1   SOUNDTRACK  ANALYSIS   SFTV  CULMINATING  EXPERIENCE  PAPER  2014   by  Niko  Paterakis     BRAVEHEART  (dir.:  Mel  Gibson)   Original  soundtrack  composed  by  James  Horner       INTRODUCTION   The  reason  I  chose  this  film  and  its  soundtrack  for  the  purposes  of  this  assignment  is   because   it   holds   a   very   dear   place   in   my   personal   life.   Not   only   does   it   come   from   admiration   for   Mel   Gibson,   who   directed,   produced   and   starred   in   the   film,   as   an   actor-­‐turned-­‐director,   who   learned   the   latter   craft   through   reported   keen   observation   and   curiosity   during   his   capacity   as   the   former,   but   also   as   an   introduction  to  the  culture  and  history  of  Scotland,  a  place  I  came  to  know  and  love   during  my  student  years  in  Glasgow.  During  that  time,  I  immersed  myself  in  the  local   traditional  music  scene  and  shared  a  house  with  a  history  scholar,  who  enlightened   me   as   to   the   historical   context   of   the   inspired   story   this   film   was   based   on.   Furthermore,   coming   from   a   small   country   with   a   rich   history,   divided   by   a   conquering   force   that   threatened   its   very   cultural   integrity,   this   film   resounded     2   personally  with  me  and,  given  my  particular  interest  in  folk  music  from  around  the   world,   perhaps   this   contributed   to   an   emotional   connection   with   the   films’   soundtrack.     Moreover,  I  have  come  to  admire  James  as  a  composer  and  an  artist  with  an  inspired   vision   on   how   to   combine   different   musical   tools   and   disciplines   to   serve   a   film’s   narrative.   Also,   given   his   particular   inclination   towards   Celtic   music,   I   feel   this   soundtrack  is  one  of  his  strongest.     On  a  final  introductory  note,  considering  the  requirements  of  this  assignment,  this   paper   is   intended   to   be   an   informed,   yet   not   strictly   academically   rigorous   presentation  of  the  soundtrack’s  structure  and  function  within  the  film.     MAIN  BODY     To   begin,   it   is   worth   making   a   broad   presentation   of   James   Horner’s   soundtrack,   which  we  will  later  analyze  more  carefully,  identifying  key  themes  and  motifs  and,   finally,  making  a  more  close  assessment  of  how  it  is  constructed  and  how  it  interacts   with  the  narrative.     The   music   was   recorded   in   1995   at   Abbey   Road   Studios   by   Shawn   Murphy   and   released   under   The   Decca   Record   Company   Limited.   It   features   3   traditional   instrument   soloists   and   the   London   Symphony   Orchestra,   conducted   by   the     3   composer   himself.   Total   music   during   the   action   (i.e.:   excluding   credits)   lasts   77   minutes  spread  over  42  cues  with  an  average  cue  length  of  approximately  3  minutes   and  ranging  between  less  than  a  minute  to  more  than  6  minutes  long.     The   soundtrack   draws   on   three   different   musical   disciplines:   traditional   instruments   of   the   region   in   question   (Scotland),   electronic   instruments   and   textures  (to  enhance  atmospheric  qualities)  and  orchestral  music.     It  is  largely  thematic,  but  not  strictly  in  a  traditional  Wagnerian  sense,  where  each   character   is   assigned   their   own   musical   identity.   Themes   are   generally   more   connected  with  broad  concepts  (such  as  national  pride  –  SCOTTISH  THEME;  ideals   of   valor,   honor   and   freedom   –   IDEALS   THEME;   etc.),   interpersonal   connections   (such  as  love  –  LOVE  THEME  &  EMOTIONAL  THEME)  and  situations  (armed  conflict   –   WAR   TEXTURE;   etc.).   Even   the   few   exceptions   (LONGSHANKS’   THEME   &   MURRON’S  THEME),  seem  to  pertain  more  to  how  the  main  character  experiences  –   and,   perhaps   by   extension,   a   means   of   emotional   instruction   to   the   audience   as   to   how   to   experience   –   the   particular   situation   in   which   they   appear;   e.g.:     LONGSHANKS’   THEME   is   always   dark   and   menacing   and   is   closely   associated   to   the   English  threat;  in  other  words,  it  paints  a  sonic  picture  of  them  as  ‘the  bad  guys’,  not   necessarily   of   the   specific   character.   Similarly,   MURRON’S   PRELUDE,   a   serene   and   minimal   melodic   motif   preceding   the   LOVE   THEME,   though   linked   to   William   Wallace’s  dead  wife,  feels  more  like  it  draws  us  into  what  she  means  to  him  rather     4   than   an   actual   reference   to   her   as   a   character.   I   feel   the   brevity   of   her   onscreen   presence  amplifies  this  theory.     In   fact,   this   very   contrast   makes   these   themes   classifiable   into   three   general   categories:     1) HISTORICAL   These   themes   operate   in   a   more   traditional   way,   emphasizing   on   events   that   further  the  dramatic  narrative  of  the  story.  They  generally  have  a  noble  and   uplifting  character.     