David, this is a magnificent video! It is wonderful to see the sophistication and complexity of the musical score. The artistry and hard work all pay off with melodies that support the story so perfectly that viewers are just swept along by it all together. The popularity of the episode and the combat theme prove the top quality of the composing. By the way, thanks for the shoutout. It is noteworthy that I saw "Amok Time" when it was first broadcast in 1967, but I did not make the connection between the Pon Farr theme and the Ancient Combat theme until decades later!!! I always just loved the Pon Farr theme for itself, but when I finally caught the connection, it was like a moment of great discovery for me! How appropriate for Star Trek!!! Live long and prosper, David. 🖖
Hey DD! So glad you enjoyed this and really appreciated your comment months ago that got me looking into it. There was another ingenious placement of the theme, during the rest after the first "Kroykah" when Bones is with Kirk and gives him the hypo, but I just couldn't get to it all! And yes, how appropriate for Star Trek 👍😃
"Amok Time" was not in my top third or 26-7 favorite episodes, which I bought on VHS while in college. I preferred the episode "The Gamesters of Triskelion" which used this combat music, as well as "Journey to Babel" which used the "more soup" cue or Spock's theme music, which I thought was called "Marriage Ceremony." ua-cam.com/video/onUvPT0NK3s/v-deo.html
We had many of those VHS tapes! Those are both great episodes with great music editing, from an amazing library of cues. Sadly, the musician union rules changed around 1980, and the days of re-using (or tracking) previously recorded music were gone. A bygone era.
For the past 30 years, I have played that Spock leitmotif as part of my electric bass sound check. And overall brilliant scoring throughout by Gerald Fried
Gerald Fried RIP. Read his bio info online and was astonished to find he was a self-taught film composer. He began as an oboist but then he met Stanley Kubrick entirely by chance and was asked to write music for his first film. He crammed and watched movies for four months to learn what to do as a composer. He didn't study with famous teachers in college like other composers such as Leonard Rosenman.
He was such a natural, just uncanny instincts. He did study at Juilliard for some time, but bailed when he realized that, at the time, the professors seemed to have their own egos in mind more than their students' interests. Pretty sure that's not the case today, fortunately.
I read a comment a few years back about the Kirk/ Spock fight music (used again in a few other fight scenes in other episodes) that it is reminiscent of The Rite of Spring, by Stravinsky. Having listened to that piece, I would have to say they were correct. Rite of Spring has a lot of atonality in it, and was also meant to score a violent event, human sacrifice. A good ear doesn't lie. It's very similar. Maybe Fried got his inspiration from it. A lot of composers almost copy other composers.
You're exactly right. In an interview I saw (AFTER posting this video, of course) Gerry Fried revealed he had indeed taken inspiration from Stravinsky for that forced dissonance passage. Just brilliant. Good ear on you!
This is as Spock would say "extremely interesting" and "Fascinating". I love the scoring of Star Trek TOS, I really enjoyed this especially seeing the notes as they were played. And how they were put together. Thank you so much. I will remember this every time I watch "Amok Time"; which is frequently since it is one of my favorite episodes.
You are DELIGHTING this old Star Trek fan beyond my ability to express! THANK YOU for this video. Spock and the music from this episode have meant SO much to me since the series was first broadcast when I was a little kid (I'm 64) THANKS AGAIN!! 🖖LLAP
I found that double album on cd about 20 years ago and I have constantly used it as a soundtrack to my road trips as well as a great warm up for my fingers, using the Tritones on my bass. This video was a hell of a good time and I appreciate the work that you’re doing
This is some of the most iconic music in the whole of Star Trek. The frenzy of it is just so intense, and perfect for the situation. It's difficult to say anything about this episode's music that you haven't already said. Even non-fans seem to know the fight music from the end, and the only other bit of Trek music you can definitely say that about is the theme tune (there's one or two great Fred Steiner cues I'm tempted to give honourable mentions to, from The Corbomite Maneuver and Who Mourns For Adonais, but I don't think I can say that non-fans would instantly know them). If season 1's iconic music belonged to Fred Steiner, season 2 is Fried's, he gets sole credit more times than anyone else in this season (Steiner's name appears as many times but half of them was shared credit with Sol Kaplan).
