Prospero's Books

Music Examples / Descriptions

Pam Harrison (Music and the Moving Image 1, Jan. 2000)

 

Sound Effects

Many sound effects are used throughout the film including storm, wind, rain etc. at appropriate points. The following three, however, are heard in almost identical form in an almost musical way, and therefore may bear comment.

# Magic sounds

These sounds like those of rushing wind combined with creaking sounds are used to precede any act of particular magic performed through Prospero's power

#Drowning sounds

These sounds occur whenever drowning is referenced particularly that of Ferdinand. They are quiet moaning sounds not unlike `whalesong'

#Sounds of the island

These are sounds of insects, animals and birds in a tropical context and are used to locate a scene in the forest or other parts of the island

There are occasions when the sound effects are used together or with music. These are referenced in the Cue Sheet.

 

 

Musical Sound Effects

These sounds are musical but used at certain points in the film as sound effects to emphasise the action.

#* Banquet

Source music - that of a hurdy-gurdy - seen being played in the centre background of the scene. Voices are superimposed over the music to create an authentic atmosphere. Heard twice as part of the same scene: 0:22.04 and 0:22.33

#* `Twanging instrument'

Chords played quietly on strings when above line spoken at 1:07 58 by Caliban when describing his life on the island

#*African drumming

Sounds of African style drums are heard every time that Claribel (who married her husband in Africa) is mentioned.

0:49.48 Claribel seen in mirror

0:54.06 Mentioned by plotters against the King

1:50.10 During summing up of experiences by Gonzalo

#*John Dowland song

Identified as such by Michael Nyman. Close vocal harmony typical of period, heard for several seconds as Miranda and Ferdinand sit on stairs after being blessed by Prospero. Creates a feeling of sacred blessing.

#* `Heavenly Music'

Vocal chants (similar to above) heard when Prospero says the words at 1:37.39 as he begins to renounce his magic.


Music

* Prospero's Magic (CD title)

Stately `parade' music in minor key (B flat) approx 64 bpm. Repeated semi-quaver patterns in `sawing' strings echoed on piano. Clarinet tune (doubled on flutes?) in minims soars over repeated incessant string pattern moving stepwise over 3 - 4 notes.

Eg 1 String pattern Eg 2 Clarinet tune

?????

Entry at 0:05.08 as Prospero leaves pool, puts on magic garments and parades through mythological creatures

 

*Prospero's Curse (CD title)

Fast-moving jerky introduction on low woodwind and low strings. `Trickster' music using Csharp to G leaping patterns at approx 95bpm.

Trumpet tune echoes introduction with addition of notes D and E

Eg 1 Introduction Eg 2 Trumpet tune

?????

Entry at 1:35.34 fades at 1:36.00 as music is overtaken by sounds of books being slammed shut.

*Cornfield (CD title)

Gentle,slow `pastoral' piece reflecting visual image of tranquil outdoor country scene.

3 metre (minims?) approx 40 minim bpm. Repeated string pattern moving in thirds begins, then clarinet tune in syncopation with the strings is introduced. Simple imitative tune moving stepwise.

Eg 1 String introduction Eg 2 Clarinet tune

?????

Entry at 0:42.53 as Ferdinand is seen in cornfield and approached by Miranda and Prospero.

* History of Sycorax (CD title)

Stabbing brass chords in minor key. approx 100 bpm.

?????

Sequence repeated higher then lower. Trumpet tune similar to hunting fanfare enters after 12 repetitions of sequence

First entry at 0:24.02 during scenes of death in Milan : after-effects of Antonio’s treachery opening gates to invaders. Camera tracks R to L then forward into survivors as they come to terms with devastation.

0:34.07: 4 repetitions of brass chord pattern very quietly under Sound Effects as Sycorax the Witch is carried on a litter by the sailors into exile on the island

0:37.40: Brass sequence repeated 12 times then fades (no trumpet tune) as Prospero and Miranda go to visit Caliban (son of Sycorax). Scene cut with views of book being defiled.

1:31.45: Stabbing brass chord sequence begins. Trumpet tune enters after 4 repetitions. Running string pattern added for approximately 16 beats as music fades possibly to enhance the `chase’ element of this scene.

* Twelve years since (CD title)

Slow `sad’ tune in A minor played on cello and accompanied by simple string chords on every beat. Approx 64 bpm.

?????

First entry at 0:18.07 as Prospero tells Miranda of her past life and remembers her dead mother. Sedate, calm and sad. Death of mother re-created as he describes the events.

0:20.54 - Begins with last bars (all pianissimo) as above then accompaniment becomes more agitated in semi-quavers as details of the heresy of the `Anatomy of Birth’ book are described

* Miranda (CD title)

Approx 64 quaver bpm in C major. 12 bar introduction featuring 4th leaps in strings

?????

Simple tune using 4 -5 notes played on violins over repeated quavers on strings

First entry at 0:36.11 as Miranda walks down the long gallery. 12 bar introduction then tune enters. Music fades at end of scene - no cadence.

