DANNY ELFMAN: Batman Returns extracts

Background
Film music started as live music played in cinemas by pianists or orchestras. The earliest film
music started c. 1916; by the mid-1920s composers such as Milhaud and Shostakovich produced
specific film scores. Techniques moved on with the first ‘talkie’, The Jazz Singer, (1927) and in
1928 The Air Circus established the technology of recording sound waves into the film itself,
ensuring synchronisation. The first film composers had all emigrated from Europe and their music
had its roots in 19th Century Romanticism. In the 1930s and 1940s major composers began to
compose film music, e.g. Prokofiev (Lieutenant Kijé) and Walton (Henry V). Some composers, e.g.
Korngold, Steiner (Gone With The Wind 1949) and Herrmann specialised in film music.

Film music is a definitive contemporary vehicle for large-scale orchestral music. Composers are
able to experiment with avant-garde or atonal music and audiences are prepared to accept
‘difficult’ music when combined with visual images. Unlike other music, it is always subordinate
to the overall creative aim; at its best it works alongside narrative and visual elements. Music cues
are often short, with the only extended passages being longer scenes and the opening/closing titles.

Film music has several functions:

 To depict (e.g. a battle scene)
 To suggest place (use of the zither in The Third Man suggests Vienna)
 To suggest time (Pride and Prejudice, The Duchess)
 To enhance tension (Planet of the Apes: The Hunt, Psycho)
 To provide a comic commentary (Passport to Pimlico)
 To enhance emotional impact (Schindler’s List)
 To suggest character or scene (use of Leitmotif, e.g. Star Wars, Batman Returns)
 To provide unity to a film through repeated motifs (use of Leitmotifs, e.g. Jaws).
 To appear in the film itself (diagetic music, e.g. a stage band or pianist)
Leitmotifs originated with Wagner as a short musical idea that represents a person, place or
emotion. They often occur in the underscore to convey messages without need for direct reference
by the characters. Unlike in Wagner, the short nature of the cues gives no real opportunity for
extended development of ideas.

Danny Elfman (born 1953)

Danny Elfman is an American composer, born in Los Angeles. He is self-taught as a composer and,
unusually, has a parallel career as a rock musician with the American new wave band Oingo Boingo.
He learned his craft as a film composer from watching movies; he is best known for his
collaborations with Tim Burton, the director of Batman Returns. Other films on which they have
worked together include Beetlejuice (1988), The Nightmare Before Christmas (1993) and Planet of
the Apes (2001). The Batman collaborations remained Elfman’s biggest grossing films until
Spiderman (2002). The work they did together established him as a major film composer.
Elfman’s work makes use of leitmotifs, which he uses and develops through the use of variations.
This process of thematic development shows his influence from composers such as Bernard
Hermann (Psycho) and the ‘golden age’ of films. His method of composing is to create the letimotifs
as the main ingredients of the score and then work through the film chronologically; this is not typical
and could be described as an ‘unmethodical’ approach.
Elfman’s film music is often characterised by dark orchestral scores which often use minor keys. His
melodies tend to be in the middle of the texture and are often played by brass, woodwind or strings
in the lower part of their range. The music is composed by Elfman but orchestrated by studio
arrangers, as is common in film composition.

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Batman Returns (1992)
Batman Returns is the first Batman sequel (the original film was released in 1989). It was directed
by Tim Burton and starred Michael Keaton as Batman/Bruce Wayne. It also features the Penguin
(Danny DeVito) and Catwoman (Michelle Pfeiffer). As with many of Tim Burton’s movies, it is a
dark satire, with the central character almost a dual personality who could be hero or antihero.
Each of the three main characters has their own theme:

Batman:

Catwoman:
This theme doesn’t appear in the extracts chosen for the Anthology.

Penguin:
This is not the same as identified on page 209 of the Anthology. Use this version for analysis.

NB: Penguin motif is sometimes heard in a modified version:

The Catwoman and Penguin themes are very similar in melodic shape and could be seen as
variants of the same idea; the real differences can be heard in the orchestration of the themes;
Catwoman has a ‘1960s slinky, bending style of strings’ with high string glissandi and dissonant
clusters. Penguin has a more overtly dramatic orchestration, with a choir, pipe organ and full
orchestra. The Batman theme is usually heard in the brass.

