Into Film Ten Pieces secondary - BBCdownloads.bbc.co.uk/tv/tenpieces/secondary/resources/... · 2016-01-07 · Superman Returns (2006, 12) Bizet: Habanera from Carmen Into Film recommends

Ten PiecesOur resources are designed to be used with selected film titles, which are available free for clubs at www.intofilm.org/clubs

Into Film is a trading name of Film Nation UK. Registered Charity number 1154030.

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Ten Pieces

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Our resources are designed to be used with selected film titles, which are available free for clubs at www.intofilm.org/clubs

Activity pack

Into Film Ten Pieces ResourceThis teaching resource has been developed by Into Film to support the

BBC’s Ten Pieces Initiative.

Ten Pieces aims to open up the world of classical music to young

people and inspire them to produce their own creative responses to

the selected pieces through a variety of mediums.

Inspired by the Ten Pieces project, Into Film has developed this teaching

resource to support teachers to explore the use of music in film and to

use the selected pieces of music as inspiration to develop their own short

films in the classroom.

Ten Pieces

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Activity pack

The resource focuses on five of the selected pieces of music, which

feature in films suitable for young people aged 11-16. They are:

11-14:

1. Bizet: Habanera in Superman Returns

2. Wagner: Ride of the Valkyries in Rango

3. Bernstein: Mambo in West Side Story

4. Bizet: Habanera in Up

14-16:

5. Vaughan Williams: The Lark Ascending in Man on Wire

6. Bach: Toccata and Fugue in D Minor BWV 565 in The Aviator

These films are available to order from the Into Film Clubs catalogue.

If you are not signed up to the Into Film Clubs network, go to

www.intofilm.org/schools-film-clubs to find out more about the

benefits of running a film club in your school including access to

a curated catalogue of over 4,000 films.

The resource includes a selection of classroom activities to help you

integrate film into your Ten Pieces project. Furthermore, there are

activities to help you to start to develop your own film ideas inspired

by the ten pieces of music. If you are inspired to create your own films

in response to the music, there are links to a number of resources to

support a basic understanding of the filmmaking process and practical

guidance on planning, shooting and editing your own film.

This resource has been designed to work across a range of curriculum

areas and subjects for pupils aged 11-16.

Ten Pieces

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Activity pack

The use of music in cinemaMusic is an incredibly evocative and powerful medium, particularly in

cinema.

Music has been a part of film for almost as long as the beginning of

cinema. Originally, music had a practical use, which was to stop the

audience from talking and to reduce the sound of the noisy projector.

Today, what you hear in films is as important as what you see and the

success of a film often relies on the complementary use of both.

Music in film is used in a variety of ways to establish a mood, time or

place, build drama or tension and mirroring the mood of a character.

Music in film falls into one of two categories- diegetic and non-diegetic.

Diegetic music is produced within the implied world of a film and

contained within the action on screen. The characters are aware of

diegetic music, which could be coming from their radio or being played

live at a music festival they are attending.

Diegetic music is often incidental and not integral to the story or mood.

Most film music is non-diegetic.

Non-diegetic music is background music that is external to the implied

world of the film. Characters are not aware of this music. This is often

used to mirror the mood of the film. For example, fast paced music to

match the mood and action of a car chase. It can also help to provide an

insight into a character’s thoughts and feelings or to warn the audience of

an upcoming dramatic turn of events.

Many of the greatest film soundtracks have now become synonymous

with the film they appear in. Who can hear ‘A Town Called Malice’ by The

Jam without thinking of Billy Elliott? Or ‘Eye of the Tiger’ without picturing

the training montage in Rocky?

Some of the most iconic scenes in cinema are so notable because of

the excellent use of music to support the film’s narrative. This is done

brilliantly in the montage of Carl and Ellie’s married life in Disney’s

Up. This four minute sequence depicts the highs and lows of their life

together and the film score changes in tempo and tone to complement

this. The importance of music in this sequence is made even more

powerful because there is no dialogue.

Ten Pieces

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Activity pack

The Ten PiecesInto Film have selected five of the ten pieces to focus on in this

resource. These pieces are used to great effect in six films that are

suitable for young people aged 11-16. These films are also available to

order from the Into Film Clubs catalogue.

