Herrmann 1960 Flashcards
Context
American film compsoer, collab with Hitchcock in Vertigo, 49 Steps
Not too long after first film score, King Kong by Max Steiner
Ominous masterpiece where runaway Marion meets Norman who has an unsettling relationship with his mother
Matched the B&W images with B&W music to creates moments of madness and tenderness
Melody
Made up of short motifs
Some leitmotifs associated with characters and psychological states
Varied repetition melodically and harmonically
Sequences
Made up of short motifs
P, quaver & semiquaver triplet ostinato made from 2 interlocking major thirds
Some leitmotifs associated with characters and psychological states
F, 3 note Madness motif
(Same, Psycho, Madhouse, v prominent)
P, upwards quaver semitone ostinato used throughout film, duality of Bates’ mind, Steiner motive
Varied repetition melodically and harmonically
Duality motif developed in many cues such as
P, doubled in 3rds, inverted
M, augmented note values, intervals inverted
T, verticalised in bass to bring unity to often fragmented visual language of cinema
Sequence
TCe, 8 bar subject rises sequentially, internally bar 2 & 4 related sequentially
TCe, chromatic scales, desc sequence, reflects how Lila went down the stairs, (Steiner, King Kong, ascending sequence as KK climbs ES)
Ideas all evolve into desc chromatic scale as cue ends, to bring unity to often fragmented visual language of cinema
Harmony
Predominantly non functional harmony, used for sound than role in prevailing tonality Mainly v dissonant Devils interval often used Conventional harmony Impressionistic harmony
Mainly v dissonant
P, Hitchcock chord, vvv unstable at head of film, not developed, does not lead anywhere (min chord w added maj 7th) disturbing, unsettling
(Vertigo, Hitchcock, dissonant D major, Eb min superimposed)
D, extension chords, C#7 w min9, make maj triads dissonant, disturbing, unsettling
Devils interval often used
M, interlocking aug4ths, reflect horror on screen
F, closing chords, D bass w Ab min triad, dim 5th, ending is unresolved, sinister
(Black Rain, Takemistu, Death and Resurrection, Aug 4th built up note by note)
Conventional harmony
M, based on falling chromatic scale but still tonal, used only for sound, not for role in tonality
(After, The Omen, Goldsmith, quiet romantic passages)
Impressionistic harmony
TCi, dim7th, half dim chords
T, parallel chord mv from 4 note chord, hazy ambiguous unsettled
(Before, La Mer, Debussy)
Tonality
Generally avoids tonal centers Some tonal cues Some modal cues Some atonal cues Some reference to a tonal center
Some tonal cues
Ma, diatonic C maj, but ends with Hitchcock chord sense of yearning, romantic
(After, The Omen, Goldsmith, romantic scene)
Some modal cues
T, Phrygian E, however against E pedal and F pulse, v disconcerting
Some atonal cues
M, harsh unforgiving sound
After, The Omen, Goldsmith, atonality pervades all cues, represents horror, atmosphere of terror
Some reference to a tonal center
P, very dissonant and chromatic but based around Bb
Texture
A variety of contrasting string textures Mel dom hom Homorhythmic Contrapuntal Ostinati layered on top of each other
A variety of contrasting string textures
TCe, tremolando quavers against sul ponticello and arco, create panic, fear
(After, The Omen, Goldsmith, Music for the death of Father Jennings
TCi, lush 8 part bowed writing w octave doubling, intimate, romantic
Mel dom hom
P, Psycho leitmotif floats over restless tremolo and quaver ostinato
(Jaws, Williams, wind melody over relentless 2 note ostinato)
Homorhythmic
P, Thick homophonic Hitchcock chords, agressive and violent texture
(Before, Stravinksy, LAP, stomping chords)
Contrapuntal
C, 4 part fugal,
F, starts monophonically, built up into 3 part contrapuntal texture, 3 directionless melodies create unsettling atmosphere as mother talks
Ostinati layered on top of each other
P, Duality motif, semiquaver triplet motif, stabbing motif,
After, The Omen, Goldsmith, cacophony of ostinati
Sonority
Limited to a string orchestra
Unusual use of con sordino
Highly contrasting string textures used
Limited to a string orchestra
Total contrast to Hollywood norms, used to reflect B&W images with claustrophobic sound, budget restrictions
(Before, Max Steiner, Casablanca, for symph orch)
Unusual use of con sordino
Normally used to reduce the resonance like in Prokofiev’s Romeo and Juliet,
Creates repressed sombre mood for cues except Murder, ffz, 8 note cluster chord, more piercing, shocking
(Before, Bartok, String quartet used mutes in this way)
Highly contrasting string textures
P, hammered down bow chords, rough and aggressive sound
(Before, Stravinsky, Rite of Spring)
TCi, lush 8 part bowed writing w octave doubling, intimate, romantic
TCe, tremolando quavers against sul ponticello and arco, many string techniques, panic, fear
Rhythm, tempo and meter
Mixture of metres, rhythms and tempi chosen to match psychological intentions of scene
Use of 2/4
P (allegro agitato), TCe, D (allegro feroce), fast cues, unrelenting, unforgiving pace (Before, Stravinsky, LAP, similar feel)
Use of 3/2
M (molto forzando e feroce), fast cue, relentless, unforgiving
Use of 4/4
TCi, Ma, slow cues, show serenity of the city (After, The Omen, Goldsmith, romantic scene, similar feel)
Tt, slow cues, unnerving
Incessant quaver movement
P, inforgiving, relentless,
After, The Omen, Goldsmith, persistent driving quavers
Equal note values
C, listless, timeless feel
Vertigo, Hermann, romantic scenes
Down bow accents
Murder, create vicious pulse, sharp stabbing motions
Before, Stravinsky
Augumentation of rhythms
T, M against throbbing crotchet pulse in lower strings
Use of rests
C, use of rests, fragment movement, create fear
Bleak directionless rhythms
F, avoid sense of metre
Structure
Leitmotifs used to bring unity to often visual language of cinema, associated with characters and psychological states
Conventional use
More complex gesture than Wagnerian model, include harmony, texture, rhythm as well as melody
Leitmotifs used to bring unity to often fragmented visual language of cinema, associated with characters and psychological states
(Before, Wagner’s Ring Cycle)
Conventional use of leitmotifs
F, 3 note Madness motif, associated with Bates’ madness
More complex gesture than Wagnerian model, include harmony, texture, rhythm as well as melody
P, stabbed Hitchcock chords, obsessive short ostinatos, repeated dotted block chords w offbeat low pizz ,conventional conjunct melody associated with characters escaping in cars
TCi, varied repetitions of opening, associated with characters in mundane situations
M, slashing chords with gliss, associated with murder