NB: The cues are written in short score.

When following the music with the DVD, use the following timings:
 Birth of a Penguin parts 1 & 2: from start to 5.20
 Batman vs the Circus:
o 1st part starts at 12.23 and goes up to bar 17 on the score.
o 2nd part starts at 51.43
 The Rise and Fall from Grace: Starts at 46.30

Birth of a Penguin Part I

This music accompanies very start of the film, starting with the Warner Brothers logo. The
Cobblepot family have a new baby but there is something very wrong and the cue accompanies
their decision to abandon the child and their journey to throw the cradle into the river leading into
the sewers.

Performing forces and  Full orchestra with addition of pipe organ, choir, celesta, tam-tam,
their handling cymbals etc.
(sonority)  The pipe organ has an introductory pedal, setting an ominous and
dark tone at the start.
 Variety of different playing techniques, including glissandi (bar 6,
25), muted brass (bar 21), pizzicato strings (bar 42), tremolando
bowing (bar 44-5).
 Performance directions are very detailed precise.
 The choir sing in a wordless style but varied from ‘ah’ or ‘la’ to
‘ooh’ at different points of the cue.
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  The celesta is used as a decorative instrument (e.g. bars 11-12).
 Sleigh bells are heard in bars 26-41, accompanying the parents
walk through the park.

Structure  As with the other cues, the overall structure is through-composed.

 Bars 1-2: opening pedal and Batman theme identifies the film.
 Bars 3-6: Penguin motif in choir and violins accompanies scene of
the Cobblepot home.
 Bars 7-13: the baby is born, doctor runs away in horror and father
sees the child for the first time.
 Bars 14-26: the parents are at home, with the child in a cage; this
builds to a climax as a hand reaches through the bars and catches
the cat.
 Bars 26-41: the parents go to a park and throw the baby’s pram
into the river.
 Bars 42-end: the pram floats into the sewers.

Tonality  Minor keys throughout, starting in Fm,

Tonality and harmony  Bars 3-6 remain in Fm, with dominant 7th chords in bar 4.
should be read together.  Tertiary modulation to Am at bar 7 and then to Gm at bar 11.
 Switch to Cm at bar 14.
 Another modulation at bar 26, this time to Dm. This lasts until the
end of this section (bars 38-41), where the music goes through Fm
to end in a D major chord as the baby is thrown into the river.
 The final section (bars 42) returns to Dm.
 There is a semitone shift at bar 43; this is a typical Elfman device.
 Bar 45 suggests a resolution, starting with a V7 chord, but the
following chord delays the resolution by a bar.

Harmony  Opens with a subdominant pedal in Fm in pipe organ, creating a

plagal cadence into bar 3.
 Dominant 7th chords at bar 4 and 45.1.
 A tone cluster in bar 6 adds a darker tone to the tonality.
 False relation in bar 13.2, as the father sees the child for the first
time.
 The D major chord at bar 41 is significant as the rest of the piece
is very minor-dominated and it is reached by the unlikely route of
F minor.
 Bar 45.3 includes a chord made up entirely of open 5ths (C,G, D,
A, E) that delays the resolution to the final D pedal.

Texture  The textures constantly change during all the cues.

 Textures include octaves (bars 3-6).
 Countermelody in strings at bars 5-6.
 Texture thins to just strings at bars 7-13.
 Celesta decoration, e.g. bars 11-12 and 18-21.
 Bars 22-25 a thin octaves/monophonic texture played by
synthesiser, tuba, timp and low woodwind over four octaves.
 The melody is often in the middle of the texture (bars 26-31).

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  The texture consists of layers built up of the Penguin motif. This
varies in where it appears, e.g. at 34-37 the developed version of
the motif is heard in low wind and strings.
 The cue finishes with a tonic pedal accompanying the harp
playing the Penguin motif.

Melody  Elfman uses leitmotifs, which build into longer melodic structures
through repetition, sequence and development (like Herman with
Psycho).
 This cue starts with the Batman motif (bars 1-2) but is then built
on the Penguin motif. This is a theatrical theme, characterised by
the organ and vocal accompaniments. It sometimes appears in the
developed form shown on page 2 of these notes.
 The Penguin motif appears many times in this cue, often
coinciding with significant moments on screen (e.g. bar 11 is
when the Doctor leaves the room in horror and bar 42 is as the
pram floats into the sewers).
 Another important idea first appears in this cue: the trumpet idea
seen at bar 34 beats 3-4. Label this as Extra Idea 1.

