Batman returns -Elfman

• Structure and tonality

  1. All the prescribed cues are through-composed, drawing on the various leitmotifs, as and when the film action requires

  2. Keys are clearly defined by cadences and sometimes by pedals

  3. Tonality is not structurally significant

  4. Key changes are often sudden

  5. Key changes sometimes involve keys unrelated to one another

  6. Sense of key is occasionally weakened by use of whole-tone structures
• Penguin motifs

  • First occurs as part of a quaver 'moto perpetuo in Batman vs the Circus', bars 26-27
• Tempo, metres and rhythm


  1. Tempo indicated by metronome marks

  2. Most of the cues are moderate in pace

  3. Occasional changes of time signature
• Harmony


  • Functional language, with frequent cadences
  • Tonic pedals (e.g. 'Birth of a Penguin Part II', bars 1-8)
  • Diminished triads (e.g. 'Birth of a Penguin Part I', bar 34³)
  • Diminished 7th ('Birth of a Penguin Part I', bar 37²)
  • Augmented triad ('Rise and Fall from Grace', bar 51)
  • False relations ('Birth of a Penguin Part II', bars 93-96)
  • Added 6th chords ('Batman vs the Circus', bar 5)
  • Neapolitan harmony ('Rise and Fall from Grace', bar 45)
  • Whole-tone chords ('Rise and Fall from Grace', bars 50-52)
• Leitmotifs

  • The Batman motif and its variants: Birth of a Penguin Part I, bar 1
  • Birth of a Penguin Part II, bar 27
  • Motifs associated with the Penguin, first of which is a four-note idea: Birth of a Penguin Part I, bar 3
• Fragmentary melodic lines

  • Occur in 'Batman vs the Circus' (oboe at bars 57-58, the fairground steam organ at bars 62-63)
• Rhythm


  • Pounding triplets in the Batman theme and its accompaniment ('Birth of a Penguin Part II', bar 25 onwards)
  • Loose augmentations, e.g. bar 65 of 'Birth of a Penguin Part II'
  • Almost constant quavers in 'Batman vs the Circus'
• Sustained octaves in bass

  'Rise and Fall', bars 20-25
• In Elfman's score, motifs were subjected to development and transformation as the changing situation demanded
• Colouristic effects in the score include strings-tremolandi, pizzicato, glissandi; woodwinds-flutter-tongue, wide vibrato; brass-use of mutes, horn glissando; choir-vocalisation; large percussion section including xylophone, marimba, temple blocks, sleighbells, tam-tam, cymbals
• Metre

  • Occasional changes of time signature, e.g. one bar at bar 13 of 'Birth of a Penguin Part I'
  • Insertion of the waltz episode (bars 20-25) within a mainly quadruple time context for 'Rise and Fall from Grace'
• Elfman draws on a full symphony orchestra and additional instruments like organ, children's choir, synthesiser, celeste, piano, and accordion
• The score for Batman Returns was provided by Danny Elfman, known for incidental music for film and TV, particularly The Simpsons
• The cues are notated in the form of orchestral short scores, compressed onto varying numbers of staves
• Pedal

  'Birth of a Penguin Part II', bars 85-92
• The term Leitmotif was first used in connection with the operas of Wagner, where motifs were used to represent characters, objects, and concepts
• Elfman uses a leitmotif system with clearly defined themes for each character
• Batman Returns was directed by Tim Burton and is a sequel to his Batman (1989)
• 'Cue' is the term used to indicate the music used for a particular point or scene in the film
• Tempo

  • Indicated by metronome marks
  • Most cues are moderate in pace, though 'Batman vs the Circus' moves from slow to very fast
• The Batman films are fantasies based on the comic-book character Batman, and his encounters with ingenious criminals, in this case the Penguin and Catwoman