major tritone in sci-fi films-mto-vol 12-no 2-may 06

8/9/2019 Major Tritone in Sci-fi Films-mto-Vol 12-No 2-May 06

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Volume 12, Number 2, May 2006

Copyright © 2006 Society for Music Theory

Scott Murphy*

The Major Tritone

Progression in

Recent

Hollywood

Science Fiction

Films*

Get the free !Vu bro"ser plug#i$ to best %ie" the e&amples'

Comme$t o$ this article

()*+-S. film music, scie$ce fictio$, trito$e, %oice#lea/i$g, ames Ne"to$

o"ar/, Treasure la$et

34ST-3CT. 5$ the 2002 film Treasure Planet, composer ames Ne"to$ o"ar/

accompa$ies the primary shot of the titular orb "ith a$ u$/ulatio$ bet"ee$ t"o ma!or

tria/s a trito$e apart' 5 offer three approaches to u$/ersta$/i$g the appropriate$ess of

this imagemusic pairi$g' 7irst, 5 prese$t se%eral sce$es from rece$t olly"oo/ films

that co$spicuously combi$e this tria/ic progressio$ "ith setti$gs of, or ob!ects from,

outer space' Seco$/, 5 relay "ays i$ "hich the i$tri$sic harmo$ic a$/ %oice#lea/i$g

characteristics of this tria/ic progressio$ i$%o8e the co$cepts of great /ista$ce,

ambiguity, a$/ u$familiarity' Thir/, 5 co$clu/e "ith a more thorough stu/y of

o"ar/9s harmo$ic la$guage i$ the score for Treasure Planet, suggesti$g that this

progressio$ a$/ the sce$e it accompa$ies represe$ts the culmi$atio$ of musical a$/

%isual$arrati%e processes, respecti%ely'

Received March 2006

:1; The 2002 is$ey a$imate/ film Treasure Planet tra$sfers -obert

the Caribbea$ Sea to a =presumably> future setti$g i$ fictitious outer space' The 8er$el

of the film9s $arrati%e follo"s Ste%e$so$9s story fairly closely. the you$g im a"8i$s

comes across a map that re%eals the locatio$ of the lege$/ary Treasure la$et, "here

the massi%e treasure tro%e of $otorious Captai$ 7li$t is belie%e/ to be hi//e$' im a$/octor oppler ="ho ge$erally substitutes for octor

muster a cre", i$clu/i$g a coo8 $ame/ 3 sig$ifica$t

feature of this music is the harmo$ic u$/ulatio$ bet"ee$ )#ma!or a$/ 4b#ma!or

tria/s' =7rom here o$, co$so$a$t tria/s "ill be labele/ by their acoustic root follo"e/ by a plus or mi$us sig$ i$/icati$g ma!or or mi$or uality, respecti%ely' 7or i$sta$ce,

http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#AUTHORNOTE1http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN*mailto:[email protected]://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN1http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex1_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex1_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN2http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN2http://www.lizardtech.com/download/dl_download.php?detail=doc_djvu_plugin&platform=winhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#AUTHORNOTE1http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN*mailto:[email protected]://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN1http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex1_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex1_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN2


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the harmo$ies of )&ample 1 alter$ate bet"ee$ )D a$/ 4bD'> This is a$ e&ample of

"hat "ill be calle/ the tritone progression. a$ imme/iate successio$ of t"o ma!or or

mi$or tria/s "hose roots are a trito$e apart' 3 major tritone progression##hereafter,

MTT##is a trito$e progressio$ bet"ee$ t"o ma!or tria/s' =5$ )&ample 1 a$/

subseue$t e&amples, a horiEo$tal li$e co$$ecti$g t"o tria/s i$/icates a MTT'> The

primary purpose of this article is to as8 "hat ma8es this music, a$/ this chor/al progressio$ i$ particular, a$ appropriate accompa$ime$t to this sce$e'

:2; 5 "ill offer three possible approaches##i$terte&tual, i$tri$sic, a$/ i$trate&tual##to

a$s"eri$g this uestio$' 7irst, supporte/ by the e&cerpts of )&ample 2 =:!Vu;

:G57;>, 5 "ill prese$t se%eral sce$es from olly"oo/ films from the t"e$ty#fi%e years

prece/i$g Treasure Planet that co$spicuously combi$e setti$gs of outer space a$/or

images of celestial ob!ects "ith a MTT' Seco$/, 5 "ill re%ie" ho" co$%e$tio$al

"is/om a$/ some t"e$tieth#ce$tury scholars posit the trito$e a$/ the MTT as

/isti$ct from other i$ter%als a$/ harmo$ic progressio$s, a$/ ho" such co$si/eratio$s

suggest ho" the MTT befits a$ associatio$ "ith outer space' To this list of

/isti$guishi$g characteristics 5 "ill a// o$e more that e&ami$es the MTT from a%oice#lea/i$g perspecti%e' Thir/, 5 "ill bri$g this %oice#lea/i$g perspecti%e bac8 to a

more thorough stu/y of o"ar/9s harmo$ic la$guage i$ the score for Treasure Planet,

suggesti$g that the MTT a$/ the sce$e it accompa$ies represe$ts the culmi$atio$ of

musical a$/ %isual$arrati%e processes, respecti%ely'

I. Intertetual !nalysis

:F; The trito$e progressio$ has a rich a$/ /i%erse history of e&tra#musical associatio$s

i$ art music, particularly i$ the $i$etee$th# a$/ early#t"e$tieth#ce$tury -oma$tic a$/

post#-oma$tic repertoires that "oul/ ser%e as some of the most importa$t "ellspri$gs

for the music of olly"oo/' 3s a tria/ic ma$ifestatio$ of the time#ho$ore/ diabolus

in musica, the trito$e progressio$ is sometimes associate/ specifically "ith the /e%il

or hell. co$si/er the MTT that ope$s a$/emo$ium from 4erlioE9s La damnation

de Faust, or the mi$or %ersio$ that $early e$/s the 5$fer$o mo%eme$t of


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associatio$ bet"ee$ the MTT a$/ outer space i$ se%eral films of the last uarter of

the t"e$tieth ce$tury primarily cre/its olst9s celebrate/ suite as prece/e$t' o"e%er,

+illiam -osar has fou$/ that the MTT playe/ a role i$ scores for scie$ce#fictio$

films from the 1AH0s, i$clu/i$g Marli$ S8iles9s music for Flight to Mars =1AH0>,

4er$ar/ errma$$9s music for The a" the $arth !tood !till =1AH1>, a$/ tria/ic a$/

uartal %ersio$s of the MTT i$ ,%hen %orlds &ollide =1AH2> a$/ %ar o' the %orlds =1AHF>'=@> e$ce, from a$

i$terte&tual poi$t of %ie", o$e coul/ eually u$/ersta$/ the MTTs e&ami$e/

hereu$/er as a co$ti$uatio$ of o$e specific harmo$ic tra/itio$ establishe/ i$ film

scori$g from the 1AH0s, !ust as ma$y of these late t"e$tieth#ce$tury films carry o$ i$

a $ostalgic fashio$ o$e or more of the %isual or $arrati%e tra/itio$s establishe/ by

