As I began looking at the cues, a sort of awe and reverence befell me. I had felt this way on a few past occasions, mostly when Jerry Goldsmith had given me all the cues to several films he had scored. This wasn’t just magic, it was a kind of investment from one man to another with the expectation that I The Learner would take this investment and run with it, and not treat it like a coffee table book, or just file it away and let it gather dust.

Getting my hands on Alex North’s scores was like finding Black Tea, Texas Gold – oil. But the scores weren’t the gusher. They were oil pool itself. It would be up to me to drill down deep, pump out what I could learn and ultimately hit a gusher which would come as I applied what I learned from Alex North to my own music.

I carefully turned each page which I saw was orchestrated by Henry Brant author of Textures and Timbres: An Orchestrator’s Handbook. Here was another treat – the opportunity to see Henry Brant’s concepts and approaches in action decades before he wrote his book. How rare a find is that! But here they were.

Now, not too many people would get giddy over such things, but I did.

The score itself was a story. Every bar line meticulously drawn by hand in ink. Every pitch was written down with exactness. And every pitch handily lined up one ofter another.

One word came to mind – craftsmanship.

The obvious next was listening to the cues score in hand which I was able to do at where all cues for 2001 are posted for you to hear gratus.

As I listened to each cue, scoring techniques I had heard in other scores began lining up. Now I didn’t have to guess what was written – it was staring me in the face.

And so began my summer with Alex North.