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No other television serie
has had the worldwide
impact of Star Trek Of
course, there's
Alexander Courage's
original title music, a
buoyant promise of some
thing special But there's
so much more after that
Like so much of Star Trail
the music was inventive
beyond its time Listenin
to these tracks reawaker
the familiar feelings of
wonder and imagination
Its like coming home tot]
future
—Ovid lierrobi
a ori , inal Star Trek
but to characterize that world in terms of
ong prov .e. an rresistible
timeless human drama and emotion. There
:ene Raddenbe
as
.
playground for the imagination, populat-
are powerful themes for the Enterprise, for
ed by strange new worlds, fantastic star-
Captain Kirk, for Spock. Dynamic action
ships and compelling characters. Captain
cues conjure up Kirk's epic fistfights with
James T. Kirk of the Starship Enterprise
alien assassins, friends turned demigods,
could out-fight and out-strategize any adver-
old Starfleet Academy tormentors, genetic
sary, seduce any
supermen—even
woman (human or
with a hormonal
alien), and orate
S. •ck. Exotic tunes
like a presidential
.
evoke strange
candidate. Science
) . bf.
officer Spock could
Klingons, Vulcans.
answer the cosmic
.
questions of the uni-
Romulans, the war-
Iv
riors of Capella
verse with a simple
cock of his eyebrow.
IV, the Kelvans.
1
j
Lush orchestra-
And ship's surgeon
Leonard "Bones"
McCoy could cure
any disease, no matter how exotic—even if
he grumbled loudly while doing it.
The music of Star Trek has received
less attention than other aspects of the franchise:
alien beings: the
tions accompany
1
the show's hyperglam women: Harry
Mudd's space sirens, beautiful androids,
he tragic Edith Keeler, "captain's woman"
Marlena Moreau, the doomed Miramanee.
Star Trek's music embodies the
cannot be photographed, or ade-
how's best moments: Kirk confronting an
quately described in prose. Its purpose was
;vil version of himself; a planet-killing war
not to create a believable world of the future,
achine charging toward the Enterprise;
it
Spock discovering he hasn't killed Kirk
iconic musical passages into fans' memo-
in a Vulcan arena after all; Kirk and the
ries.
Enterprise defeating the god Apollo;
Working with limited budgets and on
Zefram Cochrane learning to love an alien
quick schedules, the composers took inspi-
being made of gaseous energy; tribbles
ration from Star Trek's optimism, adven-
overrunning space station K-7.
ture and human drama—and guidance
You may not think you know this music
by heart, but trust us: you do.
from series creator Gene Roddenberry
(1921-1991). "My feeling was this,"
Roddenberry said in a 1982 interview* with
Star Trek composer Fred Steiner, "that for
•
small , roul oF compeers. most
the first time on television, I was going to
t em veterans of 19802 series television, wrote original music for roughly
totally unlike what the audience was accus-
a third of the series' 79 episodes (typical-
tomed to. And I thought, my God, I had
have situations and life forms that were
ly at the beginning of each season). The
better keep as many things as possible
American Federation of Musicians (AFM),
very understandable to my audience. I was
the union representing the Los Angeles
afraid that if, on top of bizarre alien sea-
performers engaged to record music for
scapes. I had beep-beep-beep music, then I
Star Trek, allowed the re-use of music from
would be in trouble. And so I wanted music
show to show (and from year to year, as
that said adventure, courage, boldness—all
long as it was re-recorded) if certain quotas
the things we talked about, as a matter of
ere met. This AFM-permitted "tracking"
fact, in the opening words of, you know,
of cues burnt many of Star Trek's most
'To boldl !o,' and so on."