1AH09s scie$ce#fictio$ ci$ema'

:H; o"e%er, before comme$ci$g the sur%ey, o$e uestio$ looms. are se%e$tee$

tra$scribe/ e&cerpts from fourtee$ film scores by ele%e$ composers =cou$ti$g

o"ar/9s Treasure Planet > e$ough e%i/e$ce to propose that such a$ associatio$

co$ti$ue/ i$to the last uarter of the t"e$tieth ce$tury a$/ beyo$/I =H> 3lthough therea/er may be acuai$te/ "ith o$e or e%e$ a fe" more a//itio$al e&amples from

rece$t films "here the MTT is associate/ "ith outer space, /oubtlessly "hat is far

more li8ely 8$o"$ are cou$tere&amples. outer#space sce$es /uri$g "hich the MTT

is $ot hear/, or sce$es featuri$g the MTT that ha%e $othi$g to /o "ith outer space'

o"e%er, 5 co$te$/ that, i$ this cross sectio$ of the ci$ematic repertoire, there is $o

tria/ic progressio$ that is associate/ "ith outer space more ofte$ or more

co$spicuously tha$ the MTT, $or is there a$y setti$g that is associate/ "ith the

MTT more ofte$ or more co$spicuously tha$ outer space'=6> Moreo%er, o$e may

stre$gthe$ this associatio$ by refi$i$g it. the e&cerpts i$ )&ample 2 ha%e se%eral

features i$ commo$ beyo$/ the prese$ce of a MTT.

1' fte$ the tutti orchestra, or at least the brass sectio$, plays the MTT usually

at a lou/ %olume, a$/ the harmo$ies i$%ol%e/ i$ the MTT are ofte$ sustai$e/

a$/ co$$ecte/ =a$/ sometimes e%e$ o%erlappi$g> i$stea/ of arpeggiate/ or

playe/ detach('

2' The bass usually ta8es the root i$ both chor/s of the MTT =u$less a bass

pe/al poi$t is prese$t>, "hile the upper %oices te$/ to mo%e usi$g relati%ely

smooth %oice lea/i$g'

F' The harmo$ic rhythm of the MTT is relati%ely slo". the /uratio$ of each

chor/ of the MTT te$/s to be at least o$e seco$/'

@' The MTT sel/om occurs o$ce? rather, the first MTT is ofte$ follo"e/ by a pe$/ular s"i$g bac8 to the first chor/, creati$g a close/ ter$ary u$it' The

music may the$ co$ti$ue to u$/ulate or tra$spose the MTT to a $e" pitch

le%el'

H' The MTT a%oi/s a stro$g to$al e$%iro$me$t, or at least suspe$/s i$stea/ of

rei$forces co$%e$tio$al to$al sy$ta&' Through the aforeme$tio$e/ ter$ary

u$/ulatio$, a$/ sometimes rei$force/ by a pe/al poi$t that matches the root of

o$e of the t"o tria/s, o$e of the tria/s ta8es o$ the fleeti$g role of to$ic /uri$g

the spa$ of the MTT, a$/ the other thereby fu$ctio$s as J5V or bV' 7ar less

ofte$ are situatio$s "here both tria/s of the MTT are subor/i$ate/ to a si$gle

co$trasti$g, o%erarchi$g to$ic'

http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN4http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN5http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN6http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN6http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN4http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN5http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN6


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:6; These features or family resembla$ces##to use +ittge$stei$9s phrase##comprise

the MTTP t"pe, a$/ a musical passage that e&presses a ma!ority of these features is a

to)en of this type'

:K; 5t is appropriate that this sur%ey begi$s "ith oh$ +illiams9s score for !tar %ars

=1AKK>, "hich helpe/ to restore the orchestra as the primary performi$g e$semble for

scie$ce#fictio$ a$/ a/%e$ture scores, a$/ co$spicuously /ra"s o$ olst9s Planets

alo$g "ith music of other composers such as )lgar a$/ (or$gol/' The first e&terior

space shot of the film is the famous ope$i$g seue$ce that follo"s /irectly from the

rolli$g titles, as "e see a massi%e Star estroyer attac8i$g a small -ebel cruiser o$ a

stellar bac8grou$/ bor/ere/ o$ the bottom of the scree$ by a large pla$et' The musicfor this ope$i$g seue$ce is a co$ti$uatio$ of +illiams9s mai$ title music, a$/ /oes

$ot co$spicuously i$corporate a$y MTT to8e$s' o"e%er, the film co$ti$ues

primarily "ith i$teriors of the t"o ships, as the %ie"er is i$tro/uce/ to some of the

film9s characters a$/ the /ramatic situatio$s of "hich they are a part' T"o of the

characters, the /roi/s -2#2 a$/ CF, boar/ a$ escape po/ a$/ are !ettiso$e/ from

the -ebel cruiser' The sce$e e$/s "ith a cut to a$ e&terior shot of the po/ hurtli$g

through space to"ar/ the pla$et %isible belo", a$/ it is precisely o$ this cut that the

MTT of )&ample 2a =:!Vu; :G57;> is hear/'

:B; The MTT type figures promi$e$tly i$ the music for ma$y of motio$ pictures

base/ o$ the tele%isio$ series Star Tre8 =1A66#1A6A>' 5t literally a$$ou$ce/ the

ci$ematic serial. u$/ulatio$s bet"ee$ GD a$/ bD tria/s u$/erpi$ the i$tro/uctio$ to

erry Gol/smith9s mai$ title for !tar Tre)* The Motion Picture =1AKA>, as sho"$ i$

)&ample 2b =:!Vu; :G57;>, "hich starts "ith the cre/its' The primary theme that

begi$s i$ m' A##"hat "oul/ later become the title music for the tele%isio$ series Star

Tre8. The Ne&t Ge$eratio$ =1ABK#1AA@>##/oes $ot use the MTT type, $or /oes the

score feature the progressio$ to a sig$ifica$t /egree'=B> o"e%er, the MTT occurs

much more freue$tly i$ ames or$er9s score to !tar Tre) II* The %rath o' +han

=1AB2>' 3s sho"$ i$ )&ample 2c =:!Vu; :G57;>, the same u$/ulatio$ bet"ee$ GD

a$/ bD of Gol/smith9s i$tro/uctio$ co$clu/es or$er9s mai$ title i$tro/uctio$ a$/

lea/s i$to a primary theme i$ C ma!or' +hereas this 8ey le$/s to$al fu$ctio$s of b55=pre/omi$a$t> a$/ V =/omi$a$t> to bD a$/ GD, the primary theme9s t"o uses of a

