Area Of Study 3 (Film Music) Flashcards

Includes "Batman Returns", "Psycho" & "The Duchess" + WL

1
Q

What is the context of “Batman Returns”?

A
Who: Danny Elfman
What: Dark orchestral film score
Where: Hollywood
How: Orchestra and children's choir
Why: For second installment of Batman franchise
When: 1992
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2
Q

Describe the melody of “Birth Of A Penguin Part 1”

Batman Returns

A

Batman horns at 1, Penguin choir at 3

Penguin strings at 11, augmented at 14

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3
Q

Describe the harmony of “Birth Of A Penguin Part 1”

Batman Returns

A

Pedal at 1, before tone cluster at 6

Dom 7th at 45, before open fifths at 47

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4
Q

Describe the tonality of “Birth Of A Penguin Part 1”

Batman Returns

A

Plagal at 2, then semitone shift at 4

Key shift at 7, with F to A min tertiary

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5
Q

Describe the rhythm of “Birth Of A Penguin Part 1”

Batman Returns

A

Augmented at 7, before flurry at 21

False relation in 3/8 meter at 13

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6
Q

Describe the texture of “Birth Of A Penguin Part 1”

Batman Returns

A

Thick horns, with pedal at 1

Changes, with octave unison at 22

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7
Q

Describe the sonority of “Birth Of A Penguin Part 1”

Batman Returns

A

Sinister organ at 1, before choir at 3

Infant celesta at 11, then pizz at 42

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8
Q

Describe the melody of “Birth Of A Penguin Part 2”

Batman Returns

A

Thirds at 3, then Batman bass at 12

Syncopated at 12, with falling vocals at 48

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9
Q

Describe the harmony of “Birth Of A Penguin Part 2”

Batman Returns

A

Tonic maj seven cello motif at 1

C maj stabs at 25, then first inversions at 96

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10
Q

Describe the tonality of “Birth Of A Penguin Part 2”

Batman Returns

A

D min at 1, before change to Bb min at 11

Exposed tonality by open fifth at 85

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11
Q

Describe the rhythm of “Birth Of A Penguin Part 2”

Batman Returns

A

Interpolation at 11, before cross rhythms at 16

Triplets at 25, before diminuition at 27

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12
Q

Describe the texture of “Birth Of A Penguin Part 2”

Batman Returns

A

Additive at 1, before tonic pedal at 11

Swelling dynamics at 57, after octaves at 19

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13
Q

Describe the sonority of “Birth Of A Penguin Part 2”

Batman Returns

A

Stopped horns at 12, before mute trumpet at 20

Flutter tongued flutes, with tam tam strike at 97

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14
Q

Describe the melody of “Batman VS The Circus”

Batman Returns

A

Oom pah at 13, becomes orchestral at 89

Quick xylophones at 85, then bass motif at 19

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15
Q

Describe the harmony of “Batman VS The Circus”

Batman Returns

A

E min and C# maj in first inversion at 10

Chaotic dim 7ths at 34 and 70

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16
Q

Describe the tonality of “Batman VS The Circus”

Batman Returns

A

Unprepared tertiary key change at 13

Whole tone scales at 43 and 77

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17
Q

Describe the rhythm of “Batman VS The Circus”

Batman Returns

A

Triplets fight flurry at 60, then sextuplets at 69

Rhythmic displacement at 92

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18
Q

Describe the texture of “Batman VS The Circus”

Batman Returns

A

Layers at 1, with piano octaves at 26

Contrary motion at 71, then sus chords at 73

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19
Q

Describe the sonority of “Batman VS The Circus”

Batman Returns

A

Trumpet lip trill at 50, then oboe vibrato at 56

Prominent percussion at 26, after high gliss at 25

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20
Q

Describe the melody of “Rise And Fall From Grace”

Batman Returns

A

Comic pizz idea at 1, before Penguin cello at 6

Penguin waltz at 20, then fanfare finish at 53

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21
Q

Describe the harmony of “Rise And Fall From Grace”

