Smith - An Analysis of Film Score Production and Composition Traits

An Analysis of Film Score Production and Composition Traits
implemented within the works of Hans Zimmer
Cameron Edward Smith
130044369
MA Music Production

MMP005
Word Count: 8139

(With Appendix:) 18207
Cameron E. Smith - 130044369 - MMP005
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Introduction
The advancements of technology in the music industry move at a rapid rate. Within the past
century, the core industries have evolved into numerous sub cultures and niche employment
careers. Throughout these historical developments, certain individuals have undoubtedly been
identified as the seminal mavericks of the industries, bringing forward creative innovations
within their fields.
The history of film music has witnessed this same trait during which many composers have
been hailed as the seminal individuals of their time. Max Steiner is repeatedly accredited as
being the first to synchronize musical elements of score to the visuals (Pratt, 2009), notably
in Merian Cooper and Ernest Schoedsack’s King Kong (1933). Bernard Herrmann kickstarted
the collaborative approach to composition which led to the iconic Alfred Hitchcock films
Vertigo (1958), North By Northwest (1959) and Psycho (1960). Five time academy award
winner John Williams undoubtedly has left his mark on the film music scene, and whose ‘big
orchestral sound’ can be found on numerous blockbuster films, such as Schindler's List
(1993), Jaws (1975), the Indiana Jones (1981) and the Star Wars (1977) franchise. The 21st
Century has continued to bring forward pioneering individuals within the industry of film
music, with one arguably leaving a footprint as large as the others. Hans Zimmer is an
internationally renowned film composer, producer and performer, and has built up a
celebrity-grade reputation as one of the most influential composers of the 21st Century.
Zimmer has scored music for over a hundred films, collaborated with many world class
directors and received numerous awards for his compositional works.
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With that said, Zimmer’s approach to film scoring production practices have been recognised
as having a conventional industrial approach. He is an authority on certain production
practices involving the combination of synthesised electronic music with traditional
orchestral instruments and he has implemented these techniques into many of his 21st
Century soundtracks. Zimmer’s compositional style is argued as ‘romantic minimalism’,
which can be described as a combination of minimalistic romantic musical ideas and the
stripping away of musical textures (Wright, 2015). This technique has been demonstrated and
discussed through behind the scenes footage and Zimmer’s online masterclass series (2016).
In the 21st Century, film composers are under continuous pressure to create unique and
innovative ideas for every film. Zimmer and his implementation of romantic minimalism has
undoubtedly experienced criticism of producing formulaic music. As Zimmer attempts to
ensure diversity in his film scores, the definitive traits of romantic minimalism are harder to
identify. Therefore, the intentions of this research project are to establish the traits and
aesthetics of romantic minimalism attributed to Zimmer’s 21st Century film scores, as well as
brief research into his career. Through analysing films of various genres scored by Zimmer,
the underlying aesthetics of his work can be discovered, as well as identifying the individual
genre dependant traits.
Zimmer’s Rise to Fame, Romantic Minimalism and Remote Control Productions
Hans Zimmer was born in Frankfurt, Germany in 1957. He was educated in London, where in
the 1970s he became involved with playing keyboard and synthesiser in British bands, firstly
Krakatoa and then The Buggles. In the 1980s, Zimmer picked up work through writing
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advertising and game show jingles, but his main break into film music came about due to his
collaboration with composer Stanley Myers. Together Zimmer and Myers composed a
selection of films throughout the 80s, and it is arguable that Zimmer’s popular hybrid
orchestral sound was born through the influence of this early collaboration.
Terminal Exposure (1987) is known as Zimmer’s first solo score, and his subsequent score
for the award-winning film Rain Man (1988) pushed him towards the Hollywood limelight.
Following the critical acclaim of Rain Man, Zimmer continued to build up a portfolio of
successful scores for films such as Driving Miss Daisy (1989) and Thelma and Louise (1991),
which was his first film with director Ridley Scott. The score of The Power of One (1992)
highlighted Zimmer’s appreciation of cultural research in order to achieve authenticity within
his composition; he travelled to Africa to record choirs and percussion for the score. 1994
saw Zimmer score his first animated film, The Lion King, for which he won his first
Academy Award for best score. Zimmer quickly became one of the most prominent film
composers in Hollywood, and has continued to be through the following two decades.
A notable moment in Zimmer’s career was the foundation of the production company ‘Media
Ventures’ in 1989 with long time friend Jay Rifkin. Through Media Ventures, a selection of
composers were hired and each worked on a variety of composing projects while being
housed under the same roof. Rifkin and Zimmer’s partnership ended in 2003 after a
controversial lawsuit against each other, resulting in Zimmer setting up his own production
company, ‘Remote Control Productions’. Remote Control Productions has housed numerous
composers under the company roof, many of whom have gone onto their own successful
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careers as Hollywood film or TV composers, such as Harry Gregson-Williams (The Martian
(2015)) or Ramin Djawadi (Game Of Thrones (2011)).
Romantic Minimalism
Hans Zimmer’s compositional style is often branded with the term ‘romantic minimalism’.
The term suggests that Zimmer composes by creating a simple romantic melody of a
minimalistic nature. The romantic melody can then be combined with additional musical
textures, such as instrumentation lines and patterns, or the evolution of the original melody
line (Pratt, 2009). These musical textures can be added or removed without undermining the
momentum and quality of the music.
The effectiveness of these romantic melodic themes within a Zimmer score is the
underpinning aspect that ensures the success of romantic minimalism. These melodic themes
employ a similar purpose as a leitmotiv; a melodic riff used as a theme in an association with
a character or situation. This technique is commonly used by Western film composers, most
notably by Howard Shore in his score for ‘The Lord Of The Rings’ trilogy. Zimmer seems to
accomplish a persistently successful melody line, ensuring that it can be implemented and
woven within different scenes of a film. As Meyer (2016 pg. 44) states;
‘The use of abstract motives and minimal thematic development undeniably imparts a
distinctive temporal quality to many of Zimmer’s epic scores, an immersive state of
permanent portent that manages to maintain a high level of tension without recourse
to traditional tonal or thematic melody.’
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Zimmer’s use of romantic minimalism is arguably resultant from his background within the
creative industries. As Zimmer is not a classically trained composer, the freedom of romantic
minimalism is apparent within his work. These simple melodic lines are accompanied by
programmed patterns, resulting from his wide experience in music production and
synthesizers.
Objectives
As previously said, the intentions of this project are to establish the traits and aesthetics of
romantic minimalism attributed to Zimmer’s 21st Century film scores, as well as to determine
which traits have more prominence within each of the film scene’s genre. This can be
achieved through a detailed analysis of the traits found in three selected films scored by
Zimmer.
Zimmer has scored numerous films and television shows, and his work spans over two
decades, therefore the film scores that have been chosen for this project span from the
foundation of 'Media Ventures', now Remote Control Productions through to his more recent
works. These films are Gladiator (2000), Sherlock Holmes (2009) and Interstellar (2014).
Furthermore, these films are of differing genre and narrative; the brief synopsis below
highlights each film’s storyline and the aspects that will be studied within the accompanying
scores.
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Gladiator (2000)
Gladiator, directed by Ridley Scott, is undoubtedly one of Zimmer’s best known scores. The
action epic follows Roman General, Maximus (portrayed by Russell Crowe), seeking
vengeance on Commodus Aurelius (Joaquin Phoenix) who betrayed and murdered his family.
The production videos behind Zimmer’s critically acclaimed scores display his collaborative
approach with singer Lisa Gerrard, and highlight the lengths that Zimmer goes to achieve
cultural consistencies through instrumentation. Zimmer was awarded a Golden Globe Award
for best original score in 2001.
Sherlock Holmes (2009)
Guy Ritchie’s adaptation of Sherlock Holmes provides another example of Zimmer’s diverse
scoring abilities. The film follows the adventures of the iconic detective, Sherlock Holmes,
(played by Robert Downey Jr) and his assistant, Dr Watson (Jude Law). Zimmer’s score
features unconventional instruments and techniques, and again displays his appreciation of
cultural authenticity his through recording and studying on-location.
Interstellar (2014)
Christopher Nolan's Interstellar is the most recent film score that will be studied through
analysis. The science fiction film was hugely successful at the box office, alongside the sales
of Hans Zimmer's original soundtrack. The film follows the story of 'Cooper' (Matthew
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Mcconaughey) who must leave a dying earth (and family) in order to find a new sustainable
planet for humanity to colonise. The film is categorised officially as action, yet the storyline
closely follows the father-daughter relationship between Cooper and Murph (Mackenzie
Foy). The film was chosen to analyse as Zimmer's collaborative relationship with Nolan is
well documented through production videos and interviews.
Methodology
Within the chosen films, I intend to analyse each of the film’s scenes and its narrative, and
categorise the scene into a genre and discuss the emotive semiotics displayed. Popular
narrative theories will be explored and the narrative plot genre will be stated according to a
narrative theory.
I will then analyse the accompanying music for each scene, focusing on major musical
aspects such as the beats per minute, chord progression, key signature, time signature,
prominent melody line, instrumentation and emotional architecture, then establishing
categories for the musical genre. From each track analysis, I am able to research the impact
that the visuals and narrative have on the music, and vice versa. Using a popular narrative
theory, each scene’s genre attached to the track will be noted, and the traits of the track can
be compared with other tracks of the same narrative category. This will determine whether a
genre based correlation is evident between Zimmer’s works, also shedding a new light on a
more thorough definition of romantic minimalism, or ‘the Zimmer sound’. This will further
the discussion of whether Zimmer’s traits are dependant upon the visual elements of a film,
or are just a fundamental aesthetic that Zimmer features in all of his works.
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Following the analysis of the selected films, an additional discussion of Remote Control
Productions composers will also be undertaken. As previously mentioned, many of the
composers from Remote Control Productions or Media Ventures were hired by Zimmer, and
it has been argued that some composers implement Zimmer’s techniques into their works
(Smith, 2017). The study will support an argument as to whether other aesthetics of Zimmer’s
work have influenced the composers of Remote Control productions.
Establishing Narrative Theories.
The underlying purpose of a film is to provide a storyline. With that said, a narrative theory
provides a structure which supports a storyline. Through the use of a narrative theory, the
narrative plot genre of the proposed film’s storyline can be suggested then categorized.
The concept of narrative theories has been discussed for thousands of years, the Greek
philosopher Aristotle (n.d) noting that all narratives must have a beginning, middle and end to
be considered whole. More recently, Russian folklorist Vladimir Propp’s eight character
theory has influenced numerous directors. In his 1928 book, Morphology of the Folktale,
Propp analysed the folklore stories of Russia, identifying that all of these tales comprised of
thirty one elements. With that said, Propp (1928) proposes that all narratives implement eight
character types; namely the hero, the villain, the helper, the false hero, the donor, the
dispatcher, the princess and the father. The role of each character type is available in the table
below;
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Character Type Role
The Hero The major protagonist in the narrative, destined to defeat the villain and restore the disturbed
order.
The Villain The cause of the disruption and the main rival to the hero. Traditionally contrasting character
to the hero.
The Dispatcher The character who sends the hero on the task to defeat the villain.
The Helper A character who helps fight with the hero against the villain.
The False Hero A character that seems to be on the side of the hero, but turns against the hero to fight with the
villain.
The Donor The donor gives the hero help along the way.
The Princess The character in need of rescue from the villain.
The Father Helps persuade the hero to fight the villain and help the princess.
Through the analysis of folklore stories, Propp’s thirty one identified elements are then
incorporated as a narrative structure. While these narrative segments may not happen in the
same narrative plot, the segments that do occur will follow in the order stated.
Propp’s works have influenced theorists such as Roland Barthes, who suggested a theory of
narrative codes (1972), as well as Claude Lévi Strauss, who argued that all narratives are
lessened to binary opposites (1963). With that said, the works of Propp also influenced
American mythologist Joseph Campbell, who created the archetypal ‘Hero’s Journey’
narrative theory. Campbell’s 1949 theory suggests that a hero appearing in most narrative
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forms follows a recognisable twelve step pattern (See Figure 1.1).
Figure 1.1 - A visual representation of ‘The Hero’s Journey’ by thewritersjourney.com (n.d)
Campbell's book, The Hero with a Thousand Faces (1949) is hailed as seminal by many
filmmakers, directors and writers, alongside his narrative pattern being recognised in many
hero central film plots.
While Propp’s, Campbell's and Barthes’ theories relate to the structure of the narrative itself,
defining a typology of the narrative genre has also been investigated. Ronald Tobias’ book 20
Master Plots, And How To Build Them (1993) states twenty common plots found in narrative
storylines, namely;
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● Quest ● Metamorphosis
● Adventure ● Transformation
● Pursuit ● Maturation
● Rescue ● Love
● Escape ● Forbidden love
● Revenge ● Sacrifice
● Riddle ● Discovery
● Rivalry ● Wretched Excess
● Underdog ● Ascension
● Temptation ● Descension
Furthermore, Christopher Booker’s (2005) The Seven Basic Plots: Why We Tell Stories
suggests that traditional narrative plots fit into seven differing scenarios, being; overcoming
the monster, rags to riches, the quest, voyage and return, comedy, tragedy and rebirth. Booker
also suggests a narrative structure alongside each narrative typology. Both Tobias and
Booker’s typologies display similar plot lines, yet a selection of Tobias’ outlined plotlines
undoubtedly fit into particular Booker typologies. For example, Tobias suggests ‘discovery’
is an individual narrative typology, whereas Booker’s ‘voyage and return’ or ‘quest’
typologies might incorporate narratives including ‘discovery’.
Narrative Theory Complications
While the use of a narrative theory is necessary for the approach of this project, the
complications regarding narrative theories need to be recognised and understood.
Fundamentally, a theory defining a narrative structure is complicated when the narratives
analysed are nonlinear (when the narrative is not in a occurring order and/or introduce
flashbacks and flashforwards), and which some directors and writers implement into their
films, such as director and writer Quentin Tarantino's Reservoir Dogs (1992), Pulp Fiction
(1994), and The Hateful Eight (2015).
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Furthermore, while there will be many films that will fit the narrative structures stated,
undoubtedly some complex plotlines will fail to meet these narrative typologies. With that
said, certain film plotlines implement multiple narrative typologies, such as Peter Jackson’s
adaptation to JRR Tolkien's The Lord Of The Rings (2001). If Booker’s seven basic plot
typologies was used, The Lord Of The Rings arguably features the plotlines ‘overcoming the
monster’, ‘quest’ and ‘voyage and return’. Therefore it must be understood that the selected
films may not directly correlate to the narrative theories, as each director and writer have
their own individualistic approach to creating their narratives. As each film varies in director,
writer and genre, it is difficult to determine a narrative theory that would meet all
expectations.
When analysing the narrative structure of the selected film’s scene, Vladimir Propp’s