MTT##alter$ati$g GbD "ith CD##is best i$terprete/ as !u&taposi$g bV "ith 5? the first

ser%es as the ca/e$tial progressio$ of the theme9s ope$i$g four#measure phrase'

or$er saturates the score for the film "ith MTTs i$ %arious guises a$/

ma$ifestatio$s, but the uses that best match the MTT type are from the fi$al battle

sce$e that begi$s at 1.22.1H, as the /amage/ LSS )$terprise hea/s to"ar/ a $ebula i$

"hich the combat ta8es place' %er the $e&t fourtee$ mi$utes, $o fe"er tha$ $i$e

MTT to8e$s ca$ be hear/ o$ the sou$/trac8, accompa$yi$g $i$e e&terior shots of

the t"o spaceships'=A> 5$ most of these occurre$ces, the MTT begi$s right "ith the

cut from i$terior to e&terior, a$/, i$ some cases li8e )&ample 2/ =:!Vu; :G57;>, the

MTTs fill the e$tire e&terior shot' 3 more rece$t associatio$ bet"ee$ a MTT to8e$a$/ outer space i$ the Star Tre8 motio$ pictures occurs i$ the film !tar Tre)*

http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN7http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2a_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2a_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2b_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2b_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN8http://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN8http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2c_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2c_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN9http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2d_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2d_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN7http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2a_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2a_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2b_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2b_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN8http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2c_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2c_gif.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/mto.06.12.2.murphy.html#FN9http://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2d_djvu.htmlhttp://mto.societymusictheory.org/issues/mto.06.12.2/murphy_ex2d_gif.html


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Insurrection =1AAB>' 3t o$e mome$t "he$ the film cuts to the u$/ersi/e of the

Starship )$terprise as a shuttle /isembar8s, erry Gol/smith accompa$ies the e&terior

space shot "ith the music of )&ample 2e =:!Vu; :G57;>'

:A; 5$ a//itio$ to The %rath o' +han, at least three other films i$ the 1AB0s co$ti$ue

the associatio$ bet"ee$ aspects of outer space##a$/, i$ particular, i$tro/uctio$s tofictitious e&traterrestrial pla$ets##a$/ the MTT type' The first is Flash ordon

=1AB0>, "hose musical sou$/trac8 reflects the co$tributio$s of both the popular group

uee$ a$/ composerorchestrator o"ar/ 4la8e' 4ase/ o$ the comic boo8 serial of

the same $ame, the film9s ope$i$g chro$icles ho" Ne" *or8 ets uarterbac8 7lash

Gor/o$ a$/ lo%e i$terest ale 3r/e$ are 8i/$appe/ by the scie$tist a$s ar8o% a$/

ta8e$ i$ a roc8et from )arth to the pla$et Mo$go, the home of the e%il )mporer Mi$g'

3ccompa$yi$g the %oyage is impressio$istic music that bala$ces stri$gs a$/

sy$thesiEers "ith a pulsi$g bass a$/ tom#toms? the te&t for the au/io sou$/trac8

recor/i$g cre/its uee$9s /rummer -oger Taylor "ith the compositio$ of this cue'

+he$ Mo$go comes i$to %ie"##i$ fact, right o$ the cut to a "i/e e&terior shot of the

roc8et approachi$g Mo$go City##the music of )&ample 2f =:!Vu; :G57;> is hear/'

:10; The score for une =1AB@> is also a collaboratio$ bet"ee$ a popular group a$/ a

si$gle composer. i$ this case, Toto a$/ 4ria$ )$o, "ho compose/ the rophecy

Theme' Toto9s ope$i$g music for the film accompa$ies t"o successi%e seue$ces'

7irst, o$e of the film9s characters, mai$tai$e/ i$ a hea/ shot o%er a statio$ary stellar

pa$oply, loo8s /irectly at the %ie"er a$/ i$tro/uces %ia a spo8e$ prologue 7ra$8

erbert9s story surrou$/i$g a mysterious, spice#pro/uci$g pla$et' 3s she co$clu/es

the prologue by /isclosi$g the pla$et9s $ame, The pla$et is 3rra8is, also 8$o"$ asO

u$e, the accompa$yi$g music prese$ts a CD7JD MTT, as sho"$ i$ )&ample 2g

=:!Vu; :G57;>' The music a$/ /ialogue segue imme/iately i$to the seue$ce of

cre/its, "hich appear i$ fro$t of se%eral /esert shots, presumably of the

aforeme$tio$e/ pla$et' oi$i$g this seue$ce is a theme ce$tral to une9s sou$/trac8,

"hich appears after the /ouble bar i$ )&ample 2g' MTTs color the e$tire seco$/

phrase of this theme' o"e%er, each MTT may be i$terprete/ as combi$i$g b55 "ith

V. 3D a$/ )bD of mm' 11#1@ i$ the co$te&t of the prece/i$g GJ# as to$ic, a$/ the

4bD a$/ )D of mm' 1H#1B i$ the co$te&t of the follo"i$g 3# as to$ic'

:11; 3lthough is$ey9s Flight o' the -avigator =1AB6> ta8es place e&clusi%ely o$

)arth, the story co$cer$s a$ i$tellige$t, be$ig$ %isitor from a$other pla$et i$

u$charte/ space "ho i$habits##or perhaps is##a slee8 metallic spaceship' Composer

3la$ Sil%estri uses the MTT type se%eral times throughout the film i$ co$!u$ctio$"ith the spaceship' $e use of the MTT, pro%i/e/ i$ )&ample 2h =:!Vu; :G57;>,

/omi$ates a$ i$terior sce$e' uri$g this sce$e, the $a%igator, a t"el%e#year#ol/ boy

"ho becomes frie$/s "ith the %isitor a$/ lear$s to fly the spaceship through )arth9s

airspace, is bei$g uestio$e/ by members of N3S3 regar/i$g the "hereabouts of the

%isitor9s home pla$et of haeto$' 3lthough the boy professes ig$ora$ce, brai$ se$sors

attache/ to the boy relay i$$umerable star charts to N3S39s computers##/oEe$s of

pictures of gala&ies flash o$ tele%isio$ mo$itors' MTTs saturate the accompa$yi$g

music, although ope$ fifths lea%e the uality of some tria/s i$/etermi$ate, as sho"$

by placi$g the plus sig$ i$ pare$theses' The t"o#le%el a$alysis belo" )&ample 2h

represe$ts ho" Sil%estri o%erlaps MTTs' The successio$ of trito$e progressio$s

reaches a /y$amic pea8 as the pla$et i$ uestio$ is si$gle/ out o$ the %i/eo scree$s'

