This is the work for the film The Dark Knight that was discussed in previous posts. Listen through it once before you read further. To analyze this and discuss how Hans Zimmer has utilized different techniques to build tension, we should consider the first impressions we get of the work as a whole; what it sounds like, how it is structured, and what the dynamics are in the work. Then we divide the piece into segments that allow us to analyze with exactly which methods he builds up the tension in these parts; that is, how has he built up layers with instruments, what do these layers sound like, what direction do these layers have from a sound design perspective? When the listening analysis is completed, we follow up by finding some form of interview where the creators discuss the work, either to confirm claims in the analysis or refute them. This is an analysis method that I have taken from a moment in the course “ME1505 H13 Lp1 Advanced Mixing Techniques” at BTH.
Overall Analysis
The overall impression I get of the Joker’s theme is how it constantly shifts between two different states, either very rapidly or slowly escalating stages. How these shift seems to be almost sporadic and apparently has no concrete pattern. However, I perceive a common thread through the work that follows a development in timbre. By that I mean how the work goes from being focused in the higher frequency register with bright and shrill tones, to how it covers a larger spectrum with sound and how the piece seems to increase in size. The piece contains quite a lot of sounds and instruments that are difficult to distinguish. In a collective expression, I see the arrangement as a ‘modern interpretation of orchestral music’, since the work contains many elements that suggest that something more than just an orchestra has been used to record the piece. These elements seem to stretch across different forms of production techniques, including recorded layers of different instruments such as electric guitar and percussion, and mixing techniques that involve the application of effects like distortion and reverb. I interpret it as this modern approach having allowed Hans Zimmer to develop the tension that was the basic prerequisite for the piece, and since he didn’t limit himself to using an orchestra, he could experiment with timbres and soundscapes to find a characteristic expression.
In-depth Analysis
Above here I have made a waveform analysis of the Joker’s theme to demonstrate how the work shifts in dynamics and I will use this as an aid to divide the work into the different segments I discussed earlier. We can now see with the naked eye how there are clear blocks with events in the work. It is these that I will divide up and discuss separately. What do these parts consist of and how are they intended to convey tension? I have used the buildup of phonetens as a marker for where I have set the starting point and endpoint for each segment. The idea is that each segment in itself should start with little tension until it reaches a maximum point, after which the next segment begins that repeats the escalation in a new form. The starting point I have for this analysis is that all elements are added to convey and build up tension in the listener. After the analysis, I make a compilation of my thoughts about the work and about what in essence can be counted as sounds that build on tension. If it is uninteresting to follow the in-depth analysis I do of this work, I refer to the summary instead.
0.00 – 1.10 It begins with silence that carefully transitions into a tone from a string instrument, which is probably the cello that Hans Zimmer discussed in the video that can be found in my previous post. I perceive this as very intimate, as one seems to be able to hear the scraping from the actual bow against the string. It’s difficult to distinguish whether two cellos are played simultaneously from the beginning or if one of these comes in afterwards, but you can hear at 0.30 how an overtone begins to cut against the fundamental tone. This “cutting” is something that recurs in the work, which in acoustics is called dissonance. [This is a phenomenon that is perceived as uncomfortable by listeners when two different tones’ frequencies have a disproportionate relationship to each other. The opposite is called consonance and are intervals that people perceive as pleasant to listen to.] At this point, the dissonance escalates as one tone rises in pitch higher than the other. To relate back to my previous posts about phonetens, I want to point out that this rise in pitch is a clear indicator of tension expressed in sound. String instruments also begin to appear in the background around 0.50 that also sound dissonant against the two rising tones. The dissonance that sounds false also seems to be a central idea in the work as this too escalates in the same spirit as the rise in pitch does. When this reaches its maximum point around 1.10, the instruments ring out in a consonant chord, which I interpret as the start of a new buildup.
1.10 – 1.37 This begins with a group of strings that rhythmically play an interval that in music theory is called a ‘major second’. This is a tonal interval that to some extent is perceived as troublesome due to its short relationship in the frequency spectrum, but is not false. This bit can be interpreted as Hans Zimmer wanting to convey a feeling that something is going to happen, as this interval is often followed by a consonant interval as a resolution. I can also hear how the marked attacks from the strings are panned increasingly powerfully out in the stereo image the further into the segment I listen. This mixing technique may have been applied to disorient the listener. One could see it as all material that lies balanced in the center of the stereo image being in a comfortable position, and when something is panned to the right and left, ‘the balance tips over’ and it becomes harder to listen to. You can also hear how the track with the string instruments is processed with an effect called tremolo, which gives a trembling-like effect on the sound. Around 1.27, a darker tone strikes from what appears to be a layer of several different sounds from string instruments. Among other things, the sound could come from piano, cello and double bass, and I perceive it as these strings having been plucked instead of struck and you can almost hear how one of the strings rattles against something metallic. These two tones that strike seem to be a sort of preparation for the first strong section in the work, and come at a stage where no ‘dark’ tones have yet been introduced.
1.37 – 1.47 The segment is filled with strong attacks from a large collection of instruments. From this I think I can distinguish different types of percussion, string sections, and a multitude of layered electric guitars. The summarized sound image is very harsh and the sudden change in volume from the part before is noticeably large. The purpose of this may be to put the listener in a sort of stress moment by avoiding consistent flows through the work. This technique could be applied to make the listener always be prepared for surprising changes in the sound image.
1.47 – 1.57 This segment resembles the second part that was analyzed. Here the tense moment is reinforced with something that resembles string instruments in the background in two different layers. These layers fill out the high frequency range increasingly strongly before the work transitions to a new section.
