The three scores Fried did for season 2 are all over this episode as you said. Fried was the only composer other than Fred Steiner to score episodes in all three seasons, but his music in seasons 1 & 3 was far less significant. Putting the "mace fight" and "arrows" cues together shows just how similar they were, and makes it easy to forget that they were from different episodes originally! Your labelling of each cue here does show how quickly the music editors could cut from one cue to another just like that. Makes me appreciate why some season 2 episodes gave shared credit to Fred Steiner & Sol Kaplan. It would be very useful if there was something that listed every recycled cue in every episode, especially in season 1, and the handful of season 2 episodes that give no credit. This episode, "A Private Little War" was the last time Fried got credit for recycled music, and all three of his season 2 episode scores are dipped into in this one (although I think the only bit from "Amok Time" is the battle music at the end). It's an episode I have mixed feelings about. The basic idea is good but I don't think they made the best of it in the final script. That said, Gerald Fried's music certainly goes a long way to papering over the cracks! - Liam.
Starting from 1:13... I have been searching for this string of music for. More. Than. 40. YEARS. If only there was a way to bleed off the vocal track... Oh, my GOD.
Yea it's awesome. The intensity of it! Only way I know to hear just the score is off the now out-of-print LaLa Land collectors CD set. It's hard to find, and pricey on eBay. But re-used in this scene, there isn't much dialog so we get the nuances pretty well!
I didn't like "Friday's Child" but I loved "A Private Little War" and recorded it on audio tape to listen to again several times (before we got a VCR). Interesting how the musical cues seem to work together for dramatic effect.
I have always loved this episode of Star Trek. It opens with Spock being shot and possibly dying, then there are Klingons, then back to the planet and a giant venomous ape unicorn attacks Kirk, space voodoo, followed by indigenous warfare, Klingons attacking on the down low, another ape monster and its blood curdling screams, McCoy getting shot, and a bunch of people dying including one guy getting his head bashed in with a rock. Then they all just go away. This has to be the craziest TOS episode there is. I always thought the musical score for the episode was fantastic, and matched that same disjointed and bombastic energy of the episode itself. I’m really shocked to learn this is all tracked music, and from multiple different episodes. Somehow this all works together flawlessly.
Great observation. The work of the Desilu music editors is unsung, which is lamentable. They had so much to work with and, to your point, most often did it so well. Fred Steiner remarked that music editor Bob Raff once told him to write the music "so I can cut it without destroying musical phrases". So clearly, they all knew that tracking was a common practice and bore that in mind - along with everything else - so that their music could be used again and again. So it was no accident that they fit so well so often.
It's truly astounding that in the three years Star Trek was on NBC it didn't receive a single Emmy nomination for music composition. Then again, which score would the producers have submitted for consideration, say, at the end of the second season? Metamorphosis? Amok Time? Who Mourns for Adonais? The Doomsday Machine? Any one of them would have been award-worthy (I would also have included "Mirror, Mirror" if it weren't for the fact that the Kirk/Spock fight and 'one man with a vision' cues were composed by Courage (S2 library music, both cues based on his "Where No Man Has Gone Before" Captain's Theme). So Courage actually DID make musical contributions to all three seasons. Speaking of the music Emmys, Lalo Schifrin was nominated that same (1968) year (that "Trek" was passed over, yet again) for the MI ep "The Seal," an episode with mostly tracked music (save a cue or two by Jack Urbont). In my view, Steiner and Duning should have been nominated, respectively, for S3's "Spock's Brain" (not a great ep but wonderful score) and "The Empath."
Actually the fightvscenevmusic and "Vulcan Pon Farr" music for "Amok Time" were composed by Gerald Fried, from what "Enterprise Incidents" with Scott Manse and Steve Morris.
@@sarahfullerton6894 No, I meant the fight in the sick bay music in "Mirror, Mirror," not the fight music Fried composed for "Amok Time." I believe the cue's name is "Fight on Captain's Theme" and was recorded by Courage as a S2 library track in June, 1967. When Kirk and Sulu fight later I believe this was tracked with a section of the first cue heard here.