Themes   in   this   category:   SCOTTISH   THEME,   IDEALS   THEME,   AWE   THEME,   HEROIC  THEME     2) PERSONAL   The  evocative  character  of  these  themes  and  their  associations  with  the  film’s   more  intimate  moments  make  them  communicators  of  a  narrative  world  far   removed  from  the  grandiose  historical  events  of  the  story.  A  world  where  our   hero  derives  their  deepest  urges  to  be  who  they  are  in  the  historical  context   of  the  film.     Themes   in   this   category:   LOVE   THEME,   LIBERATION   THEME,   EMOTIONAL   THEME,  MURRON’S  PRELUDE     5     3) CIRCUMSTANTIAL   These   themes   have   a   much   more   mundane   function,   associated   with   particular  situations  and  types  of  events,  as  well  as  more  musical  functions,   such  as  transitions,  etc.  –  more  on  this  later  on.     Themes   in   this   category:   WAR   TEXTURE,   INTRO   STRING   MOTIF,   CONCLUSIVE  STRING  MOTIF,  DARK  WAR  BRASS  MOTIF,  WAR  TEXTURE       THEMATIC  ANALYSIS     At  this  stage,  I  will  present  the  various  themes,  explain  my  naming  system,  as  well  as   point   out   some   commonly   used   motifs   and   textures,   including   a   brief   musical   analysis  and  discussion  about  where  they  appear  in  the  film  and  how  they  interact   with  and  support  the  visual  narrative.     A) SCOTTISH  THEME     This  theme  is  established  early  on  in  the  introduction  of  the  film  on  Uillean  bagpipes   instead  of  Scottish  ones,  as  Horner  himself  preferred  their  more  mellow  and  lyrical   tone  to  that  of  their  Scottish  counterpart,  which  is  much  louder  and  more  abrasive   sounding.     6         According   to   Gibson   himself,   during   the   DVD   commentary,   the   purpose   of   the   introductory  establishing  shots  was  to  “[…]  give  [the  audience]  Scotland  […]”,  both   visually  and  sonically.  This  effectively  served  as  a  brief  for  the  music,  which  was  in   my   opinion   very   effective   in   evoking   the   geographical   location   but   also   a   majestic   and  uplifting  atmosphere  to  frame  a  truly  inspiring  story.     It  is  centered  on  D  major  pentatonic  –  like  most  of  the  themes,  as  we  will  see  further   on   –   a   common   scale   for   Celtic   music   and   particularly   bagpipes,   with   ornamentations  that  are  idiomatic  to  the  style.     Cues   where   it   appears:   1.   PRELUDE/MAIN   TITLE,   6.   OUTLAWED   TUNES   ON   OUTLAWED   PIPES,   23.   HEAVY   HORSE,   24.   SIR   WILLIAM,   33.   LAMENT,   35.   THE   LEGEND  SPREADS,  42.  BANNOCKBURN     B) IDEALS  THEME       7   I   named   this   theme   like   this   because   of   the   moments   where   it   seems   to   appear   within  the  film.  We  hear  it  first  exposed  when  William  Wallace’s  father  tells  his  son   that   “[…]   it’s   our   wits   that   make   us   men   […]”,   teaching   him   that   the   ability   to   fight   is   not   enough;   the   reason   one   fights   for   defines   a   man   (cue   3:   I   CAN   FIGHT).   Furthermore,   it   reappears   as   he   enters   the   battlefield   in   the   first   battle   of   Stirling   (cue  22:  SONS  OF  SCOTLAND);  after  the  now  iconic  speech  before  the  battle;  when   the  battle  is  won,  before  he  receives  his  knighthood  (cue  24:  SIR  WILLIAM);  before   his   capture   by   an   ambush   set   at   his   final   meeting   with   Robert   the   Bruce   (cue   38:   THE  TRAP);  and,  last  but  not  least,  the  also  iconic  ‘Freedom!’  moment  just  before  his   execution  near  the  end  of  the  film  (cue  41:  THE  EXECUTION).         To  me,  these  are  moments  that  focus  on  William  Wallace’s  values  in  terms  of  what   he  hopes  to  achieve  for  his  country.  The  theme  identifies  itself  with  purpose,  valor,   victory  against  injustice,  unification  in  defiance  of  tyranny  and  freedom  respectively.       8   Musically,  it  is  probably  the  most  interesting  theme  in  that  it  takes  place  over  a  4/4   rhythmic   sequence,   but   grouped   in   phrases   of   3   half-­‐notes,   which   seems   to   somehow   make   it   repeat   more   easily.   Indeed,   it   is   a   quite   repetitive   theme,   which   is   extended   in   some   parts   of   the   film   with   inserted   codas   (e.g.:   after   the   battle   of   Stirling  is  won  –  cue  24:  ‘SIR  WILLIAM’).  It  is  also  tonally  centered  around  D  major   and   is   usually   presented   as   bright   and   triumphant   throughout   the   film,   always   played   on   the   strings,   except   in   its   first   exposition   during   a   moment   between   William   Wallace   and   his   father,   where   it   is   given   to   cor   anglais   and   is   much   more   intimate.     C) AWE  THEME     This  theme  bears  some  similarity  to  the  IDEALS  THEME,  in  that  it  contains  a  lot  of   leap   intervals,   as   shown   below.   Again,   tonally   centered   around   D   major,   but   with   some   modal   interchange   in   the   harmony,   which   gives   it   an   imposing   yet   intimate   and  melancholic  tone  that  resolves  on  a  broad  and  reflective  cadence.  It  is  sung  by  a   boys   choir,   which,   according   to   Horner   himself,   makes   a   cue   more   “reflective”   (source:   “James   Horner   Breakfast   https://www.youtube.com/watch?v=eX5XWBnSpL8).     