narrative character theory will be referred to, alongside categorizing the thirty one narrative
elements structure. Furthermore, Campbell’s ‘Hero’s Journey’ stages will be correlated to
each film stage when possible, and Tobias’ narrative typology will be referred to in order to
understand a taxonomy of each film scene narrative genre. However, if the works of Propp
and Tobias’ fail to relate to the film’s narrative, the works of the additional theorists
mentioned will be examined to investigate whether a narrative structure is present.
Procedure for Analysing Musical Traits of Hans Zimmer
As previously stated, an analysis of the accompanying film music will be undertaken, which
will include the study of the beats per minute, key signature, time signature, chord
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progression, prominent melody line, instrumentation and emotional architecture. In order to
define the correct score that accompanies the visual scene within each film, the commercial
‘original soundtrack’ will be used and analysed. Furthermore, certain traits within the music
will be analysed through the understanding of aural reading and sight reading, whereas other
traits will be electronically analysed through the use of a DAW.
To define the beats per minute, each track will be implemented into Logic Pro X, and the
BPM analyser will be used to analyse the track. This will be done on the overall track for an
average BPM, and the track will be analysed cut into two, determining whether the BPM
changes significantly throughout. Furthermore, the beat mapping abilities of Logic Pro X can
assist in visually displaying the BPM changes of the track. It should, however, be noted that
the beat mapping will not be completely accurate, but will give an overall representation of
each track. The prominent chord progression, key signature, time signature can be understood
through aurally analysing. This can also be used to further the understanding of the
instrumentation, emotional architecture and the melody line. The prominent melody line will
be visually displayed through musical notation and the emotional architecture will contain
information regarding the selected themes’ variations and any additional aesthetics that
should be mentioned. It will also be insightful to determine any additional factors of the
music that affects how the visuals work on screen. These factors may include whether the
music is synchronized to the visuals, as well as determining whether certain scenes contain
diegetic music elements.
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Results
Due to the sheer amount of information, the track by track analysis of the three soundtracks
in order of commercial appearance are available within the main section of the appendix (see
appendix 01, 02 and 03). The following section discusses these results, including areas of
significance regarding the traits of romantic minimalism.
From the analysis of Gladiator, Sherlock Holmes and Interstellar, there are undoubtedly
some correlating traits present over correlating narrative stages. Firstly, in accordance to
romantic minimalism being ‘a combination of minimalistic romantic musical ideas and the
stripping away of musical textures’, the analysis reinforces that Zimmer strongly revolves
around this compositional process. Within Gladiator, Sherlock Holmes and Interstellar, all
three films use fundamental melodic lines to display key characters, intentions and motives,
and subsequent variations of these melodic lines occur. These noted melodic lines are
featured below in score.
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Gladiator (2000)
1A - Melodic Line One - The main melodic theme, prominent when the protagonist character,
Maximus, undertakes and completes a heroic gesture, as well as a theme for ‘home’.
Variations are included in the film stages’ ‘Earth’, ‘Home Coming’, ‘To Zucchabar’, ‘Are
You Not Entertained?’ ‘Win The Crowd (Strength And Honor)’, ‘Barbarian Horde’, ‘The
Kiss (Much To Pay For)’, ‘The Trap’, ‘Honor Him’ and ‘Now We Are Free’.
1B - Melodic Line Two - This theme is prominent within Roman battle sequences, before and
after. Variations of the theme are implemented into the stages ‘The Battle’, ‘Barbarian
Horde’ and ‘One More Life To Take’.
1C - Melodic Line Three - This theme is prominent within the chaotic battle visual sequences,
with variations including ‘The Battle’, ‘Barbarian Horde’, and ‘The Trap’.
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1D - Melodic Line Four - The Commodus theme, prominent as an antagonistic theme and a
plotting theme. This short melodic line acts more like a leitmotif rather than a full theme.
This melodic line is featured within the stages ‘Patricide’, ‘Commodus Vigil’, ‘Conspiracy’,
‘Busy Little Bee’ and ‘Am I Not Merciful?’
Sherlock Holmes (2009)
2A - Melodic Line One - This is the main melodic theme, alongside melodic line two. Each
are equally prominent in that they both act as variations of the other. This theme signifies
Sherlock Holmes, and the classic Sherlock behaviour and actions throughout the film. This is
undoubtedly the main melodic line of the film, as variations are found within the stages
‘Marital Sabotage’, ‘My Mind Rebels At Stagnation (First Half)’, ‘I Never Woke Up In
Handcuffs Before’, ‘Giant Chase’, ‘Deducting The Body’, ‘Approaching the Docks’, ‘The
Docks’, ‘Psychological Recovery Part 1 and 2’, ‘Catatonic (reprise)’ and ‘Discombobulate
Reprise’.
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2B - Melodic Line Two - As mentioned above, this theme is also a main melodic line
prominent throughout Sherlock’s protagonistic movements. Variations are found within the
stages ‘Discombobulate’, ‘Catatonic’, ‘Deducting The Body’, ‘Deducting The Body 2’,
‘Approaching The Docks’, ‘Psychological Recovery Part 1, 2 and 3’, and ‘Catatonic
(reprise)’.
2C - Melodic Line Three - This is the antagonist melody line for Lord Blackwood,
performing in a melodic theme form as well as within a patterned fashion to assist the other
melodic themes. Variations are found within the stages ‘Ah Putrefaction’, ‘My Mind Rebels
At Stagnation (second half)’, ‘Greater Things To Fear’, ‘Waiting For Bail’, ‘Meeting Senior
Blackwood’, ‘Deducting The Body’, ‘Deducting Body 2’, ‘The Docks’, ‘Solving The
Problem’, ‘Psychological Recovery Part 2 and 3’ and ‘Catatonic (Reprise)’.
2D - Melodic Line Four - The theme here is most prominent within stages of the film
involving the character Irene conversing with Sherlock, with variations found within ‘Data,
Data, Data’, ‘Psychological Recovery Part 3’ and ‘Catatonic (Reprise)’.
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Interstellar (2014)
3A - Melody Line One - This melody line is undoubtedly the main melodic theme of the film.
It symbolises the relationship between the family members, and variations of the theme can
be found within the stages S.T.A.Y’, ‘Cornfield Chase’, ‘Day One’, ‘First Step’ and
‘Messages’.
3B - Melody Line Two - The second theme is also prominent, and seems to relate to visuals
including the semiotics of the protagonist character, Joseph Cooper, leaving his family.
Variations of this theme are found in the stages ‘Detach’, ‘Dreaming Of The Crash’, ‘Stay’,
‘Message From Home’.
3C - Melody Line Three - This melody line is prominent within visual stages of great climatic
tension, with variations found in the stages ‘Coward’, ‘No Time For Caution’, ‘Imperfect
Lock’.
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3D - Melody Line Four - This melody line relates to the protagonist’s daughter, Murph
Cooper. Variations of this theme include stages when Joseph Cooper remembers Murph, as
well as stages directly involving her. Variations are found within the stages ‘Coward’, ‘Day
One’, ‘S.T.A.Y’, ‘Afraid Of Time’.
The variations within these melodic lines belonging to each film are expansive and depend
upon many factors within the visuals and narrative stages of the selected work. For example,
Gladiator features a fragmented variation of the identified 1A - melodic line one in narrative
stage 08, ‘Homecoming’, which is performed on the dulcimer at a bpm much slower than the
other variations. This has been implemented to match the narrative visuals, as the melodic
line theme one has connotations to the protagonist Maximus’ home, and the visuals display
the protagonist returning home. The fragmented variation of this theme matches the visuals
displaying Maximus finding his home destroyed and his family murdered.
Another example of this is the implementation of 2C - melodic line three within Sherlock
Holmes, in which this theme is attached to the actions of the major antagonist character, Lord
Blackwood. The melodic line variations include changes within the bpm and instrumentation;
Stage 07. ‘My Mind Rebels At Stagnation’ and stage 29 and 30. ‘Psychological Recovery’ of
the film displays this melodic line, which is performed on a solo violin and is more prominent
within the mix, whereas other stages within the film, such as Stage 15. ‘Greater things to
fear’, 20. ‘Deducting The Body’, 22. ‘Deducting Body 2’ and Stage 27. ‘Solving The
Problem’ inconspicuously implements the melodic line through the use of a handpan drum at
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a lower bpm than the previously stated variations. Like Gladiator, the purpose of these
variations is to match the visuals and narrative on screen; the melodic line is present when the
antagonist Lord Blackwood is on screen and when committing antagonistic actions. As Lord
Blackwood is perceived as being dead through hanging by the protagonist characters, the
later variations of the melodic line using the handpan drum and the lower bpm suggest that
the events unfolding throughout the stages are committed by a resurrected Lord Blackwood.
Finally, this technique is similarly implemented in Interstellar, with 3B - melody line two
signifying emotions of crossing thresholds throughout numerous stages of the film, being
stages 01. ‘Dreaming Of The Crash’, 05. ‘Stay’, 06. ‘Message From Home’ and 16. ‘Detach’.
The melodic line seems to be implemented when the protagonist character Cooper departs on
a journey, leaving both his friends and family behind. A fully developed and fully
instrumental variation can be found in 05. ‘Stay’, when Cooper leaves his family to save the
world, whereas stage 06. ‘message from home’ includes a minimal variation of the theme
performed on a piano at a lower bpm. Arguably this implementation is symbolic; when
Cooper travels further from his family, the calls from family and friends for him to stay
become more faded, yet still present.
The use of a melodic line to signify a character or connote a feeling is obviously not a new
compositional technique. Film music has relied on this technique since the beginning of
syncronsied film scores (especially through the implementations of leitmotifs) and this
conventional approach has continued within the domain of 21st Century film music. It is
arguably Zimmer’s ability to apply this foundation technique, coupled with his personalised
traits established within romantic minimalism, that aids his success.
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While the primary melodic lines featured within Gladiator, Sherlock Holmes and Interstellar
have been identified, there are also variations of certain repeated patterns within specific
stages of these films, suggesting a purpose to create climax and intensity.
A notable case of this can be found within the ‘Homecoming’ stage of Gladiator, in which
the narrative visuals show Maximus’ home and family being approached by a group of
horsemen. The family is unaware that Maximus has been branded as a traitor and of the
approaching danger, perceiving that the horsemen are friends rather than foe. While this
sequence plays out, the following repeated pattern is performed on a classical guitar within
the accompanying soundtrack;
Repeated pattern prominent within the stage ‘Homecoming’ of Gladiator.
Under this repeating pattern, the visuals display the horsemen galloping towards the family,
and uncertainty is beginning to show on the mother’s face. Alongside this, the beats per
minute of the track considerably accelerate, noted below within the beat mapping analysis;
Beat mapping summary of Homecoming, note the middle section of the track.
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The middle section of Homecoming, displaying the notable bpm increase from 56 bpm to 66,
continuing to 70 bpm.
This acceleration is used to bring a level of uncertainty and drive to the scene, assisting the
narrative visuals as the storyline reveals the horsemen to be foe rather than friends.
A second example of the use of a repeating pattern to drive intensity and create climax can be
identified within Sherlock Holmes’ melody line 2C; associated with Lord Blackwood’s
theme.
Melody Line 2C - Lord Blackwood’s repeated melodic line featured during his hanging
scene.
This melodic line is implemented in stage 07 ‘My Mind Rebels At Stagnation Part 2’, in
which the narrative visuals display the main antagonist, Lord Blackwood, being hanged for
murder. In the moments approaching Lord Blackwood’s hanging, he gives a warning to the
protagonists arounds him, and the visuals of the film display the fear associated with
Blackwood’s presence. Similarly, a bpm acceleration is present throughout the soundtrack
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accompanying the narrative stage. The section begins with the melodic line performed on a
solo violin, yet as the bpm increases, other instruments become more prominent within the
track. This can be shown through the beat mapping below:
Beat Mapping of 07 ‘My Mind Rebels At Stagnation Part 2’ which implements melodic line
2C - Lord Blackwood’s repeated melodic line featured during his hanging.
The beat acceleration within this stage is substantial, ranging from 91 bpm until its climax at
150 bpm, over which the visuals display Blackwood’s apparent hanging. Furthermore, once
Blackwood’s hanging is visually shown within the narrative, the accompanying track begins
to devolve; the bpm decelerates and the instrumentation that was brought in during the
acceleration section is discarded, until the lead melodic violin is the last remaining
instrument.
Furthermore, Interstellar continues to implement this repeated pattern trait, which is also a
fundamental melodic line within the soundtrack. Melody line 3C is prominent within the
stages ‘Coward’, ‘No Time For Caution’, ‘Imperfect Lock’, all of which are narrative stages
of climatic tension. The narrative stage of ‘Coward’ presents an intense physical fight with
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the protagonist, Joseph Cooper, and the false hero, Dr Mann. ‘Imperfect Lock’ displays a
sense of uncertainty as Dr Mann attempts to take over the Endurance (extremely
unsuccessfully), and ‘No Time For Caution’ unveils the climactic attempt of Cooper retaking
control of the crashing spaceship. Variations of the repeated pattern shown below are featured
throughout each stage;
Melody Line 3C - featured in ‘Coward’, ‘Imperfect Lock’ and ‘No Time For Caution’
Whilst a dramatic bpm acceleration trait is not present within stage ‘Imperfect Lock’, the beat
mapping of ‘Coward’ shows a varying increase between 112 bpm and 145 bpm. This is
shown below through the beat mapping of the track;
Beat Mapping of the track ‘Coward’
Similarly, the climactic ending of the stage ‘No Time For Caution’ implements an increase
from around 96 bpm to 135 bpm, as shown below;
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‘No Time For Caution’ beat mapping.
In Interstellar, the bpm acceleration trait can also be noted within other stages of intensity,
either when accompanying melodic or simple percussive lines. Certain stages of Interstellar
which include the 3A - Melody line one also implement this trait, as seen within the beat
mapping analysis of stages ‘S.T.A.Y’ and ‘First Step’;
Beat mapping of the narrative stage ‘S.T.A.Y’
Beat Mapping Of ‘First Step’
Both these stages are emotional moments within the film, with the stage ‘S.T.A.Y’ displaying
Joseph Cooper desperately trying to call for his daughter, whilst ‘First Step’ cinematically
brings the film to a close, suggesting that Joseph will go out to find Dr Brand who is alone
and stranded in another galaxy.
A stage with a significant bpm increase can be found within ‘Mountains’ as shown in the beat
mapping below. The visuals show a climactic narrative as a cascade of water is displayed,
approaching the protagonist characters, and they must escape before being engulfed. The
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stage also brings forward connotations of uncertainty as the protagonists are unsure as to
what endangers them.
The start of the stage’s accompanying soundtrack relies upon simple repeated percussive hits,
with a bpm averaging at 96 and a continuous chord of A minor. As the stage progresses and
the characters begin to realise that something is amiss, the accompanying soundtrack
introduces more and more repeated patterns on various instruments, and the bpm starts to
increase. When the ‘mountain’ of water is visually shown within the narrative, a chord
progression prominent throughout many Interstellar stages is heard, being F major (7), G
major, A minor, G major. Accompanying the introduction of this chord progression are
extensive and heavy orchestral hits, produced through the inclusion and layering of numerous
instruments. The beat mapping of this stage can be found below.
Beat mapping of the stage ‘Mountains’, which clearly shows a strong bpm acceleration as
the instrumentation builds up.
As the bpm of the track accelerates, the simple percussive hits played throughout give the
suggestion of a ticking clock, as if time is running out for the protagonists. This feeling is
also found within other intense stages of Interstellar, such as ‘Coward’, ‘Imperfect Lock’,
‘No Time For Caution’ and ‘Detach’. The music accompanying the stages ‘Coward’ and ‘No
Time For Caution’ in particular have a prominent bpm of around 120 bpm throughout, which
