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I'm so glad I found this !!! I just heard Good Night Sweetheart sung by Frank Fontaine on an old Jackie Gleason clip and was wondering why I started tearing up...!?!?? I couldn't place where I had heard it before because it left such a profound feeling of sadness ! This Episode was that place. What a first class move on producers at that time on that budget. What Stine does that makes it extra emotional is planting little motifs of the song , sometimes pushing it into a minor key .... or lifting it as you said in the radio shop scene... But it's like the song was solely composed for the situation in that episode ! All of the talent that feeds into something like this ! 😊

I was so deflated when none of the original cues were utilized in the movies, particularly the theme song in its original jazz glory (not the stodgy militaristic version in the JJ Abram’s reboot). You’re right in that the original cues were as much the personality of Star Trek as the Enterprise itself. I used to run the video of Star Trek II with no sound and play the cds of original cues just to see and hear what could have been.

Commodore Decker!

The Big Valley was filmed there too

the obelisk in this episode is copied from the obelisks in the slash on the US/Canadian border

Best Star Trek episode asI watch it often. Thanks for posting

Gerald Fried was certainly adept at the descending chromatic motif. Thanks for calling out the wonderful example in “Puzzled Kirk”. It reminds me of “Forfeit” in Friday’s Child. Gerald Fried used similar ideas in his scores for Mission: Impossible, specifically episodes The Code (“Palm Tees,” “Parrot Music”) and The Widow (“Double Ambush”) and, in the same ballpark, the episode Trek (“Jail Break”). I heard the tracks on the La-La Land box set of Mission: Impossible complete soundtracks.

Another really excellent video!

I can just imagine Sol Kaplan playing hide and go seek with his grandchildren and humming the climax creschendo when he is getting warm and ready to catch one of them......tada tada tada tada.... marco....Polo.....

I have absolutely no background in music to speak of. I had a popular AM radio show in Las Vegas for 5 years. I started to play around with musicology to rip tracks and modify music cues to accompany my sponsors' commercial spots and announcements about the show. Amazing how that progressive stimulus of Muzak worked, Anita Kerr Singers, etc., The control it has over people's feelings and actions. I guess in the special effects deprived low tech years of TOS, you needed ..over the top actors...who could believably react to something they didn't have the technology to reproduce on the screen.... Then some orchestral suite to enhance the mood.

A wonderful series to have stumbled upon. It is daunting how much effort went into scoring these Star Trek episodes. I wonder why the future Star Trek franchises do not showcase their composers the way that TOS did. I can't put my finger on anything distinctive about the music of future series other than that touching moment in the inner light, when Captain Picard discovered he could play the recorder. Hey, remember that Lost in Space had some moments with Johnny Williams at the helm. Mother Daughter, Penny's Theme, the Crash Music, and who could forget ...the Sad Song.

In the late 60’s, as I listened to my home recordings of the musical cues of Star Trek and proclaimed my love and admiration for them, my older sister, who listened to The Beatles and other popular music of the time, made fun of me and told me I didn’t know “what music was”. At the time, I didn’t have the vocabulary or knowledge to explain the genius of the show’s musical composers, the talents of the musicians, or the emotional responses the music evoked in me, and I felt somewhat humiliated. Fast forward many decades later and you are validating my beliefs with your extremely entertaining and educational videos. Although your efforts and hard work may not generate the attention you deserve, they are very much appreciated by those of us who see them and enjoy them. Thanks, as always, for producing such fascinating content.

Truly appreciate your analyses of these classic scores. A subject I find endlessly fascinating.

Had been anticipating this one a long time. Thanks for all you do.

Dr Steiner. What a talent

Is he quoting Ravel in Miramanee 's Theme ?

That was simply phenomenal David. I enjoyed every moment of your analysis of Fried's work on this episode. The music is so good you can just listen to it and it tells you the story of the episode. It's incredible to understand the choices Fried makes and how they work so well, how he departs (as you explain) from the norm to achieve something tribal and a propos. The ending with the death of Miramanee song is so touching and I never really realized how Fried had tweaked her theme from the beginning here. I think this is a wonderful episode also because of the scenery that you describe at the start of your video. It is truly one of my favorite episodes -- even if I don't think it deserves the critical acclaim some others (like "Amok Time" get). Can't wait to watch your videos for "Is There No Truth in Beauty?" and "The Empath"! Great work once again David -- it's very clear you put a lot of effort into the video and it is truly a fantastic achievement.

