A SCORE COMPLETE WITHOUT THEMES:

HENRY MANCINI AND THE FRENZY EXPERIENCE.

PATRICIA CLARE WHEELER-CONDON

A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY

GRADUATE PROGRAM IN MUSIC

YORK UNIVERSITY,
TORONTO, ONTARIO
APRIL, 2013

© Patricia Wheeler-Condon, 2013

 ABSTRACT

This dissertation examines the musical features of, and circumstances surrounding,

the film score composed in 1971 by Henry Mancini for director Alfred Hitchcock's
(

penultimate work, Frenzy. Mancini's music was rejected by Hitchcock, and replaced

with a markedly different work written by British composer Ron Goodwin.

A summation of characteristic traits emerging from Mancini's compositional style is

herewith considered, as recurring features found in his thematic writing - aspects of

melody, harmony, rhythm, timbre, and form-were most apparent to the non-musician

film directors who engaged his services. This summation also includes an examination

oft4e composer's dramatic underscore writing; an aspect of film music often

overlooked in its minutiae by viewers and filmmakers alike, and, in the case of

Mancini's Frenzy music, characteristic of his scores for Laslo Bene_dek's 1971

production, The Night Visitor, and Terrence Young's Wait Until Dark, from 1967.

Mancini's Frenzy cue sheets, holograph, and recording were supplied by the

composer's estate, allowing for an analysis which considers cue placement and length,

systems of pitch and rhythmic organisation, aspects of arrangement and orchestration,

and conducting and recording methods as practised by this composer. A comparison to

the Goodwin score, reproduced by way of transcription from the film, is undertaken in

order to explore aspects of filmic point-of-view as they play on the composer of its

accompanying music, and to attempt a rationalisation of .Hitchcock's displeasure with

Mancini's music.

IV
 Socio-cultural considerations pertaining to Mancini, Goodwin, and the three

composer's most favoured by the director for his American productions - John

Waxman, Dmitri Tiomkin and Bernard Herrmann - are included in a brief biographical

study of each man, as are the musicological characteristics found in the work they

undertook for Hitchcock; characteristics primarily of melodicism, and the subjection of

melody-based thematic material to extensive modification and repetition.

This work suggests that Mancini's admitted refusal, both in his 1987 autobiography

Did They Mention the Music? and in subsequent interviews, to construct melodic

themes as a unifying element within his score, opting instead to craft timbral unifiers

through orchestration, was at the heart of his artistic conflict with Hitchcock.

v
 TABLE OF CONTENTS

Introduction... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter One - The Composers and Their Directors ................................. 17

1. Henry Mancini. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2. Ron Goodwin ......................................................... 22
3. Franz Waxman ....................................................... 23
4. Dmitri Tiomkin ............................. ; ........................ 30
5. Bernard Herrmann .................................................... 35
6. Alfred Hitchcock. ................................................... 44
7. Blake Edwards ........................................................ 53

Chapter Two - The Trademarks ..................................................... 57

Chapter Three - Logistics of a Film Score, Ca. 1971..................... .. .. . ... 82

Chapter Four- Mancini's Frenzy Score ............................................. 97

1. Main Title Theme .... :.......................................·...... 98
2. "My Tie is Your Tie" ............................ ; ..... : ........... 123
3. "Posh for Two" ................................................... 130
4. "My Kind of Woman" ............................................ 134
5. "Son of My Kind of Woman" .................................... 144
6. "Exit Oscar Wilde" .................................................. 153
7. "Big Drag for Babs" ................................................ 161
8. "Hot Potatos" ....................................................... 165
9. "Babs Grabs" ............................................ ~ ......... 170
10. "Tijuana on Thames" ............................................. 178
11. "The Inspector Thinks" ..... : ....................................... 180
12. "Rusk on Candid Camera" ......................................... 183
13. "Off to Rusk's" ...................................................... 185
14. "End Credits/End Rusk" ........................................... 203

Conclusion ............................................................................... 207

Appendix A-Mancini Compositional Characteristics Survey ....................... 224

Appendix B-Ron Goodwin, Frenzy Main Title Theme ........................... 231

Bibliography/Filmography/Discography/Sources .... : ........................... 234

Vl
 Introduction

During the months of November and December 1971, in London, England, film

composer Henry Mancini created, conducted, and recorded the musical score for

director Alfred Hitchcock's penultimate film, Frenzy. Although the composer expressed

his satisfaction with the score and his belief, at the time, in his employer's satisfaction, 1

he was removed from the project before the completion of the recording sessions, and
2
his music was replaced with that of British film composer Ron Goodwin.

Speculation regarding reasons for the dismissal abounds, including second and

third-hand quotations attributed to Hitchcock, Goodwin, and the composer most often

associated with the filmmaker' s work, Bernard Herrmann. Although speculation will

always remain as such, this in no way denies an opportunity to formulate questions and

seek out more complete answers pertaining to film music composition, how music was

stylised and incorporated into this particular film, and what the experience of doing so

reveals about Mancini's methodology and artistic vision.

1. Jimmy Carter. Interview with Henry Mancini. Accessed Feb. 12, 2008 from:
http://www.Youtube.com/watch?v=GZQbCyIP+6K
2. This was not Goodwin's first experience with composing a replacement film score. In
1969 the producers of The Battle of Britain dismissed Sir William Walton and hired
Goodwin to write ne~ music for the film. (Nick Joy. "Score: Reviews of CDs: "Battle
of Britain". Film Score Monthly 9, 34.) The practice is in fact quite common in this
industry. Gergely Hubai' s Torn Music: Rejected Film Scores, a Selected History
discusses the dismissal of 311 composers from film productions, among them Arthur
Bliss, Alex North, and Ennio Morricone.
Fortunately, for film music scholars aJ?.d musicians alike, tangible elements which

emerged from the Frenzy experience, in addition to the completed film, have been

preserved - Mancini's holograph, his cue sheets, and the recording; material, with the

exception of the composer's main title music, which for four decades has remained

unseen and unheard by parties other than those involved in the initial project. 3

This treatise provides an analysis of Mancini's score and its function within the

film, taking into consideration systems of tonality, rhythm, orchestration, and form, as

·well as cue placement and length. While the timing sheets supplied Goodwin are

unaccounted for, music notes dictated by Hitchcock exclusively for Goodwin after the

Mancini termination are housed in the Peggy Robertson Collection at the Margaret

Herrick Library in Los Angeles. An examination of these notes reveals a marked

departure from the initial musical direction the film was to take and a much clearer view

of the director's conception. 4 The possibility must be considered that the seemingly

conflicting instructions give.p. the two composers regarding the nature, placement, and

amount of music within the film may be due to decisions Hitchcock made during final

dubbing, 5 and after Goodwin had finished his writing assignment.

3. Written correspondence of August 20, 2010 with Mrs. Ginny Mancini resulted in her
kind donation of these materials for the purpose of this study. Permission was granted to
reproduce portions of the score and notes for this paper, while duplication of the
recording was· forbidden, and its broadcast limited to an educational forum.
4. "I wish I had had something like that to go by. It might have been a different story."
Mancini to Tony Thomas. Film Score, 173.
5. The process of combining all elements of a film's sound - dialogue, sound effects,
and music - onto one soundtrack to accompany the visual element of the work.
2
 A comparison to the replacement Goodwin score not only incorporates musical

and filmic elements, but also brings to light an issue facing the film music student.

Although he re-orchestrated and arranged his main title theme for live performance, and

this piece is now available for rental from his concert library, the remainder of

Goodwin's score suffered the fate of much film music. An inquiry sent to Ron

Shillingford, Goodwin's final orchestrator and now archivist, yielded the following

result:

Dear Patricia;
Unfortunately the score of Frenzy has been lost. I expect it was
given to the film company after the music sessions, so it certainly
doesn't exist anymore. 6

Largely through the efforts of Elmer Bernstein, David Raksin, Fred Steiner, and

the Film Music Society, preservation of film scores became an archival exercise

beginning in the 1970s. Previous to this, the compositions were considered property of

the film studios and production companies, and subject to regular 'housecleaning'

operations. Composers, such as Mancini, retained their own orchestral sketches, but the

completeness of these varied from writer to writer - especially since, with the 1960s

and the gradual morphing of film score into song score, notation of a film's musical

content became less comprehensive. 7 One result of this lack of preservation is a paucity

6. Correspondence of June 16, 2011 with Ron Shillingford. The Goodwin examples
presented in Chapter 4 are the result of transcription directly from the film.
7. Fortunately, Mancini not only preserved every piece of music he composed, as well
as timing sheets and correspondence, but his sketches, or "short scores" were complete
3
of music scholarship related to this subject. While acknowledging the significant

contribution made to the field by the Scare Crow press series of Film Score Handbooks,

which at this writing number 14 volumes, and musicological writers such as Lawrence

Morton, David Cooper, and Annette Davison, all too often the analysis of a film's

music relies on adjective-weighted attempts at describing intangibles. In his informative

book, Hitchcock's Music, author Jack Sullivan's discussion of a Roy Webb cue from

Notorious ( 1946), unfortunately evokes a comical image, in an attempt to describe the

musical shading of, ironically, perhaps the film's most suspenseful moment.

Quizzical woodwinds give way to the fateful trumpets, then the

entire orchestra shudders and collapses as Alex stoops to see the
no-longer-secret powder. 8

Description of musical sound through the use of spoken or written language is not

only problematic for non-musicians, among whom may be included most directors of

film, but for musicians trying to understand and graphically or audibly encode the sonic

image conveyed by the non-musician. This difficulty in communication is one of the

main issues at the heart of the Frenzy experience, and is by no means an uncommon one

in the history of music in film. 9

compositions/arrangements/orchestrations. He employed orchestrators to transpose and

transfer his legible short scores onto full orchestral manuscript, ensuring as best he
could that copyists would produce mistake-free parts. If time constraints prevented a
full orchestration, the work was assigned to Jack Hayes or Leo Shuken in the U.S.A.,
and Douglas Gamley or Gary Hughes in Europe. Their contribution was acknowledged
in the film's credits and on soundtrack albums. (Interview, Jack Hayes, Dec. 10, 2008.)
8. Sullivan. Hitchcock's Music, 133
9. Elmer Bernstein experienced the rejection of nine scores, two of them in the same
year, 1988. Clearly, he felt justified in making the following statement. "I've done
4
 Although filmic compositional devices such as cultural codes, musical signifiers

and affects are often scorned by listeners and assigned the pejorative label, "cliche",

such vocabulary is necessary to the craft, if for no other reason than to arrive at a point

of mutual understanding between director and composer. Mancini and his colleagues

were steeped culturally and professionally in the traditional associations made between

musical gesture and its attending affects; the tri-tone as a symbol of evil, chromaticism

to convey fear or menace, tonal ambiguity suggesting unresolved conflict, or rhythmic

irregularity linked to instability. These composers also made use of conventionally

understood instrumental associations, such as the eighth-note-to-quarter-note repeating

pulse voiced on a bass drum or timpani to mimic a heart beat and build suspense,

unison,forte, mid to high range violins bowing a melodic arc and conveying romantic

love, brass sections voiced in parallel fifths to accompany Roman legions, or the

'locating' timbre of a waltzing accordion placing a narrative in Paris. This treatise

accepts these codes as compositional vocabulary used by composers who worked within

this system. It is not concerned with attempting to explain the rationale behind, or

effectiveness of the system. Doing so would pale in comparison to the seminal work

done in this area by, among others, Annabel J. Cohen, Claudia Gorbman, and Shin-

ichiro Awamiya.

nearly 150 films and much television, and there were probably not more than half a
dozen directors that it would be safe to trust insofar as they have any knowledge of
music and its function in motion pictures." Thomas, Film Score, 302 ..
5
 As any study of film music must in fact span two art forms - music and film -

Alfred Hitchcock's craft, and that of the three composers he engaged to score 16 of his

45 sound films - Franz Waxman (four films), Dmitri Tiomkin (four films), and Bernard

Herrmann (eight films) - is examined in this dissertation in terms of characteristic

devices and cinematic use of music. Similarly, as Mancini's early success sprung

largely from his employment by director Blake Edwards, this paper considers musical

and filmic features which emerged from this relationship. Indeed, the very nature of

their relationship is a factor in this treatise, as i·t differs so dramatically from the

experience shared by Hitchcock and his composers.

In reading several of Mancini's interviews conducted throughout his career, one

consistent theme emerges - his frustration, albeit tempered with gratitude, at being

"typecast" as a composer of light, contemporary, romantic or comedic scores, many of

which could be expected to include a piece appropriate for marketing as a popular song.

I think one has a certain inner core of, either harmonically or

melodically or instrumentally, things that come up to kind of give you
a style. Although in a lot of pictures that I've done, if you didn't know
that I'd done them, you wouldn't know it was me writing because it ·
doesn't have the trademarks. I have a lot of baggage, you know -
trademarks that people associate with me - and it's brought me
everything I have, but then again it's worked against me with people
who figure that that's me and they don't want me to fool around with
a dramatic picture that they have, not knowing that I can do what they
want. 10

10. Carter interview. Using Mancini's own suggested parameters of melody, harmony,
and timbre, and adding characteristics of rhythm, form and performance practice to this
list of "trademarks", 400 of his compositions were examined for the purpose of this
work. The results are compiled and discussed in Chapter Two, "The Trademarks".
6
 Clearly, the prospect of having his name in the credits of an Alfred Hitchcock film

- surely a forum for dramatic underscore - would have appealed to the composer, and

in the second decade of what would be a 42 year career, he was no doubt eager to add to

his cache of successfully scored productions made by Howard Hawks, Orson Welles,

Stanley Donen and Vitoria de Sica.

Frenzy had a small budget, and Mancini agreed to a relatively low fee of

$25,000.00 for the score, covering his own travel, accommodation and living expenses.

Given that at this point in his career he was often commanding a much larger sum and

often partial copyright for his services, and that in 1960 Bernard Herrmann was paid

· $34,500.00 for his Psycho score, money was not, evidently, a primary motivation. 11

Mancini's eagerness to compose a purely dramatic score was matched by the

pressure Alfred Hitchcock was under to adjust the sound of his films in keeping with

the changing times. Six years previous to Frenzy, a letter sent by Hitchcock to Bernard

Herrmann while the composer was creating his doomed Torn Curtain music seems to

encapsulate the nature of a changing industry with which he was trying to keep pace.

November 4, 1965
Dear Benny;
To follow up Peggy's conversation with you let me say at first I
am very anxious for you to do the music on Torn Curtain ....
However I am particularly concerned with the need to break
away from the old fashioned cued-in type of music that we have
been using for so long. Unfortunately for we artists, we do not
have the freedom that we would like to have, because we are
· catering to an audience and that is why you get your money and
I get mine. This audience is very different from the one to

11. Sullivan, Hitchcock's Music, 299.

7
 which we used to cater. It is young, vigorous and demanding. It
is this fact that has been recognised by almost all of the
European filmmakers where they have sought to introduce a
beat and a rhythm that is more in tune with the requirements of
the aforesaid audience. This is why I am asking you to approach
this problem with a receptive and if possible an enthusiastic
mind. If you cannot do this then I am the loser. I have made up
my mind that this approach to the music is extremely essential. I
also have very definite ideas as to where music should go in the
picture and there is not too much .... Another problem: this
music has got to be sketched in, in advance, because we have an
urgent problem of meeting a tax date. We will not finish
shooting until the middle of January at the earliest and
Technicolour requires the completed picture by February first.
Sincerely,
Hitch 12

The first irony of th~ Frenzy music situation is that Hitchcock engaged, or was

under pressure to engage, the services of the composer who had penned Academy

Award nominated and.winning scores incorporating the "beat and rhythm" so enqearing

to "all of the European film makers," arid was instead presented with an orchestral,

atonal, a-rhythmic and ostensibly disunited study-in-darkness that not only finds its

origins in his work from the "creatu~e feature" projects of the early 1950s, 13 but at times

borrows from the underscore cues he had written for Wait Until Dark from 1967. The

second irony was that Mancini was fully aware and accepting of the need to keep

abreast of current musical sound and trends; indeed, he, like Elmer Bernstein, Leith

12. Smith, A Heart at Fire's Centre, 268-269.

13. Tarantula, It Came from Outer Space, Creature from the Black Lagoon, etc. Use of
the term 'atonal' in this paper refers to the nature of a pitch set which denies
categorisation in terms of key centre. Ten of the fourteen cues comprising the Frenzy
score comply with this description. As well, there is no evidence of serialism or use of a
twelve-tone row/matrix within any of this music.
8
Stevens, and Jerry Goldsmith, _was partly responsible for the movement away from the

European classical/romantic model of film scoring practiced by previous generations of

film scorists. As he explained to interviewer Tony Thomas in 1983, necessity had

forced him to adopt this attitude by 1958.

I had to make do with an eleven-man orchestra - that's all we

could afford. That's how the unusual instrumentation came about,
the use of the bass flutes, etc. I had to pull away from the old string
tremolo business. There's a certain direction movie music must
take in order to stay alive; the large orchestra playing all the time is
outmoded, and I was forced into this realization by doing Peter
Gunn. The melodic approach is still valid, the Tchaikovsky-like
melody is still wanted and needed, but the treatment of that melody
has to be different, it has to be in keeping with our times. And we
can do much more now. We have a vast instrumental world at our
disposal and constantly evolving recording techniques. 14

The third irony of the Frenzy experience is that the Ron Goodwin score accepted by

Hitchcock, while tonal and incorporating for the most part sections of consistent

rhythm, features characteristics associated with Herrmann's work.

Just as Mancini undertook the Frenzy project as a welcom~ opportunity to

diversify his growing portfolio, Alfred Hitchcock had his own reasons for making the

film. As acknowledged in his note to Herrmann, his audience was changing. The social

and cultural changes of the 1960s were reflected in the subject matter and style of

American cinema, and the escapist and fantasy elements at the heart of mainstream

American cinema of the previous decades had faded into a new era of realism, the

celebration of the antihero, an exploration of previously taboo subject matter, and a

14. Thomas, Film Score, 273

9
relaxing of the censorship laws. Hitchcock's Psycho and The Birds not only kept pace

with new trends, but helped to usher them in. However, the remainder of his 1960s

films - Marnie, Torn Curtain and Topaz - had failed to stir critical or public reaction,

and, as the lower budget for Frenzy suggests, he was finding it difficult to guarantee
15
enough profit to secure investment for future, projects. The quest for a contemporary

accompanying score and, perhaps, even a 'hit' pop tune emerging from it was just one

challenge to be faced within a rapidly changing industry.

Frenzy was filmed during August, September and October of 1971, in London,

England. From the early 1960s to the mid 1970s, the strength of the U.S . dollar against

the British pound~ cheaper labour costs, and the "Eady Plan" 16 encouraged many

American-based directors, Stanley Kubrick, Stanley Donen, and Blake Edwards among

them, to make their productions in the United Kingdom.

Touted as Hitchcock's triumphant return to the city of his birth, 17 he set the film in

Covent Garden - as opposed to the source novel's Piccadilly Square locale - and

through extensive use of crane and dolly shots, 18 went to great lengths in conveying the

vibrancy of the bustling food terminal.

15. The 1963 budget for Marnie was $3,000,000. Frenzy was produced for $2,000,000.
(Francois Truffaut, Hitchcock, 339.)
16. Eady Plan: a law implemented by the British government under which a portion of
each cinema ticket sale was recouped by the film's producers, provided that a certain
amount of the production, including the music, was made in the U.K.
17. Waymark, "Murder with comedy at Covent Garden market", 3.
18. Using both aerial and mobile cameras set on lines of track.
10
 He employed a British crew, and a cast of internationally unknown actors, mostly

culled from the London theatre community. The "London" element of the production

went so far as to include on the cast roster one Elsie Randolph, from the 1931 British

International Pictures production Rich and Strange, Hitchcock's final film for the

studio.

In the midst of an all-British production, it is not unreasonable to surmise that

Italian-American Henry Mancini, steeped in the tradition of the American Big Bands

and to this point drawing on this musical heritage to serve him in composing the scores

to his other British-linked projects - the Stanley Donen trilogy of Charade, Arabesque

and Two for the Road - may have felt somewhat alienated within the Frenzy film

community. Ultimately, his replacement by Englishman Ron Goodwin made the Anglo-

centric environment of the production complete.

The film was released in May of.the following year at the Cannes Film Festival,

only the second of Alfred Hitchcock's motion pictures, since Psycho, to be assigned an

"R" rating. By this time, filmmakers were recognising the potential profit inherent in

achieving ever-increasing levels of excess on the screen and were exploiting

opportunities to escalate graphic content within their productions.

During the year in which Frenzy was made, what critic William Pechter termed

"the new permissiveness" 19 resulted in critically and commercially groundbreaking

films such as Stanley Kubrick's A Clockwork Orange, Don Siegal's Dirty Harry, Sam

19. Pechter, "The Hitchcock Problem", 77-79.

11
Peckinpah's Straw Dogs, and William Friedkin's The French Connection. By the

summer of 1972, Frenzy was competing for revenue with Francis Ford Copolla's The

Godfather, John Boorman's Deliverance, Jerry Gerrard's Deepthroat and Bernardo

Bertolucci's Last Tango in Paris - pictures which, with the exception of A Clockwork

.Orange, either came with jazz, rock and roll, or soul influenced scores, or yielded

revenue-producing "pop tunes."

Although the passage of time has seen Frenzy garner criticism and ,less favourable

commentary regarding its bleak, gruesome atmosphere - Mexican film maker and noted

Hitchcockian Guillermo del Toro recently referred to it as "a vomit of bile; an

incredibly brutal movie for its time; frontal, brutal, raw" 20 - upon its release, reviewers

were effulgent in their praise:

Frenzy, Alfred Hitchcock's latest film, is indeed triumphant in

almost every way, and it is a cause for jubilation among those who
admire suspense-thrillers.
Albert Johnson 21

Frenzy director Alfred Hitchcock returns to the screen in triumph.

Clyde Gilmour22

Hitchcock magic is intact.

John Russell Tay lor23

Frenzy, Hitchcock in Dazzling Form.

Vincent Canby 24

20 .. "Q". CBC Radio. Interview with Guillermo del Toro, May 2, 2012
21. Film Quarterly, 58.
22. The Toronto Star, 16.
23. The Times, 15.
24. New York Times, 48.
12
 Almost palpable within these headlines and reviews is a sense of relief that the film

would not be categorised, along with Marnie, Torn Curtain and Topaz, as another

failure for the aging director. An additional gesture of approval was made when it was

nominated for, but not granted, four Golden Globe Awards - Best Motion Picture, Best

Director, Best Screenplay (Anthony Shaffer) and Best Original Score, for Ron

Goodwin.

The gritty reality of Frenzy and its characters is in stark contrast with the visual,

dramatic, sonic elegance of most of Hitchcock's productions, especially those. made

'

after his 1939 emigration to the United States. There is no Janet Leigh of Psycho or

Montgomery Clift of I Confess among the cast, no formal ballroom scenes in the mold

of Suspicion or Rebecca, and no sweeping vistas reminiscent of To Catch a Thief or

North by Northwest filling the screen. In terms of character content, even the director's

most realistic, documentary-like picture, The Wrong Man, offered up a protagonist for a

viewer to identify with, in the form of Henry Fonda. Frenzy's "wrong man",· Richard

Blaney, is rude, hostile, grimy and alcoholic. His motivation seems to lie in avenging

his misfortune, rather than to deliver retribution for the rape and murder of his ex-wife

and girlfriend, respectively.· The most sympathetic characters in the film become defiled

corpses before additional content which may stir a viewer's empathy is revealed.

Frenzy, after ·The Birds, not only contains the least amount of music of any of

13
 25
Hitchcock's American productions, but is photographed from the most objective point

of view, for much of the film relegating the audience to the role of voyeur. These

factors are especially significant when one considers the film's composer is subject to

the same manipulation by the camera, only with the advantage - or task - of

commenting on or within the narrative from the vantage point either of character, or

omnipotent observer.

With a film constructed in such a way, it is intriguing to consider if a composer,

even after consultation with the director, has conveyed a character's emotions, and if so,

how; or if he instead has partnered with the viewer and influenced the viewer's

perception of the character's emotions, working within the system of musical affect

understood by filmgoer and filmmaker alike. In describing his work method to

colleague Elmer Bernstein, the influence that the visual had on Mancini's compositional

practice becomes evident, as does that of filmic point of view in steering his creative

direction.

I' 11 just look at the film until my eyes go crossed. And I look at it
7, 8, 9, sometimes 10 times. All by myself, just sitting there,
watching it, watching it go by. And each time another thing reveals
itself, another idea of where to start. Toward the end of that period,
when I sit down with whomever is in charge, the producer and/or
director, I know that picture as well as he does. I know every cut,
every dissolve. By the time I sit down to spot it, there is no
guesswork. I have a very good idea where I want the music to go.
Then the give and take wi.th whomever is in charge starts. 26

25. The Birds has no musical underscore, and only 2 diegetic cues.
26. Bernstein, Film Music Notebook, 493.
14
 The score Mancini wrote for Frenzy is audacious, seeming to break some ·of the

most fundamental practices involved in the craft, yet he would maintain his belief in the

approach he took to the film. As he wrote in his 1989 autobiography;

I still think what I did on Frenzy was good - a score. complete without
themes, because it seemed to me the film didn't require any. 27

Although there are indeed thematic instances and linkages within the material, an

understanding of the term "theme" as used by Mancini and most of his colleagues is

imperative to this study. To Mancini, a "theme" was a melody-driven composition,

however brief, associated with a character.or place. 28 Potentially, such material could

become a 'song' if expanded and given lyrics, or a 'tune' if crafted as an instrumental

piece.

Regardless of Mancini's intentional lack of, as defined, themes within this score,

Hitchcock simply criticised his music for the film as being "macabre." 29 The composer

himself offered no other reason for the director's response to the work, and intriguing as

the issue is, of more importance to music, film, and film music scholars and enthusiasts

alike is the composition Mancini created for this picture.

Many questions regarding his rejected score - primary among them being, "What

did he write?" - have been answered with this work. While A score complete without

27. Mancini, Did They Mention?,156.

28. Video clip. Henry: Thoughts on his creative process. www.henrymancini.com
29. Mancini, Did They Mention?, 155.
15
themes: Henry Mancini and the "Frenzy" Experience cannot provide every answer, it

does offer new questions in the hope that future music, film, and film music scholars

will continue to examine this composer's large body of work with the serious attention

it merits.

16
 Chapter One

The Composers and Their Directors

I think you have a sort of instinct which pushes you towards

what you can do best, and once you have found it, it becomes
a habit to keep on doing it.
Alfred Hitchcock3°

Since its inception, the motion picture industry has brought uniquely capable artists

together in creative, prolific relationships. One such collaboration is the successful

pairing of composer and director, a partnership common to this field. Sergei Prokofiev

and Sergei Eisenstein, Alfred Newman and John Ford, Ennio Morricone and Sergio

Leone, Howard Shore and David Cronenberg, among others, have combined to produce

narrative, visual, and musical pieces which have become benchmarks for other artists,

and classics withstanding the transitory passage of time and audiences.

While accepting Hitchcock's statement and acknowledging instinct as the

propulsive force behind "surviving" - in the context of Taylor's interview, a sustained

artistic life - it is appropriate as well to consider the generational, cultural, economic

and social factors which shape an individual and contribute to the nature of his art. The

formative years and artistic backgrounds of f0ancini, Ron Goodwin, the preceding

composers most favoured by Hitchcock, Mancini's repeat employer Blake Edwards,

30. Taylor, "Surviving", Sight and Sound (46), 174.

17
and Alfred Hitchcock himself, while varied, share points of commonality which

contributed to the attainment of a level of success far exceeding mere survival, and

resulted in significant and' enduring cinematic and musical moments.

Hitchcock, Waxman, Tiomkin and Herrmann precede Mancini, Goodwin and

Edwards by, approximately, a generation, yet with the exception of Edwards and

Goodwin, these men were either immigrants to the United States or first generation

Americans. Excluding Edwards, each of them were the first in their families to pursue a

professional artistic life, and despite familial, economic, and social challenges, all were

remarkably self-directed in attaining the education and experience necessary to fully

exploit opportunities which arose. In every case but Herrmann, and reflective of the era

and educational structure of the first half of the Twentieth Century, private

mentoring/tutoring and intra-vocation apprenticeship, as opposed to institutional

training systems, served to prepare each artist for the careers they chose. With the

exception of Ron Goodwin, who struggled throughout his life with the vision issues

which would eventually lead him to abandon film scoring in favour of his composition
31
and conducting career, these men lived their entire professional lives engaged in their

. vocations, to the exclusion of all others. As well, Mancini, Tiomkin, Edwards and

Hitchcock benefited from the expertise of their spouses, relying on them for the type of

input only the combination of a life and professional partner could provide. Ultimately,

31. Correspondence of December 2, 2011 with Ron Shillingford.

18
each artist was active in his respective profession until debilitating illness and death

intervened, the option of "retirement" never seriously entertained.

..32
H enry M ancm1

Enrico Nicola Mancini was born in 1924 in Cleveland, Ohio, the only child of

Italian immigrant parents. Raised in a suburb of Pittsburgh, Pennsylvania, he began the

study of flute and piccolo under the tutelage of his steel worker father, and by age 13

was named first flautist of the Pennsylvania All-State High School Band. His primary

interest, however, rested with the popular music of the time, his childhood and

adolescence coinciding with the rise of the Big Bands and the era in which jazz thrived

as a widely accepted - and enjoyed-:- art form. Incorporating piano into his early music

education led to a fascination with composition and arranging. As he wrote in his

autobiography:

We had a windup phonograph with a variable speed mechanism.

When you slowed the record down, of course, it lowered the pitch.
The Artie Shaw Band hit a couple of years later, and I began to study
its arrangements. All I knew about music paper was that it had notes
written on it for you to play. I didn't know that you could buy blank
music paper, so I made my own, laboriously drawing five line staves
with a pencil and ruler. Then I would write out, note by note, all the
Artie Shaw sax choruses in four parts. I would spend days winding
that machine up. Also, I knew all the standard songs with the right
33
chords. I was fourteen or fifteen.

32. Biographical information compiled from Mancini, Did They Mention?

33. Ibid, 20
19
 He supplemented his transcription regimen with independent study of the

important orchestration methods available at the time - Rimsky-Korsakov's Principles

of Orchestration, Cecil Forsyth's Orchestration, and Frank Skinner's New Method/or

Orchestra Scoring. Private studies with Max Adkins, the musical director of

Pittsburgh's Stanley Theatre followed, fellow students including future film composer

Jerry Fielding and Ellington counterpart Billy Strayhorn.

In 1941, Mancini was accepted as a student of composition at New York's Julliard

School of Music, but his tuition was interrupted by wartime service in Europe, where he

served in an artillery unit, an air force orchestra, as a driver/accompanist to a travelling

chaplain, and as a guard at the liberated Mauthausen Concentration Camp in Austria.

Upon his return to the United States in 1945, he found his first important musical

assignment as pianist and arranger in the Tex Beneke-directed Glenn Miller Orchestra,

where he met Mellow Larks vocalist Virginia O'Connor, whom he would marry two

years later. Eventually leaving Beneke to settle in his wife's hometown of Los Angeles,

he studied composition, arranging, and orchestration with teachers Ernst Krenek, Mario

Castelnuovo-Tedesco, and Alfred Sendry, and worked as a freelance arranger for radio

programs and nightclub acts. Virginia's regular work as a studio vocalist helped forge a

connection with Universal Studios, where he scored a number of short films. In 1952,

Mancini became a full-time staff composer in the organisation's music department,

specialising in projects requiring a contemporary approach, and contributing, in

20
partnership with fellow writers Herman Stein, Hans Salter, and Frank Skinner, to scores

rooted in the Western European symphonic tradition.

In Did They Mention the Music, Mancini provided a glimpse of the film scoring

profession as practiced by a staff of composers during the final years of the Hollywood

studio system:

Assigned to one of the Francis the Mule or Kelly the Dog pictures,
you'd go to the library and tell (the music librarian), "Give me the
music from so-and-so and so-and-so," pictures you thought might have
some things you could use. You'd get a big stack of music by eight to
ten different composers and proceed to create a score out of it .... The
trick was to fit these bits together smoothly. Sometimes I'd score a new
bar or two as a bridge, perhaps going from a few bars of Frank Skinner
to a bit by Miklos Rosza .... Sometimes you were working from scores
written for orchestras larger than the one we had available. Therefore,
you'd have to alter the instrumentation of the music, cutting it down to
the resources of our orchestra; and so, by one means or another, I'd
make sure Skinner's music didn't bump into Rosza's, and by this
means we'd assemble a score inexpensively. It was mechanical and
uncreative, but I cannot imagine a better apprenticeship in the
profession than taking apart and reassembling all that music. By the
time I was through, I knew those scores intimately. I'd really studied
the work of my elders and predecessors and discovered what they did
34
and why.

From the moment of the dissolution of Universal Studios' music department in

1958, Mancini would spend the remainder of his 46-year career as an independent film

composer, producing one hundred and five credited film scores, the theme songs to

fifteen television series, ninety-six albums recorded primarily by his own orchestra, and

countless arrangements for ensembles ranging from collegiate choirs to the North

34. Mancini, Did They Mention?, 71-72.

21
American Air Defence Command (NORAD) combined forces orchestra. 35 He

maintained an active performance schedule from 1961 to 1993, appeared in his own

television specials as well as those headlined by Johnny Mathis, Julie Andrews and

Andy Williams, hosted the regular series The Mancini Generation in 1972, and

collected numerous awards throughout his career, including four Academy Awards and

twenty Grammy Awards. 36

Ron Goodwin

The artistic life and career of Frenzy replacement composer Ron Goodwin shares

aspects of Mancini's own. Born in 1925, in Devenport, England, Goodwin began his

musical education as a child, playing trumpet and piano. As a teenager, he worked in

British dance/big bands, and after the Second World War, during which he was exempt

from military service due to health issues, he studied arranging, orchestration and

conducting with Harry Stafford. 37 In 1950, he began an association with Parlophone

Records and composer/producer George Martin, under whose supervision he ghost

wrote, arranged and con.ducted in excess of 300 recordings for artists including Petula

Clark and Peter Sellers. Four years later, he formed "Ron Goodwin and His Concert

Orchestra", an ensemble dedicated to recording and performing his own material, as

35. Interview with Toronto-based Mancini contractor Bobby Herriot, May 7, 2009.
36. The American Academy of Recording Arts and Sciences annual recognition awards.
37. Stafford is co-credited with composer Hubert Bath for Hitchcock's first sound film,
Blackmail. (1929) Peter Noble. Index to the Work of!l(fred Hitchcock, 13.
22
well as Goodwin-penned arrangements of other film, classical and popular music. 38

This facet of his career would eventually produce over eighty studio recordings.

Goodwin scored his first film, a documentary for Merton Park Studios, in 1957.

Motion picture scoring assignments followed for the United Kingdom-based branches

of Columbia Pictures and Metro-Goldwyn-Meyer, ultimately resulting in a total of 65

film scores before his 1986 retirement from the profession in favour of concentrating on

his recording and performance career, which he maintained until his death in 2002. 39

Although Goodwin is known for producing mostly tonal, thematic film music for ·

such productions as Those Magnificent Men and Their Flying Machines and Force 10

from Navarone, often incorporating elements of the swing and jazz genres with which

he grew up, the serialistic approach was not outside his realm of experience, as

evidenced by his work on the 1970 Sam Wanamaker production The Executioners,

although this score remains unique within Goodwin's film work in its use of electronic

instruments.

Franz Waxman

Elmer Bernstein described composer Franz Waxman as "a product of the last, great,
40
German romantic movement. " Born in the German village of Konigshtitte in 1906, the

son of an industrial executive, he was discouraged from pursuing more than a

3~. The Goodwin concert catalogue includes a seven-minute medley entitled "The
Music of Henry Mancini". The American's Frenzy main title theme is not among the
pieces selected for the arrangement. (www.rongoodwin.org)
39. www.rongoodwin.org The Mansell interview of 2002 erroneously gives Goodwin's
year of birth as 1930.
40. Bernstein, Film Music Notebook, 100.
23
 recreational interest in music and assigned a career in the banking profession upon

graduating from high school. He used the position to finance his study of the piano and

composition, eventually becoming a member of one of the most prominent bands in the

history of jazz in Germany, The Weintraub Syncopators. His introduction to film

scoring came when he was hired as an orchestrator by composer Frederic Holland.er for

the 1930 vonSternberg/Dietrich work The Blue Angel. He would spend the next three

years at Berlin's Universum Film Company, until his 1933 score for the film Liliom

attracted notice in Hollywood. Interest from American producers such as David 0.

Selznick, combined with the rising threat of the Nazi Party in his own country, resulted

in Waxman's 1934 emigration to the United States, where he would eventually

compose 21 television themes and. 143 film scores, among them Alfred Hitchcock's

Rebecca (1940), Suspicion (1941), The Paradine Case (1947), and. Rear Window

(1955). Additional music activities included founding the Los Angeles Music festival

and guest conducting numerous symphony orchestras around the world. He won two. of

the seven Academy Awards he was nominated for before his death in Los Angeles in

1967. 41

The longest score considered in this study is Waxman's Rebecca, the composer

contributing most of the 92:13 minutes of music written for the 130-minute film.

· ASCAP cue sheets reveal 71 separate compositions, including an overture by Alfred

41. Bernstein, Notebook, 100-103.

24
Newman, and six pieces by Max Steiner. 42 Five orchestrators were employed f<;>r the
43
project, and at its largest, the studio orchestra assembled consisted of 49 musicians.

Waxman' s philosophy of film music is heard in practice in this film. As he

revealed in a 1940 speech to the Hollywood Federation of Women's Clubs during

Rebecca's first successful exhibition:

Film music is heard only once, not many times as in concert music, and it
must therefore have the qualities of simplicity and directness. The
emotional impact must come all at once. To be simple and direct, music
must have strong melodic lines and simple accompaniments .... The leitmotif
technique is common in film scoring, that is, the attaching of .themes to
characters and then varying them as the situations change, and I have found
this very practical in writing film music. Motifs should be characteristically
44
brief, with sharp profiles.

His score, assembled from lengthy segments, as evidenced by the audible

distinction of 18 separate cues, includes repetitions of the "Manderley Theme" for the

narrative's primary location, the "Rebecca Theme" for its villain/heroine, and a melody

to accompany the ghastly Mrs. Danvers. The music overlaps scene transitions, and

timbral, metrical, and modal/harmonic elements are manipulated to support or modify

necessary moods, drawing on, and further embedding within filmgoer consciousness,

systems of musical codification.

42. Sullivan, Hitchcock's, 59. "ASCAP" -American Society of Composers, Authors

and Publishers. Since its inception in 1914, this organisation has been responsible for
documenting the music used in radio, television, film, or any other profit-generating
venue, and collecting residual payments due its composers. Film production companies
logged every piece of music used in their pictures on forms also referred to as "cue
sheets", and submitted them to the performing rights society of which the film's
composer was a member.
43. Neumeyer and Platte, "Rebecca'', 67-75.
44. Thomas, Film Score, 57~58.
25
 This composer's description of motifs as being "characteristically brief' invites

consideration; a Waxman melodic cell from any of his Hitchcock films frequently

exceeds the four-pitch motif used by his successors, particularly Herrmann. His

"Rebecca" theme, for instance, constitutes a chromatically expansive melody rooted in

the late romantic style of Wagner or Mahler. (Figure 1)

Andante

&•11tt1 11111 tJ'.@]P Iii{_~) I(2]4Jf 1( ~ ~

&#11#11111 J~:@Jt:J
Figure 1. Waxman 's "Rebecca" theme provides melodic material suitable for
manipulation and multiple repetition.

Scenes o(apprehension, such as the approach to the estate's boathouse, or the

heroine's struggle with anxiety before her confrontation with Mrs. Danvers, are shaded

with suspense-building, ascending, primarily chromatic lines, while a dream sequence

unfolds to a whole-tone scale performed on a celeste.

Through the majority of the score, sustained rhythmic pulsation is avoided in

favour of rubato phrases performed at moderate to slow tempos, while moments of

extreme character/audience anxiety, such as Maxim's exclamation, "I hated _her," are

marked with single,fortissimo diminished chords. The Rebecca score provides one of

the first instances of music and film scholar Royal S. Brown's "Hitchcock Chord", a

minor triad combined with a major seventh degree, often attributed within the context of

26
 45
Hitchcockian composers to Bernard Herrmann. Following Mrs. VanHopper's

embittered "Good luck" is Waxman's minor/Major ih punctuation mark, enhanced with

a linear augmented 4th, emphasizing the character's acrid intent. (Figure 2)

Figure 2. Early appearance of ininor/Major 7th sonority, Brown's "Hitchcock Chord".