Into Film have chosen six films as case studies for how five of the

ten pieces have been used to create atmosphere, emphasise the

storytelling, underscore the genre and draw in the audience in a range

of ways and for different genres of film – including animation, action,

drama, musical and documentary. The versatility of music as a means

to engage audiences with the imagery on screen is explored, including

the use of different adaptations of the same piece to suit the purposes

of the film.

Within this resource we have included two uses of Bizet’s ‘Habanera’.

The piece features as diegetic music in Superman Returns and is used

not only as a device to lure a character who is aware of the music

into a trap, but also to play with the audience’s expectations and

to increase tension. In contrast the animation Up playfully uses the

‘Habanera’ as non-diegetic music to soundtrack a morning routine and

create a sense of bathos around the protagonist’s new circumstances.

There are also stylistic links within the pieces that reward engagement

with all the films covered in the resource in addition to focusing on

particular pieces. West Side Story’s ‘Mambo’ is a piece that has evolved

from the habanera rhythms that were popular when Bizet composed his

version ‘Love is a rebellious bird’ for the opera ‘Carmen’ almost a century

earlier- and the passion, danger, and playfulness resonates in both just

as strongly today. We hope that exploring the use of classical music

in these films will inspire students to use music creatively in their own

filmmaking, and suggestions for filmmaking extension activities have

been included to follow the discussion questions around each piece.

Please be aware that some of the

films we have recommended have a

12 certificate rating. We recommend

these for viewing in class or film

clubs for groups of young people

aged 11+, but teacher viewing is

advised prior to exhibition. Further

guidance on the content of these

films is available on www.intofilm.org

and www.bbfc.co.uk.

Ten Pieces

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Activity pack

Superman Returns (2006, 12)Bizet: Habanera from CarmenInto Film recommends for class or film club viewing for ages 11+. While the selected clip contains no material likely to offend, teacher viewing is advised prior to use in class.

About the film

Five years after his disappearance to investigate the remains of his home

planet of Krypton, Superman decides it is time to come back down to

Earth. However, despite being able to regain his old job at The Daily Planet

fairly easily, many things are different – including the relationship status of

his former flame Lois Lane, who is now engaged and bringing up a small

boy. Struggling against his emotions, Superman throws himself back into

dealing with the world’s problems, which have remained constant in his

absence- and a fresh challenge emerges from his arch nemesis Lex Luthor,

who has concocted a scheme that threatens to overwhelm the globe.

About the piece of music

The ‘Habanera’ is the entrance aria for ‘Carmen’, a gypsy femme fatale

who becomes entangled in a love triangle in Bizet’s famous opera that

takes her name. It introduces and establishes her character for the

audience – the music has sensual and scandalous overtones which

control the attention and are playful and reactive. ‘Carmen’ initially had a

poor reception due to themes which were controversial at the time, only

becoming successful with audiences after Bizet’s deah. Bizet’s ‘Love is a

rebellious bird’ (as the habanera in ‘Carmen’ is officially called) borrows

heavily from ‘El Arreglito’, by the Spanish composer Sebastián Yradier,

which ‘Bizet’ believed was a folk song when adapting for ‘Carmen’.

The habanera was a popular style of dance at the time, its origins coming

from the contradanse of the 18th century (which itself has origins in

English country dancing). The name habanera originated in Cuba, where

it went on to form the basis of dances such as the mambo and conga.

The habanera rhythm’s time signature is 2/4, and an accented upbeat in

the middle of the bar lends power to the rhythm.

Watch the clip from the film from 01:17:06 – 01:19:22.

Discussion points

1. What is the music telling Lois Lane?

2. How does the use of music complement the setting

and give clues about the character of Lex Luthor?

3. How is music used to increase tension in the scene?

Warner Bros. © (2006) All rights reserved

Learning objectives

• To understand how the soundtrack

impacts upon character and setting.

• To analyse how music can give

the audience clues.

Ten Pieces

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Teacher notes

1. Muffled diegetic opera is heard playing, drawing Lois into the

mysterious goings-on on board the yacht, and away from the house

she is supposed to be visiting. The music hints at grandeur but is

restrained, making Lois curious to investigate further and want to go

on board. As Lois enters the yacht, the volume of the music increases

and decreases as she tries to discover its source and find somebody

to speak to. Non-diegetic music then announces her realisation of

who it is she is about to encounter.

