Yep, you missed two. Horner used it at the end of Search for Spock and Rosenman used it at the end of The Voyage Home (tied for my favorite with quote TMP). Interestingly TMP is the only time COURAGE used it.
Giacchino did use it in ST'09, but only as end-title music, so it doesn't really fit my question.
But Mullendore is the only one who used it in the series. Too bad. I think he showed (especially in Impension) that it could be a versatile theme.
Actually I did miss one more in-series use: Wilbur Hatch's "Humoresque" library cue, used in "City on the Edge" when Kirk swipes the clothes, is a variation on the long-line motif.
How many shows these days use thier title music at all? (If they have any.)
's brief main-title theme does show up in the episode scores as the title character's leitmotif, I think. Person of Interest
and maybe Elementary
have used their title motifs in scoring as well. And pretty much any Bear McCreary-scored series is going to use its main-title theme in the episode scoring. McCreary's one of the main people who's brought back a more melodic, orchestral sound to TV scoring.
Just finished the final Season 1 disc. The unused "City on the Edge" cues are kind of interesting. Was "Edith's Vision" also unused? I didn't recognize it.
There's no vocalist credit for the brief sung portion of "Goodnight Sweetheart." Was the singer not identified in the music documentation?
Finding out about Steiner's library versions of his episode cues has really cleared a lot up for me. I often noticed over the years that tracked versions of Steiner's cues sometimes had elements missing -- like the version of "Zap Janice" that doesn't have Rand's flute motif over the cellos, or the version of "Charlie's Mystery" that just trails off on a sustained cello note instead of going into that up-tempo falling-and-rising bit I like so much. Ages ago, I mentioned that to my father, who was in the broadcasting business and very knowledgeable about music; and his assumption, based on my descriptions rather than actually hearing the cues, was that they'd been multitrack recordings with the various instruments acoustically isolated so that one part or another could be dialed out from the recording. I accepted his explanation, but now I realize it didn't entirely explain some of the variations, like the long sustain on the alternate "Charlie's Mystery," or the version of "Standoff" that's a bit more up-tempo than the original. Knowing that Steiner did separate library versions, and experimented with these kinds of variations that I'm hearing here, explains so much.
I wish my father were still alive so I could show this set to him. He wasn't a big Trek fan, but he loved music and music scholarship. He would've probably been interested to learn about this behind-the-scenes stuff and see the orchestra member lists. I bet he would've recognized some of the musicians' names and could've told me something about them.
Was the audio for "Charlie Is My Darling" recorded on set? It does include a lot of ambient sounds and Nichols did seem to be moving around relative to the mike. But I'd assume the instrumental portions were recorded in the studio. Maybe the whole thing was done in the studio after the fact to match the film? That would be an unusual way to do it.
Were the "Squire of Gothos" cues really played on a harpsichord, or was it the Hammond organ faking a harpsichord? Can Hammond organs do that? Because the tone quality of that instrument was not very pleasant to my ear, and I'm wondering if it's because it was a substitute for the real thing, or because the real thing genuinely sounds like that.
Hatch's "Vina's Dance" was interesting -- not as good as Courage's, but it didn't have to be, and I can tell how it was an influence on Courage's version.
Some of the sound effects and outtakes are more interesting than others; some get a bit tedious. I didn't really need 2 whole minutes of Planet Atmosphere Alternate #4. But it was neat to hear the origin of the sickbay heartbeat sound, and actually hearing the moment when the transporter sound was invented was really something.
Track 73, the Courage-conducted outtakes of the electric-violin main title arrangement, are interesting in that they seemed to be tweaking it as they went, trying different variations. There's some of that in the next track too; I like the louder cymbal accompaniment to the fanfare on Track 74, take 2; it reminds me of the TAS theme. But the Steiner end title outtakes have a lot more consistency to them. They're just playing the same arrangement several times to get the best performance, without the same kind of experimentation.
On to season 2! But first, lunch.