We will split this discussion into six phases...the music as heard in the film, the different versions of the Superman March, the incarnations of the love theme, the source cues, the leftovers, and the other "new" cues in the expanded version.

Abbreviations: OST stands for Original Soundtrack;

DCD stands for Domestic Warner CD;

JCD stands for Japanese Warner CD;

RHI stands for Rhino Movie Music CD;

LP stands for the original Warner double LP;

VAR stands for the Varese Sarabande CD re-recording;

THV stands for the Original Theatrical Version;

EXV1 stands for the Expanded ABC Version;

EXV2 stands for the Expanded KCOP Version. We did not include the cassette or 8-track releases since they are basically the original double LP content.

 

 

 

THE COMPLETE SOUNDTRACK ARTICLE

 

PHASE ONE


THE MUSIC AS HEARD IN THE FILM

These are the cues as they were recorded and originally intended to be used, placed in their original chronological order.

<>Each entry uses the titles from the RHI, followed by where they can be found in each of the score album releases. The Conductor's Score Code lists its number followed by its title. The Scoring Log Code lists its own set of numbers (the reel number, followed by the part numbers), as well as its own titles. Both Conductor's Score and Scoring Log titles differ in many cases from the titles we have all been familiar with.

This is then followed by a description of the cue, then a Time Code Sequence listing the portions of the cue that are used in the different versions of the film and, in many cases, the score album incarnations. The time codes are based on the RHI.



1. PRELUDE and MAIN TITLE MARCH 5:29<>
[RHI-CD 1, Track 1; VAR-CD 1, Track 1 as "Prologue and Main Title"]
Conductor's Score Code: 1M1-"Main Title" (10 pages);
Scoring Log Code: 1-1B-"Prologue (revised)" (combined with 1-1A-"Main Title March")

Our score begins with a subtle muted brass, harp & woodwind phrasing of the Superman Fanfare. We see a curtain being drawn open as the projector turns on and the screen reveals the first issue of "Action Comics". The off-screen voice of a little boy reads aloud the opening pages, setting the stage for the adventure to come. The prelude segues into a "dum-da-dum, dum-da-dum, dum-da-dum dum-da-dum, etc." passage as the opening credits "zoom backward". Resoundant horns and an 8-bar motif signify the "S" shield "zooming forward", and then we segue to the familiar Superman March as the rest of the opening credits "zoom foward" after each other.

The RHI presentation (put together editorially to re-create the film version of the main title) is a hybrid of four different sections: the Revised Prologue (which was recorded with the intention of attaching to the previously recorded Main Title [from Theme Variation #2]), the extended 8-bar motif lifted from the film version of the "End Title" (added to fit the animated "S" shield), the march section from Theme Variation #2, and the build-up and crash from the film version of the "End Title".
The adaptation on the VAR consists of three section/arrangements: The first half of the introduction to Theme Variation #1, the second half of the Revised Prologue, and the shortened 4-bar intro motif and march section of Theme Variation #2.
In the actual film, in addition to the Revised Prologue and extended 8-bar motif that is used, the march section (Theme Variation #2) has been raised slightly in pitch (i.e. time-compressed) and edited in two places, to conform to the film's final version of the main credits.
Also in the film, there is no tracked "build-up and crash" from the film's "End Title", the music is presented exactly as it was recorded.

TIME CODE SEQUENCE:<> All versions of the film--0:00-2:47, 2:52-4:27, 4:35-conclusion with natural ending (see Theme Variation #2 for details); VAR--march section follows OST and RHI album arrangements.



2. THE PLANET KRYPTON 6:39
[DCD & JCD-track 2; LP-side 1, track 2, VAR & RHI-disc 1, track 2]<>
Conductor's Score Code: new 1M1A- "Krypton" (10 pages);
Scoring Log Code: 1-2A-"Krypton re-do", 1-2B-"Krytonopolis", 1-3A-"The Dome Opens" (Revised)

Opening Krypton scenes begins on the same G note that ended the previous cue. As we approach Krypton, Krypton Fanfare #1 is introduced. The music to Jor-El's opening speech is dialed out in all versions, but a striking synth-strings figure is heard where Jor-El pronounces sentence on the three "Rebel Elements" (Zod, Non & Ursa). Rising horns signify the opening of the dome and swirling strings underscore the villains magically put into the eternal prison called "The Phantom Zone".
This is a revised version of the opening Krypton music, beginning in G minor and opening with a low G (later settling on a C brass). This was done in order to connect the film version of the "Main Title March" with this piece. The Krypton fanfares are then introduced in top brass fashion. The music to the "trial" section was edited for the LP, DCD, & JCD, which would use a re-balanced piano and synthesizer. The music to the dome opening (the beginning of which was not used in the final film versions but presented on the RHI) starts over low string tremolos, and features question- and-answer like figure in the brass and woodwind. The low strings play a sextuplet figure that climbs into the high strings (when the violins join in, there are two voices that remain a major 9th apart until the high "C" is reached). There is a loud horn fanfare, the the woodwind climb up to a high C. The low G chord on which this cue ends brings the piece full-circle.