2. The perceived opulence of the yacht is reinforced by this rendition

of the ‘Habanera’. A sensuous opera playing out in the middle of

the day attracts attention, and the fact that it is diegetic music

suggests that the character listening to it has refined tastes. The

extended perspectives as Lois is led towards the music are very

theatrical- firstly in the alley of statues that leads to the yacht, and

secondly the corridors within the yacht itself, setting the stage for

the confrontation that is about to come (which is also announced

with visual theatricality via the display of wigs). This perspective draws

the viewer in in the same way that the volume of the music prompts

Lois to investigate. The ‘Habanera’ is the entrance aria for ‘Carmen’ in

Bizet’s opera, and is used in this scene similarly to signify the entrance

of a new character.

3. The music is used to create tension as the audience follows Lois as

she is drawn into the trap. As soon as Lois decides to ignore the call

from her employer, she becomes aware of the music. As Lois is drawn

away from her car and her phone, it is as though she is seduced by

the song which is leading her away from safety. The camera also

hides and reveals with internal/ external shots as she makes her way

onto the boat, and the sterile environment on board jars with the

warmth of the ‘Habanera’. The real, secure world is contrasted with

the dramatic and eerily still yacht setting by the cut away moments of

her phone ringing. Sporadic dialogue as Lois explores also increases

anticipation for the revelation- her unanswered calls of ‘hello’ and

mention of trespassing acknowledge risk and link in thematically

with ‘Carmen’. The increase and decrease in volume as Lois finds

the source of the music- and who it is playing for- increase the

sense of danger and isolation. Trills in the music (woodwind, strings,

percussion) announce each growing danger such as the yacht leaving

shore, and a bass pedal note underscores the menace created as Lex

Luthor is gradually introduced and then unveiled. Finally the non-diegetic soundtrack blasts in with brass stabs cutting through to

highlight the unsettling details of the scene- such as the array of wigs

on featureless display heads.

Extension activityFilm a scene using a corridor as a setting, and choose a piece of music

to lead your main character (or characters) towards something you have

hidden in a room at the end of the corridor. Will the music contrast or

complement with the surprise you have in store? What Foley sounds will you use to increase the tension?

Paramount Pictures © (2011) All rights reserved

Ten Pieces

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Activity pack

Rango (2011, PG)Wagner: Ride of the Valkyries

About the film

Rango is an animated adventure set in the last outpost of the Wild West-

a town called Dirt in the Mojave desert, on the other side of the highway

from the bright lights of Las Vegas. When a pet chameleon (who is also

an aspiring actor) finds himself accidentally freed, he takes directions

from a philosophical armadillo named Roadkill to the nearby town of Dirt.

Adopting the name of Rango and some tall tales to match, he quickly

makes an impression on the townspeople and is promoted to sheriff, a

role he is delighted to play. His first case is to investigate a robbery of

the town’s most valuable asset, and something that every creature in the

desert is desperate to get their paws on - water. Scored by Hans Zimmer.


‘Ride of the Valkyries’ features in ‘Die Walkure’, an opera that is part of

Wagner’s ‘Ring Cycle’. Based on a fusion of Norse mythology and German

folklore, the ‘Ring Cycle’ tells the epic tale of several generations of gods

and warriors and their attempts to gain a ring that grants the power to

rule the world. ‘Die Walkure’ is the second opera in the cycle, and its

title translates as ‘The Valkyries’. Valkyries are flying female warrior spirits

who decide who is to live and die on the field of battle; the souls of the

dead they claim and use to guard Valhalla – heaven in Norse mythology.

‘The Ride of the Valkyries’ composition is a musical stampede, creating

excitement and momentum through flying, galloping rhythms and

unforgettable leitmotifs.


Discussion points

1. What new instruments are introduced to the piece in this

rendition, and what effect does it have on the tone?

2. How does the structure of the medley tell the story of the

action in the scene?

3. Why are riffs useful for film soundtracks? Use riff or leitmotif or

explain that in this context (blues instruments performing classical

music) they are the same.Teacher notes

Learning objectives

• To understand how leitmotif and

medley can reflect the storyline.

• To understand how music and

Foley sound can affect the tone

and mood of a scene.

Ten Pieces

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Activity pack

Teacher notes

1. The music swells in sequences, flurries of strings are heard with a

banjo picking the main ‘Ride of The Valkyries’ melody underpinned

by a jews’ harp. These traditionally country and blues instruments

place the scene in its ‘hillbilly’ context with gophers adding to the

comedic effect. The Foley sounds that recreate the swooping of bats,

galloping of hogs, machine gun fire, war cries and yodelling build up

the momentum and create a sense of impending doom.

