Red Sonja (Morricone, 1985)

     Ennio Morricone's style includes not only spaghetti westerns, crime dramas and euro-thrillers, but sword and sorcery epics as well, as heard in 1985's "Red Sonja".  This film might as well have been titled "Conan 3: The Coming of Red Sonja", as it closely followed on the heels of 1982's "Conan the Barbarian" and 1984's "Conan the Destroyer" (both scored by Basil Poledouris).  The production again features Schwarzenegger's Conan (named "Kalidor" here) as a sidekick prince, and is directed by Richard Fleischer (director of "Conan the Destroyer" and son of famed animator Max Fleischer).

     In this film, Kalidor (actually Conan under a different name) encounters a dying Varna, a priestess sister of Sonja's.  He soon finds Sonja (having just completed her training) and they proceed on a mission to stop the evil Queen Gedren from unleashing a powerful magic talisman in the world.  Along the way they meet the child-king Tarn and his bodyguard, and the foursome battle Gedren's forces in her castle in a final earth-shaking battle.

     Morricone developed 5 major themes for this film, each of which get developed to varying degrees in each of their appearances:

• Vision theme: ethereal, mystical melody on muted brass.
• Respect theme: noble, ends with a melody somewhat reminiscent of Poledouris' Conan theme.
• Kalidor theme: martial, clipped trumpet theme.
• Talisman theme: mystical theme, somewhat liturgical.
• Battle theme: action figures with brass and choral chant ("Sonja").  Like Poledouris' Conan battle material, this theme is somewhat derived from the classical "Dies Irae".

     The score was initially released in various forms as a two-suite package (essentially adjacent cues in two groups), but was later separated and and re-sequenced chronologically on a Perseverance Records release.  The rundown below is based on the Perseverance release.  Despite the film's failure at the box office, the score has some rousing and fun moments, and the the scenery has some glorious visuals (as seen in the snapshots here, click to enlarge).