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:12; The MTT type figures promi$e$tly as a$ accompa$ime$t for outer space i$ $o

less tha$ si& films release/ i$ the fi%e years prece/i$g 2002, the year of Treasure

Planet# The progressio$ ca$ be hear/ /uri$g the film at least three times /uri$g Men

in .lac) =1AAK>, "hose setti$g is also restricte/ to )arth but "hose story co$cer$s

ma$y alie$ %isitors of /i%erse appeara$ce a$/ moral character "ho are mo$itore/ a$/

police/ by the Me$ i$ 4lac8' Composer a$$y )lfma$ employs the progressio$ as ,the $e"est recruit of the Me$ i$ 4lac8, is suiti$g up "hile his former i/e$tity as

N* police officer ames )/"ar/s is bei$g erase/ =0.FK.1K#0.FB.F1, particularly at

the begi$$i$g a$/ at the e$/ of the cue>' also features the MTT

type /uri$g at least three separate sce$es' 3ll three of these sce$es /epict Carme$

5ba$eE, a you$g starship pilot playe/ by e$ise -ichar/s, flyi$g through outer space?

these sce$es co$trast "ith the ma!ority of the other sce$es i$ the film that ta8e place

either o$ )arth or o$ the surface of other pla$ets' 5$ each sce$e, ole/ouris

sy$chro$iEes the MTT =or the first i$ a series of MTTs> precisely "ith a cut to the

e&terior of the starship she is, or "ill be, piloti$g' 7irst, i$ a small shuttle, $e"ly#

trai$e/ 5ba$eE flies by a$/ a/mires the starship she is to pilot =)&ample 2! : !Vu;

:G57;>' Seco$/, i$ the heat of battle, 5ba$eE is u$successful i$ e%a/i$g the e$emy

assault from the pla$et belo"' The music of )&ample 28 =:!Vu; :G57;> accompa$ies

a relati%ely lo$g e&terior shot as the %ie"er "atches, from bo" to ster$, the starship

pass by' Note ho" the t"o trito$e pairs are relate/ by mi$or thir/, ge$erati$g a$

octato$ic collectio$ that the risi$g melo/y ma$ifests i$ scalar form, lea/i$g up to the

impact o$ the ship to the sou$/ of alter$ati$g rapi/#fire blo"s of 3D a$/ )bD' 5$ a

$ear#parallel bo"#to#ster$ shot later i$ the film, it seems that 5ba$eE ma$ages to

escape the e$emy fire a$/ clear the starship for "arp' , as To//, through the "i$/o", poi$ts out for a you$g

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7/19

boy that accompa$ies him somethi$g that the %ie"er ca$$ot see' 4ut soo$ the %ie"er

sees the ob!ect as "ell. as the camera pa$s i$, the image of a gala&y reflecte/ i$ the

"i$/o" comes i$to focus' 3$/, as To// sig$als the gala&y9s prese$ce gesturally,

composer oel McNeely sig$als its prese$ce musically, co$clu/i$g the sce$e a$/ the

film proper "ith a MTT to8e$'

:1H; The last three films to be sur%eye/ $ot o$ly share a relati%ely $arro"

chro$ological spa$, but they also share a %ery similar ma$$er of establishi$g, both

%isually a$/ musically, the setti$g of outer space' 3ll ope$ o$ a futuristic i$terior

setti$g, e%e$ though a simulatio$ or a /ream may i$itially belie this setti$g' o"e%er,

i$ all three films, it is $ot imme/iately ob%ious that this i$terior setti$g is, i$ fact,

embe//e/ "ithi$ the more ge$eral setti$g of outer space' This is clarifie/ by a$

establishi$g shot of the e&terior of the spaceship or space statio$ "hose i$terior "as

%ie"e/, a$/ this shot is sy$chro$iEe/ "ith a MTT to8e$ i$ the sou$/trac8' 7or the

ope$i$g of Tim 4urto$9s 2001 rema8e of the 1A6B film Planet o' the /pes, a$$y

)lfma$9s music of )&ample 2$ =:!Vu; :G57;> accompa$ies the cut from i$si/e to

outsi/e the LS37 bero$ Space -esearch Statio$' Final Fantas"* The !pirits %ithin =2001> ope$s "ith r' 38i -oss9s /ream seue$ce, as she a"a8e$s from the /ream o$

boar/ a spaceship hea/e/ for )arth' er %ie" of )arth out a "i$/o" a$/ the

follo"i$g e&terior shot of the spaceship are accompa$ie/ by )liot Gol/e$thal9s music

of )&ample 2o =:!Vu; :G57;>' Lilo and !titch =2002>, the a$imate/ is$ey film that

imme/iately prece/e/ Treasure Planet, begi$s "ith the trial a$/ se$te$ci$g of the

ge$etic mo$ster Stitch, all of "hich ta8es place i$ a$ i$terior setti$g'=10> The $e&t

setti$g is the i$terior of a spaceship that is to tra$sport Stitch i$to e&ile' )&ample 2p

=:!Vu; :G57;> accompa$ies the cut to the e&terior of the spaceship' The music that

Sil%estri uses right before the cut, of "hich m' 1 of )&ample 2p is the fi$al part,

sou$/s much li8e the sou$/ effects for the computers o$ the spaceship9s bri/ge, but

also cle%erly a$ticipates the )D a$/ 4bD of the follo"i$g MTT'

II. Intrinsic !nalysis

:16; +ith this sur%ey, 5 ha%e attempte/ to /emo$strate that, by sho"i$g ho" images

of outer space are coi$ci/e$t "ith the MTT type i$ se%eral olly"oo/ films of the

past uarter#ce$tury, this same coi$ci/e$ce i$ Treasure Planet is $ot $ecessarily a

coi$ci/e$ce i$ the more commo$ mea$i$g of the "or/' 7ilmgoers familiar "ith the

scie$ce#fictio$ mo%ie ge$re shoul/ $ot be surprise/##co$sciously or subco$sciously##

that o"ar/ accompa$ies the image of Treasure la$et "ith a MTT to8e$, for this is

a$ associatio$ they ha%e probably "it$esse/ before' 4ut is this associatio$ arbitraryI3fter all, there are t"e$ty#four tria/s, "hich mea$s that u$/er tra$spositio$al a$/

i$%ersio$al eui%ale$ce, there are t"e$ty#four relatio$s bet"ee$ t"o ma!or or mi$or

tria/s'=11> +hy /oes it seem that the MTT relatio$ has bee$ si$gle/ out for this

particular associatio$I

:1K; The setti$g of outer space is /isti$guishe/ from other ci$ematic setti$gs i$ at

least three respects, "hich may be matche/ "ith three i$here$t a$/ i$terrelate/

features of the trito$e progressio$ that set it apart from most, if $ot all, other harmo$ic

progressio$s' 7irst, the image of a$ ob!ect i$ outer space typically co$%eys literal