Waxman's orchestration relied heavily on his string section, bowing through

arcing unison or octave lines to accompany moments of emotional release, such as the

heroine's full comprehension of Maxim's unusual marriage proposal. Tremolo

platforms support alto flute, double reed, or clarinet solos, and cymbal crashes serve to

encourage complete viewer attention, as at the appearance of producer Selznick's name

during the film's opening credits. The Rebecca score also provides an early example of

the use of electronic instruments, a feature Waxman elaborated upon:

I set up a normal orchestra playing the accompanying music for the living
characters ,on the screen, whereas for the dead Rebecca I set up an
individual. group of mechanical instruments - a ghost orchestra, so to speak.
It consisted of three instruments - an electrical organ and two
Novachords. 46

45. Brown, Overtones and Undertones, 158.

46. Neumeyer and Platte, Rebecca, 115. A staple of film music, the Novachord is a 72-
note polyphonic synthesizer developed by the Hammond Organ Company in 1938.
Although the mammoth and high maintenance instrument was rendered obsolete by the
early 1970s, it retains an ardent fan base among vintage synthesizer aficionados and can
be heard in scores by Mancini, as well as those composed by Korngold, Tiomkin, Stein,
Deutsh, and Goldsmith.
27
 The compositional tendencies realised in Rebecca are consistent through

Waxman's work in Suspicion and The Paradine Case. The main title cue from the

former production makes extensive use of Johann Strauss' "Wiener Blut", providing

thematic material for much of the score, and contributing a musical plot device which

allows for the blending of diegetic and nondiegetic material. As with Rebecca, the

estimated 67 minutes of music within this 99 minute picture continues through scene

changes, modified to emphasize moments of fright or anxiety with tutti, diminished-

chord accents, scenes of resolution with rising ensemble violin cadenza's rooted in a
47
major tonality, or employing the technique of "Mickey-Mousing" to mark physical

gestures, such as Lena's fainting scenes, the undulation of the ocean's waves, the

sudden appearance of a shaft of light through an opening door, or t~e ambiguous

Aysgarth's ominous, measured climb of the mansion's staircase.

The music for The Paradine Case shares numerous features with Rebecca and

Suspicion, in no small part due to the reuse of cues from these films, as well as

additional Waxman material from The 7th Victim (1943), and Experiment Perilous

(1944). 48 The score's lengthy melody lines, subject to extensive modification and

maintenance through scene transitions, originate once again from the main title theme,

4 7. The term originates in cartoon scoring. David Cooper's more elegant ·

"physical/sonic/literary isomorphisms" are constructed to musically mimic or convey a
specific action or gesture, physiological or emotional response, or sound within a
picture. (Cooper, 63-65). Miklos Rosza's pace-maintaining shading of the rowing scene
in Ben Hur, or Herrmann's shrieking/stabbing, top register punctuated violins
introduced during the "shower sequence" of Psycho are two familiar examples.
48. Sullivan, Hitchcock's, 140.
28
which, in this case, also serves as diegetic music courtesy of the piano-playing Mrs.

Paradine. 49 Use of diminished and minor/Maj 7th accented sonorities remains consistent

with the previous films, as does the deployment of the violin-centric orchestra,

complemented in this production with the solo piano, the "comical" solo bassoon, and

the ensemble's high brass section, serving to place the viewer at the city's Old Bailey

Courthouse with an oft-recurring fanfare.

The contrasting location and period of Rear Window - New York City in an era

consistent with the film's production year of 1954 - as well as Hitchcock's desire to

shade the film purely with source music, made for a stylistically contrasting Waxman

score. Rhythmic, timbral, harmonic and melodic elements influenced by the American

jazz tradition emerge, and among the 39 pieces listed on the film's cue sheet are

compositions by Leonard Bernstein, Richard Rogers, Johnny Burk and Jay

Livingston. 50 The director made his musical wishes for the film clear to his composer,

providing him with a six-page "description of the manner in which the music is used" in

addition to 19 pages of timing notes. 51

Due to the diegetic nature of the score, the extensive melody lines, sonic

isomorphisms, and moments of accented orchestral punctuation found in the more

fanciful, Anglo-centric pictures of the 1940s are absent in Rear Window, but the

49. Hitchcock's clos.e-up of the sheet music used by his murderess reveals its title,
"Appassionata Op.69" and composer, Francesco Ceruomo, an Italianised version of the
film composer's birth name, Franz Wachsmann. (Wachs-wax-cera/mann-man-uomo.)
50. Sullivan, Hitchcock's, 170. Also included is a selection from Waxman's score for A
Place in the Sun.
51. DeRosa, Writing With Hitchcock, 50.
29
concept of thematic repetition, particularly in the reuse of the title song, "Lisa" remains

consistent. 52 This production would mark the last time Waxman and Hitchcock would

work together.

Dmitri Tiomkin

Hitchcock's engagemerit of Franz Waxman bet~een the years 1940 and 1954

alternated with that of other composers, among them, Roy Webb and Lyn Murray, 53 but

his frequent use of Dmitri Tiomkin during this period suggests the Russian composer

contributed material sharing characteristics with that of his German colleague.

Tiomkin, born in 1894, was the son of an amateur musician mother and physician

father. He showed an early affinity for the piano and composition and was enrolled as a

child at the St. Petersburg Conservatory, studying with Felix Blumenfeld and Alexander

Glazunov. His work in motion picture music began as a silent film accompanist in the

city's movie houses.

His performance career led to emigration to the United States in 1929,

accompanying his wife, the ballerina/choreographer Albertina Rasch, to Hollywood,

where he composed the music for her dance troupe's performance at the premier of

52. This piece was also integral to the film's plot and would mark but one instance of
the director's attempts at generating a popular song from one of his pictures, garnering
additional exposure for the production, and increasing revenue for its producers -
Hitchcock among them - through the selection's publishing rights. Harold Rome wrote
lyrics for "Lisa", but ultimately, the song did not merit a recording. (Sullivan, 173.)
As a matter of interest, the first five measures of the piece are remarkably similar to
Richard Rogers' "Where or When".
53. For Notorious and To Catch a Thief, respectively.
30
Metro-Goldwyn-Meyer's first production of Broadway Melody. Beginning in 1931,

Tiomkin's 40-year career would see him writing the music for 112 films, including

Hitchcock's Shadow of a Doubt (1942), Strangers on a Train (1951), I Confess (1953),

and Dial 'M 'for Murder in 19 54. He died in London, England, in 1979. 54

In his essay, "Tiomkin as a Russian Composer", Christopher Palmer describes the

work of his subject as showing characteristics of "repetition-with-modification" rather

than sequential development more suited to performance-oriented compositions. 55

Although for this article Palmer cites monothematic Tiomkin s~ores such as Hi Noon

and Gunfight at the 0. K. Corral as typical examples, the structural device of setting

repeating melodic material - in Tiomkin's case, themes sharing features of length and

contour with those of Waxman, but lacking the same degree of chromaticism - against

chameleonic backdrops figures strongly in his work for Hitchcock.

In Shadow of a Doubt, Franz Lehar's "Merry Widow Waltz" serves as both

narrative tool and primary subject for Tiomkin's thematic manipulations, guided by the

scorist through key centres, dissonance-favouring counterpoint, rhythmic grids,

modified phrasal constructs, and orchestrational tableaux. This thematic foundation is

only noticeably abandoned for diegetic and locating cues, such as Tiomkin's "Santa

Rosa Theme", a major key, structurally symmetrical, allegro, upper woodwind-

inflected musical commentary on the sun-splashed, family-oriented California town.

54. www .dimitritiomkin.com

55. Bernstein, Notebook, 550.
31
 Thickening orchestrations and accelerating tempos were favoured by the composer

as suspense-building devices, as opposed to the chromatically rising line used by many

of his colleagues, but full ensemble accents, utilising the traditionally unresolved nature

of the tri-tone found in diminished and half-diminished vertical structures were

employed to emphasize moments of extreme anxiety for character and audience alike,

as with the C#m7b5/G accompanying Hitchcock's close-up of the newspaper's "Where

is the Merry Widow Murderer?" headline.

Similar to Waxman's three Hitchcock/Selznick assignments, 56 Tiomkin matched

the melodramatic tone of these productions by allowing his mid-to-high register unison

violins to dominate sectional string passages, interspersed with solo piano and electric

organ. He deviated orchestr.ationally from his predecessor with more frequent use of his

brass and low percussion seCtions, often underpinning orchestral accents with

di11Jinuendo bass drum/timpani rolls.

Strangers on a Train followed a similar music-to-picture design, with Charles

Ward and John Palmer's waltz, "The Band Played On" spanning the barrier between the

diegetic and nondiegetic, providing material for the film's premise and the score's
57
lengthy, unifying cues. Additional source music served to add subtle commentary,

Tiomkin assuming a degree of audience familiarity with the lyrical content of Joseph

56. The fourth assignment, Rear Window, was both directed and produced by
HitChcock.
57. Use of the piece also adhered to the Hitchcockian tradition of linking waltz to
villain. Johnny Aysgarth of Suspician has his "Wiener Blut", and Uncle Charlie of
Shadow of a Doubt his "Merry Widow Waltz".
32
Myrow's "Keep Cool, Fool" and James P. Johnson's "Don't Cry Baby" during Guy's

confrontation with his estranged wife. Recurring themes for characters included the

composer's own "Guy's Theme", "Guy and Anne", and "Bruno's Theme", which

utilised a system of chromaticism and augmented fourth dissonance reminiscent of

Waxman. (Figure 4)

Figure 4. "Bruno's Theme" from "Shadow of a Doubt". Chromatisicm and A-

Eb, D-Ab dissonances used to convey instability of character.

Tiomkin's comment on Mrs. Antony's mental state with a brief, rhythmically

obscure, tonally vague high-pitched motif performed by a solo flute and clarinet, the

pizzicato violins accompanying Guy's tennis match, and a suspense-enhancing

chromatic ascent leading the same character up the Antony household staircase serve as

examples of this composer's Mickey-Mousing technique.

In addition to the three pianos and one Novachord used for the score, Tiomkin

included a. contemporary rhythm and. saxophone section in his traditional orchestra, 58

creating a sound endemic to its time, locale, and characters - the wealthy and

fashionable American East Coast professional tennis community, circa 1951.

The composer returned to the more romantic style of his first Hitchcock film with

the orchestra and soprano soloist of I Confess. As with his previous Hitchcock work,

pre-existing pieces served as material for large sections of the score, Dies lrae from the

58. Sullivan, Hitchcock's, 156-157.

33
Roman Catholic Requiem mass and the hymn, Veni Creator Spiritus figuring as

culturally endemic music as well as commentary on aspects of plot. Much of the

remainder of the work is based on modified sections of the film's main title theme,

which Hitchcock again hoped to transform into a popular song. 59

Tiomkin matched the protracted nature of his I Confess cues in his final work for

the director, Dial 'M' for Murder. Similar to the earlier project, the 1955 production

began musically with a series of minor tonality, low-register-brass sonorities

culminating at the printed word "Murder". The accompanying chord utilised a paiticular

tri-tone seemingly favoured by the composer- Ab-D - and generated a repeating,

cl~ck-implying linear cell, appropriate to a plot dependant for its design upon the

passage of time.

B
&A >-

~
b-e-
ft F lz~ r ~
bu-
Figure 5. "Dial 'M'for Murder". The sonority of 'A 'from the title sequence provides
the linear materialfrom which emerges 'B ', the recurring "Tick-Tock" Theme.

The waltz reappears as an original main title theme for this film, but contrary to the

portentous use of the form in his previous works, Tiomkin's major key, Allegro,

formally symmetrical composition appears in association with Margo and Mark,

involved in a healthy - albeit morally illicit - relationship.

59. To this end, Tiomkin was paired with lyricist Ned Washington, with who'm he had
successfully created "Do Not Forsake Me, Oh My Darling", for High Noon. "Love,
Look What You've Done to Me", from I Confess failed to achieve similar results.
34
 Hitchcock's wish for a commercially successful song emerging from this

production was again denied. Tiomkin and lyricist Jack Lawrence penned My Favourite

Memory, but the piece was edited from the film's final assemblage. 60

Bernard Herrmann

Bernard Herrmann was born in 1911 in New York City, one of three children of

Russian immigrant parents. Although the Herrmann family profession was optometry,

young Bernard was given violin lessons and developed an interest in composition while

still in public school. Post-secondary musical studies took him to New York University,

then as a fellowship student to The Julliard School of Music, where he studied

conducting under Albert Stoessel and composition with Bernard Wagenaar.

Although describing his compositional tendencies as, "N eo-Romantic, inasmuch as

I have always regarded music as a highly personal and emotional form of expression,"61

he was a proponent both of the American and European avant-garde movement and at

age 20, formed "The New Chamber Orchestra" to perform new music exclusively.

He began an association with the Columbia Broadcasting System in 1933,

composing for radio drama, and in 1940 became the conductor of the CBS Symphony

Orchestra. He used this position to feature new works by unrecognised composers of the

time, among them, Charles Ives. During this period, a prolific association with radio

60. Sullivan, Hitchcock's, 167.

61. Johnson, Bernard Herrmann: Hollywood's musical dramatist, 3
35
dramatist Orson Well es was established, and Herrmann was contracted by the young

writer/director/actor to score his first major motion picture, Citizen Cane.

His work with Alfred Hitchcock began in 1955 with The Trouble With Harry and

The Man Who Knew Too Much, continued with Vertigo in 1958, North by Northwest the

following year, Psycho in 1960, as a sound consultant for The Birds in 1963, Marnie in

1964, and finally, 1966's Torn Curtain, during which he was replaced by English film

composer John Addison.

Herrmann's career saw him vacillating between composing for film and the

concert hall and conducting studio a:nd symphony orchestras. His ultimate frustration

with what he viewed as a stagnant concert music environment in the United States, as

well as the stylistic changes taking place within film music, led to his emigration to

Great Britain in 1971. He died in 1975, after scoring 50 motion pictures, two television

operas, numerous pieces for episodic television, as well as an abundance of suites,

cantatas, string quartets, and symphonic music. He won an Academy Award in 1941 for

his work in The Devil and Daniel Webster. 62

The maxim:, "A good score is one that you're not aware of' does not hold true: in

the case of this composer. 63 His voice is as much a part of the narrative fabric of the

seven Hitchcock films he scored as the director's subjective camera angles and play of

shadow and light. This strength of presence is in part attributable to his orchestrations.

62. Bernstein, Notebook, 138-143.

63. Quoted, and discounted, in Mancini, Did they Mention?, 185.
36
As Elmer Bernstein commented in Joshua Waletsky' Film Music Masters documentary

on Herrmann:

Where somebody else would sweat blood trying to do something in a

relatively subtle manner, when Benny had to deliver something he would
do it with everything he had. He would smite the world with trombones,
and it was very effective. 64

As opposed to the soundscape dominated by predominantly upper-register violins which

characterises the Waxman and Tiomkin scores, Herrmann's film ensembles changed

their composition according to the musical needs of the production as judged by the

scorist - pending approval of his director. He expanded Arthur Benjamin's "Storm

Clouds Cantata" to shade Hitchcock's assassination sequence in The Man Who Knew

Too Much, adding harp and organ to The London Symphony Orchestra engaged for the

picture. 65 For The Wrong Man in 1956, a solo contrabass was all that remained of his

string section, part of a studio orchestra consisting bf nine brass, nine woodwinds, two

harps, and a cadre of percussionists. Thirty-one of the sixty-seven musicians used for

North By Northwest were violinists, violists, cellists and bassists, joining the six

percussion, two harps, three pianos, eleven brass, and fourteen woodwinds of the

ensemble, while the Marnie orchestra was void of any percussion, and included a brass

section.consisting only of four french horns. 66 Her~mann's design of the rejected Torn

Curtain score depended upon an audacious assemblage of sixteen french horns, nine

64.· Waletzky, Music for the Movies: Bernard Herrmann DVD. Kulter Video, 2007
65. Sullivan, Hitchcock's, 192-196.
66. Bill Wrobel, analysis of The Wrong Man, North by Northwest, and Marnie scores.
www.filmscorerundowns.net.
37
trombones, two tubas, twelve flutes, two sets of timpani, eight celli, eight contrabasses,

and a reduced section of violins and violas. 67 The music for Psycho was written for a

string-exclusive ensemble of fifty musicians, its composer wishing to "complement the

black and white photography of the film with a black and white sound." 68

Herrmann' s very use of the instruments within his orchestras differed from his

Hitchcockian predecessors. Where Tiomkin may have shaded with tremolo strings a

scene ripe with the potential of dramatic development such as Father Logan's

confrontation with the trapped Otto Keller of I Confess, Herrmann's understated

commentary for the similarly suspenseful Ambrose Chapel exterior shots in The Wrong

Man or the nightmare sequence of Vertigo was often dependant upon a woodwind choir

of three Bb and two bass clarinets. He was also comfortable with the weighty resonance

of the lower range of his violin sections, drawing rhythmically active, almost percussive

passages from them, as with the initial ten measures of his allegro opening music for

Psycho. (Figure 6)

67. Smith. A Heart at Fire's Centre, 271.

68. Brown, Overtones, 165.
38
 :~,{I!:~ :: : I: i :1~:~ ~ tt lrg r; I
VC,CB
1

{lfu~:~n221 I 1:1~x 1331

Figure 6. "Psycho", Prelude, mm.1-10. Rhythmically active, percussive role
assigned to lower register of violin section. 69

Also noteworthy in the Psycho "Prelude" is the presence of R.S. Brown's

"Hitchcock Chord", only one of several vertical constructs seemingly favoured by the

composer and contributing another characteristic element to his music for the director. 70

Additional sonorities containing augmented fourths and fifths were routinely employed

with particular effect by Herrmann in order to foreshadow, enhance, or comment on the

filmmaker' s use of suspense. (Figure 7)

69. Score reduction by Fred Steiner, "Herrmann's 'Black-and-white' Music for

Hitchcock's Psycho". Bernstein, Notebook, 69.
70. The addition of an augmented 4th to Brown's "Hitchcock Chord" results in David
Cooper's "Vertigo Chord". (Cooper, 29-30)
39
 \
The Trouble with Harry The Man Who Knew Too Much
Tripping over corpse Stabbing M. Bernard
b>

Vertigo
Throughout tower sequence.
Vertigo-Prelude North by Northwest
Hanging from Mt. Rushmore.

Psycho Psycho
Ladies' Room scene. Final Chord (8vb)
~~

t~ JJ
z. JJ.
#-U-~-U-
:c .JJ
IIJ . .
14 J JJ
q .
"'··~'.
. l:;p JJ
. .
(Am)
(E7b9b13)
Figure 7. Herrmann-favoured augmented fourth and fifth-containing sonorities.

Much has been made of the repetitive use of brief melodic cells within Herrmann's

work. Composer David Raksin, who maintained a rare, enduring friendship with the

artist revealed:

When I was showing Vertigo to a bunch of my students at UCLA, a

kid said to me, "When Kim Novak walks through the church on the
way to the graveyard, there's an organ playing. Do you know the
name of that piece?" I said, "No,' it's something by Benny Herrmann;
but I know the name of the church. It's called Our Lady of Perpetual
Sequences!" 71

71. Brown, 288.

40
This composer was certainly not unique in recognising the potential for extensive

variation within even a small motif, and the unifying character which repeated

modification of an identical construct - in Herrmann' s case, a cell of four pitches -

would impart to the larger score. As he explained to Royal S. Brown:

The short phrase is easier to follow for an audience, who listen with
only half an ear. Don't forget that the best they do is half an ear. You
know, the reason I don't like this tune business is that a tune has to
have eight or sixteen bars, which limits a composer. Once you start,
you've got to finish - eight or sixteen bars. Otherwise, the audience
doesn't know what the hell it's all about. 72

The melodic nature of his four-note sequences also factored into the characteristic

sound of his music for Hitchcock. Pitch placement usually followed an adjacent

ordering, allowing for the presence of the favoured semi-tone. When note distribution

exceeded half or whole-tone intervals, the augmented fourth or fifth utilised in vertical

constructs was frequently incorporated. (Figure 8)

72. Brown, Overtones, 291-292.

41
 The Trouble With Harry
Augmented (linear) chord used

'i
Four- note cell which begins film. at scene transitions.

&d d
>
~~ J
>

The Man Who Knew Too Much

Approach to Taxidermist's Altercation in Ambrose Chapel

@i f 'F 1
YF bF IJ d r f
The Wrong Man
'Manny' bass line Telephone call-laV\iyer

Vertigo North by Northwest

The Hotel Airplane/tanker collision

IJ
Figure 8. Manipulation of repeating, often identical four-note cells characterises
Herrmann 's Hitchcock scores.

Frequently, Herrmann would combine additional chord tones with his four-note

cells, or introduce a secondary line of repeating single pitches, adding a subtle

undercurrent of rhythmic propulsion to the motif. (Figure 9)

42 ,
 The Man Who Knew To Much - Approach to Ambrose Chapel
Vertigo - Nightmare sequence
1 1 1 1 1 1 1· 1
'"l: .
, ~r 11,p
Vertigo
f' r
Final gallery visit

~ '2J I~ ~ *
' 1· p LJ
North by Northwest
LJ
Thornhill's airport arrival
1·
~ LJ LJ

Marnie
'The safe'

Figure 9. Addition of vertical and linear pitch/rhythmic material to four-note cells.

Although Herrmann's reuse of musical material within the Hitchcock canon is

evident, to criticize his employment of a methodology especially common to film music

is unjust. Perhaps it is the very nature of his musical constructs - linear and vertical

motifs containing unresolved dissonances displayed in the more pronounced colours of

the orchestral palette - which makes his use of repetition more noticeable and his

musical presence within the Hitchcock films undeniable. Regardless, this stylistic trait

may have been a factor in the decision of both director and Universal Studio hierarchy

to replace him, as suggested by a Hitchcock memo of November 4, 1965:

43
 I was extremely disappointed when I heard the score of Joy in the
Morning. [an Alex Segal film Herrmann scored in 1965.] Not only did I
find it conforming to the old pattern but extremely reminiscent of the
Marnie music. In fact, the theme was almost the same. 73

Alfred Hitchcock

By the time of Alfred Hitchcock's dissolution of his relationship with Bernard

Herrmann, he had directed 56 of the 59 films he would ultimately make. Born in 1899

in London, England, he began his professional life at the age of 14, upon the death of

his grocer father. He completed courses at the "London County Council School of

Engineering and Navigation" and worked as a draftsman and advertising designer for a

manufacturer of cables. While a teenager, he published short stories, developed an

interest in photography, and found additional employment designing title cards 74 for the

London division of Paramount Pictures. In 1920, he acquired a position at American-

owned Islington Studios, and by 1922 had made his first picture, Number 13. Relocation

to Germany and screenwriting assignments for, among others, the Universum Film

Company, allowed him to observe the work of F.W. Murnau and Fritz Lang, and

73. Smith, Heart, 268. Hitchcock's frustration may also have been linked to the ongoing
lack of a profitable popular song emerging from his films during this fruitful period for
other director/producers such as Stanley Donen and ·Blake Edwards. "Flaggin' the Train
to Tuskaloosa" written by Raymond Scott and Mack David for The Trouble With Harry
(Sullivan, 190) and "Marnie's Theme", from Marnie, lyricised by Jason Peter and
Gloria Shayne (ibid, 335) did not match the enormous success of Evans and
Livingston's "Que Sera, Sera" from The Wrong Man.
74. The series of (usually paper) cards on which was written the title of the film and the
members of the film's cast and crew whom the director/producer deemed worthy of
recognition before the picture began. The cards, often quite intricate in their graphics,
were then photographed and assembled in sequence for the film's opening moments.
44
develop his skills in such a way as to become a respected and successful filmmaker by

1926. He married the screenwriter, film editor, and assistant director Alma Reville the

same year, a union that would prove indispensable to his art and career.

Hitchcock is widely acknowledged as being responsible for many of the technical

developments and narrative themes used in the art of motion picture making. 75 Due in

part to his gift for advertising and self-promotion as "The Master of Suspense," the.

cameo appearances he made in most of his films, and the television series Alfred

Hitchcock Presents, broadcast from 1955-1965, he remains an iconic figure. He was

nominated for five Academy Awards, and died in Los Angeles in 1980. 76

Hitchcock's philosophy regarding the role of music in film was clear:

Fear first manifests itself as the result of sound which is unsettling or

startling. The growing importance of music in motion pictures cannot
be overestimated for through the medium of sound, the intelligent
composer has a device by means of which he can actually create
within the hearer some of the emotion visible on the screen. 77

The hierarchy of sound in his pictures is impermanent. Music prevails over the

screaming and slicing of Psycho's shower scene due to Herrmann's extreme register,

down-stroked violins, while much of the soundtrack of The Birds is dominated by Remi

Gassmann' s ele~tronic effects representing the vocalising, flapping wings, and tearing

75. Francois Truffaut's Hitchcock offers a particularly informative dialogue between

two practitioners of the craft regarding such matters.
76. McGilligan, Alfred Hitchcock: A Life in Darkness and Light, 3-90.
77. Elmer Bernstein, Notebook, 107.
45
beaks of the film's antagonists. 78 Diegetic sounds emerging from the traffic and subway.

of New York City in The Wrong Man, or from the crop-dusting airplane of North by

Northwest are emphasized to the extent of rendering the mere suggestion of

accompanying music excessive.

Table 1 illustrates the manifestation of Hitchcock's sound hierarchy in the amount

of music used in each of his films. Among the productions scored by his principal

composers, the proportion of music to picture fluctuates, with no evident trend

emerging in relation fo composer or chronology, from the 71 percent of Rebecca

through the 30 percent of The Wrong Man to the 60 percent of Vertigo. The reduced use

of music in the former production is appropriate, given the director's wish to dramatise

in the style of a documentary a true account of ajustice system gone awry. 79

Significantly, the respective 18 percent and 22 percent figures calculated for the

Goodwin and Mancini Frenzy scores suggest both a connection to the stark realism of

the earlier "wrong man"-themed narrative, and the reduced status of music within the

organisation of sound for Hitchcock's penultimate film.

As well, Table 1 invites a consideration of main title music, traditionally composed

to accompany the sequence of title, cast and crew names shown during the opening

moments of a picture, imply location and era and - utilising the system of signification

familiar to composer and listener alike - establish the mood and genre of the overall

78. Sullivan, 264. An alternative consideration of the birds as protagonists is not denied.
79. Laurent Bouzereau, Guilt Trip: Hitchcock and the wrong man. "The Wrong Man"
DVD Special Feature, 2004.
46
 production. To this end, the main title themes composed or assembled by Waxman,

Tiomkin and Herrmann evidently satisfied their director, given their repeated

engagement by him. However, using the same system of codification, and particularly

in the cases of Waxman and Tiomkin, most of these pieces were crafted in opposition to

the mood and genre of their films .

. ·.,

47
 TABLE 1 - Use of music by Waxman, Tiomkin, Herrmann,
Goodwin, and Mancini in Alfred Hitchcock's films. 80
Film Year Composer Inst. TimeTotal #of M.T. M.T. Final
Music Cues Time Segue/End Sonority
Rebecca 1940 Waxman Orchestra 130:00 92: 13 14 1:43 Segue Major
2 Novachords (71%) Maj. To Maj.
Elec. organ
Suspicion 1941 Waxman Orchestra. 99:00 66:42 28 0:57 End Major
Elec. organ (68%) Resolves/Maj.
Shadow of 1943 Tiomkin Orchestra 108:00 43:00 29 2:28 End Major
a Doubt (40%) Unresolved
The 1947 Waxman Orchestra 114:00 51 :50 19 1:29 End Major
Paradine Novachord (46%) Resolves/Maj
Case
Strangers 1951 Tiomkin Orch. R.S.(3) 101 :00 54:42 19 1:06 Segue Major
on 3sax.3pno. (54%) Maj. to Maj.
a Train Novachord
I Confess 1953 Tiomkin Orchestra 94:00 50:27 15 1:27 Segue Major
l Soprano (53%) Maj. to min.
Dial 'M' 1954 Tiomkin Orchestra 105:00 51: 15 14 1:07 Segue Major
for Murder (48%) Maj. to Maj.
Rear 1955 Waxman Orch. R.S.(4) 112:00 62:12 25 2:05 End Major
Window Saxophones (55%) Unresolved
The Trouble 1955 Hemnann Orchestra 99:00 39:00 31 1:37 Segue Major
with Harry (40%) min. to Maj.
The Man 1956 Herrmann Orchestra 120:00 47:08 19 2: 11 End No 3rd
Who Knew (39%) Resolves/min. l,b5,8
Too Much
The Wrong 1956 Herrmann WW, Brass, 103:00 30:17 25 2: 19 End Major
Man R.S.(4),Perc. (29%) Resolves/Maj
Vertigo 1958 Herrmann Orchestra. 129:00 77:49 25 4:33 Segue Major
Blee.organ (60%) min. to min.
North by 1959 Herrmann Orchestra 136:00 56:49 39 2:14 End Major
Northwest 3 pianos (42%) Unresolved
Psycho 1960 Herrmann String ens. l 09:00 48:00 29 1:34 Segue No 3rd
(44%) min. to min. l,b5,b7,b9
Marnie 1964 Herrmann Orchestra 130:00 47:00 41 1:58 End Major
(36%) Unresolved
Frenzy 1972 Goodwin Orchestra 112:00 20:25 13 2:30 End Milnor
(18%) Resolves/Maj.
Frenzy 1972 Mancini Orchestra 112:00 26:25 15 2:32 End No 3rd
(22%) Resolves/Maj. 1,8, 12

80. With the exception of Mancini's Frenzy score, the# of Cues calculation is
dependant upon a discernable beginning and ending of each piece. Original
manuscripts, if available, may reveal different totals.
48
 The eight title compositions implemented or created by Waxman and Tiomkin

could easily have functioned as music meant to foreshadow romantic dramas or, in the

case of Strangers on a Train or Rear Window, comedic stage plays. Regarding the more

literal-minded Hermann, whose title themes for The Man Who Knew Too Much,

Vertigo, Psycho and Marnie left the filmgoer with no doubt of the mayhem which was

to ensue, audiences attending North by Northwest may have felt they were about to

watch an action picture, owing to its fandango-styled opening music, or in the case of

The Trouble with Harry, a satirical comedy. 81

Accepting, as Hitchcock's composers did, the most basic perception of modality as

an indicator of or reaction to mood, the manner in which these pieces end -

harmonically resolved to major or minor, or harmonically unresolved - transmitted to

the viewer an attendant sensation of contentment, gloom, or unease, and established an

emotional plateau from which to experience the first sequence of the film, which may in

itself have been shaded by a musical segue rooted in an identical or opposing modality.

Notable in Table 1 are the decisions made both by Mancini and Goodwin to resolve

their main title themes for Frenzy to major, in the manner of six of Waxman and
82
Tiomkin;s eight samples, and in opposition to all but one of the Herrmann scores.

Similarly, the final sonority heard in a film can leave the viewer/listener with a

lasting emotional impression. Hitchcock was adept at appearing to subscribe to the

· 81. It is acknowledged that both films embrace elements endemic to these genres.
82. The exception, from The Wrong Man, is a source cue performed at New York's
Stork Club, appropriate to the revelry of the on-screen dancers.
49
institution of, if not the Happy Ending, the Conventional Ending, in which good

triumphs over evil, the wicked are punished, and conflicts are resolved. Table 1 reveals

the musical reinforcement of a narrative conclusion with a final .harmonic resolution to

a major tonality in 12 of the 16 films examined. The four exc~ptions are The Man Who

Knew Too Much, Psycho, and both Goodwin and Mancini's Frenzy scores.

Just as the introductory and concluding pieces composed for Hitchcock's films

showed instances of variance, so too did the pattern of cue placement as it pertained to

narrative content. By 1960, it appears the director was questioning the use of music

during graphically violent sequences. The viscerally disturbing strangulation or

impalement scenes of Spellbound (1945), Rope (1948), Strangers on a Train (1951 ),

Dial 'M'for Murder (1955), and The Man Who Knew Too Much (1956) all unfold to

musical accompaniment. During the making of Psycho, however, Herrmann composed

the theme for the shower scene against his director's wishes, in order to eventually

convince him music could immeasurably increase the horror of Marion Crane's

murder. 83 The same battle of artistic wills was to ensue in 1965 during the completion

of Torn Curtain, when the composer scored the prolonged killing of Gromek, again in

opposition to his director. Herrmann's successor John Addison also created a cue for

the two-and-a-half minute scene, but ultimately, Hitchcock deemed the sounds of the
84
struggle itself sufficient for his audio track.

83. Waletsky, Music for the Movies. DVD

84. Bouzereau, Torn Curtain Rising. "Torn Curtain" DVD Special Feature, 2005.
50
 The apparent change in Hitchcock's philosophy regarding the presence of music

during disturbing filmic moments did not extend to other, traditionally scored- or

unscored - sequences. The technique of filling the screen with a newspaper headline as

a way of advancing plot extends from Suspicion through all of the films considered for

this study, but in only one case - North by Northwest - is music kept from the

soundtrack as the frame comes into focus. Lengthy scenes of dialogue considered vital

to viewer comprehension, such as the reading of the will in Suspicion, Emma Ne\\rton

rationalising her emotions in Shadow of a Doubt, the courtroom scenes of Rebecca, The

Paradine Case, and I Confess, and innumerable police interviews throughout the canon

consistently remained unscored.

Regardless of how he chose to use music within his pictures, Alfred Hitchcock

employed 20 different composers to shade the 45 of his films which required scoring. In

197 5, the most frequent of these, Bernard Herrmann, summarised the nature of his

professional relationship with the director:

He only finishes a picture 60 percent. I have to finish it for him. 85

Hitchcock was asked in 1975 by composer John Williams if he would use Herrmann

again and replied,

Oh no. Our relationship - our working relationship - is finished. I

wouldn't be inviting him to compose a score in any case ... 86

85. Brown, Overtones, 290.

86. Sullivan, Hitchcock's, 310.
51
 Allowing for the maimer in which Herrmann' s alleged rancorous nature and the

purportedly acrimonious dissolution of the Hitchcock-Herrmann alliance may have

tinted both of these statements, 87 they remain significant to this study in their contrast to

declarations made by both Henry Mancini and Blake Edwards regarding their own

professional relationship - the nature of which may have conditioned Man.cini to

misjudge the level of trust established between himself and Alfred Hitchcock:

With Edwards there's no discussion between us. He doesn't ask me what

I'm doing and I rarely tell him. There's a lot of latitude in his films. He's
awfully visual and I like this about him. 88

In 1988, Edwards was asked about Mancini's involvement m his motion

pictures:

I love going to scoring sessions and hearing what he has done. There are
times when I feel he's embellished the effectiveness of the scenes by
fifty percent, he's made them come more alive than I had imagined. A
lot of my success is due to his scoring. 89

87. A 1964 interview of both men conducted by Fletcher Markle for CBC television
reveals a partnership initially rooted in mutual admiration. (Fletcher Markle, Telescope:
A Talk With Hitchcock. Transcription available at www.bernardherrmann.org)
88. Tony Mastroianni, "Henry Mancini: Composer's King", The Cleveland Memory
Project, www.clevelandmemory.org
89. Thomas, Music for the Movies, 276.
52
 Blake Edwards

William Blake Crump was born in Tulsa, Oklahoma, in 1922. He was the stepson

of producer/assistant director Jack McEdward, whose own father, the Montreal-born J.

Gordon Edwards, was a prolific silent film writer, director, and producer.

Blake Edwards began his career as a teenaged actor, but an injury sustained while

serving in the United States Coast Guard during World War Two influenced his turn to

directing and scriptwriting. His contribution to several radio productions led to

assignments in the new medium of television, where, in 1958, he created the character

of noir detective Peter Gunn, and began his professional association with Henry

Mancini. Their feature film work commenced in 1960 with Breakfast at Tiffany's, and

ended thirty-three years later with Son of the Pink Panther. 90 Edwards directed 38 films,

all but ten scored by Mancini, including comedies, dramas, mystery/thrillers, and

musicals. He died in Santa Monica, California, in 2010, survived by his wife and

collaborative partner, Julie Andrews. 91

The music Mancini composed for eight categorically different Edwards pictures

which precede Frenzy varies from that of Hitchcock's composers both stylistically - in

its divergence from the Euro-centric Romantic/Post Romantic sound that characterises

90. John Wakeman (Ed.) .. World Film Directors Vol. 2., 302-310.
91. Undercurrents of connectivity often emerge when biographical considerations are
included in film score analysis. The Andrews partnership is not only significant to
Edwards' and Mancini's work, but forms a col)11ection to Hitchcock. In Torn Curtain
she played the unwitting lover of a spy dropped into enemy territory. In Darling Lili,
her first part for Edwards, she played a spy dropped into enemy territory, unbeknownst
to the lover she would find there.
53
all but Rear Window - and in its status as an additional performance art existing within

the boundaries of a larger, visual-dependant medium. Within the Edwards hierarchy of

sound, music was ranked in such a way as to exceed the traditional roles of Main Title,

End Credits, and underscore to scenario, often mixed at-a higher volume than many

films - including Hitchcock's - and making its presence felt in such a way as to at

times rival even Herrmann at his most assertive. 92

Table 2 is a quantitative illustration of the importance of music in Edwards' earlier

films. 93 While consistent with those Hitchcock works showing higher music-to-film

percentages and number of discernable cues, the Mancini/Edwards music diverges in its

lengthier locating and mood-establishing Main Title sequences, the varied way in which

main title pieces end or transition, and the diversity and size of the ensembles

assembled.

92. Note the cue, "They Fired Me" from Days of Wine and Roses.
93. Music in Edwards' films would see a progressive reduction in status post-
Victor/Victoria. (1982) See Blind Date, Skin Deep, Switch.
54
 TABLE 2
Use of Mancini's Music in Blake Edwards' Films, Pre-1971
Film Year Instrumentation Film Total #of M.T. M.T. Pinal
Length Music Cues Time Segue/End Sonority
Breakfast at 1961 Orch/Big Band, 115:00 49:13 23 3:04 End Major
Tiffany's Mixed choir, (43%) Resolves/Maj.
hannonica
Days of 1962 Orch, RS (4), 117:00 50.02 23 2:05 Segue Solo
Wine and Saxes, chorus (43%) IMaj9b5/Maj. 'C'
Roses
Experiment 1962 Orch./Big band+ 123:00 56:25 33 2:27 End Min/Maj7
in Terror pno x2,autohro x2 (46%) Resolves/min.
A Shot in 1964 Big Band, 102:00 41:48 32 4:00 End Min/Maj7
the Dark vox soloist (41%) Resolves/Root add 9,11
Indian harmonium, Inc. Prologue
free bass accordian
The Pink 1964 Orch/Big Band+ 115:00 57:08 24 3:29 Segue Major
Panther vox soloist (50%) min./min.
Inc. Prologue
The Great 1965 Orch, Saxes, 160:00 92:54 (58%) 56 2:50 Segue Major
Race chorus Overture, exit Maj./Maj.
Intennission
Darling 1970 Orch, RS (4), 114:00 69:35 (61%) 37 2:45 End Major
Lili Acc., bass acc., Prologue Resolves/min.
barrio, chorus Overture, exit

Mancini's decision to compose the amount of music he did for the Edwards

productions may be due to the manner in which it was showcased outside the traditional

forum of title and end cues. In every picture considered, the composer was afforded an

underscore vignette, such as the Breakfast at Tiffany's shoplifting scene, in which music

dominates the few sound effects heard. Jack Lemon's drunken attempts to reach his hi-

rise apartment in Days of Wine and Roses inspired the near two-minute "Silly", while

the choreographed multiple-dalliance scene which opens A Shot in the Dark was

realised to the cabaret-like "Shadows of Paris". An atmospheric prologue preceded the

main title music of The Pink Panther - itself a 3 :29-minute piece serving as a model for

55
the increasingly ambitious opening sequences created for the sequels - and by 1965,

Edwards was allocating a portion of The Great Race 's screen time to his compose:r' s

overture, intermission and exit music, as he would again do in 1969 with Darling Lili.

The director's enthusiasm for music.extended to its visual representation within his

films. At least one diegetic cue in each picture is shown emanating from an ensemble,

with close-ups of musicians and instruments. The visual and aural ambiance contributed

by the club bands of Breakfast at Tiffany's, Days of Wine and Roses, Experiment in

Terror and A Shot in the Dark morphs into the narrative-extraneous performances

shown in The Pink Panther and The Great Race, culminating with the musical, Darling

Lili.

Though Mancini enjoyed similar creative freedom under the recurring direction of

Howard Hawks, Stanley Donen, and Paul Newman, 94 the professional simpatico

established with Edwards, and the volume of work resulting from it, was unusual in the

American film industry. In recognising the art of filmmaking as one of collaboration,.

the value of such durable partnerships is evident; however, given the exceptional

strength of purpose, desire, and abilities brought to these alliances by Franz Waxman,

Dmitri Tiomkin, Bernard Herrmann, Ron Goodwin, Alfred Hitchcock, Blake Edwards,

and Henry Mancini, it is of little surprise that the art which emerged achieved such

status within motion picture history.