@@davidpage9355 the lyrics were questionable though, as they had to do with a breakup, and the guy was saying: "I'm that dog c--p, dog c--p, dog c--p, laying in the back yard"
Love that fight theme from 'Amok Time'. The new series Star Trek: Strange New Worlds brought it back for the episode 'Spock Amok'. So awesome to hear it again in a Trek production.
To occasions of two triads a major-7th apart (BT/CT) in jazz as a closing chord, Wes Montgomery's version of Satin Doll and Dizzy Gillespie's "That's Earl, Brother."
Somewhere I heard that the bass guitar theme in this score was played by Barney Kessel, probably on a 16 String Danelectro Bass that he owned and showed (but didn't play) in his Jazz Scene USA episode.
@@davidpage9355 Actually I didn't but I decided to not change the post because of the part about the instrument. On the "Some Like It Hot" album (Contemporary) he mentions how he wanted to learn Tenor Sax and the 6 String Bass Guitar filled that niche. In the Jazz Scene USA interview he mentioned using it in Rock & Roll studio work.
There's something I forgot to mention about this score. It influenced two other Star Trek scores by other composers. Firstly, "Is There In Truth No Beauty" in season 3 - George Duning's frenzied fight theme was absolutely an attempt to recreate the effect of the big fight theme at the end of this episode. Another example of the similarity of styles between Duning and Fried - I said elsewhere that Fried's cue for Ruth in "Shore Leave" was more reminiscent of Duning. The second point of influence was two decades later on TNG. About the third episode in, "Code Of Honor" had music by original series veteran Fred Steiner, and while the episode in general is weak, the music is interesting to listen to because it is very recognisable as Steiner, and the fight theme at the end of that episode does give you an idea of what he would have done with "Amok Time" too. Actually for a short time when I started paying attention to the incidental music credits, I misremembered the credit for this episode and briefly thought it WAS Steiner - which I'm attributing to the fact that he scored the next episode, "Who Mourns For Adonais" - which also had some big influences on later Trek music. - Liam.
You sure know your stuff Liam! Great observations. I didn't follow TNG very closely, largely because I was raising my daughter at the time, but enjoyed most of what I've seen. It certainly has earned its place and continued what TOS started. I'll try to check out "Code Of Honor".
@@davidpage9355 be warned, the first season of TNG is pretty weak, and the second isn't much better, it's only from season 3 onwards that the show really hit its stride (thanks to the arrival of many key writers that stayed with the various Trek franchises for the next decade or so). "Code Of Honor" is a particularly weak season 1 episode, noteworthy for just two things - first, it was the only episode to put Tasha Yar front and centre (Tasha Yar was effectively the Janice Rand of TNG), and secondly, the score by Fred Steiner. The episode's climax features a duel to the death over matters matrimonial, just like "Amok Time", and you could probably swap the two battle themes over.
@@dressinggownsessions7296 I recall when TNG had its debut. We were in LA at the time, and a friend had done a screen test or audition for what became known as Worf. But we were all such Trek fans we were excited to tune in to the first episode "The Naked Now" - only to be seriously let down to think this was just going to be a re-hashing of TOS! I know it took time but they finally found their storyline and "lived long and prospered". A great, but very different show.
This is a terrific video; I so enjoyed your analysis of these themes and orchestration. The only other UA-cam video I saw which covered an episode's score so well was Shem von Schroeck's analysis of The Doomsday Machine, and I can't wait to see your video on that same episode, now I've found your channel. In the Archive of American Television interview about Spock's theme from Amok Time, Gerald Fried also mentioned the Ruth cue from Shore Leave. He was rather bold with his composition there as well, starting with the cello playing an E♮ a tritone under a B♭ chord in the rest of the orchestra, then ascending briefly into the root of an Fmaj7 in the second measure before retreating back to the major 7th. I always took that "detuned cello" as Gerald's way of showing that Kirk, while a passionate and serial lover, was somehow out of tune with love and more truly devoted to his ship and crew. What thoughtful and clever scoring! I can't wait to watch your other videos. I love original Star Trek for its musical scores and its theatricality, something they dropped like a hot brick in the Rick Berman era, alas. Thank you so much for scratching both my Star Trek and music composition itches!