interview   part   1”:     9       Conceptually,   it   connects   itself   with   pivotal   moments   in   William   Wallace’s   life.   His   father’s   death   fighting   the   English,   where   it   appears   appropriately   as   a   funereal   lament   (cue   4:   DEATH   IN   THE   WALLACE   FAMILY);   during   his   battle   speech,   in   a   more   uplifting   feel,   preparing   the   music   for   the   powerful   crescendo   of   the   roused   Scottish   army   ready   to   fight   (cue   22:   SONS   OF   SCOTLAND);   during   his   execution,   similarly   as   before,   culminating   in   the   ‘Freedom!’   moment   (cue   41:   THE   EXECUTION).     D) LOVE  THEME     This   is   probably   one   of   the   most   recognizable   themes   of   the   film.   Musically   quite   simple   and   effective,   rooted   in   A   minor,   it   is   usually   played   on   traditional   Celtic     instruments  such  as  flute  and  Uillean  pipes  –  usually  supported  by  harp,  that  gives  it   a  feel  of  antiquity  and  a  certain  sense  of  fragility  (e.g.  cue  5:  A  GIFT  OF  A  THISTLE).   However,   it   also   appears   on   cor   anglais   –   which   gives   it   a   sense   of   longing   typical   to   the   instrument   and   a   very   soulful   character,   with   added   warmth   from   the   strings     10   and   pads   usually   supporting   it   harmonically   in   this   case   (e.g.   cue   26:   VISION   OF   MURRON)   –   and   strings   –   where   it   becomes   more   soaring   and   feverish   in   some   more  dynamic  moments  in  the  film  (e.g.  cue  32:  BETRAYAL  AND  DESOLATION).         Interestingly,   its   use   is   not   limited   to   a   single   object   of   affection.   It   appears   numerous   times   in   the   film   and   seems   to   highlight   that   deep   bond   between   Wallace   and   a   number   of   people,   including   his   wife   Murron,   the   Princess   and   Robert   the   Bruce.   It   seems   to   allude   to   the   core   of   his   values,   something   of   a   more   emotional   nature  that  fuels  him  from  a  very  deep  place  and  in  a  very  personal  way.     Other   cues   where   it   appears:   12.   WALLACE   COURTS   MURRON,   13.   THE   SECRET   WEDDING,   cue   17:   MURRON’S   FUNERAL,   27.   MEETING   WITH   THE   PRINCESS,   37.   FOR  THE  LOVE  OF  A  PRINCESS,  39.  THE  PRINCESS  PLEADS  FOR  WALLACE’S  LIFE     E) LIBERATION  THEME     11     I   have   identified   two   moments   where   this   features   prominently   and   has   two   almost   opposite  functions.  One  is  when  a  young  William  Wallace  leaves  his  home  with  his   uncle  Argyle  after  his  father’s  death  (cue  6:  LEAVING  HOME),  so  in  a  sense  it  feels   like   liberation   from   the   past,   but   with   a   tinge   of   sadness.   The   second   moment   is   largely   varied   and   much   longer,  after  his  first  encounter  with  the  Princess  and  has   a   much  brighter  and  more  lyrical  character  (cue  37:  FOR  THE  LOVE  OF  A  PRINCESS).         It   is   one   of   the   more   classical   sounding   themes   in   the   film,   always   on   strings   and   centered   in   B   minor,   so   still   orbiting   around   the   D   major   center   that   seems   to   connect  most  of  the  themes  with  each  other  –  more  on  this  later  on.     F) EMOTIONAL  THEME     As   seen   with   the   LIBERATION   THEME,   this   one   seems   to   also   have   a   multiple   function,  although  much  more  elaborately  applied;  hence  the  name.  It  appears  in  the   courtship  between  William  and  Murron  (cue  12:  WALLACE  COURTS  MURRON)  as  a     12   soft   serenade-­‐like   accompaniment   to   their   affair;   blossoms   into   a   passionate   exposition   during   their   wedding   night   (cue   14:   THE   SECRET   WEDDING);   then,   it   feverishly   blares   high   in   the   strings   during   the   attack   on   Murron,   as   William   desperately   tries   to   save   her   from   the   English   guard   (cue   15:   ATTACK   ON   MURRON);   a   soft   and   sweet   whisper   during   William   and   Robert   the   Bruce’s   first   meeting   (cue   25:   INVASION   OF   ENGLAND);   a   sorrowfully   expressive   passage   for   Murron’s   funeral   and   Robert   the   Bruce’s   betrayal   on   the   battlefield   (cue   17:   MURRON’S  FUNERAL,  cue  32:  BETRAYAL  AND  DESOLATION);  finally,  a  requiem  line   for  boys’  choir  in  William’s  execution  (cue  41:  THE  EXECUTION).         On  the  whole,  it  seems  to  be  reserved  for  two  key  persons  in  William  Wallace’s  life;   Murron,  his  dead  wife,  the  visions  of  whom  keep  him  fighting;  and  Robert  the  Bruce,   leading  contender  for  the  throne  of  Scotland,  whom  he  attracts  as  a  kindred  spirit,   willing   to   defy   his   fellow   noblemen   to   bring   freedom   from   the   English   yolk   to   his   country.     13     One  might  attempt  a  deeper  analysis  of  the  narrative  subtext  and  see  that  the  people   William   shares   an   intimate   relationship   with   define   part   of   his   symbolization:   his   dead   wife   and   a   noble   man;   two   individuals   he   cannot   ever   consummate   his   relationship  with.     