'Fred Sterner wrote an article for 1982 nue of The Oureterly Journal of the Library al Congress entitled 'keeping Stara al Ihe Scam
MIJVC for
Sr., Trek - or wtnch he neernewed mom of the semi composers as well as other personnel from the show. Al Minn=
here°, to "a 1982 imennew wIth Fred Stetner - der-we horn mienoew matenal gathered for that admit
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lexander Caere: e scored Star Me
be! ins with a spectral atmosphere fol
lowed by a heroic fanfare for the
nterprise
first (unaired pilot, "The age,
during January 1965. He came to Star Tre
that would become one of the most
on the recommendation of Wilbur Hatch.
famous signatures in television history. "I
Lucille Ball's longtime music director and
wanted very Earthlike, romantic music,"
-
head of music at her Desilu Studios, which
Roddenberry explained. "Almost —and I
•roduced Star Trek.
think I used the term with Sandy—Captain
Roddenberry often cited
Forester's novel
.
Blood; a seagoing feeling of adventure,
Captain Horatio
human adventure. And he responded, and
Homblower as an influence on his ideas for
seemed to understand, and seemed to be
the series, and his early discussions with
enthusiastic to do it. Music, to me, is where
"Sandy" Courage emphasized a nautical
the inner you—your guts and so on—come
approach, grounding the fanciful flights
in contact with a show."
of the Enterprise in a seagoing metaphor.
For the second half of the main title
Courage's "Main Title" for "The Cage"
sequence, Courage created an unusual yet
instantly memorable theme: part space
But of course, subsequently, you know, it'-
music, part heroism, part pop music, it
become a standard."
featured a fast-paced beguine-style
rhythm and jazzy harmonies (which com-
Over
Star Trek's three seasons,
Courage and others would re-record and
poser Bronislau Kaper called "shoulder"
re-interpret the theme. Courage used a
chords—because a cocktail pianist would
spacey version for electric violin during the
humorously turn his shoulders while he
irst half of season one while the remain-
playee t em, as i to show o" . usic edi-
der of the season employed a version
or Robert Raff, in his 1982 interview with
arranged and conducted by Fred Steiner
Fred Steiner, remembered his initial sur-
that emphasized cellos. Courage provided
prise on hearing the piece: "I was quite
a new arrangement for season two that
shocked when I first heard it, because I
emphasized a soprano vocalise—this
hought it was nothing that I had conceived
would become the most familiar rendition
•f, and it wasn't well received at first,
of the theme, as it was also used for sea-
because it was such a sort of a far-out idea.
son three (as re-recorded b Wilbur Hatch).
•
are behind ihe scenes glimpses 01 aliens nni
The Cage
Arena and The
GAIIICO
Seven
-
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wo men ou ervised the hiring o
Interestingly, Courage explained to
to make the soprano voice so prominent. "I
composers and the recor ng o
music for Star Trek Wilbur Hatch, who
wanted to get a blend of everything, so you
would also compose and conduct library
didn't know what that sound (was). I had
and source cues when necessary, and
Loulie Jean Norman, who came in to do
associate producer (later co-producer)
Steiner in 1982 that he initially did not plan
the voice, and that was mixed with a muted
Robert H Justman (1926-2008) Justman,
trumpet and a flute, a vibraphone and an
who came to Star Trek after working on
organ. So it was a tremendous mixture of
the science fiction anthology series The
things, and I didn't want any one of them
Outer Limits, oversaw many of the budget-
to predominate. But Gene Roddenberry
related elements of the program—and took
wanted to hear a lady's voice coming out,
a special interest in supervising the show's
you see. So, in the dubbing, it came out
music "I talked with Gene about all of this,
that you hear Loulie Jean. The rest (fits]
but after a while I just handled it, as I took
very nice, but it's not a lullaby."
over everything else that I could grab off,"
For Roddenberry, the presence of a
he told Steiner in 1982 "Even though I was
strong female voice in the show's title
the associate producer, I set the compos-
music added a mythic dimension he found
ers, and I spotted the music, and I did the
appropriate. "[Courage] added the human
dubs There was a void, and I jumped in
voice, which I thought was brilliant. If any-
and did "
thing said human, this said it. This was
Courage returned to score Star Trek's
Circe and Ulysses—very Earth. The same
second pilot, "Where No Man Has Gone
thing could have been done. I suppose, on
Before" (utilizing a different, action-oriented
any number of electronic devices, but—it
main title theme that he would incorporate
needed the human touch, the little human
into later underscores), as well as early first-
imperfection that we have in our voices,
season episodes "The Man Trap" and "The
that no instrument can quite give us yet."