Glad you stopped by! Thanks for the comments, too. Yes, Berman was clear he wanted a totally different music approach, and Bob Justman deferred to his choices, realizing Next Gen was a different environment. I guess I get that, and it makes for a "bygone era" of great music.
I'm suprised you didn't point out all the paralells and orchestral techniques lifted straight out of Stravinsky's Rite of Spring - including harmony (stacked chords semi tone apart), orchestral texture etc.
I confess. .. at the time of production I wasn't fully aware of that! One of my bandmates mentioned that passage sounded like Stravinsky, then in interview Fried himself gives mention of Stravinsky's technique. So, the cool thing is I'm learning all the time 😏👌
I just discovered this chanell this morning and I'm blown away! So great to see someone deep dive into these ST cues. I looked up the book you mentioned in the video but the cheapeast copy is $500. How can I get a copy of the transcriptions you have? I 'd like to spend time with them playing them to learn what's going on.
Hey I'm glad you stopped by! I guess I got lucky and found the Bond book for under $50 or so, so keep looking. There's more content beyond TOS, of course. He goes into TNG and the first couple of movies. As to the transcriptions - at the moment I'm not set up to provide them, but have had other interest so that's something I ought to look into down the line. Thanks again.
@@davidpage9355 Steely Dan in spaaaaaaaaace !!! Someone should rewrite the lyrics to IGY with using all Star Trek references. Maybe not. I don't know, just a thought.
Have you transcribed all of this score by ear David? Where did you get your music training or knowledge? I find these deep dives into the ST scores just fascinating! Ooops pun not intended.
Yes mostly by ear. For the "Ancient Combat" I did reference the excerpt of Fried's sketch in Jeff Bond's book, of course. I'm a life-long musician with college level theory, form and analysis, etc. but no degree. I do this on the side just to challenge my brain. And admit it's likely that what I come up with may not be exactly right but it comes across. Thanks for taking the time to check it out! 🖖
Most of the episodes I love are from season 2 so those cues (or repeat themes) are most familiar. The fewest episodes I love are from Season 3. I'd be interested to see (or hear rather), the music and cues made for season 3. In the video on the soundtrack to "Catspaw" you stated there was a rule that cues could only be used within the season's episodes. I don't see any from season 3 on your video list as of yet.
Thanks for the comments. I am roughly working my way through the series and haven't yet gotten to season 3. But there's some great music despite the overall lackluster reputation of S3. George Duning wrote The Empath, Fried did The Paradise Syndrome. Great stuff to come!
Hi Chris. Appreciate your comment and for checking it out! As for the scores.. uhh .. that's my transcription using MuseScore. I haven't checked on the copyright/legality of making them available but would assume I could not. My videos all get a copyright claim from CBS CID that allows me to use their content but just can't monetize it. Plus, I just really rather not go into "publishing". These videos take enough if my time already!
@@davidpage9355 well nicely done then. Transcribing those cluster chords in Amok Time was no easy task! I just wanted some of the scoring to make some string quartet arrangements. I did one for NG’s “Inner Light” but TOS music is nearest and dearest to my heart.
It's Paramount Global (CBS) according to the notices I get for using copyrighted material in my videos. They allow it, but I am not able to monetize any of these videos. That's fine with me, I don't really want that and I would do it anyway because I love it. I guess depending on what you have in mind - either monetizing or not - Paramount Global (CBS) is who you would need to contact. But if it's just for educational/entertainment/informational purposes and you don't expect to make any money I guess you can just do what many others do. Stick it up there and just know there's no "dough" in it.
@@davidpage9355 Thank you for such a detailed reply! I didn't expect that. It's an educational video. So, like you, I'm more interested in the "exchange of information" than the "exchange of money." ... Still, it's at least wroth sending off a few emails to see if it can end up monetized. ... Maybe I'll get lucky?