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(obviously) is double the tempo of a ticking clock. It should also be noted that these four
stages previously mentioned are all during critical points of the film, where the narrative
visuals indicate there is little time left for humans on Earth.
Correlating Narrative Theories to the Film and Accompanying Music
As expected, correlating the narrative theories of Propp and Campbell to the films was not
completely straightforward. While the steps within each theories do predominantly correlate
to the narrative stages of the three analysed films, certain scenes within these films would fail
to fit into specific narrative categories. Furthermore, there were cases that individual film
scenes would fit perfectly within one narrative theory stage, whereas they failed to be
categorised into the other theory.
Despite having different directors and genre, Gladiator, Sherlock Holmes and Interstellar do,
however, follow a similar narrative plotline. In accordance to Tobias’ stated narrative genres,
Gladiator has traits which would suggest that the film would be ‘06. Revenge’, whereas
Sherlock Holmes contains combined traits of ‘02. Adventure’ and ‘07. The Riddle’, and
Interstellar being a combination of ‘01. Quest’ and ‘17. Discovery’. This similarly is shown
in accordance to Bookers’ genres, with Gladiator and Sherlock Holmes being the genre of
‘Overcoming The Monster,’ and Interstellar being a mixture of ‘The Quest’ and ‘Voyage and
Return’.
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All three films strongly follow Campbell's ‘Hero’s Journey’ structure described in his book
The Hero with a Thousand Faces, in particular the first six steps. This is shown within the
table below:
Campbell's 01. 02. Call To 03. Refusal 04. Meeting 05. Crossing 06. Tests,
first six Ordinary Adventure Of The Call The Mentor The Allies
narrative World Threshold Enemies
steps.
Gladiator (Stage 1-3). The (Stage 4) (Stage 5) (Stage 5-6) Stage (7-9) Numerous
initial battle, Maximus is Maximus wants Maximus Maximus can gladiator battles
establishing the asked to to go home to accepts the never see his throughout the
characters succeed the his family. offer. family again, film.
Emperor. But before he and crosses the
can, Commodus threshold of his
kills the father previous life.
and attempts to
kill Maximus.
Sherlock (Stage 1-7) (Stage 7-8) (Stage 8-9) (Stage 17) (Stage 10-12) Numerous
Characters are Blackwood Sherlock Meeting Senior Sherlock Henchmen
Holmes
established. warns Sherlock ignores Blackwood. deducts the battles
Initial encounter about upcoming Blackwood’s (Possibly the body, releasing throughout the
with Lord events. Sherlock warning. mentor is also Blackwood’s film.
Blackwood. meets Irene Irene, meaning warnings were
Adler about a it would be true. Sherlock
new case. stage 7?) must defeat
blackwood.
Sherlock takes
on the case.
Interstellar (Stage 1-2) (Stage 3-4 (Stage 4) (Stage 4) (Stage 5-7) Mountains,
Characters are The Gravity Cooper refuses Cooper meets Cooper departs fight with Dr
established, anomaly points NASA’s call, Dr John Brand, on his adventure Mann and
alongside the to coordinates saying he wants who convinces of no return. saving the
situation. The leading them to to stay with his Cooper to go Cooper also Endurance.
world is dying. NASA. NASA family. save the world. crosses the
calls on Cooper wormhole.
to go save the
worlds and
leave his family.
Campbell’s first six narrative steps seem to be present within these three films; however step
six has been found numerous times. As shown within the track by track analysis (see
appendix), later steps of Campbell’s ‘Hero’s Journey’ narrative structure can be found within
the films in a different order.
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In contrast with Campbell’s narrative structure, Propp separates his narrative stages into
thirty one individual elements. With that said, Propp states that not all narratemes will be
placeable or found within all films. Similar to Campbell’s narrative structure, certain Propp
narratemes stages could be perceived to repeat themselves throughout the films, such as
Interstellar repeating step ‘12 - Testing’ within ‘7 - Mountains’ and ‘15 - No Time For
Caution’.
While applying the narrative theories to the films may have been more demanding than
anticipated, correlations between the narrative stages of the films and music can be identified.
Fundamentally, the main melodic lines found within the three films are established within the
first narrative stage, being either Campbell’s narrative stage ‘01. Ordinary World’ or Propp’s
‘00. Initial Situation’. These melodic lines tend to be the protagonist’s melodic line, or the
antagonist’s melodic line if the film is contains the ‘Overcoming The Monster’ genre.
Furthermore, the main melodic line (predominantly the protagonist theme) will also return at
the very end of the film, throughout the credits or narrative stages involving the return to
normal life, or setting up a new call to adventure.
Furthermore, scenes within Sherlock Holmes and Interstellar involving Propp’s narrative
stage, ‘16. Struggle’ (hero and villain do battle), or Campbell’s stage ‘08. Ordeal’ implement
the previously mentioned bpm acceleration technique and percussive ticking elements,
whereas Gladiator’s final battle between Maximus and Commodus does not include any
music. These techniques are also prominent within the climactic ‘testing’ stages, such as
Propp’s stage 12 or Campbell’s stage 06.
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Remote Control Productions
While a detailed analysis of Remote Control Productions has not been undertaken within this
study, significant similarities between composers involved in the company have been noted.
A major example of this is the main theme ‘Safe Now’ from the film Captain Phillips (2013)
by Remote Control Productions composer Henry Jackman, which is comparable with the
main theme ‘Time’ from Inception (2010). These two main themes implement a similar
musical structure found within the track by track analysis of the three studied films.
Both tracks implement a four chord pattern, with the main section of ‘Safe Now’ using the
repeated chords, Bb major, D minor, F major, A minor, and ‘Time’ using, A minor, E minor,
G major, D major. Moreover ‘Safe Now’ implements a bpm of 132, gradually increasing its
tempo as more instruments enter the track. ‘Time’ mirrors this, and implements a bpm of 120
with a gradual increase until the climax of 140 bpm. The instrumentation is also similar,
beginning with the single piano chord pattern, which slowly builds up through the layering of
additional orchestral instruments and dynamics.
Mihaly Csikszentmihalyi's book suggests that the creative traits within a field are controlled
through the gatekeepers of the domain, and that the defining aesthetics within this field must
be standardised or approved by these said gatekeepers (2015 pg. 178). If the traits identified
within the analysis continue to be found within Zimmer’s other films, it can be argued that
these are traits established and normalised within his own creative domain. With that said,
composers within Remote Control Productions arguably expand this domain, implying that if
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their musical traits correlate to the traits of Hans Zimmer, a gatekeeper effect of the domain is
arguably present as these composers produce many Hollywood film scores and can control
what is perceived as the standard. This, however, is arguably a minor example of an area
needing further study as an analysis of the narrative structure of other films within Remote
Control Productions has not been completed.
Conclusion
The intentions of this dissertation were to establish the traits and aesthetics of romantic
minimalism attributed to Hans Zimmer’s 21st Century film scores. From the track by track
analysis of the films Gladiator, Sherlock Holmes and Interstellar, traits identifiable over all
three films can be established. Variations of the melodic lines determined within the three
analysed films confirm Zimmer’s fundamental use of the compositional technique romantic
minimalism. With that said, the identified melodic line or repeated pattern aesthetics have
proved to be determined by the narrative stage of the film.
In relation to Remote Control Productions, a more detailed analysis is required to determine a
correlation between the aesthetics present within Zimmer’s works. With that said, the
analysis of Gladiator, Sherlock Holmes and Interstellar has undoubtedly laid the foundations
for potential traits that may be further identified. Arguably, by completing a similar analysis
on various composers of Remote Control Productions, correlations can be identified between
the works of Zimmer and other composers of Remote Control Productions.
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From the study of Gladiator, Sherlock Holmes and Interstellar, Zimmer’s ability to create
strongly emotional yet minimalistic melodic lines must be appreciated. The themes identified
have proved effective when Zimmer creates from a strong melodic line numerous variations
determined by the narrative stage of the film, without having a detrimental effect on the
original theme or the visuals. Throughout Zimmer’s career as a world class composer, he has
proved that the most simplistic melodic line can be the most effective.
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Applying the techniques and aesthetics of Hans Zimmer into my portfolio.
Please refer to the folders ‘CS MMP005 Short Films’ and ‘CS MMP005 Tracks’ for the
following section. These are located on the accompanying USB Stick.
The intentions of the practical elements of the project were to implement the traits identified
within the works of Hans Zimmer into my own portfolio and musical framework. As
previously mentioned, Zimmer’s identified traits and practices are present within his and
Remote Control Productions ‘domain’ of film music. Therefore, the purpose of the project
was to ensure that the elements of my own works as a composer and producer fit into this
domain, and ultimately are not outside the narrative genres of the three portfolio films. These
elements range from the overarching compositional technique of romantic minimalism, to the
more detailed aspects of his works.
As identified within the analysis of the three films, attention to the narrative must be
observed. The finished portfolio soundtrack should match and work with the narrative visuals
of the film as professionally as Zimmer’s works do, otherwise arguably the music does not
simulate the domain created by Zimmer.
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Short Film One - ‘Scotland By Drone’
'Scotland By Drone' is a short film intended to highlight the beautiful natural and manmade
scenery of Scotland. The film's visuals were all recorded through aerial drone by
videographers, with the music composed and produced by myself. The primary purpose of
the project was to compose music (Track 01 - Into The Wilderness) that implemented the
traits and aesthetics of Hans Zimmer as identified within the analysis, as well as ensuring a
strong cinematic audio-visual experience.
The music was composed in two sections. The first section includes the main melodic line
and was composed after initially watching the raw individual footage. Obviously a Celtic
style would be appropriate to complement the visuals, but I was anxious to avoid a cliched
sound using the ubiquitous bagpipes/drone/scottish snap idioms. Following Zimmer’s
compositional techniques, I created a Scottish ‘flavour’ by careful instrumentation, with the
string section dominant, and a strong, hopefully memorable, folk influenced main theme.
As the video arrived as raw, unedited footage, this allowed the rare industry opportunity to
synchronise the visuals to the music, rather than the other way round. Because of this, I was
able to match numerous visual cues to certain moments within the music. An example of a
visual cue is shown within the middle section (2:50) which displays the steam train 'The
Jacobite' (also commonly known as the Harry Potter Train!) travelling across the Glenfinnan
Viaduct. As the visuals fade in from a black background, a slow crescendo within the music
was implemented. Furthermore, the marc string pattern was added to create a feeling of
'shunting’ while the steam train comes into view. Another example of matching visual cues is
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the introduction of the aggressive string hits when the visuals of the larger ruined castle are
shown (1:48), hinting at a military presence.
After composing the main section, I completed a rough edit of the visuals matching the
music. After the rough edit, I realised that a second musical line was required to break the
visuals into sections, adding a broader range of dynamics to the music. This second musical
line became the ‘shunting’ marc string pattern previously stated. After this second section,
the music is expected to resolve itself; however a break in the music followed by a key
change is implemented to build up more momentum.
As the narrative storyline follows a journey, it is important for the music to appropriately
accompany the narrative. Therefore the first section implements a plucked variation of the
melodic line, gradually building to match the visuals of the unfolding countryside. As found
within the analysis of Zimmer’s music, increasing the bpm of section of track has shown to
be an effective method of building up momentum to a climax. I implemented this into the
second musical line accompanying the visuals of the Jacobite. This section starts with a bpm
of 123, gradually increasing it to 135 bpm.
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Short Film Two - ‘Journeys End’
‘Journeys End’ is a short film by Grunt Productions, featuring a science fiction, post
apocalyptic styled sword fight between the ‘desert man’ and the ‘man in black’. As opposed
to ‘Scotland By Drone’, the visuals and accompanying sound effects were already cut
together, meaning that the music would be synchronized to the visuals.
As the narrative visuals pay homage to the category of science fiction, I felt that the music
(‘Track 02 - The Crash’) should also mirror this. As discussed in ‘Scotland by Drone’, I did,
however, not want to make it cliched, therefore gimmick electronic elements that surround
the sci-fi genre were not directly implemented. I decided to build up the cinematic sound
required through the use of layering.
Similarly to ‘Scotland By Drone’, the fundamental melodic line is heard from the beginning
of the track, alongside the second melodic line. This sets the science fiction atmosphere of the
track, as well as assisting the style of the narrative visuals.
From this point, the chord structure is brought in through the string section, and the ascending
arpeggio styled triplet pattern is built up through a combination of a crescendo and a velocity
increase. After the arpeggio styled pattern has become prominent within the track, additional
legato string lines establish the repeating chord progression of Bb, Gm, D, C. At this stage,
the two characters within the visual narrative are fighting each other.
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Short Film Three - Skeets
The third short film, ‘Skeets’, follows an apparent interrogation of three captive characters, in
which they individually discuss a mysterious heroic figure. The storyline relies heavily on the
spoken narrative, meaning that the music must be more inconspicuous in order to achieve a
successful audio-visual experience. Because of this, I decided to simplify and limit myself to
score for a smaller number of instruments, as opposed to the previous tracks. As the short
film’s narrative also had the connotations of a post-apocalyptic style, I intended to make the
music sorrowful and melancholic.
The music accompanying ‘Skeets’ is comprised of two tracks; ‘Track 03 - A Lack Of Faith’
and ‘Track 04 - Ashes Of The Rebellion’. The first section of track three opens with a piano
playing a arpeggio pattern in a four chord progression. Once this section has completed its
first cycle, a cello enters and accompanies the piano with a countermelody.
In the second section, major chords are introduced in contrast with the previous four minor
chord structure. After the transition of the second section, the repeated piano pattern of the
first section begins again, with the addition of a violin line which mirrors the cello. Gradually
more string lines are added to accompany the countermelody.
As more string instruments perform the counter melody, the primary melody becomes less
prominent in the mix. By the end of the track, the counter melody has become the primary
melodic line of the track and the music has become much more developed.
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After the repeat of a much more developed second section, the music returns back to its
original core state found at the beginning of the track, and this is done to prepare for the
visual narrative of the film. From this moment, the primary dialogue of the film enters,
meaning that the music must be less prominent within the mix, yet still have an effect to
maintain some form of momentum.
As the film is also of a science fiction genre, I felt that Zimmer’s use of combining traditional
instruments with electronic patterns would be beneficial, again without being ‘gimmicky’.
Therefore the middle section of the film subtly implements electronic and distorting effects
(track 04), manipulating the sounds of the traditional instruments present. A reprise of this
track is also found at the very end of the film.
The additional track 05 and 06 are alternative tracks composed for the films ‘Scotland By
Drone’ and ‘Skeets’. While both these tracks are of the appropriate genre for the films, I felt
that the other tracks were more suited to create the quality audio-visual experience intended.
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Appendix 01. Track By Track Analysis of ‘Gladiator’
Stage: 01. The Wheat Stage: 02. The Battle