TIME CODE SEQUENCE: All versions of the film--0:00-1:25, 2:10-3:27, 3:32-3:34, 3:37-3:39, 3:46-conclusion; LP, DCD, JCD--0:00-3:11, 3:15-3:16, 4:01-4:11, 5:01-conclusion; VAR follows shorter original album edit.



3. DESTRUCTION OF KRYPTON 7:52
[DCD & JCD-track 3; LP-side 1, track 3; VAR & RHI-disc 1, track 3]<>
Conductor's Score Code: 2M1-"The Council's Decision" (10 pages);
Scoring Log Code: 2-1-"Council Decision Final", 2-1A-"Star Ship Launch"

Lengthy cue (some of which was not heard in the THV) underscoring the latter sequences of Krypton leading to the planet's destruction. A six-women/high bassoon chorus playing a rocking slow figure over low, snarling, muted brass signifies the Council's decision that should Jor-El go public with his "conclusions" of Krypton's fate, he will suffer charges of insurrection and possible punishment into the Phantom Zone. Back at Jor-El's home quarters (and set to a string passage of the same "slow figure"), Lara (his wife) prepares their baby Kal-El for his journey to Earth, a place where he will carry out his parents' ultimate destiny (some of it was dialed out in the THV). Later, through a subdued, lyrical melody (slightly edited for the THV), Jor-El says a final soliliquy to his son as an Executioner, sent by the council to hunt and kill Jor-El, races through the canyons. From this point forward, the remainder of the music is dialed out in the THV but continues in the EXV1 & EXV2. A flute passage of Krypton Fanfare #2 underscores Jor-El preparing Kal-El's ship for take-off. Rumblings on Krypton begin, and heavy brass signifies the start of the planet's destruction. While men and women begin to run for cover, Jor-El launches the spaceship that will crash through the ceiling, set to dramatic brass and strings and ending on a high C# major chord in strings, minus the third and with added second, which in the EXV1 & EXV2 will crossfade immediately into the next cue. This end section would be used for the original theatrical and television trailers.
The music where the ship crashes through the ceiling is apparently a re-recording of an earlier version. In the music eventually used for the EXV1, EXV2 and the albums, an ascending brass is utilized followed by a crescendo.

TIME CODE SEQUENCE: LP, DCD, & JCD--0:00-1:24, 3:19-conclusion [VAR follows album arrangement]; THV--0:00-1:24, 3:03-3:46, 3:57-5:06, 5:11-5:38 [remainder of track dialed out]; EXV1 & EXV2--0:00-0:58, 0:45-3:18 (partially tracked from same cue, followed by 3:47-4:15 tracked from "The Planet Krypton"), 3:19-3:53, 3:57-6:26, 6:32-6:51, 6:40-conclusion (partially tracked from same cue), crossfades into next cue. Also, in the EXV2, 3:27-5:38 tracked in later scene (with Superman talking to Jor-El in the Fortress of Solitude) midway through that version of the film.



4. STAR SHIP ESCAPES 2:21
[RHI-Disc 1, track 4]<>
Conductor's Score Code: 2M2-"Kryptonquake" (4 pages);
Scoring Log Code: 2-2/3-1-"Kryptonquake"

Actually a continuation of the previous track as Kal-El's ship departs the self-destructing Krypton for his journey to Earth. The approaching rays of Krypton's sun causes severe earthquakes as the populace scrambles vainly for safety. As the planet turns red, we are introduced to the six-note Heritage Motif, in minor-chord form, that represents Kal-El's Kryptonian (and future Earth) heritage (this will later appear in the score in major-key form in "The Terrace" & "Lois And Clark", and again in minor-key form in "Superfeats"). As the planet turns blue and the populace fall to their deaths, rolling strings and build-up synths lead to a brief pause, then rolling drums and a low "C" crashing of cymbals underscore Krypton's explosion.
Parts of this cue can be heard in the second half of the trailer for "Superman III" where Superman saves Gus Gorman's life. This marked the first time this cue had been heard theatrically outside of the OST and expanded editions. The roll-up/crash ending that was originally intended for this sequence is well-known to listeners as the end section of the LP, DCD, & JCD's "Superfeats".