94. Newman was Andrews' co-star in Torn Curtain. His second directorial effort,
Sometimes a Great Notion, was, in the year before Frenzy, the first of three films
Mancini would score for him.
56
 Chapter Two

The Trademarks ·

Look, if I want Herrmann, I'd ask Herrmann. Where's Mancini?

Bernard Herrmann 1

This quotation has been mistakenly attributed to Alfred Hitchcock and cited as a

reason for the Mancini dismissal by Thomas Leitch in The Encyclopaedia ofAlfred

Hitchcock, 2 used by Jack Sullivan as a sub-heading in his brief chapter on Frenzy in

Hitchcock's Music, 3 and invoked by many who participate in on-line film music

discussion forums. For. the purpose of this work, the quotation is useful for two reasons.

It brings to light one of the problems inherent in an examination of an instant of

professional conflict occurring between public figures; simple titillation necessitates

opinion, on one level, within the context of casual conversation, and on another, from

those who, like Herrmann, may in some way be connected to the principals involved,

giving rise to more significant repercussions. Herrmann had no contact with his former

I. Royal S. Brown, "An Interview with Bernard Herrmann", High Fidelity and Musical
America: Vol. 26 #9, 64.
2. Thomas Leitch, The Encyclopaedia of Alfred Hitchcock, 113.
3. Sullivan, Hitchcock's, 298.
57
 director after the termination of the 'Torn Curtain" assignment, 4 and while one may

speculate on the anecdote being told him by a particip'1;nt in the Mancini recording

sessions, the ultimate futility of such an exercise soon becomes apparent. As LB

· Jefferies, voiced by James Stewart in Hitchcock's Rear Window exclaims, "It's a

second hand version of an unsupported story."

A more useful consideration of the Herrmann quote is in its generation of the

question, what is Mancini? What characteristics emerged from his composition,

assemblage/arrangement and orchestration styles which forced even the usually

contemptuous Herrmann to relegate the nature of his colleague's work to a noun? 5

Before considering this question, it is necessary to stress Mancini's purpose and

motivation behind all of his compositional endeavours. He wrote music to accompany,

or in the case of his rare programmatic material, impart, the visual. 6 The "song

catalogue" associated with this composer emerged from his film scores. Often,

incomplete fragments of diegetic music only became fully developed pieces when they

were rerecorded by Mancini and released on soundtrack albums. As he said in a 1977

4. Smith, Heart, 295.

5. It is no great feat sourcing instances of the outspoken Herrmann' s legendary
irascibility and insolence. In a July 4, 1964 interview with the Hollywood Reporter
entitled "Herrmann Says Hollywood Tone Deaf as to Film Scores," the composer
dismiss_ed Mancini's seminal score for Breakfast at Tiffany's as "A harmonica
surrounded by a choral group." (ibid., 296)
6. The very few compositiQns in the catalogue not tracing their origin to film or
television music include a portrayal of Mancini's childhood home entitled Beaver
Valley Suite and consisting ofl: The River, II: Black Snow, and III: The Sons of Italy. A
1966 big band selection entitled Bonsai Pipeline was written after watching his son surf.
His other creative pursuits were abstract painting and photo.graphy.
58
interview with John Caps for Bernstein's Film Music Notebook and would repeat

throughout his career:

It's strange, but all of the so-called hits I've had have been outgrowths of
dramatic situations. I couldn't sit down and write "Wine and Roses" just
from scratch and have it come out like that. There'd be no reason. 7

For the purpose of this study, 400 of Mancini's compositions drawn from motion

picture underscore, soundtrack albums re-recorded for commercial release, and the rare

pieces of program music he wrote were examined, using the composer's own suggested

"trademark" parameters of melody, harmony and timbre, and adding to this rhythm,

form, and performance practice. 8

Data was recorded as follows:

Title Source Year Mtr. Key Form

The Discovery Lifeforce 1985 IFm ... DU

(Part 2)

Elegant The Party 1968 314 c Through ( 16)

Factors requiring further analysis were added to the criteria above. "Primary Melodic

Contour" refers to the direction of a melodic statement's opening gesture, while

"Features" takes note of instrumentation, recurring pitch, harmony, rhythm or dynamic

structures, and improvisation, if any.

7. Bernstein, Notebook, 388.

8. A key to symbols and sampling of the results constitutes Appendix A.
59
 Primary Melodic Contour Features

cAf0 ST.J./I Ml 1' M21' CM21' Orchestra + harp, electronic fx.

BL (OST.J ./I M31' CM31' <
~~=l
~ ~
CMlOST.) 1' M41'

Ml ./I M21' CM21' M31' String Section+ pno, bs, dr, vb.
Improvisation

A distinction exists within the catalogue between the pieces Mancini would refer to

as "themes" - which transformed most readily into "songs" such as "We've Loved

Before" from Arabesque - and the underscore used to manipulate or reinforce mood, for

example, "The Zoo Chase: pt. 2" from the same score. The former is characterised by

frequent use of the four measure phrase or its multiples, a consistent time signature, and

a key centre, while the latter is usually plastic in form and metrical measurement, and

atonal regarding organisation of pitch. Regardless of categorisation, this survey is

constructed from the position of considering each distinctive pitch set within either type

of cue as "melody", labelled, "M". Use of this term is less restrictive than that which

subscribes to the definition supplied by Hanns Eisler in his 1946 treatise Composing/or

Films, which implies aesthetic judgement:

It denotes a tonal sequence, constituting not so much the point

of departure of a composition as a self-contained entity that is
easy to listen to, singable, and expressive. 9

9. Hanns Eisler, Composing for the Films. With a translation of the postscript from the
German language edition, 6.
60
While clarifying categorisation and avoiding a discussion of semantics, employment of

this label also recognises perhaps this composer's most widely acknowledged strength -

the ability to craft a compelling, memorable melodic line. 10

Factors distinguishing one melody from the next, resulting in the designation M1 ,

M2 , etc within the survey, are a redistribution of pitch order, and discernable

adjustments made to tonal centre, harmonic underpinning, tempo, orchestration, and

rhythmic activity. Applying the same parameters to song cues and implementing a

lettering system identifies formal construct, whether through-composed, binary, ternary,

or multi-sectional.

While acknowledging the wealth of material in the Mancini canon that is not

readily identifiable as his work, 11 this study nonetheless revealed definite creative traits

and constructional tendencies, several of which emerge in the Frenzy score. It is useful

to turn to Mancini's most recognised composition, "Moon River," in that it illustrates

many of his choices regarding melody. The piece is one of 297 compositions found

within the survey to employ an ascending interval as its initial melodic gesture. This

figure includes the multi-thematic dramatic underscore cues in which the first melodic

motion heard in each 'theme' is upward. Included in the 103 exceptions - among which

10. "The job of the composer is to write a great melody, so Hank was .one of the most
supreme melodists in film scoring history - an indisputable great melodist. Not
every composer, film composer especially, is a great melodist, but Hank was. I
would venture to guess - I'm not certain about this - but I would say it comes from
two sources: his Italian heritage, and his jazz heritage." Interview with film
composer and Bernstein orchestrator David Spear, June 29, 2008.
11. The White Dawn; Tom and Jerry: The Movie, Lifeforce, Nightwing, The Night
Visitor.
61
are no evident connections between er·a, film, genre, or director - are compositions such

as The Peter Gunn Theme, which introduces its descending, principal melodic line only

after the opening.statement of an ascending, accompanying ostinato, in this case the

guitar and bass figures. (Figure 1)

Principal Melody
f'I I r-i I

Ens.~~~~~~~~§·~~3
I

• - '·._____,- '*-_
,
•)
....
Gt/Pno. :· ::- ::
•• -
-
~
- -
- "'
--
-
-·
Osti11ato!Co1111ter A1elodv
· - r-- -
- - -- -
... - "
_,# \

- - - - l-,... -

Bass -,'" '· -

.. ~~
" . - " . - l • - .. -

'
Figure 1: Peter Gunn Theme (1958.) Principal melody begins in a rare
descending direction, after introduction of ascending countermelody.

Also found in the Moon River melody is an example of Mancini's fondness, when

working within the parameters of a key centre, to use non-harmonic note choices at

moments of melodic prominence, in this case the 4th degree over the vi chord of m.2 and

more significantly, the augmented 4th degree at the strongest rhythmic moments of

mm.3 and 5. (Figure 2)

c A-<add4) p6t#4) c
&1 J. I r v I r·
\
J) j j IJ J
F6<#4)
c B-1bs E7b9

F. -j j ~ I ~

' ~-~ -~ II
1 ·

~ *
Figure 2: "Moon River" from "Brealifast at Tiffany's" (1961). Ascending
interval begins melodic statement. Augmented 4th used as emphasized melody
note in mm. 3 and 5.

62
 A tendency for harmonically contextual augmented 4ths and 5ths is evidenced

repeatedly in the song catalogue - "Mr. Lucky," "Soldier in the Rain", "Little Boys" -

as are major and minor 6ths and 9ths, appearing over both major and minor sonorities,

found in "Just You and Me Together Love", "Theme from Mommy Dearest," and The

Glass Menagerie's "Tom's Theme".

Mancini was well aware of this 'trademark' of assigning non-triadic and often

altered pitches to moments of melodic prominence, explaining his rational to biographer

John Caps in a 1992 discussion of a cue from Fear, "Casey's Theme." (Figure 3)

That's another example of a tune that fights for resolution at every

point and keeps slipping away, then makes it, then slips again and
keeps being interesting for that reason. 12

(pno/stg/clar)

~
Figure 3: "Casey's Theme" from "Fear" (1990). Compositional goal of suspending
resolution achieved through implementation of non-triadic and altered pitches in
both primary and secondary melodic material.

12. John Caps, Henry Mancini: Reinventing Film Music, 206.

63
 In many cases, if the principal melody pivoted upon the more conservative root,

3rd, and 5th of the accompanying harmony, the composer would add interest, richness

and tension to his piece by using extended or altered chord tones within supplementary

melodic material placed in another voice. In examining much of Mancini's thematic and

dramatic music in fact, it becomes apparent he rarely settled for a single melodic line

developing at any one time within the course of his arrangements.

This secondary melodic material can be classified in one of two ways: a counter

line, (CL), unfolds behind the main melody or an improvised solo at a slower rhythmic

rate, in an ascending or, more commonly within thematic cues, descending stepwise

phrase. A countermelody, (CM), constitutes an int_ervalically more complex,

rhythmically more active line complementing the main melody. Frequently,

arrangements implemented both types of supplementary melodic material, concurrently.

In Mancini's orchestratiOns, this "middleground" activity was usually assigned to mid-

range strings, wordless chorus, alto/bass flutes, vibraphone, or french horn.

In keeping with examples emerging from the cinematic source of "Moon River,"

"Sally's Tomato," from Breakfast at Tiffany's (1961) illustrates use of the descending

counter line in a bossa nova acting as both source cue and underscore to a scene of

light-hearted banter bet~een the lead characters. The inner line makes its descent from

i 11 to 3rd through a standard dominant-oriented cyclical progression, the rate of change

being bar to bar. The affect imparted, accepted and understood within the Western Art

Music system, is one of perpetual resolution, ergo, release of tension. (Figure 4)

64
 Fig. 4: "Sally's Tomato" from "Breakfast at Tiffany's". 7-3 descending line
assigned to wordless choir, emphasizing sensation of resolution.

Mancini would use this device to impart anxiety as well, simply by adjusting the -

starting pitch of the descending line in relation to its surrounding vertical harmony. A

similar sequence entitled "Megeve" from the 1963 production of Charade "fights for

resolution" between minor 13ths and 12ths, and minor 9ths and octaves, contributing to

a less settled listening/viewing experience; the filmgoer has just witnessed a murder,

and is privy to the point-of-view camera angle of a potential assassin, training a pistol

on the film's heroine.

The composer's use of countermelody is found in his first solely credited film

score, for The Glen Miller Story. A principal melody and accompanying harmonic

progression which sounds typical of the narrative's time-1935-1945 -and genre-·

65
commercial dance band - was given sonic propulsion through the inclusion of a

secondary melody which used 13ths, augmented 11 ths, 9ths, and unresolved 7ths at

rhythmically strong moments.

(Figure 5)

Strings

French Hom

Bass

-:e-
Str.

Hn.

F E-7 A7

Bass
~
Figure 5 "Too Little Time" from "The Glenn Miller Story" ( 1954). Altered
sonorities in french horn countermelody provide contrast to '3rd and 5th _oriented
principal melody.

66
 "Life in a Looking Glass" from l 986's That's Life illustrates the combination of

these two devices enhancing the principal melody of a thematically-based cue. (Fig. 6)

Figure 6: "Life in a Looking Glass" from "That's Life". Combination of

secondary melodic material in the form of countermelody and counter line.

The type of rhythmically pedestrian ascending counter line crafted for the "Life in

a Looking Glass" arrangement became primary melodic material in Mancini's

underscore cues, as a characteristic - and time honoured - way of imparting and

building suspense. "En Garde" from The Great Race shades a rapier duel between hero

and protagonist. Constructed over a chromatic, two note vertical tension established and

maintained between the rolling timpani and ·sustained double basses - an orchestration

technique in which the resulting effect is one of low muddled sound rather than

distracting dissonance - the melodic line gradually ascends in short phrases, ultimately

covering the range of an augmented 6th but never exceeding A#3, in order to avoid

interference with the voices of the male actors, and emphasize through contrast the

metallic, higher-pitched sound of the clashing blades. 13 (Figure 7)

13. Textual references to pitches are expres~ed according to the International Pitch
Notation system.
67
 This example also illustrates two additional Mancini dramatic underscore

'trademarks' - introducing the cue with a low-pitched sonority, often assigned to piano

as well as bass and reinforced with additional percussion instruments such as a gong or

crash cymbal - and completing it with a rapid, high volume crescendo which ends

abruptly. The three compositional devices illustrated below pervade the composer:· s

dramatic underscore work from beginning to end. (Figure 7)

Bs Cl., bsn,
Altoflts
I I I I
.......I I "I
r~
L.

1-.I.·1np . -6- sim ... -e- -e- -e- -e- -e- -e- ~ -e- -a-:
. . . . . . _ _ , . . ,_ _ _ _ _,>-----"'..._.-·.._....·...___...,,-i,..____,. - - _ . . . . . - . . . -

mf ::::::=- PP

C.B. -e-.
mf

vlns.~-
,,

I J ~I - 17'. II

.._..-...___-,.__.,..___.....
-e- -e- -e- -e- __ .____________
-e-
p
-e- ' - - --e-
-e- ' ' ' - - - - -e-
'
.ff
II

Figure 7: "En Garde" from "The Great Race" (1965) Pitch ascension begins at
CJ in the lower woodwinds and reaches A #4 in the violins. Excerpt shows
characteristic establishment of low sonority in first measure, and rapid
crescendo, with abrupt ending, in.final measure.

Motivic material within Mancini's dramatic underscore was drawn from his larger

themes; from the "tunes" which, to Herrmann in the Royal S. Brown interview, were

assumed limiting due to their dependence upon the eight or sixteen bar phrase for

68
completion. Mancini's method of using the first two to four-note fragments of his tonal

themes as motivic material to be rhythmically manipulated and shaded by

accompanying activity not necessarily originating from ~n identifiable vertical structure

or horizontal progression enabled him to avoid the potential restriction inherent in the

four, eight, or sixteen measure form, and construct linkages throughout the entire score.

His Pink Panther Theme offered up a wealth of melodic cells from which to construct

complete cues. (Figure 8)

Alto Fits
' '

-...__,,. r

mf Bs, Pno. Guit.

~ ~

r r
· Vln/Vla (mut>s)
('\ ::: :::; ::: ::; ::: .

,
~.
'
~.
".'.'.
~
-
c~
-
~
-
~

<11
,._
-
"
~
-
c~

~
::
CB/VC (mutes)
Figure. 8: "The Safe 's Empty" from "The Pink Panther" (1964). Main Title theme
provides motivic material used in dr_amatic underscoring.

Melodic fragments drawn from the themes would also be used in sections of

imitative writing within underscore cues. Although complete fugal sections only

became apparent in the 1980's with such cues as "It's Shearing You're Hearing" from

The Thornbirds or "Feeding Time" from Lifeforce, more frequently, imitation both at

the tonal and real level was abandoned once the recognisable opening gesture of a

melody had been stated. (Figure 9)

69
 J. = 110
1]Jts./Vln I

Vla./V.C.

Figure 9: "Mollys Strike Again" from "The Molly Maguires" (1970). First statement
of thematic material used as source cell for imitative writing.

Just as a great deal of Mancini's music shows evidence of certain melodic traits, so.

too does it contain evidence of harmonic tendencies. A "trademark" harmonic

progression linked to the melodic device of stepwise descending counter lines is the use

of descending parallel chord structures. Multi-measure segments constructed from

successive major, minor, and dominant seventh chords are found in several "B" sections

of binary forms. "Lujon", from 1961 's Mr. Lucky is such an example, as is "Ohio
r

Riverboat" and the "Theme from Harry and Son". (Figure 10)

BMaj7

I) #J aJ ,J
G-7 c11!><1)

I;
Fig. 10: Parallel Major ih chords form harmonic progression of "Lujan" B section.

Another frequently appearing harmonic device is the superimposition of a chord

structure over a bass note other than that chord structure's root, the most common of

70
 14
these being iim7/I, and vm7/I. Examples include the "Theme from Hotel" and "The

Sound of Silver" from Mr. Lucky, as well as the ballad "Dreamsville".

In much of Mancini's dramatic underscore, pitch groupings of varying density - as

opposed to identifiable harmonic sonorities - come about as a result of multiple melodic

lines moving concurrently at different rhythmic rates. Sonic tension, usually in the form

of minor seconds and ninths, or tri-to_nes, alternates with moments of consonance

created by more stable intervals frequently following each other in parallel motion,

thereby intensifying the viewer/listener's sensation of unease through its intermittent

suspension. (Figure 12)

" -q-
Pn 0. ">'-------"'~~ T! -e- -e- -e-
'-_..-'~==::::=>o-
C.B. (Pno.) Sfp
Figure 12: "A Gone Mommy" from "Days of Wine and Roses" illustrates
independently moving lines achieving unpredictable moments of tension (dissonance)
and release.

In keeping with Mancini's divergent approach to melody and harmony within his

thematic material, there are many instances of a thematic form varying from the

common four bar phrase structure generally associated with popular music, in particular

the "Great American Songbook," which was so much a part of his musical heritage.

14. Nomenclature as applied does not deny an alternative consideration of these

sonorities as suspended structures containing the 9th and, in the first case, the 6th degree
above the root, and in the second case, the minor ih.
71
Although most of the thematic cues adhere to this model, numerous deviations do arise,

an example once again found within "Moon River."

At its outset, the piece would seem to be well on its way to becoming a typical 32

bar structure consisting of four eight measure phrases, designated "ABAC" in the

Compositional Traits Survey. However, the final formal section of the piece is in fact

fourteen measures long, finding its point of extension after the first eight measures of

the recapitulation of the 'A' section, and most notably in measures 30-34. (Figure 16)

A- A-/G A-/F~ F7

II J. I .J J Iv· 9
11 r d
C/E F C/E F

~ J= - - -J)
29
f?J j J I J= jJ J f?J J J~
C/E A- D- G7 F

~'~J~~'J~.~~IJ~J~~l~J~~J~l4~~~~'J~.~~
_____
Figure 16: Extended.second half of "Moon River" form, resulting in 38 bar larger
structure. Mm.30-34 clearest point of augmentation ofphrase.

It may be argued that this uncommon phrasal design was due to the fact that

Mancini was often partnered with a lyricist, necessitating adjustments made to the

material in order to accommodate text; however, these themes were composed during

examination of the film, and the decisions to transform cues, including main titles, into

"songs" were made by the film's production team only after hearing the original

composition, and under consideration of the profit potential inherent in the process.

Mancini addressed this particular writing process in a discussion of lyricist Johnny .

Mercer with British journalist Les Tomkins:

72
 We work very well together. All the things we have done have
been ballads. I do the music first and then he writes the lyrics. One
thing about Johnny: he'll take exactly what I do. He would never
say, "Can we have another note here to fit a word?" It would kill
him before he'd do that. He'll take the melody as I do it and find
words to fit. This is the challenge. 15

Further exploration of thematic cues largely adhering to the popular music tradition

reveals a propensity, within the "B" sections of binary forms, to construct phrases

outside the parameters of the usual four-measure constraint. The bridge section of "It's
/

Easy to Say," written in 1980 for Blake Edwards' 10, consists of two five-bar phrases,

which can further be divided into a coupling of 3+ 2 measures and 2+ 3 measures.

(Figure 18)

~p#,_1bs C/G Fbbs C/G CaugjG# A-7

r· ~j
r· Ir· ~j
r· p r r· g E. ~ I ~~.

' F

~
p If
E-7 D-7 Cmaj7 BP9
iF
I

A7b5b9

£)·
A9

! J~~
D-7

I J. ~I
D-7/G

J J IJ :J J J :1
i t£jJ
I

' f f F lo ........... I

· Figure. 18. Ten bar "B" section, consisting of two five-measure phrases, divisible
into smalier 2+3 and 3+2 segments.

A device forming the foundation upon which entire compositions rest within the

Mancini catalogue is the rhythmically propulsive, repeating melodic cell, often

incorporating both a major 3rd and an augmented 9th. In orchestrations using a

stylistically contemporary rhythm section, this ostinato figure was often assigned to an

acoustic or electric bass, or to an instrument suited to accompaniment - any of a variety

15. Les Tomkins, "An Interview with Henry Mancini", Melody Maker, 14.
73
of keyboards or non-orchestral stringed instruments. This rhythmic activity underpinned

an elongated principal melody line written for instruments more capable of sustained,

legato passages, such as woodwinds, violins, or organs. (Figure 20)

J = 132

Figure 20: Main title theme from "A Shot in the Dark" (1964). Ostinato, distributed
between bass and guitar, constructed from eighth-note oriented repeating propulsive
figure, which incorporates both major and minor 3rds.

Although this feature is most evident in main title themes - Peter Gunn in 1958, l 976's

Silver Streak - it is also found in many instances of dramatic underscore, as in

"Background for Murder" (Touch of Evil, 1958), "Bulbus Terror Pt. II" (Wait Until

Dark 1966), and "Enter Ratigan" (The Adventures of the Great Mouse Detective, 1992)

Further exploration of this rhythmic and melodic device brings about further

categorization, as repeated pitches distributed between alternating instruments were

found to be assigned to mid ranges of harps, auto harps~ harpsichords or· pianos in order

to fulfil a more holistic, less isolated role within the larger orchestral spectrum. As the

resulting sonority did not match the timbral weight of the lower-pitched propulsive

phrases of the above example, and was void ofrepetitious percussive accompaniment,

the device was used either as the opening statement of a larger piece which gradually

74
developed thematically and orchestrally, as the narrative dictated, or as a brief,

timbrally thin sonic suspension of viewer/listener anxiety within the midst of an

otherwise dense and active cue underscoring tension on the screen. An early example is

found in the "Dessert Rendezvous" cue from Creature from the Black Lagoon (1953) as

two harps alternated single notes within an eighth note-oriented phrase. (Figure 21)

J Harp I

,:1° J r J r J c J r
Harp/I
Figure 21: Dessert Rendezvous from "Creature from the Black Lagoon"
illustrates early use of repeating figure distributed between two instruments.

By 1962 and the Days of Wine and Roses assignment, Mancini was distributing

repeated pitches between two instruments - in this case pianos - in the construction of a

melodic line. (Figure 22)

Figure 22: "No Guts" from "Days of Wine and Roses" shows developed use
of repeated pitches distributed between two or more instruments.

In 1967, with the creation of the Wait Until Dark score, the 'echoing' instrument

was detuned by a quartertone, four-note voici,ngs were substituted for single pitches,

and the resulting sound was introduced in the production's main title theme and used

75
throughout the dramatic underscore as unifying thematic material linked to the

narrative's primary antagonist. This technique continued, with or without manipulation

of tuning systems, well into the 1970s with productions such as The Night Visitor, and

Nightwing.

A similar device used to. build suspense within underscore cues is the cross-

orchestral antiphonal accent, appearing with rhythmic irregularity and placed amidst

sustained passages in other voices. An emphasized pitch or cluster was echoed in either

a markedly higher or lower register by an opposing, emphasized pitch or cluster

assigned to another instrument or contrasting structural density. The technique can be

traced from the 1950's Universal Pictures productions Mancini scored, such as "Terror

Strikes" from Tarantula, to the 1987 cue "Feeding Time" from Life.force. When

advances in technology allowed for stereo music tracks within the context of cinematic

sound, the composer came to assign the two events within the accent grouping to

opposing aural fields. (Figure 23)

~ Vln. (Mutes)
A A
l'I \ I l
-· - . .
,
- ,,.
~

-
~
Pno. f
A A A
I l l
, ._ "
-
£.. ,... '·
- •• £.5
, ... I
-
I

Pno./C.B. ~ ~
t':'\ f
•.• -·
-e- -e- ~
CJJ--:- -/- ------- ------
Figure 23: "The Big Snatch" Fom ''Experiment in Terror. "Rhythmically
unpredictable antiphonal accents of contrasting register and density distributed
· throughout suspense cue. · .
76
 An additional characteristic melodic/rhythmic cell found in the survey was the

ascending or descending adjacent two-note figure favoured within thematic material.

"The Nutty Professor" from Blake Edwards' 1960 production of High Time predates the

familiar "Pink Panther Theme". (Figure 24)

J = 120·

L_3--J

Figure 24: Melodic/rhythmic figure emerges repeatedly.from both

thematic and dramatic underscore cues.

More commonly found within dramatic sections of various scores was the

quintuplet, sextuplet, or septuplet scalar pitch grouping, usually at the beginning of a

melodic phrase. Frequently ascending, chromatic, and always assigned to qrchestral

strings or upper woodwinds, these figures would serve to emphasize the longer, 'target'

note written at the completion of the phrase, through the natural crescendo produced in

the technical execution of the grouping. (Figure 25)

Fln.

Figure 25: MJ3.from "Bulbous Terror, Part A" of "Wait Until Dark. "(1967)

77
 The "features" column of the Compositional Traits survey reveals repeated use of

certain instruments from decade to decade and film to film. Mancini was well aware of

how the choices he made regarding orchestration contributed to his 'trademark sound',

and chose to share his experience and knowledge regarding the craft in his textbook

Sounds and Scores, originally written in 1961. Often mistakenly considered an

arranging manual, the treatise is subtitled, A practical guide to professional

orchestration, and as such, discusses all instruments not only involved in a large

orchestra, but the commercial dance/big band, small jazz ensemble, and theatrical show

band. Chapter and page allotment points to the instruments used with enough regularity

in Mancini orchestrations to come to be recognised as contributing to his compositional

identity: the saxophone is given a chapter apart from that of the woodwinds, in which

the flute family merits 2 i pages. Brasswinds and their various mutes and articulation

techniques are granted a chapter dedicated mostly to the trumpet, trombone and french

horn. Pitched percussion, especially vibraphone, is includ_ed in the lengthy "Rhythm

Section" chapter, while that which is referred to as "Latin Instruments and Rhythms"

comprises Chapter Seven of the.treatise. Twenty-nine pages dedicated to orchestral

string writing ·conclude the instructional portion of the manual.

Two elements emerging from this book provide insight into Mancini's creative

mind-set when composing, and his holistic attitude toward sound. The first, from his

textual writing style, was his tendency to. anthropomorphise instruments:

78
 The clarinet is a very sociable fellow, especially when it comes
• 16
to umson passages.

The English horn can keep up pretty well with its brother, the
oboe, when it comes to light, staccato passages. 17

All in all, despite its look, the bassoon is a welcome and useful
friend to the writer. 18

The trombones can be very funny fellows on occasion. 19

A second insight into his creative philosophy is provided in the conclusion he

·penned for the 1973 re-edition of the manual, revealing an ongoing curiosity regarding

new types of sound and methods of its manipulation.

New and useful synthesizers have emerged. To ignore this movement in

the electronics field would be a serious mistake. Our job deals with
··musical sound, regardless of its source. The milk of sacred cows has a way
of turning sour. The entire music scene is constantly changing, leaving the
narrow minded and the lazy behind. That which is far out today becomes
commonplace tomorrow. The truly professional writer must keep up with
the ever-shifting scene. The man who writes for hire has an obligation, if
only to himself, to keep an open mind and to absorb new ideas. 20

In considering all elements which may contribute to the construction of Mancini

'trademarks', the musicians involved in performing his film music cannot be ignored.

He required his players not only to play with the precision and expediency expected of

16. Mancini. Sounds and Scores: a practical guide to professional orchestration, 64.
17. Ibid., 81.
18. Ibid., 86.
19. Ibid., 106.
20. Ibid., 243.
79
scoring stage musicians, but to be able to improvise solos in many of his thematic

cues. 21

By all accounts, the composer's sense of loyalty to personnel was such that, at the

time of his death in 1994, he was still contracting musicians such as trombonist Dick

Nash and woodwind virtuoso Ronnie Lang from his 1950s' Universal Studio sessions.

Consistently fulfilling the roles of their American counterparts for the London-recorded

Charade, Arabesque, Two for the Road, and Frenzy assignments were members of the

National Philharmonic Orchestra, contracted by violinist Sidney Sax. 22

In view of the distillation of the data compiled for the Compositional Traits survey,

and in recognising Mancini's creative and technical tendencies, features of melodic

construction, harmony, form, rhythm, timbre, and even performance practice emerge

with enough regularity to be considered "trademarks". Within the thematic cues, these

elements are clear. As early as 1971, Alfred Hitchcock, and the financial structure of the

American filmmaking industry that supported him, could reasonably assume Mancini

would provide a score propelled by consistent rhythm - a "beat" - tuneful melodies,

jazz-inflected harmonic progressions, and the sound of a saxophone or improvising

guitar; however, they were highly remiss both in ignoring the musical characteristics of

21. Although Mancini's musicians, like most involved in the recording industry during
the era of effective union representation, could rely on regular residual payments and
pension contributions, the element of improvisation, or spontaneous composition, does
give rise to a consideration of ownership. Cues such as "Orson Around" from Touch of
Evil (1958) consist of lengthy improvisations on a blues progression book-ended by an
introduction and conclusion of a 12-measure theme. Clearly, this discussion need not be
limited to film music.
22. John Richards interview.
80
his often subtle dramatic underscore, and the degree to which visual stimuli and

character shading within the narrative influenced its nature and construction.

81
 Chapter Three

Logistics of a Film Score, ca. 1971

I'm a nut about detail - about the performance and the writing and the music
and how it all comes together in a movie.
Henry Mancini1

The work schedule for any commercial feature film, from the pre-production tasks
\

of location hunting, casting, costuming, and set construction to generation of a final

print, is attendant upon the film's release date. American film history includes

numerous instances of budget and schedule overruns contributing to the collapse of

studios and production companies, and projects being terminated before their

completion. Alfred Hitchcock, known to pre-conceive his projects almost in their

entirety before filming commenced, experienced no such difficulties.

As Frenzy was scheduled for release at the Cannes Film Festival on May 17,

1972, 2 filming commenced in August of 1971 and was completed by the end of
3
October. Editing, dialogue looping, insertion of sound effects, and the generation of a

final working print allowed Mancini to begin scoring the production in mid-November.

Due to the pre-digital era complexities inherent in sychronising sound to picture, film

1. Liner notes. Nightwing Soundtrack Album, Varese Sarabande 2009.

2. www.festival-cannes.fr/en/archives/l 972
3. The process where-by an actor's dialogue is re-recorded, synchronised to the visual
image, and dubbed onto the film's soundtrack. The technique is used to replace
originally recorded sections of speech which may have been rendered unusable due to
extraneous environmental noise or unintelligible delivery.
82
composers were unable to calculate cue length, and write appropriate music, with the

various formulaic details this implied, until provided with a "locked-in" print, or, the

version which would ultimately be shown in theatres. Although the film's script could

be used to influence and generate thematic and timbral ideas in anticipation of the larger

score, the modifications made to this document throughout the film-making process

were often substantial enough to warrant much of this pre-study futile. For the

composer, this situation made for a limited amount of time in which to complete his
4
contribution to the project.

The Mancini Frenzy score was initially scheduled for recording over the duration

of four, three-hour sessions, between December 14 and 16 of 1971. 5 Conscious of the

limited budget under which the production was operating, familiar with, the capabilities

of his regular core of.London musicians, and accustomed to producing ten minutes of

usable recorded score per session, Mancini convinced Hitchcock's office that only three

of these would be required to record the approximately 31 minutes of music he had

written for the film. 6

The recording studio of choice, Cine Tele Sounds, was located at 49-53

Kensington Gardens Square in the London district of Bayswater until its relocation to

4. '' ... for every assignment I've ever gotten, the first thing I was told was, 'And listen,
Hank, we need it by yesterday."' Mancini, Jerry McCulley liner notes for The Man Who
Loved Women Soundtrack album, Varese Sarabande Records, 1985.
5. Frenzy Documentary
6. The timing sheets dictate 26 minutes and 25 seconds of this be used in the picture.
The diegetic cues "Posh for Two", "Classical", and "Tijuana on Thames" were
abbreviated from their original lengths.
83
Wembley in 1972. The building, operating as "Whiteley's Gentleman's Dining Club"

before the establishment of "CTS" in 1956, offered as its principal recording

environment a converted dining room with an eight-meter high ceiling and a floor space

of 26 meters by 12 meters - a room large enough to accommodate a 65-member

orchestra. Eric Tomlinson served as the facility's chief recording engineer until his

departure in 1966 to competitor Anvil Studios, in Denham. Despite this personnel shift,

over the ensuing years Cine Tele Sounds remained a favourite European recording

location for John Barry, Burt Bacharach, Frank Cordell, and Frank Sinatra. 7

Mancini's preference for this venue for his non-American scoring projects was

exclusive, beginning in 1964 with Charade and continuing with the remainder of the

Stanley Donen trilogy -Arabesque and Two for the Road - Laslo Benedek's The Night

Visitor, and his 1980's Pink Panther assignments. His comfort with CTS and its new
8
chiefrecording engineer, John Richards, was such that he contributed an endorsement

of the studio to the company's 1969 advertising brochure.

After ·scoring four films at CTS, I feel qualified to highly recommend

the facilities. They combine the commercial recording sound with the
requisites of film scoring - a great combination not too often found. 9

7. Information regarding the history and operating procedures of Cine Tele Sounds was
provided by audio restoration engineer Chris Malone, via his website
www.malonedigital.com, and through correspondences of June 17, 2011, and Feb. 21,
2012.
8. Richards began his internationally successful career as Tomlinson's 19-year-old tape
operator, editor, and general assistant at CTS in 1962.
9. Mancini, Cine Tele Sounds brochure, 1970.
84
 At the time of the Frenzy project, the studio offered commercial and film

soundtrack recording options supported by state-of-the-art equipment, including a 17

cham1el Neve mixing console, three EMT echo plates, ' 0 Philips and Ampex tape

machines, and an option o.f mono or multi-track recording/mixing at seven-and-a-half,

15 or 30 inches per second.

Engineering and recording fees increased with the studio's reputation, and a 1968

rate sheet offers a glimpse of the economics involved in the engagement of a premier

facility during a particularly auspicious time in the British recording industry. An

engineer's fee for one hour of mono recording at CTS was £16, the equivalent of £216

in 2010. 11 Multitrack recording fees were £24/hour, while engineering mono or

multitrack recording for film accrued a cost of £16 per hour plus a £7/hr. labour fee.

Mancini, familiar with the technology and techniques involved in all levels of the

recording process due to innovations he had been forced to develop during his work in

the American television industry of the 1950' s and his continuing association with the

commercial recording division of RCA records, was wary of the rebalancing potential

inherent in the multi-track format, espedally as this could be manipulated by

10. A German-made reverberation device consisting largely of a piece of sheet metal

suspended within a soundproof, wooden enclosure and made to vibrate through the use
of sound waves generated by an electric transducer. A motorized damping plate was
manipulated to control the degree ofreverberati"on generated. Although by today's
standards the approximately one meter by two meter, 272 kilogram unit seems
unwieldy, a series of EMT plates couid be installed in a studio in lieu of a dedicated
room, or rooms, acting as echo chambers.
11. As calculated by Lawrence H. Officer and Samuel H. Williamson, "Purchasing
Power of Money in the United States from 1774 to 2010". www.measuringworth.com
85
technicians remixing the material during the final dubbing-to-film process. He was

insistent on having his motion picture scores at this time mixed to a monophonic

setting, as opposed to the available three-track stereo spectrum, in order to ensure the

orchestral balance achieved through arrangement, orchestration, and performance could

not be altered. 12

For the Frenzy assignment, Mancini assembled a studio orchestra consisting of, at

its largest, four C flutes, with auxiliary alto and bass flute capability, four clarinet/bass

clarinets, four bassoons, and four French horns. 16 violins, 10 violas and celli, and six

contrabasses formed the string section, while two harps, one piano, a timpanist and

percussionist completed the ensemble used in the 12 nondiegetic cues. 13

Although the initial phase of the film scoring process - discussing the musical

requirements of the production with its director and producer, or "spotting" the film -

remains consistent throughout the sound film era and, by Mancini's own admission, was

conducted on the Frenzy project with no indication of the difficulties which would

ensue, 14 the technical elements involved in synchronising music to actual film stock, as
practised by the composer, his contemporaries, and predecessors must be considered,

especially given the significant methodological changes brought about by the recent

transformation of both sound and picture to the digital realm.

12. Interview with John Richards, Oct. 9, 2011.

13. Repeated attempts made through the London Musician's Union to locate a contract
or any record of personnel engaged on this recording session, with the exception of
Sidney Sax (d.2005) and organist/pianist Leslie Pearson, were unsuccessful.
14. " ... (Hitchcock) and I discussed the musical requirements beforehand, and seemed to
be in agreement" Mancini, Did They Mention?, 164.
86
 In 1971, motion picture standard 3 5-millimetre film was projected at a rate of 90

feet per minute. Given that Frenzy in its final edit was a 112-minute production, it

would generate a minimum 10,080 feet of film. This stock was spooled onto reels in

lengths of 1,000 feet; therefore, the complete film could be printed on a series of 11,

progressively numbered reels. For the scorist, a numbering system had to be

implemented which would not only track the musical segments in sequence, but the

reels they were associated with. Mancini's cue sheets for this picture are consistent with

any used by a film composer of the time; the first instance of score heard after the main

title is labelled "M-102", indicating "Music, reel 1, cue 2". "M-302/400" denotes the

second musical episode written for a reel three segment, which continues onto-reel four.

In order to help disguise the projectionist's shift to the new reel and maintain the

illusion of uninterrupted, linear picture, a sustained sonority or harmonically feasible

link with the first sonority dubbed onto the beginning of reel four would be written.

For this scoring project, notes taken at the spotting sessions by an assistant called a

"music editor" were typed by a secretary on 23 pages of standard grade legal-sized

paper and compiled in a green, cardboard, three-pronged folder. A _typed, adhesive label

on the front cover identifies the production number as "#95837". 15 The first three pages

of the music timing booklet are a compilation of the musical cues to be composed for

each reel, labelled according to the system described aboye, and summarising in point

form where each musical episode was to begin and end. (Figure 1.)

15. All spotting notes given Mancini are herewith reproduced verbatim ac litteratim.
87
 Music - "Frenzy"
REEL #1

MlOl STARTS - ON MAIN TITLES

ENDS - ON CUT TO Minister Speaking

M102 STARTS - FIRST CUT TO THE BODY

ENDS - ON BLANEY tying tie as he leaves his room

REEL #2 NO MUSIC

REEL #3
M301 WOMEN'S CLUB. SOURCE MUSIC in the restaurant.

STARTS - On the CUT to the INTERIOR OF THE CLUB

and CONTINUES through to the CUT to the
cab.

Overall timing.

ENDS - On CUT to cab.

Figure 1. "Frenzy" cue sheets summarize all points within lhe film requiring scoring.

In addition to this set of cue sheets were the more comprehensive "Detailed

Timing Notes" recorded at the same spotting sessions. Descriptions of camera and

narrative activity, segments of the film's script, and timings calculated to within one-
16
half or one-third of a second were included on these typewritten pages. Each new cue

16. In the mid 1970s, more finite measurement of the moving image was made possible
through the increased use of video technology and the implementation of the Society of
Motion Picture and Television Engineers (SMPTE) time code. Synchronisation with
sound could be achieved through reference to a constant readout, embedded into the
picture, of Hour, Minute, Second, and Frame Number, ie "1:02:24: 17". Regardless,
Mancini adhered to the methods he had developed during his six-year tenure at
88
began on a fresh page; each .page listed Mancini's full name, the production's title: and

number, and the date. The composer, in part to associate the music with its scene of

origin, and also to register the work officially with AS CAP, created a title for each

number, which was pencilled in. 17 All remaining descriptive material pertaining to the

scene in question was documented in double-sided format until the next number.