G) LONGSHANKS’  THEME     This  is  a  much  subtler  motif,  which  I  reluctantly  call  a  theme  as  such.  It  is  connected   to   King   Edward   I’s   activities,   such   as   forcefully   instructing   his   son   to   quell   the   Scottish  rebellion  (cue  19:  THE  KING’S  VENGEANCE)  and  some  time  later  after  the   Princess  returns  from  meeting  Wallace  and  the  king  announces  his  ruse  before  the   battle   of   Falkirk   (cue   28:   LONGSHANKS’   SURPRISE).   More   interestingly,   though,   it   also   makes   an   appearance   when   Longshanks   is   not   present,   but   he   is   being   represented  in  some  way  (e.g.:  battle  of  Stirling  –  cue  22:  SONS  OF  SCOTLAND,  cue   41:  THE  EXECUTION).         I  find  this  to  be  very  intelligently  placed  in  the  film,  considering  the  fact  that  Wallace   and  Longshanks  never  meet  face  to  face,  as  a  way  to  keep  the  audience  in  touch  with     14   the  basic  core  of  the  story:  no  matter  who  is  on  screen  or  not,  the  story  is  essentially   defined   by   an   archetypal   duality,   the   dark   powerful   tyrant   versus   the   poor   rebel   bearing  the  light  of  freedom.     H) HEROIC  THEME     Also   a   very   recognizable   theme   from   the   film,   it   first   makes   its   appearance   during   Wallace’s  speech  to  the  Scottish  army  before  the  battle  of  Stirling  (cue  22:  SONS  OF   SCOTLAND),  where  William  Wallace  emerges  from  a  figure  of  rumor  into  flesh  and   bone  and  unites  an  army  of  scattered  and  weak  allegiances  into  a  fighting  force  to  be   reckoned   with.   This   is   the   moment   he   cements   himself   firmly   into   history   and   the   theme  represents  this  well,  usually  on  solo  horn  and/or  cor  anglais  and  traditional   flute,  giving  the  phrase  to  the  strings,  thus  maintaining  at  once  idiomatically  Celtic   characteristics  –  such  as  its  D  major  pentatonic  centre  –,  a  rousing  air  of  nobility  and   sheer  musical  power.           15   Other   cues   where   it   appears:   24.   SIR   WILLIAM,   41.   THE   EXECUTION,   42.   BANNOCKBURN       MOTIFS     The   recurring   motifs   have   a   role   of   their   own   in   this   soundtrack.   They   are   intelligently   recycled   and   adapted   to   facilitate   a   variety   of   transitions,   but   also   set   the  mood  in  a  more  poignant,  subversive  way.     1) INTRO  STRING  MOTIF     This  motif  first  appears  as  a  brief  intermezzo  for  the  violins  to  usher  in  the   SCOTTISH  THEME  in  the  film’s  introduction.  Musically,  it  actually  gives  an  identity   to  the  rest  of  the  string  work  in  the  soundtrack,  often  flirting  with  intervals  like  2nds   and  4ths  in  an  Arvo  Part  sort  of  vain,  which  give  the  soundtrack  –  and,  indeed,  the   composer  himself  –  a  sonic  identity,  a  ‘timeless’  quality  –  in  the  sense  that  the   harmony  does  not  make  it  identifiable  to  a  particular  time  or  place  –  and  a  very   atmospheric  and  modern  edge,  which  I  feel  make  it  relatable  to  a  modern  audience.   A  variation  is  later  used  when  William  Wallace  returns  home  as  an  adult.  Another   one  appears  the  morning  after  Wallace  and  Murron  consummate  their  hidden   marriage  in  the  woods.  Therefore,  it  feels  like  the  composer’s  intention  is  to     16   subconsciously  associate  this  motif  with  the  concept  of  beginning;  of  the  story  itself;   of  a  character’s  new  beginning/introduction;  of  a  couple’s  new  beginning,  etc.     2) MURRON’S  PRELUDE     Probably   the   subtlest   and   least   heard   theme   of   the   film,   MURRON’S   PRELUDE   appears   in   two   scenes:   the   couple’s   wedding   in   the   woods   (cue   13:   THE   SECRET   WEDDING)   and   during   Wallace’s   dream   just   before   his   meeting   with   the   Princess   of   France   (cue   26:   VISION   OF   MURRON).   Its   main   function   is   to   introduce   the   LOVE   THEME,   but   this   way,   it   is   specifically   addressed   to   his   wife,   rather   than   the   other   characters  this  theme  also  accompanies  within  the  film.         3) CONCLUSIVE  STRING  MOTIF     This  is  a  rising  crescendo  string  motif  with  similar  harmonic  configuration  to  the   previous  one  that  often  serves  as  the  conclusion  to  a  cue  or  a  transition  from  one   theme  (cue  32:  BETRAYAL  AND  DESOLATION)  or  scene  to  another  (cue  13:  THE     17   SECRET  WEDDING  –  from  William  and  Murron  in  the  woods  the  morning  after  their   wedding  to  following  each  other  at  the  village  market  place).  It  is  proven  to  be  very   malleable,  as  it  is  temporally  varied  often,  conceivably  to  better  accommodate   timing  issues  with  some  of  the  sync  points  in  the  film.     4) DARK  WAR  BRASS  MOTIF     This   consists   of   a   two-­‐chord   progression   with   a   sort   of   unsettling   effect   played   in   the   low   register   on   horns   and   trombones.   It   is   introduced   in   the   beginning   of   the   film,   well   timed   in   my   opinion   with   the   narrator’s   line:   “[…]   history   is   written   by   those  who  have  hanged  heroes  […]”  (cue  1:  MAIN  TITLE).  