TIME CODE SEQUENCE: THV--0:00-0:23, 1:34-2:03 (remainder dialed out); EXV1 & EXV2--0:00-0:39, 0:11-1:34, 1:23-conclusion (partially tracked from same cue).<>

5. THE TRIP TO EARTH 2:28
[DCD & JCD-track 4; LP-side 1, track 4; VAR-disc 1, track 4; RHI-disc 1, track 5]
Conductor's Score Code: 3M2-"Baby's Trip To Earth" (6 pages);
Scoring Log Code: 3-2A-"Baby's Trip To Earth (Revised)"

A fascinating orchestral showpiece accompanying the baby Kal-El's three-year journey to Earth. The Superman Fanfare makes several appearances amidst the other orchestral effects going on in this cue. Low brass and high horns are heard as Kal-El goes through the red nova, but the quick pace motif returns as he approaches the Milky Way galaxy leading to Earth. The end of this piece was not heard in the THV, but you can hear it all in EXV1 & EXV2.
What is heard here is a revised version, as the original version (which featured similiar passages) could not be located.

TIME CODE SEQUENCE: THV--0:00-1:08, 1:21-2:13 (final chord dialed out); EXV1 & EXV2--in its entirety.<>

6. GROWING UP 2:34
[JCD-track 5; LP-side 1, track 5; VAR-disc 1, track 5; RHI-disc 1, track 6]
Conductor's Score Codes: new 3M2-"Baby Makes An Entrance", 3M3-"Baby Lifts Lorry", 4M2-"Racing The Train" (6 pages total);
Scoring Log Codes: 3-2B-"Baby Entrance", 3-3-"Baby Lifts Lorry", 4-2-"Touchdown", 4-2A-"Racing The Train"

This is a series of cues taken from the Smallville sequences. The first (as heard in the film and on the RHI) is a short 7-bar quiter statement of the Superman Fanfare, heard as the toddler Superman walks out of the crater his ship created. The second portion (another softer rendition of the Superman Fanfare, played on horns) underscores baby Clark Kent lifing up a truck, the third and final takes place later, underscores Superboy kicking the football, which start the slow string glissandi. This cue plays up until he runs up to his house. There are indications of jumping around in the score, which form this particular section.
The original written version of the first portion made use of the Heritage Motif, but it doesn't appear to have been recorded, so it is not included on the RHI. On the LP, JCD, and VAR, only the latter two portions are presented. However, beware of the VAR arrangement, which plays considerably slower in pace.

TIME CODE SEQUENCE: THV--0:00 to 1:43, 1:54 to conclusion; EXV1 & EXV2--0:00 to 0:15 & 0:23 to 0:35 (0:15 to 0:22 section cut due to re-editing for television); 0:36 to 2:04, 1:12 to 1:25 (partially tracked from same cue), 1:12 to 1:14 (partially tracked from same cue), 2:04 to conclusion; Opening 0:00 to 0:35 section not included in LP, DCD, & JCD; VAR is based on the earlier album arrangements.<>

7. DEATH OF JONATHAN KENT 3:27
[RHI-disc 1, track 7; VAR-disc 1, track 6 as "Jonathan's Death"]
Conductor's Score Code: 4M4/5M1-"Jonathan's Death" (4 pages);
Scoring Log Code: 4-4/5-1-"Pa Kent Death Scene"

Opens with Pa Kent's final conversation with the young Clark as we are introduced to the sentimental Leaving Home Theme in G major (some very Americana writing a la Aaron Copland). As Pa clutches his arms and collapses dead, a low C can be heard, followed (as we head for the cemetary) by a more emotional version of the Leaving Home Theme in C# major, developing into a B Flat minor (as Clark realizes he could not use his powers to save his father), then ending in a resolving chord of B flat major.
Again, the VAR arrangement is played slowly than the original soundtrack counterpart.

TIME CODE SEQUENCE: In its entirety in all versions of the film.

8. LEAVING HOME 4:49
[DCD-track 5; JCD-track 7; LP-side 2, track 2; VAR-disc 1, track 7; RHI-disc 1, track 8]
Conductor's Score Code: 5M3-"Kryptonite Calls" (5 pages);
Scoring Log Code: 5-3-"Krypton Calls"

One of Williams' best cues. Starts as Clark gets out of bed to go to the barn, set to Krypton Fanfare #2. The latter half of the cue showcases the Leaving Home Theme once again as Clark bids a farewell to his earthly mother. The cue ends dramatically as Clark and Martha embrace for the last time, as they stand in the wheat field.