1.57 – 2.40 Here follows a rhythmic part that is mainly built up of three layers. The first is the previous string instruments that have decreased in volume. The second is the dark attacks I discussed earlier. The third is a layer with percussion which I imagine are the audio tracks with pencils hitting a table that Hans Zimmer mentions in the interviews about the Joker’s theme that I linked in my previous post. The further into this segment one listens, one also begins to hear a collection of diffuse sounds in the background that resemble overtones from strings. These may have been achieved in different ways, but I remember how the above-mentioned interviews have explained how Hans Zimmer experimented with drawing razor blades over strings to evoke something abstract to convey the Joker’s theme with. These background sounds grow in strength more and more until 2.27 when they are suddenly cut away. Why this choice was made I am uncertain about, but I imagine that since Hans Zimmer’s intention was to make the listener uncomfortable with the work, this method may have been used to surprise the listener in two places. Both here and a few bars later when the powerful segment from 1.37 abruptly returns again. This time the piece also starts on a syncopation, which I interpret as a choice to surprise the listener even more than last time.
2.40 – 2.52 In this part, some string instruments remain on a tone that grows in strength until they fall in pitch at the segment’s end. The percussion playing simultaneously also has a very bright fundamental tone, which is achieved by tensioning the drumhead very tightly on the instrument. Something that catches my attention in this section is the effect that lies on the drum track. It seems like there’s a so-called ‘stereo delay’ which creates an echo feeling in the stereo image. The echo of the drum gives the impression of bouncing between left and right speakers. This is something I want to relate back to my previous discussion about how sounds that vary in the stereo image have a tendency to confuse the listener.
2.52 – 3.27 The soundscape sinks down in pitch here and begins to sound almost frantic while the rhythmic instruments continue in the background. What this deep tone consists of in terms of instruments is difficult to determine, but a main component seems to be strings and it’s possible that these also have a layer of synthetic sound as a complement. It would be interesting to know how the strings have been played to achieve the almost rough sound that occurs, either it could be something metallic dragging over the grooves on these strings or a bowing technique called ‘tremolo’ which resembles, but should not be confused with, the trembling sound effect mentioned earlier. We can also hear how the deep tone slowly rises to build on tension. This escalates in a bright string section that is suddenly cut in during the last seconds.
3.27 – 5.12 Here we have yet another hard cut to an extremely muted section that is slowly built upon in many layers of brighter instruments that are stepped up in a full performance of all instruments I can distinguish in the entire work. A detail that I really appreciate is the string that strikes at 4.20, because I perceive the attack as so strained. This is the section that I judge grows most in size. From being weakest, deepest and calmest, to going towards strongest, shrillest and most frantic.
5.12 – 5.52 This section can be divided into four parts. First the string instruments and percussion that occur throughout the entire work. Second, the block with frantically playing string instruments that is cut in at 5.19. Third, the rise in pitch that goes into the fourth part that builds on tension with rhythmic stabs.
5.52 – 6.37 Then comes a segment that breaks the pattern and instead slowly scales away elements from the sound image. You can also hear how something begins to pulse in the absolutely lowest frequency bands. I interpret this segment as an attempt to tone down all elements so that it can then build up tension towards a final climax at the end of the work.
6.37 – 8.03 This part seems to have the purpose of building up towards the end and goes from an almost ambient sound image over to an orchestral crescendo. These two parts are overlapped with a sound that resembles how something scrapes against a piano string, possibly this comes from the experiments with razor blades that Hans Zimmer discussed. The subsequent crescendo is a typical increase in strength, and sounds as if it were recorded by an entire orchestra, this finally flows into the concluding segment.
8.03 – 9.14 This is the part where Hans Zimmer seems to have gathered all the ideas that have been presented earlier in the work, and is largely taken up by hard attacks from a host of percussion and string instruments. I think I can distinguish an electric guitar that reinforces the attacks with its distorted sound.
Summary of Analysis
If we look at the elements that recur most in the different segments, we can list some characteristics that sound images can have to build on tension. We can see how these elements follow a fundamental rule that summarizes what must happen with a sound for it to be perceived as tense; The rule says that a sound should in practice be changing for a listener to be able to perceive tension in the sound image. A sound can possibly be perceived as tense if you only hear it unchanged, but as soon as the sound image breaks the status quo, the previous sound image can become a reference to how tense the new sound image is. Thus, a sound in change is the most effective way to convey tension.
What characteristics can these sounds then have?
- From low to high: This is the first characteristic I defined in the investigation, that is, a sound that rises from low frequencies to high frequencies. This can happen with a pitch increase, but can also be applied with timbres, that is, going from a dark sound image to a bright sound image.
- From narrow to wide: One can also go from a very narrow sound image that starts from a small part of the frequency spectrum to broadening the sound image by filling out the rest of the spectrum.
- From weak to strong: Commonly occurring is that sounds that build tension start from silence and increase in strength.
- From calm to intense: Sounds that increase in intensity can instill feelings of stress and tension. This can be performed in many different ways; Among musicians, this means, for example, playing their instruments increasingly energetically, as cellists would play ‘tremolo’.
- From consonant to dissonant: As you can hear at the beginning of the Joker’s theme, the original tone becomes increasingly dissonant. This is central to the idea that in music theory is called cadences, which means the transition from a chord that ‘strives’ to resolve into another.
- From clarity to diffuse: Something that goes from following a clear pattern to becoming increasingly difficult to predict can create a feeling of tension and discomfort. This can be interpreted in many ways, for example, I claim how syncopations and the use of effects like delay and tremolo on the tracks in the analyzed work add the unpredictable to the flow of sound.