Batman Returns

A

Open fifth at 26, before falling thirds at 29

Aug chord at 51, then cresc cluster at 52

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22
Q

Describe the tonality of “Rise And Fall From Grace”

Batman Returns

A

C min, with sweep gliss to G at 1

Perf cadence at 46, then C min descent at 47

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23
Q

Describe the rhythm of “Rise And Fall From Grace”

Batman Returns

A

Waltz at 20, then augmented Penguin at 26

Quadruple feel at 40, with rushing flurry at 44

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24
Q

Describe the texture of “Rise And Fall From Grace”

Batman Returns

A

Monophonic Q&A phrases at 1

Bass clarinet and harp interplay at 40

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25
Describe the sonority of "Rise And Fall From Grace" | Batman Returns
Pizz strings at 1, then arco bass at 2 | Flute trill at 46, before vibraphone descent at 51
26
WL: "Back To The Future" by Alan Silvestri | Back To The Future
Syncopated low brass, two note motif | Suspense key change transition from fanfare
27
WL: "Closing In" by John Williams | Catch Me If You Can
G harmonic lines, with C# passing tones | Alto sax solo has rhythmic displacement
28
WL: "Jill's Theme" by Ennio Morricone | Once Upon A Time In The West
Homophonic with key ascending a semitone | Wordless singer with oboe and horn solos
29
WL: "Maze Runner Theme" by John Paesano | Maze Runner
Triplet crotchets VS straight quavers | Accented unpitched percussive sounds
30
WL: "It Was Me" by Tyler Bates | Watchmen
Falling and rising C min arpeggio, with flat seven | Marching quavers with gunshot bass drum
31
WL: "We Got Company" by Wendy Carlos | Tron
Dissonant strings and synth hinting A min | Electric whistles with fast quaver passages
32
WL: "Transformations" by Danny Elfman | Spiderman
Conjunct dissonant and maj/min alternations | Pizz and arco juxtapose texture density
33
WL: "Kiriko And Little Boy" by Michiru Oshima | Godzilla VS Megaguirus
Lilting scale with falling fifth in A min | Warm clarinet solo with thick lush strings
34
What is the context of "Psycho"?
``` Who: Bernard Herrmann What: B&W string score Where: California How: Muted string orchestra Why: For psychological horror thriller When: 1960 ```
35
Describe the melody of "Prelude" and "The City" | Psycho
Steiner motif at 5, then stepwise line at 37 | Retrograde idea at 4
36
Describe the harmony of "Prelude" and "The City" | Psycho
Dissonant maj triads at 21 | Half dim and dim 7th chords at 1
37
Describe the tonality of "Prelude" and "The City" | Psycho
Avoids a tonal centre | Tonally ambiguous throughout
38
Describe the rhythm of "Prelude" and "The City" | Psycho
Bass pulses at 5, with relaxation at 37 | Feeling of pulse in quadruple time
39
Describe the texture of "Prelude" and "The City" | Psycho
Homorhythmic Hitchcock chords at 25 | Octave doublings in lush eight parts
40
Describe the sonority of "Prelude" and "The City" | Psycho
Fingered tremolo at 41 | High writing with mutes
41
Describe the melody of "Marion" and "The Murder" | Psycho
Octave lower melody in 2nd violins at 4 | Glissandi at 9, then semitone motifs at 17
42
Describe the harmony of "Marion" and "The Murder" | Psycho
Rising dim 5th and falling perf 4th at anacrusis | Eight note cluster at 1, before dim 5th at 29
43
Describe the tonality of "Marion" and "The Murder" | Psycho
Sometimes tonal except ending Hitchcock chord | Tonally ambiguous throughout
44
Describe the rhythm of "Marion" and "The Murder" | Psycho
Syncopated with anacrusis entrance | Vicious pulse at 1, then augmented off beats at 17
45
Describe the texture of "Marion" and "The Murder" | Psycho