Tempo, Rhythm and  There are frequent changes of metre (it starts 3/2 but changes to
Metre 4/4 at bar 3 and includes a 3/8 bar at 13).
 Tempo also changes at points through the cue.
 Other features include rhythmic augmentation (Penguin theme at
bar 14-17).
 There is a ‘flurry’ ending to bar 21; the note values decrease
further as the baby’s hand emerges from the cage to catch the cat.
 The change to triple time at bar 43 for one bar is typical Elfman.

Birth of a Penguin Part II

This cue follows the film’s main titles with the baby’s journey through the sewers until at the end
of the cue the pram is found by penguins
Performing forces and  Full orchestra, again with additions such as synthesised choir.
their handling  Opening has layers of ostinato, leading up to the Batman motif in
(sonority) bar 9, followed by a trumpet fanfare-like idea in bar 10.
 The Batman motif is predominantly heard in the brass.

Structure  Through composed.

 Bars 1-11: dark screen, then Michael Keaton’s name on screen,
coinciding with the first full appearance of the Batman motif.
 Bars 11-20: the pram floats into the sewers.
 Bars 21-51: title of the film appears on screen at the climax of the
cue, with bats flying towards the viewer (bars 21-24). Followed
by the credits as the pram continues its journey inside the sewer.
 Bars 52-84: the pram starts to slow down but continues on its
journey; the images remain dark and ominous.
 Bars 85-96: the pram comes to rest and penguins approach it.
 Bars 97-end: the penguins gather around the pram and look at its
occupant.

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Tonality  Starts in Dm.
Tonality and harmony  Modulates to Bbm in bar 11, with a tonic pedal throughout this
should be read together. section (bars 11-20).
 Fortissimo C major chord and key signature change for the title
of the film on screen at bar 21.
 The key signature remains C major for the rest of the cue but the
tonality from bar 25-29 is Bbm.
 Tonality shifts throughout the cue, e.g. Abm (bar 29), F#m (bar
34), C#m (bar 38), Eb (bar 40), Bm (bar 42) etc.
 It reaches F#m at bar 53, after a chromatic shift from Db, but then
continues to shift chromatically in 2-bar phrases, arriving at Abm
at bar 63.
 Each shift of tonality is reinforced by part or all of the Batman
motif, which starts on the tonic of each key.
 Bars 93-96 have three 2-bar phrases with chords alternating
between C# major and Em.
 The cue ends with an open chord of C# and G#.

Harmony  Starts with a tonic pedal in Dm.

 Opening arpeggiated chords include a tonic major 7th chord (bar
1) and tonic 6th plus 2nd (bar 2).
 From bar 11 chords change between Bbm and Gb7 1st inversion.
There is a tonic pedal underneath bars 11-20.
 Bar 20 has the Batman motif finishing on a Gb/Bb chord.
 The film’s title is accompanied by a fortissimo C major chord
(bars 21-24).
 At bar 52 the music comes to rest for a moment with a Db7 first
inversion choir chord, followed by a chromatic shift to F#m.
 The final section (starting at bar 85) begins with open 5th chord
(B/F#), which leaves the tonality open.
 This section is accompanied by a long pedal note on B at 85-92.
 The C# major/Em chords at bars 93-98 start in root position, then
move to first inversion, creating an almost chromatic feel.
 The final chord is an open chord of C#/G#.

Texture  The texture varies throughout the cue.

 Starts with 3 layers; pedal, arpeggiated chords and high melody.
The accompanying ostinato continue when the synth choir enters
in bar 4 and a bass ostinato appears in bar 5.
 Pedals appear at moments throughout the cue, e.g. bars 1-7, 11-20,
97-102.
 Octaves appear as a texture, e.g. the Batman motif in 8ves at bars
19-20.
 The Batman motif is passed around different instruments and
layers of the texture (bars 75-78).

Melody  The melody is dominated by the Batman motif in this cue

(appropriate for the main title sequence).
 The 2nd additional idea is heard for the first time at bar 55; it is a
sighing idea. Label it as Extra Idea 2.

