Ennio Morricone's the Good, the Bad and the Ugly

Chapter 1 List of Figures Chapter 2 Editor's Foreword Chapter 3 Preface Chapter 4 Acknowledgments Chapter 5 Introduction Chapter 6 Chapter 1: Ennio Morricone's Musical Background Chapter 7 Chapter 2: Morricone's Technique of Film Scoring Chapter 8 Chapter 3: Historical and Critical Context of The Good, the Bad and the Ugly Chapter 9 Chapter 4: The Music and Its Context Chapter 10 Chapter 5: Analysis of the Score Chapter 11 Appendix: Selected Filmography of Ennio Morricone Chapter 12 Notes Chapter 13 Bibliography Chapter 14 Index Chapter 15 About the Author

Charles Leinberger is a professor of music at the University of Texas at El Paso. He has been a private trumpet instructor throughout the American Southwest and holds a Ph.D. in Music Theory from the University of Arizona in Tucson.

The famous score with its tootling theme song that may be Morricone's best-known work is the subject of a close reading by Leinberger, a music theorist at the U. of Texas at El Paso. Morricone is a five-time Academy Award nominee who's scored films in many genres, but it's his work for westerns that has tuck in most filmgoers' minds. Leinberger traces the composer's musical background and experience in Italy and in Hollywood; explores the techniques that distinguish his music; and examines the cultural and historical contexts of "The Good, the Bad, and the Ugly" and its score. A final chapter analyzes the score's compositional techniques from the opening credits to the climactic ending. Includes a selected filmography of Morricone's work. Reference and Research Book News ...a breezy yet highly informative overview of the film, the filmmakers, and the composer...a valuable resource for a pivotal work by one of Italy's most respected and popular composers. -- Mark R. Hassan Music From The Movies Charles Leinberger, a graduate of the University of Arizona, looks at the historical context of Morricone's music before discussing the plot and characters in the film and breaking down the composer's unmistakable techniques, such as the use of the 'micro-cell technique' - the immediate juxtaposition of short and contrasting musical idea - and his unique tonality (the use of minor modes and pentatonic and hexatonic scales). He concludes by dissecting the score in minute detail, focusing on each character's particular musical themes and how they interact with the story. As a history of Morricone and his methods, this is a really fascinating book. Muso