David, your Star Trek music analysis is 2nd to none - I don't think there's anything out there like it. This ultra-detailed work also seems to have given you unique insight into the show itself... maybe someday you'll bless us with a couple videos on some of the episodes themselves. Regardless, thanks for all of this amazing content : )

I love these detailed analyses of the Star Trek score! Thank you, David!

Ah, what a way to start the day! The Paradise Syndrome is an episode that I've always been lukewarm about, and the minimal reuse of the music in later episodes probably didn't help its cause for me. Not that the music is bad, it's just that it was probably the most episode-specific score that Star Trek had, even more so than Spectre Of The Gun. Your lack of a Killer Cues section for this episode even though this video is the longest you've done illustrates this perfectly. That said, when I watched the episode in my teens with ears focused on the music trying to identify the fingerprint of a composer, it was probably the quickest I got it, "oh, it's Gerald Fried!" and then just as quickly thinking, "of COURSE it's Gerald Fried, it's an alien planet episode, that's his thing!" Your more detailed analysis here is very illustrative of just how this one sounds similar to Friday's Child in particular. Your talk about parallel 4ths reminds me of what you said about Fred Steiner in Who Mourns For Adonais? Apollo's theme being one of the most recognisable cues from the series (and heard more in season 3 than it was in season 2!). You may have read this already, where Jeff Bond's notes for the soundtrack rate Miramanee's death as second only to the death of Edith Keeler as the most heartbreaking moment for Kirk in the show. Random thought for the day. I've long felt that This Side Of Paradise was an overrated episode as a contrived way to make the emotionless Spock fall in love, and last year thought of a more effective way of doing that, if they'd wiped Spock's memories here instead of Kirk's, and maybe had him coming back from somewhere else in a shuttle, so cross The Paradise Syndrome with The Galileo Seven or Metamorphosis. It then occurred to me that TNG did something not dissimilar with Data in Thine Own Self. - Liam.

Imagine if Mozart and Salieri worked on Star Trek. Mozart: "The rest is just the same isn't it?"

Absolutely amazing, thanks for this.

Great analysis and breakdowns, Mr. Page! Even as a kid I was always fascinated with, and really grabbed by that slightly surreal and 'twisted', and even a bit honky-tonkish western piano motif in the bar. Such cool intervals he chose (with the Snidely Whiplash block trill tension chord at the end). :) Next you've gotta do an analysis of Fielding's **fantastic** adaptation of Mahler for 74's The Gambler!

Gadzooks that was fun to watch! I can't imagine the time and effort it took you to put this together, but for folks like me who love Star Trek and its music as much as you do, it's truly a blessing. I watched the whole thing without stopping, which is rare for me for a 53-minute video, but I just couldn't stop. Well done, David, and thanks for your dedication and hard work.

Maybe he was a Metron?

13:33 Doesn't that sound a little like the intro to the Incredible Hulk theme from the TV show?

Great video! One note, after the pilots were shot in Culver City, the rest of Trek was shot at the Hollywood/Melrose Desilu lot which was then absorbed into the Paramount lot.

Thanks for another remarkably detailed, informative, touching, funny explication of a classic film score composer! Your channel cannot be topped!

This is amazing

Thanks for the video, the music added so much to the soul of TOS.

David, thanks so much for doing these! I've always loved this score, especially the piece, Miramanee's Death. So sad, it always brings a tear to my eye when I hear it. Fried was a genius. I also noticed that he used a variation of the music from Wolf in the Fold during the M31 asteroid sequence and the familiar Vulcan theme after Kirk loses his memory inside the obelisk. I feel sometimes that the composers "got" Star Trek as much, maybe even more so than the writers and directors. I'm sad that this season is coming to end. I will miss your in-depth analysis! :)

I love that opening cue. I remember when the album came out with a suite from this episode.