It  is  usually  in  crescendo,   from  piano  to  mezzoforte,  and  is  used  a  lot  during  battle  scenes.  I  take  this  to  mean   that  it  is  associated  with  the  English  and  the  threat  they  pose  to  the  Scots.         TEXTURE     There  is  also  a  non-­‐melodic  motif  that  behaves  like  a  theme,  in  that  it  is  recurrent   and  obviously  associated  with  a  particular  state  in  the  film.       18   WAR  TEXTURE     This   texture   first   presents   itself   in   William   Wallace’s   stylized   arrival   to   the   base   camp  of  the  English  guard  who  captured  and  killed  his  wife  (cue  16:  REVENGE).  It   consists   in   percussion,   percussion   FX,   extended   cymbal   techniques,   pan   flute   extended   techniques,   breathy   string   pads   and   a   vocal   pad   ostinato   that   create   and   sustain   a   tense   and   eerie   atmosphere   that   keeps   us   alert   over   a   prolonged   slow-­‐ motion   sequence,   only   to   be   further   immersed   in   the   film   during   the   release   of   return  to  normal  speed,  furthering  the  story  and  increasing  the  activity.  It  reoccurs   often   in   the   film,   stripped   down   to   its   more   characteristic   forms   –   mainly   the   breathy  string  pad,  occasionally  some  of  the  percussion  effects  and,  very  often,  the   pan   flute   –   and   seems   to   be   associated   with   anticipation   of   conflict,   whether   large   scale   (full-­‐on   battle   –   e.g.   cue   23:   THE   BATTLE   OF   STIRLING)   or   small   scale   (e.g.:   ambush  –  e.g.  cue  36:  AMBUSHED  AMBUSH).     I  feel  the  most  effective  use  of  it,  after  its  introduction,  is  the  scene  of  his  betrayal  by   the   Scottish   nobles   during   a   meeting   with   Robert   the   Bruce   (cue   38:   THE   TRAP).   After   establishing   the   theme’s   association   with   conflict   and   returning   to   slow   motion,   which   was   characteristic   of   the   use   in   pivotal   moments   in   the   film,   it   is   almost   as   if   the   music   briefly   takes   on   a   leading   role   in   the   narrative   and   uses   its   communicative  power  to  prepare  the  audience  for  the  painful  scene  to  come.     Other  cues  where  it  appears:  18.  RETALIATION,  40.  THROUGH  THE  CROWD     19     ASSESSMENT     As  previously  said,  this  is  mostly  a  thematic  soundtrack,  where  each  musical  motion   is   assigned   multiple   related   dramatic   situations,   which   they   often   differentiate   by   changing  dynamics,  expression  and  instrumentation.     For   example,   the   IDEALS   THEME   first   appears   on   cor   anglais   with   string   pad   support  when  Wallace’s  father  imparts  wisdom  to  his  young  son  (cue  3)  and  adds  to   the   intimacy   of   the   scene   between   a   boy   connecting   to   the   man   he   will   grow   to   become  through  his  father.  It  returns  later  with  temperance  and  a  sweeping  air  of   nobility  on  full  string  section  when  he  enters  the  battlefield  of  Stirling  (cue  22),  then   similarly  but  louder  and  more  majestically  when  the  battle  is  won  (cue  24).  It  is  as  if   the  composer,  after  establishing  a  connection  between  this  musical  gesture  and  an   ideal  of  the  story,  eventually  shows  the  character  embody  this  ideal  more  and  more.   This  concept  is  brought  to  an  extraordinary  climax  during  Wallace’s  execution  (cue   41)  for  the  now  iconic  ‘Freedom!’  moment.   Similarly,   the   EMOTIONAL   THEME   is   exposed   in   great   variety   throughout   this   soundtrack.   In   cue   12   (‘WALLACE   COURTS   MURRON’),   it   makes   its   first   shy   appearance  in  the  middle  of  the  cue,  ethereally  played  on  cor  anglais  and  strings  to   underscore   William   and   Murron’s   rekindled   affection   for   one   another.     In   cue   14   (‘THE   SECRET   WEDDING’),   high   in   the   strings   while   cor   anglais   counterpoints   around   it   during   their   first   erotic   encounter;   in   cue   15   (‘ATTACK   ON   MURRON’),     20   feverishly  in  the  high  strings  on  top  of  a  dark  and  racy  progression  during  the  attack   on  Wallace’s  wife;  in  cue  17  (‘MURRON’S  FUNERAL’),  it  is  presented  in  an  espressivo   passage  in  the  strings,  dramatically  supporting  William  asking  his  dead  wife’s  father   for  his  blessing  of  their  marriage  at  her  grave;  in  cue  25  (‘INVASION  OF  ENGLAND’),   it  is  enigmatically  used  for  the  first  time  between  William  and  a  character  other  than   his   wife,   Robert   the   Bruce,   when   they   first   come   in   personal   contact;   in   cue   32   (‘BETRAYAL  AND  DESOLATION’),  the  second  moment  between  these  two  men  is  in   stark  contrast  with  the  first,  as  it  accompanies  a  scene  of  betrayal;  finally,  in  cue  41   (‘THE   EXECUTION’),   it   becomes   Wallace’s   swan   song   through   a   boys’   choir   and   string  section.     A  slightly  different  approach  is  seen  in  the  examples  of  cue  21  (‘MAKING  PLANS  –   GATHERING  THE  CLANS’)  and  cue  35  (‘THE  LEGEND  SPREADS’),  where  traditional   elements  –  a  pipe  improvisation  in  both  instances  –  support  the  SCOTTISH  THEME   and  exalt  Wallace.     