Batman Returns Film Score Study Pieces Flashcards
How does the piece “Birth of a Penguin” start in a way that helps establish the film?
The piece begins with a batman leitmotif, to establish the main character and focus of the film. However, the creepy, Tim Burton-ish aura and dark tone of the film is incorporated by the motif being played in f minor, being played over the subdominant chord, pitched incredibly low. The timbre and instrumentation also reflects the creepy imagery being displayed by the use of the pipe organ, a theatrical and sinister timbre.
How does Elfman use devices of montage in “Birth of a Penguin Part 2”?
For example the texture and structure of the piece is constantly changing. For example, the piece is mostly either polyphonic or melody and accompaniment, but in the bars 22 - 25, the texture becomes monophonic, as the piece simplifies before the explosion of texture and excitement when the setting changes from indoors to outdoors. The piece also quickens and slows to fit with the corresponding visual action. It also modulates frequently, often to fit a change of setting or character focus.
What key are we in when we first see the penguin’s place of birth, and why/how does this change in bar 6.
When we first see the outside/ front gates of the penguin’s parent’s house, we are in f minor. However, when the camera pans to the inside of the house, and we learn more about the action taking place, at bar 6 there is a tertiary modulation to A minor ( tertiary modulations are typical of Elfman’s style). Once the penguin is born the key modulates to G minor.
How does the choir reflect the setting changes and tone in “The Birth of a Penguin Part 1”?
The choir is in fact a synth choir, which adds a creepy, artificial and breathy timbre. From bars 2 to 26, the vocal line is mostly made up of prolonged notes, accented legato, often involving slides and dissonance. However, in bar 26, when the setting changes to the outside christmas scene, the music changes to seem more festive and christmas-y, so the vocal line becomes quicker and accented with “la” instead of “aaahhhhh”.
How does Elfman use instrumentation to reflect the action of the film and plotline in “Birth of a Penguin Part 1”?
+ In bar 11, when the baby penguin is born, the writer uses quaver movements played by celesta ( a weird pitched percussion instrument). This sounds like a baby’s rattle, or the sort of tinkling sound of cot music.
+The batman leitmotif is usually played in brass, as they have a loud and triumphant timbre.
+ sleigh bells are used in the christmas scene at bar 26
Name an example of asymmetric phrasing used in “Birth of a Penguin part 1”
contrast time signature bars. For example, the auxiliary 3/4 bar at bar 43 and the 3/8 bar at bar 13.
How is the nature of the penguin’s parents’ character is displayed through the scoring and corresponding screenplay in “Birth of a Penguin Part 1”?
When the setting changes to outside, during the christmas scene at bar 26, the pace of the piece quickens using constant accented semi-quavers in the violins, sleigh bells and a more fast paced vocal melody. However, in bar 32, a happy couple with their child walk by, and the accented semiquavers in the violins are replaced with a calmer celesta, woodwind and organ melodies. The choir part is also simplified. However, after the couple are out of shot (in bar 34) the fast-paced and panicked melody returns.
How does the harmony change When the Penguin’s father first sees the penguin in “Birth of a Penguin Part 1”?
When the Father first sees the penguin, at bars 7-13, there is a tertiary modulation to A minor. 2 bars later, the key changes to G minor, and plays the penguin theme, in order to associate the newborn baby with the penguin’s character. 3 bars later, it changes to C minor.
How does the music in “Birth of a Penguin Part 1” build up to the climax of throwing the penguin in the river.
On the beat accented chords are used to build up to the moment of chucking the babies in, with symbol crashes and other bold instrumentation (ascending glissando in harp). Crescendo to forte also used.
How does the texture of “Birth of a Penguin Part 2” show elements of montage.
The texture is constantly changing (though it is mostly polyphonic). It often changes with change of setting, scene or character. For example the texture is homophonic at bars 22-25, when a large, triumphant c major chord is played tutti, as the main title is shown.
How are ornaments used at the start of “Birth of a Penguin Part 2” to create an unsettling feeling?
The piece starts with ostinato figures played by violins. The bass clef plays very low octaves, while the treble clef shows very high violin squealing notes. These are C# and D breves, and as C# is not in the key of D minor, it is considered an appoggiatura.
How is instrumentation used in “Birth of a Penguin Part 2” to create a penguin/birdlike noise profile with the Penguin’s character?
In bar 4 and repeated in bar 8, the synth choir plays two dissonant chords (crotchets on beat 1 and 3) which sound like birds squawking. In the last bar, the flutes (whilst playing a very high pedal) use a flutter tongue that sounds like a penguin. Con sord trumpets and other pompous-sounding instrumentation creates an image of waddling and silliness.
How does Elfman modulate his key change in bar 33 of “Birth of a Penguin Part 2”?
Elfman uses a d flat seventh chord. He does this to modulate from Ab minor to F#minor, as Db seventh is also a C#major chord (the dominant of the F# key).
