Structure", and is used for all scenes featuring the killer's presence (POV stalking scenes, off-screen phone calls, gloved hands preparing knives, etc...).  Most likely, several versions were recorded and Morricone and the music editor used the material as library music to fit the dramatic contours of various scenes.

     "Fraseggio senza struttura" (Phrases Without Structure) is basically built on these gestures, or "phrases" (though not all are present in every version):

• Held organ and ringing chimes.
• 3-note ostinato (synth/vibraphone/celeste/piano/harpsichord), developing into cascading scales.
• Tension theme (atonal, nervous theme on piano/synth/harpsichord/clarinet/acoustic guitar), also developing into cascading scales.
• Female "la-la" chant, female and male sighing/moaning/whispers (female vocals provided by the always-delightful Edda Dell'Orso).
• Free jazz drums and muted trumpet.
• Sparse ornamentation from electric guitar swells, noirish sax, and ethnic percussion.
• Acoustic bass and guitar tremolo figures and accent rhythms.

     It's possible that the musicians were provided with partially-notated elements without rhythmic markings, and were then cued in and out by conductor Bruno Nicolai (that's my guess anyways).  In any case, the score for this film is strongly flavored by Edda Dell'Orso's haunting, wordless vocal performance, as well as the floating, improvisatory statements from the studio "jazz band".  On the album, tracks 2 and 4 are source music tracks, and these stand out in stark contrast (as "normal music") to the rest of the underscore.