Mancini used the empty page remaining at the end of each cue for listing the

instrumentation of the next. From this information the composer could derive logistical

details linked to instrumentation, ensemble size, specific musicians required, 18 and time

necessary for the writing and recording ofthe score. (Figure 2.)

Universal Studios. Although enjoying the convenience of viewing assignments in video

format at his home studio, he preferred to establish his timings with a manual
stopwatch, and rounded off 1Ot 11 -of-a-second readings provided by his music editor to
the nearest half or, depending on tempo, third of a second. (Mancini/Phillippe, Anatomy
of a Filmscore, 30)
17. Mancini's ASCAP membership began in 1950. In his autobiography, his expression
of concern for the survival of ASCAP and similar organisations, for example, The
Society of Composers, Authors and Music Publishers of Canada (SOCAN) is prescient.
Mancini, 1989, 217-219.
18. The composer often "cast" his musicians according to stylistic requirements, as with
saxophonists Plas Johnson and Tony Coe for the "Pink Panther Theme", violinist
Stephan Grapelli for the Two for the Road score, pianist Jimmy Rowles for The Party's
purely diegetic assignment, and bassoonist Ray Pizzi for The Glass Menagerie.
89
 MUSIC FRENZY 11/18/71

Henry Mancini Prod. #95837

REEL I - M-102

0:46.0 29. Pause as we CUT BACK to police examining the

body.

0:47-1/3 30. CUT BACK to Minister and Mayor.

0:47-2/3 31. MINISTER: "I say, that's not my club tie, is it?"
(We hear the people getting uneasy.)

~:50-2/3 32. CUT to close shot of body with a tie around her neck.·

VU:53-0 33. CUT Dick Blaney's bedroom as he ties his tie.

!'...._----
I :04-1/3 34. He picks up some things from his desk, as he walks
to the door.

1:07.0 35. He opens the door.

1:08-1/3 36. And goes out.

1:09-113 37. CAMERA Holds. MUSIC ends as he closes the door

Figure. 2. Detailed timing notes provide the composer with comprehensive

information regarding the scene to be scored. Circled timings corre5pond to "Hit
Points" within the score.

This descriptive summary of the sections requiring music allowed the composer to

both recall the scene in question, thus avoiding further time""consuming film review, and

to plan within the progression of the music the location of "Hit Points", or, specific

musical gestures created to shade specific filmic events.

90
 To refer to Mancini's original Frenzy score as a "sketch" does it a disservice. It

generated a maximum of 59 instrumental parts and was the document from which the

composer conducted. All information necessary to the production of the final recording

was included in its contents and an examination more extensive than a musicological

analysis is warranted.

The score is written in pencil on 11 '' X 17'' off-white, medium/heavy-stock

manuscript manufactured by Pacific Papers of Reseda, CA. 19 The top of each leaf is

imprinted with a one-and-a-half inch horizontal line in the left corner on which to write

the cue number, a three-inch line in the centre for the cue's title, and the composer's

name in small upper case letters in the right corner. All sheets are engraved with two

systems of eight staves, the bottom stave of each group - engraved "Dr" - spaced

slightly below the others, its bar lines in alignment with, but unattached to those
20
above.

Each of the manuscript's systems is divided into pre-inked, four measure

groupings? which does not appear to influence phrase structure within this, or any of the

scores examined in the Performing Arts Special Collections department of the,

19. This small, independent company, also known as "Glasser Printing Lithography" is
still in existence, offering a varied selection of music manuscript paper, as well as a
unique dark-imprint pencil with an over-sized, soft eraser. The shop's location on Van
Nuys Boulevard in the Los Angeles community of Reseda was minutes away from
Mancini's home in the neighbouring suburb of North Ridge, before his family's
relocation to Holmby Hills in the 1980s. He was using the same paper for his final
score, A Memory.for Tino in 1993.
20. An abbreviation for "Drums". Notation for any percussion instrument used by the
composer was mad~ on this stave. ·
91
University of California at Los Angeles, and is more likely linked to the occasional

compensation practise of payment calculated per every four measures of music written.

In the case of duplicated bars, as with a Del Segno or Da Capo, the pre-inked measures

were subdivided with pencil, and the numbers assigned to bars slated for repetition were

duplicated in the new, destination measures.

Mancini composed the Frenzy score in concert pitch, including viola parts which

were notated,in the bass cle(Although instrument assignation to staff varies from cue

to cue due to orchestrational changes, the top stave was generally used for upper

woodwinds, organ, or principal melody line, the second and third for secondary or

lower woodwinds, followed by french horn on the fourth, harps and piano below this,

violins or, more often, violas on the sixth stave, the combination of violas and celli on

the seventh, and basses or timpani on the bottommost staff.

Bar numbers were written by the composer in blue pencil, circled, and located over

the centre of each measure at the top of every system. Synchronisation timings

expressed in minutes, seconds, half-seconds, or thirds of a second were written in

conventional dark pencil at regular intervals above bar lines. Descriptive tempo

indicators, click track, or metrical markings were not noted within this score - an

interesting omission given that, by his own admission, the composer conducted his film

92
scores from his sketches, as opposed to the detailed full orchestral scores prepared by
21
his orchestrator.

All words in the holograph, be they titles, dynamic markings, instrument names,

script cues, or instructions to the orchestrator or copyist, were either printed in block

capitols, written in cursive style, or, often within the same phrase, expressed using a

combination of both. The small case letters "j" and "i" are occasionally topped with a
22
tiny circle rather than a dot.

When conducting this score during the recording process, the synchronisation of

musical events with pre-determined occurrences within the picture could be

accomplished with the aid of several aural and visual cues. Mancini preferred three

specific timing techniques, and used each one according to the musical and dramatic
23
circumstances of the segment. In the case of cues such as the Frenzy main title, which

incorporates a steady rhytlunic pulse, a "click track" or recording consisting of regular

metronomic beats calculated from the composer's timings was constructed, its

measurement producing either one or two beats - "clicks" - per bar, audible to the

conductor through headphones.

21. Mancini/Phillippe, Case History of a Film Score, 24. Although such information can
be found on other Mancini sketches, it may be surmised that click track rates could have
been included in the full score followed in the recording booth by the music editor. The
conductor may simply have asked to hear them at the beginning of each take, before
giving the first downbeat to the orchestra.
22. This stylistic tick is in evidence throughout all of the 1960' s scores archived at the
UCLA facility, and samples from the 1987 short score included in the Phillippe
Thornbirds text show the same feature.
23. Mancini/Phillippe, Case History, 41
93
 Visible in many photographs of scoring stages, including an obviously posed

picture of Mancini and Hitchcock at the conductor's podium of the CTS main studio, is

a large clock equipped with a single sweeping hand and imprinted with the numbers

five through 60. Included in the conductor's visual field of orchestra and large

projection screen, the clock would impart the information calculated at the seconds

level by the stopwatch used during the initial writing process. During lengthy adagio

sections, in which the relentless sound of a click track would result in a stilted, rigid

performance, musical episodes highlighted within the score by checkmarks or larger,

boldly printed timings could be arrived at in alignment with the appropriate pictorial or

narrative material. This method, referred to as "free-timing" by Mancini, was also

.
useful to him when . ru bato segments. 24
conductmg

Often used in conjunction with the free-timing method was the visual aide known

as a "streamer": By scraping part of the chemical emulsion from the physical film, the

music editor would create a diagonal white line beginning at the bottom left of the

picture's frame. During projection of the film, as the line travelled across the screen at a

consistent pace, the conductor could make minute adjustments in tempo in order to

reach the score's "hit-point" at precisely the moment the streamer arrived at the right

edge of the screen, corresponding to the image deemed by director and composer to

warrant a significant musical comment.

24. Mancini/Phillippe, 24.

94
 Implementing each of these tools at appropriate moments during the conducting

and recording of the Frenzy score resulted in a usable performance marred by four

apparent mistakes. It is reasonable to conclude the cancelled third recording session was

to be dedicated to corrections and intermittent polishing before the master recording

was given to the sound mixing technicians for dubbing to the film. The nature of these

mistakes - instrument intonation and control issues, and one wrong note shared by the

woodwinds - indicates player and copyist error, as opposed to a conducting miscue or a

disparity between musical line and the score's pre-calculated timings.

Whether through circumstances as intriguing as the extent of Alfred Hitchcock's

displeasure with Mancini's work, or as reasonable as simple scheduling issues, Ron

Goodwin's Frenzy score was recorded at Anvil Studios, and engineered by John

Richards' mentor Eric Tomlinson. Goodwin recalled his initial contact with the director

for music journalist Jorge Leiva Romero in 2001.

First of all I was asked to go to Pinewood Studios to meet him and I was
a bit nervous about meeting him. But he was very relaxed, very
humorous and told me some funny stories. He was very, very friendly
and made me feel welcome and relaxed, but he was very, very
meticulous about what kind of music he wanted. I mean, I left to rewind
the film and his secretary transcribed all the notes Qf our conversation -
she spent some ·paper with all the suggestions he made with the current
scenes. He went back to Hollywood before we recorded the music,
having said that he would like the first stage recording sent by courier to
him so that he could run it with the picture and see how it went. To my
great surprise - it was quite late on the evening of the first recording -
and my first ring was a call from Hollywood just to say that he'd run the

95
 first reel and he was very pleased with it, so I thought it was very kind
. th"mg to do. 25
an d a mce

Hitchcock's reassuring call to Goodwin did not come before pre-emptive

consultation with engineer Tomlinson, who later revealed he was able to keep him

informed of events taking place within the Anvil recording studio by holding a

.telephone receiver in the vicinity of his control-room speakers and playing each day's

work to the director overseas. Hitchcock's response to each Goodwin cue was, simply,

"fine". 26

Given the logistics involved in the musician contracting, recording, and mixing

processes associated with the Frenzy soundtrack assemblage - all accomplished under

the increasing weight of the film's impending release date - Hitchcock's satisfaction

with the Goodwin contribution was no doubt a relief to those involved in the

production. For Goodwin, especially in light of his respect for Mancini, 27 the director's

pleasure with the composition must have been satisfying indeed.

25. Jorge Leiva Romero, "Excerpts of a Ron Goodwin Interview", Film Score Monthly
(May 9, 2001), http://www.filmscoremonthly.com/articles/2001/09_May
26. Chris Malone, interview with Eric Tomlinson, June 8, 2003
27. Romero, Film Score Monthly.
96
 Chapter 4

Mancini's Frenzy Score

I've written musical scores in hotel rooms.from London to Rome to New

York to Kansas City. It doesn't matter where you are. You have to bring
your head with you wherever you go, and then wait for inspiration. And
then, after a while, you quit waiting for inspiration and you get down to
work.
Henry Mancin/

In 1948, before a motion picture scoring career was seriously considered, Henry

Mancini created an arrangement ofNacio Herb Brown's The Wedding of the Painted

Doll for Tex Beneke's Gle1U1 Miller Orchestra which amounts to a type of instrumental

pantomime, with horns assigned the roles of bride, groom, minister, and congrega.tion. 2

Decades later, when asked by interviewer Tony Thomas what he felt the primary quality

necessary to a successful film music career was, he replied, "A sense of drama. I can't

stress that too much. It's as important as the ability to compose." 3 Mancini was a musical

dramatist who viewed instruments in such a way as to describe them in human terms,

and with few exceptions, his main title themes are notable for the presence of a

prominent instrumental character. The themes for Breakfast at Tiffany's, The Pink

Panther, A Shot in the Dark, or The Great Race rely on the harmonica, stylistically

1. McCulley, liner notes, The Man Who Loved Women Soundtrack Album.
2. Tex Beneke and The Young Ginny and Henry Mancini, Submarine Records, 2009.
3. Thomas, 275.
97
 4
contemporary tenor saxophone, Indian harmonium, and jangle box for their timbral

identities, while the principal melodies of Days of Wine and Roses and Nightwing are

linked to the french horn and the ocarina. The rise of electronic instruments simply

expanded his timbral vocabulary, evidenced by the prominent appearance of the Arp

synthesizer in the NBC Mystery Movie Theme and Theme from Cade 's County. For

Frenzy, the composer remained true to form, casting the Royal Albert Hall pipe organ in

the central role of his main title theme.

Frenzy Main Title Theme

The organ component of this part of the score was performed by Leslie Pearson and

engineered by John Richards using the CTS remote unit in one, three-hour session. The

take was .then mixed with the full orchestra to a destination master track during the
5
ensemble's recording of the theme during the two-day schedule in the Bayswater studio.

Mancini commented to Royal S. Brown in a 1990 illterview _which included a succinct

discussion of the film's music:

The score really had no binding, there were no themes in it. I never even
used the title music again. The reason for that title theme was the helicopter
shot coming in over the Parliament and all that, to give it the appropriate
aura and at the same time, with the organ, to get the mystery going. 6

4. An upright-style piano equipped with metallic hammers.

5. Correspondence with Leslie Pearson, June 21_, 2012.
6. Brown, 301-302.
98
 Inclusion of this instrument forged a link with earlier Hitchcock scores. In addition

to Waxman's mix of electronic organ and two Novachords in Rebecca, Bernard

Herrmann used the electric organ in The Wrong Man to underscore Rose Ballestrero's

mental illness. The climactic assassination attempt scene in The Man Who Knew Too

Much takes place during a concert in the Royal Albert Hall. For Mancini, the

unmistakable sound of this venue's organ served to locate the film in London and

contribute to the stately, dignified aura which Hitchcock wanted to convey regarding the

city of his birth, as British composer Leighton Lucas had done with the Stage Fright

score of 1950. 7 Subscribing to the cultural/historical system of coding endemic to

American film music, the pipe organ also foreshadowed the mystery and menace which

was slated to commence within three minutes of the music's opening sonority.

A summary analysis similar to that undertaken for the Mancini compositional. traits

survey yields the following when appl~ed to the Frenzy main title theme.

Key Mtre. Form Primary Melodic Contour Featu·

314 Intro/A/ A/BlA/Coda ·~ (A~ CM ~ CM ~ B~ CM~ CL~) ~ U Orch.

1
2
Dm~

The choice of D minor as the theme's key is consistent with many main title cu:es of

this period in the composer's career; however, Touch of Evil, Experiment in Terror, and

A Shot in the Dark differ from the Frenzy theme in that instruments more commonly

7 .Jolm Mansell, Ron Goodwin: Notes, Quotes and Film Music", 2002. P.1-6.
Soundtrack, The CinemaScore and Soundtrack Archives.www.runmovies.eu Accessed
Jan.13, 2011.
99
associated with jazz, rock and roll, or popular music figured prominently in the

ensembles used in these films. Despite the use of a more traditional orchestra for Frenzy,

one of the characteristics of the key of D minor which Mancini the orchestrator exploited

was its tendency to place strings, woodwinds, and french horns into a mid-range,

sonorous timbral spectrum which would contribute to the depth, fullness, and foreboding

weight of the overall sound.

As well, the triple time signature - a key element in such Mancini themes as "Moon

River", "Charade", "Dear Heart", and "The Sweetheart Tree" which led to his being

associated with popular contemporary waltzes - is relegated via the slow tempo to a

mere pulse grouping with no connotations of dance. Within the context of the traditional

use of "the waltz" in the Hitchcock canon, this choice of meter is significant. Given that

the narrative focuses both on the plight of an arguably unconscionable protagonist and

his sociopathic antagonist, Mancini followed the Hitchcockian waltz /villain tradition;

however, by refusing to implement the tempo necessary to transform the theme's pulse

into a dance-inspiring selection, he eliminated, from the film's outset, any suggestion of

celebration of the villain. 8

Mancini wrote an additional six measures of music, comprising an additional 16

seconds, before the actual starting point of the version of the theme which was ultimately

8. He also eliminated the possibility of a revenue-generating theme song emerging from

the production.
100
recorded. 9 In this section, the organ begins the cue alone, with a doubled octave .

ascending gesture of A to D; however, until the organ and strings reach the final beat of

measure six, the key centre of this passage is nebulous. Pitch material after the fortissimo

entrance of measure 1 - with the organist instructed to play "Full" - and the answering

string section's D to E of bar 2 may suggest, among other structures, a half-diminished E

chord but for the presence of a minor 211 d and 6th in mm.3, 4, and 5. It is not until the

appearance of a C# in measure 6 that a subdominant to dominant approach to the

introductory key ofD minor is fully realised. (Figure. 1)

Mancini's "Alternate Start" at m.7 conveys the initial D minor tonality of the piece,

in part due to the introduction at this point of a pedalled low D shared by the celli and

basses, and sustained for four measures at a tempo of 72BPM. As with the Experiment in

Terror theme of 1962, the implementation of a pedal tone set in opposition to the

principal and countermelodies results in a subtle undertone more felt by the listener than

heard.

The alternate start of the theme also comes with an instruction to the organist to

adjust stops in such a way as to produce a "High Woodwind Sound: Not thick" for the

first statement of melodic material which becomes a countermelody at m.11.

Characteristically, the composer's familiarity with and fondness for the flute emerged

even in timbral manipulation of other instruments.

9. Although timings were reset to commence at a reading of 0:00 at m.7, he did not
readjust bar numbers.
101
 As well as lacking pitch material which may immediately suggest a key centre, the

original, unused six measures of the main title do not instantly convey a steady pulse and

identifiable time signature. l 6t11 -to-dotted-eighth-note figures followed by half-notes

comprise the first two measures, rhythmic density changes to consecutive sixteenth notes

in mm.3-4, measure five incorporates a quintuplet, and measure six shifts to common

time and contains a sextuplet. 10 (Figure. I)

@QJ J/ IAlternate Start I

:00 :02 112 :05 :071i2 :10 :121/2
sva----- --- ---- ------------- -- ----------------------------------------------- -------------------------1
ffil
L --. .it.-:---a_ > ~"12:.~ (High Woodwind Sound)
,,. ,,. .,.. "IL P-· ';; +- t- .,.. F FF. ... _ ~--

Organ { ~f\v .. ff
..
>
,_. -·- --··
.---...

-. ..
-
~

u .ff
2.
-
3. 4.
i:::-'
5. 6. 7. mf
-

detache __ 5.-.>
(\
-
Vin
u
'·

=~~
fl---,
-======= ;:. >>>>>>> >>>;.

> >>>>>>>!-.'.::>>> >~•~

;.,~ ;_.....___,..-

>/L'.,;..lt.;;.~....
H-.-
/\
Via
- ~

.ff '
>------. 5 (J
5 I 6_ I

Ve

.ff '
- =~ - ::. "
>
·-~

5 I 6_ I

...
Cb
-=-~?·-·· -======= ~~~>~>> >>>t =~
Figure 1. Mancini's "Frenzy" Main Title Theme: unrecorded six-measure
....... ·- _
.......

> -- lk.-1- LrJ

>
-

..,.;.________..,

introduction. To the listener, the initial five measures defy ready categorisation of
meter and key centre. The recorded version begins at m. 7.

10. The 4/4 construction of the final bar of the section results in the sonic illusion of a
ritard. In reality, the tempo for the conductor and instrumentalists remained constant,
allowing for manageable synchronisation with the picture.
102
 Conversely, at the alternate start of bar seven, a consistent tempo and clear metrical

grouping is intentionally suggested ~y four measures of consecutive eig~th-notes, and a

melodic directional shift to the first beat of mm.7, 8, 9,- and 10. (Figure 2

~ J/ IAlternate Start I
:05
~ Rva mi~ Woodwind Sound· ..
fl
* .
'ut Thick)
~
* . . * ~
* ~ . ~ ~ ~ ~ ~ t ~ t ~ t ~ ~ .
O<g{ t,;
fl
ILegato I
t,; .
mf
.
Ped

~
Ve, :
Cb(8vh)
"'!· ::t· ..Z· 'if· ,

Figure 2: Main Title Theme, mm. 7-10. Key centre conveyed at "Alternate Start".
Rhythmic regularity and melodic contour at approach to bt. l of every bar defines
metrical grouping

In synchronising the originally scored version of this cue with the film it becomes

evident that Mancini had planned for his first six measures to coincide with the City of

London crest displayed at the outset of the title sequence. Sixteen seconds later - the

point in the score at which the organ settles into implication of a steady pulse and :reveals

a key centre - the film's title appears. The principal melody as stated by the strings in

m.11 commences on the shift from the leading cast card to that of the supporting actors,

although this segment also follows the symmetrical four-measure phrase of the

rhythmically predictable organ passage, calling into question the possibility that this

particular synchronisation was planned.

In considering the reasons behind the abandonment of the initial six measures of

this cue, difficulties inherent in dubbing the full orchestra onto a master track in

conjunction with the already-completed organ take may be suggested; however, use of

103
the click track at the organ session would have eliminated these difficulties, and as well,

it is highly unlikely the co~poser would have engineered such a problematic scenario. 11

Another possibility for the composer's edit arises upon the discovery that the first

version of the cue does not reach its completion until well into the Lord Mayor's speech

- an unacceptable option since his words make for an ironic counterpoint to the sight of

the naked body floating to shore and are therefore paramount within the soundtrack

hierarchy. Failing to construct a suitable musical denouement at the conclusion of the

title sequence, when the viewer's attention is meant to shift from location and era to plot,

would have been an egregious - and highly unlikely - scoring error.

A reasonable conclusion which accounts for the two starting points of the theme is

that Hitchcock edited two versions of the Main Title Sequence. A camera dissolve at

1:54 of the two minute, thirty-five-second scene as the view shifts from the Thames river

to the Parliament Buildings on its north bank- and thus the viewer's mindset from that

of scenery-enjoying tourist to narrative-absorbing voyeur - is the single editing

adjustment in his final version, and could easily have been the point of augmentation

which would have resulted in a visual sequence 17 seconds longer. His decision

regarding the version to be used was made before the recording sessions, and Mancini

was prepared for either contingency.

11. On the recording of the isolated organ part for this theme, Mancini is heard giving
Pearson a five-beat count-in, at a tempo of 72BPM. (The
. .
sixth beat was not audibilized
in order to provide space for the engineers to leave a silent gap before the
commencement of the piece.) Pearson's left and right hands remain in tempo, despite the
substantial time lapse evident in the bass notes produced by the foot-pedals.
104
 Ultimately, the linear visual design of the film's title segment - as opposed to an

assemblage of editing cuts - allowed the composer more structural freedom. The single

editing adjustment does not influence a shift in musical content, unlike the preceding

sequence of cast and crew cards and the travelling aerial shot which provides their

backdrop. As it exists in its recorded format, Mancini's Frenzy theme shares features

both with previous and future main title compositions.

The principal melody played by the violins and violas commences between the

quick fade of the "Universal" logo and the introduction of the "Alfred Hitchcock

Presents" card. It incorporates a sextuplet and septuplet, and is complemented by the

similarly contoured but less rhythmically active counter melody in the organ, voiced in

parallel 1Oths two octaves above. The bass line - always ameticulously crafted element
within any Mancini arrangement1 ~abandons its area-executed quarter-note pulse in
2

favour of dotted half-notes only with the texturally thickening addition in m.14 of

rhythmically identical first-inversion C minor triads written for the clarinets, bassoons,

and french horns. In order to maintain even distribution of each triadic element, one of

each available reed and horn is excluded from these voicings, and movement within the

bass and wind parts is limited to a pitch range not exceeding a Major 3rd. (Figure 3)

12. "The bass line is as much a part of the piece as is the melody line. In fact, the bass
line tells us more about the writer's real harmonic ability than anything else he puts
down on paper." Mancini, Sounds and Scores, 164.
105
 ~ti !Alternate Start I
:OS :IQ :IS

~ Rva (~~Y~~~~wind Sound-

fl .... .fl-*- ---1'- ... !L

-.::1::_
-···------
-,j. -,j. _'?-.:.._ _..._____,,.
.... #- :"
-~
.... ____ .
,..,

:20 ·25 JI)

- _, - -
:Jh
- ... f!:.. ~ f!:..e f!:.. /I- f!:.. /I-
:41~
~ - t= ~ - bt= € ~ f!:.. t= _ ~:46

Figure 3. Mancini's Frenzy Main Title Theme, mm. 7-19, as recorded.

At m.18, organist Pearson plays the right and left-hand parts an octave lower than

directed in the sketch, suggesting Mancini neglected at this point to cancel the "8va"

instruction given in in. 7, especially since the remainder of the organ part is performed as

· scored, at pitch. The section concludes with the addition of a ninth bar, sustaining the

first inversion C minor triad distributed throughout the full orchestra for three more

. beats. T~is brief augmentation allows for the commencement of the second A of the

largerform at m.20 to correspond with the appearance of a third cast card. (Figure. 3)

In order to further delineate the second A of the larger form, the composer raised

the key by one full tone to E minor, reduced the organ activity to accompanying thirds
106
limited to the right hand, and assigned the principal melody to his full flute, clarinet, and

bassoon sections, in a three-octave distribution. Together, the woodwinds erroneously

play an F# as the first pitch of m.21 as opposed to Mancini's sketched G, indicating an

error made during the orchestration and copying processes. (Figure 4)

At m.20, the basses and celli resume the activity assigned them in the first A

section, not in a transposed version of mm.11-19, but incorporating larger intervals of

fifths and sixths within the line, and extending the rhythmic grid of quarter notes for an

additional two measures. As well, the violins and violas are shifted from the principal

melody to a new counter melody similar in its rhythm and intervallic distribution to the

organ statement which began the cue, but beginning with the more rare descending

melodic gesture. (Figure 4.)

Figure 4. Main Title Theme, mm. 20-28. Principal melody assigned to woodwinds.
"*" denotes performance mistake. Organ activity reduced to counter line, upper
strings introduce new countermelody, bass line developed from first A section.

107
 The 16 bar section beginning at m.29 and designated 'B' in the survey analysis

corresponds, via Hitchcock's moving aerial shot toward Tower Bridge, to the

entrenchment of audience point-of-vie.w into a frame constructed from the right and left

banks of the Thames River, and a lower border of the water itself. As had been heard and

seen in the B section of the 1962 Experiment in Terror title theme, among others, 13 and

as would occur with future compositions such as the "On to Kansas" cue from George

Roy Hill's Silver Streak in 197 6, this visual input triggered Mancini's compositional

motion reflex.

In the Mancini canon, automated movement - especially when carried out against a

backdrop of sweeping vistas such as the night-time San Francisco skyline of Experiment

in Terror or Arusha National Park in Hatari - results in compositions which, through

manipulation of rhythm, harmonic rate of change, orchestrational devices and melodic

tensions, increase the sensation of propulsion already stimulated by the visual. By the

early 1970's, directors astute enough to recognise this 'trademark' in the composer's

style saw such moments as opportunities for sonic Mancini cameos, often removing all

other sound from the audio mix, as Blake Edwards did for the "Yellow Rolls Royce" cue

of Return of the Pink Panther.

For the Frenzy Main Title B section, the increase in musical momentum begins

with the first appearance in this arrangement of the timpani, two measures before the

commencement of the organ solo. Corresponding to a crescendo in the celli and basses

13. "Cloppers and Choppers" from Arabesque, much of the Two for the Road score, etc.
108
are five beats of sixteenth notes on an F increasing from an initial piano dynamic to a

forte rolled E at M.29. This rhytlunic phrase also served to impart tempo to the lower

string and woodwind players who, with the pre-recorded organist, were sustaining

through both measures; as well, .it rhytlunically foreshadowed the consecutive sixteenth

notes at m.29 of the organ's upper line, making for a smoother aural transition to this

more prominent melodic activity. At this point in the timpani part, five beats of a rolled

E followed by a sixth beat subdivided into 16th notes leads to the downbeat of a duplicate

two measure pattern which becomes the underpinning percussive structure for the

section. Given the disorienting time lag apparent in the isolated organ recording due to

the physics involved in eliciting sound from the instrument's largest pipes, the sixteenth

notes of the timpani part contribute an indispensable stabilising element. (Figure 5)

Above this, the contrabasses, celli, and organ pedals also establish a repeating two-

measure phrase of their bottommost E. In a purely musical sense, this note serves as

pedal to the shifting harmonic prism assembled above in the woodwind qnd organ parts;

in conjunction with the visual elements of the film sequence, it also suggests the low

rumble of a motor - that of the aircraft carrying the viewer over the cityscape, or the

black-smoke-effusing tug boat set to eventually cross the visual field. Regardless of

extra-textual association, the E pedal is intentionally employed at the beginning of the

passage in order to fulfil its ultimate purpose; it is the dominant degree upon which the

resolution to the starting sonority of the final A section - A minor - depends.

109
 The first two measures of B are based on an E7b9 pentachord. In an interesting

scoring touch, Mancini expressed the third degree of this structure as an Ab in a single-

stave, four-note wind voicing shared, at pitch, by the clarinets, bassoons, and frenc~

horns, despite writing its enharmonic equivalent in the organ part. 14 Notable as we:ll

. within the combined woodwind and french horn parts is the starting point on the second

beat of every first measure of their two-measure phrases. The staggered entry points of

the timpani, basses, and winds assigned the accompanying role to the organ solo also

contribute to the conveyance of motion and maintenance of rhythmic pulse. (Figure 5)

The primarily 16th -note-oriented organ solo utilizes all pitches necessary to the

suggestion of each measure's harmonic identity, including chordal extensions. The 3rd,

and minor 6th, 7th and 9th degrees of the first measure's E 7b9 are implemented in the

right hand step-wise melodic line of 16th notes, supported by left hand quarter notes

supplying the 3rd, 5th and 7th degrees, respectively. Inclusion of the root is not

necessary due to its strong representation within the lower v9ices of the orchestra.

(Figure 5)

14. This scoring anomaly may suggest a superimposition of Fdim7/E.

110
 l:::···sl'- ~
:55 Solo J·OO

f\ ti 1:11 i~q~:e .. __
_:e(:, ~~q~ ~ ;:·- f; ~ ~ ~ € q~~·~
Org.{ •; - ======-- I
fl~ I

-------- - ~ = =

4 Cl. f\ "'fr·
4 !Jsn.
4F.Hn. t.1 I=======-

Figure 5. Main Title Theme, mm.28-32. Timpani foreshadows rhythmic grid of

organ solo and propels bt. 3 before entrance order of low strings and winds further
delineates pulse and maintains momentum. Low 'E' serves as harmonic pedal. Both
organ lines incorporate sonority-identifying/enriching chord tones.

Melodic note choices in the principal organ line of measure 30 imply the A minor

structure to follow in measure 3 1, where the composer fully realises his harmonic

destination on the first beat of the bar, then returns to a brief exploration of non-triadic

material only when the tonic, mediant, and dominant pitches of the measure's harmonic

base are stated and maintained by the wind section. This superimposition of passing

harmony is again employed in mm.35-36, 39-40 and 41 of the 16-bar section.

Although the organ's perpetual stream of sixteenth notes passed from right to left
I

hand primarily contributes to this passage's sense of motion, in order to avoid a

potentially momentum-stalling barrage of pitches, this rhythmic figure is regularly

exchanged with eighth or quarter notes placed in alternating two-measure groupings

until m.41. In this way, register, as well as rhythmic contrast is established, especially

111
since the lower line is periodically pitched as much as a perfect eleventh below the

upper.

At measure 3 3, the system of tension and release implemented against the E pedal

is most evident. Al though the upper organ line remains linked to root, third and fifth of

an D#dim 7 chord, the lower line, pitched at this point within two octaves of the pedal

note, begins and ends with a D# - spelled enharmonically in the score as an Eb - which

in the following measure is incorporated into the right hand material. A resolution and

release of tension is achieved with an arrival at E minor in m.3 5, but not without

implications in both lines of a superimposed A minor triad within its pitch group. (Figure

6)

At measure 3 7, the midway point of the section, Mancini thickened the orchestral

t~xture with the addition and balanced distribution of root, 3rd, 5th, and minor 7th of an

F#7 voicing throughout the violin and viola sections. As the camera brings Tower Bridge

and the water's surface closer to the viewer and imparts the-illusion of increasing speed,

momentum is musically suggested with an increase in rhythmic activity as the string

voicings change inversions at a per-measure rate.

The F#7 resolves to a B minor triad in m.39 and as with mm.31-32, and 35-36, a

minor 6th degree is incorporated into the organ line, as well as both lowered and natural

9th degrees. A return to the D#dim7 sonority of mm.33 and 34 is achieved in the

following two-bar couplet, with Mancini adding to the tension created by the presence of

112
the "Eb" against the E pedal by increasing the use of this note in the parallel tenth organ

line as well as the shifting inversions of the upper strings. (Figure 6)

Vin. ""
:~tt.,:.--------,
Via.,~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~§

I~ I~

fl .. ~~~:_ I:~ ~ ,. r: - * I'- #~ ~ ~ 1;~~-~-;~---::~-----------------.:.:=~-----------,::---i~-

- - . -- --· --t------------f.-----------+--- ------- -f.--- --t-----+·- __ ...._ ____ -- ·-+----- -1----+-- ---4 -+- ---- -+ ·t-::f-· ·-t--·

Org.
{..~.
fl,./-=---._

,
I - .,... - . *-
·= =
Vln. fl,,_, I I

~)
e·
,.....,
~:
*. ..... b~:
I I
VI·· 1~~~~~~~m~~~~~m~~~~~m~~~~~~~~~~~~§

~ I
Cb. (~~~) _;.,._ __•-----------------------------------+-+------------------------------- __ --· __ ----------------- ------------- --!------------------------- --------- ---t-------- __ _ __
-*· ~·-- _:r· ~:__ -?-.

Cl. - fr: «::- --::.~: bg:--- -:i?:

IJsn. :
~-
F.Hn I

Ti mp.
:i: -- :i: :i: -- :r :r
38 19 411 41 42

Figure 6. Main Title Theme, mm.33-42. Manipulation of dissonances adds

propulsion· to organ solo.

The progression thus far- E7b9-Am-D#dim7-Em-F#7-Brn-F#dim7 - arrives at an

E E E E E
E major triad in mm.43-44, the dominant structure positioned to resolve to the final A

section. The intervalically wide, chord-tone-oriented ascending eighth-note line of m.44

leading to the restatement of the section A melody is a characteristic linkage phrase used

113
by Mancini in similar structural situations, in both primary and secondary melodic

material. 15 Its implementation at this point in the main title cue's violin melody,

supported by ascending quarter notes in the bass and cello parts, serves an additional

function - due to the string section's dominance at this point of the orchestration,

Mancini could momentarily pull away from the click track tempo which the organ

recording adher'ed to and elicit a mild ritard from the orchestra, emphasizing the

appearance of the "Directed by Alfred Hitchcock" card. This brief and subtle alteration

in tempo also served to bring about a more dramatic a tempo restatement of his initial

melody. The organ's final two beats of m.44 are inaudible in the recording, as are the

ensuing seven measures of the right hand thirds. (Figure 7.)

1:30 l:JS

-
1:47 1:52
(R.H. only-easy)

o•{_·:·~;.: f;: ;.: --::· ~:-·-- :::· =~--~--:- ·if-•--

I
.-~---
-- - - - - --H

"'"'

Vin. "" '

1--
~:_,-­
Via. -•HI-+-----"'- --- --- ------ ______ ...,,___________ -------- - ----- --------- --------------------------------

Figure 7 E major triad resolves to A minor for violin restatement of initial

melodic theme. Characteristic ascending triadic line of m. 44 used as linkage.

15. Use of the device is prevalent within thematic compositions and arrangements. See
"Theme for the Losers" from Visions of Eight, "Dream of a Lifetime" from the Themes
from 'The Godfather' recording, etc.
114
 The final A section and coda of the main title theme is notable for its symmetry

with the cue's first A section, its progressively thinner orchestration, and, on his sketch,

the composer's only use of chord symbols within the piece. The principal melody

commencing at m.45 is carried by the violins until its point of rest at m.52 on the 5th

degree of the subdominant chord of the original key of D minor. An imitative

restatement of the first measure of the theme is used as a countermelody by the violas

and celli at m.46, from there providing support to the mid-range strings with new,

middle-ground material.
1:35 1:40 1:45 1:50
1:52 1:57 2:02 ~:07

11
(R.H. o n l y - e a s T I - - - - -
---- - ..-....,,
,.......------,,
.. .. I I
Org. f .
l! I

Figure 8. Main Title Theme mm. 45-51. Restatement of 'A' section melody.

The organ's bass pedals and the timpani are not heard from again after m.45, and at

m.46, the bass line abandons the intimation of a quarter note pulse three measures earlier

than in the previous A sections, instead producing a series of tonally adjacent dotted half

notes to the end. The four-note voicings of the winds are replaced initially by vertical

thirds, shared with the organ, until m.4 7 where triadic structures are assigned to the

bassoons and horns, the top note doubled within each group. (Figure 8)

115
 The holograph reveals the use of chord symbols at mm.45-52, offering a possible

glimpse at Mancil}i' s pre-compositional planning methodology. Ironically, given the

tonal and structural ambiguity of most of the score, his objectives in constructing the end

of this main title cue included achieving the symmetry brought about by a concluding

statement made by the pipe organ, and resolving to the D minor tonality which began the

piece, adjusted in such a way as to provide a moment of idyllic reflection on the setting

as well as an accompaniment to the Wordsworth-quoting "Sir George". These objectives

were to be met within the 24.5 seconds dictated by this part of the title segment. His

· tracking of the harmonic sequence used to restate the main theme beginning at m.45 and

concluding at m.52 clarified the starting point of the progression that would ultimately

result in the fitting tierce de Picardie that serves as the cue's final sonority.

As the camera implies a further descent to the river's edge and the listening crowd

gathered there, he used a trademark device - the descending step-wise bass line - to both

complement the frame and anchor his progression from the G minor triad of m. 52 to the

D major resolution at m.60. The resulting harmonic sequence thus became:

52 53 54 55 56 57 58 59 60 61 62
I Gm ·/· Dm I ·/· I Gm I Dm I Cm I ·/· II D I ·/· II
Bb A F Eb

At measure 52, a further reduction in density is found in the orchestration, as the

french horns which had dominated the wind instrument combination were silenced, and

the woodwinds were reduced to three clarinets and three bassoons producing sustained

triadic support with the similarly-configured violins and violas. (Figure 9)

116
 Figure 9. Main Title Theme, mm.52-61. Descending bass line resolves to tonic
major of recorded version's opening sonority. Elimination offrench horns and
reduction in density of woodwind and string voicings contributes to formal
symmetry ofpiece.

Although the rhythmically subdued nature of the orchestral parts do not make it

readily apparent, the slight discrepancy in tempo between the organ track and the

conducted orchestra is most noticeable at this point, since the two parallel-contoured

organ lines are the only source of rhythmic generation implied for the remainder of the

piece. By measure 56, Mancini had adjusted to the variance and was able to coordinate

the string and woodwind entrances with the new tempo. At mm.60-61, the molto ritard

is dictated by the organ, in a manner appropriate to the timing requirements of the scene,

presenting no difficulties to the over-dubbing orchestra since the composer required

nothing more from the ensemble than a lengthy diminuendo sustain.

The nine-measure organ statement that ends the cue is similar in timbre to the

opening stateµ-ient, as Mancini called in his score for the "High woodwind sound as

before". As well, the ascending linear thirds which begin the melody, the major and

117
minor tenths which predominate the intervallic separation between the left and right-

hand parts, and the occasional 16th-note figures which offset each other in opposing lines·

are features shared between the two formal sections. The closing measures, however,

constitute an entirely different melody than that which began the piece, due in part to the

lack of intervallic 3rds in favour of wider not~ spacings, and the implementation of

repeating, identical pitches alternating with those that constitute a moving melodic line.

(Figure 10)

1:55 2:00
2:12 2:17

2: '~
molto rit. _ _ _ _ _ _ _ _ :~
2 3
We hear speech

~J~J

l~
r.,

11: : [ L Fid I

60 ' 61,
====-
Figure 10. Main Title Theme, mm.52-61. Concluding organ statement shares elements of
opening statement ofpiece but differs significantly in melodic features.

In addition to following the pictorial and textual elements of the opening title

sequence, Mancini's theme may be considered a microcosmic tableau of the film's

narrative structure when the system, discussed in Chapter I, of modality-based encoding ·

in relation to main title themes is applied. The solo organ introduction written in the

· tonic minor and placed in the ethereal upper-woodwind register of the instrument

corresponds to the appearance of the floating corpse, and the impetus for the story. The

118
two, minor-modality A sections - each governed by an orderly harmonic progression

which retains its closeness to the tonic through root movement - follows the decidedly

unglamorous, disenchanted characters through their mundane London lives. The more

harmonically unpredictable, rhythmically accelerated B section signifies the "frenzied"

rape-murder sequence, while the return to a modulated 'A', at this point inclusive of all

available orchestral voices, represents Rusk's maintenance of his produce-wholesaler's

fm;ade, Blaney' s attempts to escape his London-based pursuers, and the l~gal process

which results in his unjust conviction. The coda, maintaining the minor modality of the

piece and re-establishing the high sonority organ voice used in the introduction, embarks

on a winding melodic descent suggesting the downfall of Robert Rusk in the film's final

moments. Mancini's concluding cadence follows the design of 13 of the 16 end credit

sequences considered in this study, its resolution to major signifying the narrative

conclusion of wrongs righted, and order restored.

