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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.

Haha, very random! Actually it puts me in mind of something from Fried's most celebrated episode and score, Amok Time. Having finally completed my collection of the soundtrack reissues (yay!), I noticed something in Fried's score for Amok Time that I'd never noticed before. The bass guitar is the instrument that represents Spock as you said in your video for that episode, and what I noticed it, at the start of act 4, right before Kirk & Spock actually start fighting, in the music that sets the scene in preparation, there's a little flourish on the bass guitar that sends out the message, Spock is ready for this!

Hahaha, that's adorable!

That was the thing about that instrument. I always thought it was capable of more than a harp sound. It's like a synthesizer.

All of a sudden Spock starts singing Nights in White Satin.

Brahahahahaha

😊

Funny!

The music in this episode is beautiful.

Thank you, Mr. Page, for turning the spotlight to this often under-appreciated and great composer.

I wish the mirror universe existed but unfortunately it doesn’t exist. I know it’s horrible place. I have a dream of the mirror universe and I was I my mirror counterpart and I joined be in imperial star fleet I’m Captain’ woman my wife she is my ship nurse. My chief medical officer in my Mother.

Many thanks for this compilation of musical comfort food!

Thank you very much for the video, I loved Star Trek when it came to Great Britain in 1969, although I often missed episodes because of choir practice. Over the years, I've come to realise that it was also the music I loved as well. Your technical explanations are excellent, so I have learnt so much

A sensational score, one of my favourite scores out of all television, and cinema scores

This wonderful score also highlights just how poor some of the music on shows like ST: Strange New Worlds is, which sound dull and listless, and arexsimply not efited properly to match the action.

I wrote that this score resembled Jaws about 14 years ago. I even started editing it into the Jaws finale

Actually, this is not one of my favorite Star Trek scores. Pardon me, for my question is a little off-topic. I prefer the emphasis on simple melodic structure and texture of the first two seasons. Much like the difference between Star Wars A New Hope and the Empire Strikes Back. A New Hope has a smaller orchestra, stronger melodies and rhythm, and the instruments sound close mic’d. Whereas Empire is both more harmonically complex, yet smoother with less texture, and sounds far mic’d. To my ear the first and second season recording quality is more preferable than the third season. Have you done any research on the gear used? To my ear, it seems the first and second seasons were using the same gear, but for the third season one or more things seem to have changed. Was it the recording studio? Microphones? Mixing board? Engineer? Producer? I definitely hear a difference- how about you?

I really enjoy your channel. I'm not a musician but can read music. I just found your channel a few weeks ago. I have wondered what it would have been like to be in the studio when they record the music and this give me an idea how it would have been.

Thank you for this series. It strikes such a deep emotional place as I was such a trekkie for so many years.

Ruth seemed a little mature. I just learned the actress Shirley Bonne who played Ruth was 32 to William Shatner's 35 in 1966. So if she hadn't aged in 15 years, as Kirk claimed, then Kirk at 20 was having a relationship with a 32-year-old. Some people interpreted his stunned disbelief to the character having died, though back on Earth she'd be 47, which could explain it. I guess she's from whom he learned poetry, romance and other things. I loved the theme "Ruth" used when Mr. Spock breaks up with Leila in "This Side of Paradise." She said they couldn't have anything together six years ago on Earth or anywhere. The following season we would learn Vulcans go into Pon Farr every seven years, so that would also line up with his time on Earth with Leila. What's also interesting is the "Ruth" theme seems to change after 50 seconds (where your presentation ends and "Shore Leave" cuts to commercial) to something a little different in "This Side of Paradise" before returning to the former at the 2 minute mark. ruclips.net/video/JmRvnvTgS7U/видео.html

Outstanding and informative video! Thank you so much for the care and effort you put into this. (P.S. I wonder if you have heard the Tony Bremner recording done in the late 80s? I thought it was very well done.)

Two quick facts; 1) the Sheriff sign is in the Star Trek font ;) 2) sorry, if this has been mentioned, but DeForest Kelly played Doc Holliday in a 65mm western about the OK corral.

Good to have you back! This episode was my first encounter with the tale of Tombstone. Yup, I also thought the real life good guys were the bad guys too!

David, your labor of love was, to this crazed TV music fan, a splendid massage for ear and psyche! Very edifying and engrossing commentary here-I thoroughly enjoyed every minute, which flew by as fast as a Melkot clock, by the way… I’m very much looking forward to more learned discourse with your next video focusing on “The Paradise Syndrome”. Any chance you may one day in the future break down the various scores written for “The Twilight Zone” (F. Steiner, Jerry Goldsmith, Bernard Herrmann) and “The Outer Limits” (Dominic Frontiere)?

Never in a million years would I have guessed that the Tribble motif was played by trombones! It’s amazing how much there is still to learn from this old series. “Trek” seemed to have brought out a lot of creativity in its composers.

hi .. very enjoyable. Nice detective work Mr. Hill. (Get the reference?)

Great video. Thank you.

Huh. Reminds me of the Jaws theme, released 7 years after this episode premiered. What a coincidence.