Alternations between four and five parts at 9 | Eight parts add downwards at 1
46
Describe the sonority of "Marion" and "The Murder" | Psycho
Chromatic bassline at 13 | Alternating arco and pizz at 17
47
Describe the melody of "The Toys" and "The Cellar" | Psycho
Augmented "Prelude" line split into three at 3 | Four countersubjects build a fugue from 5
48
Describe the harmony of "The Toys" and "The Cellar" | Psycho
Double pedal at 1, then maj/min 7th descents at 3 | D trills at 1, before chromatic descent at 57
49
Describe the tonality of "The Toys" and "The Cellar" | Psycho
Dissonant language with some tonal aspects | Avoids a tonal centre
50
Describe the rhythm of "The Toys" and "The Cellar" | Psycho
Simple viola crotchet movement at 2 | Moto perpetuo with rests
51
Describe the texture of "The Toys" and "The Cellar" | Psycho
Eleven parts with vertical bass | Additive to nine parts from 68
52
Describe the sonority of "The Toys" and "The Cellar" | Psycho
Muted arco at 2 | Tremolo virtuosic playing at 5
53
Describe the melody of "Discovery" and "Finale" | Psycho
Long sus note motif at 26 | Three note madness motif at 15
54
Describe the harmony of "Discovery" and "Finale" | Psycho
Mix of cluster and parallel 7ths at 26 | Chromatic at 6, before cluster at 18
55
Describe the tonality of "Discovery" and "Finale" | Psycho
Very atonal throughout | Avoids a tonal centre
56
Describe the rhythm of "Discovery" and "Finale" | Psycho
Unsteady cross rhythms at 19 | Directionless meter
57
Describe the texture of "Discovery" and "Finale" | Psycho
Polyrhythms in homophony at 19 | Lone viola at 1, before polyphony at 7
58
Describe the sonority of "Discovery" and "Finale" | Psycho
Pizz bass notes at 19 | Muted arco playing
59
WL: "Black Hair" by Toru Takemitsu | Black Rain
Swelling dynamics with a cluster chord | Augmented and diminished rhythms
60
WL: "Under The Table" by Michael Kamen | Die Hard
Oom pah low brass with sleigh bells | Stasis chords with inverted drone
61
WL: "Liesel's Theme" by John Williams | Book Thief
Compound modal lilting duple time | Arched sad sounding woodwind melody
62
WL: "Sheep Theme" by Carter Burwell | Fargo
Scotch snap rhythm dragged with tenuto | Unstable intonation based on turn figure
63
WL: "Blue Sunshine Theme" by Charles Gross | Blue Sunshine
Thick chromatic steps hidden by scratches | Bell like rhodes piano with clock movements
64
WL: "After The Murder" by Michelle DiBucci | Wendigo
Dissonant vibraphone rushes with whispers | Off beat percussive groove with wind effects
65
WL: "Second Manuscript" by Bernard Herrmann | Citizen Kane
Chromatic descents with upward second | Flute octaves with static tonic bass note
66
WL: "We Need To Go" by Shirley Walker | Willard
Augmented 4th drop with oom pah brass | Stark muted violin tremolo figures
67
What is the context of "The Duchess"?
``` Who: Rachel Portman What: 18th century stylistic film score Where: Derbyshire How: Classical orchestra Why: For biography on Georgina Cavendish When: 2008 ```
68
Describe the melody of "The Duchess Main/End Titles" | The Duchess
Triadic auxilary idea at 1 | D maj triad descent at 2, with flat seven at 35
69
Describe the harmony of "The Duchess Main/End Titles" | The Duchess
Auxilary figures at 35, with C natural usage | D maj to A min progression
70
Describe the tonality of "The Duchess Main/End Titles" | The Duchess
Modal D maj | Suggests D Mixolydian mode
71
Describe the rhythm of "The Duchess Main/End Titles" | The Duchess
Offbeat suggestive slow tempo at 1 | Quaver ostinato in quadruple meter
72
Describe the texture of "The Duchess Main/End Titles" | The Duchess
Tonic bass pedal at 17, then tutti at 35 | Quaver fifth accomp as ostinato texture