/ista$ces greater tha$ a$y terrestrial setti$g ca$ pro%i/e. the /ista$ce from the film

%ie"er9s actual locatio$ o$ )arth to the ob!ect, the /ista$ce from the locatio$ of thecamera to the ob!ect, a$/ ofte$ the /ista$ce from o$e part of the ob!ect to a$other part'

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8/19

+hether the image is a simple bac8grou$/ of stars or of a celestial ob!ect such as a

pla$et or gala&y, the film %ie"er usually i$terprets the image as represe$ti$g

somethi$g e&tremely far from the camera9s locatio$ a$/ as e&te$/i$g o%er a great

e&pa$se' 3ccor/i$gly, "he$ arra$gi$g the t"el%e pitch classes i$to cycles of either

half steps or perfect fifths, the trito$e i$ter%al spa$s the greatest /ista$ce bet"ee$ t"o

pitch classes' Thus, this ma&imal musical spa$ "ell a$alogiEes the %ast /ista$ces ofouter space'

:1B; Seco$/, ma$y images of outer space frustrate the %ie"er9s attempt to pi$ /o"$ a$

e&act time or place that the image i$habits' +here a$/or "he$ is u$e, haeto$, or

Treasure la$etI 5t may be clear that these places are far remo%e/ both spatially

a$/or chro$ologically from )arth of the t"e$tieth or t"e$ty#first ce$turies, but it is

less commo$ to 8$o" a$y more about the setti$g beyo$/ a lo$g time ago i$ a gala&y

far, far a"ay' 3ccor/i$gly, the trito$e i$ter%al carries "ith it u$certai$ties as "ell'

Ge$erally, by /i%i/i$g the octa%e i$to t"o eual parts, the eual#tempere/ trito$e has

also assume/ the role of the to$ally most ambiguous i$ter%al' =12> 5$ a /iato$ic

co$te&t, the trito$e i$ter%al is the o$ly i$ter%al "hose chromatic siEe =si& semito$es>/oes $ot correspo$/ o$e#to#o$e "ith a /iato$ic spa$ =augme$te/ fourth or /imi$ishe/

fifth>. this is referre/ to i$ music#theoretic parla$ce as a$ ambiguity' =1F>

:1A; Thir/, a %ie" of outer space "here the camera resi/es i$ the %acuum##i$stea/ of

i$si/e a spacecraft or o$ the surface of a$ atmosphere#co%ere/ pla$et##is a %ie" that

$early e%ery filmgoer has $e%er obser%e/ first#ha$/' 5t is a locatio$ both foreig$ a$/

i$hospitable to or/i$ary huma$ e&perie$ce'


9/19

:20; f these three features of the trito$e progressio$ that are a$alogous to those of

outer space##ma&imal /ista$ce, ambiguity, a$/ u$familiarity##5 "oul/ li8e to a// o$e

more obser%atio$ regar/i$g the trito$e progressio$ that supports the ma&imal#

/ista$ce feature' The fiel/ of music theory has re$e"e/ i$terest i$ %oice lea/i$g i$

rece$t years, particularly %oice#lea/i$g smooth$ess, a$/ has employe/ %oice#lea/i$g

mo/els that co$$ect the $otes of o$e chor/ "ith those of a$other chor/ that pri%ilegeother pitch relatio$ships besi/es tra/itio$al te&tboo8 approaches that focus o$

register or i$strume$tatio$ =i'e' sopra$o, alto, te$or, bass>'=1K> 7or e&ample, co$si/er

7igure 1, "hich /emo$strates the si& possible "ays, mar8e/ =a> through =f>, of lea/i$g

the three pitch classes of CD to the three pitch classes of its MTT part$er usi$g a

o$e#to#o$e mappi$g' Note that each mappi$g $ee/ $ot reflect the harmo$y a$/

tra/itio$al %oice lea/i$g of a musical passage. the %ertical or/eri$g of each chor/

/oes $ot ha%e to correspo$/ to a registral arra$geme$t, $or are the t"o $otes

co$$ecte/ by a$ arro" $ecessarily associate/ by register or i$strume$tatio$'

o"e%er, 5 "ill still refer to t"o such $otes as represe$ti$g o$e %oice' The arro"

represe$ti$g the motio$ of each of the three %oices i$ each mappi$g is labele/ by its

u$or/ere/ pitch#class i$ter%al =i'e' the least /ista$ce i$ semito$es the motio$ "oul/tra%erse i$ register>, a$/ these /ista$ces are compile/ i$ a %oice#lea/i$g list for each

mappi$g, e$close/ i$ a$gle brac8ets'=1B> To e$gage a familiar %oice#lea/i$g metaphor,

it is clear that some mappi$gs reuire more "or8 o%erall tha$ others, si$ce the

%oices collecti%ely ha%e farther to tra%el, e%e$ i$ a pitch#class se$se' oseph Straus

calls this "or8 total displacement ="hich 5 "ill abbre%iate as T>, a$/ /efi$es it as

the sum of the i$ter%als i$ the %oice#lea/i$g list'=1A> Mappi$gs =a> a$/ =b>, "hich each

ha%e a T of 6, e&hibit "hat a%i/ as bei$g some"here at the farthest reaches of

the gala&y' Ma$y of the score e&cerpts sur%eye/ earlier ma$ifest =or project , as


10/19

:22; 7urthermore, this metho/ of calculati$g musical /ista$ce /epe$/s upo$ the

uality of the t"o harmo$ies, i$stea/ of o$ly the trito$e relatio$ship bet"ee$ their

roots' 7or e&ample, "ith a MC of H a$/ a$


11/19

tip the ha$/ too soo$' -ather, these sce$es /ra" im closer to the reality of Treasure

la$et "ithout sho"i$g the pla$et itself. the first establishes the you$g im9s belief i$

the pla$et, the seco$/ offers the ol/er im the opportu$ity of fi$/i$g it' 7urthermore,

this belief a$/ this opportu$ity ser%e as the t"o /ramatic catalysts for the a/%e$ture.

they are im9s t"o prelimi$ary steps to Treasure la$et as reality'