Trk	Dur	Title	Film Sequence
1	1:26	Prologue	A ghostly vision visits a dissolute Sonja and reviews (through flashbacks) the terrible deeds Gedren and her men inflicted on Sonja and her family.  Sonja is gifted with power by the ghost.  Main Title. Vision theme in tremolo strings/slow brass theme, joined by timpani/wordless choir, sweeping strings/choir/harp.
2	2:23	Main Title	Kalidor rides his horse under clear skies and through an open landscape (under opening credits). Rising vibraphone/choir leads to martial Kalidor trumpet theme over string rhythm, Kalidor theme repeated on strings, winds/brass, building and joined by choir, ending in timpani accent.
3	3:15	The Talisman	White-robed Hyrkanian priestesses prepare to destroy a dangerous green talisman. Talisman theme: harp/liturgical choir/held string textures with a few wind accents, followed by repeat of 17: "Entering The Castle" at 1:12.
4	1:40	Temple Raid	Queen Gedren's forces raid the temple and battle ensues. Battle theme: alarmed string figures/brass accents with dark brass fanfares over bass drum accents/rolls, wind ostinato leads to variation of "Dies Irae".
5	1:03	Touch It	Gedren has her men lift the talisman out of its pedestal.  After a man is disintegrated, she reveals that only women may touch it. Talisman theme on harp/slow strings/isolated wind accents.
6	1:49	Sonja And The Sword Master	Sonja defeats her opponent in an Asian sword contest.  Her master says she has nothing more to learn.  Sonja recoils at a man's embrace and her master says that not all men are evil.  Sonja is gifted with a sword. Vision theme in tremolo strings/brass, joined by timpani/wordless choir, sweeping strings/choir/harp.
7	2:00	Varna's Death	Kalidor leads Sonja to her dying Hyrkanian sister.  When she arrives, Varna tells her that the talisman has been stolen, and that she must destroy it before it's too late.  Varna dies. Kalidor theme in trumpet/strings, noble Respect theme in muted brass over harp/string/flute, theme on strings over wordless choir.
8	1:47	The Gate Of Brytag	At night, Sonja approaches the Gate Of Brytag.  She calls out Brytag, who invites her up.  Sonja approaches his "throne", surrounded by men. Also: Queen Gedren arrives at her castle with the talisman.  She places it in a room filled with candles. Low suspenseful string rhythms joined by brass ornaments and wind accents, leading to low wind ostinati/harp accents/wind chords, end wind flourish cadence.
9	1:14	Sonja Vs. Brytag	Sonja and Brytag duel.  Sonja cuts Brytag's shoulder and he threatens her.  The duel continues.  Sonja kills Brytag. Also: variation used when Sonja rescues Prince Tarn from brigands. String accents with high staccato wind rhythm, joined by muted brass ornaments, low winds interlude, string accents/wind rhythm resumes.
10	3:36	Fighting The Soldiers	Varna is shot by Queen Gedren's men as she escapes the temple. Also: Brytag's angry army approaches Sonja from all sides, but Kalidor comes to her aid.  Battle ensues.  Kalidor engages the soldiers to allow Sonja to escape on her horse. Also: Kalidor fights Queen Gedren's army in the castle dining hall. Battle theme with choir adding "Sonja" chant over alarmed string figures/brass accents with dark brass fanfares over bass drum accents/rolls, vocal chants and wind ostinato joined by brass/choir variation of "Dies Irae", recaps twice with developed chants, ending in fateful brass figures/fanfares, more accented "Son-ja" chants.
11	2:02	The Chamber Of Lights	(unused) Queen Gedren places the talisman in a room filled with candles. Talisman theme developed as soft wordless choir layers/muted brass accents, building with added winds/choir.
12	0:46	Sorcery	When conjuring a helpful vision, Queen  Gedren's wizard accidentally conjures up a naked dancer. Rhythmic harp/recorder dance theme.
13	1:33	Sonja Teaches Tarn	A humbled Prince Tarn asks Sonja to teach him fighting skills.  After a quick lesson, they develop respect for one another. Respect theme in flute over held strings/harp arpeggios, developed in winds/strings.
14	2:07	Treasure In The Cavern	(unused) When Tarn tries to acquire a large pearl, he ends up awakening a robotic snake monster. Concerned wind/brass figures with strings, joined by trumpet/horns/ethereal strings, ending with a tense brass accent.
15	1:43	Sonja And Kalidor	Kalidor flirts with Sonja.  She tells them that they must battle before they can continue. Respect theme in muted brass over harp/strings, harp ostinati developed, theme on oboe/strings.
16	1:50	A Fair Fight	As their duel continues, they begin to slow down from fatigue, and eventually fall down exhausted. Heroic trumpet fanfares dialogue with Respect theme in oboe over romantic strings/harp, Respect theme in winds/strings, trumpet fanfare end cadence.
17	2:12	Entering The Castle	Sonja and Kalidor begin scaling Queen Gedren's castle defenses as the talisman causes earthquakes. Suspense accents in brass/strings/drums lead to brass/timpani accent rhythms in dialogue with trumpet fanfares and rising string accents, joined by low brass/high winds/string glissandi.
18	1:36	Sonja Defeats The Queen	Sonja and Queen Gedren begin their duel. Timpani roll leads to slow, fateful variation and development of Battle theme with choir ("Sonja")/strings/rhythmic brass fanfares/figures/accents.
19	3:42	End Credits	After escaping Queen Gedren's destroyed castle, Sonja and Kalidor have a playful duel before kissing.  End credits. Bass rhythm joined by soft winds/low strings leading to trumpet fanfares over Respect theme developed on flute/choir, then building on strings/choir/bass/drum rhythm, flute/harp interlude leads to Respect theme on flutes, winds/added violin rhythm/trumpet ornaments, ending in soft winds/choir.

     "Red Sonja" was originally available only as two long tracks (as a "Symphonic Suite for Chorus and Orchestra"), but these can be taken apart based on this handy breakdown from an FSM forum post by DanBeck:

Suite 01

(7) Varna's Death [0'00-2'01]

(2) Main Title [2'01-4'24]

(19) End Credits [4'24-8'04]

(10) Fighting the Soldiers [8'05-11'38]

(6) Sonja and the Sword Master [11'39-13'39]

(1) Prologue [13'40-15'05]

(13) Sonja Teaches Tarn [15'05-16'40]

Suite 02

(12) Sorcery [0'00-0'45]

(4) Temple Raid [0'45-2'24]

(5) Touch It [2'25-3'28]

(16) A Fair Fight [3'29-5'18]

(14) Treasure in the Cavern [5'18-7'23]

(9) Sonja vs. Brytag [7'24-8'38]

(8) The Gate of Brytag [8'38-10'24]

(3) The Talisman [10'25-11'32]

(17) Entering the Castle [11'32-13'40]

(11) The Chamber of Lights [13'41-15'29]

(15) Kalidor and Sonja [15'29-17'12]

(18) Sonja Defeats the Queen [17'12-18'48]

Links

Ennio Morricone Wiki
Red Sonja (Perseverance) iTunes Listing

Red Sonja (Perseverance) Amazon Listing

Movie Music UK Review
Filmtracks Review

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"

A Fistful of Dollars (Morricone, 1964)

     Largely considered the first important "spaghetti western" (and the first collaboration between composer Ennio Morricone and director Sergio Leone), this film (Italian: "Per un pugno di dollari") is also the first of 3 iconic films involving Clint Eastwood as an American gunslinger in a "fake" Western (an Italian production shot in Spain).