Given Mancini's use of the organ which by 1971 had been of paramount

importance to the artistic and cultural environment of the city of London_ since its

installation at Royal Albert Hall one hundred years earlier, it may be concluded he felt

the instrument's imposing sound, coupled with an orchestra performing a Western

European baroque period-influenced composition, would locate the film in London and

celebrate its particular role within the socio-historical system of coding understood by

most of the film's audience. A Ron Goodwin interview conducted by American

journalist John Mansell in 2002 confirms this was a compositional goal - despite

119
Hitchcock's estimation of Mancini having failed - and also reveals more about the

director's wishes for the production's music.

(Hitchcock) told me that he wanted a sort of grand open-air piece to open the
movie, something that would be written for a documentary about London.
Well, I managed to get this right but he did not use the end title music that I
wrote. 16

Features emerging from Goodwin's Frenzy theme - the use of an orchestra

consisting of a full string, brass, woodwind and percussion section, as opposed to the

smaller, string-oriented ensemble used by Mancini, and an opening harmonic

progression incorporating key centre shifts of a major or minor third, enhanced by

timpani rolls and crashing cymbals - can be traced to his 1966 main title composition

entitled "The_ Trap", eventually used by the BBC for its annual broadcast of the London

Marathon. Unlike the Mancini approach to Frenzy, Goodwin set his own title theme in a

major key, with a common time signature generating 96 beats per minute. (Figure 11)

Stg.

Tpt.

Fr. Hrn

Tun.

Cym.

Timpani

16. Mansell, 5.
120
 Figure 11. "Frenzy" Main Title theme, Ron Goodwin. Introduction and coda suggest
celebration of London location through use of understood musical features: maestoso
tempo, ascending major third harmonic progression, prominence of brass section,
punctuation ofpercussion.

A notable feature found within the initial four measures of both Mancini's and

Goodwin's introductory material is the presence of diatonic, interlocking thirds,

appearing at the eighth-note level in Mancini's case, and in quarter notes with that of his

colleague. (Figure 10). The decision made by both composers to favour this interval at

the outset of their main title themes becomes more remarkable given Goodwin's denial

of hearing any of the Mancini score during the time of his engagement by Hitchcock. 17

Main Title Mancini

Main Title Goodwin

Figure 10. Use of diatonic thirds by both composers within mm.1-4 of theme.
Structurally, Goodwin's theme consists of a cyclical repetition of a binary form,

preceded by an introduction that corresponds to the appearance of the city of London

logo. The first A section, with its eight-measure melody, accompanies the full realisation

of the "Frenzy" title card, followed by a rhythmically and melodically similar, eight-

measure B section which does not correspond with any significant shift in the graphic

title sequence, beginning midway through the third cast card. The composer credit

follows, prominently isolated from the general crew listing, but approximately half the

17. Mansell, 5.
121
size of that of screenwriter Anthony Shaffer and Hitchcock himself, emphasized through

the employment of the full brass section and a fortissimo cymbal crash establishing the
18
beginning of another A. The extended aerial journey noted by Mancini with the organ

solo inspires a B section restatement by Goodwin scored for strings and harp alone. The

"Directed by Alfred Hitchcock" credit is displayed during the final A section, scored for

full orchestra, including chimes. (Appendix B)

The directive in Mancini's timing sheet at 2: 15 is "We hear speech", at which point

Goodwin cadenced to a harp and string orchestrated Ab major chord at pianissimo,

which is electronically reduced from the sound mix as the official's speech is gradually

emphasized. The Mancini recording reveals the use of a sustained final sonority of

approximately 17 seconds in length, providing the sound mixing technicians with more

than sufficient time to subtly change the focal point of the soundtrack from music to

dialogue. It is reasonable to assume Goodwin would have employed the same tactic,

regardless of the only six seconds of the resolved Ab major heard in the film's final mix.

While not specifically employing harmonic/melodic/rhythmic devices reminiscent

of Elgar's "Pomp and Circumstance Military Marches, Op.29", Goodwin's use of a

major key, a brighter tempo than the Mancini work, and an orchestration that emphasizes

accented brass notes, crash cymbals and snare drum rolls sufficiently exploited a widely

18. Within Hitchcock credit sequences, status was linked to the size of one's name in
relation to the size of the production's title graphic.
122
 19
understood system of sonic coding, suggesting a London to be celebrated. Although

Frenzy does not take place in the England of Rebecca, Suspicion, The Paradine Case or

even The Man Who Knew Too Much, Goodwin's theme fulfilled Hitchcock's wishes to

begin the picture with a nostalgic homage to its locale.

Within Mancini's film composition, the Frenzy score stands alone due to its

apparent disunity. The prominent voice of the pipe organ from the main title theme never

reappears - a significant methodological departure for this composer. No doubt, the

technical logistics and expenditure involved in continued use of the instrument would

have been substantial, thereby negating the possibility of this distinctive musical sound

acting as unifier. Shortly after the project's completion, Mancini '!.:lluded to his decisions

regarding pitch organisation and thematic construction, but not orchestration, during a

panel discussion of contemporary film composers hosted by "Downbeat" magazine.

I just did a picture for Hitchcock called Frenzy, and it's a first for me
because no two notes, literally, repeat themselves. Every scene is different,
nothing is unified. I have a main theme and never use it again. But it
worked. Hitchcock sat there like a Buddha through the whole recording
session and just shook his head a few tim.es. 20

M-102 "My Tie is Your Tie"

The music timing notes for the first underscore cue following the main title theme,

M-102, are dated "11118/71 ". While an examination of "My Tie is Your Tie" agrees

19. In playing Goodwin's title theme to Frenzy for several colleagues, images of the
BBC's broadcast of "Last Night of the Proms" were repeatedly evoked.
20. Siders, Harvey. "The Jazz Composers in Hollywood: A symposium with Benny
Carter, Quincy Jones, Henry Mancini, Lalo Schifrin and Pat Williams." Downbeat 39,
no. 4 (1972), 34.
123
initially with Mancini's self-appraisal regarding score (dis )unity, his denial of pitch

repetition is accurate only within individual phrases. 21 As well, this cue serves to

illustrate the typically subtle manner in which he created music to foreshadow, maintain,

or react to events and corresponding moods on the screen, rather than in an overt style

incorporating instances of Mickey-Mousing. 22

As M-102 was to commence at the editing cut from the dockside crowd to the full

shot of the first of the Neck-Tie Strangler's victims, Mancini's first tactic in reinforcing

the coinciding change of mood was through timbre. Beginning with this cue, the

ensemble introduced in the Frenzy theme was modified for the remainder of the film's

score, seeing the removal of the violin section, the reduction of the viola and cello

sections to eight members each, and the addition of the piano and two harps listed on the

first cue sheet. 23 The six-member bass section remained intact.

"My Tie is Your Tie", performed at a tempo of approximately 63 beats per minute,

begins with muted cellos and subtoned bass clarinets and bassoons placed in their lowest

registers, with the muted basses doubling the lowest part an octave below. 24 Pitch

21. The title is inspired by the Hitchcockian theme of "the double", which in this case
involves alleged perpetrator and victim, who is wearing a tie similar to the one being
donned by Blaney in the scene which dictates the end of the cue.
22. Mancini's use of the technique was habitually reserved for moments of intentionally
unsubtle comic effect. His score for The Great Race offers a selection of characteristic
Mickey-Mousing samples.
23. The score's ~hree diegetic cues involved smaller ensembles culled from the orchestra,
augmented on one occasion by two flugelhornists and a guitarist.
24. The subtone effect applied to a reed instrument inhibits the production of upper
partials of the harmonic series within the note, resulting in a subdued, dampened sound.
A similar effect is produced on a bowed string instrument by placing a mute over the
124
combinations arising from the activity of two concurrent but independent melodic lines

range from the compression of minor seconds to the major 5th which concludes in a

decrescendo at the pianissimo of m.5. As these measures correspond to the crowd

gradually sharing in the grisly discovery, intercut with shots of the corpse and sporadic,

as-yet unfunny dialogue describing it, the quarter note/half note rhythmic activity

generated at a tempo of 68 BPM contributes to the solemnity of the scene. (Figure 12)

3:5 7:0 10:5 l4:0 17:5

::""'Elil~-----1--r--+----t-+-----,,-+-+---+--t-.,,---t-.,....-+--1---1--+---t---+--·a=
Bs. Clari+'-
ssn. v.c. E'9~t::::====a=~E=:£E=:F!:=~£3~~~~5E~...e~i~::=::t=t==
D.B.(8vb) -& v"----7 ------------------·- .--'~'
Figure 12. M-102 "My Tie is Your Tie", mm.1-5. Timbre, pitch combinations and
sustained rhythmic approach accompany discovery offirst victim.

A significant thickening of orchestral texture occurs in m.6, with the reassignment

of the wind section from melodic line to a repeating three-event, four-voice pattern, and

the introduction of one element of the score's binding material which, in his interview

with Royal S. Brown, Mancini denied implementing - the "trademark" technique of

distributing repeated pitches between two instruments capable of producing a decaying

sustain. As Hitchcock's montage at this point of the scene consists of shorter editing cuts

and a more rapid assemblage, dividing audience attention between the restless crowd,

the flustered Lord Mayor and his handlers, the bustling police officers and the floating

corpse, Mancini complemented the increased visual activity by providing momentum

strings behind the instrument's bridge. In Sounds and Scores, Mancini describes the
resulting sound as being "haunting and somewhat hollow." (Mancini, 32)
125
through the alternation of an E6 at a quarter note level by the two harps. As opposed to

the implementation of this technique in the suspense films which preceded the Frenzy

assignment, however - Wait Until Dark and The Night Visitor - the composer left both

instruments tuned to A-440. (Figure 13)

The bass flutes and french horns joined the bassoons and bass clarinets in voicings

of adjacent perfect and augmented fourths, ascending in parallel formation by half and

whole tone, respectively, with the length of each three-event phrase varying upon each

repetition. In m.8, the muted violas were assigned a monophonic ascending line which,

when placed against the wind instrument pattern, provided more of the unpredictable

mix of pitches used at the commencement of the cue. Upon completion of this phrase,

the density of the orchestration was maintained by adding the pitch B2 to the continuing

harp activity. The entire section was underpinned by an El in the celli and double

basses. (Figure 13)

Harp1{S.~:~=:;:::::::::::::;=::::::::=s=~==i=~=::;=:=~=:=:;:==i=~t===:!==3=E::::::::::J~=::::EE~=E3
-e -e -e e -e -e e e -fT e -fT -e -!f 4

Figure 13. "My Tie is Your Tie", mm. 6-12. Wind section pattern, alternating harp
activity, viola line and sustained lower 'E' thickens lower-register sound,

126
 contributes additional pitch combinations and increases sensation of movement to
complement increasing on-screen activity.

A discernible slowing of tempo is felt during m.13, and Mancini's change in time

signatures - 314 in m.14 and 2/4 in mm.15 and 16 - points to the connection established

between the cue's pace and the scene's dialogue and sequence of events. The end of the

repetitive wind pattern in favour of an arrival on a sustained sonority incorporating not

only a contrastingly bright major 3rd, 6th' ih and augmented 4th, but the cue's highest

pitch, coincides with the darkly humorous, " ... or was it a bit of her liver?" spoken by a

Jack the Ripper admirer in the crowd of onlookers. An additional conducted tempo

adjustment and poco crescendo in m.15 guides the music to a significant point at m.16

and the timing of :50213 seconds, emboldened in the holograph and circled on the cue

sheet. Here, the mood is darkened via the contrabasses bowing their lowest C, doubled in

octaves with the piano, relegating the top note of the sustained wind voicing to a minor

3rd. At this point, Mancini wrote "girl in water" on his score, describing Hitchcock's first

close-up of the floating victim. (Figure 13)

The timed arrival of m.17 at :53 seconds is also emphasized in the holograph and

cue sheet, as this coincides with an editing cut to a new scene and the first appearance of

Richard Blaney. Mancini also delineated the bar with the note "Cut. Blaney in his

room." and returned at this point to common time. Removal of the violas, french horns

and bass clarinets resulted in a markedly thinner orchestral texture, while the bass flutes

and bassoons returned to a rhythmically sedate, atonal pair of independent melodic lines

127
which combined through the remaining four measures to produce intervals ranging from

a minor second to a final perfect fifth (Figure 13 ). The weight and foreboding

atmosphere of the preceding scene was in this way suspended in order to support the first

appearance of the film's main character in a neutral location; however, Blaney is also

viewed, knotting a potential murder weapon, via his reflection in a mirror - the

Hitchcockian indication of duplicity and menace. Mancini's lack of key centre and

predictable rhytlunic pulse, as well as the unresolved final sonority of a perfect 5th

underpinned by the pianissimo 'C' a minor 9th below leaves the viewer/listener

following the progression of the narrative while becoming immersed further in its

unsettling tone. As was the composer's practice, upon completion of the cue he circled

its number on the master cue sheet and wrote the date- Nov. 20, 1971 - at the bottom of

his sketch.

Tu!
·45·5 :50:66 'Girl in :SJ:O Blaney ::_:,:57:.:._o_ _ _ _·_10_1-----:---'!:05 .!.;~f~;~s
Bs. Fil. i;lb .c?;~~t?f.;:::::. ~ water' in his room'. 1---- I 1,J lr.-. room'
Bs.Clar.
Bsn. ~~§~~~~~~~~~~~~~~§~~~~~~~~~~~~~~~
g 1
Fr. flm jloco cresc...... ... .. •

pnwcresc:.......

Figure 13. "My Tie is Your Tie", mm. 14-20. Transition from opening scene to
introduction of Richard Blaney.

128
 As released, the film is void of any music during this scene. Although it is not

known if Goodwin composed an alternative "My Tie is Your Tie" cue, his work resumes

at approximately seven minutes into the narrative - the point at which Mancini's cue

sheet instructs, "Reel II - No Music".

In the Goodwin score, a close-up of the poster, "Another Necktie Strangling" is

accompanied by the brass section's sforzando, bass drum-enhanced E7/D chord. 25 The

gesture resolves to a triadic fanfare-like melody of four bars played by the upper

woodwinds in C# major, at a tempo of lOOBPM. Composed to accompany Hitchcock's

aerial tracking shot of the bustling Covent Garden market, this motif was restated in Bb

major by the trumpets. Goodwin then reintroduced his "Main Title" theme, transposing

slightly modified fragments of its principal melody through the descending minor 3rd key

centres of D, B, and G# major. The piece ends, resolved to F major, with the first

appearance of the Robert Rusk character. Given Mancini's fondness and aptitude for

scoring landscape/vista scenes, Hitchcock's decision to leave his first composer silent

during this segment is a remarkable one.

In a 31-second cue accompanying Blaney's grape-stomping show of temper at

14:44 of the film, the second Goodwin composition heard in a sequence left unscored by

Mancini introduces his primary underscore theme. 26 The remainder of the English

composer's score relies on this piece for much of its content, generating two versions in

25. Goodwin was less averse to Mickey-Mousing in non-comedic situations than his
American colleague.
26. Given that Goodwin's cue titles are unknown, this is referred to as ''The Suspense
Theme". Further denotations specify "Version A", "Version B", or "Waltz".
129
compound time, a "waltz" setting and various four-note melodic cells based on the first

four pitches of its memorable, cyclical melody. Immediately evident within the first

version of the piece heard in the film is an active, measurable rhythmic pulse, set to a

tempo more rapid than any found in the Mancini underscore, four-measure melodic

phrases, and a harmonic progression of ascending minor thirds. (Figure 14)

Bii II

Figure 14. Ron Goodwin "Suspense Theme " (Version A)

Mancini's assignment resumed with M-301, a diegetic piece entitled "Posh for

Two". Designed in a "light classical" vein appropriate to an exclusive London business-

women's social club, the scorist wrote a complete composition for piano, violin and

cello which may be classified as rondo form with an interlude. Each formal section is

eight measures long, with the exception of a nine-measure construct preceding the

recapitulation. As opposed to the 37 separate timings and event descriptions included in

130
the notes for M-102, for this segment, Mancini was given just three instructions, on a

timing sheet dated "11I19/71 ".

0:00 1. SOURCE Music starts as we CUT to INT

of Brenda's club where she and Blaney
are having dinner.

2:48 2. END Source as we CUT to cab riding toward

camera.

NOTE: Please make at least 3 :00 long.

The composer recorded three minutes, ten seconds of music, ending the take just

before the commencement of a second Da Capo. Regardless of the directive regarding

length, his sketch note "We need 2:48" indicates he was confident in the finality of the

picture's editing to this point. Another note to his orchestrator Hughes - "Gary: This is

the score. Please pass it on to the copyist." - attests to the finality of his composition and

arrangement regardless of its "sketch" format.

Despite the distinction between nondiegetic and diegetic music within Frenzy - as

opposed to the intentional seepage of source music into the narrative fabric of

Hitchcock's The Paradine Case, Suspicion, Stage Fright and, most clearly, Rear

Window - there are performance characteristics and moments of synchronicity with the

picture in the first diegetic cue composed by Mancini and Goodwin that suggest it was

recorded while viewing the scene, linking it to the narrative in a way that post-

production dubbing of a pre-recorded cue during this era could not. Significantly,

131
Goodwin's piece shares characteristics with the Mancini work, raising questions as to his

claim of not having heard his predecessor's score.

A summary analysis of the Mancini composition yields the following data:

Key Meter Form ~rimary Melodic Contour Features

G 314 ABAC(DEF)ABAC AM.j,CM"' BM"'CL .j, Violin, Cello, Piano.
CM"'CL .j, DM"'CM"' Descending parallel dim
EM1'CM1' FM1'CM1' chords -'E' section.

In fulfilling its function as background music ·woven into the narrative, the

Goodwin cue resists more than a cursory analysis due to its low volume, at times being
27
completely obscured by the actors' voices. It is possible to identify a key of C# major,

a 3/4 time signature, a repeating binary form constructed from eight-measure phrases,

and an ensemble consisting of violin, cello, and piano.

A click track was not used in the recording of either trio. Whether through

conducting or ensemble cohesiveness, coordinated flexibility within both tempos - 116

BPM for the Mancini and 110 BPM with Goodwin's piece- is clearly discemable. One

of these moments is stylistically marked in the former score, as the Pui animato of m.3 3

is preceded by a brief, conducted pause; Blaney has just completed reciting a litany of

his business failures, and as the camera cuts to the close-up reaction shot of his ex-wife

Brenda and the beginning of her encouraging "Life can be very unfair ... " speech, the

more rhythmically active, quarter-note-accompanied mm.33-41 commences, in the

relative key of E minor. (Figure 15)

27. The cue begins harmonically on vi minor in relation to the home key.
132
 Fine
I"':\.

Vln.
Pui animato
,.,.
-~
r---.
,.,. -(9-"

_,.
:;; :;;
•- •- •- •- -i--.... ...- -i-- - - -....
.........
I
-t
..... -t
.....
-t

31 32 - 33
1
34 I 35
1 I I
36 I
I I

Figure 15. "Posh for Two", mm.31-36. Change of tonality and momentum within
source cue accompanies camera cut to Brenda Blaney and her encouraging speech.

The same sequence of events corresponds with Goodwin restating his A section in

the solo piano during Blaney' s tirade, but in this case, the composer waited until

Brenda's recollection of her ex-husband's military citation before reintroducing the

violin and cello, subtly shading the segment with sentimentality.

Mancini's extension of a Da Capo beyond the fine of m.32 conveniently

corresponds to the final editing cut within the scene. An unwritten but performed ritard

on the resolution to the tonic major key ofmm.31-32 comes at the visual transition point

of Brenda and Richard passing through the archway to the club's cloakroom. They have

changed locations, and more significantly, Blaney's tension has been temporarily

diffused.

Goodwin would be heard from twice more before the scene corresponding to

Mancini's next cue. At 24: 10, Blaney's request to join Brenda in her flat is accompanied

by a restatement of the "Suspense Theme", as the narrative thus far irrevocably links him

to the Neck Tie Strangler. A manipulation of the theme's opening melodic cell, voiced in
133
a vertical structure favouring tri-tones, commences 81 seconds later as he discovers the

money she has left in his pocket, followed by a solo clarinet phrase containing two tri-

tones segueing to the change of scene in Brenda's office, which ends in a tri-tone-·based

physical isomorphism meant to enhance "Mr. Robinson's" entrance. (Figure 16)

Conducted

If± Vibraphone

JJ IJ J J tJ JJ J 0 p:~
3 4 sjz
Stri ngs-Pizz.
Figure 16. Goodwin's variation of Suspense Theme cell accompanies discovery of
money, clarinet figure incorporating two tri-tones provides segue to next scene, string
accent of m. 4 heralds appearance of "Mr. Robinson".

M-302/400, "My Kind of Woman" 28 is the Mancini cue following "Posh for

Two", but as opposed to the diegetic piece, this composition functions as pure

underscore to the dialogue between Rusk and Brenda, contributing to the steadily

increasing tension of the scene,. and culminating at the commencement of the assault.

Examination of the composer's sketch in combination with the piece's recording

provides insight into the duties of an orchestrator and the way in which last minute

modifications to the music can be made.

28. This phrase from the script is as quoted on Mancini's timing sheet, and is invoked by
Rusk as a precursor - and signal for the audience - to his attack on both Brenda and
Babs. On both occasions, Barry Foster's reading is, "You're my type of woman."
134
 As opposed to the role assigned the two harps in "My Tie is Your Tie", Harp II was

kept tacit for the note-to-note response to the phrase constructed for Harp I that opens

the piece. The "echo" was instead given to the piano, with the sustain pedal engaged

throughout. As well, unlike M-102's monophonic note-imitation motif, the construct of

the device as used in M-302/400 was based on six autonomous pitches, the order of

which was modified upon each repetition. Mancini's claim within the Downbeat film

composers' forum of avoiding repeated notes can be better understood within the context

of this cue.

The notation of the harp/piano parts on the sketch 1s rhythmically incorrect. In 6/4

time, Mancini wrote six consecutive quarter notes in the piano part, and, visually offset

in the harp line, the same six notes with a quarter rest above or below each pitch. (Figure

16) The recording reveals that the composer intended an eighth-note rhythmic

displacement, with the harp playing the downbeat-oriented line. Erased notation reveals

an independent sustained line for Harp II beginning in m.2. (Figure 16) This part instead

commences in m.8, recorded as notated, by the bass flute.

M-302/400 as Notated in Short Score

135
 After
"I Like You."
:oo :07 :14 :21

Harp II
I I

LetRing,~ j .~~ I ',

.... .. _.. - -
Harp I .
f'
. .
" "
I

Piano
I
(i) J>p Ped Throughout ..... CJ)

M-302/400 as Recorded
After
"I Like You."
:oo :14

Piano

Harp I
pp

Figure 16. "My Kind of Woman" mm.1-4. Recording reveals corrections made to
rhythmic notation of six-pitch cells from sketch to full score, as well as elimination of
harp II part and exchange ofprimary and 'echo' lines between piano and harp.

Each of the nine, six-pitch linear structures is part of a two-phrase, four-measure

construct meant to mimic the conversation between two characters linked in a

predator/prey relationship. Mancini's cue begins at the slow upward shift of Brenda's

gaze toward Rusk, leaning over her. The camera's angle has situated them on different

horizontal planes, the solo harp is echoed - shadowed - by the heavier piano sound, and

Rusk's dominance is both visual and sonic.

Every cell begins on E4, and the combination of the first two pitches within every

coupling of cells is identical; Rusk speaks, and elicits a verbal or physical reaction from

Brenda. (Figure 17.)

136
 The final pitch of every fourth bar is one half tone higher than that of every second

bar, and the general linear contour formed by pitches three, four, five and six of each cell

is opposite to that of its coupling within the four-bar phrase; Brenda's responses are

meant to oppose Rusk. (Figure 17.) The ninth cell, which concludes at m.18, has no

pairing; once Rusk's attack begins its physical phase, Brenda's replies are no longer of

any consequence to his agenda.

B.Cl.
1 2 3 4

B.Cl. ---4-"-?=~r--+---+fi--'l+•+--r
l'-'-1--tr-
11
ff--+-- ·· ---+-f""1a~ffi----+--r-'1H-r----'-'+#r~-2$1---;)
+- ·-~
5 6 7 8
~-
::--'
B.Cl. 2=
9
t r r ft:·
------i--+-~~---~1~(~Ll~~r~ttr~Ff~.-o--~
rfi 10 11 12

~
B. CL ~}=·rn
13
r f liar·· 14 15 16

~
B.Cl. !J=
17
rffi F F jl@•·
18 19 20

Figure 17. "My Kind of Woman", mm.1-20. Atonal, internally varied, contrastingly
contoured cellular pairings mimic conversation between attacker and victim in non-
invasive timbral region.

Mancini's first pencilled check mark in this cue's timing notes appears at :51.66-

seconds, item number 3 5, "as Rusk pushes down the telephone bar." At a tempo of

50BPM, the composer responded at this point with a pianissimo, sustained, ascending,

137
four-adjacent-note woodwind motif midway through m.8, assigning it to four bass flutes
29
and two bassoons pitched in their lower registers. (Figure 18)

As with the three-event, ascending woodwind cell of "My Tie is Your Tie", the

length of this complete figure varies upon each of its five repetitions, and there is no

duplication in the ordering of the half and dotted half notes which make up its rhythmic

composition. Since it also shares three of its four register-equivalent pitches with the

harp/piano motif, a random series of intervals no wider than a perfect fifth arise through

the following eight measures. (Figure 18.) Foster's sadistically playful malevolence,

corresponding to Leigh-Hunt's conveyance of increasing repulsion, is shaded by

Mancini in such a way as to leave no doubt in the viewer's mind that the situation will

escalate.

At 1: 11 :66 of the scene, Rusk discovers Brenda's half-eaten "English" apple and
30
begins to consume it himself. In the score's corresponding m.11, Mancini introduced

his second woodwind motif, beginning a major 2nd lower than the initial pitch of the bass

flute/bassoon cell, and assigned it to the four bass clarinets and two remaining bassoons.

Descending in adjacent pitches from C3, the half note/dotted half note distribution

within this line also varied upon each exposition; but unlike the identical pitch sets of the

29. The directive "Stagger breath" was attached to the flute line, as it would be to the
bass clarinet part written for all four members of the section in m.11. The long notes;
topped by phrase markings extending over four measures, would be difficult to maintain
at such a tempo and dynamic. The bassoonists were not afforded the same consideration,
since they were split into two groups, and stagger breathing between two players may
not have been as subtle.
30. A fascinating discussion of Hitchcock's use of food in this film can be found in
Donald Spoto's The Art ofAlfred Hitchcock: F~fty Years of His Motion Pictures, 434-45.
138
piano and bass flute phrases, this motif was expanded by one full tone upon each

iteration, resulting in a six-note phrase concluding in m.18. (Figure 18)

:49 1:10
,; 4 Bs. Flt. :56
B. Fl. I
.. -
I I I I I I

B.Cl. I
PP 4 Bs. clar. , ,,,.-
.----
PP
2 Bsn. I I I I I I I I I
Bsn. I - ! - :::
pp I I
" " " 2 Bsn.
I

Pno. I
..
. ....-.. ..--.._ -
,,,........_ --
-.. _.-..._
........ -

.:;.~.
~-
'
__,...-- ,,.,----
' _
Hp.
8 9' 10 11' 12

._ UpAgainst
Wall
..:.1=24 ---------
B. Fl. i.-··-+------.9"'--·---t-t'--+----+--+-e--·~---t-<-'----t-t---1---t--£7--~·----1"'~---1

l I
I I

I I I

-
~

I I I I I I I I I I I
-· ,
;:: ,
I I I

. .-
r1
Pno.
'
Hp: ',~· , ~ , .--': __- " w~~- - ~.;: .;: -

13 14 15' 16 17
Figure 18. "My Kind of Woman" mm.8-17. Use of two repeating cells in expanding,
low-register woodwind section shades and provides impetus for increasing sense of
danger in scene.

The repeated C3 in the bass clarinet/bassoon line of mm.16-1 7 is the first indication

of Mancini abandoning the pitch patterns he had established in favour of implementing

new material upon the score's arrival at m.18. His note "up against wall" indicates that

this point within the scene merited significant musical comment. The introduction at

m.18 of muted double bass.es and cellos on, respectively, a D 1 and D2, exploits the

139
social/cultural linkage of impending doom with low bowed bass notes. (Figure 19).

Corresponding to 1:59 in the sequence, m.18 also sees the cessation of the harp/piano

line and the replacement of the bass clarinets and bassoons with pianissimo french horns,

partnered with the bass flutes and assigned a new collection of pitches. After being

suspended in favour of a physical struggle, dialogue, at this point markedly disparate,

has resumed, and Mancini chose to weight his underscore with a more present

combination of lower winds.

The meanderingly ascending bass/cello and bass flute/french horn line provides

sonic padding through which a separate, ascending viola part sounds - unmuted, so as to
31
achieve timbral prominence within the orchestral spectrum. The wind and bass lines

are independent of each other in that they are always spaced a minimum of a minor ninth

apart, and although rhythmically consisting of three to six-beat metrical values, the

distribution of dotted half and dotted whole notes alternates from bar-to-bar in

opposition within the pairing of the two lines. (Figure 19.) Both parts progress through

the ensuing six measures to arrive, a tri-tone higher from where they began, at m.24. The

gradually ascending nature of all three lines not only supports and intensifies the

increasingly suspenseful tone of the scene, but adds to the disturbing quality of the

sequence, in no small part due to rhythmically and linearly unpredictable pitch

combinations, and the resonance of the register in which they are placed. All three parts

31. In an example of the cohesion of the larger structure and purposefulness of the
composer's note choices, at some point in every measure of this seven bar segment, the
viola and bass/cello parts combine to generate both a vertical major and minor th. The
two exceptions, mm.20 and 22, are the only bars which produce a major 9th.
140
culminate in a familiar structure incorporating both a major ih and minor 3rd at m.24,

over which Mancini wrote the visual cue, "She faints".

1:59 2:06 2:13

" L -- •
13.Fl.
'
L •
Hn.
pp

Hp.
Let Ring
~

Pno. ,

, I I

Vla.

Ve.
Mutes
- I I

Db.
(8vb) v•
'
18
-0-·

~ 'Wicked girls' She.faints

2:20 2:27 2:34 ,( 2:41
,,.
... L-~· ~..;~ 11,.,,--........,,, II
B.Fl. ::
' 1,,,-:---r;_ (2) =--
Hn. ,
... 11...,,...-,,., •

... ,,...., 1.~

;:
Vla.
I I I

Ve.I~~~~~~~~~
Lt::=
Db.
(8vb) ~1 V' q-6'-• 22'"" 23" 24 ======--
Figure 19. "My Kind of Woman" mm.18-24. Increasing on-screen suspense inspires
musical shading incorporating ascending lines, unpredictable pitch combinations and
rhythmic motion, and low-register placement of sustaining instruments.

The coordination of musical elements with the on-screen sequence of events

that constitutes the final 20 seconds of this scene could only have been achieved

through conducting, in the absence of a click track. An abrupt change of orchestral

colour introduced by the bass clarinets and bassoons initially voiced in a four note

sonority of vertical perfect and augmented fourths shades but does not overwhelm

141
Rusk's whisper. (Figure 20A.) The sparseness and clarity of the instrumental sound,

incorporating the harshness of the bass clarinet's upper register, comes with the

extreme close-up of his face. 32 The four structures which follow expand vertically,

largely through the gradual ascent of the top two voices, to arrive on beat five of

m.26 at a sonority spanning over two octaves. (Figure 20A.) A pencilled checkmark

at 3:02 of the timing notes is duplicated at the corresponding point of the score,

m.27. The pitch collection beginning on the fifth beat of m.26, intended to be held

until the downbeat of m.28 where it would be sonically reinforced by the piano with

an extreme low-register assemblage of E-Bb-E, accompanied the following timing

notes:

3:02 126. He lets out a yell as he falls back against the wall.
3:03-2/3 127. Brenda starts to get up from the chair.
3:04-1/3 128. He reaches out to grab her.
3:04-2/3 129. Cut to Brenda's legs as:
3:05 130. He grabs one leg.
3:05-1/3 131. Cut to longer shot as she starts to fall.
3:06 132. She hits the floor.
MUSIC ENDS

That Mancini recorded a modified version of this section of the score suggests that

changes in orchestration and cue length were made during the rehearsal/recording

session. He conducted the segment in such a way as to consider the ticked 3 :02 timing

mark as the downbeat of measure 27, regardless of metrical pulse. Here, he thickened the

32. The first bass clarinet can be heard struggling to maintain the assigned notes, pitched
in the notoriously spiteful upper register of the instrument.
142
texture of the original orchestration by adding the french horns to the wind group, and

brought about his trademark rapid crescendo and abrupt fine after approximately two

beats of m.27. (Figure 20B.) His music ended a fraction of a second before Brenda's fall

and the sound it produced, in keeping with the common film music technique of

conveying intensity by ending music immediately before a scene's climactic moment.

My Kind of Woman (A)

2:55

Pno.
25 26 27 28-;;
mf

My Kind of Woman (B)

2:55 l3:06I

II

Hn.
27 --==== f
Figure 20. Version 'A', mm.25-28 as scored. Version 'B' mm.25-27 as recorded.

Upon completion of this sequence, Mancini circled its reference number on his

master cue sheet and wrote the date "Nov. 21, 1971" at the bottom of his short score.

Hitchcock's final edit of the picture used no music in this scene.

In the case of both composers, and as with other graphically disturbing scenes

within Hitchcock's post-Psycho productions, the director ordered the subsequent

143
rape/murder sequence which is the centrepiece of the larger Rusk triptych unscored,

opting instead to use the noise of the drama as his soundscape - Rusk's breathing,

Brenda's whimpers, the tearing of her dress, his climactic, "Lovely ... Lovely" combined

with Brenda's whispered recitation of Psalm 91, her scream as she realises his

murderous intent, and the gurgled sounds of her strangling. Both Mancini and Goodwin

were called into action upon the conclusion of this scene, in the cue which the former

called, "Son of My Kind of Woman". 33

The structure of his composition follows the tripartite design of the third section of

the Rusk sequence, demarcated by the composer through shifts in the colour and density

of his orchestration. The first segment's extreme close-up of the dead Brenda pounces on

the viewer with a gong-reinforced, lowest register six-note piano sonority shaped into an

accented sustain. Consisting of two, three-pitch retrograde clusters, the structure iricludes

every interval traditionally employed within film music's darker moments, incorporating

two simultaneous half-tones, four tri-tones, and two minor ninth degrees. (Figure 21.)

The viola and cello ascending quintuplet which follows shares the starting pitch of, and

is constructed from all but one of the six pitches found in the repeating harp/piano cell of

"My Kind of Woman". The figure ends in m.2 on a Bb4 which briefly anticipates a four-

note cluster introduced by the winds, adding another minor 211d and augmented 4th to the

sound. The use of the straight mute in the french horns masked the instrument's lower

33. The title Mancini assigned to M-401 emerges from the practice of naming additional
cues used within an on-going scene, "Son of (insert preceding title)".
144
frequencies, negating its rich, sonorous tone, and resulting in a narrow, potentially
34
piercing quality similar to that of a harmon-muted trumpet.

Upon repetition of the quintuplet and its resolution to Ab in m.4, the wind and

piano sonorities faded and the gradual, chromatic ascent of the bass line coincided with

the camera's abandonment of the extreme close-up of Brenda. (Figure 21)

:25 :33 :37

R.HT
Piano ) ;: .:; h

LH111::e:~;e:
~lfl s•o -- - let ring- -- - - - --i
I

D.B. ~~~~~~~~~~~~~~~~~~~~~~~~~
1/2-e- li-d- q-z:I- ?-e-
~~e ~·~a'f-----~~~~~--r.'---~~~·.--~~~---~~~--i-',--~~~~'t-;--~~~---1
Gong ' 11 m} ~-----'2 -· - ':J '4 '5
let ring- - - - - -- - - - - -- - - - -- - -- - - I -

Figure 21. "Son of My Kind of Woman", mm.1-5. Trademark ascending quintuplet

and bass line, multiple half-tones, tri-tones and minor 9ths impart menace; shared
use ofpitches with previous cue provides thematic link.