:26; The harmo$ic progressio$ for each of these mome$ts, "hile $ot a MTT,

$o$etheless has a$ e&clusi%e a$/ u$iue %oice#lea/i$g relatio$ship to the MTT that

represe$ts o$ a musical le%el such symbolic images of, a$/ prelimi$ary steps to,

Treasure la$et' )&ample F##the music for the storyboo89s fi$al page##begi$s as the

symbolic image of Treasure la$et emerges from /ar8 sha/o"s, a$/ this image is

clearest "he$ the music ca/e$ces "ith a tria/ic progressio$ from )# to 4bD =mm' F#

@>' $e might hear the fi$al t"o chor/s as comprisi$g the same MTT as that "hich

accompa$ies the /isco%ery of the real pla$et later i$ the film##the roots of the t"o

tria/s are ) a$/ 4b##yet the ) tria/ is mi$or' 5$ other "or/s, this fi$al progressio$

"oul/ ha%e bee$ a MTT if the G i$ )# ha/ bee$ a G sharp' )&ample @##the music for

the map9s hologram##accompa$ies the %arious symbolic images of the map floati$g by=a$/, i$ o$e i$sta$ce, through> the asto$ishe/ spectators, "hile the octor $ames

%arious places he recog$iEes' The map stops mo%i$g as the holographic symbolic

image for Treasure la$et comes i$to %ie"? accor/i$gly, the music comes to rest o$ a

sustai$e/ #sharp i$ mm' @#H' +he$ im a$/ the octor realiEe that the /ouble#

ri$ge/ image is i$/ee/ that of Treasure la$et, the harmo$ic progressio$ i$ m' 6 from

C# to 3D u$/erscores their realiEatio$' This fi$al progressio$ "oul/ ha%e bee$ a

MTT if the C i$ C# ha/ bee$ a 4b'

:2K; +he$ e&ami$e/ usi$g ma&imally close %oice lea/i$g ="hich, to reiterate, may

$ot $ecessarily correspo$/ "ith registral %oice lea/i$g>, each of these t"o slight

%ariatio$s o$ the MTT is $o less a$/ $o more tha$ a re/uctio$ of the MTT9s

characteristic three#semito$e i$ter%al to a semito$e a$/ a "hole to$e, respecti%ely'

7igure 2 compares the ma&imally close %oice lea/i$g of these t"o progressio$s "ith

their MTT cou$terparts' Cha$gi$g the GJ of 7igure 2b, "hich represe$ts the

ma&imally close %oice lea/i$g of the MTT of )&ample 1, to the G of 7igure 2a,

"hich represe$ts the ma&imally close %oice lea/i$g of the e$/ of )&ample F =:!Vu;

:G57;>, /ecreases the three#semito$e /isplaceme$t to a t"o#semito$e /isplaceme$t,

a$/ co$seue$tly /rops both the MC a$/


12/19

treasure is !ust a boat ri/e a"ay'

:2A; 5$ fact, o$e ca$ hear the music that lea/s up to each of these progressio$s as

participati$g i$ this %oice#lea/i$g tra!ectory' 3s sho"$ belo" )&amples F a$/ @, each

e&cerpt begi$s "ith relati%ely small MCs a$/

***

:F1; The attempt to fi$/ "ithi$ the olly"oo/ scori$g style a co$siste$cy of

associatio$ bet"ee$ a musical e&pressio$, such as the MTT type, a$/ a

%isual$arrati%e e&pressio$, such as a certai$ prese$tatio$ of outer space, might be

co$strue/ by some as a$ o%erly rigi/ ma$$er of u$/ersta$/i$g this music, a$/,

furthermore, associatio$s such as these may be co$si/ere/ too formalist a$/ ig$ora$t

of co$te&t' hilosopher -oger Scruto$ has criticiEe/ similar associatio$al stu/ies suchas those of eryc8 Coo8e as tri%ial, re/uctio$ist, /etermi$istic, a$/ ultimately

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13/19

u$musical'=26> o"e%er, my i$te$t is $ot to say that the MTT type mea$s outer

space' 5t is $ot stylistically "ro$g for a rece$t olly"oo/ film to i$clu/e outer#

space sce$es "ithout a MTT to8e$ to accompa$y it, or for its sou$/trac8 to i$clu/e a

MTT to8e$ "ithout a sy$chro$ous %isual refere$ce to outer space? o$ly that it is

stylistically right for the t"o to be prese$t together. he$ce, my use of the term

appropriate i$ posi$g my ope$i$g uestio$' 3$/, for a commercially#/ri%e$ popular i/iom li8e the mai$stream olly"oo/ film, meeti$g ma$y of the au/ie$ce9s

e&pectatio$s that are ge$erate/ by stylistic associatio$s is part of the busi$ess'=2K>

:F2; o"e%er, a stu/y such as this that focuses !ust o$ stylistic associatio$s o$ly sets

the grou$/"or8 for aesthetic u$/ersta$/i$g' -obert atte$, from "hom 5 borro" the

terms type a$/ to8e$, respo$/s to Scruto$9s criticism by argui$g that ma8i$g such

associatio$s##or correlations, as he calls them##is !ust o$e part =but a $ecessary part>

of a cyclical process "hereby correlatio$s gui/e co$te&tual interpretations, "hich

may further lea/ to $e" types a$/ $e" correlatio$s that fee/ bac8 i$to the style' =2B>

My a$alysis of Treasure Planet follo"e/ this cyclical path. a symbolic image of

Treasure Planet "as $ot correlate/ "ith the MTT type, but strategically combi$e/"ith a %oice#lea/i$g %ariatio$ o$ the MTT, lea/i$g to my i$terpretatio$ that the

symbolic image represe$ts to im a prelimi$ary step to outer space, i$stea/ of

represe$ti$g outer space itself' o"e%er, this i$terpretatio$ occurs multiple times,

suggesti$g a $e" type that is operati%e "ithi$ the co$fi$es of the film' The co$%erse

situatio$, i$ "hich the MTT type accompa$ies somethi$g outsi/e of outer space, ca$

also ge$erate i$terpretatio$s' $e of my fa%orite strategic uses of the MTT type

ta8es place i$ The Might" =1AAB>, a prese$t#/ay story of t"o se%e$th#gra/e outcasts

"ho share frie$/ship a$/ a fasci$atio$ for the story of (i$g 3rthur a$/ Me/ie%al

co/es of ho$or' 3t se%eral poi$ts throughout the film, MTT to8e$s accompa$y

Me/ie%al images, spo8e$ refere$ces, or beha%iors'=2A> o" to i$terpret such mome$tsI

There are a myria/ $umber of "ays, but, for o$e familiar "ith the MTT9s correlatio$

"ith outer space, the echoes of lo$g time ago a$/ far, far a"ay ca$ be hear/, a$/

help co$%ey ho" these t"o mesmeriEe/ boys are bei$g tra$sporte/ to a$other "orl/'=F0>