     In this first "Dollars Trilogy" film, Morricone is credited with a pseudonym ("Dan Savio"), and today doesn't think much of the score (or the film), but I think this soundtrack qualifies as the first of the quintessential spaghetti western scores.  The use of whistles, acoustic and electric guitars, recorders, whips, anvil, etc... all contributed to creating a fresh sound-world at the time.  The "Torture" cue also features what sounds like free improvisation, which Morricone explored in his free music combo "Gruppo di Improvvisazione Nuova Consonanza".

     There have been a few releases of the soundtrack to "A Fistful of Dollars" over the years, but, aside from a rare bootleg complete score, the best release is the 17 track GDM release, which is also on iTunes fortunately (link at bottom).  All of the major themes are present on this disc (and in fact the "Torture" cue kind of goes on too long for my tastes, considering that that is basically a form of sound design in my opinion).  An interesting interview with Morricone can be read here.

   

Trk	Title	Film Sequence	Themes
1	Main Title (2:58)	Title sequence, Joe rides into a small village in the middle of the wilderness (the Rojos' "small house").	Whistled main theme over guitar rhythm, then building with percussion/bells, chorus ("We can fight"), electric guitar, strings, brass etc, with a brief choral/violin interlude at 1:36 (later developed in "Ride").
2	Nearly Dead (Quasi Morto, 1:40)	A bandit (Chico) gives Joe a warning look to ignore the unsavory activities going on.  Joe catches the eye of an imprisoned woman, Marisol. (also used when the Baxter men shoot at Joe's mule).	Piano builds on guitar part of main title, violin/recorder/harmonica plays counter melody.
		Joe rides past a seemingly dead man on a horse with the sign "Adios Amigo" on his back. ("I've never seen a town as dead as this one.").  Later, a faster variation (unreleased) is used after Joe shoots the Baxter men. "My mistake.  Four coffins."	At 0:50, a more relaxed variation of the opening whistle/guitar texture returns, followed by a violin/cello answer.   The fast, descending recorder/piccolo figure at 0:54 is a kind of "Joe" signature figure
3	Suspense Music (Musica Sospesa. 1:02)	After Joe signs up with the Rojos, Chico shows him to his room.  Joe eavesdrops on the Rojos.	Atmospheric suspense texture, with notable elements being muffled electric guitar, piano clusters, harmonica, and variations of the "Joe" motif
4	Square Dance (1:36)	An army troop arrives escorting a stagecoach with something valuable inside (gold for a Gatling gun purchase).	Rustic, staccato strings supported by electric guitar/timpani/bongo downbeats, varying in intensity
5	Ramon (1:05)	After killing off the army troop, Ramon emerges from behind his Gatling gun.  He shoots a fleeing soldier with a shotgun. "Stagecoaches are an uncomfortable way to travel."	Sinister string chords with timpani/snare accents, joined by brass, guitar, a brief wind interlude, recap
6	Consuelo Baxter (1:18)	When Consuelo Baxter goes to her bedroom she is surprised by Joe, who begins to explain the Rojos' real intentions.	Eerie, sustained strings/harmonics, building to a climax, joined by brass, timpani
7	Double Games (Doppi Giochi, 1:41)	The Baxters and the Rojos are both tricked by Joe into riding out to the cemetery to intercept some soldiers (corpses) who could expose the Rojos' plan.	Title theme in a galloping arrangement with el. guitar melody and chorus ("We can win"), followed by the choral interlude, then transitioning to a new oboe/choir theme.
		Joe stays behind at the Rojos' compound and sneaks in.	At 0:57, title theme returns in a lively ac. guitar/recorder duet
8	For a Fistful of Dollars (Per Un Pugno Di Dollari, 1:26)	Joe announces to the Rojos that he's available for hire, and then goes to confront the Baxter men who shot at his mule ("Get three coffins ready.").  Also used when the Baxters prepare to go to the Rojos' dinner invitation, and during parts of the Baxters and the Rojos' prisoner exchange, and finally when Joe is beginning to relearn how to shoot his gun while hiding from Ramon.	Funeral march on strings/guitar with sad/noble theme on cor anglais (oboe), building and then joined by female choir