2. The medley begins with the ‘Ride of the Valkyries’ evoking fear but

with comedic overtones. A growing swarm of bats represent the

Valkyries flying, and the use of banjos adds bathos and humour.

Plumes of smoke rising in the melee are soundtracked by a woodwind

crescendo. Depite our heroes fighting back valiantly, Rango is captured

and left dangling helplessly as the music segues into ‘The Blue

Danube’ by Johann Strauss. The pace slows, Rango performs balletic

movements in the air before he hits the side of the valley running and

the action picks up again, with a march-like brass intervention, and the

banjo returns with improvisations on the Valkyries theme. Spaghetti

Western parodies with muffled guitar reinforce the Wild West setting

and remind us that this is action comedy.

3. The familiarity of the leitmotif draws in the audience and the contrast

of tone stirs and surprises them, we don’t expect to hear the German

war-like ‘Ride of the Valkyries’ in an animated comedy. ‘The Blue

Danube’ theme provides calm respite from the storm of the action-

an elegant juxtaposition to the rowdy, dusty, chase going on below

which again provides humour through contrast. The repeating riffs

that build in tempo and volume excite and engage an audience, and

the relentlessness of the music mirrors the action.

Extension activityFilm your own chase scene in your local area. What sounds and

instruments would you use to perform the ‘Ride of The Valkyries’ to

give the sense of place, and how would you express the identity of

your pursuers?

United Artists © (1961) All rights reserved

Ten Pieces

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Activity pack

West Side Story (1962, PG)Bernstein: Mambo from Symphonic Dances

from West Side Story

About the film

The tragic love story of Romeo and Juliet, reimagined for 1950s New

York. Originally a Broadway play, West Side Story was later adapted for

film and sets the scene for the star-crossed lovers in the city streets

where bitter gang warfare rages between the Jets and the Sharks.

Caught up in the struggle are Tony and Maria, who fall in love despite

coming from opposite sides of the conflict. The themes are as relevant

now as in the 1950s – street crime, tensions around immigration, the

American dream – and some amazing songs and dance routines make

this a dazzling spectacle. Scored by Leonard Bernstein.


Mambo was a dance craze in 1950s New York, and composer Leonard

Bernstein was familiar with Latin music from previous visits to Puerto

Rico. In the version created for the film, fast rhythms are packed with

semi-quavers, and strong melodic lines express passion and danger,

emotions of the hot city streets where the action takes place. A new kind

of dancing for the big screen was created by Bernstein’s unconventional

rhythms – as dancers were challenged to move in a way that broke with

the traditional chorus-line style previously seen in film adaptations of

musicals. Short, snappy repetitive phrases of music known as riffs feature

heavily in the film, as when the film was released in 1961 United Artists

wanted audiences to go out and buy the sheet music and soundtrack,

the songs were designed to be just as catchy as pop singles. The riffs also

inform the audience about setting, character and story.


Learning objectives

• To develop an understanding of

how music can inform the viewer

about the relationships between

characters.

• To understand how riffs can

be altered for different groups

of instruments in order to help

evoke emotion.

Ten Pieces

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Activity pack

Discussion points

1. How is music used to highlight the similarities and differences

between the two gangs, the Sharks and the Jets?

2. How does the music work to express the ‘love at first sight’

moment between Tony and Maria?

3. Listen out for the riff in this piece. At which part in the scene does

the orchestra section off the riff, and in which order does each

section play their variation?

Teacher notes

1. At 00:32:33 there is a stand-off as the gangs recognise one another.

Silence underlines the confrontational aspect – the dance floor is

a battleground, with music as a metaphor for conflict. The screen

is divided into two to reflect the two interlocking circles of the ‘Get

Together’ dance, representing the social circles colliding. At 00:34:47

there is a farcical, fairground-like overture which suggests game –

playing as both groups pretend to go along with the ‘Get Together’

dance idea. There is a percussive undertow using instruments of Latin

origin and Latino conga rhythms. Imitative riffs and musical phrases

are used to score the Jets’ attempt to replicate the Sharks’ dance

moves. At 00:35:54, a reiterance of the ‘Mambo’ theme heralds the

resurgence of combat – the dance-off. At 00:36:30 a cry of ‘baila!’