Fascinating

This soundtrack was one of my favorites!! And following your transcript along with that final scene was very touching... Thank You! I shared this link with other TOS fans..

It was the best of times, it was the worst of times; That is how I describe the third season. My father called this episode "Injuns in Space". Pity, the writing wasn’t up to the quality of Mr. Fried’s work. Very good to have you back!

Oh boy, I love this episode and the soundtrack. Thank you for doing this.

David, your best yet. Thank you for committing such time and effort to this. It really enhances the enjoyment of the series. I specifically remember the music from this episode. I was 14 when I watched its original airing on NBC, and that chord Fried uses to mark the passing of Miramanee was probably the first time I appreciated the impact a score can have on a film, and is my favorite cue of the entire series. Without music, the scene is a moving one; with it, it's emotionally devastating. 57 years later, it still affects me. Thanks again. I hope when you're done with the series' music, you'll analyze the film scores.

Fantastic work transcribing the music! Very insightful analysis and of bringing out the history and music explanation. This was a masterclass! Well done. I've just started transcribing and its not easy. I've been working on transcribing a cue from the first episode of TNG and figuring out the meter changes took me a long time. It was a lot of trial and error until it finally revealed itself. Its kind of fun, sort of like reverse engineering the music and unlocking a puzzle. Anyway, great job! Looking forward to more videos!

One of my favorite episodes. Thanks for all your hard work on this series. Love it! Very interesting!

An amazing episode and married to Fried's wondrous score it is truly a remarkable part of the series. Music that is singularly Star Trek.

I'm one who thinks "Friday's Child" is a very underrated episode of Trek, and love the music. It was one of a handful of episodes I made a transcription of from a cassette tape way back in the '70s, so I got to know that music especially well, starting and stopping my little yellow Toshiba over and over again to catch all the dialog. The music had a boldness and flavor that would have worked well in an epic movie about Genghis Khan. And as you say, the fact that it and two equally fantastic scores for Trek were written in a matter of weeks is mind-blowing.

Barney Kessel, eh? Cool. Oddly, I'm watching Amok Time for the 3, 392nd time. Heavy reverb on the bass. I honestly figured it was Carol Kaye. I thought that they tended to over-use some of the AT tracks in Season 2. I always thought they had some great clips in Season 1, but they totally abandonded a lot of them for both the second and third seasons, but that's just me. Season 3 didn't have a whole lot to brag on. I've always liked the music in the first season the most. I almost wonder if that might have had a little to do with ST's demise, along with the story lines kind of deteriorating as well. Anyways, thanks for answer my prime question.

The overlay with Bing is great. :)

Love the mash up!!!!

Great job! Thanks!

I just discovered your channel, and am greatly enjoying your insights into the music of Star Trek. I've always loved Mullendore's score for the underrated "Conscience," though I recognize that his style is perhaps a little old fashioned? for the show. One note: Mullendore wrote one of my absolute favorite cues for the series, a library piece titled "Impension," which is basically a minor key treatment of the Trek theme (I know nothing about music; I'm assuming it's a minor key treatment 🙂). It is heard when Kirk and crew are running toward the gunshots Sulu fires in "Shore Leave" and is only heard in the series just this one time. It's great "urgent running music."

Television shows of the nineteen sixties understood the importance of incidental, background music. Music sets the tone, the pace for the entire epic and, creates a state of apprehension. It grips you, when it is combined with beautiful acting precisely timed for the moment as each scene in this video displays. From Captain Kirk confronting his inner dark self in engineering, to the climax facing the GORN with the makeshift gunpowder cannon, to the crew escaping primates in the Galileo-7 shuttle craft, etc. It's music like this I would listen to as a child while writing and drawing my own comics and science fiction and 'playing Star Trek' with my two brothers. Music can take you back, make a song in your heart to uplift spirits, as so many here already commented! 👍

That was great except for the end. Wrong clef symbol.

No way Spock plays a 6-string solid body bass. He's more of a 4-string Höfner Violin Bass kind of guy.

The thing about Moody Blues "Day of Future Past" is that all the orchestral recordings were reported missing. Maybe you can do a review on that album and it's orchestral pieces. Just a suggestion.