The cut to a long two-shot of Rusk and the dead Brenda shifts viewer attention from

victim to villain in a temporary suspense-diffusing denouement to the rape/murder

sequence. 35 Mancini introduced the first in a series of monophonic lines which defy key

centre or metrical measurement, but are constructed with a consideration toward contour

and symmetry. Mm. 6-11 consist of two phrases of similar length and breadth, the first

34. By exploiting the pitch and dynamic range of the french horn as well as the option to
mute, the composer was able to eliminate the need for additional brass instruments in his
-orchestration, with the exception of the diegetic cue "Tijuana on Thames".
3 5. A two-shot encompasses two characters in one frame.
145
note grouping ascending before arcing its way to a descending major 3rd intervallilc

conclusion, answered by a second phrase descending at its outset and concluding with an

upward half-step gesture. Against a five-measure sustained backdrop of vibrato-less

violas, celli and double basses spaced in two perfect 5ths a half-tone apart, the composer

wrote his first conversational line for a solo, un-muted french horn. In Sounds and

Scores, he described the character of this instrument in the context of an isolated role as

having "a naturally cool sound", 36 and used it to great effect in the opening and

concluding statements of his Days of Wine and Roses score. In shading the second

segment of the post-murder sequence in this way - accompanying Rusk as he resumes

eating Brenda's apple, rifles through her briefcase, and pockets the money found there,

oblivious to the sprawled corpse symbolically watching him__.:_ Mancini invoked the

responsorial harp and piano phrases of the previous cue, but through textural and timbral

adjustment, conveyed both the permanence of her absence from the dialogue, and Rusk's

isolation in an existence rooted in depravity. (Figure 22)

36. Mancini, 1973, 105. One of his rare, non-programmatic compositions is a feature for
solo french horn entitled "Lonesome", recorded on the Uniquely Mancini album of 1961.
146
 :41(\ SOLO ·45 ·53 :57 1:01 1:05

Hn.
v
"'.'. ___ '-... .. .... .... ~· ...
~
~~~~~~~~~~~~~~~~~~§§~~~~~~~r~L~,----~~~~~~~
Via. I~
P no vibrato
Div.

Figure 22. "Son of My Kind of Woman", mm.6-11. French horn solo consisting of two
linearly opposed phrases invokes conversation ofprevious scene, while instrument's
·sound evokes loneliness, mourning in Mancini system of timbral encoding.

Mm.11-16 constitute a new musical gesture coinciding with an important visual

plot device - Rusk using his tie pin as a toothpick. 37 At m.11, a subtle change of sonority

and orchestral colour is brought about with the removal of the basses and an upward

harmonic shift of a minor 3rd in the sustained, supporting viola and cello sonorities.

Here as well, a new solo line is taken up by a bassoon, beginning on the french horn's

concluding C4, and using every pitch but three - F#/Gb, G#/Ab, and A q. A repetitive

bass clarinet counter melody, limited to the same notes, is active during resting points in

the bassoon line and, in m.16, incorporates pitches which make for a smoother transition

to the cue's third segment and its transposition of a major 5th above the string
38
background of mm.6-10. (Figure 23)

3 7. Hitchcock (or Foster) resurrected this grotesque personal habit from the London-
based The Paradine Case and Charles Lawton's repulsive Judge Horsfield, who kept a
small metal prod in his vest pocket for this very purpose.
38. The three, sixteenth-to-dotted-eighth-note rhythmic figures written for the solo bass
clarinet were performed with a triplet eighth-note interpretation'.
147
 Ve.
~- ~
(8vb) 11 _:::-.._3, .~, -~ ,_______;J. ..______.!J- 17

Figure 23. "Son of My Kind of Woman" mm.11-17. Orchestrational adjustment and

construction of new melodic statement correspond to Rusk's activity as it applies to plot
development. Bass clarinet note choices aid in transition to new pitch area of m.17.

The cue's third and final segment begins at m.17 with a new viola/~ello assemblage

incorporating one of the three pitches excluded from mm.11-16, the F#. The

reappearance of the two harps in the multiple-pitch echo roles introduced in "My Kind

of Woman" occurs in the following bar, with a half-tone separation bringing about the

missing Aq and Ab. (Figure 24.) Mancini's check mark at timing 1:19, point number 28

in his notes - "CUT to ext. of the Blaney agency." - was not answered at the

corresponding point of his score, halfway through m.15. Instead, he waited to adapt his

music until script point number 30 - "He (Rusk) walks past camera." - allowing the

image of the retreating villain to bring about the resting point of his bassoon and clarinet

melodies, and the beginning of a three-measure, descending contoured harp duo. (Figure

24)

· The next point emphasized in the timing notes is #33, measured at 1:38 213 , "Pan

comp(lete) as we see Blaney walking toward camera." A corresponding check mark at

148
timing 1:41, in addition to the note "Blaney" was added to the score at m.21, where, for

the first time in the cue, Mancini implied continual motion at a metrical pulse of 50BPM

by resuming the alternating single-pitch harp device used in "My Tie is Your Tie".

Pitched on an E as before, the two parts were measured in such a way as to sonically

convey an eighth-note grid, although actual notation involved eighth, quarter and dotted

quarter notes in a repeating, two measure pattern. 39 Above this figure the composer

constructed a series of two-part vertical sonorities for the bassoons and bass flutes

limited primarily to the bass clef. (Figure 24)

Rlanev
.( .

B.FI.
1:29
'
1:33 1:37 1:410__,,_
..
1:45_'°'\

·~~ I
-
1:49

I
.-'""
~~
;_
-
1:53 ,,,..-~--
' - L~ -~~b~~
Bssn.
p ::::=- :::::=-
Let Ring
f\
Hp.I
-p.,,_
~
r
-
I r I ;'
-- -
I I ;'
~

~~
tJ -!- !. ~-
~
' ' '' '' I I I

(\ Let,Ring

,.. ..
Hp.II
t) p ,
#~'
rlf·

-~
Via. ::;

Ve.
Db.
(8vb) '11:1 19 20 21 22 23 24

Figure 24. "Son of My Kind of Woman" mm.18-24. Descending echoing harp line marks
exit of Rusk. Monophonic harp pattern, woodwind figures accompany entrance of
Blaney.

The material was modified at m.29 for the appearance of Monica, walking toward

the camera. The harp figure was transposed by a perfect fourth to A3, maintaining its

39. An aural transcription of the harp parts would result in two offset rows of eighth-
notes rhythmically identical to the harp parts of "My Kind of Woman". Perhaps Mancini
felt that, due to the same pitch being played, varying the duration of the alternating notes
would generate a more fluid performance.
149
rhythmic pattern, and the two-voice woodwind figures were expanded to four-voice

sonorities, extending into the treble clef, with the two upper pitches of each grouping

played by alto flute, doubled by Bb clarinet. The four measures which follow constitute

a bipartite responsorial phrase, consisting of parallel vertical structures which, in tonal

terminology, may be referred to as major th chords voiced from the th degree, utilising
the unsettling minor 9th interval that outlines the larger structure. The first sub-phrase

ends in an ascent, while its response concludes with a descending gesture. (Figure 25)

Monica
2:17 2:21 2:25 2:29
2:13

Figure 25. "Son of My Kind of Woman" mm.29-34. Woodwind voicings expanded and
shifted to higher register, harp line raised perfect 4th' noting entrance of Monica.

The devices employed by Mancini in this section of the cue serve as an

enhancement of, or neutral commentary on, the visual image rather than the conveyance

of character attitude or point of view. The motion of the harp parts subtly supports the

physical motion of Rusk, Blaney and Monica as they enter or exit the scene. It also
150
conveys the minute-by-minute passage of time, coinciding with the build-up of suspense

before the final climactic moment of Hitchcock's prelude-attack-aftermath montage -

Monica's shriek as she discovers Brenda's body. The woodwind parts associated with

Monica are paired with those heard during the Blaney sequence, as the characters are

connected in a suspect-witness relationship. In a time-honoured film music tradition of

associating lower pitches with male characters and higher pitches with female

characters, however, the "Monica" winds extend to a minor 6th above those

accompanying Blaney. (Figure 25)

Although "Son of My Kind of Woman" was only the fifth cue of the 14 Mancini

would write for the film, it was the last to be deemed "finished" via its circled number

on the master sheet, and the last upon which he would record its completion date ,

November 22, 1971.

Goodwin's composition for this segment follows the timing notes given Mancini,

but achieves unity in a traditional way - through principal melodic material - and marks

the same significant moments in a more overt manner. His brass-centric, timpani-

reinforced orchestral tutti synchronised with the extreme close-up of Brenda's face: is

formed from a 2nd inversion D minor triad underpinned by an Ab, making full use of the

tensions arising from the minor 2nd, 9th, and augmented 4th intervals distributed

throughout the applied voicing. (Figure 26.) Established immediately upon the tutti

decrescendo was a metrical setting of 3/4 time and tempo of 90BPM, conveyed through

151
the use of a repeating, three note figure constructed from the D diminished triad also

implied in the opening sonority, assigned to the upper strings.

Figure 26. Ron Goodwin, "Son of My Kind of Woman", first measure. Accented sonority
accompanies viscerally shocking close-up of dead Brenda.

As Rusk turned his attentions to Brenda's apple, Goodwin modulated to Bb minor

and introduced an obligato of repeating eighth notes forming the minor third of Bb to

Db, played by the harp. This rhythmic figure, shifting through ascending minor 3rd key

centres during the course of the cue, became the composition's adhesive material, used

in isolation during the movements of Blaney and Monica - where Mancini had

employed his two harps - and as accompaniment to the waltz-like setting of the

"Suspense Theme" which commenced upon Rusk's pilferage of Brenda's briefcase.

(Figure 27)

152
 Figure 27. Ron Goodwin, "Son of My Kind of Woman". Harp obligato and
"Suspense Theme Waltz" used during Rusk's post-murder denouement.

Goodwin noted the appearances of Blaney and Monica outside the marriage agency

with brief, accented augmented ninth chords performed by the full string section, during

which the activity of the harp obligato was suspended. The same type of musical

exclamation mark accompanied each of the three abrupt editing cuts made during the

final 18.5 seconds of the scene, before coming to rest, after a rapid crescendo and

decrescendo, on an unresolved, tri-tone and minor ninth-incorporating Eb/A sonority.

After approximately ten minutes of unscored film, both composers were assigned

the segment in which Blaney, using the alias "Oscar Wilde", escapes from the Coburg

Hotel and the pursuing police. The timing notes of Cue 501/600, entitled "Exit Oscar

Wilde" by Mancini, remained consistent for both versions, commencing on the close-up

to a newspaper headline reporting the murder of Brenda Blaney, and ending with a long-

shot of Richard and Babs sitting on a park bench. Although Mancini and Goodwin began

their compositions at the assigned starting point - with Goodwin beginning during the

camera's pan in to the newspaper and Mancini waiting until the shot stilled - both

153
writers ended their cues 15 seconds before originally instructed, ostensibly in accordance

with a modification made, or agreed to, by the director.

As with cue 302/400, the "Exit Oscar Wilde" music was designed to support the

dialogue which dominates the first half of the scene, then enhance the physical action

that concludes it. Mancini established linkages with his previous compositions through

orchestration, using the same combination of low woodwinds, french horns, low strings,

and two harps as "Son of My Kind of Woman", and adding to it a unison combination of

piano and vibraphone. The 46-measure cue shares the same registral domain as previous

material, progressing through a gradual ascent arising from the compression of E3 to A4,

to the concluding expansion of E 1 to AS, in keeping with the development of suspense

within the scene. As with his previous underscore cues, metrical measurement is

impossible to determine without viewing the score, but ·unlike numbers 302/400 and 401,

"Exit Oscar Wilde" unfolds at the more rapid tempo of 80 BPM.

Just as "My Tie is Your Tie" began with an accented E 1 whole note played by the

piano, the same device - not included in the sketch but clear in the recording - reinforces

the beginning of the portamento string figure which opens 501/600. Whether in the

vertical structures written for the bassoons, straight-muted horns and strings, or in the

echoing lines of the harps, the pitches E, F#, G and A used in the first four measures of

"Exit Oscar Wilde" are identical to the vertically-aligned E, F#, G and A assigned the

clarinets, bassoons, and muted french horns at their entrance in m.2 to "Son of My Kind

of Woman".

154
 The textural thickening and expansion of the piece begins with a four-pitch

horn/bassoon entrance in m.4, as the hotel porter draws his comic foil Gladys' attention

to his own copy of the newspaper. The six sonorities distributed through the ensuing 22

measures ascend, with minimal internal motion, through something of a harmonic

progression which may be labelled as follows:

m.5-8: m.9-12 m.13-16 m.17-20 m.21-24 m.25-27

Edimadd2 Emadd2 Fdimadd2 Gdimadd2 Gmadd2 Amadd2 .

Harp I expresses the individual pitches within each structure via four consecutive eighth

notes, beginning each time at a different point in the bar, while Harp II reinforces the

first and third eighth note in each pattern by duplicating the pitches in concurrent, two-

note groupings. 40 (Figure 28)

At m.9, commencing with the porter's newspaper description of the murder suspect,

Mancini began a sustained, metrically and tonally unpredictable melodic statement

shared by the piano and vibraphone - with the instruction "Both peddle down

throughout". (sic) Continuing to the end of m.27, the part is noticeable by virtue of its

timbral and registral contrast with the rest of the ensemble. (Figure 28.) Cumulatively,

this material serves to enhance the growing sense of alarm - and intrigue - experienced

by the hotel porter and his partner Gladys, who have come to realise their patron Oscar

Wilde, ensconced with a woman in the venue's "Cupid Room", may be the "Necktie

40. The recording reveals Harp I mistakenly entering at beat 2 of m.5, before readjusting
in time for the written entrance of beat 4.
155
Strangler". The humour which permeates the scene - Hitchcock's brief but welcome

respite for the viewer - in no way influenced the tone of Mancini's cue.

:28 :311/2 :35 ::~8 1/2 :42 :45 1/2

" h ,.,.--==:--... • ;;. L ~~~ ~~

r~-·~--~~m·-~~I~~~~~~~~~~~~~~~~~~~~~~~~~
Bsn. IE' ~
t r I

.hn.~•===-- ;;.
Hn. , ,
I I I

===-==- ·~
Hp.
- -
Hp.
l I

" ti Both peddle down throughout , ,

===--
~.r.
1 1

\~w~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Pno./Vb. /~'v
9u ;;~·
13 11 1.2 14

Figure 28. "Exit Oscar Wilde" mm. 9-14. Subtlety of orchestration shades dialogue-
.filled segment of larger scene. Overall ascent contributes to gradual building of
suspense.

As opposed to the three editing cuts made during the initial 1:32 of the scene, the

five cuts implemented during the ensuing 22 seconds points to the shift of focus from

dialogue to action, and was noted by Mancini with a check mark at 1:34 112 in his timing

notes - "PAUSE as we CUT BACK to porter as he hurries out to the street to wait for

the police". The corresponding mark made in his score at m.28 coincides with an eight

measure, steadily moving line of eighth notes consisting of D E F GAB and C. 41

41. The same tactic was used in the Wait Until Dark score at approximately 1: 16 of the
"Bulbous Terror" cue. At a much faster tempo, the lengthy stream of consecutive eighth
notes was performed on an eleven-foot grand piano with the strings muffled.
156
Limited to the range of A3 - C5, the eight-measure line shows no evidence of pitch

hierarchy, patterning, or repetition of any four-note cell. The material was assigned to

the alto flutes, with the instruction "Stagger breath", doubled by the vibraphone, and

distributed in alternate groupings of two or three notes between the two harps. An

occasional mid- or cross-measure tie did not disrupt the momentum of the line, but

afforded the alto flutes an opportu_nity to make their discreet substitutions. The only

additional activity introduced into the section was a monophonic bassoon figure at m.30

which incorporates two instances of two sixteenth notes tied to a seven-beat sustained

pitch, followed by four sixteenth-note/dotted-eighth-note figures, all seeming to

foreshadow and provide for a.smooth transition to the four-note voicings designed. for

the bassoons and bass clarinets, to be implemented at m.36 and the visual event of the

arrival of the police. (Figure 29)

1:55 1/2 2:021/2

Figure 29. "Exit Oscar Wilde'.' mm.32-36. Addition of bassoon statement to

momentum-enhancing flute, vibraphone and harp line foreshadows orchestrally
dense figure signalling development within scene.

157
 Although not noted on the timing sheet, Mancini made an additional mark at m.36
12
of his score, corresponding to the 2:0i point of the scene, during which the group of

policemen run into the hotel. The monophonic eighth-note activity was replaced at this

point with two, four-note bassoon/bass clarinet voicings moving in a more sustained and

irregular fashion and comprising, alternatively, two concurrent vertical perfect 5ths,

topped with a half tone, forming a surrounding interval of a minor 1oth, followed by a

perfect 5th, over which was placed a half tone, capped by another perfect 5th, forming

another encasing minor 10th interval. (Figure 30.) Additional material also began in

m.36, with the commencement of a unison french horn line designed to ascend in two

stages over the ensuing 10 measures from its opening G3 to its final A4.

The score underwent a further transition at an unmarked m.41, the arrival of the

police outside Blaney's hotel room. The six measures that follow constitute the most

musically dense section of the cue, supporting the climactically suspenseful seventeen

seconds of the scene's conclusion. Mancini waited until this point to use his full

orchestra, constructing a measured, note-by-note anxiety-building_ ascent for the unison

french horns, alto flutes and harps, while distributing additional rhythms within the other

sections in such a way as to bring about a relentless, per-beat indication of pulse. (Figure

30.) The score's emboldened and circled timing of 2:37 113 served as the target for the

composer's conducted cutoff, following a rapid crescendo which accompanied the

opening of Blaney's door and the editing cut to the room's interior. 42 The decay of the

42. One of the alto flutes loses control of the final note at the cut off and produces a B3.
158
solo vibraphone and piano's A3 which corresponds to the abrupt cessation of the

orchestra conveys the realisation of the police and porter that the room is empty.

cur
2:34 I2:37 1/3 I INTERIOR
EMP1YROOM
I I

r~E!S-61-"'~~~--=====~~ I I i=i I I I Fi I I I I I
-

Vc.~,~m~~-H~m~E~~~~~
' ... -61- ...____.. -61- ........_,,... -zf
~ ... ... +·__.-e- -,/...__.-,/ -e-·.....____,+
-====0
Pno./Vb. 1~~~··~~~~~~~~~~~~~~~~~~~~~~~~~~~~:===:11
e"'
1 ::::::::31
mf

Db. ~;=~~~~*~a*~$~~~~~~ag~
41 -.; ·~
-,j -61- -,j ....
... -zf
42 ... --t' -?- 43 ... 44 ... -.;~-.; -6-~~
.'-..._/ ~ _:_~ -::..___./ _:_~ --===
Figure 3 0. "Exit Oscar Wilde" mm. 41-46. Climactic moment of scene scored with
trademark suspense-building devices: tutti orchestra, note-by note ascent, relentless
rhythmic pulse, rapid crescendo and abrupt cessation.

Despite the spotting session notes for this cue continuing for an additional ten

descriptive points, Goodwin's composition adhered to the same external timing

parameters as that of his predecessor, but did not include the internal adjustments made

at the transition points noted by Mancini. Instead, he reshaped his "Suspense Theme"

into an immediately discernable alla breve metrical pulse, scored for full orchestra,

commencing with a four-measure introduction in A minor. Just as he had constructed an

obligato accompaniment from minor thirds to establish the waltz setting of his previous

version of the theme, Goodwin wrote a stream of 16th notes based on the repeated third

and fifth degrees of his opening key centre to set a brisk pace of 176 BPM. His

159
rhythmically modified melody began at the first line of the hotel porter's dialogue, and

continued through a sixteen-measure, repeating form. (Figure 31)

Pere. ...+-
Hl4!'-..-----.-.___---,-.____..,....__.._.,......i--..-i.,...._,._.,.......,._.,......,.-....,.....l--*-__,....-#-~i'--:-i . .....,.'/....,_,,_...__.___,_.,~.,_..,.--,-*'I

Figure 31. Ron Goodwin, "Exit Oscar Wilde", mm. 5-12. "Suspense Theme B" used
throughout cue 5011600.

Initially mixed at a low volume on the film's soundtrack, the music underwent

electronically-engineered crescendos at points in the script marked "Pause", such as

timing :55, immediately after point# 30, "Can't you se~ he's the necktie murderer and

we've got him upstairs at this very minute." Beginning at the 1:34 mark, point #53 -

during which Mancini had made his final rhythmic, timbral and note choice transitions -

Goodwin's music was pushed to a higher volume, maintained until the end of the cue. A

structural modification to the piece's form upon its third repetition was also made at this

point, via a three-measure truncation, in order to bring about a fourth, 12-measure

version which would begin with the familiar opening melodic gesture, and end - as with

160
Mancini, at the 2:371/3 mark- with a natural fade on the sustained Db7#9 sonority which

had completed the three preceding cycles.

The film's "Goodbye to Babs" scene is notable for it's implementation of

significant filmic and narrative devices. Physical action involves the ascent of a curved,

shadow-casting staircase - always a fateful move in any Hitchcock film. One line of

dialogue - "You're my type of woman" - advances the plot through another rape and

murder, without a single frame of violence being shown. Use of an extreme close-up fills

the screen for the fraction of a second required to perform an editing cut, creating the

illusion of a 58-second continuous camera shot, while the soundtrack's initial silence,

followed by environmental noise, aurally shades the sequence's horrific premise to

chilling effect. Intriguingly, Mancini was asked to compose a cue for the scene, while

music Goodwin may have written was not used.

M-701, entitled "Big Drag for Babs", forms a link with the Terence Young film

Wait Until Dark and the Mancini cue, "Big Drag for Lisa" written to accompany the

revelation of a woman's corpse in a wardrobe bag. 43 This selection shares characteristics

of tempo, orchestration, atonality, pitch combination, contour, and metrical pulse with

the Frenzy cue, but is meant to comment on the reactions of a character within a scene.

For the Hitchcock project, Mancini's 16-measure piece, imparted in common time at a

relentless but funereal pace of 60 BPM, matching the uninterrupted flow of the visual

43. Just as "The Heist", 'The Big Heist", and "The Really Big Heist" originated from
three different film scores, Mancini composed "The Big Drag" for Touch of Evil and
"Big Drag for Uncle Harold" in 1969 for Me, Natalie. Only the Wait Until Dark and
Frenzy titles are related through narrative content.
161
sequence and the inevitability of Babs' fate, speaks to the experience of the only

character truly involved in the scene - the viewer, realising the grim details of another

rape and murder while simply looking at a staircase.

Seemingly at odds with the camera/viewer's backward descent of the stairway, the

steadily ascending contour of the work is not due so much to pitch placement as to:, in a

style reminiscent of Tiomkin, the progressive thickening of the orchestration, resulting in

an increasing sensation of dread, rather than one of upward physical motion.

Mancini began the cue with a three-beat D 1/D2 played by the contrabasses and

celli. Written for the piano, but not recorded, was a reinforcement of the same note,

intended to last for two measures. Leslie Pearson's piano was not heard until m.3, on an

Al/A2 which would continue, with staggered entry points, for the remainder of the

piece. Once the basses bowed their own A 1 in m.3, the note was sustained in this part

throughout.

As with the previous underscore cues, pitch combinations were formed from the

interplay between these underpinning notes and the simultaneous but independent lines

assigned to the violas - doubled at m.10 by the alto flutes - and celli. Through this

arrangement, Mancini was able to form half-tones, tri-tones, minor 9ths, or combinations

of each of these intervals within every bar of the piece. (Figure 32.) Due to the almost

exclusive setting of this cue in the bass clef, the sonic _tensions generated were

particularly resonant. The composer's final addition to the texture of the piece occurred

at m.9, corresponding to the 32-second mark of the scene - the camera's "exit" from

162
Rusk's building and the commencement of the street's sounds. At this point, a four-note

voicing consisting of adjacent tones and half-tones reminiscent of the structures designed

for "Exit Oscar Wilde" was again written for the bass clarinets, bassoons, and straight-

muted french horns. This assemblage was transposed by an ascending major 3rd in m.13,

and an additional minor 2nd in the following measure, maintaining the same combination

of internal minor and major 2nds as the original sonority. (Figure 32)

Rhythmically, the cue also used the technique, implemented in "Exit Oscar Wilde",

of generating a perpetual quarter note pulse. Despite the metrical vagueness of each of

the three moving lines in isolation, they combine to produce a measured, beat-to-beat

series of events beginning in m.5 and concluding at the commencement of the crescendo

of m.15. (Figure 32)

Mm.15 and 16 of the cue illustrate how, through both writing and conducting, the

manipulation of sustained sound and silence can bring emphasis to a filmic event as

much as the punctuation of an isolated musical accent. Points eight and nine of the

spotting notes read as follows:

0:58-1/2 8. PAN IS COMPLETED

0:59 9. CUT TO INT. of hallway of Oxford's apt. evening

MUSIC ENDS AS WE SEGUE TO M-702/800

Mancini's rapid crescendo of the dissonance-engorged sonority that corresponds to the

last two seconds of the camera's pan takes advantage of a final opportunity to test the

163
viewer's disturbance threshold, while the sudden cut-off at the ensemble's peak volume

produces more of a jolting silence than a simple cessation of music.

:40 44 :48

~~-; ffV~ '...::..

.~
,-
-<?-'
~
""

,,,----........
. . . r---._ .e.· ./'- #~

Pno. ) : . . .

9 -~ ~~~- .:~ ~- 12~. ~~~· ~~~~~~~

Figure 32. "Big Drag for Babs" mm. 9-16. Beat-to-beat musical events, assortment of
bass clef dissonances, textural thickening, and rapid concluding crescendo/fine convey
unseen attack on Babs.

The number 702/800 referred to in the spotting notes above was a source cue meant

to be heard in Hitchcock's comic-relief segment involving Inspector Oxford and his

unbalanced wife. Mancini's timing notes offered suggestions he chose to ignore:

REEL VII-M-702/800 SOURCE MUSIC RADIO CBACH?) 11/20/71

0:00 1. SOURCE SEGUES FROM M-701 as Oxford enters his apt.

1:02 2. END REEL VII ON CUT TO Oxford's soup start REEL VIII
AS WE CUT TO CLOSE SHOT of Oxford

4:31 3. SOURCE MUSIC ENDS AS WE CUT TO EXT. 44 convent

garden (NITE) (.i;ic)

(NOTE: Hank you may want to play 2 or 3 different numbers.

Should be made at least 5:00 minutes)

44. "Exterior"
164
 The composer selected one piece, the second movement of Mozart's Eine Kliene

Nachtmusik K.V.525, arranged for two violins, viola and cello. The inclusion of the

Romance as the penultimate track on the studio recording indicates the selection was

performed by four members of the orchestra's string section after the work of the larger

ensemble was completed. As archived on the studio recording, this cue lasts for 4:28

before the eight-millimetre tape duplicate of the master can be heard running off its
45
spool.

Ultimately, the efforts of Mancini, the musicians and the recording engineers were

once again in vain. In the film's final edit, Hitchcock chose to keep the radio turned off

in the Oxford's apartment, providing a silent backdrop to the couple's conversation.

An example of score unification emerges with the following piece, number M-801,

"Hot Potatos" (sic). Linked through scenario with "Son of My Kind of Woman" -- both

pieces follow Rusk through the aftermath of an attack - "Hot Potatos" diverts from the

former cue in compositional point-of-view. As opposed to the viewer-linked musical

45. Composer Patrick Williams used this piece as a source cue in a 1990 made-for-
television movie entitled Columbo: Murder in Malibu. (Dir. Walter Grauman, Universal
Television). The "NBC Mystery Movie Theme" was composed by Henry Mancini in
1971 for the series that popularised t~e character of Inspector Columbo. Williams:,
perhaps best known for his theme to The Streets of San Francisco, which Mancini
recorded on his RCA Victor Cop Show Themes album of 1976, also wrote the weekly
incidental music for Newhart, ( 1982-1990) the theme of which was composed by
Mancini. The cast of Murder in Malibu was led by Brenda Vacarro, who appeared in an
episode of The Streets of San Francisco, as well as the Mancini-scored 1975 feature film
Once is Not Enough. Vacarro'~ Columbo: Murder in Malibu co-lead was Andrew
Stevens, a regular cast member of the 1983-1988 television series Hotel, another
Mancini theme project. The first director appointed by Ginny Mancini to oversee the Los
Angeles-based Henry Mancini Institute was Patrick Williams, who served from 2001 -
2006.
165
former cue in compositional point-of-view. As opposed to the viewer-linked musical

commentary of M-401, the structural changes of M-801 both correspond to the actions

of Robert Rusk, and reflect - through accepted systems of codification - an empathetic

receptivity to the anxiety arising from the multi-stage task of disposing of Babs' body

and avoiding detection.

Structural similarities between the two e,ompositions include a tempo of

approximately 50 BPM, and, through an intentionally sporadic system of ensemble entry

points, the denial of the stabilising element of a quantifiable meter. The opening four-

voice sonority of the muted, vibrato-less violas and celli which commences at the sight

of Rusk exiting his building duplicates that of mm.6-10 of M-401, "Son of My Kind of

Woman", save for the top note. Mancini's substitution of an F3 for the G3 of the earlier

cue contributes a minor 9th and augmented 4th to the soundscape, and avoids the

agreeable, four-measure Am9 sonority that would otherwise have been produced in

combination with the underpinning Al of the double bass section. (Figure 34)

Harps I and II deploy a transposed version of the half-tone echo device heard in

"Son of My Kind of Woman" during the camera's final shot of Rusk's departure from

the vicinity of Brenda's office. This provides further support for the solo french horn's

re-emergence in m.2, introducing another six-measure, bipartite, alternately contoured

phrase beginning, as with M-401, on the note D4. (Figure 34)

At m.5, as Rusk makes his way across the street to the waiting potato trucks, an

upward shift in pitch is brought about by the expansion of the string sonorities, now

166
adjusted to suggest an Am 11 chord, but destabilised with the Eb, A#, and Ab

incorporated into the piano-doubled harp parts of mm.5-8. Coinciding with this shift is a

solo, bass clarinet line also reminiscent of cue M401, providing both an ascending

counter line to the french horn solo, and transitional bridge to the quartal voicings

assigned the full woodwind section at m.9. (Figure 34)

:27~
Bs. flt.
Bs. Cl.
Bssn.
:oo

..
:041/2 :13 1/2 :lS Solo
- :221/2
.-;,_.,..., ---- .
r
~-p , -
I

Solo p I -----
(\
~

Fr. Hn.
'-'
vf\ ======-
Hp.I
'-' ...._.
Let ring
I

(\ I,......._ I~
~'
l

Hp. II
ji•....:_,

---
t)

(\
Letl'i11g I,..--.. I I
,
Pno
f) r
======-
v
Via
pp no t ibrato

v.c.

D.B. . ..
'1 pp---2·-----3---4-----s---tr-----?----S:---
Figure 34. "Hot Potatos" mm.1-8. String sonorities, harp echoes, french horn solo and
bass clarinet countermelody combine to forge links with "Son of My Kind of Woman''.

Mm.9-14 see an alternating progression of tension and release, with two-measure,

ascending wind and string phrases providing the connecting material between the four-

voice sonorities formed into temporary moments of resolution, corresponding to Rusk's

success in overcoming each challenge he faces. (Figure 35)

The end of the french horn solo and chromatic arrival by the woodwinds at a

sustained GMaj7 in m.9 signals Rusk's unobserved arrival with the corpse-bearing

167
handcart at the potato truck which will carry it away. An ascending, perfect fourth-·based

cello soli provides the linkage to the next resting point of m.11, and the same chord

sustained for eight beats by the viola and cello sections. This note assemblage is

embellished with a four-pitch, diatonic tremolo, accompanying Rusk in his physical

struggle to lift the dead weight from the handcart. The ensuing eight-beat, ascending

bassoon solo concludes at m.13, with a chromatic ascent to an AMaj7 chord sustained

through the full woodwind section and reinforced by the contrastingly bright vibraphone.

At this point Rusk is able to bear the full weight of his dead victim and drop the body

into the potato truck. (Figure 35)

fl (Soft Hammers) Vibraphone

=====--
Pno.
t)

Via. ,
pp
Soli .....-------'.. '9,'/ 1.1-l
Ve.
~ y I=- pp
Bass Soli
Db. ,

' 9 10 11 12 13

Figure 35. "Hot Potatos" mm.9-14. Arrival at "resting" sonorities ofmm.9, 11 and
13 via melodic lines coincides with development of narrative sequence.

The commencement at m.15 of a regular, predictable rhythm, imparted by the two

harps, marks the passage of time as Rusk attempts to return to his apartment,

168
m.16, the villain's successful stowing of the handcart, in m.19 - joined by a countering,

more rhythmically active bassoon solo - the disposal of his burlap apron, 46 and, during a

rare repetition of the same phrase in mm.21-22, the disposal of his hat. Mm.23-26 see a

resurgence of dissonance, with the repeated E4 of the bassoon solo sounding against the

sustained Bb3 of the violas and. bass flutes, underpinned by the B 1 of the double basses,

as Rusk's progress home is momentarily halted by the sound of nearby laughter. The

gradual silence of all other parts but the double basses, celli, and violas, arriving at a

three-octave B sustained through mm.27 and 28 signals the achievement of his

objectives. (Figure 36.) Mancini's single pencilled note - "He enters his room" - is the

only marking made within the two pages of spotting notes and the score.

1:21 1:251/2 1:341/2 1:39

He enters
his room

l'-
=--
Hp. I -

~I II '-""'"""I I I ~I I I I I

Figure 36. "Hot Potatos" mm.19-28. Harp II imparts passage of time, bassoon solo,
bass flute countermelody and string sonorities combine to create varying degrees of
sonic tension,· resolution of octaves in.final two measures mark Rusk's success.

46. It is at this point that Goodwin's music resumes, after a lull of some 23 minutes, with
a more complete version of the waltz setting of his "Suspense Theme".
169
 The Goodwin waltz continued through the transition of the "Hot Potatos" scene to the

following sequence in which Rusk searches for his tiepin, scored as a separate cue by

Mancini, labelled M-802, and entitled "Babs Grabs".

This piece is notable both for the eight measure truncation made to its original form,

resulting in a composition 10 seconds shorter than that planned at the spotting session,

and for the implementation of several characteristic Mancini devices. The recording is

notable for exposing modifications made to the cue after its completion, including those

which eliminated a number of "trademarks".

The first six measures of M-802 stand as an important example of orchestration and

synchronisation technique as practised by this composer, involving 11 seconds of music

corresponding to 13 editing cuts assembled by Hitchcock in order to explain, in

"flashback", how Rusk lost his tiepin. Although much of the sequence of visual events

as documented by the music editor occur in one-third-of-a-second increments, Mancini

elected to write in common time and place a musical event on each beat. His tempo

calculation of 96 BPM resulted in the synchronisation of musical gesture and visual

frame which emphasized seven points of the montage while avoiding an obvious -- and

distracting - stream of musical isomorphisms.

A rising succession of whole-tones progressing from downbeat to downbeat,

written for horns one and two, was duplicated one half-step lower by horns three and

four on each measure's corresponding third beat. The timbral presence of the straight-

muted french horns was such that all Bb clarinets, bassoons, and alternatively, celli and

170
violas were necessary to providing a balanced response, at unison, on beats two and

four. 47 The result was a rhythmically augmented form of the chromatic and unison

pairing device previously heard in the harps, establishing an additional link within the

score. (Figure 37)

The chromatic, ascending viola and cello phrases of beats two and four began on

D3 and concluded with progressively higher pitches in order to match the french horn

line. This brought about a varied series of rhythmic note groupings, emphasising the

music's arrival on each beat due to the unpredictability of each connecting gesture,

enhancing the synchronicity between visual and sonic event. (Figure 37)

J =96
FLASH-
BACKS _ _ _ _ _:021/2
SHOT ,.,,,..~---- ..
BbC'I.
Bssn.

-------~~
St.Mute

Fr. Hn
sf?. sfz sfz

Via

.Q;_,..-------1
v.c.
s.fz

~
"CHRISTALL-
6!) 1}.hg~ffrr G!i]
:os
~~ 2-2 ;.~:#::=::;,.~II ,.~
BbCI.
Bssn.

!±~
- •.•.. b~ .. -----·
-+-+
Hn.

~l___ - --~---->.
13

Via.

...
sfz
-
Ve.

IO IZ

Figure 37. "Babs Grabs" mm.1-6. Straight-mutedfrench horns balanced by woodwinds

and strings. Rhythmic note groupings vary due to differing points of arrival, caesura of
m. 6 anticipates line of dialogue.

47. The piano part, initially included in this blend, is not heard on the studio recording.
171
 The characteristic rapid, concluding crescendo of m.5 was designed to end abruptly

at the 11-second mark, circled in the timing notes and score, corresponding to the end of

the flash-back sequence and the camera's cut to Rusk in close-up. The change in time

signature for mm.5-6 indicates a click track was in place, and held with the composer's

technique, discussed in Sounds and Scores, of achieving precise note endings by

deeming the point of cessation as the downbeat of the next measure, as opposed to the
48
final beat of the preceding.

Mancini considered item number 15 in the spotting notes - He moves quickly

toward the door as he says "Christ all bloody mighty!" - significant enough to use as

the demarcation point of his score, employing both the caesura and fermata of m.6 to

highlight Rusk's sudden stillness and exclamation by simply stopping the music. This

opening also allowed him to prepare his ensemble for the adjustments made to time

signature and tempo at m. 7 - the score's highlighted 14 second mark - and proceed with

a new click track constructed to anchor the second part of the cue. (Figure 38)

As the remainder of th~ scene involves action rather than dialogue, the composer

designed the remainder of his cue around the motion-conveying qualities of a propulsive

bass line; however, in keeping with the irregular, unpredictable nature of the score, he

resisted constructing a characteristic ostinato in favour of limiting his rhythmic

vocabulary to repetitive 16th and 8th notes, and his pitch choices to the major 6th

parameter of D 1 - B2. (Figure 38)

48. Mancini, Sounds and Scores, 14.

172
 Performance directions and ensemble modifications implemented in order to lighten

the potentially oppressive sound of six double basses bowing their E/C strings in unison

included the dynamic marking of mezzo piano, combined with the word "Easy", 49 as

well as the suppression of the cello part until m.15, evidenced by the recording. (Fig. 38)

.::--'. :23

Db. ~~~i§~~~~~~~~~~~~~~~~~~~~~~~~~~~
. 13 .._,,· 14 .>15 . ~; > ._y

Figure 38. "Babs Grabs" mm 7-15. Original cello part kept tacit until m.15.

Each new musical event or modification made within the second section of this cue

corresponds to a narrative development or change of camera view or location. The

appearance of the violas at m.12 comes with the editing cut to the exterior of Rusk's

building as he exits to retrace the path he took during the "Hot Potatos" scene. At timing

:25 213 , the note, "He stops a moment as he looks around to see if anyone is about"

influences m.15, at which point the celli appear and the violas abandon linear material in

49. - a shortened version of the colloquial but appropriate, "Take it easy."

173
favour of double-stopped perfect 5ths which continue to the end of the piece. (Figure

38)

M.20 sees the implementation of characteristic cross-orchestral antiphonal accents,

distributed between the strings and piano, supporting the visual condensation of the

frame from general locale to Rusk and the truck containing Babs' corpse. As the scene

brings Rusk into closer proximity with his victim, Mancini begins a rhythmically

sustained, gradually ascending, unison melody line for bass flutes, two bass clarinets and

bassoons· at m.26. Since the string and piano pitches combine to indicate a harmonic

structure of Am9, the composer's "melody" not only incorporates the corresponding 4t\

5th and ih degrees, but the major 6th so favoured in his tonal, minor-key themes. 50 An

imitative line assigned to the french horns and remaining bass clarinets and bassoons

begins at m.33, favouring the 9th, 3rd and 4th degrees. 51 (Figure 39)

Rhythmically, the commencement of both lines on the downbeat, and the use of

note groupings c9mmonly endemic to a 6/8 time signature, mildly intimates the piece's

compound-duple pulse, in marked contrast to the underlying string/piano activity.

50."Theme from Mommie Dearest", 'Tom's Theme", "Ludmilla's Theme",

"Sunflower".
51."Lujon", "Charade", "Yasmin's Theme", "Hilly's Theme".
174
 B. Fl.
2 B.Cl.
2 Bssn.
:50

, ~

I I
·53

I I
---
:59

I\ (St.Mute)
2BbCI. ,:
2 Bssn.
__
Fr. Hn

P110.
. . -.. .
,;

~
~­
p
~-··

l
, ~ ;:-
y y y y y y y

Pno. · •
~: ~- ~· ~- ~- ~-
,.......,
Via. -
-·r -·y
-~

y y r lo.o..I lo.o..I r r

Ve. ~
..· ~
. .
L.._ L..,_ L+ I+ '[..,_
-rfJ Ly + L..,C L..,C
'-._,/

Db . .. ~ ~ " .. ~

. ::'
31 32 83 34 3!i 36 37

Figure 3 9. "Babs Grabs", mm. 31-3 7. Cross-orchestral antiphonal accents, use of

favoured pitches in relation to A minor tonal centre, intimation of compound--duple
pulse, qualifies cue as characteristic Mancini.

Ultimately, Mancini eliminated all of the woodwind and french horn parts from this

cue. While it is tempting to surmise his motivation in doing so sprung from a desire to

avoid use of "trademark" devices, it is probable his editing arose from more practical

concerns. Hitchcock's dedsion to end the music approximately ten seconds earlier than

originally directed in the timing sheets resulted in the composer removing mm.4 l ·-48

from his score, including the end of the wind part at m.45 and the three following

measures which served as a transition from the full-orchestra to the string-piano tutti

which concludes the piece. (Figure 40.) Perhaps Mancini felt that underscoring Rusk's

frantic search through the rear of the truck with antiphonal accenting alone would

suffice, and allow for a cessation of music which did not need to be precluded by a

175
sequence of arranging and orchestration evenis in order to maintain a subservience to the

visual.

I :07 VOICE: I1: 09 I

1:08 1:11 1:17 I I
"SEE YOU LATER" 1:19

Pno.

Pno.
l.'.
,· ~·
\ y

~· ~· \ ~· s~------------~--\ ·'> \ -~
\Ila. ~~~~~i·~~-~~·s~-~*~I-m-·m~~~¥~~~§1
r r r -.i "-I "-I

. \ \ -.i
\
...
L 0
Ve.
_,..,. ......
L* _ L*
~ \ "ff\
Db.
43 44 45 \
46 47
~ - \ -
48

Figure 40. "Babs Grabs" mm. 43-50. Edited measures include those which serve as
transition point between full orchestra and piano/string ending.

Ron Goodwin again relied on his "Suspense Theme" to accompany much of this

scene. The waltz version continuing from the "Hot Potatos" sequence fades to an

unresolved ending as Rusk discovers his tiepin is missing, and a new cue was composed

for the flashback montage which corresponded with Mancini's M-802.

Like his colleague, the English composer chose to score this scene in common time,

but through tempo - 90BPM - and rhythmic manipulation, every cut of the visual

assemblage was highlighted with the events of a brass section "pyramid", identifiable as

a D7# 9,# 11 , followed by a series of accented vertical structures containing the same notes.

(Figure 41)

176
 A serpentine violin line using a two-semi-tone, four-note vertical cell extracted

from the "Suspense Theme" melody provided a transition from the cue's strident

opening measures to the temporary suspension of music at a point identical to that of the

Mancini score - Rusk's close-up and "Christ all bloody mighty!" line. (Figure 41.) The

character's rapid staircase descent inspires a return of the articulated brass activity,

followed by the string section's preparatory vamp for a reappearance of "Suspense

Theme B", not used since the "Exit Oscar Wilde" scene. The theme is heard as the

camera locates Rusk on the street, and accompanies his activity for the remainder of the

scene - including the additional ten seconds of footage left unscored by Mancini.

~~~-================!

"Christ all bloody

mighty!"

Brnss

Pere.

Figure 41. Ron Goodwin music for "Babs Grabs" scene, mm.1- 7. Brass pyramid, four-
note cells derived from_ "Suspense Theme" melody, identical moment of cessation at
dialogue, brass/percussion accents trace visual sequence.
177
 The final diegetic piece Mancini wrote for the film, M-901, "Tijuana on Thames"
52
is meant to emanate from a jukebox at an all-night cafe. Acknowledging the trend in

instrumental popular music of the time, the title evokes the music produced by Herb

Alpert and his "Tijuana Brass", characterised by a staccato, straight-eighth-note oriented

melody line performed by trumpets or flugelhorns often voiced in thirds, accompanied

by a contemporary, amplified rhythm section at a tempo of between 120-160 BPM.

The spotting notes provided by the music editor for this sequence were as follows:

REEL IX M-901

0:00 1. JUKEBOX MUSIC STARTS AS WE CUT TO EXT. of

all-hight cafe.
112
1:32 2. END JUKEBOX AS WE CUT TO police car.
(NOTE: Please make about 2:00 LONG.)

Mancini wrote "We need 1:32 112" on his score, and supplied the sound mixers with a

recording of one minute, 5~ seconds in length. A structural summation of "Tijuana on

Thames" describes a composition which incorporates many of the characteristics found

· in his source writing, including the use of his musicians' improvising skills - in this

case Leslie Pearson - to extend the length of a cue not warranting the allotment of

composition time afforded the much more detailed, and noticeable, underscore.