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  The high melody at the very start is a modified version of the
Penguin motif, augmented in the violins.
 There is a ‘hint’ of the Batman motif at bars 5-6, before the full
motif appears at bar 9.
 Bar 16 has a descending triplet phrase, which is based on an idea
from the main theme of the first Batman film.
 The Batman motif is heard in rhythmic diminution in bar 17.3.
 The motif is passed around different orchestral sections in bars
27-51.
 A second Batman motif appears in violins at bar 34; it is legato in
style, contrasting with the first motif.

Tempo, Rhythm and  This cue starts at 130bpm and has a sense of movement and
Metre energy.
 The tempo fluctuates but doesn’t really slow down until the last
few bars.
 Rhythmic features include augmentation (bars 1-2), diminution
(bar 17), triplets (the accompaniment is dominated by triplets
from bars 25-51).
 Rhythmic ostinato feature in the cue (e.g. bar 14).
 The metre is 4/4 throughout, apart from one 5/4 bar (bar 20)
which, combined with a rit, has the effect of building up to the C
major chord that accompanies the film’s title appearing on screen.

Batman Versus the Circus

The opening section describes the Bat signal being lit and Bruce Wayne seeing it. The second part
has the ‘Circus Gang’ causing chaos on the streets of Gotham and Batman intervening. This cue is
a composite of two scenes (the second scene begins in the score at bar 18).
Performing forces and  Full orchestra, with increased use of percussion, such as
their handling xylophone, temple blocks, snare drum etc.
(sonority)  Percussion plays an important role in this cue.
 The grotesque effects of these scenes are accompanied by some
more extreme instrumental techniques, e.g. the trumpet extreme
lip trill (bar
 The circus idea is reinforced by the ‘oom-pah’ ostinato
accompaniment (bar 13), which is the circus motif.
 The high violin glissandi in bar 25 are a direct reference to the
murder scene in Psycho.
 Muted trumpets are heard (bar 12).
 The horn players have to accomplish a quick change to stopping
at bar 37.
 A fairground steam organ is heard, e.g. bars 45-46.
 The oboe is instructed to play with ‘extreme vibrato’ at bar 57.
 Dynamics are quite extreme in this cue, with a wide range and
some very rapid changes (bars 91-93).

Structure  Through composed.

 Bars 1-12: the Bat signal is lit to alert Batman to the danger facing
Gotham City and Bruce Wayne sees it.

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  Bars 13-17: the music becomes more jokey and comical, as the
circus gang is depicted on the streets of Gotham.
 Bars 18-25: the tempo increases and the disjointed music captures
the feel of the disorder on the streets; this is underpinned by the
Psycho reference at bar 25.
 Bars 26-46: Chaos increases on the city streets.
 Bars 47-66: Batman appears on the screen and his motif is heard
in the score.
 Bars 67-end: these are the most chaotic scenes on screen and are
matched by the most chaotic music.

Tonality  Starts in Bm, reinforced by a tonic pedal.

Tonality and harmony  Switch to Em at bar 13 with the Circus motif.
should be read together.  There is an unprepared shift to Cm at bar 18 (the second scene in
the film).
 At bar 43 the whole-tone scale is heard in the harp.
 Bar 47 has an unprepared modulation to C#m.
 The music returns to Bm at bar 56, arrived at by a chromatic shift
from B# to B in a scale pattern.
 The key changes to Em at bar 67. It remains there till the end of
the cue, despite some chromaticism.
 The whole-tone references return with a harp glissando at bar 77.

Harmony  Tonic pedal at the start.

 There is a tertiary shift between Em/ C#m chords at bars 10-11.
 At bars 18-23 there is a 3-note melodic fragment (C, Eb, D) which
is undermined by an accompaniment consisting of A, Bb, D, thus
unsettling the tonal/harmonic feel.
 Bar 34 outlines a dim 7 chord, representing the chaos of the
scene.
 The last section (from bar 67) has constant changes of harmony to
represent the action on screen.
 Bar 70 has the lower instruments outline a dim 7 chord, while the
harp and upper strings have an Em flourish in contrary motion.
 Sustained chords from bar 73 include an augmented 4th (bar 74)
and a whole-tone harp glissando (bar 77).
 The cue ends with a single low E, without harmony.