Scene Semiotics: Introduction, dream, prophecy. Setting the mood Scene Semiotics: Battle, structure against chaos. Attracting the
and atmosphere. Hinting the end of the film too. audience's attention, displaying the heroic attributes.
Propp Narrative Stage: 00 - Initial Situation. Propp Narrative Stage: 00 - Initial Situation
Campbell Narrative Stage: 01 - Ordinary World Campbell Narrative Stage: 01 - Ordinary World
Prominent BPM: Prominent BPM:

- Average: 123 bpm - Average: 81 bpm
- Beginning: 120 bpm - Beginning: 80 bpm
- End: 115 bpm - End: 80 bpm
Time Signature: 4/4, switch to 3/4
Time Signature: 6/8 feel, but blends into the battle with a 4/4 feel. Key Signature: D Minor
Key Signature: G Minor Instrumentation: Flugel Horn or french horn. Brass Section,
Instrumentation: Strings (Drone), solo vocalist. Classical guitar. classical guitar, string section. Drums and percussion. Full
(slow drums and percussion, timpani) orchestra.
Prominent Chord Sequence: Prominent Chord Sequence:
Solid G Minor throughout. D Minor, C Major, F Major, C Major, G Minor, D Minor, A
Emotional Architecture: Major,
Setting the atmosphere for the theme, not very melodic, yet very Emotional Architecture:
drone inspired and improvised aspect. Implementing many themes, including the battle theme (at the
beginning), as well as using a step up and step down chromatic
pattern throughout. Theme and variation pattern throughout.
Dance like 3/4 and builds up through sections or crescendos and
accelerations. (This track also contains a section of uncomfortable
resemblance to a Pirates Of The Caribbean theme!) Chaotic
connotations.
Stage: 03. Progeny Stage: 04. Tell Me About Your Home
Scene Semiotics: Peace after the battle, yet ominous feeling. Scene Semiotics: Thinking about home.
Introduction of antagonist character. Propp Narrative Stage: 00 - Initial Situation
Propp Narrative Stage: 00 - Initial Situation Campbell Narrative Stage: 01 - Ordinary World, Potentially 02 -
Campbell Narrative Stage: 01 - Ordinary World, introduction of Call To Adventure as the emperor asks Maximus to succeed him.
the false hero.
Prominent BPM:
Prominent BPM: - Average: 123 bpm
- Average: 75 bpm - Beginning: 120 bpm
- Beginning: 60 bpm - End: 115 bpm
- End: 102 bpm
Time Signature: 6/8
Time Signature: 4/4 Key Signature: G Minor
Key Signature: D Minor Instrumentation: So lo vocalist. Classical guitar.
Instrumentation: String Drone, Flute and Duduk. String section. Prominent Chord Sequence: Solid G Minor throughout. No
Classical guitar, change.
Prominent Chord Sequence: Emotional Architecture: A Reprise of ‘The Wheat’ Theme, yet
D Minor throughout, not structured. There is a switch to G Minor. more subtle and simplified. Once again, simplistic and
Emotional Architecture: undeveloped, yet the key feeling of home is delivered through ‘the
Once again quite an atmospheric piece rather than a melodic wheat theme’ variation.
piece. Feels more like a filler track. Yet undoubtedly introduces a
more antagonistic stage, like a pure enemy rather than the chaotic
enemy produced from the battle track.
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Stage: 05. Earth Stage: 06. Patricide

Scene Semiotics: Displaying the heroic nature of Maximus, Scene Semiotics: Undoubtedly when the main narrative shift
introduction of the main theme of the film. occurs. Dark and emotional.
Propp Narrative Stage: 00 - Initial Situation Propp Narrative Stage: 4 - Reconnaissance (villain wants to be
Campbell Narrative Stage: Potentially 02 - Call To Adventure Emperor. 8 - Villany (betrayal and murder)
Campbell Narrative Stage: 5 - Crossing The Threshold, false
Prominent BPM: hero's true colours, introduction of the villain.
- Average: 80 bpm
- Beginning: 77 bpm Prominent BPM:
- End: 111 bpm - Average: 111 bpm
- Beginning: 116 bpm
Time Signature: 3/4 - End: 108 bpm
Key Signature: F# minor
Instrumentation: Wind section, duduk. Classic Guitar, trumpet. Time Signature: 4/4
Strings, Brass Section, Harp. Violin Solo. Key Signature: D Minor
Prominent Chord Sequence: Instrumentation: Prominently String Section. Brass section later
F#m, A, Bm, E. in the track.
E, F#m, E, D. Prominent Chord Sequence:
D, A, Bm, E. D minor drone. Dm, A, Dm.
C#, F#m Emotional Architecture: A strong dark and emotional piece, in
Emotional Architecture: A solemn variation of the earth theme, which the music introduces the false hero’s true colours. Builds
it is not over the top, and gives out the core emotions of the nature and develops through dynamics of instrumentation. Quite Wagner
of the protagonist character. Definitely the main theme of the film. like, and thoroughly displays the villain's intentions.
Stage: 07. The Emperor Is Dead Stage: 08. Homecoming

Scene Semiotics: Grieving, sadness and peace. Scene Semiotics:
Propp Narrative Stage: 8 - Villany (betrayal and murder) Propp Narrative Stage: 11 - Departure (hero starts mission)
Campbell Narrative Stage: 5 - Crossing The Threshold, false Campbell Narrative Stage: 6 - Tests (physical fights)
hero's true colours, introduction of the villain. 7 - Approach.

- Beginning: 132 - Beginning: 67 bpm
Time Signature: None Time Signature: 4/4

Key Signature: D Minor Key Signature: C Minor
Instrumentation: A percussive instrument, possibly guitar. Male Instrumentation: Classical guitar. Brass Section, percussion,
voice in a drone of the note A. strings and woodwind. Dulcimer at the end.
Prominent Chord Sequence: None, A Minor drone. Prominent Chord Sequence:
Emotional Architecture: Nothing prominent.
Feels more of a filler track again, yet a slight variation of the Emotional Architecture:
wheat theme is heard, as in the emperor is now at peace. Very A perfect example of Zimmer’s use of BPM acceleration. Through
simple, two instruments. repeating the melodic line and increasing the tempo, gives
understanding that something is wrong and an increased
heartbeat. Can hear remnants of the ‘earth’ scene at the end.
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Stage: 09. Sorrow Stage: 10. To Zucchabar

Scene Semiotics: complete despair for the protagonist. Low point Scene Semiotics: The feelings of a journey. Followed by a first
of the narrative. gladiator style battle. Chaotic.
Propp Narrative Stage: 09 - Hero discovers the act of villainy. Propp Narrative Stage:
Campbell Narrative Stage: 08 - Ordeal (Finding dead family) Campbell Narrative Stage:

Time Signature: 4/4 Time Signature: 3/4

Key Signature: G# Drone throughout. Key Signature: Atonal, between F#m and Gm.
Instrumentation: String Drone, String Section. Lead female Instrumentation: Duduk, classical guitar. Percussion.
singer. Prominent Chord Sequence:
Prominent Chord Sequence: G#m C#m Single chord, with patterns based around it, F#m/Gm
Emotional Architecture: Undoubtedly the low point for the Emotional Architecture: A variation of the ‘earth theme’.
protagonist. Complete despair is displayed through the improvised Journey feel and pattern based through the use of the classical
lead female singer, alongside the strings. Feeling of improvisation guitar. Builds up through the percussion and gradual crescendo
and droned atmospheric. and speeding up feeling. Music is very quiet within the battle.
Stage: 11. The Might Of Rome Stage: 12. Are You Not Entertained?
Scene Semiotics: Introduction of a new location and atmosphere. Scene Semiotics: Physical fight, showing the strength of the
Propp Narrative Stage: 24 - False Hero makes unfounded protagonist character. Gaining the support of the crowd.
claims. (as in he claims emperor and acts like an emperor) Propp Narrative Stage: 12 - testing (heroic qualities)
Campbell Narrative Stage: 7 - approach (of antagonist) and Campbell Narrative Stage: 6 - Tests (physical)
approach of protagonist.
Prominent BPM:
Prominent BPM: - Average: - not prominent enough -
- Average: 93 bpm - Beginning: - not prominent enough -
- Beginning: 88 bpm - End: - not prominent enough -
- End: 110 bpm
Time Signature: 4/4 and 3/4 Time Signature: 4/4

Key Signature: D minor Key Signature: Potentially F#m throughout?
Instrumentation: Choir. Brass Section, classical guitar, string Instrumentation: Female vocal instrumentation and percussion
section. Drums and percussion. Full orchestra. Possible synth? (timpani),
Duduk. Brass section and string sections. Choral choir in second Prominent Chord Sequence:
section. Repeated patterns. Drone based. Potentially F#m throughout?
Prominent Chord Sequence: Emotional Architecture:
Bb C, Dm. Contains the earth theme variation at the end. More of a filler
Emotional Architecture: piece of music, yet effective use of drum patterns and an
Prominent accelerando featured throughout the first track. Split improvised vocals.
into 2 sections. Wagner esque, displaying the might of Rome in the
second sections. Arpeggio based patterns. Significant variations in
dynamics throughout the track. First section is crescendo based,
whereas second section varies in dynamics.
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Stage: 13. Win The Crowd (Strength and Honour) Stage: 14. Reunion
Scene Semiotics: Maximus learns that his master was a gladiator, Scene Semiotics: Remorse about home.
and they begin their voyage to the colosseum of Rome. Donor? Propp Narrative Stage: Nothing particularly notable.
Propp Narrative Stage: contains qualities of meeting the donor. Campbell Narrative Stage: Possibly a crossing the threshold
11. Departure - Leaving for Rome.
Campbell Narrative Stage: 02. - A second call to adventure? 03. Prominent BPM:
A second meeting the mentor? Or 7 - approach - Average: 128 bpm
- Beginning: 119
Prominent BPM: - End: 126
- Average: 127 bpm
- Beginning: 142 bpm Time Signature: 4/4
- End: 110 bpm Key Signature: F Major
Instrumentation: Lead female vocalist. String drone, possibly
Time Signature: 4/4 synthesiser. Percussion (end of track). String Section (end of
Key Signature: Dm, Fm track)
Instrumentation: String Section, (drone). Brass Section. Prominent Chord Sequence:
Classical Guitar (minimal). Choir. Arpeggio patterns. Possible None present, F major throughout.
Organ. Emotional Architecture:
Prominent Chord Sequence: Once again more of a filler track, as no key changes or chord
D minor, F major, C major, D minor. progressions are present. Atmospheric and a feeling of
Keychange improvisation.
F Minor, Bb Major, Eb Major, F Minor.
Emotional Architecture:
Gives a fragmented feeling of the earth theme, as it resembles the
glory of the donor's life as a gladiator. Repeated chord structure
with a gradually building up momentum feeling. Key change half
way through. Arpeggios keep momentum, with brass playing triad
intervals. Perfect example of romantic minimalism. A mixture of
basic melody lines and patterns!
Stage: 15. Slaves To Rome Stage: 16. Commodus Vigil

Scene Semiotics: The slaves and protagonist arrives in Rome. Scene Semiotics: Antagonist developments and threats.
Glorifies Rome and their arrival. Propp Narrative Stage: nothing present, Antagonist
Propp Narrative Stage: Pre testing, but nothing noticeably developments.
present. Campbell Narrative Stage: nothing present, Antagonist
Campbell Narrative Stage: 7 - approach developments.


Key Signature: F major. Key Signature: D Minor
Instrumentation: String section, brass section, percussion and Instrumentation: Flute, possible duduk, Drone Strings. String
timpani. section. Trills.
Prominent Chord Sequence: F major, Bb Major, F major, Bb Prominent Chord Sequence: Solid D Minor throughout
Major. F Major, A Major, D Minor, F Major. Emotional Architecture: Plays the Commodus theme on the flute.
Emotional Architecture: Marching feel, as they are approaching Heavily reverberated, creates antagonist developments.
on a journey. Building up with crescendos and a slight bpm
acceleration. Feeling of magnificence. Diminuendo at the end. Big
orchestral feeling.
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Stage: 17. Barbarian Horde Stage: 18. Tigris

Scene Semiotics: Second climactic moment of the film. First Scene Semiotics: One on one battle with the retired gladiator.
gladiator battle in colosseum. Propp Narrative Stage: 12 - Testing (heroic qualities)
Propp Narrative Stage: 12 - Testing (heroic qualities) Campbell Narrative Stage: 6 - Tests (physical)
Campbell Narrative Stage: 6 - Tests (physical)
Prominent BPM:
- Too many sections, please refer to beat mapping. - Beginning: 121 bpm
- End: 133 bpm
Time Signature: ¾ first section, 4/4 second section.
Key Signature: C#minor first section, F# minor second Time Signature: 6/8
Instrumentation: Full Orchestra present. Choir. Timpanis. Key Signature: F Minor
Second section very brass prominent. Instrumentation: String ostinato, brass ostinato.
Emotional Architecture: Track is very long, with many differing Prominent Chord Sequence:
sections. Very thrilling scene and intense. Contains many themes, F Minor throughout.
including two variations of the earth theme. ¾ makes the battle Emotional Architecture:
more of a dance. Pirates Of The Caribbean?!? And a slight Once again more of a filler track rather than a melodic track.
reminiscence of the homecoming theme on low strings. Uses a repeated pattern in an ostinato format. Begins with string
section, building up through crescendo and dynamics into a brass
section. The scene itself features little music until the end of the
track. Classic use of bpm accelerando to gain intensity through
the uncertainty.
Stage: 19. One More Life To Take Stage: 20. Conspiracy (Secrets)
Scene Semiotics: Face off between hero and antagonist. Pre fight! Scene Semiotics: Antagonist plots against the hero
Propp Narrative Stage: 16. Struggle (hero and villain do battle Propp Narrative Stage: nothing present, Antagonist
through words) developments.
Campbell Narrative Stage: 6 . Tests (Mental tests and resiliation Campbell Narrative Stage: nothing present, Antagonist
to strike down the antagonist and die) developments.


Key Signature: D minor Key Signature: D Minor
Instrumentation: Minimalist string section, into full string Instrumentation: Flute, possible duduk, Drone Choir. String
section section. Trills.
Prominent Chord Sequence: Prominent Chord Sequence: Solid D Minor throughout
D Minor, C Major, F Major, C Major, G Minor, D Minor, A Emotional Architecture: Very similar to the Commodus vigil, if
Major, not exactly the same? Plays the Commodus theme on the flute.
Emotional Architecture: End of track features the battle theme, Heavily reverberated creates antagonist developments.
suggests that the protagonist wins the faceoff/battle of words with
the antagonist and that the hero is the better man. Minimalist at
first and feels more like filler music due to the intensity of the
narrative.
Page 45
Stage: 21. The Kiss (Much To Pay For) Stage: 22. Busy Little Bee
Scene Semiotics: Romance scene, the kiss. Scene Semiotics: Antagonist threatens the princess
Propp Narrative Stage: (the hero and the princess?) Propp Narrative Stage: nothing present, Antagonist
Campbell Narrative Stage: - nothing present. developments.
Campbell Narrative Stage: nothing present, Antagonist
Prominent BPM: developments.
- Average: 80 bpm
- Beginning: 77 bpm Prominent BPM:
- End: 111 bpm - Average: 121 bpm
Time Signature: 3/4 - End: 143 bpm
Instrumentation: Wind section, Classic Guitar, trumpet. Strings, Time Signature: 4/4
Brass Section, Harp. Violin Solo. Key Signature: D Minor
Prominent Chord Sequence: Instrumentation: Flute, possible duduk, Drone Choir. String
F#m, A, Bm, E. section. Trills.
E, F#m, E, D. Prominent Chord Sequence: Solid D Minor throughout
D, A, Bm, E. Emotional Architecture: Very similar to the Commodus vigil and
C#, F#m conspiracy theme, if not exactly the same? Plays the Commodus
Emotional Architecture: The kiss is another A second solemn theme on the flute. Heavily reverberated creates antagonist
variation of the earth theme, it is not over the top, and gives out developments.
the core emotions of the nature of the protagonist character.
Definitely the main theme of the film. Very quiet in comparison
with the other versions.
Stage: 23. The Trap Stage: 24. Am I Not Merciful
Scene Semiotics: Maximus tries to escape death, but it ends up Scene Semiotics: Antagonist threatens the princess, low point and
being a trap. preparation for the final battle.
Propp Narrative Stage: 12 - testing - heroic qualities Propp Narrative Stage: 16 - struggle (hero and villain do battle)
Campbell Narrative Stage: 6 - Tests and enemies. Campbell Narrative Stage: 8 - Ordeal, death and rebirth.


