AOS 3 Batman Returns Flashcards Preview

A-Level Music Edexcel > AOS 3 Batman Returns > Flashcards

Flashcards in AOS 3 Batman Returns Deck (26)
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1

Describe the use of melody and ideas across all of the cues

Use of leitmotif, two of which are in these cues:
Batman: Mainly brass, and very triumphant
Penguin: Theatrical, and often the use of an organ, and has the version first in bars three and four of Boap 1, and the one played Rffg.
There are also other ideas used in each cue which are developed throughout the cue.

2

Describe the rhythm, metre and tempo used across the cues

Use of augmentation
Use of diminution
Constant changing of time signatures
Use of ostinati
Cross-rhythms
Syncopation
Triplets
Sextuplets
Rhythmic displacement

3

Describe the use of texture across all of the cues

Constantly changing
Use of layering
Octaves
Rare monophony
Melody driven homophony
Polyphonic texture
Homophony

4

Describe the use of harmony and tonality across all of the cues

Use of mostly minor keys throughout
Pedal notes
Use of whole-tone scale
Use of open chords/bare fifths
Diminished 7th
Dominant 7th
Chromatic shifts
Unprepared modulation of keys
Parallel chords
Tertiary relationship between keys and chords
Plagal Cadence
Augmented fourth

5

Describe how the music fits what's on screen in Part A of BoaP 1 (Bars 1 - 2)

Very start of the film with the Warner Brother's logo. The batman motif is heard, identifying the film. Leads into a plagal cadence.

6

Describe how the music fits what's on screen in Part B of BoaP 1 (Bars 3 - 6)

As the scene changes to the Cobblepot home, the penguin motif is heard for the first time in the choir and violins, and is repeated ff with the addition of a string counter figure and richer texture. A tone cluster in bar 6 muddies the water.

7

Describe how the music fits what's on screen in Part C of BoaP 1 (Bars 7 - 13)

The father looks out of the window, and the music modulates to A minor from F minor (tertiary relationship) as the father sees the child for the first time and the doctor leaves the room in horror. Texture thins just to strings. Shift to G minor as the penguin motif appears with celesta ornamentation. Change to 3/8 for one bar as the father screams with a false relation on the second quaver beat.

8

Describe how the music fits what's on screen in Part D of BoaP 1 (Bars 14 - 26)

The music modulates to C minor and the original motif is augmented. A flurry is heard followed by an accent, which signifies the baby (which is being kept in a cage) catches the cat which had just passed. A harp glissando and cymbals lead to the next section.

9

Describe how the music fits what's on screen in Part E of BoaP 1 (Bars 26 - 41)

Sleigh bells are heard throughout this section and the music has modulated to D minor. The choir sing the penguin motif to 'la'. The dynamics drop as the parents talk to another couple. The motif is played in low wind and strings as the parents reach the bridge. As the pram is thrown off the bridge, the music builds to a D major chord, via F minor

10

Describe how the music fits what's on screen in Part F of BoaP 1 (Bars 42 - end)

Woodwind plays the penguin motif and arpeggios are played by the harp and strings (pizz) as the baby floats away with the parents watching on. The accompanying music shifts a semitone, changes to triple time and is left relatively unresolved, after the dominant seventh chord, going to a chord made up entirely of fifths before resolving with a D pedal.

11

Describe how the music fits what's on screen in Part A of BoaP 2 (Bars 1 - 11)

Continues on from the last cue with a D pedal and rising and falling arp motif is played by strings, based on a tonic major seventh chord and a tonic sixth with added second in the following bar. An altered version of the penguin theme is played over the top. A synth choir is used as this point to thicken the texture. A 'hint' of the batman motif appears, followed by the full motif when Michael Keeton's name appears on screen), before a trumpet fanfare.

12

Describe how the music fits what's on screen in Part B of BoaP 2 (Bars 12 - 20)

Modulated to B minor. A new syncopated accompaniment in violins and percussion is added. Batman motif is played in bassoon and bass clarinet, taken over by stopped horns and clarinets, then the horns. A cross rhythm is then introduced with a modulation of the batman phrase. Diminution of the batman phrase is heard, followed by the motif being passed between different instruments.

13

Describe how the music fits what's on screen in Part C of BoaP 2 (Bars 21 - 51)

A fortissimo C major chord with stabs which leads to a military-like quaver triplet ostinato happens when the title of the film appears and bats fly towards the viewer. Fanfares are used a lot in this section. The second Batman motif appears and is legato in style, in contrast to the first motif. The falling third motif is heard in the voice.