I
Naked Time" —after which he departed to
work on the musical Doctor Dolade. He
scores are presented, for the most part, on
would return to record the series theme
season 1, disc 3. season 2, disc 3; and sea-
and library music for the second season,
son 3, disc 2.
and score two episodes in the third year:
Courage's departure for Doltttle
"The Enterprise Incident" arid "Plato's
prompted Hatch and Justman to hire Sol
Stepchildren"
Kaplan His "intellectual" music for "The
Justman wrote admiringly of Fred
Enemy Within" impressed Justman, who
Steiner in his 1996 Inside Star Trek (co-
turned to him to provide an explosive
authored with Herbert F. Solo*, calling the
score for the second season episode "Th-.
composer "totally reliable" and "immense-
Doomsday Machine " Kaplan would hav:
ly talented," and "the brightest star in our
scored more first-season episodes, if not for
symphonic universe His music seemed to
a previously scheduled trip to Europe
spring full-blown from deep within him to
support and reinforce the onscreen drama
Hatch initially hired Joseph Mullendore
o compose a handful of library cues, most-
It's no wonder that Fred wrote and con-
ly based on Courage's Star Trek theme
ducted more scores, by far, than any other
Mullendore also provided an unusual and
Star Trek composer." Steiner's numerous
-ffective score for the Shakespeare-based
mystery "The Conscience of the King"— his
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.
only score for the series, as he was already
composers based on their artistic
steadily employed at Fox.
strengths—never more so than with veter•
Justrnan's last "find" for season one
an film composer George Duning, whose
was Gerald Fried lb 1928), whose eclectic
score to Picnic was one of Justman's favor-
score for "Shore Leave" la "partial" score
ites He assigned Duning to some of Trek's
recorded mid-season, when the existin.
most heartfelt episodes, beginning with sea-
library music proved unsuitable for th.
son two's " etamorphosis," an unearthly
entire episode) so impressed Justrnan tha ,
romance "It was an emotional score: and
the producer let Fried set the tone for sea
we had a show which was extremely emo
son two. "Amok Time," "Catspaw" an.
tional," Justman recalled After that, "I used
"Friday's Child" established him as th
him every time I had a show which was very
go-to composer for alien cultures on thr.
emotional." Duning would score "Return to
show Fried also contributed a gorgeou
Tomorrow" and provide a theme for the Nazi
score for one of the third season's best
planet in "Patterns of Force" during season
hours, "The Paradise Syndrome "
two, as well as writing third-season scores
'
I
for "And the Children Shall Lead," "Is There
in Truth No Beauty?" and "The Empath "
ustman's choices lent Star Trek a
on • e ib e, if broadly varying, musical
Justman hired Samuel Matlovsky, a
character. The show's composers not onl
veteran of musical theater from the New
developed and referenced their own theme
York stage, to score the bizarre theatrics of
from episode to episode, they sometime
"I, Mudd" in season two, and brought in
interpolated themes from other compos-
Jerry Fielding to score "The Trouble With
ers' episodic scores Justman added hi
Tritibles " Today best known for his 1970s
own creative contribution by decreeing
dramatic feature scores, during the '60s
that Alexander Courage's Star Trek "fan
Fielding was predominantly active on the
fare" —the brass theme that plays during the
small screen His tenure on Hogan's Heroes
first half of the main title—sound whenever
arid other sitcoms led to Justman hiring him
the Enterprise was shown flying through
for "Tribbles," Star Trek's first alfout com-
space. "That was a dictum," music editor
edy, while his distinctive style provided the
Jack Hunsaker recalled in his 1982 inter
unusual western sound for season three's
view with Fred Steiner "They wanted a sig-
"Spectre of the Gun "
nature when the were on the exterior of
the Enterprise, in most cases. They want
some statement or variation of that Star
guitar," Fried recalled in his '1982 interview
ith Steiner. "1 tried to write a warm theme,
Trek theme; and we can't just play through
but on such an instrument and in such a
it and ignore it." Brilliant arrangements of
register that it couldn't possibly sound tradi-
Courage's fanfare by Sol Kaplan, Gerald
ionally warm. We happened to have Barney
Fried, George Duning and the other compos-
Kessel on the date—the famous jan guitar-
irk and pock got their own thematic
which doesn't sustain The vibrato doesn't
material: in addition to variations on the
really work. It's almost a percussion instru-
Courage fanfare, Courage and Steiner each
ment, and 1 thought it was just perfect."