Trk	Dur	Title	Music Elements/Film usage
1	4:10	Violenza inattesa (Unexpected Violence)	The "Crystal Plumage theme" is sung and developed in female and male "la-la" figures over an acoustic guitar-driven soft rock rhythm.  Chimes, bells and organ textures also first appear here, sometimes with harpsichord.  The first part (using female voices) is featured in the opening credits as a woman is photographed by a stalker.  The second half (featuring male vocals) is used in the ending credits.
2	3:19	"Non rimane piu nessuno"	Source music: samba in triplet rhythm with acoustic guitar/percussion/strings/synth, joined by various layers of vocals/metal percussion ornaments/electric twang guitar. Radio music when Garullo arrives at Sam's place.
3	5:02	Corsa sui tetti (Pursuit)	Jazz-rock fantasia featuring free jazz drums and muted trumpet, female "la-la"/sighing ornaments and synth/computer, all using elements of Phrases Without Structure, but played WITH Structure (ie - a rhythmically-tight episodic structure, with more unison ensemble presentations of the atonal Tension theme and with accented rhythmic cadences). Sam and Julia are chased by a car.  A man in a yellow jacket chases them through the streets and through a bus parking lot.  Sam eventually loses the assassin
4	0:48	"Se sei stonato"	Source music: piano polka rhythm with male vocals ("Se Sei Stonato" and "la-la's"). Background music for the union laborers meeting where Sam loses his assailant.
5	2:45	Svolta drammatica (Dramatic Turn)	Phrases Without Structure variation: opens with tremolo strings and vocal sighing, subdued and suspenseful, with accented cadences and brief unison episodes, no trumpet or 3-note ostinato motif. Sam enters a darkened room and stumbles around, not seeing the tied up Julia.  He finds out the killer is the insane Monica and pursues her.
6	4:18	Fraseggio senza struttura (Phrases Without Structure)	Phrases Without Structure (described above), opens with held organ and 3-note ostinato motif and builds from there, includes Tension theme developed in acoustic guitar/bass, sparse noir-ish sax, and cascading layers of vibraphone and synth, but no trumpet. This and its versions below are used for various suspense and stalking scenes.
7	3:10	La citta si risveglia (The City Awakens)	Slow suspense figure in electric bass/bells/drums with muted trumpet ornaments, soon leading to the 3-note motif and a subdued Phrases Without Structure variation with very restrained drums and no brass. After Ranieri falls to his death, Sam looks throughout the city for clues to where Julia disappeared to.  He walks up a staircase. (also Sam receives a threatening phone call).
8	1:25	L'uccello dalle piume di cristallo (The Bird with the Crystal Plumage)	Heartbeat/rubbing sounds (increasing in tempo) with choked female gasping. Unused, probably for the scene where the killer terrorizes the girl in her bedroom.
9	2:12	Silenzio nel caos (Silence In Chaos)	Phrases Without Structure variation: opens with organ, 3-note motif, vocal sighs, noir-ish sax and restrained drums, leading to cascading piano and female "lala" chants, building to a soft climax. Unused.
10	5:14	Piume di cristallo (Crystal Plumage)	Crystal Plumage full theme: bells (crotales) and metal percussion with organ tones and Crystal Plumage La-la female vocal theme, joined by electric guitar/bass/synth accents, La-la theme continues in male vocals with acoustic guitar rhythm, organ/crotales/female vocal theme resumes, male vocal arrangement with guitar resumes and develops. Unused.
11	2:29	Fraseggio senza struttura (#2)	Phrases Without Structure 2: opens with organ, 3-note motif, vocal sighs, noir-ish sax, then 4-note ostinato in acoustic guitar leads to high metallic triplet figures (no drums, trumpet).
12	1:42	Piume di cristallo (#2)	Crystal Plumage 2: short version. Unused.
13	2:22	Silenzio nel caos (#2)	Phrases Without Structure variation: version with ambient textures/tremolo figures/accents (synth/percussion/lala vocals, etc), joined by falling 5-note electric bass motif, ending in cascading texture (no drums or trumpet). Knives and photographs are prepared by someone wearing black gloves.  Later, Sam is followed at night and almost beheaded by a mysterious attacker.
14	4:10	Fraseggio senza struttura (#3)	Phrases Without Structure 3: opens with organ, layers of the 3-note motif moving rhythmically apart, includes marimba, lala/whispers, noir-ish sax, cascading piano, building 3-note motif textures (no trumpet or acoustic guitar).
15	3:58	Piume di cristallo (#3)	Crystal Plumage 3: version with solo female vocal (supported by acoustic guitar rhythm/chimes/organ, slightly developed). Unused.
16	2:24	Svolta drammatica (#2)	Phrases Without Structure variation: opens with female and male sighing (dialed out in final film), then accent leads to cascading piano and lala's, builds to an ending climax based on the 3-note figure (no trumpet or acoustic guitar). Monica traps Sam under the sculpture and terrorizes him.
17	4:51	Fraseggio senza struttura (#4)	Phrases Without Structure 4: version led by spare acoustic bass 4-note ostinato figure in high register, joined by various ornamental textures, tremolo accents, falling 5-note electric bass motif, and lala's, builds to an ending climax based on the 3-note figure (no trumpet or acoustic guitar). Sam creeps towards a decrepit house at night to meet a contact.  He enters and finds no one at home.  He finds a syringe, and then a dead man.
18	3:10	Piume di cristallo (#4)	Crystal Plumage 4: version with hesitant pauses. Used in scenes where Sam and his girlfriend Julia discuss the case at home.
19	4:18	Fraseggio senza struttura (#5)	Phrases Without Structure 5 (similar structure to track 6): opens with held organ and 3-note ostinato motif and builds from there into the usual phrases, has a somewhat roomier sound mix than the other versions (no trumpet).
20	2:10	Piume di cristallo (#5)	Crystal Plumage 5: version with rhythmic synth/organ/chimes, followed by male vocals over soft rock with tuned percussion ornaments/acoustic guitar. Sam in antique store sequence.

     In 1971, Morricone used a similar technique when scoring Argento's second film, "Cat O' Nine Tails".  In this film, Morricone incorporated clipped, syncopated bass grooves (with simple drum rhythms on brushes and hi-hat) to support newly-composed selections of rhythmically-floating "phrases" (atonal themes/motifs, ostinato patterns, ambient textures, etc...) using similarly unconventional instrumentation.  This concept of groove structures to support avant-garde thriller textures would continue into many more classic Morricone-scored Giallo films (such as in Massimo Dallamano's 1972 "What Have You Done With Solange?") and have a lasting influence on the genre itself. 

Links
Ennio Morricone Wiki
The Bird with the Crystal Plumage iTunes Listing 
Film Score Monthly Message Board Thread on "Crystal Plumage"