~
Key Meter Form Primary Melodic Contour Features
Dm/F 2/2 A/B/B /C1 A~ CL~ B~ Bl-&- c<s >cL ~ Flug. x 2. Bs, Dr, Guit ·
010

Electric organ, improvis

~
52. The Iraqi Londoner~ of Arabesque "listened" to a Mancini piece entitled "Bagdad on
Thames" (sic).
178
 A noteworthy feature emerging from the recording of this piece is the bassist's

divergence from the written line. In this case, Mancini evidently approved of the player's

addition of chromatic and triadic approach notes, and the rhythmic embellishment of a

rather pedestrian, staid sample of writing - which in itself may be indicative of the time

constraints the composer was working under.

The volume at which Ron Goodwin's corresponding cue was synchronised to the

film makes structural analysis difficult, however, a summary of his composition for M-

901 reveals similar characteristics to the Mancini piece, once again giving rise to the

possibility that he was familiar with his predecessor's score.

The tempo of 132 BPM exceeds "Tijuana on Thames" by 12 metronomic beats,

resulting in an al/a breve time conception appropriate to the performance of the straight-

eighth-note oriented melody line assigned to three trumpets in triadic harmony.

Goodwin's chosen key of D major places the horns mid-register, rendering the stacatto

articulation of much of the melody comfortable. The remainder of the ensemble consists

of an era and genre-appropriate rhythm section consisting of a drum kit, electric bass,

guitar, and organ - which was assigned an improvised solo.

Divergence between the two composers' scores re-emerges with Mancini's

subsequent creation of a pair of nondiegetic cues for two consecutive scenes, linked by

plot development and mechanical reel change. In its final edit, the film advances through

this sequence void of any music that Goodwin may have written.

179
 Consistent with the courtroom scenes of The Paradine Case, The Wrong Man, and I

Confess, Hitchcock left Frenzy's judiciary process unaccompanied. Contrary to the

earlier films, he condensed this aspect of the plot by avoiding an exploration of the

court's legal procedures and simply progressed to the pronouncement of verdict and

sentence, imparted to the film's audience through an open door. As with the The

Paradine Case and The Wrong Man, scoring was reserved for the following

imprisonment scene, and as instructed, Mancini waited for the diegetic sound of

Blaney's cell door locking before beginning his 46-second cue.

General stylistic characteristics and those consistent with preceding moments in the

underscore are found in M-1001, "The Inspector Thinks". The entire cue is unified via

a consistent, 11-measure octave-plus-major 7th melodic ascent, begun at the piece's

outset with an arco bass El/E2, doubled by the piano, two harps, and rolling timpani.

The celli' s opening gesture consists of a sextuplet beginning on E2 and seeming to imply

a tonal centre of E minor, until the composer's agenda to use a complete, 12 member

pitch set within the composition becomes clear.

A traceable melodic statement emerges within the first four measures of this part,

consisting of two phrases adhering to a responsorial design, followed by two

rhythmically identical phrases linked in a melodic relationship, and contributing to the

larger ascending contour. (Figure 42)

Imitation occurs in the viola part of m.5, with a minor 6th transposition of the

celli' s opening statement. By m. 7 and the timing of 24 seconds, the two string parts have

180
combined to form a rhythmically and structurally similar pairing of lines, void of the

intervallic tensions of previous cues, and primarily generating major and minor 6ths. At

this point, Blaney's tenor voice is heard off-camera, his words are significant to

Inspector Oxford's reconsideration of the case - therefore highly significant to the

filmgoer - and must not be obscured by a stream of register-proximal dissonances. The

introduction of the straight-muted french horns at m.9, on a potentially significant A '1 set

amidst the surrounding tutti Edim7 comes with his more audible, murderous threats.

(Figure 43)

181
 ~ =60
"Rusk did it!"
:oo Blaney-in cell :04 :08 :12 :16 :20 :24

2 Harps}E,~'·=~~s====t:=t=E=Es===:i:=t=E===i=EE===EEE==a=t:===t:E:=:====i
"t;j
,

D.B.

Timp.<tr
Pere.

-:::::::::::::::======:::::::~-!-. -0-

II

_______ 1_2_:r~·
II
Figure 43. "The Inspector Thinks", complete score.

182
 Mancini's final instructions for M-1001 and first for the following cue were:

0:40-2/3 14. END OF DIAL. We CONT. TO HOLD ON Oxford

0:43-2/3 15. For the 1st time we see Oxford has his doubts about
Blaney committing the crimes.
0:46 16. CAM. HOLDS on him - MUSIC ENDS AT E.O.R.
(NOTE: Hank please play last chord at about 44 or
44-1/2 seconds and hold for mechanical change over)

REEL XI - M-1101
0:00 1. MUSIC STARTS AT B.O.R. as CUT to Market St.
(NOTE: Please Hank come in on a similar chord for
mechanical change-over) Lots of early morning traffic. 53

The sonority of two adjacent tri-tones underpinned by the timpani, piano, and

double bass' E which ends "The Inspector Thinks" seems to have little hope of

achieving a convincing transition to the A2/3 octaves which begin M-1101, entitled,

"Rusk on Candid Camera". 54 (Figure 44.) As this dialogue-propelled segment takes

place mostly in a moving car, surrounded by ambient traffic noise, the composer opted

for a sonically light approach to this scene, in contrast to the full orchestra presence of

M-1001.

A clue to Mancini's thought process regarding the musical segue and mechanical

reel change lies in eraser marks found next to the french horn pitches of mm.9-11 of

"The Inspector Thinks". The written A3 assigned the horns in these measures was

53. "DIAL.", "CONT.", "E.O.R." and "B.O.R." mean, respectively, "DIALOGUE",

"CONTINUE", "END OF REAL" and "BEGINNING OF REAL".
54. Mancini scratched out his original title for the piece, which was, "More Thinking".
183
originally an "Ab", possibly in order to achieve maximum dissonance with the

surrounding wind and string sonorities. In changing the pitch to A 11 and allowing it to be

expressed by the most prominent voice within the timbral soundscape of the concluding

four measures - reinforced through duplication in the bassoon, bass clarinet and viola -

the opening pitch of "Rusk on Candid Camera" was foreshadowed. Regardless of sonic

alteration through orchestration, the note, and the composition which it begins, does not

emerge in a way which disrupts the listening parameter established in the previous cue.

In considering the notation of eight-and-one-half beats of the final sonority of "The

Inspector Thinks", its tempo of 60BPM, the perceptible ritard leading to m.11, the two

seconds allotted m.12 and Mancini's lack of a corresponding time signature of 2/4, it

becomes evident the composer resisted both his music editor's suggestion to begin M-

1101 with a "similar chord" and a literal interpretation of his own score in navigating the

mechanical change between reels 10 and 11. As the unison/octave woodwinds and harps

began "Rusk on Candid Camera" on beat two, Mancini considered the abrupt cut off-

following a rapid crescendo - at the M-1001 timing of 46 seconds and the corresponding

editing cut to the following scene, as the downbeat of M-1101. As this composition

maintains the tempo established in the previous cue, the technical and musical demands

of this two-scene sequence were met.

The seven-measure piece incorporates pitch, rhythmic, and timbral elements

already established in the score, the most notable of these being the use of the two harps

in the multi-pitch echoing formation regularly heard to accompany, or invoke, Robert

184
Rusk. Despite nine of twelve pitches being used within the short cue, the only

manufactured moment of dissonance comes with the final measure, at Monica's point-

of-view camera cut to the photograph of the film's villain. The implementation of the

vibraphone's B3 within the woodwind/harp sonority of the Fmaj7 recalls similar scene-

opening and closing moments within other Mancini scores of this era. (Figure 44) 55

CUT to PHOTO
:07 :10 1/2
of RUSK
:oo :14
,,,...~-
L
0~
..--,....-.
" I

4 Bs. Flt.
I I r

===- :====->-

4 Bs. Cir. ••a

',, __ -; w...
===-
. .... "~• .... •r.v

~·------~.__l..--ol-
•••

I I L I I I ....... __ J.,-- -- ~I-·~

.
~ ~

4 Bsn.
~
~

I = -; )+ I -
===--

Figure 44. "Rusk on Candid Camera", complete score. Subdued orchestration

appropriate t<? dialogue-filled scene, harp duo invokes Rusk, intentional dissonance
assigned to vibraphone reserved for final sonority.

The penultimate piece in the score is M-1201, "Off to Rusk's Place", which

follows Blaney through his escape from a prison hospital to his long-anticipated
112
confrontation with Rusk. At 4: 10 , this was the longest cue in Mancini's assigmnent,

involving five pages of timing notes and 112 descriptive points. The composition is

55. See "Hook Fight" from the Charade score.

185
unique in other ways; in comparison to the rest of the sketch score which shows very

few eraser marks, modifications, or deviations from the recording, M-1201 emerged

from the studio session with parts either eliminated or reassigned in their entirety, and

with unwritten register shifts within linear phrases. Most notably, the design of the score

seems predicated upon meeting a series of possible synchronisation changes, showing

timings generated by two different tempos in one, 14 measure section, and allowing for

three separate ending points through the implementation of hastily marked optional

repeats, despite there being only one "Music Ends" direction given in the notes. A clue

as to the indefinite nature of the manuscript in this instance - as well as an indication of

the stresses involved in Mancini's profession - may be found in the date of the cue's

music timing notes - 11 /22/71 - which the composer had also written on the final page

of his "Son of My Kind of Woman" sketch. Clearly, Mancini was creating the Frenzy

score in stages,. writing one cue while awaiting final instructions for the next.

"Off to Rusk's Place" shares another linkage with "Son of My Kind of Woman"

through its multi part structure, in accordance with the design of the visual sequence. The

first section, written in 6/4 time at the tempo of 60BPM, follows Hitchcock's 24 213 -

second slow camera pan of the night-time hospital ward. Evidenced by the recording, the

open A of the ascending perfect 4th which begins the accompanying muted, area bass

solo is doubled by the piano's unwritten Al/A.2. 56 Despite the composer's bar-length

phrase markings throughout the solo, the characteristic delay in sound production of the

56. This two-note figure recalls the opening gesture of the unrecorded introduction to
Mancini's Main Titie Theme.
186
bowed bass - made more apparent given that mm.3-4 were performed one octave below

where notated, in the instrument's sluggish lower register - in combination with the

largo tempo and variant rhythmic groupings, makes the discernment of a quantifiable

metrical measurement impossible. Consistent with the ongoing denial of key centre

which characterises this score, Mancini used nine pitches within the unaccompanied,

four-measure segment. (Figure 45)

~=60
Hospital
utNight
:oo :06 :12

p 4

Figure 45. "Off To Rusk's Place'', mm.1-5. Denial of discernable key centre and
rhythmic pulse characterise opening section. Inclusion ofpiano octave, 8vb
transposition ofpartial bass melody constitute changes made for recording. Second
bass melody commences at m. 5.

The completion of the camera's pan as it locates Blaney begets a second bass line

placed a diminished 5th above the solo instrument's G#2. The one-measure repeating

motif formed by the portamento slide between the resulting diminished and perfect 5ths

emerges as one of the score's few moments of repetition, providing the rhythmic

impetus for the next 11 measures. At m.11, the pitches of the top linear grouping were

reversed and modified with the implementation of one flat, bringing about the contrary

motion of perfect 5th to perfect 4th. (Figure 46)

A gradual progression towards increasing, close-formation orchestral density

continued at m. 7 with the introduction of a four measure muted cello solo which inimics
187
the ascending contour and sustained rhythm of the bass solo. Within its own set of eight

pitches, the re-use of the Db, Ab, A and Bb found in the melodic statement Of the

previous instrument was denied. (Figure 46)

A second cello part was added at m.1 t', adding a pattern of portamento-adjoined

parallel 4ths to the repeating bass motif. At the same time, a solo muted viola began a six

-measure, ten-pitch response to the bass and cello solos, inspired by the inter-narrative

appearance of comic inmate "George", sneaking from his bed and' confirming the

unconscious status of the guard. (Figure 46)

While the combination of pitches used throughout this section convey instability

and suspense through unforeseen moments of sonic tension, the level of noticeable

dissonance achieved in earlier cues is avoided. Within mm.5-16, vertical semi-tones are

mellowed by the presence of attendant 4ths and 3rds, and tri-tones sustain only to a

maximum of two beats, before being resolved in consequent perfect 5ths or minor 6ths.

Mancini's strategy was to impart unease, in keeping with the viewer's desire to see

Blaney successful in his escape, but at a level reduced from that required to accompany

the discovery of a naked, strangled corpse, or to foreshadow a rape and murder, or to

convey the nightmarish dimensions of a prison cell.

188
 :54 1:00
Solo Viola-Mute

===-pp
I I
v.c. , ,,_
I I I I I I I I I I I I I I '===-pp
!,J ;. J, ..-·-·- .. J ! J ~ J.--·--·-... J. ! J '",1,....---.J l I :;J . . -.. ·-). L J ~J- . -·--.. 1
D.B. l~·-~~*~im~~~~~~*~~~~~~~~-~~·~~
I
' 12'I I I 'I I I 'I I I 'I I I 'I I 13 14 15 16

Figure·46. "Off to Rusks' Place" mm. 7-16. Culmination of staged implementation of

parts results in orchestral density lacking intervallic tension ofprevious cues.
Combined bass/cello motif implies metrical pulse. Top bass part recorded 8vb.

The third section of the composition comes with an acceleration of on-screen

activity. Point number 40 at timing 1:35 - "C.B. to George as he hurries to the door. (We

see a guard beyond it)" 57 - warranted a check mark in Mancini's notes, which was

manifested in a 13 measure segment in 5/4 time, a generation of pulse, a change of

texture, and a melodic concentration of no more than two monophonic lines. Two sets of

timings allowed for the completion of each measure in increments of either 4 112 seconds,

resulting in a metronomic rate of 70 BPM, or in four seconds, generating the .tempo of

80 BPM which was ultimately recorded.

In a feature reminiscent of mm.28-36 of "Exit Oscar Wilde", Mancini constructed a

pitch set of eight notes limited to the inter-octave parameter of D3 to C4. As with the

57. "C.B." refers to the camera's "Cut Back" to George from its attention on Blaney.
189
earlier cue, pitch arrangement was void of patterning or hierarchy, and rhythmic

distribution and duration was confined to measurements of one or two beats. The line

was assigned to the muted violas executing a diatonic trill above each note, to the two

harps in their eighth-note "echo" formation, and to the four bass flutes. Phrase markings

implemented in the flute part which stretch between two-beat note values allowed the

players to plan their moments of staggered breathing. (Figure 4 7)

A further instance of inter-score binding originating in this case with mm. 8-16 of

"My Kind of Woman" is a repeating, five-pitch, six-event descending cell assigned once

more to the bassoons through mm.21-30. Encompassing the range of a perfect 5th, from

D3 to 02, and maintaining a consistent pattern of rhythmic values, it implies rhythmic

inconsistency through four and two-note, repetitive phrasal demarcation. (Figure 47)

The first of two unscored repeats discovered in the recording occur in this section,

affecting mm.29-30. At the same time, a concluding measure 31, written in 2/4 time and
3
serving as a 1l/ -second transition to the fourth segment of the piece was eliminated from

the score's recording. The composer's check mark at spotting note number 72, "CUT to

C.S·. of intern as he slowly looks O.S."58 corresponds to the original, 2:32 timing

achieved at the beginning of this measure. Opting for a stronger moment within the

narrative's progression, he scribbled through this notation, and circled point number 80
213
at 2:40 - "CUT TO hallway of hospital as Blaney walks quickly toward CAM."59

Instead of writing additional music, Mancini simply repeated the last two measures of a

58. "C.S." and "O.S." are acronyms for, respectively, "Close Up" and "Off Stage".
59. "Camera"
190
segment based on the concept of repetition. The composer's in-score notation of the

scripted "Sleeping Pills" served as a conducting cue anticipating the pivotal timing of

2:40 213 seconds and the editing cut to Blaney's departure. (Figure 47)

2:00 2:04
1:56
1:581/2 2:o:i 2:07 1/2

·----- ~'

--
I I

I I

--·(;!" ,

. _..---....._
r I

-A-- ---- - J.••. ----- -·-1- -·--- - -j - - -- + -- -- __ __,,,.

22 ..._____._.,,

2:32 2:36
2:08 2:12 2:16 2:20 2:24 2:28 "SLEEPING 2 :32
2:12

Bs.FI.
'-~·-·
2:16 1/2 2:21

----~-- ..----------·
<?:25 1/<!

~.
2:30 2:34 1/2 PILLS" 2:39

---
I I I

I'

Bsn.

Hp. I
'
, .. ..;-----_ .-----..
I
I I I

;~

-
Hp. II

Figure 47. "Off to Rusk's Place", mm.21-31. Bass flutes, harps, violas share melodic
activity with six-event repeating cell assigned bassoon and celli, delineated by
parentheses. Slower optional tempo of 70BPM generates (unused) bottom timing line,
unscored but recorded repeat at mm.29-30 generates topmost line, eliminates need for
m.31.
191
 The longest, and final segment of Mancini's four-section composition accompanies

Blaney' s physical motion, conveys his anxiety, and by association, reinforces the anxiety

of the film's audience in watching his escape. As with the three previous sections, the

composer's maintenance of tonal ambiguity superseded his quest for dissonance; the

four-note sonorities of the lower woodwinds and combined violas and celli identify with

close-formation major seventh and minor ninth voicings, presenting half-tone

relationships tempered by surrounding perfect fourths, as opposed to the more

destabilising use of the interval in preceding cues. (Figure 48)

While maintaining the same tempo, the segment is set in an aurally indiscernible

meter of 3/4. As written, mm.32-65 include four-pitch, eighth-note, two to six-measure·

melodic phrases assigned alternatively to the two harps. Sporadic solo passages of three

to six bars were given the vibraphone, taking advantage of the slow vibrato rate available

in its sound spectrum. As recorded, all harp activity was eliminated and the written

vibraphone solo was replaced with the phrases originally assigned Harp II. (Figure 48)

In accordance with the score, a four-note sonority identifiable as a 09 chord was

sustained through mm.32-34 by the woodwinds, instructed to trill to pitches forming an

AbMaj9 structure. Corresponding to their decrescendo in m.34 is the appearance and

crescendo of the violas and celli in a close-position Fm2/4 assemblage. A two-beat,

descending portamento arrives in the following measure at an Em9 structure, trilling

diatonically in order to maintain the same sonority. (Figure 48.) A tutti formation of the

192
Em sonority which ultimately ends the piece follows a 27-measure exchange of

woodwind and string section ownership of the quartal structures of Em2/4 and Fm2/4.

In contrast to this sustained rhythmic activity, a structure Cooper refers to as a

"physical isomorphism" - a musical gesture mimicking a physiological action, in this

case a beating heart - was placed in the bass and timpani parts at m.36. 60 Departing from

a regular tutti eighth note pairing, the composer used the design of his antiphonal accent

device to modify the construct of his "heart beat" signifier, shading the E 1 of the double

bass' quarter note at pitch with the timpani' s coupling of eighth notes. The figure

commences at Blaney's "Goodnight" to the last attendant he must pass before reaching

the hospital's exit, and as written, appears in 21 of the ensuing 29 measures. The

irregular implementation of the motif, in conjunction with its inter-measure avoidance of

sequential patterning, results in the subtle use of a musical device otherwise imbued with

the potential of resulting in cliche. (Figure 48)

Adhering to the practice evidenced throughout the score of introducing new

material at significant filmic editing points - in this case the relocation of the camera's

view from the interior to the exterior of the hospital - Mancini constructed a melodic

line at m.3 7 reminiscent, by virtue of its rhythmic content, of the bassoon solo in "Son of

My Kind of Woman". Assigned to the straight-muted french horns absent from the cue's

earlier sections, the four-phrase line which concludes at the end of the piece incorporates

60. Cooper, 64. Franz Waxman assigned his timpani to the role of beating heart both in
his Bride of Frankenstein (1935) and Dr. Jeckyl and Mr. Hyde (1941) scores. A more
recent example can be found in Ennio Moricone's use of the electric bass in dePalma's
Mission to Mars of 2000.
193
the sixteenth/dotted-eighth-note and triplet eighth-note figures of the latter cue but limits

pitch choices to B3, C4 and D4. (Figure 48) Despite the script's limited assignation of

emotional range to the character of Blaney, Mancini chose at this point to insert a link to

the earlier scene between the splayed corpse of Brenda and her killer, invoking the ever-

inherent tragic element of a story ultimately based on victimisation and loss.

194
Hn.
Solo - Let Ring
~- I ~- L

Hp.I~~~~~~~~~~fi~~~~~~li~~~~~~~~~~~~~~~~~~~~~~
II Solo

Hn.

Figure 48. "Off to Rusk's Place", mm.32-41, as scored. Sustained sonorities alternate
placement in woodwind and string sections. Two harps eliminated from recording,
vibraphone reassigned harp II line. French horn melody establishes linkage with
"Son of My Kind of Woman" cue. Double bass. and timpani invoke heart beat signifier.

195
 The studio recording of M-1201 reveals the installation of an additional repeat

effecting m.54-64 - in which is found a further internal repetition of m.64 - resulting in

a composition 23.5 seconds longer than originally penned, but ending at the point

dictated by the original timing notes:

4:10-1/2 112. CUT to Oxford in his apartment.

MUSIC ENDS as telephone rings.

Without the implementation of the extra minutes provided by the repeat within the cue's

fourth and final segment, the cessation of Mancini's music corresponds to the

protagonist's transition from the dangerous grounds of the prison hospital to the safer

confines of his escape car, or, as described in the spotting notes:

3 :44-2/3 103. He throws the iron into the car and gets in.
3:47-2/3 104. He slams the door shut.

As evidenced by the film, the timings given Ron Goodwin match those of his

colleague until the final seconds of the scene; however, where Mancini loosely followed

on-screen action with musical gesture and tempered codifiers of suspense, Goodwin

opted to Mickey-Mouse the initial 1:23 of the sequence, imbuing it with a contrasting

drollness. The camera's panning acknowledgement of each hospital inmate is

accompanied· by the string section's three-pitch vertical structure ascending to a

sustained diminished triad topped with a major seventh, while the three-note, descending

solo clarinet motif heard during the film's earlier segue to the Blaney Marriage Bureau is

used in a series of transpositions at each actor's reaction. The furtive walk of "George"

196
is mimicked by triplet eighth notes ascending through a series of tri-tones via pizzicato

strings, while the unconscious guard collapses to the floor accompanied by a slurred,

accelerando, chromatically descending line. (Figure 49)

~ = 60 1st inmate 2nd inmntc 3rd inmate 4th inmate 13lancy

r:-3--, :J _.------......._
~--~
r-..:!_-, ~

Clar. '"
u
~ ~ ~·

fl ==-
~--, r-_!1-;==- 3 ===--
c::>:- ~=- .~==-
p.,..,
Vib.
u *...:!"~
Lougshot of
w•.....Y...Y, __J ~ ~I
hospital ward. Camera begins mvmnt. -+ --,;.. ---;. --';> -+ ---:'>- ---:'>- Camera halts.
fl I I L-,1. I ~-0'- --~......-...

Vin.Via
... /
''r----------

__J
George sneaking toward guard. Blanev looks George looks G~ard falling out of chair.
Pizz................................. ~ ',),' at Gc'orge. !~~~---JEF .J ---====-------0 =-
~rco ...~

Figure 49. Ron Goodwin, "Off to Rusk's", first segment. Mood of scene is lightened
through pairing of musical isomorphisms with sequence of on-screen events.

Iterations of the "Suspense Theme" four-note cell shade the ensuing activity of

hospital staff and Blaney's escape progress, the motif appearing monophonically in the

197
flute and vibraphone parts, or, in a four-note tri-tone-based vertical structure linked to

the voicings used in his earlier Exit Oscar Wilde composition. (Figure 48.) The timing

of 1:35 noted by Mancini at point number 40 warrants a response by Goodwin's string

61
section beginning at m.25. Suspension of the ensuing dense activity in favour of an

isolated, solo clarinet descent through a diminished 5th, perfect 4th, and augmented 4th

at m.39 occurs approximately two seconds before Mancini's reconsidered spotting note

check mark at point 72. (Figure 50)

.., p--
·-- ----- Clai Solo r--.--
-··---·· ···--···--· -· ...'!.,;--. ··-·-····- ·--+···
/ l>"?(---~·y-
fl

e:--------a;1--------tiii1r-------~
. !---
- . ·-,- --
39 411 41

44 45
1s
.~. --- H- .:m-HH - ~------- -'HHH ----- --~-- H

46 47 . 48 . 49
~~
c,.. ••

~u---m - --------- H- ---

.!//
HH --~ H-

51
---- -

Figure 50. Ron Goodwin, "Off to Rusk's", mm.23-50. Four note cell from "Suspense
Theme" reordered and used both monophonically and in vertical sonorities. String
activity commences at timing note #40. Clarinet solo of m. 48 coincides with cancelled
Mancini timing notation.

61. "C.B. to George as he hurries to the door. (We see a guard beyond it.)"
198
 213
The relocating camera cut at the 2:40 point of the segment which Mancini circled

in his notes is marked by Goodwin with the establishing rhythmic vamp to his "Suspense

Theme A". The piece, again in A minor as with the "B" version used for "Exit Oscar

Wilde", follows Blaney out of the hospital, to his escape vehicle, and through his

retrieval of the tire iron from the car's trunk. A tutti cadence ends the theme, but not the

cue, in anticipation of the hospital's alarm bell - a noise which dominates the soundtrack

and yet was not referred to in Mancini's music timing notes, or marked in his score,

suggesting its implementation came during the film's final dubbing stage. Significantly,

Goodwin's cadential pause matches the point at which Mancini's music would have

ended without the extension provided by the repeated measures of his third segment.

(Figure 47)

Instead of installing repeat signs to extend his cue beyond this moment, Goodwin

composed an additional eight measures of score, consisting of 16 repetitions of a

reassembled "Suspense Theme" cell played by the vibraphone. Regardless of the

extension, his "Off to Rusk's Place" ends eleven seconds earlier than the Mancini
213
recording by way of a mechanical fade at 3:59 , synchronised with note number 108 -

"And touches them together and the car starts." - which refers to Blaney's manipulation

of his escape vehicle's ignition wiring. The resulting engine noise dominates the film's

·soundtrack, rendering a musical conclusion to the segment unnecessary.

199
 In further contrast to the Mancini assignment, Goodwin wrote a 1:40-second cue for

the following sequence. Beginning with Oxford's exit from his apartment, a series of

both sustained and sforzando diminished triads and chords were implemented,

accompanying the detective in his car and shading his case-solving explanation to his

subordinates. Compositional attention was then given Blaney, arriving at Rusk's

apartment, with another iteration of the four-note "Suspense Theme" cell placed in the

vibraphone part before being distributed among the clarinets and bassoons in a vertical

structure of three tri-tones. The sforzando diminished sonorities continued in loose

synchronisation with editing cuts showing Blaney exiting his car, opening the building's

door, and noting the staircase last seen in the "Big Drag for Babs" scene. Goodwin

ended his piece with a sustained, tutti diminished 5th, anchored by a timpani roll and, in

an appropric::ite installation of the "heart beat" signifier, punctuated with the repetitive

bass drum pattern which underpins most of his cue.

The conflicting instructions given both composers extended to the music required

for the film's closing credits sequence, accompanying the rolling list of ten names

projected over the stationary shot of Rusk's steamer trunk. As recalled by Go_odwin in

the 2002 Mansell interview:

I had composed a section that began when Barry Foster is arrested and it
sort of worked its way back into the "London Theme" that opened the film.
I thought that this rounded the film off neatly. Hitch didn't like this and used
a section of music that I had composed for another section of the movie. He
thought it worked but I felt it was a little bit of an anti-climax. 62 ·

62. Mansell, 5.
200
 Evidenced by the film, and in keeping with the practice of restating thematic

material during the characteristically brief "End Credits" sequences of his previous

pictures, the director instructed his sound engineers to reuse fifteen measures of the

"Suspense Theme A" portion of Goodwin's earlier "Off to Rusk's Place" composition,

beginning at m.55. In fulfilling the timing requirements of the :40 113 -second sequence,

technicians mechanically edited the piece originally written for Blaney' s escape by

eliminating mm.63-65, as well as the lengthy pause which precedes the cue's final

cadence, and electronically phasing the recording onto the soundtrack. 63 (Figure 51)

63. Digital technology in widespread use today has eliminated the need for such labour-
intensive and precarious tape-splicing operations.
201
 ~ '" 85

Figure 51. Ron Goodwin, "End Credits". Mm.55-73 of Goodwin's "Off to Rusk's
Place" mechanically phased in, modified to adhere to timing of sequence. .

202
 The written directive given Mancini for the conclusion of his Frenzy score

consisted of a brief listing on his master cue sheet, and no corresponding detailed timing

notes:

M1202 STARTS -As Roller Cast List names appear.

ENDS - ON FINAL FADE OUT.

In considering the material available to him - albeit by his own hand - the composer's

resistance to the traditional practice of scoring the end of a film with a restatement of its

main title theme or familiar sections of underscore is understandable. The Frenzy theme,

though ominous and, through the use of understood codifiers, imbued with menace, also

invokes the dignity and grandeur associated with an historic city - inappropriate music

to conclude a 110-minute exploration of a group of distinctly unglamorous,

contemporary characters brought together through serial rape and murder. Similarly, the

underscore cues, specifically designed to enhance the grim premise of the film, would

make for an incongruous pairing with a conclusion based on wrongs righted and order

restored.

Accordingly, Mancini composed a new, non-derivative piece entitled "End

Credits/End Rusk", notable within the score in its more ev.ident implementation of

several characteristic traits - an initially ascending principal melodic line in which flutes

.figure prominently, an attendant ascending countermelody assigned the (open) french

horns, an arpeggiating accompaniment provided by one of the harps, and an ostinato

203
bass line. Conversely, the cue resists pure categorisation as "trademark Mancini"

primarily due to the lack of repetition and symmetry within its 14 measure principal

melodic line, and, as with the "Main Title Theme" which began the score, its adherence

to the time signature of 3/4 at a waltz-defying tempo of 65BPM.

Within the context of the Frenzy score, M 1202 shares linkages with the nondiegetic

compositions through characteristics of orchestration, maintaining the timbral colour of

the low-to-mid-range wind and string sections, in addition to the harp. As well, the

underpinning quality of the bass line primarily rooted on E 1 connects the cue to "My Tie

is Your Tie", "Big Drag for Babs", "Hot Potatos" and "The Inspector Thinks". While

discernment of a consistent meter. is an audible possibility with this composition,

Mancini's emphasis of beat number two in nearly every measure - through the

commencement of his principal, counter and bass melodies, his phrase markings and

points of harmonic shift- contributes, in conjunction with the slow_tempo, to the denial

of a steadying implication of metrical pulse. (Figure 52)

In contrast to much of the score, "End Credits/End Rusk" both ascribes to a

harmonic progression and resists the implementation of destabilising dissonances. The

initial eight measures of the 13-measure cue depend on the triadic support of E and F#

minor, reinforced by the arpeggiating harp figures. and anchored by the repeating, two-

measure E-G-A horizontal line of the double basses and celli. The countermelody stated

by the french horns, bass clarinets and violas contribute, within their vertical structures,

minor ?111 degrees, while the principal melody of the alto flutes and bassoons

204
incorporates 9ths, 11 ths, and in m.8, a minor 6th. A shift on beat two of m.9 to C9/E

initiates a more active, four-measure harmonic sequence of Bb/E - Am6/E - Gm2 -

GmMaj7/E - F6/E, ultimately resolving to a sustained, tutti, two-pitch, multi-octave

assemblage of E and B. Mancini's avoidance of a modality-identifying third degree

within his score's final sonority is suggestive of both an impartment of closure to a

musical-filmic denouement, and a conveyance of emotional ambiguity regarding its

narrative conclusion. (Figure 52)

205
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Figure 52. "End Credits/End Rusk", complete score. "E. OP. is "End of Picture".

206
 Conclusion

That's the story of "Frenzy" from my point of view; all very bizarre;
but honestly, it was so bizarre that it stayed with me.
Recording engineer John Richards 1

John Richards left Cine Tele Sounds Studios in 1987 to continue his career in Los

Angeles. The events of December, 1971, did nothing to alter his association with

Mancini, and several film and recording projects over the ensuing two decades found

them working together successfully. 2 On October 9, 2011, he generously shared his

memories ofrecording Mancini's Frenzy score.

The sessions I recall were all evening sessions, to accommodate Mr.

Hitchcock's schedule - maybe they were still shooting or maybe they were
cutting - I think there were only three or four that were planned. The very
first evening, Hitchcock arrives in a wheelchair with his film editor, who's
name was Johnny Jympson. They went into the control room, up to the
booth where the board was, and Hitchcock nods, makes no comment to
anybody, and sits there in the booth - he's not in the best of health. Johnny
Jympson takes his place and suggests we start the session, and Henry goes
out, puts up the first cue - it might have been the main title, it might not
have been - records the first cue and comes in for the playback. It's all very
quiet in the control room, nothing really is a giveaway as far as how Mr.
Hitchcock feels about what he is hearing, so, we play the cue back, and
there's this dreadful pause where, nothing's said! Hitchcock indicates to
Johnny Jympson, who's standing behind him at his right hand side, that he
wants to speak with him. Johnny Jympson bends down and Hitchcock
whispers something in his ear, and Johnny Jympson stands up straight and

1. Interview with John Richards, Oct. 9, 2011.

2. Return of the Pink Panther, The Adventures of the Great Mouse Detective, Tom and
Jerry: The Movie.
207
 turns around to Hank and says, "Can we try the next cue please, Hank?"'
Off goes Hank, no concept of what's happening here. We put up the next
cue, he comes back in for playback, it's the same indication. Jympson
bends down, whisper whisper, comes up, "Hank, can we try the next cue
please?" And so the evening progresses in that very strange, tense, very
uncomfortable atmosphere. We have two giants here, we have Hitchcock,
we have Mancini at a very important point in his career, and there's no
dialogue between them. Obviously, Hitchcock felt very uncomfortable
about Hank's approach to the score. It was not what he wanted, and I seem
to remember we didn't get beyond the two evenings before it became
apparent there was no point in going any further.
Hank in his usual style was exceptionally gracious, never let on that he was
troubled in the least, consummate professional that he always was, and in
his professional way, would be set up to record, next cue, run it down,
record it, play it back, next, next. Eventually, another gentleman - very
nice guy - Ron Goodwin, came in to record the movie, and Ron had such a
respect for Hank's work. I heard the story, and I can't imagine it not being
true, that he called Hank before he scored the picture, and told him he'd
been approached to rescore the movie, and how did Hank feel about that,
because he had heard about the whole issue - something that I don't think
would happen today, the type that you don't meet anymore; but Hank being
Hank, he just sort of chuckled .about it, "Ah, go ahead and do it, it's just
another movie score. " 3

In considering the genre and mood-establishing function of the majority of

previous main title themes composed for Hitchcock's pictures, it is reasonable to

surmise the director's disappointment began with Mancini's first composition of the

larger Frenzy score. As opposed to the Waxman and Tiomkin title themes, as well as

the allegro, rhythmically active opening statements of The Trouble with Harry and

North by Northwest, Mancini's pipe organ, minor key, waltz-denying 72BPM

composition foreshadowed the cinematic unpleasantness to come, regardless of the

3. In his interview with John Mansell, Goodwin confirmed this conversation, but
quoted Mancini as saying, "Well, you win some, you lose some. Good luck with your
score." (Mansell, Ron Goodwin: Notes, Quotes, and Film Music.)
208
piece's concluding major cadence. Within this context, the only evaluation the

composer ever claimed to have received, indirectly, from Hitchcock regarding the

score - that it was "macabre" - becomes understandable, as does Hitchcock's

satisfaction with Goodwin's "grand, open- air piece."

Further insight into the conceptual disparity between the director and Mancini

regarding the main title music - and by extension, the remainder of the score -

emerged in an anecdote told in 2005 by Hitchcock's final composer, Family Plot

scorist John Williams.

(Hitchcock) said to me, "You can't always communicate with composers. I

had this composer in London; it was a film about a murder, and I wanted
something whimsical. I gave him some instructions on the way the score
should be. I went to the recording session, and the composer had every
double bassoon and timpani in the city of London capable of making a
lugubrious, ominous sound playing the music." I said to him, "Mr.
Hitchcock, for a film about a murder, this sounds very appropriate," to
which Hitchcock replied, "Well, Mr. Williams, you don't understand;
murder can be fun. " 4

Considering the only other scores recorded in London for Hitchcock following his

1939 emigration to the United States were Stage Fright and Vertigo - efforts he· was

pleased with - it is reasonable to conclude that in 197 5 he was discussing Mancini's

Frenzy music with Williams, who, in the public forum of a recorded interview some 30

years later, ·intentionally avoided identifying his old friend and colleague. 5

4. Plotting Family Plot feature from Family Plot DVD.

5. Williams was Mancini's original pianist in the Peter Gunn ensemble, before
embarking on his own film scoring career.
209
 At the CTS Frenzy recording session, Hitchcock would have perceived, in his

way; the employment of traditional film music codifiers used by composers who

preceded Mancini by at least a generation. He would have noted the absence of a "beat

and a rhythm" he felt was appropriate to the "young, vigorous and demanding"

filmgoer referred to in his 1965 telegram to Bernard Herrmann. An examination of

John Addison's main title theme and primary source of underscore cues for Torn

Curtain reveals musical features which the director may have been equating with such

a characterisation, and which share links with other Mancini scores of this period.

Addison's Torn Curtain Theme is a melodically-driven AABA form, written in

compound time and performed at a bright 130 BPM by a traditional orchestra,

augmented by an alto saxophone and a low register electric guitar, the sound of which

had already featured prominently in the Monty Norman/John Barry James Bond Theme

and Mancini's Experiment in Terror and Chart;1.de themes. As with Goodwin's Frenzy

suspense theme, Addison's tonal melody was accessible to a wide audience and easily

retained, due to the repetitive nature of its melodic and rhythmic components. (Figure

1)

Om Dm/d Dm/C Bauo Eb/Bb Om/A A7 Dm

t:>3
3 3 3

Figure 1. John Addison, first A section, "Torn Curtain" main title theme.

210
 Hitchcock's pursuit of a popular song led to the pairing of Addison with the team

of Livingston and Evans, resulting in the unsuccessful "Love Theme from Torn

Curtain (The Green Years)". Original Torn Curtain composer Bernard Herrmann

attributed his own removal from this project in part to the director's quest for

commercially viable music, and in his 1975 interview with Royal S. Brown, associated

Hitchcock's disapproval of Mancini's Frenzy score with this ongoing, unrewarding

agenda:

(Hitchcock) wanted a pop score, and Mancini wrote quasi what

he thought was me. 6

From Herrmann's characteristically bold statement emerges a further

consideration of Goodwin's work as, contrary to the Mancini score, it is in fact the

English composer's Frenzy effort which displays stylistic links to Herrmann. 7 The

four-note cell derived from his "Suspense Theme" consists of two half-tones a major

third apart, as does the oft-recurring Herrmann motivic assemblage illustrated in

Chapter One, Figure 8, the Ambrose Chapel cell from The Man Who Knew Too ~Much.

The sustained, tutti,fortissimo Dm/Ab sonority used for the full-screen close-up of the

tongue-protruding Brenda is a retrograde of the Abm/D assemblage that concludes

Psycho. The full brass and percussion sections' series of accented +9/+ 11 chords

6. Brown, High Fidelity, 64.

7. The potentially futile speculation alluded to in the introduction to this treatise arises
again with the question of how Herrmann would have heard any of Mancini's score.
Although features of the replacement score suggest Goodwin had access to Mancini's
composition, his denial of this is perhaps indicative of a desire to protect both his
privacy and his professional relationships. If Herrmann were familiar with the Mancini
score, its route to him must have been a circuitous one.
211
containing two tri-tones and two major ?1 11 degrees dominating the soundtrack during
the opening moments of the "Babs Grabs" cue are reminiscent of the major ?1 11 and

augmented 5th_ containing minMaj7+ 11 brass/percussion accents of Vertigo and North

by Northwest.

While the Herrmann quotation which inspired the question, "What is Mancini?"

generated an exploration of compositional craft and the characteristic features resulting

from it, the original, "Where's Mancini?" - however rhetorical and misattributed -

finds its answer in the fourteen pieces which comprise the Frenzy score. Granted, there

is no propulsive ostinato or walking bassline anchoring a blues progression or

harmonic cycle incorporating a vm7 /I in this work. There is no melody line pivoting,

via a sixteenth-note/eighth-note rhythmic gesture, on augmented 4ths and 5ths, shaped

into a 34-measure form with an extended B section. An autoharp, Japanese sho, Indian

harmonium, bass accordion, Arp synthesizer, Novachord, Jangle box, detuned piano,

mandocello, harmonica, chorus, big band, or arsenal of percussion instruments is never

heard in the work. However, despite ten of these compositions being atonal, arrhythmic

underscore cues, there are numerous instances of the "trademark" vocabulary endemic

to Mancini's compositional style emerging from each piece within this score.