@@cbspock1701 I'm not sure what the process was then (though it must have been a flawed one for Lalo Schifrin, who didn't even work on MI's second season of shows, to have received a nom for scoring)*. In the sixties through the early nineties the same half dozen or so people would generally be nominated year after year (of course, the names would change as heir apparents assumed the mantle every five to ten years). Usually the "big events" (such as "Roots," "Masada," "Peter the Great") would score nearly across-the-board noms and, often, actual awards (aforementioned titles all winning for music). Around 1997 things changed greatly when composers submitted video copies of work they wanted considered. After this, people who wouldn't have had a chance in the "old days" were procuring noms sometimes even winning the coveted statuettes. Back to Star Trek, it actually received two consecutive noms for best TV drama (so someone was taking it seriously), three for Nimoy as best supporting actor as well as noms for effects, film editing, and, one year, for Matt Jeffries production design ("All Our Yesterdays"). But none for writing, music, cinematography or lead actor (IMO, a very deserving William Shatner). The only "ST" composers to win Emmys were Gerald Fried for Roots ep 1 (shared w/ Quincy Jones) and Jerry Fielding for the TV film "High Midnight" (awarded posthumously). Incredibly, Fred Steiner and George Duning (who, IMO, should have won the award for the "Big Valley" pilot) never received Emmy noms in all the years they were part of the business (though both were nominated for Academy Awards as was Alexander Courage and, of course, Fielding). Speaking of Courage, he received a single scoring nom, I think, for a 1972 ep of "Medical Center", winning an arranging/music direction Emmy around 1990 (Julie Andrews Christmas special). * - Thankfully (and deservedly), Earle Hagen won for a S3 ep of "I Spy."
2 things. One: How well music written before shows were edited and put togther work so well from one epsidoe to another, truly remarkable. A great feat between the editors, directors and composer in cordinating it all. NOTE: When Spock is shot here in the back, he has blood on his back and front. It would seem them he should be dead as the bullets would have gone through him! A mistake not caught by the onset continuity person.
I was reading a month or so ago that if we had better design our rib cage would go a little lower to protect more organs. But I suspect we didn't go around punching each other in the face, kidneys and liver for most of the last million years.
Ahhh The music of my youth.
The three scores Fried did for season 2 are all over this episode as you said. Fried was the only composer other than Fred Steiner to score episodes in all three seasons, but his music in seasons 1 & 3 was far less significant. Putting the "mace fight" and "arrows" cues together shows just how similar they were, and makes it easy to forget that they were from different episodes originally!
Your labelling of each cue here does show how quickly the music editors could cut from one cue to another just like that. Makes me appreciate why some season 2 episodes gave shared credit to Fred Steiner & Sol Kaplan. It would be very useful if there was something that listed every recycled cue in every episode, especially in season 1, and the handful of season 2 episodes that give no credit.
This episode, "A Private Little War" was the last time Fried got credit for recycled music, and all three of his season 2 episode scores are dipped into in this one (although I think the only bit from "Amok Time" is the battle music at the end). It's an episode I have mixed feelings about. The basic idea is good but I don't think they made the best of it in the final script. That said, Gerald Fried's music certainly goes a long way to papering over the cracks!
- Liam.
Starting from 1:13... I have been searching for this string of music for. More. Than. 40. YEARS. If only there was a way to bleed off the vocal track... Oh, my GOD.
Yea it's awesome. The intensity of it! Only way I know to hear just the score is off the now out-of-print LaLa Land collectors CD set. It's hard to find, and pricey on eBay. But re-used in this scene, there isn't much dialog so we get the nuances pretty well!
I didn't like "Friday's Child" but I loved "A Private Little War" and recorded it on audio tape to listen to again several times (before we got a VCR). Interesting how the musical cues seem to work together for dramatic effect.
I have always loved this episode of Star Trek. It opens with Spock being shot and possibly dying, then there are Klingons, then back to the planet and a giant venomous ape unicorn attacks Kirk, space voodoo, followed by indigenous warfare, Klingons attacking on the down low, another ape monster and its blood curdling screams, McCoy getting shot, and a bunch of people dying including one guy getting his head bashed in with a rock. Then they all just go away. This has to be the craziest TOS episode there is.
I always thought the musical score for the episode was fantastic, and matched that same disjointed and bombastic energy of the episode itself. I’m really shocked to learn this is all tracked music, and from multiple different episodes. Somehow this all works together flawlessly.