(‘dance!’ in Spanish) expresses joy in movement and also serves to

distance the two gangs, identifying and reinforcing their differences

including spoken language. This juxtaposition with the idea of the

‘Get Together’ dance music undermines and sends up the dance

as an instrument of social interaction- but at 00:37:02 trumpets

are integrated into both themes to represent that despite their

backgrounds, both gangs have their similarities too.

2. At 00:37:40 there is a blurred transition as Maria and Tony cross

paths for the first time. The ‘Mambo’ theme is reaching the climax

with a furious brass cadenza flailing away – but the music becomes

distanced as they gaze at each other, it almost sounds like the

music is coming from another room as their eyes collide and they

are elevated above the frenetic bravado of the crowd. The camera

mimics this by blurring the other dancers as Maria and Tony turn the

spotlight on one another with their gaze.

3. Between 00:38:01 – 00:38:12 the riff is picked up and sequenced by

various sections of the orchestra, isolated in turn at 00:38:06 firstly by

the brass, followed by the woodwind, and finally the strings.

Extension ActivityDivide your group into two ‘gangs’. Each has to compose a theme tune

and dance to represent them. Groups then perform them to one another

and encourage the other team to replicate the song and dance.

Ten Pieces

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Activity pack

Up (2009, U)Bizet: Habanera from Carmen

About the film

A charming animated adventure about a lonely widower who turns

around his increasingly unlucky circumstances to realise his lifelong

dream of exploring South America, along with an unintentional

companion, boy scout Russell. After losing Ellie, the love of his life and

his inspiration, Carl Frederickson’s days are spent preserving the memories

he has left of her. However, when their beloved home that they created

together comes under threat from developers, it seems it will only be a

matter of time before stubborn Carl will be forced to give in. But when

persistently chirpy and curious boy scout Russell comes knocking,

Carl’s life takes an unexpected turn. Scored by Michael Giacchino.


The ‘Habanera’ is the entrance aria for ‘Carmen’, a gypsy femme fatale

who becomes entangled in a love triangle in Bizet’s famous opera that

takes her name. It introduces and establishes her character for the

audience- the music has sensual and scandalous overtones which control

the attention and are playful and reactive. ‘Carmen’ initially had a poor

reception due to themes which were controversial at the time, only

becoming successful with audiences after Bizet’s deah. Bizet’s ‘Love is a

rebellious bird’ (as the habanera in ‘Carmen’ is officially called) borrows

heavily from ‘El Arreglito’, by the Spanish composer Sebastián Yradier,

which Bizet believed was a folk song when adapting for ‘Carmen’.

The habanera was a popular style of dance at the time, its origins coming

from the contradanse of the 18th century (which itself has origins in

English country dancing). The name habanera originated in Cuba, where

it went on to form the basis of dances such as the mambo and conga.

The habanera rhythm’s time signature is 2/4, and an accented upbeat in

the middle of the bar lends power to the rhythm.


Discussion points

1. How is the music used to establish what is going on in Carl’s life?

2. How is the music used to comic effect?

3. How is Foley sound used in the sequence?

Pixar © (2009) All rights reserved

Learning objectives

• To understand how music

reflects characterisation and

can affect an audience’s

response to the film.

• To develop the understanding

of how Foley sound

and music contribute to a

soundtrack.

Ten Pieces

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Activity pack

Teacher notes

1. The music is used to describe Carl’s morning routine, with the rhythm

setting the pace of Carl’s life as he gently wakes up, has breakfast,

and leaves the house. In this scene you also notice references to the

preceding sequence about his and Ellie’s life together- all the visual

motifs that made up their marriage. Small details accumulate as the

instrumentation gradually builds. The key is minor and, as the empty

chair opposite him at breakfast alludes to, Carl is alone and in the final

stage of his life but he is still feistily carrying on.

2. The ‘Habanera’, originally used to introduce the seductive character

of Carmen in the opera, is turned on its head here to show Carl

slowly descending a staircase in his mechanical (and slightly

malfunctioning) stairlift. The sprightliness of the rhythm clashes with

the obviously laboured and slightly begrudging physical progress

that Carl is making, and contrasts with the cracking of his bones

that precedes the piece. The slowness of his descent gives you

pause to notice all the photos and paintings representing his happy

and stable life with Ellie that line the staircase (the polar opposite

of the scandalous love triangle that emerges in ‘Carmen’). The first

crescendo is used to highlight a false start, with Carl struggling with

all the locks he has placed on the front door. This emphasises the bathos effect of the second crescendo, which coincides with a pan

out to show the house in its new context- as the only remaining

building amongst a sprawling construction site- and the jarring hum

and buzz of drilling that makes the reality of Carl’s situation (and the

reason for his defiance) hit home.