9	Exchange of the Prisoners (0:55)	Marisol and the Baxters' son pass each other on horseback.  Marisol's son, Jesus, runs out and they have a brief family reunion.  Also used when Joe's aim improves while practicing in a cave, and gets an idea with the metal sheet.	Slow military drums (snare/bass), building to trumpet/string accents, supported by choir
10	Ride (Cavalgata, 3:29)	After fooling the Rojos into thinking that he's passed out from drinking, Joe rides out to Ramon's small house in order to free Marisol.  A version is also used when Joe races back to his room after freeing Marisol.	Falling "Joe" motif leads to variation of main title choral interlude in a galloping rhythm, trumpets soon support the chorus.  After a pause at 1:12 comes a brief texture of building brass/choir/snare, then a return to the choral galloping, bells, trumpet, etc...
11	The Pursuit (L'Inseguimento, 2:25)	The Rojos hear gunshots and rush to the small house.  Meanwhile Joe kills the last of the Rojos at the small house and reunites Marisol with her family, freeing them all.  "Why do you do this for us?" "Why? Cause I knew someone like you once.  There was no one there to help."	Roiling suspense in snare, timpani, el. guitar, brass, building to a trumpet fanfare/cadence with string accents (0:51), then a return to the choral interlude motif at 1:02, and finally a lonely version of the funeral march theme at 1:28 on cor anglais/choir/strings
12	Torture (Tortura, 9:31)	Partially used when the Rojos beat Joe, trying to find out where he hid Marisol.  Later, Joe manages to escape by killing Chico and a guard with a huge rolling barrel. The remainder was used (to chilling effect) when the Baxters surrender and try to escape from their burning house, and the Rojos mercilessly shoot them all down in a massacre.  Joe briefly pauses his hidden coffin escape to witness the carnage.	Tam-tam textures lead to atonal piano/string clusters, sinister brass/snare, weird voices, etc…essentially avant-garde, atmospheric horror music, at different dynamic levels.  The "Joe" motif makes a weak reappearance at 2:19, 5:13 and 7:13, and at 3:19, 6:01, and 7:13 an electric bass line briefly appears as a kind of rhythmic motif.  I suspect all this was largely improvised music.  The cue ends with some insistent snare figures and moaning brass.
13	Search for the Escaped (Alla Ricerca Dell'Evaso, 1:22)	Joe crawls and hides as Ramon's men look for him.	Tense brass/wind accents over a hammered piano/snare rhythm, joined by male chorus (loose variation of choral interlude theme)
14	Without Pity (Senza Pieta, 2:08)	Joe asks Piripero the coffin builder to help him sneak out in a coffin.  Ramon's men set off an explosive at the Baxter house, thinking they are harboring Joe.	Slow, hesitant melody on strings.  At 1:31 the mood changes to an arrangement of the middle part of "The Pursuit" (a building trumpet/snare fanfare into the choral interlude motif)
15	The Reaction (La Reazione, 2:36)	Unused cue, probably for the sequence when Ramon shoots at Joe, but Joe keeps getting up (he is protected by the hidden metal shield) "You shoot to kill, you better hit the heart, Ramon.  Aim for the heart or you'll never stop me."	A harmonica intro leads to "showdown" music with tremolo violin, staccato piano/el. bass, snare, timpani, followed by several falling "Joe" figures, leading into the "Pursuit" fanfare cadence with harmonica.  From 0:58 the showdown/Joe motif/fanfare sequence more or less repeats with some variations.
16	For a Fistful of Dollars (repr) (1:49)	An explosion startles Ramon and his men.  Joe is revealed when the smoke clears ("Heard you wanted to see me.").  Ramon and four of his men move into position for a showdown.	Funeral march theme reprise on guitar/strings with melody in trumpet, joined by choir/snare in a middle section crescendo
17	Finale (1:09)	Joe gets on his horse and leaves town, as the camera pulls back to reveal the dead bodies of Ramon and his men, with Piripero measuring them for coffins.	Title theme guitar rhythm with "Joe" figures and whip cracks (?), quickly moving into the choral interlude;  el. guitar teases the main melody, which soon becomes whistling, all supported by male choir ("We can win"), etc...

Links
Ennio Morricone Wiki
A Fistful of Dollars iTunes Listing