Furthermore,   perhaps   due   to   the   versatility   and   number   of   themes   used   and   how   deeply   intertwined   with   the   storyline   they   are,   most   cues   contain   more   than   one   theme,   usually   connected   via   one   of   the   motifs   and   coexisting   well   thanks   to   the   shared  tonality  –  D  major.   For  example,  in  the  pre-­‐mentioned  example  of  cue  22,  the  IDEALS  THEME  and  the   HEROIC  THEME  succeed  each  other,  with  the  AWE  THEME  making  a  grand  entrance   at   the   conclusion   of   Wallace’s   rousing   war   speech.   This   way,   the   uplifting   nobility   of     21   the   IDEALS   THEME   is   not   only   connected   with   Wallace’s   inspiring   entry   into   the   battlefield,   it   also   becomes   an   effective   precursor   to   the   first   exposition   of   the   HEROIC  THEME,  where  Wallace  cements  his  place  in  history  as  a  figure  of  mythical   proportions.   Finally,   the   emotional   arc   both   director   and   composer   seem   to   be   working   towards   in   this   scene   culminates   with   the   grandiose   conclusion   of   Wallace’s  speech  over  the  AWE  THEME.   Another   example   is   the   end   of   that   same   battle   (cue   24),   where   the   previous   exposition   is   now   revered,   i.e.:   the   HEROIC   THEME   precedes   the   IDEALS   THEME.   Having   these   two   cues   at   the   beginning   and   end   of   such   an   important   event   and   the   reversal   of   the   themes   used   gives   a   sense   of   framing   a   section   with   ‘book   ends’.   It   further   amplifies   the   implicit   message   of   this   progression   is   that   an   ideal   turns   a   man   into   a   hero,   the   hero   is   affirmed   by   leading   his   people   to   victory   and   that   victory,  as  well  as  the  hero  himself,  becomes,  in  turn,  an  ideal  for  these  people.     Therefore,  the  main  reason  behind  the  tonal  convergence  and  conceptual  flexibility   of  the  themes  in  the  soundtrack  seems  to  be  its  effectiveness  considered  under  both   an  intellectual  and  a  more  emotive  appreciation  of  its  function  is  used  to  great  effect.     Moreover,  there  are  a  couple  of  select  moments  where  Horner  is  not  afraid  to  take   that   flexibility   a   step   further   in   a   much   more   ‘unmusical’   approach.   He   becomes   a   sort   of   music   editor   and   forms   a   peculiar   ‘collage’   of   motifs   to   construct   some   of   the   cues   to   extremely   engaging   effect.   For   instance,   cue   23   (‘HEAVY   HORSE’)   consists   in   constant   war-­‐like   traditional   percussion,   the   high   breathy   pad   from   WAR   TEXTURE,     22   processed   brass   (trombone   and   horn)   blares,   the   SCOTTISH   THEME   and   a   synth   string  ostinato,  all  curiously  put  together  and  brought  in  and  out  seemingly  at  will,   with  little  interconsistency.  However,  the  effect  on  this  slow-­‐motion  scene,  depicting   the  battered  Scottish  army  facing  the  onslaught  of  English  heavy  cavalry,  immerses   the   audience   in   the   drama   with   a   staggering   rising   sense   of   alert   and   unpredictability   and   in   solemn   awe   of   the   indomitable   fighting   spirit   of   the   underdog.     The  second  instance  where  this  approach  is  used  is  the  final  grand  moment  of  the   film   (cue   42:   ‘BANNOCKBURN’),   when   Wallace’s   trusted   comrade   Hamish   releases   Wallace’s   sword   in   the   air   in   response   to   Robert   the   Bruce’s   call   to   arms.   The   HEROIC   THEME   is   played   exultantly   on   a   full   string   section,   while   the   SCOTTISH   THEME   is   brought   in   and   out   irregularly   on   pipes,   giving   an   inspiring,   hair-­‐raising   sense  of  awe  as  the  troops  decide  to  charge  and  defeat  a  far  superior  military  force   once  again.     This  opens  a  small  yet  interesting  parenthesis  regarding  Horner’s  use  of  electronic   sounds   and   textures   within   the   soundtrack.   He   has   kept   them   mostly   subtle   and   seemingly  assigned  them  specifically  for  atmospheric  qualities.  This  facilitates  their   use  in  almost  half  the  cues  in  the  film  (specifically  cues  1,  2,  4,  5,  6,  11,  15,  16,  18,  19,   21,  23,  26,  28,  29,  33,  34,  36,  38,  40)  without  detracting  from  the  temporal  function   evoked   by   the   traditional   instrumentation,   but   rather   enhancing   the   ‘fairytale’   quality  of  the  narrative.  Since  the  direction  is  willing  to  zoom  in  on  the  characters’     23   inner  world,  stripping  them  of  their  heroic  significance  and  exposing  their  personal   vulnerabilities,  it  makes  sense  for  the  music  to  emulate  this  intimate  tone.       CONCLUSION     This   is   the   work   of   a   composer   who   is   not   afraid   to   explore   and   fuse   different   disciplines  to  sculpt  a  very  diverse  and  expressive  soundtrack  that  works  on  many   levels.  