3. Foley sound is used to frame the piece, and as a counterpoint to

underscore the moments of drama in the piece. The juxtaposition

of mundane everyday sounds with the elegance of the ‘Habanera’

adds comic value, – e.g. the buzzing of an alarm clock, Carl cracking

his bones as he gets up, thumping the stairlift to get it going,

slamming the front door, and the noise of the drilling as we see the

circumstances in which his routine is taking place that belies the

apparently serene mundanity of his start to the day.

Extension activity Create a film of your morning routine and choose a classical piece for

the soundtrack. What instruments would you use to express or contrast

with your state of consciousness, feelings, and movements as you start

your day? Would the ‘Habanera’ work for your routine, used comically or

otherwise? What Foley sounds would you include?

Ten Pieces

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Activity pack

Man On Wire (2008, 12)Vaughan Williams: The Lark AscendingInto Film recommends for class or film club viewing for ages 11+. While the selected clip contains no material likely to offend, teacher viewing is advised prior to use in class.

About the film

Man on Wire is a documentary about Phillipe Petit, who famously performed

on a high-wire between the Twin Towers (then the tallest structure in the

world) in the 1970s. The documentary uses a combination of archive footage,

interviews and dramatic recreations to show the development of his ambition

and the gathering momentum of his dream, as well as the rigorous planning

involved in such a high-risk venture, as the Towers simultaneously start to

take shape in the background. An insight into an amazing heist-like feat

told from the ground up. Scored by Michael Nyman.


‘The Lark Ascending’ was begun by composer Vaughan Williams prior

to the outbreak of World War One, but only completed upon Vaughan’s

return from the front. Originally based on the pastoral devotional poem

of the same name by George Meredith, the piece has taken on meaning

from Vaughan’s experiences of the trenches, where the only natural sound

that could be heard from the trenches was the birdsong of the larks. The

transcendent and impressionistic nature of the piece is created through

the use of pentatonic scales that express the steep vertical flight of the

lark, imbuing a sense of peaceful, detached perspective from high above.


BBC © (2008) All rights reserved

Learning objectives

• To understand how music can

reflect the emotions within a

scene on film.

• To identify how use of tones and

musical devices help to create

meaning for the viewer.

Ten Pieces

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Activity pack

Discussion points

1. How is the music used to emphasise Phillipe’s and Annie’s

explanations of Phillipe’s motives for becoming a high-wire artist?

2. How do you think the music is used to express the physical

nature of high-wire walking?

3. What emotions associated with high-wire walking and the

plan for ‘le coup’ are drawn out through the music?

Teacher notes

1. The overture of ‘The Lark Ascending’ introduces the spectacle of

Phillipe’s walk, and through the hushed beginning, the music tells

us this is the prologue to something ambitious and awe-inspiring.

According to Phillipe he always had lofty ambitions, and according

to Annie enjoyed transcending the law, but playfully and artistically

rather than maliciously. The ‘I was a little climber’ quote is referenced

by a virtuosic solo string that reaches its highest note when Phillipe

is shown training on the higher tightrope. His climbing is explained

as the need to see the world from a different perspective- just

like Vaughan Williams’ lark, and the use of the pentatonic scale

emphasises this.

2. The use of strings mirrors the tautness of the high-wire and the

precision, concentration and delicacy required to navigate it.

There is danger and tension as well as extreme beauty. A solo

string instrument mirrors Phillipe’s aloneness on the wire, with

the supporting countermelody coming in as he begins to master

his environment. There is a dreamlike complicity of nature with

Phillipe’s performance.

3. There is a sense of frolicking playfulness and showmanship,

which is seen in Phillipe’s horsing around and performance of

magic tricks with his co-conspirators which is mimicked by the

trilling instruments. The music is pastoral - strings have been

associated with rural settings since Beethoven, and the quivering

of the trees and leaves of his practice ground is echoed by the

instrumentation. His walk is a ‘crime’ spoken of by the voiceover but

the heavenly, celestial accompaniment forgives him and gains our

sympathy and admiration, expressing fear, ambition, and wonder.