The first melodic motion made in every cue but two, "Posh for Two" and "Rusk

on Candid Camera", is intervallically ascending; as well, all but "Rusk on Candid

Camera", and "Tijuana on Thames" include countermelodies in their arrangements.

Supplementary melodic material primarily emerges as a result of imitation, yet

212
 installation of unrelated additional linear phrases also occurs in "My Tie is Your Tie",

"My Kind of Woman", "Big Drag for Babs" and "Off to Rusk's". Both systems allow

for the controlled production of deceptively chance sequences of vertical intervals.

Descending counter lines are found in the main title theme, "Posh for Two":· and

"Tijuana on Thames". The former cue also includes a series of descending parallel

diminished chords midway through its harmonic progression, while the latter relies in

part on an improvised solo for its required length. The second section of "Babs Grabs"

ends with a series of isolated cross-orchestral antiphonal accents, and both "Exit Oscar

Wilde" and "Rusk on Candid Camera" conclude with the decaying reverberation of a

. vibraphone. or piano sonority.

the occurrence of the ascending counter line, the introductory low-register piano

or double bass anchoring pitch, the rapid scalar note grouping, the distribution of

identical or adjacent pitches between alternating, or "echoing" instruments, and the

extreme crescendo and cut-off employed at the end of a piece is shown in Table 3 to

occur with such frequency as to answer the question, "Where's Mancini?"

213
 Table 3
Mancini Compositional Characteristics in Frenzy Score
1st Melodic Gesture ( +)
Counter Melody (CM) CM Introduced
Through Imitation
Main Title Theme Main Title Theme Main Title Theme
My Tie is Your Tie My Tie is Your Tie My Tie is Your Tie
My Kind of Woman Posh for Two Exit Oscar Wilde
Son of My Kind of. .. My Kind of Woman Big Drag for Babs
Exit Oscar Wilde Son of My Kind of. .. Babs Grabs
Big Drag for Babs Exit Oscar Wilde The Inspector Thinks
Hot Potatos Big Drag for Babs Off to Rusk's
Babs Grabs Hot Potatos
Tijuana on Thames Babs Grabs
The Inspector Thinks The Inspector Thinks
Off to Rusk's Off to Rusk's
End Credits End Credits

Low Register m.1 Ascending Stepwise Note Grouping

J@2£?f )
Underpinning (U) Line(_-) ( (J

Main Title Theme My Tie is Your Tie Main Title Theme

My Tie is Your Tie My Kind of Woman Son of My Kind ...
Son of My Kind ... Son of My Kind ... Babs Grabs
Exit Oscar .Wilde Exit Oscar Wilde The Inspector Thinks
Big Drag for Babs Big Drag for Babs
Hot Potatos Babs Grabs
The Inspector Thinks
Off to Rusk's

'Echo' Device(((( Molto Crescendo and

Cutoff to end (<)
My Tie is Your Tie My Kind of Woman
My Kind of Woman Exit Oscar Wilde
Son of My Kind ... Big Drag for Babs
Exit Oscar Wilde Babs Grabs
Rusk on Candid ... The Inspector Thinks
Off to Rusk's Off to Rusk's

214
 Primary melodic material, however brief, rhythmically transformed, and

harmonically supported, served as the connective tissue in all other film scores

considered for this study. From his wheelchair in the control booth of CTS Studio,

Hitchcock would have also noted the absence of that which Mancini freely denied

implementing - "themes". Evidenced not only by his statement at the Downbeat film

composers' symposium in 1972, but his description of the Frenzy incident in his ll 989

autobiography, he maintained his belief in the approach he took to the film. His

decision to avoid melodic repetition may have been due to the comparatively small

amount of music required for the picture; basing a score on two or three melodies only

to have it dubbed onto a mere 22 per cent of the film's soundtrack perhaps inspired him

to consider an alternative way of producing a unified work.

The mea culpa of Mancini's symposium statement referred to pitches, and the

pipe organ of his main title theme; it did not refer to that which he would later reveal to

Elmer Bernstein as being of paramount importance to his compositional ethos:

I'm very possessive about orchestration because I feel that

orchestration is my voice. 8

The note exchange motif assigned the two harps in the Frenzy score appears in six

of the ten underscore cues, associated with Robert Rusk, yet the pitch component of

this device changes upon each installation, indicating the primacy of sound over

melodic content.

18. Bernstein, Notebook, 491.

215
 The elimination of the organ, violins, and C flutes from the post-main title portion

of the work left an ensemble designed to comfortably inhabit the lower reaches of an

orchestral score for the duration of the composition. With the exception of isolated

french horn or alto flute solos, the low woodwinds, horns, piano and harps,

contrabasses, celli, violas and timpani are never written above A4, producing, in all but

the three diagetic cues, the unifying sonic effect characterised by Hitchcock as

"lugubrious". 9

A historical consideration of Mancini's cue titles offers the first indication of the

nature of this visually reactive composer's perception of the film he would view with

the preparatory thoroughness he described to Elmer Bernstein. A sampling of titles

from Touch of Evil in 1958 to 1977 and Silver Streak includes a number of pieces

. written specifically for characters.

"Casey's/Harry's/Jackie's/Kelly's/Ludmilla's/Sam's/ Natasha's/Cheryl's Theme" are

included with the more simply named, "Gina", "Holly", "Joanna", "Nancy", "Yasmin",

"Natalie", and "Timothy". When requiring additional music for a character, Mancini

reached beyond the barrier of cinematic illusion and incorporated into his film scores

cues for the actors themselves, producing the droll "Orson Around", in addition to

9. Mancini had already used this technique in the Night Visitor score which preceded
Frenzy. His assemblage of 12 woodwinds, electric organ, piano/detuned piano,
harpsichord/detuned harpsichord and auxiliary percussion was initially shaped into a
melodically disunited - if not melodically void - score. Ultimately, producer Mel
Ferrer chose to eliminate or repeat sections of the studio recording during the final
dubbing session for the production. Evidently, Mancini felt Hitchcock would be more
receptive to his approach. (Caps, Henry Mancini ... , 132-135)
216
"Something for Susan/Sophia/Sellers/Jill/Audrey". No such titles were created for the

Frenzy score. 10

Though his experience in the horror, suspense, and mystery genres was extensive,

and many of the cues listed above originated in the American settings of Experiment in

Terror, Wait Until Dark and Fear, the lack of character-linked music in the Hitchcock

assignment suggests a disconnect on the part of the composer with the victims, their

attacker, the unusually - for Hitchcock - heroic detective, or any of the supporting

personalities. With the exception of the tenuous linkage formed with Rusk and Brenda,

shaded by "My Kind Of Woman", or throughout the "Hot Potatos" scene, in which the

composer both participated in, and responded to, the venerable narrative tradition of

manipulating an audience into "rooting for the villain," Mancini's music for the film is

reflective not only of a viewer's perception of, and reaction to its content, but of a

viewer who is unwilling to recognise the ironic nature of the humour within it; a

feature that Goodwin accepted, perhaps through a cultural familiarity with the "black

humour" element of the British Murder Mystery, shared by Hitchcock.

Similarly, the ten occasions on which the director changed his instructions

regarding the placement of music in the film may be attributed to a realisation that

Mancini's compositional point-of-view had been that of "audience". While Hitchcock

had always exploited the abilities of his composers to manipulate the emotional

reactions of his viewers, part of this manipulation included communicating the

· 10. This inspires a consideration - albeit speculative - of Goodwin's actual title for the
waltz version of his "Suspense Theme" heard during Rusk's solitary moments.
217
emotional state of a character within the film to the audience, such as the rage of

Richard Blaney after squandering his wagering money, or the contentment of Robert

Rusk following the disposal of Babs' body - emotional reactions only Goodwin was

instructed to transmit.

Director, film historian, and Hitchcock acquaintance Peter Bogdanovich said of

this film, "The world has become darker than ever in Frenzy." 11 By the time of this

picture, the enthusiasm of the seventy-year-old Hitchcock may understandably have

been compromised; his last three productions had been critical and commercial

failures, he had experienced the loss of both his long-time film editor George Tomasini

in 1964 and cinematographer Robert Burks in 1968, he was clearly in poor health, and

his wife and professional partner Alma Reville had suffered a heart attack while

locations and sets were being prepared for Frenzy, forcing her to return to the United

States.12

The director's disappointment upon hearing Mancini's music for this film, which

did not pay homage to London in a "grand, open-air" manner, did not support the
13
"comedie noir" aspect of the script, foreshadowed an exclusively unsettling

experience for the film's audience, and reinforced, on a profound level, the suffering

and violence inflicted upon the film's· characters, came at a time in his life and career

11. Laurent Bouzereau, The Story of Frenzy. Documentary, Frenzy DVD.

12. Interview with Frenzy screenwriter Anthony Shaffer, The Story of Frenzy.
13. Shaffer's description of his script. (ibid)
218
when the option of negotiating with a composer in order to arrive at a more satisfactory

end, as he had done with Herrmann, simply did not warrant the effort required.

Bogdonovich's summation of Frenzy could as easily have been applied to the

music Mancini composed for this film. The unrelentingly dark nature of the score came

about as a result of both his intimacy with the narrative and the nuances of its telling,

and of a number of external circumstances playing upon him as he composed.

As a musical dramatist who cast his orchestral sounds in roles appropriate to their

timbral characteristics, the voyeuristic commentary inspired by watching the film's

doomed, one-dimensional characters going about their stark and dissatisfied lives could

only find voice in the deeper registers of the orchestra, at a ponderous pace matching

the nihilistic tone of the picture.

In addition to the effect the film had on Mancini's creative approach, and the

alienation felt, however mild, within this Anglo-centric production, there were two

personal situations which could conceivably have influenced his perception of the film,

made manifest in the music he wrote.

In Did They Mention the Music?, Mancini was forthright about the effect his

career had on his three children, a son, born in 1950, and twin daughters, born in 1952.

Charade was the first of fifteen pictures I scored in London. This

meant at least fifteen trips to England. By then I was doing
concerts as well, and all in aHI was away from home a great deal
of time ....
My extended absences had a particularly bad effect on Chris as he
entered his teen years. Whenever he needed a father to talk with, I
was gone. In my own defence, I must say that these were high-
earning years for me, and in my profession you never know how
219
 long its going to last. Nonetheless, the situation created a
dilemma, one I did not successfully resolve. 14

By the time of the Frenzy assignment, the difficulties in the Mancini household were

ongoing, and throughout the course of his book the composer would continue to

acknowledge his own culpability in the situation, and inability to cope with it.

The system of cue completion dates Mancini habitually documented at the end of

each segment was abandoned at Frenzy's M-401, "Son of My Kind of Woman". Since

1963, the date, "November 22", has resonated with people the world over as the day on

which John F. Kennedy was murdered. Mancini was not only a veteran, like Kem1edy,

of the Second World War, but an active Democrat, and aware of Kennedy naming
15
Moon River as one of his favourite songs. Moreover, the composer had enjoyed a

friendship with President Kennedy's younger brother Robert, frequently joining him

and his family on ski vacations. He had participated in fund-raising events throughout

Kennedy's campaign for the Democratic nomination in 1968, and after the senator's

assassination, was among those invited by Ethel Kennedy to ride the New York City to

Washington, D. C. funeral train.

Some three years later, writing the Frenzy score alone in a hotel room in the

traditionally dank London of November, slightly distant from the other participants in

the production, his own family a source of concern, his mood could very well have

prevented him from recognising anything other than the macabre in this film, tinged

14. Mancini, 130.

15. Mancini, 148-149, 186.
220
with the sadness and mourning associated with a historical period which was of

particular significance to him. He concluded scoring the denouement of what is

arguably the most disturbing scene in the entire Hitchcock canon on the eighth

anniversary of President Kennedy's death, and would not record another date in the

remainder of the work. Within this context, combined with the visually-connected

nature of his creative output, and his understanding of dramatic character construction,

his statement summarising his work for Hitchcock rings particularly true:

"If I were doing the score again, I really don't know what I would do differently." 16

Emerging from the brief biographies of Mancini, his colleagues, Edwards, and

Hitchcock included in this work is the quality of resilience shared by each man.

Although the generically-named "strong ego" has often been blamed for the cause of

numerous conflicts within the music and film industries - consider the

Hitchcock/Herrmann rift- the ability of artists and artisans to persevere through

adversity has ensured the development and survival of many an art form.

A con~ideration of Mancini's production of only one film score during the year

following Frenzy - as opposed to his usual aven~ge output of three 17 - suggests the

experience may have eroded his confidence and compromised his reputation with other

filmmakers. Such was not the case.

16. Mancini, 156.

17. Ibid. 241-243
221
 The year 1969 saw two events which would generate activity realised in 1972, and

effect his career for the next two decades. The making of Darling Lili was fraught with

so many tensions between director Edwards and his financing studio, into which

Mancini was inadvertently drawn, that the two would part company, and the director,

living a self-imposed European exile, would come to employ other composers.

Mancini, able to fill his calendar with scoring assignments, undertook five projects

preceding Frenzy which did not involve Edwards and expanded his network of

potential employers, among them director Bud Yorkin, who engaged Mancini in 1972

for The Thief Who Came to Dinner.

Also in 1969, he recorded the "Theme from Romeo and Juliet" by Nino Rota,

which usurped The Beatles' "Get Back" on the Billboard Magazine tracking charts.

This expanded his public profile and led to an increase in concert appearances,

averaging 50 national and international performances a year by 1972. The market for

his recordings also grew, and through his contract with RCA records negotiated in

1958, he composed, arranged and recorded the full-length albums, "Sometimes a Great

Notion", "Mancini Plays the Theme from Love Story", and "Mancini Concert" during

the months preceding the Frenzy project. This effort, combined with three, one:--hour

television specials entitled "Monsanto Presents Mancini" and broadcast the same year,

generated a demand for additional albums for 1972 - "Brass on Ivory", with trumpet

soloist Doc Severinson, and "Mancini Salutes Sousa", arranged for the composer's 55-

member "Concert Band".

222
 The success of the Monsanto television specials motivated producer Jerry

Perenchio to contract Mancini to compose, arrange the music for, and headline a 28-

episode weekly television show, The Mancini Generation. Although the series was

only broadcast during the 1972 season, the work required in undertaking all of these

activities negated the possibility of scoring any film projects until 1973.

While composing the Frenzy music, Mancini - like any artist - could not have

anticipated the residual effect this "score complete without themes" would have on his

career, and that of others who have been privileged to perform and study his work. His

brief, written account of the Frenzy experience concluded with an anecdote which not

only provides further testament to his resilience, but offers a glimpse of the positive,

pragmatic attitude which no doubt served him well both in sustaining a career in a

prof~ssion fraught with enormous stresses, and in preserving his creativity. For any

individual striving to produce viable work in any forum, it is an invaluable lesson.

Apart from the film, I found Mr. Hitchcock to be a gracious

and generous man. During lunch one day, we got into a
discussion about a mutual interest we had, wine. The next
day, a case of Chateau Haut Brion - magnums - was
delivered to me. Come to think of it, I guess the whole
18
adventure was not a total loss after all.

18. Mancini, 156.

223
 Appendix A: Mancini Compositional Characteristics Survey
- Key to Terms and Symbols -

Orchestra: an ensemble of varying size consisting of violins, violas, celli, contrabasses.

Double reed woodwinds, Clarinets, Flutes
Trumpets, Trombones, French Horns, Tubas
Timpani, Bass Drums, Snare/Tenor Drum, Suspended and Crash Cymbals

Big Band: an ensemble modelled on the traditional dance band format of the 1940's,
consisting of Five Saxophones with flute/clarinet/double reed-auxiliary
potential,
Four Trumpets with flugelhorn option, Four Trombones, Rhythm Section.

Rhythm Section x3 = Bass, Drums, Piano

x4 = Bass, Drums, Piano, Guitar
x5 = Bass, Drums, Piano, Guitar, Vibraphone

Mallet Percussion: Bells, Xylophone, Marimba, Glockenspiel, Orchestra Chimes, etc.

Auxiliary Percussion: Any of a variety of shaken, struck, or stroked non-pitch-

producing instruments.

M - Principal Melody CM - Counter Melody CL - Counter Line

BL - Bass Line
BG - Melodic "Background" figure designed to accompany improvised solos.
SO - Melodic "Send Off" figure designed to transition to or between solos.
DU - Dramatic U~derscore. Defies tonal or metrical identification without score.
ost- ostinato
+- ascending
~ - descending
((((( - alternation of identical pitches be_tween two identical or like instruments,
producing an "echo" effect.
" "
j r- cross-orchestral antiphonal accent

(_--) - melodically or harmonically ascending, rhythmically measured scalar motion.

d
~
6

- quintuplet, sextuplet, septuplet, etc, scalar pitch grouping.

U - extreme low pitch underpinning of orchestration, introduced in first measure.
< - extreme crescendo and abrupt caesura on final sonority of orchestration.

224
 l/")
N
N

Title Source Year Mtr. Key Form Primary Melodic Contour

Abner Has Left Nightwing 1979 F. .. DU M'/' CM./!
Analyst Resigns, The The Man Who Loved Women 1983 Cm ... DU M '/' M2 ./! M '/'CM'/' CL 3 '/'
Anyone For Tums? Lifeforce 1985 G ... DU M '/'CL''/' M2'/' CM21' M3./I CL 3 '/'
Arctic Whale Hunt The White Dawn 1974 A,,, DU M '/' M2'/' M3./I
Are You In There? Lifeforce 1985 D... DU M' ./! CL 1 '/' M2 '/' CM21' M '/'
Baby Elephant Walk Hatari 1962 414 F Blues M'/' BL'/' CM'r0571 ./I CM ./I S01'
0

Background For Murder Touch Of Evil 1958 4/4 C7 ... DU cA1°sr.1 ./I M' '/' M2./I M3./lcM3./I

Battle in the Bat Cave Nightwing 1979 Em DU M 1' M21' CM2 ./! M 1' CM 1'M-1 1' M5 ./ICJ\1 ,.Ji 50

CM5b./! M '/' CL 6 1' M7 1' CL 7 1' M 1' CM 1'

Blocked Exit Without a Clue 1988 Em ... DU Ml./! CMJ ./! M21' CM2 ./! M31'
Blue Roses (Laura's Theme) The Glass Menagerie 1988 314 c AA 1BA AM'/' CMosr.; 1' CL./! BM 1' CL./!
Breakfast At Tiffany's Breakfast At Tiffany's 1961 4/4 F AABA AM'/'CM'/' BM'/'

M 1'CM !fl!ugueJ M2 ./lcM2 ./! M '/' M4 ./lcM4 ./!

Bulbus Terror Wait Until Dark 1967 D... DU
CL 4 1' M5(ost.) '/'CM5°'/'CM5b1' fvf '/'CL 6 1'

Croquette The Prisoner of Zenda 1979 4/4 c ABACA AM'/' CM' 1' CM2 1' BM'/'CM 1' CM 1' CM 1'

Dessert Rendesvous It Came from Outer Space 1953 A ... DU CM1ro5TJ 1' M' 1' M21' M3 ./! CM 1' CL 3 ./!

Dog Eat Dog The Thief Who Came to Dinner 1973 414 Dm DU CM0 5TJ 1' M' 1' M2 1'
 \0
N
N

Title Instrumentation Features

Abner Has Left Orchestra+ wood flutes, guitars
Analyst Resigns, The String section+ pitched mallet percusiion

Anyone For Tums? Orchestra, electronics. (,_:--)

Arctic Whale Hunt Orchestra.

-
Are You in There? Orchestra, electronics. (_--)(((((

Baby Elephant Walk Orchestra. Improvisation ~

·-
Background For Murder Bs., dr., pno., gt., vb., aux. perc. Improvisation C,,,--)

-
" " C,,.--)
r
Battle in the Bat Cave

Blocked Exit
Orchestra+ 2 harps.

Orchestra u
- ~I
Blue Roses (Laura's Theme) String section + harp, celeste, bells, pno., flt., Eng.horn.

Breakfast At Tiffany's Big band + string section, mallet perc. Jl-1

-
~J
(,,--) ~:::::::~
Bulbus Terror Orchestra+ prep. pno, synth, sop.sax., sho. u
Croquette Orchestra+ alto saxophone, harpsichord. ~
- Gj
Dessert Rendesvous Orchestra+ harp, theramin. u ((((( L:--) 5~
"
Dog Eat Dog
String section + saxophone section, organ,
Fender Rhodes, synthesizer, guitarX2.
u .J" r
 ['-......
N
N

Title Source Year Mtr. Key Form Primary Melodic Contour

Drip-Dry Waltz, The Charade 1963 3/4 c AA 116+ 16 M1'CM1'CL'1

Enter Professor Moriarty Without a Clue 1988 Abm DU

M11' CM '1 M2 '1 M 1' Jvt 1'Clvt '1 lvf 1'
Jvf If' CM If'
The Adventures of the Great CMrosr.J M11' M21' CM2a 1' CM2b 1'
Enter Ratigan 1992 E ... DU
Mouse Detective
M3 If' CM If' M' '1 CM' If'
Flashing Nuisance Touch Of Evil 1958 Fm ... DU M 1 If\ M 2If\ M If\ M tJ, CM./ tJ,
Good Morning, Mr. Ranseroff Gaily, Gaily 1976 414 F Through (16) 2
M1' CM 1' CM 1'

How Soon The Richard Boone Show 1963 414 Eb/F Through (32) M1' CM1' CL ./I

Hurdles And Girdles Visions Of Eight 1973 212 Bb ABA 1C AM./ICM'1BM,,.CM1'CM,,.CM,,.

It Came from Outer Space It Came from Outer Space 1953 Dm ... DU
M1,,. BL(O.ST)" M2,,. M3,,. Jvt ,,.cM•",,. Ovf 6
,,.

M lf't CM(O.<;J) lf't M6 lf't Clvf"

Main Title A Shot in the Dark 1964 414 Dm AABA ACAf0 ST.J 1' M1' BL,,. BM'/\ BL'/\ .
1
Main Title Arabesque 1966 414 Am AA BA Coda A M,,,. CM,,,. BM,,,. CM.J,
Main Title Bachelor in Paradise 1961 212 Bb ABAC AM1' CM 1' CL '1 BM,,. CM'1 BL,,.

Dml
Main Title Lifeforce 1985 6/8 ABACA ACM ,,.CM2,,.M,,. BM1' CM,,.CM1'
Am
Main Title Mommie Dearest 1981 314 Am ABAC ACM0 sr 1'BL'1M1' BM1'CM'f\ CM1' CM'1

Main Title Nightwing 1979 414 Am ABC ACMrosr.J 1' CM2rus7:J .J,t M1' BM'/\ CL,,.
CM/lf\CM/lf\
 00
N
·N

Title Instrumentation Features

Drip-Dry Waltz, The Orchestra+ mallet percusion. ~

Enter Professor Moriarty Orchestra+. harp. ~~~ <

Enter Ratigan Orchestra + harp. ~~ <

-·
Flashing Nuisance Big band+ aux. percussion. u ( ...---, <

Good Morning, Mr. Ranseroff String section + flute, tuba, banjo, ukelele.
~
How Soon Orchestra + harpsichord.

Hurdles And Girdles Orchestra.

It Came from Outer Space Orchestra+ harp, theramin. ~~ c.--).-

Main Title-A Shot in the Dark Big band+ Indian harmonium, bass accordlan. Improvisation.
Main Title-Arabesque String section+ woodwinds.
Big band+ String section, Fr. horns, chorus,
Main Title-Bachelor in Paradise Improvisation
mallet & aux. percussion.

Main Title-Lifeforce Orchestra.

Main Title-Mammie Dearest Orchestra + harp.

Main Title-Nightwing Orchestra + harp X 2, soprano ocarina.

 0\
N
N

Title Source Year Mtr. Key Form Primary Melodic Contour

Main Title The Party 1968 4/4 G Through (26) CAfOSTJ~M~

Main Title The Prisoner of Zenda 1979 4/4 F ABC AM~CM~BM~CM~CM~CM~

Main Title Silver Streak 1976 4/4 F AABA ACMosr;~M~BM~CM~
Main Title Sunset 1988 4/4 c ABA AM~CM~BM~CM~
Main Title The Thombirds 1983 6/8 CID AABC AM~CM~BM~CM~CM~CM~

Main Title Wait Until Dark 1967 4/4 Em Through (16) CM1ros1:;~ CM2~ M~

Mollys Strike Again, The The Molly Maguires 1970 6/8 Em ... DU M1 ~ CM1 ~ M2~ CM2 ~ M3 ~ M~ CM~
M~ CM"ll M"llCML~ M~ CM'~ MV' M'Vi!
The Creature from the 5
CL ~ M'~ C!vf~ M7~ CM ~ M~ CM~7
Monster Gets Mark, The 1954 Gm ... DU
Black Lagoon 1vf lftM10~ CL101' Mn 1' CM11rFucin)

NBC Mystery Movie Theme NBC Mystery Movie 1971 2/2 G ABAC AM~ BM~CM~ CM~M~
The Nutty Professor High Time 1960 4/4 D AABA ACM1 ~ M If\ CM2 lftt BM lftt CM~
Peter Gunn Theme, The Peter Gunn 1959 4/4 F7+9 Through (16) CM05TJ ~ M,.J, BG~
cM1,.J, M~ M21' CM2 ~ Clvf,.J, M'~ CM-1,.J, lvl~
Search for Anne Nightwing 1979 Em ... DU
cM5,.J, Mlftt M61ft
Soldier In the Rain Soldier in the Rain 1963 314 Am ABAB1 ACJvf05TJ ~ M lftt CL~ BM lftt CL tJ,
CM~ M1 ~ CM2 ~ M ~ CM3° ~ CM3h ~ /vf ~
2
J\!l
Terror Strikes Tarantula 1955 G ... DU
CM'a tJ, CM'b If\
Theme From Cm/C
"Ripley's Believe it or Not"
Ripley's Believe it or Not 1982 4/4
E ABA 1 ACM1rosr.; ~ CM2rosT; "ft M ~BM~

Thing Strikes, The It Came from Outer Space 1953 Dm ... DU CM1rosr;l/I M ~ CM2 ~
Too Little Time The Glenn Miller Story 1954 4/4 c ABA 1C AM!ft CM1 tJ, CM2 If\ BM,.J, CMtl/\ CM,.J, CL tJ,
AM~·CM~ CL~ BM~ CM,.J,
Whistling Away the Dark Darling Lili 1970 3/4 Em ABAC
CM~CM~CL~
 0
M
N

Title Instrumentation Features

Main Title-The Party Bs., dr., gt. x2, synth., tpt., a.sax., sitar, tabla.
Main Title-The Prisoner of Zenda Orchestra + harpsichord. ~
Main Title-Silver Streak Orchestra +bs., dr., gt., mallet percussion.
Main Title-Sunset Trumpet, piano. ~
Main Title-The Thornbirds Orchestra + bs, gt., harp, accordian, dulcimer.
Orchestra+ bs., dr., sitar, pno., prep. pno., sho, novachord,
Main Title-Wait Until Dark
whistler. Piccolo.
Mollys Strike Again, The Orchestra+ Button Accordian

--
Monster Gets Mark, The Orchestra + harp. c--1
NBC Mystery Movie Theme Orchestra+ bs., dr., guit., Arp Synthesizer.
The Nutty Professor Bs, dr., guit., pno., tpt., mallet, aux. perc, sound fx. ~
Peter Gunn Theme, The Big band+ Fr. Horns. Improvisation
"
I\

Search for Anne Orchestra + harp X 2.

• r
Soldier In the Rain Orchestra + bs., dr., pno., chorus.
-
Terror Strikes Orchestra. u c.---, ~~
Theme From
Orchestra + bs., dr., mallet perc., synthesizers.
"Ripley's Believe it or Not"
--
Thing Strikes, The Orchestra + theramin. (._--) <
Too Little Time Orchestra + bs., dr., pno.
Orchestra+ vox soloist, chorus, bs., dr., guit., arp synth.,
Whistling Away the Dark
mallet perc.
 Appendix B
Ron Goodwin, Main Title Theme, Frenzy
)= l)4

Timpani
,~
f·-- - - - - - - - - - - -

poco rit. _ >

Stg.
, fl J:l..-.1-1 ..
- -- ,...
.,a..#~tt- ---
,...
##~ ~
- ~
- ~
- - ~ > ~~ ~

4lJ 1...........1. I +ti""

- -
I ~ 1...........1 I.
-
I"'
- I J...........j
I I I I

~ > >·
I

-
>
:
- ='
~

::'
---
I I I

, fl > I >
..
Tpt.
~ I
--
>
"
"
> I I I
> > > >

fl I >
Hn. v -- -- "
.... - .... -
@) ~r
>
Wf -::;;: iJ ::;} iJ
> > ~ e :f?: f:
Tbn. :
I I I
-
'
Cym. II••
.. I
I - ----H
'
,
Ti mp. -
---
I

'
231
 A Tempo

S.D. •H.~,.~..._,-.19-~~--~-+-~--..-~-+-~~---~~-+-~~~---lfl-~~~--t~~--~-+-~~---~---ll--~~----~-tt
~

if

232
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Music in the Cinema." Cinema Journal Vol. 17 No. 2 (1978): 36-67.

Siders, Harvey. "The Mancini Generation: No Gaps". Downbeat #40, Vol. 35 (1973)
: 14-15.

Taylor, John Russel. "Hitchcock magic is intact." The Times. Tuesday, May 23, 1972,
15.

-------------------------"Surviving." Sight and Sound 46. (Summer 1977), 174.

Tomkins, Les. "An Interview with Henry Mancini", Melody Maker, London; IPC
Media, 1974, 14,

239
Waymark, Peter. "Murder with comedy at Covent Garden market", The Times,
Tuesday, August 03, 1971, 3.

Werret, June. "Blake Edwards." Senses of Cinema. Sept. 2002. 1-10.

William Pechter, "The Hitchcock Problem", Commentary, Volume 54. September,

1972, 77-79.

Filmography

Adams, Penny (Producer), Grauman, Walter (Director). Columbo: Murder in Malibu.

88 minutes. Universal Television. 1990.

Adams, Tony, and Blake Edwards (Producers), Edwards, Blake (Director).

Victor/Victoria. 132 minutes. Artista Management and Blake Edwards
Entertainment. 1986.

-----10. 122 minutes. Geoffrey Productions and Orion Pictures Corporation. 1979.

-----The Man Who Loved Women. 110 minutes. Delphi Films and Columbia Pictures
Corporation. 1983.

-----The Return of the Pink Panther.. 113 minutes. Jewel Productions. 1975.

-----S. 0. B. 122 minutes. Artista Management, Geoffrey Productions,

Lorimar Films Entertainment. 1981.

Balcon, Michael (Producer) Hitchcock, Alfred (Director) The 39 Steps. 86 minutes.

Gaumont British Picture Corporation. 193 5.

Bernstein, Walter, with Martin Ritt (Producers), Martin Ritt (Director) The Molly
Maguires. 124 minutes. Paramount Pictures. 1970.

Black, Edward (Producer) Hitchcock, Alfred (Director) The Lady Vanishes. 96

minutes. Gainsborough Pictures. 1938.

240
Cohn, Al, and Carlo Ponti (Producers). De Sica, Vittorio. (Director) Sunflower.
107 minutes. AVCO Embassy Pictures. 1970.

Donen, Stanley, and Denis Holt (Producers), Donen, Stanley (Director) Arabesque.
105 minutes. Universal Pictures, Stanley Donen Films. 1966.

Donen, Stanley, and James Ware (Producers), Donen, Stanley (Director) Charade.
113 minutes. Universal Pictures, Stanley Donen Films. 1963.

------Two for the Road. 111 minutes. Stanley Donen Films. 1967.

Edington, Harry E. (Producer) Hitchcock, Alfred (Director). Suspicion. 99 minutes.

R.K.O. Radio Pictures. 1941.

Edwards, Blake (Producer, Director) Experiment in Terror. 126 minutes.

Columbia Pictures Corporation. 1962.

Edwards, Blake (Producer, Director) A Shot in the Dark. 102 minutes. The Mirisc.h
Corporation. 1964.

------The Pink Panther Film Collection. Bonus Disc. Metro Goldwyn Mayer Home
Entertainment, 2004.

------with Ken Wales (Producers), Edwards, Blake (Director) Darling Lili. 107
minutes. Geoffrey Productions, 1970.

Ferrer, Mel (Producer), Benedek, Laslo (Director) The Night Visitor. 106 minutes.
Hemisphere Pictures. 1971.

------Young, Terrence (Director) Wait Until Dark. 108 minutes. Warner Bros. Pictures.
1967. .

Globus, Yoran, with Menahem Golan and Michael J. Kajan (Producers) Hooper, Toby
(Director) Lifeforce. 116 minutes. London-Cannon Films. 1985.

Hitchcock, Alfred (Producer, Director) The Birds. 119 minutes. Universal Pictures,
Alfred J. Hitchcock Productions. 1963.

------Dial 'M'for Murder. 105 minutes. Warner Bros. Pictures. 1954.

241
------Family Plot. 121 minutes. Universal Pictures. 1976.

------Marnie. 130 minutes. Universal Pictures. 1964.

------Notorious. 101 minutes. RKO Radio Pictures. 1946.

------Psycho. 109 minutes. Shamley Productions. 1960.

------Rear Window. 112 minutes. Paramount Pictures. 1954.

------Stage Fright. 110 minutes. Warner Bros. Pictures. 1950.

------Strangers on a Train. 101 minutes. Warner Bros. Pictures. 1951.

------To Catch a Thief 106 minutes. Paramount Pictures. 1955.

------Torn Curtain. 128 minutes. Universal Pictures. 1966.

Hitchcock, Alfred, with Sidney Bernstein (Producers) Hitchcock, Alfred (Director)

I Confess. 95 minutes. Warner Bros. Pictures. 1953'.

Hitchcock, Alfred, with Herbert Coleman (Producers) Hitchcock, Alfred (Director)

The Man Who Knew Too Much. 120 minutes. Paramount Pictures. 1956.

-----North by North West. 131 minutes. Metro-Goldwyn-Mayer. 1959.

------Topaz. 143 minutes. Universal Pictures. 1969.

------The Trouble with Harry. 99 minutes. Alfred A. Hitchcock Productions, Paramount

Pictures. 1955.

------Vertigo. 128 minutes. Alfred A. Hitchcock Productions, Paramount Pictures.

1958.

------Wrong Man, The. 105 minutes. Alfred A. Hitchcock Productions, Paramount

Pictures. 1956.

Hitchcock, Alfred, and William Hill (Producers) Hitchcock, Alfred (Director) Frenzy.
116 minutes. Universal Pictures. 1972.

242
Jurow, Martin, with Richard Shepherd (Producers), Edwards, Blake (Director)
Breakfast at Tiffany's. 115 minutes. Jurow-Shephard Productions. 1961.

--------with Dick Crocket (Producers), Edwards, Blake (Director) The Pink Panther.
115 minutes. Mirisch G-E Productions. 1964.

Manulis, Martin (Producer), Edwards, Blake (Director The Days of Wine and Roses.
117 minutes. Jalem Productions. 1962.

Milkis, Edward K., with Thomas L. Miller (Producers), Hiller, Arthur (Director)
Silver Streak 114 minutes. Martin Ransohoff, Frank Yablans Presentation. 1976.

Ransohoff, Martin, with Don Guest and James Houston (Producers), Kaufman, Philip
(Director) The White Dawn. 110 minutes. Paramount Pictures. 1974.

Selznick, David 0. (Producer) Hitchcock, Alfred (Director) Rebecca. 130 minutes.

Selznick International Pictures. 1940.

-----The Parradine Case. 114 minutes. Selznick International Pictures. 194 7.

Skirball, Jack H. (Producer) Hitchcock, Alfred (Director) Shadow of a Doubt.

108 minutes. Skirball Productions, Universal Pictures. 1943.

Baran, Roma, and Margaret Smilow (Producers), Waletzky, Joshua. (Director) Music
for the Movies: Bernard Herrmann. 58 minutes. Kultur Video. 1992.

Wald, Jerry (Producer) Walsh, Raoul (Director) Objective, Burma! 142 minutes.
Warner Bros. Pictures. 1945.

Discography

Mancini, Henry: Blake Edwards' The Return of the Pink Panther. Original Motion
Picture Soundtrack. RCA Records, 1975. 74321913812.

------Gaily Gaily: Original Motion Picture Soundtrack.

Kritzerland. 2009. KR200134.

------Henry Mancini Conducts Royal Philharmonic Pops Orchestra.

Denon Records, 1988. Hyperion Records/Nippon Columbia Co.

243
 CDA66214.

------Julie Andrews/Henry Mancini: Music from thefUm score 'Darling Lili'. (LP)
RCA 1970. 66500.

------Mancini in Surround: Mostly Monsters, Murder, and Mayhem.

RCA Records, 1990. RCA LSP601 l.

------Mancini Soundtracks Collection: Breakfast at Tiffany's & Arabesque.

Camden Deluxe, 1999. 74321 698782.

--:----Mancini Soundtracks Collection: Charade & Experiment in Terror.

Camden Deluxe, 2000. 74321 727142.

------Mancini Soundtracks Collection: Hatari! & High Time

Sony/BMG International. 2001. B000056Q86.

------Mancini Soundtracks Collection: The Party & The Great Race

BMG/Camden. 2001. B0000056Q85.

-------The Molly Maguires. Kritzerland. 2012. KR2002 l 3.

------Music from Mr. Lucky

Fresh Sound Records. 2011. B004LFOOLK.

------The Music From Peter Gunn.

Bhudda Records, 1999. 74465996102.

----:---Our Man in Hollywood.

RCA Records, 1964. LSP 2604.

------The Pink Panther: Music from the Film Score. Sony BMG Europe 2001
B0000056NN6.

------Nightwing: Original Motion Picture Soundtrack.

Varese Sarabande. 1979. VCL 0309 1091.

------L(feforce: Expanded Original Motion Picture Soundtrack.

BSX Records. 2006. BSXCD 8822.

244
------The Godfather and Other Movie Themes.
RCA Victor. 1993. 09026-61478-2.

------Music From the Motion Picture The Molly Maguires.

Kritzerland 2009. KR 20021-3.

------Music From the T. V Series 'The Mancini Generation'. (LP)

RCA 1972. LSP 4689.

------Original Motion Picture Soundtrack: The Adventures of the Great Mouse

Detective
Varese Sarabande. 1995. VSD 5359.

------Original Motion Picture Soundtrack: Bachelor in Paradise

Rhino. 2005. B00009GX1M4.

------Original Motion Picture Soundtrack: The Man Who Loved Women

Varese Sarabande. 2008. VCL 0608 1079.

------Original Motion Picture Soundtrack: Penelope/Bachelor in Paradise.

Silver Age. 2004. FSM Vol. 7 No. 18.

------Original Motion Picture Soundtrack: The Thief Who Came to Dinner

Silver Age. 2009. FSM Vol. 12 No.10.

------Original Motion Picture Soundtrack: Without A Clue.

BSX Records. 2007. BOOOOZQCUK2.

------Original Motion Picture Soundtrack: Wait Until Dark. 2007.

Silver Age 2007. FSM Vol. 10 No. 7.

------Silver.Streak. Intrada. 2012. OOPINTISCOOS

_ _Son of the Pink Panther.

RCA Records. 1993. 07863663192.

------Tex Beneke and The Young Ginny and Henry Mancini.

Submarine Records. 2009. DSOY780.

245
------The Thornbirds: Original Television Soundtrack.
Varese Sarabande. 2004. B0001Z53K6.

------Touch of Evil. EI Records. 1958. B0012NOKGY.

------Visions of Eight. RCA Fs Imports. 2000. B000028 l 7K.

------Who Is Killing the Great Chefs of Europe? (LP) Epic/Warner Bros. 1978.
BOOOWOCXXA.

Electronic Resources

Ghomeshi, Jian. "Q", CBC Radio. Guillermo del Toro Interview, May 2, 2012.

www.filmscorerundowns.net

www .henrymancini'.com

www .rongoodwin.org

Mansell, John. "Ron Goodwin: Notes, Quotes, and Film Music", (2002). Soundtrack:
The Cinema Score and Soundtrack Archives, http://www.runmovies.eu ·

Mastroianni, Tony. "Henry Mancini: Composer's King", (1965). The Cleveland Press.
The Cleveland Memory Project, www.clevelandmemory.org

Romero, Jorge Leiva. "Excerpts of a Ron Goodwin Interview: At British Cinema's

Service", (2001). Film Score Monthly, www.filmscoremonthly.com

Interviews

Spear, David. Telephone interview. 29 June, 2008.

Hayes, Jack. Telephone interview. 10 December, 2008.

Herriot, Bobby. Personal interview. 7 May, 2009.

Richards, John. Telephone interview. 9 October, 2011.

246