created alternate themes for Kirk, and during
Despite Roddenberry's oft-quoted
season two Gerald Fried wrote a distinctive
decree to avoid the beop-beep-beep elec-
theme for Spock for the episode "Amok
tronica often associated with science fic-
Time." "I chose to write a very tender solo,
tion, Star Trek's composers made innovative
played on one of the most untender instru-
use of experimental effects. Jack Cookerly,
ments I could imagine, which is the bass
one of the players on the original sessions
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for "The Cage" and "Where No Man Ha
almost sound effects. and Sandy Courage
Gone Before," supplied a number of unusu-
wrote something, and the instrument had
al instruments he constructed himself, "I
a melodic purpose in the score but as it
developed the first electronic guitar, of all
changed it became more like a sound effect "
things," he commented for this CD project
In addition, Courage and Steiner
"Nobody knew what it was but Sandy had
employed a standard Hammond electric
heard it and I'd showed him some of the
organ to create unusual tones and textures
things it could do so he wanted to use it on
During season three, George Duning began
the score, and that gave it a quite different
using a then-cutting-edge Yamaha E-3
sound You have six synthesizers, one for
organ, played by Clark Spangler.
each string, and you can make various different sounds on any string—you can have
the string tone or something like a trumpet
• ter each score was recorded
or a flute or make it play an octave higher
music eiitors •aft and 'unsake
and it could make some strange sounds that
would organize the music for possible futur.
you can't make on a keyboard." Cookerly's
use, creating a library of material that wool
electronic las opposed to electric) guitar
eventually be used to fill in gaps in episode
provided the bizarre tones for the Talosians
where only partial scores had been written,
in "The Cage."
Cookerly also provided the pulsing,
or a cue or two had been dropped from a
composer's original score Eventually th
electronic "sonar pings" heard in Courage's
libraries would contain enough material s•
"Where No Man Has Gone Before" score,
that most of the later episodes during each
using an early synthesizer he dubbed his
season—more than half of the shows pro-
"magic box " "I made it out of a Hammond
duced could he tracked completely with
organ, took it all apart, and then it had all
preexisting music
new parts in it and made all kinds of strange
sounds It was almost a mechanical sound,
"I would classify the music according to
its mood ha
, or ha. -sad, ha • to sad
in the transition, or sinister," Raff recalled in
records, which would usually become about
his 1982 interview wit i teiner.