Extension activityThink about a moment in your life where you have had to challenge

yourself or take a risk. What instruments would you use to express the

feelings that you experienced, and the nature of the task itself?

Ten Pieces

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Activity pack

The Aviator (12)Bach: Toccata and Fugue in D Minor, BWV 565Into Film recommends for class or film club viewing for ages 11+. This clip contains very mild bad language, teacher viewing is advised prior to use in class.

About the film

Howard Hughes was a vastly wealthy Texan who made his fortune in

drill bits, but fostered loftier ambitions. Placing himself in the spotlight

with absurdly over-budget Hollywood pictures while simultaneously

honing his engineering skills in aircraft design, Howard put his money,

and sometimes his life, on the line to realise his dream of perfection in

whatever he set his mind to. This biopic charts the impressive evolution

of his aviation ambitions despite the growing personal and psychological

issues that threatened to undermine him. Scored by Howard Shore.


Bach’s ‘Toccata and Fugue’ is a two-part piece; the toccata prepares

the audience for the ride ahead as the musician shows off their range

and skill. It’s perhaps one of the most well-known pieces of music and is

often used as a shorthand in horror films to build suspense or underscore

a terrifying turn of events. The fugue that follows is a perfect musical

pattern, repeated higher and lower up the register, deconstructed and

reconstructed to form new, intricate patterns. The term fugue means

flight in Italian, and in music it is a complex composition of one or two

themes which are repeated (or imitated) and given depth by the entrance

of interweaving contrapuntal parts.


Discussion points

1. How does the music express Howard’s feelings during the test flight?

2. How is the composition of the Fugue used to describe the nature of

the XF-II Plane?

3. How does the music change according to the actions that Howard

takes, and the consequences of those actions?

Warner Bros. © (2004) All rights reserved

Learning objective

• To understand how music can

reflect a character’s developing

emotions and the mood of a scene.

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Activity pack

Teacher notes

1. The rising sequences as the plane takes flight express Howard’s

excitement tempered with anticipation and uncertainty. He is an

innovator who is prepared to put his money and his life on the line, and

always insists on piloting the test flights himself despite the risks. The

music expresses that he is at one with the plane, there is symbiosis. We

feel the excitement of the culmination of his ambition, his wonder, the

joy and achievement of flight through the elevation of the strings that

not only bring him to great heights but are also building him up for a

fall. The minor key reflects this underlying tension.

2. All dimensions of the XF-II plane are marvelled at as the piece

begins; the camera pans over to examine the plane from every angle,

and the complexity of the structure of the plane is mirrored in the

composition of the music. The main melodic idea of the fugue is

reworked and expanded upon- and just like a better version of an

existing tune, the XF-II plane represents pioneering new technology.

A fugue is one of the most complicated constructions in music,

and when perfectly executed it is breathaking – just like the maiden

voyage of a spectacular new aircraft. The perfect harmony of the

fugue reflects the bold new feat of engineering- there is beauty,

dynamism, power, and symmetry in both. The use of strings

expresses the tension of flight, and the powerful hum of the engines.

Woodwind gives the idea of the air beneath, and the expansion of

horizons as the plane takes flight.

3. Brassier notes come in as the plane goes into taxi and gains the

momentum to take flight, continuing with the string patterns.

The triumphal, stable majesty of the fugue perfectly illustrates

the adventurous nature of the flight with all the musical elements

‘engineered’ to perfection. As the momentum increases, higher

notes are introduced – notably when Howard refuses to lower his

speed, and again when he requests more time towards the end of

the test flight. As soon as he prepares to descend, the plane starts to

malfunction and the fugue ends abruptly, signalling catastrophe. The

fugue always has an answer to the main subject in the dominant key –

but there is no musical answer to the technical meltdown taking place

as the plane misfires. The non-diegetic music cuts out completely as

does Howard’s controlled calm and sense of achievement.

Extension activityCompare and contrast this use of the fugue with how it is used at

00:15:06 – 00:16:06. What are the similarities? How does this earlier clip

mirror or foreshadow the events of the XF-II’s test flight? What does it tell

you about Howard? Do you think he has changed in the XF-II clip?