Comme$t o$ this article

-etur$ to begi$$i$g of article

Scott Murphy"#$% &aismith 'ri(e Rm. ))%

ni(ersity of +ansas

,awrence- +S %/#

smurphy01u.edu

-etur$ to begi$$i$g of article

References

Q 3bbre%iate/ %ersio$s of this paper "ere prese$te/ at the L$i%ersity of South a8otai$ September 200F a$/ the L$i%ersity of ousto$ i$ ctober 200@' 5 tha$8 -ebecca

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that i/e$tifies a particular mome$t i$ a film

uses the timestamp pro%i/e/ i$ the most rece$t V %ersio$ of the film as of u$e

200H'-etur$ to te&t

2' )ach musical e&ample is a tra$scriptio$ by the author of a musical e&cerpt from the

sou$/trac8 of the most curre$t release of the film' The choice of time sig$atures,

/uratio$al %alues, a$/ other $otatio$al /etails reflect my o"$ perceptio$ of the music,

a$/ may $ot e&actly match that of the origi$al score' 5/eally, these musical e&amples

"oul/ be re/uctio$s of the origi$al scores' o"e%er, gi%e$ the relati%e /ifficulty i$

accessi$g origi$al scores for all of these e&cerpts, a$/ the relati%e simplicity of the

musical features to "hich 5 atte$/, 5 ha%e chose$ to tra$scribe' Some mi$utiae that are

a$cillary a$/ $ot co$tra/ictory to my argume$ts =such as octa%e /oubli$gs> may be

omitte/ or simplifie/ i$ the tra$scriptio$s? i$ other cases, they are simply $ot percei%e/##"he$ compare/ to a$ au/io musical sou$/trac8 recor/i$g##because of

/ialogue or sou$/ effects o$ the sou$/trac8' o"e%er, this is to ma8e a poi$t. as my

a$alysis primarily co$cer$s the associatio$ bet"ee$ music a$/ image, 5 "ish to

u$/ersta$/ "hat people hear hen the" vie the 'ilm, rather tha$ "hat people hear

separately "ithi$ the sou$/trac8'

-etur$ to te&t

F' 5 a/mit that a$so$9s ope$i$g a/or$s the trito$e progressio$ "ith a//itio$al $otes,

but it is appropriate a$/ u$problematic for a liste$er to e&tract the trito$e progressio$,

as this is e&actly "hat a$so$ /oes later i$ his sympho$y'

-etur$ to te&t

@' +illiam -osar, perso$al commu$icatio$ o$ 1F ctober 200F, a$/ Music for

Martia$s. Schilli$ger9s T"o To$ics a$/ armo$y of 7ourths i$ , forthcomi$g'

-ebecca , FK, cites the use of the trito$e

progressio$ i$ errma$$9s sci#fi score, as /oes )' To// 7iegel i$ 4er$ar/ errma$$

as Musical Colorist. 3 Musico/ramatic 3$alysis of is Score for The a" the $arth

!tood !till 1ournal o' Film Music 12#F =7all+i$ter 200F>, 20A. 5$ Ruter Space9:esse$tially the mai$ title of the film;, ho"e%er, the trito$e plays a$ importa$t

harmo$ic role' The i$ter%al is first appare$t i$ the seco$/ phrase as a root progressio$

from 3#flat to ' The harmo$y implie/ by the root motio$ from 3#flat to ta8es o$ a

stro$g symbolic uality i$ The a" the $arth !tood !till#

-etur$ to te&t

H' There is at least o$e i$/icatio$ that this associatio$ has co$ti$ue/ i$ the years

follo"i$g 2002' The MTT occurs $o less tha$ $i$e times i$ oh$ eb$ey9s score for

the scie$ce fictio$ film 3athura =200H>' 5ts first use culmi$ates the musical cue /uri$g

"hich the boar/ game is i$tro/uce/ =0.1K.2@>? specifically, it accompa$ies the e&act

mome$t that the game9s symbol of the pla$et athura comes i$to %ie"' The seco$/occurre$ce pu$ctuates the sce$e =0.22.22> i$ "hich the t"o brothers realiEe that their

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home is /rifti$g through outer space'

-etur$ to te&t

6' Lltimately, this claim ca$ o$ly be completely supporte/ by e&te$si%e sur%eys both

of the MTT i$ rece$t olly"oo/ scori$g a$/ of the %arious tria/ic progressio$s use/

to accompa$y sce$es of outer space' 5$ lieu of a$ e&plicit /isplay of such sur%eyshere, 5 ca$ o$ly state that 5 ha%e liste$e/ to a$/ /ocume$te/ aspects of harmo$ic

progressio$ i$ o%er t"o hu$/re/ sou$/trac8s for mai$stream olly"oo/ films from

the past uarter#ce$tury prior to Treasure Planet, a$/ my claim is base/ i$ large part

o$ this sampli$g'

5f o$e "ere to cast a larger associati%e $et, ho"e%er, the MTT is ofte$ hear/ to

accompa$y the e&traor/i$ary, a$/ that "hich is beyo$/ $ormal huma$ e&perie$ce'

7or e&ample, the progressio$ recurs throughout 3la$ Sil%estri9s scores to the .ac) to

the Future =1ABH, 1ABA, 1AA0> films as a sig$ifier of the mysteries a$/ "o$/ers of

time tra%el, it highlights the mome$t "he$ aryl a$$ah9s character sees the true

$ature of the titular character i$ Shirley +al8er9s score for Memoirs o' an Invisible Man =1AA2>, a$/ it accompa$ies the first occasio$ "he$ the titular character9s ability

to u$/ersta$/ a$imals lea/s to a heali$g =of a$ o"l, i$ this case> i$ -ichar/ Gibbs9s

score for octor oolittle 4 1AAB>' This last e&ample associates the MTT "ith a bit of

heroism as "ell, "hich is better e&emplifie/ i$ the touches of MTT ames or$er

a//s to t"o flyi$g rescue sce$es i$ The Roc)eteer =1AA1>' o"e%er, or$er also

places the MTT i$ a %ery /iffere$t co$te&t "ith its recurre$t use i$ &ourage 5nder

Fire =1AA6>, a film set i$ a$/ after the ersia$ Gulf +ar i$ "hich a psychologically

scarre/ sol/ier see8s the truth about a$other sol/ier9s suppose/ meritorious co$/uct i$

combat' The progressio$, playe/ hea%ily i$ lo" brass, "eights pi%otal mome$ts i$ the

$arrati%e, ma$y of "hich are more tragic or solem$ tha$ e&traor/i$ary or heroic'