TIME CODE SEQUENCE: In its entirety in all versions of the film and soundtrack albums.<>

9. THE FORTRESS OF SOLITUDE 9:17
[DCD-track 7; JCD-track 8; LP-side 2, track 3; VAR-disc 1, track 8; RHI-disc 1, track 9]
Conductor's Score Codes: new 4M4/5M1-"The Fortress Of Solitude", new 5M2-"Father's Instruction", new 5M3-"Untitled" (14 pages total)--
Scoring Log Codes: 5-4/6-1-"The Arctic", 6-1X1-"Fortress Synth", 6-2-"Fortress Of Solitude", 6-2X1-"Fortress Crystal 1" (mixed in), 6-2X2-"Fortress Crystal 2" (mixed in), 6-3-"Father's Instruction", 6-4-"Cosmic Journey", 6-5- "Superman Fanfare"

Starts as Clark walks north (done with a female chorus). Major and minor chord passages of Krypton Fanfare #1 accompany Clark approaching the North Pole. Dramatic horns and ascending strings signify the complicated construction of the "Fortress Of Solitude", ending with a strong passage of Krypton Fanfare #1. Intermelding of Krypton Fanfares #1 & #2 underscore Clark picking up the Crystal inside the Fortress (its noise represented by high synths), then Jor-El starts speaking, explaining why he came to Earth, etc. (that section features solo arp synthesizer over soft string tremolos and harp). The chords change from C# Major up a step to D major as we "travel through time and space". The cue ends with a strong reprise of the Superman Fanfare (in G major) as Superman flies toward the camera.
The quiet opening passages were to feature an Arp synthesizer, but Williams must have nixed this idea at the recording session. Other portions of this cue utilize avant-garde notation. In the final portion, Williams utilizes 18 staves due the amount of detail in the harp, piano, and keyboard parts. The Fortress Synth was mixed in for the final film, and it can also be heard on the RHI.

TIME CODE SEQUENCE: THV--0:00 to 4:58 (1:20 to 1:22 dialed out due to reel change), 5:08-6:30, 6:37 to 8:40, 8:45 to conclusion;<> EXV1 & EXV2--0:00 to 1:32, 3:18-4:32 (tracked from same cue), 1:33-2:36, 2:22-2:36 (tracked from same cue), 2:22-2:28 (tracked from same cue), 2:38-5:00 (fades out due to scene extension), 3:25-6:11 (partially tracked from same cue), 5:57-8:40 (partially tracked from same cue), 8:45-conclusion; LP, DCD, & JCD--0:00-2:15, 2:28-5:00, 5:05-5:26, 5:48-5:50, 6:14-conclusion.


10. WELCOME TO METROPOLIS 2:11
[RHI-disc 1, track 10]
Conductor's Score Code: 7M1 revised-"More Mugger" (3 pages);
Scoring Log Code: 7-1A-"The Mugger re-do"

Underscores scene where Lois & Clark come face-to-face with a mugger. Parts of the first half are dialed out in all versions of the film. Ends as Superman tosses the bullet aside to follow Lois; this will formally introduce Lois' Love Theme and reprise the Superman Fanfare in quiet fashion. The last forty seconds of this cue were dialed out in all versions of the film, this would have led directly into the next cue, although a portion of the end section was adapted by Ken Thorne for "Superman II".

TIME CODE SEQUENCE: 0:00-0:11, 0:50-1:31 in all versions of the film (remaining sections dialed out).



11. LEX LUTHOR'S LAIR 4:48
[JCD-track 11; LP-side 3, track 3; RHI-disc 1, track 11]
Conductor's Score Code: 6M2/7M1-"Introducing Otis" (8 pages);
Scoring Log Code: 7-2/8-1-"Introducing Otis"

Underscores the introduction of Otis and Lex Luthor. It begins as the detectives follow Otis (this will introduce us to the March Of The Villains theme), and the cue runs until Lex causes the death of one detective by pushing the lever. The shortened original album versions (LP & JCD) end with a flourish which was meant to underscore Otis sneaking into the secret door...this was not heard in any version of the film. Most of this cue (especially the build-up section meant to underscore an approaching train) was not used in the THV. The restored sections were scattered in the EXV1 & EXV2.