Key Signature: F# minor Key Signature: D Minor
Instrumentation: Flugel Horn or french horn. Brass Section, Instrumentation: Strings, Brass Section, Flute, string section.
classical guitar, string section. Drums and percussion. Full Drums and percussion. Full orchestra. Choir
orchestra. Prominent Chord Sequence: Dm, Bb, C, Dm
Prominent Chord Sequence: multiple throughout Emotional Architecture: Strings and flute perform the
Emotional Architecture: Contains remnants of multiple themes. Commodus theme. Mostly repeated patterns building up through
Begins with the battle chaos theme, moves into the earth theme instrumentation and dynamics. Begins with a repeating low string
and finishes with the barbarian horde section. section. Building up into a climax. Multiple bpm accelerandos
used. Complete musical silence in the final fight though.
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Stage: 25. Elysium Stage: 26. Honor Him

Scene Semiotics: The protagonist is dying but he has completed Scene Semiotics: The slaves are freed because of the protagonist,
his mission. Peace and resolution. the hero dies but the legacy lives on. He is remembered.
Propp Narrative Stage: 18 - victory, 19 - resolution Propp Narrative Stage: 27 - hero is recognised
Campbell Narrative Stage: 8 - Ordeal death and rebirth Campbell Narrative Stage: 11 - Resurrection (through afterlife)
Key Signature: A Major Key Signature: F# minor
Instrumentation: Choir, female lead. Possible synthesiser. String Instrumentation: Flugel/french horn. Wind section,. Classic
section. Guitar (reverberated). Brass Section Guitar, trumpet. Strings, Brass Section, Harp. Violin Solo. Drums
Prominent Chord Sequence: and percussion
A Major, D Major Prominent Chord Sequence:
Emotional Architecture: Loose and improvised, slightly dreamy F#m, A, Bm, E.
and major. Repeated vocal pattern. Brings resolve to the conflicts. E, F#m, E, D.
D, A, Bm, E.
C#, F#m
Emotional Architecture: The final resolving variation of the
earth theme, setting out the core emotions of the nature of the
protagonist character. Definitely the main theme of the film.
Stage: 27. Now We Are Free

Scene Semiotics: credits, ending of the film.
Propp Narrative Stage: ending of the film, resolution
Campbell Narrative Stage: ending of the film, resolution.
Prominent BPM:
- Average: 134 bpm
- End: 120 bpm
Time Signature: 3/4

Instrumentation: Flugel/french horn. Wind section,. Classic
Guitar, trumpet. Strings, Brass Section, Harp. Violin Solo. Drums
and percussion. Lead female vocalist, choir
Prominent Chord Sequence:
F#m, A, Bm, E.
E, F#m, E, D.
D, A, Bm, E.
C#, F#m
Emotional Architecture: The final track, using the melodic core
of the earth theme, setting out the core emotions of the nature of
the protagonist character. Definitely the main theme of the film.
Lisa Gerrard leading the vocals. No visuals to go against.
Page 47
Appendix 02. Track By Track Analysis of ‘Sherlock Holmes’

Stage: 01. Discombobulate (Opening Section) Stage: 02. Marital Sabotage (First Point Of Attack)
Scene Semiotics: Opening Credits (Pre Scenes) Scene Semiotics: Opening Sequence. (setting the mood),
Propp Narrative Stage: 00. Initial Situation introducing the characters.
Campbell Narrative Stage: 01. Ordinary World Propp Narrative Stage: 00. Initial Situation
Campbell Narrative Stage: 01. Ordinary World
Prominent BPM:
- Average: 142 bpm Prominent BPM:
- Beginning: 142 bpm - Average: 142 bpm
- End: 142 bpm - Beginning: 142 bpm
- End: 142 bpm
Time Signature: 4/4
Key Signature: D Minor Time Signature: 4/4
Instrumentation: Dulcimer/Cimbalom, honky tonk piano. Guitar Key Signature: D Minor
Trills? Percussion Echos. Synthesiser Echos? Instrumentation: Electric Cello, String Section, Drum Kit,
Prominent Chord Sequence: D minor, G Major, D minor. Percussion, Dulcimer/Cimbalom, honky tonk piano, Banjo,
Emotional Architecture: Violins. Brass.
Uses the opening section of the track Discombobulate, Prominent Chord Sequence: Builds up on D Minor,
Introduction to the raw Main Theme of Sherlock Holmes. The Then D Minor, G Minor, D Minor.
Chromatic step fashion gives a sense of ‘professionalism’ and
child like qualities. Yet you know instantly it's Sherlock Holmes. Emotional Architecture: Uses the main theme of Sherlock Holmes
Undeveloping in dynamics and instrumentation. throughout. Use of patterns in arpeggio like pattern to build up the
intensity. Crescendo and build of instrumentation present for the
first section, before breaking into the first section which includes
the sherlock theme. Uses 3 sections in total. The drums and
percussion alongside the high bmp create a very fast paced beat, to
go alongside the visuals on screen. The 2 step pattern creates a
ticking feel to build up intensity.
Stage: 03. My Mind Rebels At Stagnation (Be Gentle With Me) Stage: 04. German Dance No. 10 in D Major/Quartet No 3
Scene Semiotics: Title Card Shot. Watson and Sherlock Scene Semiotics: Sherlock, Watson and Mary Meal.
Conversation Propp Narrative Stage: 00. Initial Situation
Propp Narrative Stage: 00. Initial Situation Campbell Narrative Stage: 01. Ordinary World
Campbell Narrative Stage: 01. Ordinary World
Diegetic Music, not composed by Zimmer. Additional stopwatch
Prominent BPM: is used for increased tension.
- Average: 105 bpm
- Beginning: 100 bpm As it is not composed by Zimmer, and simply used to fit the
- End: 70 bpm, technically 140 bpm environment of the dinner scene, no analysis will be completed.
Time Signature: 4/4

Key Signature: A Minor, key change to D Minor
Instrumentation: Dulcimer/Cimbalom, honky tonk piano. Guitar
Percussion Echos. Synthesiser Echos? String Section. Banjo
Double Bass
Prominent Chord Sequence: A Minor, D Major, A Minor. A
Minor, D Minor, G Major, A Minor.
Key Change Section
D Minor, G Minor, D Minor.
Uses the first half of the track my mind rebels at stagnation. Uses
the Sherlock in a more developed variation. Also implements the
theme in a descending chromatic pattern. Notable key change and
bpm change found.
Page 48
Stage: 05. Ah, Putrefaction Stage: 06. The Rocky Road To Dublin
Scene Semiotics: Continued Sherlock, Watson and Mary Meal. Scene Semiotics: The Fight.
Sherlock is analysing Mary. Propp Narrative Stage: Campbell Narrative Stage:
Propp Narrative Stage: 00. Initial Situation
Campbell Narrative Stage: 01. Ordinary World Not composed by Zimmer.
Prominent BPM:
- Average: 139 bpm
- End: 120 bpm
Time Signature: 4/4

Key Signature: B Minor
Instrumentation: Banjo, Dulcimer, Piano, Double Bass.
Second section: String Quartet, String Section, Classical Guitar.
B Minor, E Major, B Minor, E Major.
Contains remnants of new theme unexplored until stage 7. The
simple 2 step process if prominent. The second section of the track
involving heavy strings is a new area of the soundtrack, where it is
obviously displaying Mary’s despair.
Stage: 07. My Mind Rebels At Stagnation (1:03 Onwards) Stage: 08. Is It Poison, Nanny? (Allow Me To Explain?)
Scene Semiotics: Sherlock and Lord Blackwood’s conversation. Scene Semiotics: Sherlock and Adler Conversation, Sherlock
Lord Blackwood’s Hanging (and apparent death). chasing and Spying Irene Adler.
Propp Narrative Stage: 02. Interdiction - Hero Is Warned Propp Narrative Stage: 03. Ignoring The Interdiction, Sherlock
Campbell Narrative Stage: 01. Ordinary World. Ignores Blackwoods warning.
Campbell Narrative Stage: 02. Call To Adventure (A New Case?)
Prominent BPM:
- End: 141 bpm
Time Signature: 4/4
Key Signature: C Minor Time Signature: 4/4
Instrumentation: Possible Synthesiser Atmosphere. Piano (Hit by Key Signature: C Minor
Mallets), Brass Hits. Timpani Hits. Lead Violin. Brass, Flugal Instrumentation: Banjo, Dulcimer, Piano, Double Bass.
Horn. String Section, Classical Guitar. Zenko Drum. Electric Bass
Prominent Chord Sequence: C Minor, G Minor, C Minor, G Prominent Chord Sequence:
Minor, G Major 7, C Minor. B Major, C Minor C Minor Prominently, ending switches to A minor.
Emotional Architecture: Percussive elements, repeated patterns.
Emotional Architecture: Second half of the track. The repeating The 2 Bar ticking feel at the end gives an intensity feeling, as if
violin pattern is played throughout the track. Possibly played on time is running out. You can also hear the delays and reverbs
the wood side of the bow. Building up through a bpm increase and prominently. Feelings of suspicion. Works through adding and
dynamics increase. Instrumentation builds up too. Reaches a removing instrumental patterns.
climax when he hangs, and then the instrumentation comes away
again. The Blackwood theme resembles his presence, and the
disappearance of it resembles his death. Classic Zimmer use of the
bpm.
Page 49
Stage: 09. I Never Woke Up In Handcuffs Before Stage: 10. Catatonic (00 - 55)
Scene Semiotics: Irene Fights the muggers. Sherlock follows. Scene Semiotics: Sherlock and Watson visits Lord Blackwood’s
Propp Narrative Stage: 03. Ignoring The Interdiction, Sherlock grave.
Ignores Blackwoods warning. Propp Narrative Stage: 08 - Villainy and Lack (Dead Body)
Campbell Narrative Stage: 03. Refusal Of The Call (A New Campbell Narrative Stage: 02. Call To Adventure, possibly 05.
Case?) Crossing The Threshold by taking on the case?


Key Signature: A Minor Key Signature: A Minor
Instrumentation: Violins, Brass (tuba?). Pan Drums? Very Instrumentation: Guitar trills. Solo Violin. Tuba, Banjo.
percussive. Accordion. Prominent Chord Sequence:
Prominent Chord Sequence: A Minor, D Major, A Minor.
A Minor, D Minor, E Major, D Minor Emotional Architecture:
Emotional Architecture: A shanty gypsy feeling. Circus feeling in Contains the raw sherlock theme, very loose track, as in contains
fact, matches Sherlock walking through the circus. And a hilarious repeated atmospheric patterns with a dissonant violin over the top.
and shanty fight with Irene. Also includes the sherlock more Creating mystery.
developed main theme.
Stage: 11. Data, Data, Data Stage: 12. Is It Poison Nanny? 00:00 - 1:28
Scene Semiotics: Sherlock Deducts the body Scene Semiotics: Sherlock and Watson break into the ginger's
Propp Narrative Stage: 08 - Villainy and Lack (Dead Body) house.
Campbell Narrative Stage: 02. Call To Adventure, possibly 05. Propp Narrative Stage: 12 - testing (mental)
Crossing The Threshold by taking on the case? Campbell Narrative Stage: 6 - tests (mental)


Key Signature: E Minor Key Signature: C Minor
Instrumentation: Plucked Strings, Brass Section. String Section. Instrumentation: Dulcimer, String Section/Accordion for drone?
Prominent Chord Sequence: E Minor prominent. String Bass Section. Quiet Brass Section.
C Major, D Major, E major, B Minor. Prominent Chord Sequence:
C Minor prominent.
Emotional Architecture: Slightly Atonal, Same bpm of a ticking Emotional Architecture: Once again, very repetitive, with a
clock, matching up to the visuals of the stopwatch that he finds. prominent atonal c minor note throughout. Adds a mysterious
Not very developed in comparison with other tracks. Repeated feeling to the scene.
pizzicato patterns throughout. More of a filler track?
Page 50
Stage: 13. Fight With The Henchmen (Jonny Cope). Stage: 14. Giant Runs Away, I Never Woke Up In Handcuffs
Scene Semiotics: Holmes and Watson fight with the henchmen. before Reprise
Propp Narrative Stage: 12 - testing (Physical) Scene Semiotics: Giant Henchmen runs away.
Campbell Narrative Stage: 6 - tests (Physical) Propp Narrative Stage: Campbell Narrative Stage:

-
Instrumentation: Full Folk group. Violins, Drums, Banjo and Instrumentation: Violins, Brass (tuba?). Pan Drums? Very
Accordion. percussive. Accordion.
Prominent Chord Sequence: A Minor, G Major, A Minor. Prominent Chord Sequence:
Emotional Architecture: A cover of johnny cope! Very strong A Minor, D Minor, E Major, D Minor
gypsy/folk feel. Solid BPM throughout, gypsy feel supports the Emotional Architecture: A reprise of the I never woke up in
gypsy style of fighting. handcuffs before. A shanty gypsy feeling. Follows perfectly on
from the previous fight. Irene. Also includes the sherlock more
developed main theme.
Stage: 15. Greater things to fear.. (Dry Docks fight) (He’s Killed Stage: 16. Waiting For Bail (Ah Putrefaction)
The Dog Again) Scene Semiotics: A kind of filler comedic scene.
Scene Semiotics: Conversation between the giant and sherlock. Propp Narrative Stage: doesn’t move the story forward, nothing
Fight between the two. present
Propp Narrative Stage: Return to 02. Interdiction - Hero Is Campbell Narrative Stage: doesn’t move the story forward,
Warned? nothing present
As well as Propp Narrative Stage: 12 - testing (Physical)
Campbell Narrative Stage: 6 - tests (Physical) Prominent BPM:
- Average: 139 bpm
Prominent BPM: - Beginning: 160 bpm
- Average: 120 bpm - End: 120 bpm
- Beginning: 100 bpm (very loose)
- End: 140 bpm Time Signature: 4/4
Key Signature: B Minor
Time Signature: 4/4 Instrumentation: Banjo, Dulcimer, Piano, Double Bass.
Key Signature: A Minor Second section: String Quartet, String Section, Classical Guitar.
Instrumentation: Pan Drum, Dulcimer, String Sections, Brass Prominent Chord Sequence:
Section. Electric Cello? Solo Violin. B Minor, E Major, B Minor, E Major.
Prominent Chord Sequence: Emotional Architecture:
A Minor, D Minor, G Major, A Minor, Contains remnants of Blackwood theme. The simple 2 step
Emotional Architecture: Brings back remnants of the Lord process if prominent. The second section of the track includes
Blackwood theme, as the giant henchmen warns sherlock again. Mary’s Section
Tick tock feel to provide intensity as always. Also contains a
familiar sound found in interstellar mountains. The big bass drop
sound?
Page 51
Stage: 17. Meeting Senior Blackwood/Ah Putrefaction (first half) Stage: 18. Data Data Data (First Half)
Scene Semiotics: Conversation between the sponsors and sherlock Scene Semiotics: Irene Adler and Sherlock Conversation
holmes. Propp Narrative Stage: 7 - complicity.
Propp Narrative Stage: 8 - The Villainy is identified, lord Campbell Narrative Stage: 3 - Refusal Of The Call?
blackwood still lives?
Campbell Narrative Stage: 2 - A second call to adventure? As he is Prominent BPM:
taking on the case again!? - Average: 119 bpm
Prominent BPM: - End: 120 bpm
- Average: 155 bpm
- Beginning: 160 bpm Time Signature: 4/4
- End: 145 bpm Key Signature: E Minor
Instrumentation: Plucked Strings, Brass Section. String Section.
Time Signature: 4/4 Prominent Chord Sequence: E Minor prominent.
Key Signature: B Minor C Major, D Major, E major, B Minor.
Instrumentation: Banjo, Dulcimer, Piano, Double Bass.
Second section: String Quartet, String Section, Classical Guitar. Emotional Architecture: Exactly the same as stage 11, although
Prominent Chord Sequence: just the first half of the track. Slightly Atonal, Same bpm of a
B Minor, E Major, B Minor, E Major. ticking clock, matching up to the visuals of the stopwatch that he
Emotional Architecture: finds. Not very developed in comparison to other tracks. Repeated
Once again, contains remnants of blackwood theme. Blackwood pizzicato patterns throughout. More of a filler track?
theme is obviously used to display his presence has returned. The
simple 2 step process if prominent.
Page 52
Stage: 19. The first kill. Stage: 20. Deducting The Body (He’s Killed The Dog Again) First
Scene Semiotics: Blackwood kills his father. Half into catatonic. Into My Mind Rebels At Stagnation
Propp Narrative Stage: Return to Villainy and lack. Need to stop Scene Semiotics: Sherlock deducts the body and finds the hidden
Blackwood continued? door.
Campbell Narrative Stage: Unknown? Propp Narrative Stage: 08 - Villainy and Lack (Dead Body) (also
heroic qualities!?)
This stage has proved to be very hard to recognise, as it is mostly Campbell Narrative Stage: (6 - mental tests of solving puzzle?)
sound effects rather than music.
This track has 3 sections, available from differing tracks.
Section 1:
Prominent BPM:
- Average: 120 bpm
- Beginning: 100 bpm (very loose)
- End: 140 bpm
Time Signature: 4/4
Key Signature: A Minor
Instrumentation: Pan Drum, Dulcimer, String Sections, Brass
Section. Electric Cello? Solo Violin.
A Minor, D Minor, G Major, A Minor
Section 2:
Prominent BPM:
- Average: 149 bpm
- End: 151 bpm
Time Signature: 4/4
Key Signature: A Minor
Instrumentation: Guitar trills. Solo Violin. Tuba, Banjo.
A Minor, D Major, A Minor.
Section 3.
Prominent BPM:
- Average: 105 bpm
- End: 70 bpm, technically 140 bpm
Time Signature: 4/4

Key Signature: A Minor, key change to D Minor
Instrumentation: Dulcimer/Cimbalom, honky tonk piano. Guitar
Percussion Echos. Synthesiser Echos? String Section. Banjo
Double Bass
Prominent Chord Sequence: A Minor, D Major, A Minor. A
Minor, D Minor, G Major, A Minor.
Key Change Section
D Minor, G Minor, D Minor.
This scene is very intriguing as it uses three completely different
tracks and stages. Uses the sherlock theme in a raw version, in a
more developed variation and also elements of the lord blackwood
theme. Also implements the theme in a descending chromatic
pattern. Notable key change and bpm change found throughout
due to the three different sections of music.
Page 53
Stage: 21. The Second Kill. Stage: 22. Deducting Body 2. (Panic Shear Bloody Panic First
Scene Semiotics: Choosing the next leader of the order. The Half)
second kill. Scene Semiotics: Sherlock deducts a second body.
Propp Narrative Stage: Return to Villainy and lack. Need to stop Propp Narrative Stage: 08 - Villainy and Lack (Dead Body) (also
Blackwood continued? heroic qualities!?)
Campbell: Simple plot developer. Campbell Narrative Stage: (6 - mental tests of solving puzzle?)

- Average: 111 bpm - Average: 62 bpm, or 124 bpm.
Time Signature: 4/4 Time Signature: 4/4 bpm

Key Signature: C Minor Key Signature: A Minor
Instrumentation: Brass Section, String Section. Instrumentation: Guitar Harmonics, Piano, Dulcimer,
Cminor, Eb, Bb A G minor A Minor, D Minor, A Minor, F Major, A Minor.
Emotional Architecture: Descending bpm. Powerful. Emotional Architecture: Lord Blackwood pattern used. Also
Implements a basic variation of the main sherlock theme.
Stage: 23. Approaching the docks (Discombobulate) Stage: 24. The Docks. (Panic, Shear Bloody Panic)
Scene Semiotics: Sherlock and watson on the boat. Scene Semiotics: Saving Irene from butchery.
Propp Narrative Stage: 11 - Departure Propp Narrative Stage: 12 - Testing, also heroic qualities
Campbell Narrative Stage: Crossing The Threshold? Campbell Narrative Stage: (6 - mental and physical tests of
solving puzzle?)
Prominent BPM:
- End: 70 bpm
Time Signature: 4/4
Key Signature: D Minor Time Signature: 2/4
Instrumentation: Dulcimer/Cimbalom, honky tonk piano. Guitar Key Signature:
Trills? Percussion Echos. Synthesiser Echos? Brass Section, String Instrumentation: Guitar Harmonics, Piano, Dulcimer,
Section Guitar Trills? Percussion Echos. Synthesiser Echos? Brass
Prominent Chord Sequence: D minor, G Major, D minor. Section, String Section
Prominent Chord Sequence: A Minor, D Minor, A Minor, F
Emotional Architecture: The raw version of the sherlock holmes Major, A Minor.
theme is used, alongside a more developed version. That two step Emotional Architecture: Traces of the blackwood repeated
tick tock movement is also present, as in time is running out. pattern. Alongside the main sherlock holmes theme. BPM is
probably double time instead of half time. 60/120 bpm implies a
clock ticking and time running out, equalling the intensity felt.
Page 54
Stage: 25. The Tripwire (Not In Blood, But In Bond) Stage: 26. The Train
Scene Semiotics: Sherlock, Watson and Irene get blown up. Low Scene Semiotics: Irene talks to a mysterious figure.
Point. Holmes escapes. Propp Narrative Stage: Campbell Narrative Stage::
Propp Narrative Stage: 16 - Struggle
Campbell Narrative Stage: 8 - Ordeal Death and Rebirth A simple violin melody line is present, in which does not correlate
to any of the other tracks. The line is so very quiet that I am unable
Prominent BPM: to analyse it.
- Average: 93 bpm
- End: 68 bpm
Time Signature: 4/4

Key Signature: G Minor.
Instrumentation: Solo Violin first section. String section.
Prominent Chord Sequence: G minor, C Minor, G Minor, C# Dim
7th.
Emotional Architecture: Low point of the film. A descending bpm
suggests close to death. Very loose and an improvised feel for first
section. Second section much more structured.
Stage: 27. Solving The Problem (He’s Killed The Dog Again) Stage: 28. Psychological Recovery (Parliament) Part 1.
Scene Semiotics: Sherlock Solves The Mystery Scene Semiotics: Sherlock confronts Blackwoods number one.
Propp Narrative Stage: 12 - Testing, also heroic qualities Propp Narrative Stage: 12 - Testing, also heroic qualities
Campbell Narrative Stage: (6 - mental and physical tests of Campbell Narrative Stage: (6 - mental and physical tests of
solving puzzle?) solving puzzle?)

- Beginning: 100 bpm (very loose) - Beginning: 120 bpm
- End: 140 bpm - End:

Key Signature: A Minor Key Signature: G Minor, key change to A Minor
Instrumentation: Pan Drum, Dulcimer, String Sections, Brass Instrumentation: Brass Section, String Section. Double Bass,
Section. Electric Cello? Solo Violin. Banjo, Tuba. Pan Pipes, Accordion. Percussion
A Minor, D Minor, G Major, A Minor, A Minor Prominently, occasional A minor, D Minor.
Continues into the D minor, G Major, D minor of the main theme.
Emotional Architecture: Continues to use remnants of the lord Emotional Architecture: The first section of Psychological
blackwood theme, as sherlock attempts to solve the mystery.. Tick recovery. Very pattern based. Continues to use a melodic line
tock feel to provide intensity as always. Also contains a familiar present in other tracks Also includes the raw version of the
sound found in interstellar mountains. The big bass drop sound? sherlock theme and the developed theme. Extremely patten based
and percussion based,
Page 55
Stage: 29. Psychological Recovery (Parliament) Part 2. Stage: 30. Psychological Recovery (Tower Bridge) Part 3
Scene Semiotics: Fighting Under Parliament. Defusing the bomb. Scene Semiotics: Irene Chased By Sherlock, Sherlock chased by
12 - Testing, also heroic qualities Blackwood. Climatic fight over the bomb.
Campbell Narrative Stage: (6 - mental and physical tests of Propp Narrative Stage: 16 - Hero and Villain Do Battle, 18 - Hero
solving puzzle?) is Defeated.
Campbell Narrative Stage: 8 - Ordeal and death of villain.
Prominent BPM:
- End: 120 bpm
Time Signature: 4/4
Key Signature: continued key changes throughout. Prominently C Time Signature: 4/4
Minor throughout Key Signature: Begins with E Minor
Instrumentation: Brass Section, String Section. Double Bass, Instrumentation: Heavy percussion and brass section. Dulcimer.
Banjo, Tuba. Pan Pipes, Accordion. Heavy Percussion and Double bass. Modern drum kit. Piano String Section. Basically all
timpani. Violin solo. in.
Prominent Chord Sequence: Prominent Chord Sequence: Too many to count. Mostly C Minor,
C Minor, G Minor, Bb Major. G Minor, Bb Major.
Emotional Architecture: Includes a variation of the lord Emotional Architecture: Opens with a possible Irene theme. Cuts
blackwood theme, each note doubled up. off through the big brass section hits, signalling climax. Heavily
Clock ticking feeling to build up intensity. implements the blackwood pattern on the dulcimer.
Raw and detailed sherlock theme present and the additional Cuts into a section using simply double bass. Massive brass
melody line stated in the first section. Very fast theme of pattern hits throughout the track separating each section.
blackwood too.
Climaxes using the blackwood theme an octave above than
normal, with bpm increasing. Starts with simple solo violin, and
continues to develop though instrumentation and crescendos, as
well as bpm increase.
Finishes with a possible use of the beginning theme alongside a
raw version of the sherlock theme on the piano. Ends on dulcimer
theme.
Stage: 31. Catatonic (00:56-3:16) Stage: 32. Discombobulate (00:22 - End) (Case Reopened)
Scene Semiotics: Back to ordinary world, solving the final Scene Semiotics: End Of Film. Credits.
mystery. Opening a new mystery Propp Narrative Stage: 00. Initial Situation
Propp Narrative Stage: 18 - Hero is Defeated. 19 - Resolution. 27 - Campbell Narrative Stage: 01. Ordinary World
Hero is recognised.
Campbell Narrative Stage: 9 - Reward. Prominent BPM:
- Average: 141 bpm
Prominent BPM: - Beginning: 140 bpm
- Average: 119 bpm - End: 142 bpm
- Beginning: 80 bpm
Key Signature: D Minor
Time Signature: 4/4 Instrumentation: Dulcimer/Cimbalom, honky tonk piano. Guitar
Key Signature: A Minor Trills? Percussion Echos. Synthesiser Echos? Brass Section, String
Instrumentation: Heavy percussion and brass section. Dulcimer. Section
Double bass. Modern drum kit. Piano String Section. Basically all Prominent Chord Sequence: D minor, G Major, D minor.
in. Banjo!
Prominent Chord Sequence: A Minor, D Major, A Minor, D Emotional Architecture: Returns to the final developed version of
Minor. A Minor. the Sherlock theme. End Of Film.
Emotional Architecture: Concluding the film, solving the final

problems, yet opening new mysteries through moriarty. Finishes
all in through full instrumentation, crescendos and bpm increases.
Finishes on a suggestion that the story is not over? Implements all
the themes through subtle variations.
Page 56
Appendix 03. Track By Track Analysis of ‘Interstellar’
Stage: 01. ‘Dreaming Of The Crash’ Stage: 02 ‘Cornfield Chase’
Scene Semiotics: Bad dream, introduction to normal life. States Scene Semiotics: The first action scene of the film, chasing the
the issues with Planet Earth, drone.
Propp Narrative Stage: Propp Narrative Stage:
0 - Initial Situation 0 - Initial Situation
Campbell Narrative Stage: Campbell Narrative Stage:
1 - Ordinary World 1 - Ordinary World
Key Signature: F Major Key Signature: A Minor
Instrumentation: Pipe Organ (Melody), Synthesiser Pedal. Instrumentation: St ring Section (legato and plucked), Pipe
Percussion (fills), Ambient wooshes (synth). Organ (Melody), Piano, Percussion (fills and hits).
C Dominant 7 Major, F Major, C Dominant 7 Major F Major 7, G Major 6/E Minor, A Minor , G Major
Emotional Architecture: Slow simplistic melody line, repeated Emotional Architecture: Introduction of the ‘family’ line on the
with greater instrumentation. Building up with organ and more organ. Background of string sections. Developed through
instruments. Continuously developing and adding layers. arpeggios and adding layers of instruments. Increasing emotional
architecture. Repetition of chords.
Stage: 03. ‘Dust’ Stage: 04. ‘NASA’ (Day One)

Scene Semiotics: The first discovery and starting the adventure. Scene Semiotics: Stating the issues with Planet Earth, gives the
Attempting to solve a puzzle. brief on how to save the world. Refusing to go, leading to taking
Propp Narrative Stage: on the adventure.
Possibly 2 - Interdiction Propp Narrative Stage:
Campbell Narrative Stage: 8 - Lack - something is needed. (earth’s survival is needed)
2 - Call To Adventure Campbell Narrative Stage:
Prominent BPM: 2 - Call To Adventure
- Average: 132 bpm 3 - Refusal Of The Call
- Beginning: 120 bpm 4 - Meeting Of The Mentor
- End: 170 bpm Prominent BPM:
Time Signature: 4/4 - Average: 106 bpm
Key Signature: A Minor - Beginning: 100 bpm
Instrumentation: - End: 160 bpm
String Section (Legato, pizzicato) with more prominent lower Time Signature: 3/4 (switch to 6/8
section, Percussion (small tapping), Pipe Organ, Harp, Key Signature: A Minor
Arpeggiator, Reverberated Choir. Instrumentation:
Prominent Chord Sequence: Piano, Pipe (Church) Organ, Orchestral String Section
(Plucking/Pizzicato), Orchestral Woodwind Section
Emotional Architecture: Introduction of another melody line Prominent Chord Sequence:
prominent in the score. Faster variation as the latter ones. Built F Major 7, G Major 6/E Minor, A Minor , G Major
up through layering, instrumentation and patterns. Breaks down Emotional Architecture: Reintroduction of the main melody line.
later in the track with modified strings, giving a slower tempo feel Simple repeated E note on piano, whilst other melody line plays
at the end, yet arpeggiators are shown to keep the pace. and other instruments build up through repeated patterns. Organ
plays the ‘family’ melody line while other instruments introduce
themselves. Continuously building up sounds and introducing
patterns.
Page 57
Stage: 05. ‘Stay’ Stage: 06. ‘Message From Home’