The  music  achieves  its  purpose  of  immersing  the  audience  in  a  specific  time   and  place,  without  limiting  itself,  but  allowing  its  emotional  dimension  to  extend  far   beyond  and  resonate  with  its  audience.  The  themes  are  memorable  and  accessible,   while   the   textures   are   subtle   and   effective,   but   are   repeated   often   enough   to   establish   their   role.   In   addition,   the   flexibility   of   the   themes   to   be   adapted   to   situations   that   are   similar   in   a   broad   sense,   integrated   into   other   musical   contexts   and   paired   with   each   other   during   sequences   with   an   appropriate   emotional   succession   provide   recognizable   associations   that   enable   access   to   the   rich   emotional  subtext  of  the  film.     APPENDIX  1:  FULL  SOUNDTRACK  CUE  SHEET     *   titles   used   from   officially   released   original   soundtrack   recording   (tracklist   and   music   available   here:   https://www.youtube.com/watch?v=OLPwu3dw6BA)   /   cues   separated   in   terms  of  dramatic  and/or  musical  continuity  by  author  Niko  Paterakis     24     1)   PRELUDE/   MAIN   TITLE   (3:24):   electronic   lead,   vox   pad   w/   hurdy   gurdy   drone   and  harp  __  strings  w/  vox  pad  and  pipe  for  SCOTTISH  THEME  __  horns  (DARK  WAR   BRASS  MOTIF)  and  more  intent  strings  –  lots  of  repeating  phrases  __  strings  &  solo   horn,  taken  by  celli  (variation  of  SCOTTISH  THEME)  just  before  the  barn  scene     ACTION:  Film  introduction  –  Establishing  shots  of  the  Highlands  __  Enacting   some  of  the  narration,  Scots  and  English  meeting  for  a  council,  presenting  a  young   William   Wallace   argue   with   his   father   and   brother   about   joining   them   for   visiting   the  council.     2)   THE   BARN   (0:51):   percussion,   hurdy   gurdy   drone,   chimes   and   SFX   –   rising   and   falling  dynamics     ACTION:  William  witnessing  hanging  bodies  in  the  council  barn     3)   I   CAN   FIGHT   (0:52):   IDEALS   THEME   first   ‘shy’   exposition   on   strings   and   cor   anglais     ACTION:  Father  leaves  Wallace’s  home  for  skirmish  against  the  English     4)   DEATH   IN   THE   WALLACE   FAMILY   (2:31):   Enter   AWE   THEME   on   strings   and   vox   pad  –  enter  cor  anglais  and  synth  lead  –  *same  electro  bass  lead  as  intro     25     ACTION:   Wallace   realizing   his   father   and   brother   are   gone   __   preparing   the   bodies  for  burial  __  Family  funeral     5)   A   GIFT   OF   A   THISTLE   (1:31):   descending   strings   passage   introducing   folk   flute   (cadenza  of  LOVE  THEME)  –  enter  harp  __  LOVE  THEME  with  string  pad,  bass,  harp   and  pipe  –  reply  strings,  tail  with  solo  flute     ACTION:   Murron   (future   wife)   sees   Wallace   at   funeral,   who   offers   him   a   thistle   (traditionally   emblematic   flower   of   Scotland)   for   his   loss   __   Uncle   Argyle   arrives     6)   OUTLAWED   TUNES   ON   OUTLAWED   PIPES/   LEAVING   HOME/   THE   ROYAL   WEDDING   (3:16):   string   pad   drone   –   SCOTTISH   THEME   __   string   pad   drone   –   SCOTTISH  THEME  on  pipe,  string  pad  harmonic  support  __  LIBERATION  THEME  (1st   exposition)  on  strings  during  leaving  home  __  choir  pad  (reminiscent  of  intro)  and   Gregorian  chants  for  wedding  scene     ACTION:  William  and  his  uncle  witness  bagpipers  playing  over  the  graves  __   Leaving  family  home  __  Royal  wedding  between  Edward  II  and  the  French  Princess   Sophie       26   7)   RETURNING   HOME   (1:12):   Solo   horn   –   rising   string   &   harp   move   –   strings   repeating   intro   movement   __   alternative   cadence   with   horn   section   (DARK   WAR   BRASS  MOTIF)     ACTION:  Wallace  returning  to  his  family  home  as  an  adult     8)  SCOTTISH  WEDDING  1  (1:05):  [source  music]  –  traditional  Celtic  music     ACTION:  Wallace  arrives  at  wedding  celebration  in  his  village     9)  (1:18):  source  music  [traditional  drum]     ACTION:  rock  toss  contest  between  Wallace  and  Hamish     10)  SCOTTISH  WEDDING  2  (0:56)     ACTION:  The  feast  resumes  after  contest     11)   PRIMA   NOCTES   (00:45):   vox   pad   and   harp   ostinato,   hurdy   gurdy   drone,   traditional   flute   carrying   melody   __   enter   electric   bass   –   could   be   a   variation   of   MURRON’S  THEME       27   ACTION:   local   lord   claims   bride   for   himself   by   royal   English   law   for   her   wedding  night     12)   WALLACE   COURTS   MURRON   (4:07):   traditional   Celtic   music   __   bouzouki,   whistle,   bohdran   __   [stop]   __   LOVE   THEME   on   pipe   and   string   pad   __   flute   plays   with   pipe   and   closes   phrase   __   flute   continues   phrase   with   string   pad   rising   harmonically   and  resolves  __  strings  and  cor  anglais  play  EMOTIONAL  THEME  __  strings  close  __   cor  anglais  recapitulates  LOVE  THEME  __  horn  takes  it  and  gives  it  to  strings  playing   previous  flute  cadenza  __  pipes  &  string  pad  recapitulating,  then  strings  for  a  grand   finish     ACTION:   Murron   leaves   her   home   impulsively   at   William’s   invitation   and   they   head   out   