Texture  Texture constantly changes but is made up of layers of ostinato

and motifs (both Batman motifs and the two new ideas).
 The texture is often polyphonic.
 Starts with a slow build up from a monophonic opening pedal.
This builds into chords with a celeste and harp ostinato over the
top.
 The texture in the fast sections is more chaotic, mirroring the on-
screen action.
 The Circus motif is usually heard as an accompaniment idea but
has thematic importance (bar 13).
 Ostinatos play a key role in this cue (e.g. Idea 4, bars 26-34).

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Melody  Dominated by the Batman motif and the Circus motif (first heard
in bar 13; label it as Extra idea 3).
 A new ostinato is heard in the piano and xylophone in 8ves at bar
26. Label this as Extra idea 4.
 The motifs are shared around the instruments and are subject to
development and modification, e.g. augmentation (bars 82-84).
 The Batman motif starts the cue (bars 3-4) and is taken up by
wind and brass.
 The Circus motif is basically an accompaniment figure (bar 13)
and is an ‘oom-pah’ idea.
 At bar 18 a 3-note fragment is heard (C, Eb, D); it is immediately
broken up further (bars 19-20).
 Fragments of the Batman motif are heard in bar 47, coinciding
with his appearance on screen. It appears again at bar 64,
accompanied by an Eb chord.
 At bar 55 a new musical idea appears; a descending 4-note phrase.
This reappears later in the cue.
 The xylophone has a short 4-note quaver pattern at bar 85,
immediately inverted.

Tempo, Rhythm and  Very slow tempo at the start (60bpm).

Metre  Tempo increases rapidly in bar 6, up to 104bpm at bar 7 and then
faster again (136bom) at bar 10. Finally it increases to 170bpm at
bar 18.
 The cue starts in 4/4 but there are metre shifts throughout, which
serve to heighten the feeling of disorder.
 The circus feel is created through the use of cross-rhythms (bar
13) and rhythmic displacement (bar 15, displaced by one
crotchet).
 Cross-rhythms are combined with triplets at bar 60, with a
woodwind ‘flurry’ on top of that texture.
 At bar 67 Elfman uses a cross time signature idea (the music is
written in 3/4 but sounds as if it is in 4/4). This is compounded by
the use of a sextuplet at bar 69.
 Bars 73-77 combine a 5/4 metre, sustained chords, a rhythmic
ostinato and stabs on beats 1 and 3.
 Elfman uses the 4-note quaver idea to drive the music forward.
 Bars 82-84 the Batman motif is heard in its longest rhythmic
augmentation in low brass. This is followed by a change to 5/4 to
accommodate the action on screen.
 At bar 92 the rhythm from bar 26 is extended by the use of rests.

The Rise and Fall from Grace

Businessman Max Shreck visits Oswald (the Penguin) and sees his circus friends. He lures him
downstairs with some fish. At the bottom of the stairs he is greeted by election supporters.
Performing forces and  Full orchestra.
their handling  The opening of the cue creates a ‘circus/comical’ feel, with
(sonority) pizzicato cellos and violins in conversation.
 There is a variety of different techniques and effects, created by
glissandi (bar 3), tremolando strings (bars 37-39), instruments
used low in their range (bar 41), flute trill (bar 46).
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  The organ is used to accompany Oswald, as usual.
 Other instruments include the accordion, marimba, harp, celesta,
bass clarinet and vibraphone. They are used to colour the
atmosphere (e.g. bass clarinet combines with the celli in bars 4-7).
 The trumpets are used to create the fanfare effect at the end.
 The dynamics are very varied and include some rapid changes
(bars 40-41). The final bars are loud or have a crescendo, suited to
the fanfare-style of the ending.

Structure  Through composed.

 Bars 1-7: Max comes to visit Oswald.
 Bars 8-20: the developed version of the Penguin motif is heard in
harp and low organ. It moves to the middle and top of the texture
at bars 17-19.
 Bars 20-39: Max sees the ‘clown gang’, as the Penguin motif is
played as a waltz from bars 20-25. At bar 26 the Penguin looks
over to Max. Max starts to tempt Oswald with a fish at bar 37.
 Bars 40-46: Max continues to lure Oswald outside with the fish.
There is a quick flurry at bar 44, as Oswald tries to grab the fish.
 Bars 47-end: they reach the stairs. The music descends as they go
down the stairs. There is a fanfare-like finish as Oswald is
revealed to a cheering crowd of election supporters.