1:03.43 - Music exactly as first entry underscores conversation as Miranda meets Ferdinand in the stable yard at his labours. Love between Miranda and Ferdinand declared.

 

Ironic funereal (My title)

Cello plays repeated bass line sequence of simple pattern of thirds in minor key. Approx 70 crochet bpm.

?????

`Fat’ brass chords join in on pulse using similar pattern and harmonies of seconds creating a mocking effect.

Entry at 1:12.18 as Ferdinand’s body is carried in for his father to see.

 

Book drowning (My title)

Melody on synthesised sound (cross between high soprano voice and musical saw)moves stepwise upwards then falls. Repeated sequentailly lower and higher with slight variations. Accompanied by brass staccato chords randomly at first then more insistent. Repeated `sawing’ string chordal accompaniment throughout. Approx 72 bpm

?????

Entry at 1:54.11 as each book is thrown in the pool appropriate sound effects of splashing, burning, shattering glass, sizzling, screaming etc

Music fades out - no definite ending.


Songs

All the following songs (apart form those in the Masque) are sung and recorded by Sarah Leonard and mimed by Ariel therefore the word `sung' is used in inverted commas when describing the action on screen.

* Come and go

ABA form, approx 74 bpm - A Rubato solo voice in high soprano begins on B flat

`Before you can say come and go
And breathe twice and cry so, so’

B 8 beat falling quaver triplet arpeggios
8 beat rising quaver triplet arpeggios
8 beat falling quaver triplet arpeggios
4 beat rising quaver triplets leading to cadence
A High soprano as before.
Tune follows word patterns - ends on high D flat
`Each one tripping on his toe
Will be here with mop and mow’

Entry at 1:18.10 as precursor to Masque building up tension while Prospero begins his magic

 

* Full fathom five

Solo voice - high soprano `sung’ by Ariel. Based on `black note’ pentatonic scale. No accompaniment at all except words spoken as sung. Follows word pattern of verse. Free metre - recitative style.

`Full fathom five thy father lies
Of his bones are coral made
Those are pearls that were his eyes
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange
Sea-nymphs hourly ring his knell
Hark! now I hear them - Ding, Dong bell’

Entry at 0:41.17over visuals of sailors drowning.

* Where the bee sucks

Simple rhythmic pattern following words with held notes at the end of lines `sung’ in high soprano by Ariel in major key - approx 70 bpm. String accompaniment echoing tune with simple chordal harmonies.

`Where the bee sucks, there suck I Rising melodic pattern
In a cowslip’s bell I lie Melody sequenced higher
There I couch where owls do cry As line one
On the bat’s back I do fly As line two
After summer merrily ) Faster repeated tune moving
Merrily, merrily shall I live now ) stepwise sounding like a merry-go- round
Under the blossom that hangs on the bough' Original tune - Line one

Words spoken over singing.

Entry at 1:41.44 after Prospero has revealed himself to survivors and decided to return to his former life renouncing his magic

* While you here do snoring lie

String Introduction - legato undulating pattern performed on strings in minor key (F) in 4/4 time approx 74 bpm. Pattern is repeated twice, then higher, then back in original position.

Ariel `sings’ in high soprano:

Single note (F) in 3/4 time following word patterns - Line one
`While you here do snoring lie’
Whole tone higher (G) as line one - Line two
`Open - eyed conspiracy’
Line three as Line one
`His time doth take’

Coda: Strings play undulating pattern mf. with attack
First entry at 0:52.38 as Ariel lulls King’s party to sleep.

Introduction for approx 60 seconds as Ariel charms them to sleep. Voice enters as described - undulating string pattern accompanies singing very quietly. Music fades as plotters decide to kill the King, then returns with the last two lines of the song, again accompanied with quiet strings. Coda: as described above.

1:09.25 - Very quiet accompaniment to song without vocal line as food is brought to the table for the King’s party - music used to refer back to their former state of sleep. Creates a calm and gentle atmosphere before the contrast of the sudden burst of destruction which follows in this scene.

1:46.48 - Introduction pattern on strings used to underscore Ferdinand and Miranda’s game of chess - creates calm mood as original entry.

1:48.20 - Begins with Coda as described above followed by Introduction and vocal line doubled on violin with string accompaniment. Positive beginning > quiet vocal as King of Naples meets the son he thought was dead. Used as underscore to match mood of the scene as it changes.

* Come unto these yellow sands

High soprano song `sung’ by Ariel. Major key approx 100 crotchet bpm.

Co - me un - to these yel-low sands

Relentless string accompaniment on repeated quaver pattern with off-beat accents. Moves chromatically in steps over a limited range of notes (4 -5) repeated as vocal line is sung above.

First entry at 0:30.20 after crash when Ariel seen singing, as othe Ariel characters swing from trapezes over bath pool. No introduction. String accompaniment enters quietly and gets progressively more insistent. Stops abruptly at end of first verse then repeated all through.