Scene Semiotics: Family conflict, starting the adventure and Scene Semiotics: Reminiscing of family, setting the plan to save
moving the main character forward. Planet Earth.
11 - Hero Departs (leaves family behind) ?
5 - Crossing The Threshold 6 - Tests (Emotional)
- Beginning: 60 bpm - Beginning: 70
- End: 50 bpm - End: 83
Time Signature: 4/4 (Anacrucis) Time Signature: 4/4
Key Signature: F Major Key Signature: F Major
Instrumentation: Instrumentation:
Fugue (Church) Organ, Orchestral String Section, Orchestral Piano
Brass Section, No Percussion Present, Piano Prominent Chord Sequence:
Prominent Chord Sequence: C Dominant 7 Major, F Major, C Dominant 7 Major
C Dominant 7 Major, F Major, C Dominant 7 Major F Major, C Dominant 7 Major, F Minor (Tonic Minor)
F Major, C Dominant 7 Major, F Minor (Tonic Minor) Emotional Architecture: The simplest of tracks. Simple piano.
Emotional Architecture: Very similar to stage 01. A slow Slow and unprogressive. Ending section of track plays an even
simplistic melody line, repeated and built up with greater simpler variation of the ‘stay’ melody line shown in stage 01 and
instrumentation. Building up with organ and more instruments. 05.
Continuously developing and adding layers. Climaxes with string
line playing the ‘stay’ melody line. Increasing.
Stage: 07. ‘The Wormhole’ Stage: 08. ‘Mountains’

Scene Semiotics: Tension, stepping into the unknown. Fighting Scene Semiotics: Further tension, action, fighting the elements.
elements struggle. Climatic moments. Clock ticking away.
11 - Hero Departs (again) 12 - Testing (main character faces challenges)
5 - Crossing The Threshold (Into a different galaxy) 6 - Tests (Physical)
- Beginning: 100bpm - Beginning: 95 bpm
Choir, Clock percussion and pizzicato ticking beat., Synth Pads, Fugue (Church) Organ, Orchestral String Section, Orchestral
Organ, Brass Section Brass Section, Clock, Plucked Instruments for Percussion and
Prominent Chord Sequence: Timpani, Synthesiser Arpeggiator
No chord sequence, mostly repeated A Minor Piano, Choir, Brass, Wind section (flutes)
Emotional Architecture: A short track, with a repeated choir Prominent Chord Sequence:
note and slight percussion line. Gives a sense of tension, alongside F Major (Possible 7), G Major, Am, G Major, F Major
a tick tocking clock feel. Features the big Organ crescendo Emotional Architecture: Begins with incredibly simplistic
displayed in stage 01. Technically builds up, due to the organ tapping, like a clock. Slow BPM eventually increasing. Begins
crescendo at the end. repeating chord of Am, building up of instruments and patterns.
Climaxes with F, G Am chord, full instrumentation and dynamics.
Biggest sound of the track.
Page 58
Stage: 09. ‘Years Of Messages’ (Excerpt Of S.T.A.Y) Stage: 10. ‘Afraid Of Time’
Scene Semiotics: Reminiscing of family, low point. Emotional. Scene Semiotics: Solving a puzzle. Mental challenges.
12 - Testing (emotional testing) 12 - Tests - puzzle test of secondary character.
(possibly 13 too - Hero reacts to tests) Campbell Narrative Stage:
Campbell Narrative Stage: 7 - Tests (puzzle)
6 - Tests (Emotional) Prominent BPM:
- Average: 72 bpm - Beginning: 119
- Beginning: 70 bpm - End: 83 bpm
Time Signature: 3/4 Key Signature: A Minor
Key Signature: A Minor Instrumentation:
Instrumentation: Inverted Pedal strings -
Organ Harp, Piano, Synthesiser. Organ, Flute
F Major (Possible 7), G Major, Am, G Major, F Major F Major, G Major, F Major, G Major, A Minor, G Major
Emotional Architecture: Emotional Architecture:
Simplistic use of the family melody line. Hardly builds, apart from A new melody is introduced, suggesting the intelligence of the
left hand root notes on organ. Focussing on the narrative and the daughter. Simplistic. Gently builds. 2 sections, first being piano
lead character reactions. based and second a flute based section.
Stage: 11. ‘A Place Among The Stars’ Stage: 12. ‘Running Out’
Scene Semiotics: Feelings of betrayal, low point in story. Difficult Scene Semiotics: In troduction of false hero. Exploration of cold
decision of what to do. new world. Deterioration of Planet Earth
13 - Hero reacts to tests. Unknown - slight traces of 6 - villain deceives.
7 - Approach 7 - Approach
Key Signature: Key Signature:
String Section, Harp, Piano, Synthesiser (pad). Organ, Flutes Piano, String Section, Atmospheric synthesiser pads. Harp. Organ
Emotional Architecture: Gives an unravelling feeling. Slightly Emotional Architecture: A feeling of suspense. Clever use of the
disturbing. Building up instrumentally yet using descending piano repeated notes. Gives a fragmented version of both 02
patterns. cornfield chase melody and 10. Afraid of time.
Page 59
Stage: 13. ‘Coward’ Stage: 14. ‘Imperfect Lock’

Scene Semiotics: Major struggle with good vs evil, hero vs villain. Scene Semiotics: Tension, chase and struggle. Unknown what the
Intense scene, hero close to death but saved. villain will do.
16 - Struggle, hero and villain fight 16 - Struggle, hero and villain fight
Campbell Narrative Stage: 19 - Hero is defeated.
8 - Ordeal, close to death. Campbell Narrative Stage:
Prominent BPM: 8 - Ordeal, climax.
Time Signature: 4/4 (like a ticking clock) - End: 130 bpm
Key Signature: A Minor Time Signature: 4/4 (Ticking Clock)
Instrumentation: Key Signature: E Minor
String Section, Brass Section, Piano, Drums like a ticking clock., Instrumentation:
Clock, Plucked Instruments for Percussion and Timpani, Drums like a ticking clock, in double time. Synthesizer pads.
Synthesiser Arpeggiator, Organ, Possible melodica!? Choir, String Section (Trills), Clock, Plucked Instruments for
Prominent Chord Sequence: Percussion and Timpani
A Minor, G Major, F Major, G Major. Prominent Chord Sequence:
Emotional Architecture: Non really existent.
Continued variation of a melodic line. Evolves and devolves in Emotional Architecture:
different sections and uses different instruments per line. Also A repeated note/chord building up through instrumentation and
introduces melodic line of afraid of time too. Heavily arpeggiated velocity. High dynamic change from beginning to end, in order to
and patterned, yet fundamental to have the continues ticking clock build up tension. Intense.
as if time is running out.
Stage: 15. ‘No Time For Caution’ Stage: 16. ‘Detach’

Scene Semiotics: Major physical test for hero. Climatic and tense. Scene Semiotics: Resolution - imperfect solution to save earth.
Fast paced and determines whether the hero will make it or not. Hero and secondary hero depart. Emotion, tension.
Restarts back to 12 - Testing Unknown,
8 - Ordeal, climax. 8 - Reward
Prominent BPM: 10 - The Road back
Time Signature: 4/4 (like a ticking clock) - End: 145 bpm
Key Signature: A Minor Time Signature: 4/4 (Anacrusis)
Instrumentation: Key Signature: F Major
Fugue (Church) Organ, String Section, Brass Section Instrumentation:
Choir, Clock, Plucked Instruments Synthesiser Arpeggiator Fugue (Church) Organ, Orchestral String Section, Orchestral
Prominent Chord Sequence: Brass Section, Piano, Clock, Percussion and Timpani
A Minor, F Major, G Major, A Minor, G Major Prominent Chord Sequence:
Emotional Architecture: Despair and disbelief at first, Similar to C Dominant 7 Major, F Major, C Dominant 7 Major
Coward, yet even bigger sounds. All in, and dependant upon the F Major, C Dominant 7 Major, F Minor (Tonic Minor)
clock ticking. Very intense and constant repeated pattern of the Emotional Architecture:
melodic line. Climaxes on the organ crescendo. Very similar to ‘stay’. A slow simplistic melody line, repeated and
built up with greater instrumentation. Building up with organ and
more instruments. Continuously developing and adding layers.
Climaxes with string line playing the melody line. More aggressive
than before especially with the ticking clock.
Page 60
Stage: 17. ‘S.T.A.Y’ Stage: 18: First Step

Scene Semiotics: Very emotional, struggle to solve the task. Scene Semiotics: A call to a second adventure, to save second
Finding a resolution, in which is successful. Bittersweet ending. hero character.
26 - Task is resolved. 25 - New task given.
11 - Resurrection 11 - Resurrection
Prominent BPM: 12 - Return with Elixir
- Average: 72 bpm Setting up the wheel again and a new call to adventure
- Beginning: 53bpm Prominent BPM:
- End: 98 bpm: - Average: 142 bpm
Time Signature: 3/4 - Beginning: 138 bpm
Key Signature: A Minor - End: 170 bpm
Instrumentation: Time Signature: 3/4
Arpeggiator, Synthesiser Pad. Pipe (Church Organ) String Key Signature: A Minor
Section Instrumentation:
Prominent Chord Sequence: String Section (legato and plucked), Pipe Organ (Melody), Piano,
F Major (Dominant 7), G, A Minor Percussion (fills and hits). Synthesiser Pad and arpeggiator.
Emotional Architecture: Everything possible at once.
Reintroduction Introduction of the ‘family’ line on the organ. Prominent Chord Sequence:
Background of string sections. Increasing emotional architecture. F Major (Dominant 7), G, A Minor
Repetition of chords. Climax of the film, solving the puzzle, very Emotional Architecture:
emotional through its simplicity Same use of the ‘family’ line on the organ. Background of string
sections. Increasing emotional architecture. Repetition of chords.
Very similar to the cornfield chase, yet bigger chords in the
background. Ending of the film, hence a big ending of the score.
All emotions, dynamics and instrumentation at once,
Page 61
Page 62
Appendix 4 - Beat Mapping Graphs - Gladiator
Stage: 01. ‘Wheat’
Stage: 02. ‘The Battle’
Stage: 03. ‘Progeny’
Stage: 04. ‘Tell Me About Your Home’
Stage: 05. ‘Earth’
Page 63
Stage: 06. ‘Patricide’
Stage: 07. ‘The Emperor Is Dead’
Stage: 08. ‘Homecoming’
Stage: 09. ‘Sorrow’
Stage: 10. ‘To Zuccabar’
Stage: 11. ‘The Might Of Rome’
Page 64
Stage: 13. ‘Win The Crowd (Strength And Honour)’
Stage: 14. ‘Reunion’
Stage: 15. ‘Slaves To Rome’
Stage: 16. Commodus Vigil
Stage: 17. ‘Barbarian Horde’
Stage: 18. ‘Tigris’
Page 65
Stage: 19. ‘One Last Life To Take’
Stage: 20. ‘Conspiracy’
Stage: 21. ‘The Kiss’
Stage: 22. ‘Busy Little Bee’
Stage: 23. ‘The Trap’
Stage: 24. ‘Am I not Merciful?’
Stage: 25. ‘Elysium’
Page 66
Stage: 26. ‘Honour Him’
Stage: 27. ‘Now We Are Free’
Page 67
Appendix 5 - Beat Mapping Graphs - Sherlock Holmes
Stage: 01. ‘Discombobulate’
Stage: 02. ‘Marital Sabotage’
Stage: 03. ‘My Mind Rebels At Stagnation Part One’
Stage: 05. ‘Ah Putrefaction’
Stage: 07. ‘My Mind Rebels At Stagnation Part Two’
Page 68
Stage: 08. ‘Is It Poison, Nanny?’
Stage: 09. ‘I Never Woke Up In Handcuffs Before’
Stage: 10. ‘Catatonic’ First Section
Stage: 11. ‘Data, Data, Data’
Stage: 12. ‘Is It Poison Nanny?’ First Section
Stage: 13. ‘Dredger Fight (Johnny Cover)
Page 69
Stage: 14 ‘I Never Woke Up In Handcuffs Before’ Reprise
Stage: 15. ‘Dock Fight’ (He’s Killed The Dog Again Reprise)
Stage: 16. ‘Ah Putrefaction Reprise’
Stage 17. Ah Putrefaction First Section
Stage: 18. ‘Data, Data, Data’ First Half
Stage: 21. ‘The Second Kill’
Page 70
Stage: 22. ‘Deducting Second Body’ (Panic Reprise)
Stage: 23. ‘Approaching The Docks’ (Discombobulate_
Stage: 24. ‘Panic, Shear Bloody Panic’
Stage: 25. ‘Not In Blood, But In Bond’
Stage: 27. ‘Solving The Problem (He’s Killed The Bloody Dog Again)’
Stage: 28. ‘Psychological Recovery Part 1’
Page 71
Stage: 31. ‘Catatonic’ Reprise
Stage: 32. ‘Discombobulate’ (Ending)
Page 72
Appendix 6 - Beat Mapping Graphs - Interstellar
Stage: 01. ‘Dreaming Of The Crash’
Stage: 02 ‘Cornfield Chase’
Stage: 03. ‘Dust’
Stage: 04. ‘NASA’ (Day One)
Stage: 05. ‘Stay’
Stage: 06. ‘Message From Home’
Page 73
Stage: 07. ‘The Wormhole’
Stage: 08. ‘Mountains’
Stage: 09. ‘Years Of Messages’ (Excerpt Of S.T.A.Y)
Stage: 10. ‘Afraid Of Time’
Stage: 11. ‘A Place Among The Stars’
Stage: 12. ‘Running Out’
Page 74
Stage: 13. ‘Coward’
Stage: 14. ‘Imperfect Lock’
Stage: 15. ‘No Time For Caution’
Stage: 16. ‘Detach’
Stage: 17. ‘S.T.A.Y’
Stage: 18: First Step
Page 75
Filmography
Captain Phillips. (2013) [Biography, Drama, Thriller] Directed by Paul Greengrass.
[Accessed 11th August 2017].
Driving Miss Daisy. (1990) [Drama] Directed by Bruce Beresford. [Accessed 11th August
2017].
Game of Thrones. (n.d.) [Adventure, Drama, Fantasy] [Accessed 11th August 2017].
Gladiator. (2000) [Action, Adventure, Drama] Directed by Ridley Scott. [Accessed 11th
August 2017].
Inception. (2010) [Action, Adventure, Sci-Fi] Directed by Christopher Nolan. [Accessed 11th
August 2017].
Indiana Jones and the Last Crusade. (1989) [Action, Adventure, Fantasy] Directed by Steven
Spielberg. [Accessed 11th August 2017].
Indiana Jones and the Temple of Doom. (1984) [Action, Adventure] Directed by Steven
Spielberg. Accessed 11th August 2017].
Interstellar. (2014) [Adventure, Drama, Sci-Fi] Directed by Christopher Nolan. [Accessed
11th August 2017].
Jaws. (1975) [Adventure, Drama, Thriller] Directed by Steven Spielberg. [Accessed 11th
August 2017].
King Kong. (1933) [Adventure, Horror, Sci-Fi] Directed by Merian C. Cooper, Ernest B.
Schoedsack. [Accessed 11th August 2017].
North by Northwest. (1959) [Action, Adventure, Mystery] Directed by Alfred Hitchcock.
Psycho. (1960) [Horror, Mystery, Thriller] Directed by Alfred Hitchcock. [Accessed 11th
August 2017].
Pulp Fiction. (1994) [Crime, Drama] Directed by Quentin Tarantino. Available [Accessed
11th August 2017].
Page 76
Raiders of the Lost Ark. (1981) [Action, Adventure] Directed by Steven Spielberg. [Accessed
11th August 2017].
Rain Man. (1989) [Drama] Directed by Barry Levinson. [Accessed 11th August 2017].
Reservoir Dogs. (1993) [Crime, Drama, Thriller] Directed by Quentin Tarantino. Available
from http://www.imdb.com/title/tt0105236/ [Accessed 11th August 2017].
Schindler’s List. (1994) [Biography, Drama, History] Directed by Steven Spielberg.
Sherlock Holmes. (2009) [Action, Adventure, Crime] Directed by Guy Ritchie. [Accessed
11th August 2017].
Star Wars: Episode IV - A New Hope. (1978) [Action, Adventure, Fantasy] Directed by
George Lucas. [Accessed 11th August 2017].
Star Wars: Episode VI - Return of the Jedi. (1983) [Action, Adventure, Fantasy] Directed by
Richard Marquand. [Accessed 11th August 2017].
Star Wars: Episode V - The Empire Strikes Back. (1980) [Action, Adventure, Fantasy]
Directed by Irvin Kershner. [Accessed 11th August 2017].
Terminal Exposure. (1987) [Comedy] Directed by Nico Mastorakis. [Accessed 11th August
2017].
The Hateful Eight. (2016) [Crime, Drama, Mystery] Directed by Quentin Tarantino.
The Lion King. (1994) [Animation, Adventure, Drama] Directed by Roger Allers, Rob
Minkoff. [Accessed 11th August 2017].
Thelma & Louise. (1991) [Adventure, Crime, Drama] Directed by Ridley Scott. [Accessed
11th August 2017].
The Lord of the Rings: The Fellowship of the Ring. (2001) [Adventure, Drama, Fantasy]
Directed by Peter Jackson. [Accessed 11th August 2017].
The Martian. (2015) [Adventure, Drama, Sci-Fi] Directed by Ridley Scott. [Accessed 11th
August 2017].
Page 77
The Power of One. (1992) [Drama] Directed by John G. Avildsen. [Accessed 11th August
2017].
Vertigo. (1958) [Mystery, Romance, Thriller] Directed by Alfred Hitchcock. [Accessed 11th
August 2017].
Discography
Zimmer, H. (2009) Sherlock Holmes. [Audio CD] Sony Music.
Zimmer, H. (2010) Inception. [Audio CD] Reprise.
Zimmer, H. (2011) Sherlock Holmes: A Game of Shadows. [Audio CD] Sony Classical.
Zimmer, H. (2013) Captain Phillips. [Audio CD] Colosseum Music.
Zimmer, H. (2014) Interstellar. [Audio CD] Sony Music Classical.
Zimmer, H. and Gerrard, L. (2001) Gladiator: More Music From The Motion Picture.
[Audio CD] Decca (UMO).
Zimmer, H. and Gerrard, L. (2013) Gladiator. [Audio CD] Decca (UMO).
Page 78
References
Aristotle and Aeterna Press (n.d) Aristotle’s Poetics. In: Poetics. Aeterna Press.
Barthes, R. (1972) Mythologies. Random House.
Booker, C. (2004) The Seven Basic Plots: Why We Tell Stories. A&C Black.
Campbell, J. (1949) The Hero with a Thousand Faces. HarperCollins UK.
Csikszentmihalyi, M. (2015) The Systems Model of Creativity: The Collected Works of
Mihaly Csikszentmihalyi. Springer, p. 178.
Hans Zimmer Teaches Film Scoring | Official Trailer. (2016) [Internet] Directed by
MasterClass. Available from https://www.youtube.com/watch?v=yCX1Ze3OcKo.
Levi-strauss, C. (1963) Structural Anthropology. Hachette UK.
Meyer, S.C. (2016) Music in Epic Film: Listening to Spectacle. In: Music in Epic Film:
Listening to Spectacle. Routledge, p. 44.
Pratt, M. (2009) The Film Music of Max Steiner with Emphasis on King Kong (1933) and
Gone With the Wind (1939). [Internet] Available from
https://michaelpratt.wordpress.com/2009/09/03/the-film-music-of-max-steiner-with-emphasis
-on-king-kong-1933-and-gone-with-the-wind-1939/ [Accessed 11th August 2017].
Propp, V.I. (1928) Morphology of the Folktale. American Folklore Society.
Romantic Minimalism: Hans Zimmer and Contemporary Film Music. (2015) [Internet]
Directed by Benjamin Wright. Available from
https://www.youtube.com/watch?v=3Cdl5NIi0QE.
Smith, C. (2017) The Work Of A Seminal Producer; Hans Zimmer and the 21st Century
Soundtrack. [Internet] Available from
http://camerondotsmith.wixsite.com/music/hans-zimmer-producer [Accessed 17th April
2017].
thewritersjourney.com (n.d.) hero’s journey. [Internet] Available from

