Elfman 1992 Flashcards
Context
Scores music around leitmotifs, create unity between often fragmented language of cinema
Uses full palette of instruments
Extremely detailed articulation, frequent time signature changes, characteristic of Elfman
Batman must prevent the Penguin from killing all of Gotham City’s firstborn sons whilst dealing with Catwoman.
Melody
Leitmotifs represent main characters and action Villanous Penguin leitmotif Penguin leitmotif developed Batman leitmotif Batman leitmotif developed
Penguin leitmotif
Rising and falling semitones
(Before, Wagner’s Ring Cycle, represent theme, character, idea. Developed to match story) sinister nature
Penguin leitmotif developed
BOAP1, developed with use of organ, strings, choir, evoke Gothic theatrical fear
BOAP1 end, developed with harps and violins add tonic D between every note, open interval of 5th, unresolved, mysterious
Batman leitmotif
Rise up minor scale, falls chromatically (Before, Superman’s theme, John Williams, perfect 5th, major, triplets) opposite, duality between 2 personalities, villain and hero (Before, Siegfried, Wagner, tragic hero)
Batman leitmotif developed
BOAP2, theme in diminution
BC, Intermitant, underscoring, chaos on screen,
Overall used to create unity between often fragmented language of cinema
Harmony
Functional language with frequent perfect cadences, mark start of new happening on screen Tritones and diminished chords False relations Whole tone chords and bare 5ths Octave tonic pedal notes
Tritones and diminished chords
BC, tritone, cluster chord
(After, Until Death do us Part, Corpse Bride)
RAF, augmented triads
BOAP2, diminished triads, Devil’s interval, evoke fear, indicates evil
False relations
BOAP1, reflects father’s scream
Whole tone chords and bare 5ths
RAF, open, mysterious, suspense
Octave tonic pedal notes
BOAP2, pram goes down the sewer, very low, very sinister (After, Gotham’s Reckoning, Hans Zimmer, ominous opening pedal)
Tonality
Not structurally significant
Minor keys used throughout
Tertiary modulations
Use fo the whole tone scale
Not structurally significant
Each cue starts and ends in different key, BOAP2, Dmin, C#min
Through composed, matches screen action (After, Sky Battle, HP and the Deathly Hallows
Minor keys throughout
BOAP1, C#maj, only major key in cue when parents reach bridge, otherwise to indicate evil
(After, Gotham’s Reckoning, Hans Zimmer, minor)
Minor hero leitmotif, duality between villain and hero
Tertiary modulations
BC, E min C#maj, striking modulation, surprise, characteristic of Elfman
(After, Until Death do us Part, Corpse Bride)
Use of the whole tone scale
RAF, weakens tonal argument, creates mystery and suspense
Texture
Constantly changes
Mel dom hom
Layering
Homophony
Constantly changing texture
Match action on screen
After, Victor Drops the Ring, The Corpse Bride
Mel dom hom
BOAP2, Batman motif for emphasis
Before, Jaws, Williams, wind melody over relentless 2 note ostinato
Layering
BC, start with pedal, add leitmotif and semiquaver accompaniment, build up tension to the Batsignal
Homophony
BOAP1, beginning, organ, choir, orchestra, emphasise the theatrical fear evoked by the instruments
Tempo, Rhythm and metre
Tempo frequently changes Semiquaver ostinati Fanfare-like triplets against syncopation, cross rhythms Rhythmic stabbing quavers Metre frequently changes
Tempo frequently changes
Reflect screen action
Semiquaver ostinati
In celeste, strings, harp anticipation before pram is thrown into the sewer
(After, The Dark Knight, Hans Zimmer, James Newton Howard, string ostinato)