Verse 1

`Come unto these yellow sands
And then take hands
Court’sied when you have and kiss’d
The wild waves whist
Foot it featly here and there’

1:06.25 - Strings only - no vocals - from middle of piece where strings have a rising syncopated chromatic pattern. Featured mf. as Prospero is seen dead in his cell.

1:59.06 - Vocal line only as Ariel runs down a corridor of applauding people. String accompaniment as described above enters after Line five becoming louder and more relentless to the end. Abrupt end with water splash mirroring ending at first entry at 0:30.20

Verse 2

And sweet sprites, the burden bear
Hark, Hark
Bow wow
The watch-dogs bark
Bow wow
Hark, Hark I hear
The strain of a strutting chanticleer

 

Masque (CD title)

This is a long, continuous piece of music containing parts for three female singers as well as instrumental accompaniment. In effect it is a `mini-opera' using music, image and movement to set a mood and advance the narrative. It is Prospero's flamboyant demonstration of his magical powers used for purposes other than revenge.

The piece begins in a triumphant major key when Iris (high soprano in operatic style) begins to sing after a very short string introduction. The accompaniment consists of repeated semi-quaver patterns on strings. (Approx 72 bpm)

`Ceres, most bountiful lady, thy rich leas
Of wheat, rye, barley, vetches, oats and pease;
Thy turfy mountains, where live the nibbling sheep,
And flat meads thatch'd with stover them to keep;
...and thy broom groves,
Whose shadow the dismissed batchelor loves,
Being lass-lorn;
...- the queen o'the sky,
Whose watery arch and messenger am I,
Bids thee leave these; and with her sovereign grace,
Here on this grass plot, in this very place,
to come and sport: - her peacocks fly amain;
Approach, rich Ceres, her to entertain'

This is followed by an instrumental interlude at a slightly faster pace, the string sequence being repeated higher as Prospero talks to Ferdinand and Miranda.

Ceres then sings: mezzo-soprano/alto in cabaret style - very singable tune. String accompanment played at half speed using rising and falling arpeggios. Whole piece is at a slower speed (approx 60 bpm).

`Hail, many-coloured messenger, that ne'er
Dost disobey the wife of Jupiter;
Who, with thy saffron wings, upon my flowers
Diffusest honey drops, refreshing showers;

Accompaniment echoes 1 line of tune in the strings after `showers'

And with each end of thy blue bow dost crown
My bosky acres and my unshrubb'd down,
Rich scarf to my proud earth;why hath thy queen
Summon'd me hither, to this short-grassed green?'

Strings revert to original speed and accompaniment for Iris' entry:

`A contract of true love to celebrate;
And some donation freely to estate
On the bless'd lovers'

Ceres now sings a melody to the following words in similar style to her original entry with held string chords as accompaniment repeated on the beat at the ends of lines:

`Tell me heavenly bow,
If Venus or her son, as thou dost know,
Do now attend the queen?'

Iris sings again at double the speed of Ceres accompanied by syncopated brass chords in quavers.

`Of her society
Be not afraid: I met her deity
Cutting the clouds towards Paphos,and her son
Dove-drawn with her. Here thought they to have done
Some wanton charm upon this man and maid,
Whose vows are that no bed-right shall be paid
Till Hymen's torch be lighted but in vain;
Mars' hot minion is return'd again;
Her waspish-headed son has broke his arrows,
Swears he will shoot no more but play with sparrows,
And be a boy right out.'

Ceres now sings to introduce Juno at her original speed accompanied by string chords on every beat.

`Highest queen of state,
Great Juno comes; I know her by her gait.'

Juno (singing in musical theatre style) at the same speed as Iris but accompanied by chords on brass and woodwind on every beat and `sawing' strings.

`How does my bounteous sister? Go with me
To bless this twain, that they may prosperous be,
And honoured in their issue'

The following lines are sung by Juno and Ceres together on a single note singing one syllable on every beat.

Juno

`Honour, riches, marriage - blessing
Long continuance, and increasing,
Hourly joys be still upon you!
Juno sings her blessings on you'

Ceres

`Earth's increase, foison plenty,
Barns and garners never empty;
Vines with clustering bunches growing;
Plants with goodly burden bowing'

Ceres singing now alone with slow arpeggio string accompaniment

`Spring come to you at the farthest
In the very end of harvest
Scarcity and want shall shun you'

Singing together in unison, a very simple tune using three notes, accompanied by repeated quaver patterns in strings at Ceres' usual speed

`Ceres' blessing so is on you'
`Juno sings her blessing on you'
`Juno does command'

Iris, Ceres and Juno now sing a trio in simple harmony accompanied by quaver string patterns, repeating the last four words four times.

`Come temperate nymphs and help to celebrate
A contract of true love; be not too late'

At this point Prospero cuts short the proceedings as described in Cue Sheet

At 1:52.48 the Introduction to Ceres' song `Highest queen of state' is heard followed by singing as described above up to `Honour, riches, marriage blessing' when it fades out. This is used as a reminder of Prospero's power before he renounces it for good. It also serves to set the mood of celebration with the survivors.