Tonality  Starts in Cm and stays there for most of the cue, despite some
Tonality and harmony chromaticism.
should be read together.  The cue ends with a triumphant C major (bars 53-54).

Harmony  Cluster chords are used to heighten the atmosphere (e.g. bars 7-9).
They undermine the basic Cm tonality but never fully displace it.
 There is an open 5th chord at bars 26-28, as Oswald first looks at
Max.
 At bar 46 the flute trill and a perfect cadence leads to the music
picking up the pace for the final section.
 Elfman uses an augmented chord combined with contrary motion
to build up to the final fanfare.
 A typical Elfman device is to combine a cluster chord with a
crescendo (bar 52).
 The final chords in C major depict Oswald being greeted by the
election crowd.

Texture  Texture starts with a thin, delicate pizzicato, rapidly changing to

an aggressive high arco, with the Penguin motif heard for the first
time underneath.
 There is an oboe countermelody at bars 17-19, accompanying the
Penguin motif. Another countermelody is in violins at bar 31.

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Melody  The melody is dominated by the two versions of the Penguin
motif.
 The motif appears in different layers and is developed/modified to
create various moods or effects (e.g. the slightly macabre waltz at
bars 20-25).
 It combines with different countermelodies (e.g. bars 17-19, 31).
 The harp carries the melody from bar 29, accompanied by falling
3rds in the celesta.
 At bars 49-50 the descending lower string line mirrors the on-
screen action, as Max and Oswald come down the stairs.

Tempo, Rhythm and  The cue starts in 4/4; like the other cues, there are changes of
Metre metre, including the waltz from bars 20-25.
 Rhythmic augmentation is heard, e.g. the Penguin motif in cor
anglais and celli at bars 26-29.
 Note values and ideas mirror on-screen action, e.g. the flurry at
bar 44, as Oswald tries to grab the fish.
 In the final section (from bar 47) the music seems to pick up pace.
This is created by the repeated chords over the scalic melodic
phrases.

Glossary
Arco Playing an orchestral stringed instrument with the bow.
Atonality Music that lacks a sense of key or tonal centre.
Chromaticism The use of notes outside the key, or designed to destabilise the key/tonal
centre.
Cluster chord A chord made up of dissonant, closely spaced notes.
Con sordino Instruction to instrumental player to play with a mute.
Countermelody A second or accompanying melody played alongside the main melody.
Cross-rhythm 2 or more different rhythmic patterns occurring simultaneously and
appearing to work ‘against’ each other.
Cross time signature Music written in one time signature but sounding as if it were written in
another.
Cue Each separate piece of music in a film score is known as a cue.
Diminished 7th chord A chord made up of 3 minor 3rd intervals on top of each other. The
intervals are the same in each inversion of the chord.
Diminution Shortening the note values of a phrase or motif.
Dissonance Notes or harmonies that clash, creating an ‘ugly’ sound. Usually used to
create musical interest and tension.
Glissando Sliding from 1 note to another.
Leitmotif A short musical phrase associated with a person, place or idea. First used
by Wagner.
Motif Short melodic cell that can be developed or combined to create longer
melodies or left on their own.
Non-functional Chords or chord progressions that do not serve to establish a key or move
harmony the music towards the tonic but are employed for their sound or colour.
Open chord A chord with no 3rd (in pop music it is called a power chord).
Orchestration The process of arranging previously composed music for orchestral
performance.
Ostinato Short recurring musical pattern.