73
Describe the sonority of "The Duchess Main/End Titles" | The Duchess
Bowed accomp, with solo violin at 17 | Quaver harp figures
74
Describe the melody of "Mistake Of Your Life" | The Duchess
Rising stepwise figure becomes tutti at 60 | Auxilaries with min 6th idea at 35
75
Describe the harmony of "Mistake Of Your Life" | The Duchess
Flat chord on F, with G to D min progression at 19 | Dissonant min 9ths and 11ths at 1
76
Describe the tonality of "Mistake Of Your Life" | The Duchess
A min slip, with imperf cadence at 57 | Diatonic min and modal passages
77
Describe the rhythm of "Mistake Of Your Life" | The Duchess
Triple meter and clear pulse at 19 | Unity countermelody in crotchets at 43
78
Describe the texture of "Mistake Of Your Life" | The Duchess
Timpani texture and bass pedal at 1 | Mainly homorhythmic
79
Describe the sonority of "Mistake Of Your Life" | The Duchess
Arpeggiated harp and piano figures | Timpani with ostinato pedal at 1
80
Describe the melody of "Six Years Later" | The Duchess
Triads at 3, with low chromatic auxilaries at 6 | Material from "The Duchess Main/End Titles" at 30
81
Describe the harmony of "Six Years Later" | The Duchess
Quaver fifth ideas at 64 | Augmented chord at 24
82
Describe the tonality of "Six Years Later" | The Duchess
Modally inflected | Suggests D maj with C natural
83
Describe the rhythm of "Six Years Later" | The Duchess
Lively feel in compound time | Traditional oom cha cha accomp figures
84
Describe the texture of "Six Years Later" | The Duchess
Monophonic at 1 | Quaver fifth accomp as texture at 24
85
Describe the sonority of "Six Years Later" | The Duchess
Pizz offbeat chords, with bowed figures at 30 | Solo violin in corresponding sections
86
Describe the melody of "Never See Your Children" | The Duchess
Slow rising stepwise idea, with rocking quavers | Stepwise G min scale at 22
87
Describe the harmony of "Never See Your Children" | The Duchess
Dissonant unresolved final chord | Simultaneous seconds and thirds at 1
88
Describe the tonality of "Never See Your Children" | The Duchess
C naturals imply Dorian mode | Suggests D min
89
Describe the rhythm of "Never See Your Children" | The Duchess
Gentle rocking triple meter | Other parts move in dotted minims
90
Describe the texture of "Never See Your Children" | The Duchess
Homorhythmic, with bass pedal at 22 | Sus descent bassline at 1
91
Describe the sonority of "Never See Your Children" | The Duchess
Dissonant string quavers at 1 | Harp and arco string figures at 22
92
WL: "Chalkboard" by Johann Johannsson | Theory Of Everything
Tremolo solo violin in a high range | All parts build in layers with varied techniques
93
WL: "Imitation Game" by Alexandre Desplat | Imitation Game
Lush strings with dissonant harp ending | Complex frequent maj and min shifts
94
WL: "Concerning Hobbits" by Howard Shore | Fellowship Of The Ring
Slow string chords on top of pizz figure | Plucked classical guitars with folk flutes
95
WL: "Mr Disney" by Thomas Newman | Saving Mr Banks
Offbeat octave leaps with harmonica stabs | Authoritative snare drum figure
96
WL: "Busy Nothings" by Lesley Barber | Mansfield Park
Detached crotchets with false relations | Sparse texture with string and bass pizz
97
WL: "Humility And Love" by Christopher Young | Creation
Scalic with perf 4th in emotional F min | Ethereal bell sounds from lonely piano
98
WL: "Long Leash" by Rachel Portman | Grey Gardens
Rises between leading notes in F maj | Sparkling piano octaves with warm clarinet solo
99
WL: "Lionel And Bertie" by Alexandre Desplat | King's Speech
Conjunct with fifth descent in Bb maj | Folk flute in lilting quadruple meter