I never noticed until now, but when the Earps and Doc Holliday vanish, the horse in the left background remains!

Gene Coon originally wrote this as more of a comedy, which the third season executive producer didn’t much care for in the context of science fiction. (There was a scene where Kirk and Co. attempt to ride horses out of the OK Corral. The horses make it through the Melkotian force field, but not our heroes, leading Spock to point out, logically, that Kirk is not a horse, ergo. . .) Not my favorite show, but it has its own weirdly unique, surreal vibe, that makes it a guilty pleasure.

Wow, I was pleasant pleased to find this video here, and like so many others of yours, this was just a great one to see. Cheers!

I once dated Jerry Fielding’s daughter. Knew her for years without knowing her father was a studio composer. Learning that he wrote the Trimble theme was the coolest.

HE’S BAAAACK!!!

We had music education in primary school. It bored me to death and I had absolutely no interest. After years of instruction, I couldn’t tell a half note from a whole note. But to see how it was used to underscore one of my favorite TOS episodes was fascinating!

In cue M22 at 17:50, confirming the celli play B and E in bar 3? Not Bb and Eb per the trombone?

Have to say, I've always enjoyed Spectre's score, but, as usual, after your video, I respect and marvel at it even more! Can't tell you how much I'm looking forward to The Paradise Syndrome - my single favorite Trek score of any era!

My take is that Jerry Fielding got a plum assignment. I think it's pretty generous to call the visual approach stylized. As a kid I found the mileu pretty silly, even now I think it's a bit of a head scratcher, aesthetics wise.

Your history of the OK Corral "incident" is accurate. 👍 Yes, "Spectre" is one of the best of the 3rd season. Has a slight Twilight Zone feel to it.

Thank you David. George Duning was a remarkable composer and he is one of those almost forgotten contributors to "Star Trek" that made it so different and so outstanding.

Excellent - in some ways, Spectre of the gun is one of my favorites, and the music is part of the reason why.

Many thanks for another brilliant analysis. I envy your command of both music and Star Trek. Looking forward to your next video. Best of health to you and yours.

I like your intro. But you don't need the toothpick gag. The pencil on paper is funnier, anyway. 🙃

Superb. The music knocked me out from the first time I saw SOTG. Thanks for covering it brilliantly.

Love this analysis of the music of one of my favorite Star Trek episodes! Thank you!

Welcome back David! Wow, you've really got caught up in the detail of this one! Justified my making breakfast to have while watching this clip! A few thoughts assembled (and not edited much!) while watching: Interesting recap on the actual gunfight. Makes me wonder how it got so twisted in the actual telling. Hollywood up to their usual tricks, maybe? It's certainly a very evocative description, "Gunfight at the OK Corral" (only OK though?!?) and makes for a change from the typical street setting. Of course history is written by the victors, and the Earps had plenty of time to embellish the tale afterwards. As for the music, that bit you describe as an accordion, I think you could be right, and secondly, when you played it on piano there it reminded me of the intro to Band On The Run! Come to think of it, I'd love to hear When I'm Sixty-Four on a tacked piano! That dissonance of the semitone interval for "Chekov Gets Killed" makes me think of Psycho! (Btw have you ever played the Psycho and Jaws themes together?) When it comes to music from later episodes being tracked into earlier ones, I can think of a few instances, The Corbomite Maneuver's score was heard in Miri in season 1, while season 2 had Mirror, Mirror using cues from The Doomsday Machine and Catspaw, while Fielding's own music for The Trouble With Tribbles first got heard in Journey To Babel. And of course we've talked about the By Any Other Name/Patterns Of Force potential for confusion before! I'm never sure if Johnny Behan says to Kirk, "kill them, any way you can!" or "kill them anyway, you can!" I am sure however, that the Bourbon is called TALOS Lightning - a nod to planet Talos IV whose inhabitants had similar telepathic powers! I love Spectre Of The Gun. It's another great example of Gene L. Coon's writing! Casting our heroes as the losing side in a historical battle and forcing them to come up with a way to win. I've described this episode as a cross between The Corbomite Maneuver (which was before he joined but I've always felt would have benefitted from his touch) and Arena (which was his first writing credit and a brilliant one at that), with maybe a touch of either Shore Leave or The Cage. "Very dead" is one of my favourite twists on McCoy's line, and "he wanted to kill but he didn't" is a theme from many of Coon's episodes, notably Arena again and A Taste Of Armageddon. The Paradise Syndrome next, you say? I think the music from that had even fewer reuses than Fielding's music here! Cliffhanger themes for Wink Of An Eye and The Savage Curtain, maybe one other, I forget, and the Spock theme in Turnabout Intruder are all I can think of. - Liam.

I've been waiting for you to do this one forever, and you really did it justice! I love so much about this score-the strangeness present even in the quietest moments, the use of stings to build tension, that amazing upside-down version of "Buffalo Gals" in parallel fifths. But what really gets me is how the music does a slow boil to impending crisis in the climactic scene. And that harmonica, my God, I learned so much about this score. This was wroth the wait.

Have loved this score since I was kid-thank you for the analysis!