3lthough $o$e of these films i$%ol%es outer space, thereby pote$tially /iluti$g the

associatio$ 5 am asserti$g, $either /o a$y of these films represe$t i$ part a /issimilar

e&tra#musical associatio$ that surpasses the MTTouter space associatio$ i$ both

freue$cy a$/ specificity' $ the o$e ha$/, the e&traor/i$ary associatio$ occurs

co$si/erably more ofte$ the more particular outer space associatio$, but the former

is much more /iffuse tha$, a$/ arguably i$clu/es, the latter' $ the other ha$/, a$y

image, setti$g, or co$cept "hose mea$i$g is focuse/ to a /egree roughly comparable

to that of outer space##perhaps tech$ological magic, "ar, or solem$ity##is $ot

accompa$ie/ by the MTT i$ olly"oo/ scori$g as ofte$ a$/ as co$spicuously as

outer space is'-etur$ to te&t

K' 3t first gla$ce, the sce$e from Treasure Planet /uri$g "hich )&ample 1 is hear/

ca$ scarcely be co$si/ere/ a sig$ifica$t introduction to the outer#space setti$g. the

e$tire %oyage so far has ta8e$ place i$ outer space' o"e%er, the filmma8ers9

i/iosy$cractic co$ceptio$ of a$ outer#space setti$g co$trasts "ith those setti$gs

accompa$ie/ by the e&cerpts of )&ample 2, i$ that it creati%ely i$ter"ea%es aspects of

both e&traterrestrial space tra%el a$/ terrestrial seafari$g' The sce$e i$ "hich the

spaceship##"hich closely resembles a Spa$ish galleo$##comme$ces its %oyage is a

goo/ e&ample of this hybri/iEatio$. artificial gra%ity is e$gage/, but there is $o

protectio$ from the airless %acuum of space? roc8ets propel the ship, but o$ a hea/i$gof south#by#south"est' The bac8grou$/ of space is $ot blac8 a$/ %oi/, but %arious

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sha/es of blue a$/ %iolet "ith ple$ty of clou/#li8e formatio$s for the ship to sail

either belo" or through' 5f a$ythi$g, the sce$e that first /isplays the image of Treasure

la$et tips the scales bac8 to"ar/ the setti$g as outer space? it rei$tro/uces the %ie"er

to this setti$g'

-etur$ to te&t

B' There are occasio$al a$/ tra$sitory MTTs /uri$g the lo$g sce$e featuri$g e&terior

shots of the )$terprise =0.1H.HA#21.H2>' $e MTT, sy$chro$ous "ith shots of pla$ets

out the bri/ge %ie"scree$, ser%es as a ca/e$tial progressio$ for the )$terprise9s

/eparture =0.FA.11>'

-etur$ to te&t

A' 1.22.1H, 1.2K.0H, 1.2B.1B, 1.F0.HK, 1.F1.0@, 1.F1.H2, 1.F@.@2 =)&ample 2/>,

1.FH.01, a$/ 1.F6.02' There is also a$ e&tremely brief MTT for a cut to a$ e&terior

shot at 1.2F.F@'

-etur$ to te&t

10' 3ccor/i$g to """'im/b'com, Treasure Planet "as release/ i$ the LS o$ 2K

No%ember 2002, Lilo and !titch "as release/ i$ the LS o$ 21 u$e 2002, a$/ $o

a$imate/ film pro/uce/ by +alt is$ey ictures "as release/ i$ bet"ee$'

-etur$ to te&t

11' ugo -iema$$ first catalogue/ all the possible tria/ic progressio$s i$ !)ie einer

neuen Methode der 7armonielehre =' 5$

mai$stream olly"oo/ practice, there appear to be i$terte&tual co/es for multiple

harmo$ic progressio$s, some "ith greater co$siste$cy of $arrati%e or %isual

associatio$ tha$ others'

-etur$ to te&t

12' +illiam rab8i$, Trito$e, rove Music nline e/'


17/19

-oma$tic Tria/ic rogressio$s, Music /nal"sis 1H =1AA6>. A#@0? Coh$, Neo#

-iema$$ia$ peratio$s, arsimo$ious Trichor/s, a$/ Their Tonnet -eprese$tatio$s,

1ournal o' Music Theor" @1 =1AAK>. 1#@6? a%i/ , F0H#FH2' Tra$sformatio$al %oice lea/i$g, "hich co$$ects$otes of /iffere$t chor/s i$ pote$tially /iffere$t registers a$/ %oices usi$g pitch#

class tra$sformatio$s, "as first propose/ i$ e$ry (lumpe$hou"er, 3 Ge$eraliEe/

Mo/el for Voice ,

2FK#K@? a$/ L$iformity, 4ala$ce, a$/ Smooth$ess'

-etur$ to te&t

1B' The co$cept of a %oice#lea/i$g list comes from -obert Morris, Voice# recog$iEes

that it "oul/ be possible to /e%ise a$ algorithm for brea8i$g ties =for e&ample, by

seei$g "hich %oice lea/i$g has the greatest $umber of small i$ter%als or the smallest

$umber of large i$ter%als>, but he /oes $ot pursue this li$e of i$uiry a$y further'

-etur$ to te&t

22'


18/19

2@' The leitmotif is use/ o$ce /uri$g the first stage. a perfect#fifth tra$spositio$##G# to

)D##ca$ be briefly hear/ "he$ the pre%ious o"$er of the orb, after arri%i$g at the i$$,

/i%ulges that he9s after me chest, referri$g to his large tru$8 that co$tai$s the orb

=0.0A.20>'

-etur$ to te&t

2H' 4esi/es its use at these t"o mome$ts of arri%al, the !u&tapositio$ of t"o ma!or

tria/s a trito$e apart is sel/om hear/ else"here i$ the film score' 5t creeps i$ at

0.2H.2A for four seco$/s /uri$g the preparatio$ for the ship9s /eparture from port, a$/

ca$ be briefly hear/ /uri$g o$e segme$t [email protected] to 0.@0.@1> of the blac8 hole

seue$ce, although there is $o o%ert sy$chro$iEatio$ "ith a$ outer#space ob!ect' 3$

MTT is use/ /uri$g t"o cues =0.HB.26 a$/ 1.2F.F0> for 4e$, the loo$y robot

maroo$e/ o$ Treasure la$et? ho"e%er, it is i$corporate/ i$to music of a %ery

/iffere$t $ature##scherEo#li8e, light i$strume$tatio$, a$/ a fre$etic harmo$ic rhythm##

a$/ is therefore $ot a to8e$ of the MTT type'

-etur$ to te&t

26' -oger Scruto$, The /esthetic 5nderstanding =? eryc8

Coo8e, The Language o' Music =


19/19

F0' This strategic combi$atio$ of the MTT type "ith the Me/ie%al era as a separate

/omai$ from prese$t /ay also appears throughout 4ria$ Tyler9s score for Timeline

=200F>'

major tritone in sci-fi films-mto-vol 12-no 2-may 06

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