You should do a multi part video on how Peter Knight provided the mortar between the bricks in The Moody Blues album Days of Future Past. Here is the serendipitous string of events that made Days of Future Past. Yes, Marvel ripped off the title but since the drummer, Graeme Edge was such a huge Scifi and comic book nerd he let it pass. ua-cam.com/video/yKP3sYEUAm0/v-deo.html
Cool documentary clip. Thanks. A lot of info I didn't know. Always loved the Moodies. Last year, just for the fun and exercise, I did a transcription of Nights and Late Lament. (Also did Thick As A Brick, but that's another story) Thanks for the suggestion. When I run out of Trek music ...
@@davidpage9355 Hello! I have always thought that with the modern cinematic digital tools at your disposal how would you create DoFP today... And then the Ukraine war started and I thought "Why doesn't someone do a Cinematic version of Question, the perfect anti war song. I don't have the musical chops to do it, I am an IT that helped buildout the media lab at the system of charter schools I worked at.
David, this is a magnificent video! It is wonderful to see the sophistication and complexity of the musical score. The artistry and hard work all pay off with melodies that support the story so perfectly that viewers are just swept along by it all together. The popularity of the episode and the combat theme prove the top quality of the composing.
By the way, thanks for the shoutout. It is noteworthy that I saw "Amok Time" when it was first broadcast in 1967, but I did not make the connection between the Pon Farr theme and the Ancient Combat theme until decades later!!! I always just loved the Pon Farr theme for itself, but when I finally caught the connection, it was like a moment of great discovery for me! How appropriate for Star Trek!!!
Live long and prosper, David. 🖖
Love how the Pon Farr theme was a somber prelude to the actual combat theme in this episode. Like a slow burn, you might say.
@@elizabethjordan5755 Exactly!!! 🖖
Hey DD! So glad you enjoyed this and really appreciated your comment months ago that got me looking into it. There was another ingenious placement of the theme, during the rest after the first "Kroykah" when Bones is with Kirk and gives him the hypo, but I just couldn't get to it all! And yes, how appropriate for Star Trek 👍😃
"Amok Time" was not in my top third or 26-7 favorite episodes, which I bought on VHS while in college. I preferred the episode "The Gamesters of Triskelion" which used this combat music, as well as "Journey to Babel" which used the "more soup" cue or Spock's theme music, which I thought was called "Marriage Ceremony." ua-cam.com/video/onUvPT0NK3s/v-deo.html
We had many of those VHS tapes! Those are both great episodes with great music editing, from an amazing library of cues. Sadly, the musician union rules changed around 1980, and the days of re-using (or tracking) previously recorded music were gone. A bygone era.
For the past 30 years, I have played that Spock leitmotif as part of my electric bass sound check. And overall brilliant scoring throughout by Gerald Fried
Star Trek TOS really had great music.
Thanks for the in-depth analysis of what might be the greatest fight score ever. Makes the scores from TNG sound like elevator music!
simply brilliant David -- thoroughly enjoyed watching this breakdown. Great job yet again.
Gerald Fried RIP. Read his bio info online and was astonished to find he was a self-taught film composer. He began as an oboist but then he met Stanley Kubrick entirely by chance and was asked to write music for his first film. He crammed and watched movies for four months to learn what to do as a composer. He didn't study with famous teachers in college like other composers such as Leonard Rosenman.
He was such a natural, just uncanny instincts. He did study at Juilliard for some time, but bailed when he realized that, at the time, the professors seemed to have their own egos in mind more than their students' interests. Pretty sure that's not the case today, fortunately.
An incredible tribute!❤
I read a comment a few years back about the Kirk/ Spock fight music (used again in a few other fight scenes in other episodes) that it is reminiscent of The Rite of Spring, by Stravinsky. Having listened to that piece, I would have to say they were correct. Rite of Spring has a lot of atonality in it, and was also meant to score a violent event, human sacrifice. A good ear doesn't lie. It's very similar. Maybe Fried got his inspiration from it. A lot of composers almost copy other composers.
Great channel, by the way. I love it!