TIME CODE SEQUENCE: THV--0:00-0:35, 1:02-1:10, 3:36-conclusion; EXV1 & EXV2--0:00-1:06, 1:11-2:17 (partially tracked from same cue), 0:00-0:15 (partially tracked from same cue), 1:01-1:30 (partially tracked from same cue), 2:10-3:29 (partially tracked from same cue), 0:56-1:01 (tracked from earlier in the same cue), 1:11-1:29 (tracked from earlier in the same cue), 3:36-conclusion; LP & JCD--0:00 to 1:51, 3:14 to 3:36 (edited for the original album).


12. THE BIG RESCUE 5:55
[RHI-disc 1, track 12; VAR-disc 2, track 1 as "The Helicopter Sequence"]
Conductor's Score Code: 7M2-"The Helicopter Sequence" (12 pages);
Scoring Log Code: 8-2/9-1-"Helicopter Sequence"

Underscoring the now-famous scene of Lois' fateful helicopter accident and the emergence of Superman. Begins as the helicopter starts spinning on the roof (building into a "fate" motif in F minor that would later be utilized in "Superfeats"). When Clark exits the Daily Planet building, his discovery of Lois' hat (which fell from 100 stories high) will lead into the Superman Fanfare as he publicly becomes the Man of Steel for the first time. The Love Theme returns as Lois is rescued from a fall by Superman, and when the helicopter begins to fall only to be taken up by Superman, we get a bold statement of the Superman March similar to the end section of Theme Variation #1. A quiet statement of the Love Theme is heard as Lois taken back to the rooftop, and the music ends as Superman flies away from the Daily Planet building (done to a D major reprise of the Superman Fanfare). This will crossfade directly to the next cue.
This recording, presented on the RHI (and what the VAR is based on) is unedited as it was shortened for the final film by about a minute in total due to post-production film editing. The conductor's score for this cue would have run about 48 pages(!).

TIME CODE SEQUENCE: THV--0:00-1:01, 1:05-1:31, 1:47-2:48, 2:55-3:11, 3:18-3:22, 3:25-3:33, 3:35-3:44, 3:47-conclusion<>; EXV1 & EXV2<> uses all the above except for the final section, which used partially tracked music from 2:55-3:10 from same cue, then hard-edits to section 5:28 to conclusion before cross-fading to next cue.


13. SUPER CRIME FIGHTER 3:20
[first portion on LP-side 3, track 2; DCD-track 9; JCD-track 10; & LP-side 3, track 2 as the second portion of "Super Rescues"---in its entirety on RHI-disc 1, track 13]
Conductor's Score Codes: 8M2-"The Burglar Sequence", 9M2-"Chasing Crooks" (8 pages total); Scoring Log Codes: 9-2-"Burglar Sequence", 9-3-"Chasing Crooks"


The next two tracks comprise of "Superman's First Night" (aka "Super Rescues") in its correct sequence in the THV, EXV1, EXV2, and the RHI. Each of these next two tracks consists of two sections. Except for the second section of this particular cue, the series of sections were placed out of order for the LP, DCD, & JCD. The first portion underscores Superman apprehending the jewel thief on the side of the skyscraper, then segues into the second one, a dramatic action cue underscoring Superman chasing the crooks who escape in the boat.
Much of the second portion of the track is inaudible in the film, as the sound effects drown out most of the music.

TIME CODE SEQUENCE: THV--In its entirety; EXV1 & EXV2--0:00 to 0:31, 0:14-0:31 (tracked from same cue), 0:14-conclusion (partially tracked from same cue, but half a second from the 1:19 point edited out).<>

14. SUPER RESCUES 2:14
[sequenced out of order on DCD-track 9; JCD-track 10; LP-side 3, track 2---in proper sequence on RHI-disc 1, track 14]
Conductor's Score Codes: 8M4-"The Cat Rescue", 8M5-"Air Force One" (5 pages total);
Scoring Log Codes: 9-4-"Cat Rescue", 9-5-"Air Force One"

Second of two cues underscoring "Superman's First Night". Like the previous track, it too consists of two sections. The first begins as the LP, DCD, & JCD did with music to Superman rescuing a cat from a tree. On the RHI, it segues in proper sequence into music for the second section, underscoring Superman rescuing Air Force One, which has lost an engine in a lightning storm, although in all versions of the film the cue does not start until the Superman March section.

TIME CODE SEQUENCE: THV--0:00-0:43 (last chord of first section dialed out), 1:13-conclusion; EXV1 & EXV2-- 0:00-0:29, 0:43-0:50 (tracked from same cue), 0:32-0:50 (partially tracked from same cue), 1:13-conclusion.


>>>PAGE 3

 

 
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