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Music Cue Scene Analysis: The Musical Torque

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The musical cue will begin right when the scene starts, the overall musical cue is all in a major key, a major sound in the harmony is associated with positive emotions creating a positive situation in the scene instead of a negative. The positive melody will affect how the audience will perceive it. Throughout the scene, the musical cue has a melodic line of thinness. With the use of minimalistic style, source music, and underscoring, which will create a cue that does not take the attention away from the scene but make a better understanding. It starts with source music, as shown an empty bench and then a lake view as the wind blows against the tall grass plants, wind blowing would be heard for the first 00:10 of the scene. The use of source music helps the …show more content…

Then at the 00:25 in the scene where the camera shows a railway track, the various violins are being played by plucking at an ostinato in pianissimo in 4/4 time, at 50 BPM. The xylophone is no longer heard, and is only played in the start. The notes the violins play range from low to high, giving off a rhythm of down and up, this is used as the leitmotif of the girl in the scene. As the girl comes running into the frame, the plucking of the violins crescendo from pianissimo to mezzo forte, a flute comes in and plays along with the violins. This gives the audience something to notice in the musical cue as it guides them throughout the cue showing what situation the girl in. The girl running goes along with the beat of the violins plucking as it gets more intense, the running does too. Also, taking the inspiration of the musical cue from Ben Hur, by Henry Mancini, during the galley of slave’s scene where men can be seen rowing a boat, where a hortator hammers out a beat against a drum; the pounding of the hortator, generates an aural equivalent to the physical effort of

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The music helps portray the transition between a worried team full of buys to a confident team of

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The use of background music is also incredible here. Different from the documentary style of simple music with realistic sounds in Suzhou River, the music has exquisite melody played by violin and horn and accompanied by orchestra. This flash-back scene uncovering Ageha’s childhood memory is long with those different sceneries, Ageha playing in the bathroom, Ageha’s mom making love and a butterfly flying around; the single piece of classical music smoothly connects those

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The first sound heard is composed of violin or similar string instrument in a loop. The second sound is related with opera where women with high pitch in a loop as well. The music makes the film more gloomy and makes to think something is going to happen either bad or good. Whole film is edited presenting the image of group of men, women and the young girl showing their corresponding activity.

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For example, we hear church bells in the beginning demonstrating the feel of tolling the death knell which indicates that some one died,while the timphony demonstrates anger towards the end and then there is a piccolo/ flute solo at measure 78, and the brass section demonstrating rage and anger towards the end of the piece. Adding on that, there is a unique oboe part too. This piece also gathers a wide variety of dynamics and expressions making it interesting to play. For example, in the first few measures it starts slowly and softly which gives a sad, funereal feel, then when the alto saxophones, tenor saxophones, and clarinets join,they begin piano then transition to mezzo forte and then returns to piano again. This process gives a feeling of how the sister feels guilty and angry and upset all at the same time for not being able to support her sister before she died.

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Music in the film forshadows the trajic ending. The fast paced instuments, random violin strings and high pitched screeching shows the overpowering enviornment and unvails Jack’s inner madness.

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By simply adding the right song into a scene, it can cause the audience to really think about the events occurring in the movie resulting in suspense, intensity, joy, or any other emotions such as those. For example, in The Lion King, when Scar lets go of Mufasa, and drops him into the stampede, the orchestral piece the writers added was perfect to evoke sadness from the viewer or, in the movie, Up, when it shows Ellie and Carl through the years; it begins when they get married and life seems great, the music is higher and more upbeat, but once they grow old, Ellie needs to be rushed to the hospital, the song begins to go slower and switches to a piano with accompaniment of a harp, which makes the scene a lot more sad than before. Simple things like this can really change the final product. Students can easily apply the skills they have from doing their favorite hobby to more of an academic

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The melody plays a major part in the dramatic flow. It displays a lighthearted, yet mysterious mood. Also, the melody is conjunct. The high-pitched element of the melody creates the rise in tension in the dramatic flow. Also, when the melody scales down, it presents the release.

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The musical cue is a piece of music that signals that a certain act is going to take place. In horror films, the musical cue signals to the audience that the murder, serial killer, or demon is going to appear at a certain time and commit their horrific acts. It is likely that the musical cue will occur more than once in a movie, allowing the audience to recognize when a scary scene is going to take place. This repetition puts fear in the audience. For example, if one sees a girl walking in an abandoned house the audience is going to be frightened, knowing the musical cue is going to occur any second.

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The tempo of this song is constant, and when the tempo builds up, the violins overlaps the rest of the instruments; slowly the violins quiets down and the regular beat and tempo comes back

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This is most notably used in the beginning of the film, were the family was leaving the plantation to the unknown, as violins played a near screeching tone and children sung only to be soon drown out by the violins as they increased in volume. This cause the audience to feel an extreme uneasiness and a low amount of horror foreshadowing the death of the family. This genre of lyric less music is utilized throughout the film and is used more than dialoged to cause the uneasiness of the audience. This is especially true at the end where Thomasin is begins to levitate as violins turn into a whistling sound that increase in volume until it breaks into a black screen and whispers leaving the audience with the uneasiness and a feeling of blaspheme for simply watching the

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This is then followed by a sing-song like eight-note figure that features a pointed forward momentum. The rhythmic building blocks of the theme is constructed in two bar phrases which then sequences upward by step (Example 1). The accompaniment to the theme is sustained half notes played by the second violins, Violas, and Cellos The home key and the harmonic content of the exposition is also very clear in its presentation. The opening of the movement is in A major and remains primarily diatonic in its harmonic content, with only the occasional passing tone. The primary theme is played twice having a four-bar transition in between each quotation (Example 2).

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Similar to jazz, the soloist takes the primary focus of the piece except for the tutti segments.(8) Another example of improvisation can been seen in the beginning of the third movement. The flute and violin provide short melodic notions with the idea of imitation among the two

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Piano and violins are in line with each other while the horn steadily plays offbeat in the ' 'though she feels as if she 's in a play. Through out the song, both string and horns come in without us noticing until the mood

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There were many musical elements heard throughout these pieces and it was interesting to hear how they varied in each song and suite. In Intermezzo, it began with a quieter violin solo melody creating a monophonic texture. Soon after, it became accompanied by the other violins and cellos, then the full ensemble came in creating a moderate, flowing melody at about mezzo forte and switching to a polyphonic texture. Next, there was a harp solo at forte with many crescendos and decrescendos. The full ensemble enters again raising the dynamics to forte before decrescendoing and slowing down to end with a held note and final tone.

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This Chaconne begins with a singing violin melody almost beguiling in its character, with a natural sense of ebb and flow that traverses numerous episodes. With the addition of double stops and chordal textures, the intensity gradually rises until it reaches the breaking point where the violin charges forward through a frenetic, virtuosic passage. The tension and register continue to rise to the point where the violin sounds as if it is screeching. The drama resolves in the brief coda as the frantic energy unwinds and the violin fades away into the

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