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Omni Music Publishing: Star Trek II: The Wrath of Khan


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Whatttttttt? Why am I hearing this here? Isn’t Facebook the way people communicate these days?

In any case, I’m buying ST2 on day 1

I guess I’ll have to email Tim

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All of these score releases are something I never thought I’d see due to all the red-tape and prep involved. Kudos to Omni and the others who keep making it happen! 

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  • 11 months later...

Finally got round to reading through the Omni score for TWOK from end to end listening along to the remastered album:


  • I expect the brass section had nightmares about all those sextuplet fanfares and the strings the large number of string runs preceded by fairly significant leaps. There's also a large number of woodwind passages that appear to leave almost no space for breathing... The trumpet writing seems quite high at times, I'm pretty sure the high notes are ones that Sibelius (the software!) would mark with a red as being out of range. Maybe the capabilities of the average Hollywood trumpeter are beyond what is typically expected in a standard symphony orchestra where brass plays a slightly smaller role.
  • The full score makes you appreciate even more than Mahler meets Prokofiev antecedents, although one thing I'd never noticed before was how much Captain Terrell's Death owes to the trash compactor music from Star Wars. The grinding brass figures are very similar.
  • It makes you notice how many of the suspenseful Ceti Alpha V and Regula One cues are based on a bass line of pizzicato cellos and basses - obvious in hindsight but when you see it written down, you realise how often he relies on this device. One he used in countless scores after of course.
  • There is a brief, unrecorded cue, The Reliant, early on, which I assume is basically a flyby stinger type cue. I will have to do a mock up in Sibelius sometime.
  • The amount of synth work to provide atmosphere is quite surprising at times, but it's very effective and interesting to see how some of it has been notated - ranging from actual notation, to general guidance.
  • A lot of the arpeggio piano figures are more or less inaudible, I expect it wouldn't have made a huge difference had they been omitted at certain points. Surprising given that there are two pianos in many of the louder passages!
  • Much though the latest re-release is a significant improvement in sound, part of me still hankers for a new recording, just to hear some of the detail in the orchestration that a fresh recording could show up.
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