You're exactly right. In an interview I saw (AFTER posting this video, of course) Gerry Fried revealed he had indeed taken inspiration from Stravinsky for that forced dissonance passage. Just brilliant. Good ear on you!
This is as Spock would say "extremely interesting" and "Fascinating". I love the scoring of Star Trek TOS, I really enjoyed this especially seeing the notes as they were played. And how they were put together. Thank you so much. I will remember this every time I watch "Amok Time"; which is frequently since it is one of my favorite episodes.
You are DELIGHTING this old Star Trek fan beyond my ability to express! THANK YOU for this video. Spock and the music from this episode have meant SO much to me since the series was first broadcast when I was a little kid (I'm 64) THANKS AGAIN!! 🖖LLAP
I found that double album on cd about 20 years ago and I have constantly used it as a soundtrack to my road trips as well as a great warm up for my fingers, using the Tritones on my bass. This video was a hell of a good time and I appreciate the work that you’re doing
Thanks man!
Puts me in mind of Ben-Hur-like gladiator fight music. Since that movie was 1959 maybe it was an influence.
This is some of the most iconic music in the whole of Star Trek. The frenzy of it is just so intense, and perfect for the situation. It's difficult to say anything about this episode's music that you haven't already said. Even non-fans seem to know the fight music from the end, and the only other bit of Trek music you can definitely say that about is the theme tune (there's one or two great Fred Steiner cues I'm tempted to give honourable mentions to, from The Corbomite Maneuver and Who Mourns For Adonais, but I don't think I can say that non-fans would instantly know them).
If season 1's iconic music belonged to Fred Steiner, season 2 is Fried's, he gets sole credit more times than anyone else in this season (Steiner's name appears as many times but half of them was shared credit with Sol Kaplan).
Loved the opening. It often amazes me how complex these arrangements are. Keep this up and I might finally understand music theory!
This really made me appreciate this episode even more. Thanks!
Fantastic video! Love seeing the break down of this iconic music! Thanks for taking the time to do these videos! They are timeless.
About 6 years ago, some rap band sampled the Amok Time music for a rap tune. I heard it playing out of someone's speakers one day.
Wow. I bet it now can't be un-heard 😐 At least it was great source material!
@@davidpage9355 the lyrics were questionable though, as they had to do with a breakup, and the guy was saying: "I'm that dog c--p, dog c--p, dog c--p, laying in the back yard"
@@michaelmorgan7893 Sigh - I'm truly sorry you had to endure this.
@@davidpage9355 yeah, me too, lol
Second time watching, so another like 👍
Love that fight theme from 'Amok Time'. The new series Star Trek: Strange New Worlds brought it back for the episode 'Spock Amok'. So awesome to hear it again in a Trek production.
Agreed! A truly timeless work of composition. Thanks for chckng it out!
To occasions of two triads a major-7th apart (BT/CT) in jazz as a closing chord, Wes Montgomery's version of Satin Doll and Dizzy Gillespie's "That's Earl, Brother."
Somewhere I heard that the bass guitar theme in this score was played by Barney Kessel, probably on a 16 String Danelectro Bass that he owned and showed (but didn't play) in his Jazz Scene USA episode.
Right.. I mentioned Barney Kessel in this video. You might have missed that part?
@@davidpage9355 Actually I didn't but I decided to not change the post because of the part about the instrument.
On the "Some Like It Hot" album (Contemporary) he mentions how he wanted to learn Tenor Sax and the 6 String Bass Guitar filled that niche.
In the Jazz Scene USA interview he mentioned using it in Rock & Roll studio work.
ua-cam.com/video/5oAVLTIHscY/v-deo.html
@@craigbrowning9448 Ah, I gotcha!
There's something I forgot to mention about this score. It influenced two other Star Trek scores by other composers.
Firstly, "Is There In Truth No Beauty" in season 3 - George Duning's frenzied fight theme was absolutely an attempt to recreate the effect of the big fight theme at the end of this episode. Another example of the similarity of styles between Duning and Fried - I said elsewhere that Fried's cue for Ruth in "Shore Leave" was more reminiscent of Duning.