Great observation. The work of the Desilu music editors is unsung, which is lamentable. They had so much to work with and, to your point, most often did it so well. Fred Steiner remarked that music editor Bob Raff once told him to write the music "so I can cut it without destroying musical phrases". So clearly, they all knew that tracking was a common practice and bore that in mind - along with everything else - so that their music could be used again and again. So it was no accident that they fit so well so often.
I also liked the music from the cage being put in this episode for when Nona the kahn-ut-tu woman treats Kirk for the Mugato bite.
It's truly astounding that in the three years Star Trek was on NBC it didn't receive a single Emmy nomination for music composition. Then again, which score would the producers have submitted for consideration, say, at the end of the second season? Metamorphosis? Amok Time? Who Mourns for Adonais? The Doomsday Machine? Any one of them would have been award-worthy (I would also have included "Mirror, Mirror" if it weren't for the fact that the Kirk/Spock fight and 'one man with a vision' cues were composed by Courage (S2 library music, both cues based on his "Where No Man Has Gone Before" Captain's Theme). So Courage actually DID make musical contributions to all three seasons.
Speaking of the music Emmys, Lalo Schifrin was nominated that same (1968) year (that "Trek" was passed over, yet again) for the MI ep "The Seal," an episode with mostly tracked music (save a cue or two by Jack Urbont). In my view, Steiner and Duning should have been nominated, respectively, for S3's "Spock's Brain" (not a great ep but wonderful score) and "The Empath."
Not one? smh
Actually the fightvscenevmusic and "Vulcan Pon Farr" music for "Amok Time" were composed by Gerald Fried, from what "Enterprise Incidents" with Scott Manse and Steve Morris.
@@sarahfullerton6894 No, I meant the fight in the sick bay music in "Mirror, Mirror," not the fight music Fried composed for "Amok Time." I believe the cue's name is "Fight on Captain's Theme" and was recorded by Courage as a S2 library track in June, 1967. When Kirk and Sulu fight later I believe this was tracked with a section of the first cue heard here.
I assume they would have to submit it for the original episode it was scored for?
@@cbspock1701 I'm not sure what the process was then (though it must have been a flawed one for Lalo Schifrin, who didn't even work on MI's second season of shows, to have received a nom for scoring)*. In the sixties through the early nineties the same half dozen or so people would generally be nominated year after year (of course, the names would change as heir apparents assumed the mantle every five to ten years).
Usually the "big events" (such as "Roots," "Masada," "Peter the Great") would score nearly across-the-board noms and, often, actual awards (aforementioned titles all winning for music). Around 1997 things changed greatly when composers submitted video copies of work they wanted considered. After this, people who wouldn't have had a chance in the "old days" were procuring noms sometimes even winning the coveted statuettes. Back to Star Trek, it actually received two consecutive noms for best TV drama (so someone was taking it seriously), three for Nimoy as best supporting actor as well as noms for effects, film editing, and, one year, for Matt Jeffries production design ("All Our Yesterdays"). But none for writing, music, cinematography or lead actor (IMO, a very deserving William Shatner).
The only "ST" composers to win Emmys were Gerald Fried for Roots ep 1 (shared w/ Quincy Jones) and Jerry Fielding for the TV film "High Midnight" (awarded posthumously). Incredibly, Fred Steiner and George Duning (who, IMO, should have won the award for the "Big Valley" pilot) never received Emmy noms in all the years they were part of the business (though both were nominated for Academy Awards as was Alexander Courage and, of course, Fielding). Speaking of Courage, he received a single scoring nom, I think, for a 1972 ep of "Medical Center", winning an arranging/music direction Emmy around 1990 (Julie Andrews Christmas special).
* - Thankfully (and deservedly), Earle Hagen won for a S3 ep of "I Spy."
2 things. One: How well music written before shows were edited and put togther work so well from one epsidoe to another, truly remarkable. A great feat between the editors, directors and composer in cordinating it all. NOTE: When Spock is shot here in the back, he has blood on his back and front. It would seem them he should be dead as the bullets would have gone through him! A mistake not caught by the onset continuity person.
But the placement of the internal organs of a Vulcan kept him alive long enough.
He would have been if "his heart wasn't where his liver should be"
I was reading a month or so ago that if we had better design our rib cage would go a little lower to protect more organs. But I suspect we didn't go around punching each other in the face, kidneys and liver for most of the last million years.
Nice piece of work here! I imagine it took a little while to identify where the tracks came from
Eh, a little while. A very enjoyable while at that!
1:48 excellent music 1:57