• write a
the basis for everything, because you'd have
description—if a cue was a minute long, and
a dramatic disc, a tension disc, a fight or
it had three stings in it, I would note where
action disc—you'd have a bridge disc, a
these stings or emphasis would occur, time-
melodic disc, and your main title/end title
wise. The material was transcribed from
format disc, and maybe one other. And then
film, after it was scored, to discs. These discs
I'd just keep adding—as you wrote a show, if
were cut—they were acetate, so they could
ou wrote three pieces of tension music, I'd
be cut down in the sound department—and
pull my tension disc out, send it down to the
I'd keep the discs in a big filing case, in a
sound department, and with the roll of film
Pendaflex folder, and I'd have my discs with
with the three pieces of tension from your
all my tension material, and the label on the
show, I would just be running the Moviola
disc would delineate the show and the cue
against the picture. The portion of the music
number. So for instance on the first episode
that no longer fit, I would cut out—hopefully
that Sandy wrote, I made up seven differ-
make a musical cut—and continue on that
ent cate•ories. So I started off with seven
•oint where I know this •iece of music no
longer fit the scene. Try to get to the end o
change in the attitude, and also on action
cue, where there was a chord that would
cuts, visual action cuts, where the audience's
resolve itself out, and then find a new piece
eye and mind is so quickly taken from one
of music to carry on with the new mood or
thing to another, the change in music—even
the action change."
Raft and Hunsaker usually had a week to
though the key relationship might have been
wrong—they wouldn't hear the music, it
craft an entire score out of their library music
would escape. That momentary eyeball
for episodes that did not receive original
thing that would happen would turn the
scores. Raft recalled that he usually looke.
mind off just enough that you could be into
for moments to cut between cues (ofte
a new piece of music at that point, and they
written by different composers and in dif
were not aware of it.'
ferent styles) that would not be jarring to
Raft and Hunsaker also had to look
the audience. "You can hide under a sound
ahead to episodes and stories in production
effect; you can hide under a loud outburst
that might need newly composed music
of dialogue, which in itself usually meant
even after the bulk of the music budget
a mood chan!e. So if there was a shar.
had been eaten up by the opening batch
of scored episodes "I would complain
:ud.etar limitations added to th: ,
to Justman that I didn't have the music I
variety of
couldn't hum all the pieces of music, but
composers to choose their orchestral force
tar Trek's scores by forcin !
I knew in my head pretty much the type
carefully. "I usually would try to eliminat
of materials I had So that when I would
violins," explains Gerald Fried "Becaus
see a show that had stuff that really I knew
you pick up eight.. or 10 salaries right there,
I couldn't do a good job with track mate-
I'd write a lot for winds, brass and percus-
rial, with the music that had been previous!
sion, things like that
"
Fried's second-sea.
composed, I'd say 'Look, I don't
son scores, as well as Courage's pilots and
have—you know—dancing-girl music; I
first-season scores, employ minimal strings.
don't have music for mountaintops with
On the other hand, warmer sonorities could
rockets shooting out of them We lust
be achieved by using multiple string instru-
don't have—we've never had an episoci'
ments (especially violins) but omitting brass
that vaguely resembles this, or any musj.
except for French horns—as in Mullendore's
that's appropriate for this We need 10
"The Conscience of the King," Duning's
bring in somebody to do—at least cover
"Metamorphosis" and Fried's "The Paradise
these X amount of sequences, X amount
Syndrome." Fred Steiner often had the larg-
of minutes"
est orchestras, but never more than 30 .la
-
ers, and he omitted violins, relying on viola
• und like you're composing." teiner, in his
for a darker, bolder texture. The sound o
.iscussion with Fried, agreed: "They were
-ach particular score was inextricably link: .
reating a new genre—nothing quite like it
'th the composer's choice of instrumentaion —see the AFM player registries provid..
'th the track lists and listen for the instru
ments represented
ad ever been done."
Geosott Snnth coodo4
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ative atmosphere on Star Trek was unusual
•
ambitious. "We'd have long, long talks about
the philosophy and the use of the media,
and I was impressed that these guys reall
thought they were doing something wonderful and marvelous. And it turns out the
were, and they were self-conscious about it
tar Trek lau
ed
•
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genre—It spawner. a ranc *se, wet"
and aware of it. And I thought this had never
numerous movies, four spin-off TV sene
happened before—I was doing at that time
and countless other commercial tie-ins—all
The Man From U.N.C.L.E., where everybody
for a show that barely scraped by in th:
knew that this was just a lot of fun, and just
ratings. Now, for the first time, its music—
don't get too serious about it. But these guys
every note of it, including a great deal
thought that they were making—you know—
recorded for but never used on the series—
Alexander Nevsky every time they were on
the air; and it was marvelous. I mean, these
can be appreciated in whole outside th:
television show for which it was written, lov-
guys believed in what they were doing. And
ingly remastered from the first-generation
there really were all kinds of overtones in the
Y. - monaural library tapes.
show that really inspired you to try to compose instead of just do your tricks to make it
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5THR TREKTHE Honk 5ERIE5 5oundtrack ollectio
Box Set Produced by LUKAS KEN • ALL
NEIL S BULK and JEFF BOND
Executive Producers for Le. La Land Records
MV GERHARD and MATT VERBOYS
Executive Producers for GNP/Crescendo Records Inc
NEIL NORMAN and MELANIE C(ARKSON
Digital Transfers by JOHN DAVIS.
Precision AudioSortics, Hollywood, California
Audio Restoration by CHRIS MALONE
Digital Mastering by DOUG SCHWARTZ.
Mulholland Music. Chatsworth. California
Additional Engineering MIKE MATESSINO
Executive in Charge of Music for CBS RONI MUELLER
Legal Clearance KEITH ZAJIC
Song Clearances CINDY BADELL-SLAUGHTER,
Heavy Hitters Music Group
Album Art Direction by JOE SIKORYAK,
designWELL Berkeley, California
Production Assistance JEFF ELDRIDGE and FRANK IL DeWALD
Production Artists. KAY MARSHALL and JIM TITUS
Composer Photographs Courtesy JON BURLINGAME
Additional Images Courtesy TOM REDLAW,
JEFF BOND and PHOTOFEST
Archival Research by JESSICA GETMAN and ALAN ANDRES
Selected Research Courtesy FRED STEINER PAPERS MSS 2193,
L Tom Perry Special Collections. Harold 8 Lee Library.
Brigham Young University
Music Recorded at GLEN GLENN SOUND IDesnu- Paramount).
Stage Hollywood. California
Theme From STAR TREK (TV Series)" by ALEXANDER
COURAGE and GENE RODDENBERRY,
published by BRUIN MUSIC CO IBMI)
VAN DITMARS, GEORGE DUNING, JERRY FIELDING.
GERALD FRIED, SAMUEL MATLOVSKY. WIWAM PITMAN
and FRED STEINER compositions published by
ADDAX MUSIC CO (ASCAPI
• DER COURAGE. WILBUR HATCH. JOSEPH
MULLENDORE and ARTHUR HEINEMANN. CHARLES
NAPIER & CRAIG ROBERTSON composmons published by
BRUIN MUSIC CO (BM)
, EIL KAPLAN compositions from The Enemy Within - published
by BRUIN MUSIC CO ism). from -The Doomsday Machine"
published by ADDAX MUSIC CO ISACEMI
pima' Thanks. LEONARD NIMOY, NICHELLE. NICHOLS,
DIANA MULDAUR, DAVID GERROLD. DOROTHY FONTANA.
LIZ KALODNER. JOHN VAN CITTERS. MARIAN CORORY.
NICOLE JAEGER. ROBERT UNOEN. ROB LANGSTON.
CARLA ROTHENBERG. ANDIE CHILDS. MARY JO BRAUN,
JON BURUNGAME. DAREN R. DOCHTERMAN.
JAMES CrARC. DAVID C FEIN. DAVID SCHECTER,
JACK COOKERLY JON and BOBBIE MacKINDER.
FORD A THAXTON. MARK BANNING, DON STEELE.
JEFFREY LEAVM. BURR MILLER JR. AMY MILLER,
DEBORAH LYONS. CHARLES E WHITNEL GEORGE S
NADER. PAULINA MUSTAZZA, MARIE MERIUAT,
BRAD HANSEN. ATHENA STAMOS and ALEX WILLS
is soundtrack was produced In cooperation with the
.
AMERICAN FEDERATION OF MUSICIANS
of the United States end Canada
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