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Pedal note A long held (or repeated) note, usually in the bass, over which the
harmonies change. If the pedal note is repeated, rather than sustained, it
can be referred to as an articulated pedal. A pedal note at the top of the
texture is referred to as an inverted pedal.
Pizzicato Instruction to orchestral string players to pluck the strings, rather than
play with the bow.
Rhythmic Elongating the note values of a phrase or motif.
augmentation
Rhythmic A rhythm repeated but starting on a different beat of the bar.
displacement
Senza sordini Instruction to play without a mute.
Sextuplet 6 notes played in the time of 4 notes.
Short score A score in which more than one instrument is represented on a stave.
Often used for orchestral reductions in film music.
Stopping A technique by which a horn can be made to produce notes outside its
normal harmonic series. By inserting the hand, cupped, into the bell, the
player can reduce the pitch of a note by a semitone or more.
Tertiary modulation Modulation through the interval of a 3rd (major or minor), e.g. F – A.
Tremolo String technique meaning the rapid repetition of a single note produced by
a quick back-and-forth movement of the bow or the rapid reiteration of
two notes (fingered tremolo).
Underscore Music that plays in the background of a film scene.
Whole-tone scale Scale made up only of full tones (e.g. C-D-E-F#-G#-A#).

Wider Listening
Each of the essay topics in Question 6 will require you to compare your study of Batman Returns
with other relevant works. The following are some suggestions for you to study:
Ennio Morricone Once Upon a Time in the West
Use of motifs, music that creates a sense of place and time and creates
tension.
Toru Takemitsu Black Rain
Use of motifs, music that creates a sense of despair and darkness.
John Williams Schindler’s List
Use of the orchestra, differences in the way themes are used.
Debbie Wiseman Wilde
Use of the orchestra.
Hans Zimmer and Gladiator
Lisa Gerrard Use of different cultural influences, use of instruments, themes.
Max Steiner King Kong
Fantasy film, use of the orchestra, music that creates specific atmosphere.
Danny Elfman The Legend of Sleepy Hollow
Music that creates a sense of foreboding, use of forces.
Danny Elfman Spiderman
Fantasy superhero film, use of motifs and use of the orchestra.
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Practice Exam Questions
There are two sections in the written exam for Component 3: Appraising Music. Your set works
will come up in both sections.

Section A set works questions (Q1-3) will require you to analyse selections of the set works in
detail and to know the details of the score and the musical analysis you have done. Practice
questions for this section of the exam will be done in class. They will include aural listening
questions with skeleton scores, short answer responses and multiple choice questions.

Section B questions on set works (Q6) will be worth 30 marks and will be in essay format. Note
the format of each question and the way that every question asks you to refer to other relevant
music in your answer.

Example questions for Section B (Q6):

1. Evaluate Danny Elfman’s use of melody, rhythm and instrumentation in Batman Returns:
Main Theme (Birth of a Penguin I and II), showing how these elements help to create a
dark atmosphere. Relate your discussion to other relevant works. These may include set
works, wider listening or other music. (30)

2. Evaluate Danny Elfman’s use of sonority, melody and texture in Batman Returns: Batman
Versus the Circus and The Rise and Fall from Grace. Relate your discussion to other
relevant works. These may include set works, wider listening or other music. (30)

3. Evaluate Elfman’s approach to instrumentation, structure and melody in the selected cues
from Batman Returns, in the context of other superhero film music. Relate your discussion
to other relevant works. These may include set works, wider listening or other music. (30)

4. Evaluate the extent to which Danny Elfman uses the elements of rhythm, tonality and
texture to achieve a contrast between the comic and the menacing aspects of the film in
Batman Returns: Main Theme (Birth of a Penguin I and II). Relate your discussion to other
relevant works. These may include set works, wider listening or other music. (30)

5. Evaluate Elfman’s use of tempo, harmony and tonality in Batman Returns: Batman Versus
the Circus and The Rise and Fall from Grace, showing how these elements add to the key
moments of the film. Relate your discussion to other relevant works. These may include set
works, wider listening or other music. (30)

6. Evaluate Elfman’s use of melody, harmony and use of forces in Batman Returns in relation
to other late 20th Century films. Relate your discussion to other relevant works. These may
include set works, wider listening or other music. (30)

7. Evaluate Elfman’s use of sonority, harmony and melody in Batman Returns: Main Theme
(Birth of a Penguin I and II), in relation to other fantasy films. Relate your discussion to
other relevant works. These may include set works, wider listening or other music. (30)

8. Evaluate the extent to which Danny Elfman uses the elements of structure, tonality and
texture to contribute to the overall effectiveness of the film in Batman Returns. Relate your
discussion to other relevant works. These may include set works, wider listening or other
music. (30)

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