The second point of influence was two decades later on TNG. About the third episode in, "Code Of Honor" had music by original series veteran Fred Steiner, and while the episode in general is weak, the music is interesting to listen to because it is very recognisable as Steiner, and the fight theme at the end of that episode does give you an idea of what he would have done with "Amok Time" too. Actually for a short time when I started paying attention to the incidental music credits, I misremembered the credit for this episode and briefly thought it WAS Steiner - which I'm attributing to the fact that he scored the next episode, "Who Mourns For Adonais" - which also had some big influences on later Trek music.
- Liam.
You sure know your stuff Liam! Great observations. I didn't follow TNG very closely, largely because I was raising my daughter at the time, but enjoyed most of what I've seen. It certainly has earned its place and continued what TOS started. I'll try to check out "Code Of Honor".
@@davidpage9355 be warned, the first season of TNG is pretty weak, and the second isn't much better, it's only from season 3 onwards that the show really hit its stride (thanks to the arrival of many key writers that stayed with the various Trek franchises for the next decade or so). "Code Of Honor" is a particularly weak season 1 episode, noteworthy for just two things - first, it was the only episode to put Tasha Yar front and centre (Tasha Yar was effectively the Janice Rand of TNG), and secondly, the score by Fred Steiner. The episode's climax features a duel to the death over matters matrimonial, just like "Amok Time", and you could probably swap the two battle themes over.
@@dressinggownsessions7296 I recall when TNG had its debut. We were in LA at the time, and a friend had done a screen test or audition for what became known as Worf. But we were all such Trek fans we were excited to tune in to the first episode "The Naked Now" - only to be seriously let down to think this was just going to be a re-hashing of TOS! I know it took time but they finally found their storyline and "lived long and prospered". A great, but very different show.
Great video
Thanks CB
This is a terrific video; I so enjoyed your analysis of these themes and orchestration. The only other UA-cam video I saw which covered an episode's score so well was Shem von Schroeck's analysis of The Doomsday Machine, and I can't wait to see your video on that same episode, now I've found your channel.
In the Archive of American Television interview about Spock's theme from Amok Time, Gerald Fried also mentioned the Ruth cue from Shore Leave. He was rather bold with his composition there as well, starting with the cello playing an E♮ a tritone under a B♭ chord in the rest of the orchestra, then ascending briefly into the root of an Fmaj7 in the second measure before retreating back to the major 7th. I always took that "detuned cello" as Gerald's way of showing that Kirk, while a passionate and serial lover, was somehow out of tune with love and more truly devoted to his ship and crew. What thoughtful and clever scoring!
I can't wait to watch your other videos. I love original Star Trek for its musical scores and its theatricality, something they dropped like a hot brick in the Rick Berman era, alas. Thank you so much for scratching both my Star Trek and music composition itches!
Glad you stopped by! Thanks for the comments, too. Yes, Berman was clear he wanted a totally different music approach, and Bob Justman deferred to his choices, realizing Next Gen was a different environment. I guess I get that, and it makes for a "bygone era" of great music.
I'm suprised you didn't point out all the paralells and orchestral techniques lifted straight out of Stravinsky's Rite of Spring - including harmony (stacked chords semi tone apart), orchestral texture etc.
I confess. .. at the time of production I wasn't fully aware of that! One of my bandmates mentioned that passage sounded like Stravinsky, then in interview Fried himself gives mention of Stravinsky's technique. So, the cool thing is I'm learning all the time 😏👌
Stravinsky was still alive when this music first appeared on television. I wonder if he was made aware of that...
I just discovered this chanell this morning and I'm blown away! So great to see someone deep dive into these ST cues. I looked up the book you mentioned in the video but the cheapeast copy is $500. How can I get a copy of the transcriptions you have? I 'd like to spend time with them playing them to learn what's going on.
Hey I'm glad you stopped by! I guess I got lucky and found the Bond book for under $50 or so, so keep looking. There's more content beyond TOS, of course. He goes into TNG and the first couple of movies.
As to the transcriptions - at the moment I'm not set up to provide them, but have had other interest so that's something I ought to look into down the line.
Thanks again.
2:23 Name that tune......"Green Flower Street". NICE !