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Activity pack

Activities

There are a variety of resources on the Into Film website that can be used to

develop your pupils’ musical skills:

Educational resources

Spotlight on Music: Secondary

www.intofilm.org/schools-resources

Filmclub’s KS2 and GCSE Guide to Music:

www.filmclub.org/whats-new/details/1492/filmclub-s-gcse-and-ks2-music-guide

Filmmaking resources

If you would like further support with making your own short films,

Into Film has a number of resources to help you.

Filmmaking Guide- Secondary Schools

This step-by-step guide, designed for secondary schools, will take you

through all the stages of filmmaking. It also includes some great warm

up activities and top tips on getting your film seen beyond the classroom.

www.filmclub.org/assets/pdf/Filmmaking-Guide-Secondary.pdf

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Instructional videos

How to: Structure

www.bit.ly/HowToStructure

This video will give you some top tips on

how to use structure to convert your film

idea into a coherent and entertaining film.

How to: Storyboard

www.bit.ly/HowToStoryboard

This video will help you plan out your story,

visualise your film and remember which

shots go where when editing.

How to: Sound

www.bit.ly/HowToSound

This video will teach you a few simple

techniques to help get your film

sounding just right.

How to: Edit

www.bit.ly/HowToEditing

This video covers editing, how to do it,

what to include, and how to turn your

shots into a proper narrative.

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Activity pack

Glossary of technical musical terms

Aria

Cadenza

Contradanse

Contrapuntal

Countermelody

Crescendo

Diegetic

Foley Sound

Fugue

Habanera

Imitation

Leitmotif

Major Key

Mambo

Medley

Melody

Non-Diegetic

Solo vocal piece with an instrumental backing, as in opera- see ‘Carmen’ by

Bizet in Superman Returns

An extended and elaborate section for a solo musician or vocalist, usually

near the end of a piece.

Music for a traditional style of folk dancing in which partners face one

another in lines. It literally means ‘against the dance’ and suggests a

confrontation, with more than one musical part working together to

make movement.

When two or more independent but harmonically similar melodic parts are

played at the same time. Many of these parts can be put together in a fugue.

A secondary melody that provides depth and texture to the dominant

primary melody.

Gradually louder.

Sounds that are experienced by the people in the world of the movie, e.g. a

radio playing a song in a character’s bedroom.

Enhanced sounds added to a film’s soundtrack during the editing process

(e.g. the sound of footsteps or doors slamming) that takes its name from

Jack Foley, a sound effect editor for Universal Studios in the 1930s.

Taking its name from the Italian for ‘flight’, a fugue is a complex

composition formed of multiple parts. These parts are difficult to follow

individually but fit together like a jigsaw puzzle when they’re all played at

the same time. A piano player’s nightmare! See The Aviator.

Music for the Cuban dance in 2/4 time.

Repetition of a phrase or melody often with variations in key, rhythm and voice.

A theme or part of a theme associated with a character, idea or event (e.g

the shark in Jaws).

Music written in major keys has a positive, ‘happier’ character.

Music in 4/4 time for the dance of Latin American origin.

A musical arrangement of a series of different melodies.

A series of notes in succession, the melody represents the ‘horizontal’

aspect of music, like the storyline of a piece.

Sound that exists outside of the main action of a story, and doesn’t form

part of the character’s ‘sound world’. Non–diegetic sound is added to the

visuals during editing, i.e. the soundtrack.

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Activity pack

Overture

Pastoral

Pentatonic Scale

Rhythm

Riff

Tempo

Toccata

Virtuosic

The opening piece of an opera that contains the main musical themes of

the work.

A piece that evokes an idealised vision of rural life.

A musical scale of five tones.

Using the timing, duration, and stress of consecutive notes to create a

pattern of sound.

A short repeated phrase, played many times over changing chords or as

background to a solo. A riff is often used to introduce and announce the

arrival of a particular character. Can form the beginnings of an aria.

The speed of the music.

Taking its name from the Italian for ‘touch’, a toccata is a complex and

virtuosic piece of music designed to emphasise the skill of the player’s

fingers, and is usually composed for keyboard or stringed instruments.

A section of music that requires a very skilled musician (known as a

virtuoso) to play.

Documents

Into Film Ten Pieces secondary - BBCdownloads.bbc.co.uk/tv/tenpieces/secondary/resources/... · 2016-01-07 · Superman Returns (2006, 12) Bizet: Habanera from Carmen Into Film recommends