http://www.thewritersjourney.com/hero’s_journey.htm [Accessed 11th August 2017].
Tobias, R.B. (1993) 20 Master Plots: And How to Build Them. Writer’s Digest Books.
Page 79
Bibliography
changingminds.org (n.d.) Characters in a story. [Internet] Available from

http://changingminds.org/disciplines/storytelling/characters/characters.htm [Accessed 11th
August 2017a].
changingminds.org (n.d.) Plots. [Internet] Available from

http://changingminds.org/disciplines/storytelling/plots/plots.htm [Accessed 11th August
2017b].
Kellogg, E.W. (1955) History of Sound Motion Pictures. History of Sound Motion Pictures
[Internet], Available from
http://www.aes.org/aeshc/docs/smpte/movie.sound/kellogg-history2.pdf [Accessed 17th April
2017].
Moorefield, V. (2010) The Producer as Composer: Shaping the Sounds of Popular Music.
MIT Press.
Spitfire Audio (2013) HZ01 - London Ensembles - Spitfire Audio. [Internet] Available from
http://www.spitfireaudio.com/shop/a-z/hz01-london-ensembles/ [Accessed 1st January 2017].
www.tvtropes.org (n.d.) Film / Leitmotif. [Internet] Available from

http://tvtropes.org/pmwiki/pmwiki.php/Leitmotif/Film [Accessed 17th April 2017].
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An​ ​Analysis​ ​of​ ​Film​ ​Score​ ​Production​ ​and​ ​Composition​ ​Traits

implemented​ ​within​ ​the​ ​works​ ​of​ ​Hans​ ​Zimmer

Cameron​ ​Edward​ ​Smith

MA​ ​Music​ ​Production

Word​ ​Count:​ ​8139

within​ ​their​ ​fields.

directors​ ​and​ ​received​ ​numerous​ ​awards​ ​for​ ​his​ ​compositional​ ​works.

genre​ ​dependant​ ​traits.

(2015))​ ​or​ ​Ramin​ ​Djawadi​ ​(​Game​ ​Of​ ​Thrones​ ​(2011)).

momentum​ ​and​ ​quality​ ​of​ ​the​ ​music.

to​ ​traditional​ ​tonal​ ​or​ ​thematic​ ​melody.’

for​ ​best​ ​original​ ​score​ ​in​ ​2001.

Sherlock​ ​Holmes​ ​(2009)

cultural​ ​authenticity​ ​his​ ​through​ ​recording​ ​and​ ​studying​ ​on-location.

well​ ​documented​ ​through​ ​production​ ​videos​ ​and​ ​interviews.

prominent​ ​melody​ ​line,​ ​instrumentation​ ​and​ ​emotional​ ​architecture,​ ​then​ ​establishing

work​ ​have​ ​influenced​ ​the​ ​composers​ ​of​ ​Remote​ ​Control​ ​productions.

Establishing​ ​Narrative​ ​Theories.

Character​ ​Type Role

hero​ ​central​ ​film​ ​plots.

typologies​ ​might​ ​incorporate​ ​narratives​ ​including​ ​‘discovery’.

Narrative​ ​Theory​ ​Complications

(1994),​ ​and​ ​The​ ​Hateful​ ​Eight​ ​(2015).

Procedure​ ​for​ ​Analysing​ ​Musical​ ​Traits​ ​of​ ​Hans​ ​Zimmer

diegetic​ ​music​ ​elements.

significance​ ​regarding​ ​the​ ​traits​ ​of​ ​romantic​ ​minimalism.

featured​ ​below​ ​in​ ​score.

Horde’​ ​and​ ​‘One​ ​More​ ​Life​ ​To​ ​Take’.

‘Busy​ ​Little​ ​Bee’​ ​and​ ​‘Am​ ​I​ ​Not​ ​Merciful?’

Sherlock​ ​Holmes​ ​(2009)

Data,​ ​Data’,​ ​‘Psychological​ ​Recovery​ ​Part​ ​3’​ ​and​ ​‘Catatonic​ ​(Reprise)’.

‘Message​ ​From​ ​Home’.

One’,​ ​‘S.T.A.Y’,​ ​‘Afraid​ ​Of​ ​Time’.

become​ ​more​ ​faded,​ ​yet​ ​still​ ​present.

traits​ ​established​ ​within​ ​romantic​ ​minimalism,​ ​that​ ​aids​ ​his​ ​success.

the​ ​accompanying​ ​soundtrack;

Repeated​ ​pattern​ ​prominent​ ​within​ ​the​ ​stage​ ​‘Homecoming’​ ​of​ ​Gladiator.

continuing​ ​to​ ​70​ ​bpm.

throughout​ ​each​ ​stage;

shown​ ​below​ ​through​ ​the​ ​beat​ ​mapping​ ​of​ ​the​ ​track;

Beat​ ​Mapping​ ​of​ ​the​ ​track​ ​‘Coward’

‘No​ ​Time​ ​For​ ​Caution’​ ​beat​ ​mapping.

mapping​ ​analysis​ ​of​ ​stages​ ​‘S.T.A.Y’​ ​and​ ​‘First​ ​Step’;

Beat​ ​mapping​ ​of​ ​the​ ​narrative​ ​stage​ ​‘S.T.A.Y’

Beat​ ​Mapping​ ​Of​ ​‘First​ ​Step’

and​ ​stranded​ ​in​ ​another​ ​galaxy.

what​ ​endangers​ ​them.

the​ ​instrumentation​ ​builds​ ​up.

Correlating​ ​Narrative​ ​Theories​ ​to​ ​the​ ​Film​ ​and​ ​Accompanying​ ​Music

categorised​ ​into​ ​the​ ​other​ ​theory.

the​ ​films​ ​in​ ​a​ ​different​ ​order.

Propp’s​ ​stage​ ​12​ ​or​ ​Campbell’s​ ​stage​ ​06.

Remote​ ​Control​ ​Productions

additional​ ​orchestral​ ​instruments​ ​and​ ​dynamics.

Control​ ​Productions​ ​has​ ​not​ ​been​ ​completed.

more​ ​detailed​ ​aspects​ ​of​ ​his​ ​works.

simulate​ ​the​ ​domain​ ​created​ ​by​ ​Zimmer.

Short​ ​Film​ ​One​ ​-​ ​‘Scotland​ ​By​ ​Drone’

strong​ ​cinematic​ ​audio-visual​ ​experience.

sound​ ​using​ ​the​ ​ubiquitous​ ​bagpipes/drone/scottish​ ​snap​ ​idioms.​ ​Following​ ​Zimmer’s

shown​ ​(1:48),​ ​hinting​ ​at​ ​a​ ​military​ ​presence.

change​ ​is​ ​implemented​ ​to​ ​build​ ​up​ ​more​ ​momentum.

of​ ​123,​ ​gradually​ ​increasing​ ​it​ ​to​ ​135​ ​bpm.

Short​ ​Film​ ​Two​ ​-​ ​‘Journeys​ ​End’

An Analysis of Film Score Production and Composition Traits

implemented within the works of Hans Zimmer

Cameron Edward Smith

MA Music Production

Word Count: 8139

within their fields.

directors and received numerous awards for his compositional works.

genre dependant traits.

(2015)) or Ramin Djawadi (Game Of Thrones (2011)).

momentum and quality of the music.

to traditional tonal or thematic melody.’

for best original score in 2001.

Sherlock Holmes (2009)

cultural authenticity his through recording and studying on-location.

well documented through production videos and interviews.

prominent melody line, instrumentation and emotional architecture, then establishing

work have influenced the composers of Remote Control productions.

Establishing Narrative Theories.

Character Type Role

hero central film plots.

typologies might incorporate narratives including ‘discovery’.

Narrative Theory Complications

(1994), and The Hateful Eight (2015).

Procedure for Analysing Musical Traits of Hans Zimmer

diegetic music elements.

significance regarding the traits of romantic minimalism.

featured below in score.

Horde’ and ‘One More Life To Take’.

‘Busy Little Bee’ and ‘Am I Not Merciful?’

Sherlock Holmes (2009)

Data, Data’, ‘Psychological Recovery Part 3’ and ‘Catatonic (Reprise)’.

‘Message From Home’.

One’, ‘S.T.A.Y’, ‘Afraid Of Time’.

become more faded, yet still present.

traits established within romantic minimalism, that aids his success.

the accompanying soundtrack;

Repeated pattern prominent within the stage ‘Homecoming’ of Gladiator.

continuing to 70 bpm.

throughout each stage;

shown below through the beat mapping of the track;

Beat Mapping of the track ‘Coward’

‘No Time For Caution’ beat mapping.

mapping analysis of stages ‘S.T.A.Y’ and ‘First Step’;

Beat mapping of the narrative stage ‘S.T.A.Y’

Beat Mapping Of ‘First Step’

and stranded in another galaxy.

what endangers them.

the instrumentation builds up.

Correlating Narrative Theories to the Film and Accompanying Music

categorised into the other theory.

the films in a different order.

Propp’s stage 12 or Campbell’s stage 06.

Remote Control Productions

additional orchestral instruments and dynamics.

Control Productions has not been completed.

more detailed aspects of his works.

simulate the domain created by Zimmer.

Short Film One - ‘Scotland By Drone’

strong cinematic audio-visual experience.

sound using the ubiquitous bagpipes/drone/scottish snap idioms. Following Zimmer’s

shown (1:48), hinting at a military presence.

change is implemented to build up more momentum.

of 123, gradually increasing it to 135 bpm.

Short Film Two - ‘Journeys End’

required through the use of layering.

Short Film Three - Skeets

music sorrowful and melancholic.

more string lines are added to accompany the countermelody.

maintain some form of momentum.

Appendix 01. Track By Track Analysis of ‘Gladiator’

Stage: 01. The Wheat Stage: 02. The Battle

Prominent BPM: Prominent BPM:

Stage: 05. Earth Stage: 06. Patricide

Stage: 07. The Emperor Is Dead Stage: 08. Homecoming

Prominent BPM: Prominent BPM:

Time Signature: None Time Signature: 4/4

Stage: 09. Sorrow Stage: 10. To Zucchabar

Prominent BPM: Prominent BPM:

Time Signature: 4/4 Time Signature: 3/4

Time Signature: 4/4 and 3/4 Time Signature: 4/4