Finally! Someone recognized it 👌😏
@@davidpage9355 Steely Dan in spaaaaaaaaace !!! Someone should rewrite the lyrics to IGY with using all Star Trek references. Maybe not. I don't know, just a thought.
Have you transcribed all of this score by ear David? Where did you get your music training or knowledge? I find these deep dives into the ST scores just fascinating! Ooops pun not intended.
Yes mostly by ear. For the "Ancient Combat" I did reference the excerpt of Fried's sketch in Jeff Bond's book, of course.
I'm a life-long musician with college level theory, form and analysis, etc. but no degree. I do this on the side just to challenge my brain. And admit it's likely that what I come up with may not be exactly right but it comes across.
Thanks for taking the time to check it out! 🖖
Most of the episodes I love are from season 2 so those cues (or repeat themes) are most familiar. The fewest episodes I love are from Season 3. I'd be interested to see (or hear rather), the music and cues made for season 3. In the video on the soundtrack to "Catspaw" you stated there was a rule that cues could only be used within the season's episodes. I don't see any from season 3 on your video list as of yet.
Thanks for the comments. I am roughly working my way through the series and haven't yet gotten to season 3. But there's some great music despite the overall lackluster reputation of S3. George Duning wrote The Empath, Fried did The Paradise Syndrome. Great stuff to come!
Hello David, thank you for your thorough look at the leitmotivs and the effectiveness of this music. Where can I get those scores I see scrolling?
Hi Chris. Appreciate your comment and for checking it out! As for the scores.. uhh .. that's my transcription using MuseScore. I haven't checked on the copyright/legality of making them available but would assume I could not. My videos all get a copyright claim from CBS CID that allows me to use their content but just can't monetize it. Plus, I just really rather not go into "publishing". These videos take enough if my time already!
@@davidpage9355 well nicely done then. Transcribing those cluster chords in Amok Time was no easy task! I just wanted some of the scoring to make some string quartet arrangements. I did one for NG’s “Inner Light” but TOS music is nearest and dearest to my heart.
Love it!!!
Has anyone ever thought that Spock’s moody bass cue in Amok Time sounds like Whip It by Devo (or vice versa)? I wonder if they were inspired by it.
Who would one contact to use one of Fried's Star Trek music cues in a UA-cam video. Who owns the copyright? ... Soney?
It's Paramount Global (CBS) according to the notices I get for using copyrighted material in my videos. They allow it, but I am not able to monetize any of these videos. That's fine with me, I don't really want that and I would do it anyway because I love it.
I guess depending on what you have in mind - either monetizing or not - Paramount Global (CBS) is who you would need to contact. But if it's just for educational/entertainment/informational purposes and you don't expect to make any money I guess you can just do what many others do. Stick it up there and just know there's no "dough" in it.
@@davidpage9355 Thank you for such a detailed reply! I didn't expect that.
It's an educational video. So, like you, I'm more interested in the "exchange of information" than the "exchange of money." ... Still, it's at least wroth sending off a few emails to see if it can end up monetized. ... Maybe I'll get lucky?
@@0-by-1_Publishing_LLC 🤞why not? 🖖
You should do a multi part video on how Peter Knight provided the mortar between the bricks in The Moody Blues album Days of Future Past.
Here is the serendipitous string of events that made Days of Future Past. Yes, Marvel ripped off the title but since the drummer, Graeme Edge was such a huge Scifi and comic book nerd he let it pass.
ua-cam.com/video/yKP3sYEUAm0/v-deo.html
Cool documentary clip. Thanks. A lot of info I didn't know. Always loved the Moodies. Last year, just for the fun and exercise, I did a transcription of Nights and Late Lament. (Also did Thick As A Brick, but that's another story) Thanks for the suggestion. When I run out of Trek music ...
@@davidpage9355 Hello!
I have always thought that with the modern cinematic digital tools at your disposal how would you create DoFP today... And then the Ukraine war started and I thought "Why doesn't someone do a Cinematic version of Question, the perfect anti war song.
I don't have the musical chops to do it, I am an IT that helped buildout the media lab at the system of charter schools I worked at.