I consulted with the experts who made this youtube video:
...who say:
"While we first hear the Constellation motif when we first see the wounded ship on the screen, there is no motif for the "Dead Constellation." The motif stands as just the "Constellation" motive in its definitive form. In this score, just as Kirk's theme is derived from the Enterprise motif, Decker's motif is similarly derived from the Constellation motif.
"While Sol Kaplan did compose music for the scene in question, in the final cut, Marc Daniels and Bob Justman instructed Jim Henrikson to go with no music under that dialogue.
"The music that Kaplan originally composed for that scene contains the Constellation motif played in unison by the trumpet section. It then cleverly transforms into the woodwinds playing the Decker motif as the conflict intensifies with Spock. Interestingly, though the music was never used, nowhere else in the score do we have a clearer example of how Kaplan developed the Constellation motif as a variation of itself to become the Decker motif."
Shem praises how densely packed the score is with various themes in various reiterations. However, the net effect on the viewer might seem like "mickey mousing." I'm wondering how the score differs from that label. I cant help visualizing some old western piano player accenting the cliff-hanger feel to the music (starting at 1:18) in "Kirk Does it Again." In inadvertent association.
That was just a bit of score that stuck in my head for its beauty and inventiveness. Wish I could afford more Sol Kaplan.
Of all the Kaplan scores released by Intrada I like "House on Telegraph Hill" best. Kaplan was a master of Noir scoring. Here is the cue "Poison": http://www.intrada.net/sound/SK_Telegraph_16.m3u
" Interestingly, though the music was never used, nowhere else in the score do we have a clearer example of how Kaplan developed the Constellation motif as a variation of itself to become the Decker motif."
Lukas
The music wasn't used in the episode it was composed for, however it did turn up in The Omega Glory, I believe, during the final act as Captain Tracey is convincing the Yangs that Spock is Kirk's satanic agent.
Sol had previously used the "Jaws" beat (in the "Kirk does it again" climax in Doomsday Machine) in Noir "Hollow Triumph"(1948). He weaved his main theme in while it underscored the tension. I let it run on a few seconds past that part because the score was kinda fun.
Re: the "Decker on the Edge" theme as I call it, employed with flute and clarinet when Decker formally relieves Spock of command, then on cello just before Decker attacks Mr. Montgomery of security as he's being led to sickbay.
Does that theme appear anywhere else in the score?
