Birth of a Penguin Part 2

texture

homorythmic with triplets-military,marchlike,heroic

there are layers of ostinato

27 onwards there melody dominated homophony

30 to 33 theres imitatio woodwind and imitate the horns

34 to 35 theres a lot more polyphony

through 38 theres alot more counterpoint - creates momentum, chasing each other, dual personality, foreshadowing whats going to happen

from 44/45 theres a lot more polyphiny:trumpet texture,harp,choir,there are more layers,the batman melody weaving in and out of the texture

from 53 theres 1 bar held chord

in 55 were back to melody dominated homophony

most of the last page is homophonic

so the changes of texture is what happens on screen

dynamics

slighty wider range

crescendos are much more gradual than before

melody

heavily developed(of batman theme) : sometimes its fragmented ,sometimes its rhythmic variations

part 1 starts with the batman theme, part 2 plays the penguin theme(augmented)

in bar 9 we have our first batman theme in the horns (unresolved doesnt play the entire note)

in bar 12 and 13 in the bassoons and bass clarinet play the unresolved batman theme

bar 13-14 triplets in horns, not resolved

in bar 19 theres more hints of the theme

in bar 27 theres the final resolution of the melody - very impactful

in 29 the batman theme rises instead of descending

in 31 we got this minor 6th thats resolved

33 its all extended

38 to 39 we have the full theme in horns

42 to 43 we have the heroic horns

bar 48 has the sighing motif(in the choir) starts off as minor 3rd but then its a major 3rd then also in bar 55

bar 69 trumpets and violins in octaves playing the batman theme

slight rhythmic variation with the trombone and tuba with crotchet triplets(its a fragment of the batman theme) in bar 75

the melody is charactereised by an interval of a minor 6th

in bar 78 there is rythmic extension,the minor 6th note is rythmically extended

structure

through composed

no sections

gains structure through the use of leitmotifs

structure matches the images and is given the cohesion from leitmotifs

tonality

part 1 was mostly minor

part 2 was minor and major - conflict,maybe between the hero and antagonist

D minor

in bar 11 its modulating to Bb minor(tertiary relation D minor to Bb minor)

in bar 21 C major(chord)

D minor to Bb minor to C major - unrelated chords buy are very close to each other

then suddenly we are back into D minor (bar 25)

it then goes into A flat minor

in bar 34 it goes into F#minor

in bar 38 it goes into C#minor

in 42 to 44 it goes C#m to Ebm to Bm to Db major( harmonic sequence C# to Eb is the same as Bm to Dbmaj

then in bar 53 it goes into F#m and theres a change in feel

bar 63 goes to Ab minor

73 goes to C#minor

bar 80 B to F#(open fifth) pedal note dont know if its minor or major

from 93 to end C#maj to E minor then ends with no resolution

harmony

starts on a tonic pedal semiquaver arpeggio movement(D minor with C# : hitchkock chord minmaj7 cinematic signifier of ambiguity)

bar 2 is a 6th chord

Bb minor theres a tonic pedal

bar 20 theres a Gb over the Bb pedal

in 51 we got a bunch ov dominant 7th chords

in 59 wwe have a half diminished chord

in 71 theres an augmented chords : this kind of chromaticism creates tension

ends with a C# major to E minor false relations

rythmc

in 4/4 apart from bar 20 where its 5/4(strechetes out before coming to the Cmajor) Beat added (interpolation)

fast 130,theres a rit from bar 95 to the end : introducing us to he action

triplet quaver ostinato(main rythmic piece)

in bar 5 theres this semiquaver quaver pattern is borrowned from part 1(cue before this)

in bar 12 theres a cross rythm(triplet and semiquaver),also i n bar 10 triplet and quaver - rrythmic tension batman vs penguin

in 27 we got rythmic diminution

lots of dotter ruythms from 34 onwards

75 theres crotchet triplets

from 85 to 96 theres a ne rythmic ostinato