14

Describe how the music fits what's on screen in Part D of BoaP 2 (Bars 52 - 84)

As the pram starts to slow, the tempo slows slightly, and chromatic chords are used. The falling thirds are heard and almost add a soothing quality. The Batman motif is heard with the falling vocal thirds, and rhythmic variation of the Batman motif is used. There is a long diminuendo which settles the mood before the next section

15

Describe how the music fits what's on screen in Part A of BoaP 2 (Bars 85 - 97)

The section starts with an open fifth chord, leaving the tonality open. The snare drum provides a new ostinato, and a hint of the augmented penguin motif by muted brass and a long pedal B in bars. The use of tom-tom drums almost gives the sense of arriving at a tribe, reflected by the pram stopping and coming to rest by a group of penguins.

16

Describe how the music fits what's on screen in the last bar of BoaP 2 (Bar 97)

A flute flutter tongue is heard and there is an open chord, leaving an open and unsettled feel as the tam tam is struck as the screen states 'Gotham City - 33 years later'

17

Describe how the music fits what's on screen in Part A of BvtC (Bars 1 - 12)

The opening section has a low B pedal and the Batman motif is played in the brass and passes to low wind before being taken over by the horns. During this, the Bat signal is being lit and a loud tutti chord (C# major) happens as Bruce stands in front of it.

18

Describe how the music fits what's on screen in Part Bi of BvtC (Bars 13 - 17)

Has a comical feel, representing the 'circus gang' causing chaos in the city, and has use of cross-rhythms, frequent changes in time signatures, syncopation and fragments of ideas. The 'om pah' ostinato is heard at the start, which becomes the circus motif.

19

Describe how the music fits what's on screen in Part Bii of BvtC (Bars 18 - 25)

The tempo increases to 170bpm, changes to C minor (unprepared) and the dynamics become very quiet, enhancing the rhythmic side of the music. A three note motif appears in the bass and is fragmented. There are also sudden time changes throughout the section.

20

Describe how the music fits what's on screen in Part C of BvtC (Bars 26 - 46)

A new ostinato appears in octaves and the xylophone starts the next section accompanied by the snare drum. The bassoon then joins the ostinato and the trumpet adds accompanying figure. Elfman uses a diminished 7th to represent the chaos on the streets the gang is causing. A whole tone scale is used in the harp followed by circus motif being played on a fairground steam organ.

21

Describe how the music fits what's on screen in Part D of BvtC (Bars 47 - 55)

Another unprepared modulation happens (to C# minor) and fragments of the Batman motif are heard as he appears on screen interspersed with the circus motif.

22

Describe how the music fits what's on screen in Part E of BvtC (Bars 56 - 66)

The music returns to B minor with the Batman motif taken over by a brief oboe phrase with extreme vibrato. Cross rhythms and a woodwind flurry add to the chaos of what's happening.

23

Describe how the music fits what's on screen in Part F of BvtC (Bars 67 - end)

The harmony is constantly changing in this section to represent what is happening on stage. A change to 5/4 with whole tone scales, sextuplets, temple blocks and stabs makes the piece sound at its most chaotic. The music then keeps driving forward, building to a fall orchestra version of the 'om pah' ostinato. There is then a sudden drop of dynamics with a quick crescendo back up, ending the whole piece with a low E, with no harmony as Batman gets sat on by an elephant.

24

Describe how the music fits what's on screen in Part A of RffG (Bars 1 - 7)

Starts in C minor in monophony with a comical feel. An aggressive arco phrase is heard followed by a sweeping glissando to a top G, when the developed penguin motif is played underneath by Cello and coloured by the bass clarinet

25

Describe how the music fits what's on screen in Part B of RffG (Bars 8 - 20)

The penguin motif is then played in the harp and low organ, with high chord clusters in the violins. The motif then changes from basses to middle, played in octives by the harp with an oboe countermelody.

26

Describe how the music fits what's on screen in Part C of RffG (Bars 21 - 39)

The next five bars are in waltz triple time as Max sees the Penguin's 'Clown Gang'. Then the penguin stops and looks over to Max, where the music has an open fifth chord and the Penguin motif is augmented. The harp then plays the main tune accompanied by the falling thirds in the celeste.