into   the   woods   __   re-­‐acquaintance   conversation   __   takes   her   back   home  –  gives  her  back  the  thistle  she  gave  him  when  they  were  children     13)   THE   SECRET   WEDDING   (1:34):   string   pedal   note   __   MURRON’S   PRELUDE   on   strings   with   some   variations   added_   enter   LOVE   THEME   on   folk   flute,   harp   and   strings       ACTION:   William   invites   Murron   to   meet   in   the   woods   and   proposes   to   her   –   she  accepts       28   14)  (3:49):  harp  on  slow  ostinato  &  flute  EMOTIONAL  THEME_strings  recapitulate,   harp  continues  –  strings  close  phrase  –  cor  anglais  riffs  on  theme’s  opening  phrase   over  2  pedal  chords  (Dm,  G),  strings  join  with  full  phrase  feverishly  while  cor  anglais   canonizes   around   them   –   morning   comes   w/   horn   –   CONCLUSIVE   STRING   MOTIF   leading   to   variation   of   INTRO   STRING   MOTIF_   in   market   place:   flute   and   harp   variation,   strings   join   in   and   end   on   dark   tone   (English   soldier   sees)   –   ominous   minor  phrase  in  the  cor  anglais  to  end  the  phrase       ACTION:   Wedding   in   the   woods   __   first   erotic   contact   __   morning   after   playfully   talking   to   each   other   in   the   market   –   Murron   catches   English   soldier’s   attention…       15)   ATTACK   ON   MURRON   (2:46):   hurdy   gurdy   drone   –   harmonically   descending   strings   and   horns   –   dark   motion   _   percussion   &   string   ostinato   w/   woodwinds   taking   dark   motif,   SFX   and   strings   and   horns   playing   EMOTIONAL   THEME__   horn   leads   to   string   cresc.   and   sudden   stop   __   vox   pad   closes   dynamics   and   low   strings   close  phrase       ACTION:   English   soldier   attempts   to   rape   Murron,   she   defends   herself   –   William  rushes  to  neutralize  guards  –  soldier  sounds  alarm  –  Murron  runs  to  escape   on  horse,  but  gets  caught  –  William  escapes  to  the  woods       29   16)   REVENGE   (6:38):   Percussion   and   pan   flute   FX   __   hurdy   gurdy   drone   drops   in   and  out  __  cymbal  extended  techniques  and  repetitive  pan  flute  motif  __  vox  pad  give   definition  w/  pedal  when  they  spot  W  __  string  line  __  dense  texture  that  maintains   and   slowly   increases   tension   (WAR   TEXTURE)   __   muted   brass   come   in   when   W   attacks   __   low   drone   __   cue   slowly   reveals   Celtic   flavour   w/   percussion   and   medieval-­‐sounding,  war-­‐like  pipe  line  __  low  brass  blares  __  ethnic  voices  and  synths   join   __   motifs   progressively   rise   tone   by   tone   and   accelerate   leading   to   climax   of   conflict   __     pan   flute   FX   takes   cue   out   and   dynamics   suddenly   drop   to   string   high   pedal  and  synth  drone  __  same    pan  flute  FX       ACTION:   Wallace   returning   to   surrender   to   the   lord   that   killed   Murron,   but   ambushes  him  with  a  surprise  attack  and  avenges  her  death     17)   MURRON’S   FUNERAL   (1:57):   harp   plays   LOVE   THEME   under   soft   high   string   pedal   note   __   strings   take   on   melody   softly   __   cor   anglais   leads   string   section   to   EMOTIONAL   THEME   (somber,   melancholic   tone)   __   evocative   crescendo   __   string   place  ending  coda  and  resolves  in  a  minor  cadence  with  quiet  low  drone       ACTION:  Murron’s  funeral  –  William  receives  bereaved  father’s  blessing     18)  RETALIATION  (0:47):  *  same  high  synth  sound  and  pan  flute  flourish  as  cue  16   (REVENGE)   __   low   drone,   simple   martial   motif   on   pipes   with   accompanying   traditional  percussion  __  pan  flute  FX  take  cue  out     30     ACTION:   English   forces   burn   Wallace’s   village   in   retaliation   to   his   uprising   to   avenge  Murron’s  death  –  Wallace’s  forces  trap  them  in  a  gorge  using  troops  as  decoy     19)   THE   KING’S   VENGEANCE   (2:05):   Low   string   motif   LONGSHANKS’   THEME   __   enter  oboe  __  pan  flute  FX  and  drum  hit  usher  synth  and  real  strings  to  enter  minor   cresc.  __  pipes,  drones  and  percussion  enter       20)  THE  FIGHTING  CONTINUES  (0:17):  Drones,  traditional  percussion  &  distinctive   pan  flute  flourish       ACTION:  Scotts  moving  through  the  plains     21)  MAKING  PLANS  –  GATHERING  THE  CLANS  (1:59):  Sparse  percussion,  low  male   vox   choir   pad,   hurdy   gurdy   drone   __   layering   synth   pads   __   cresc.   with   percussive   accompaniment  __  sudden  stop:  hurdy  gurdy  drone,   then   idiomatic   Celtic   interval   __   enter  pipes  soloing  in  traditional  style  __  string  synth  and  whistle  playing  SCOTTISH   THEME  in  tandem       ACTION:   Wallace   hunting   a   stag   –   New   recruit   attempts   to   kill   him   –   Stephen   of   Ireland   protects   him   __   messengers   bring   news   of   alliance   with   neighboring   clans   –  Wallace  and  his  men  rejoice  at  the  prospect  of  war     31     22)   SONS   OF   SCOTLAND   (6:02):   sparse   percussion,   brass   playing   LONGSHANKS’   THEME   (faint   bass   piano   providing   motion)   enriching   with   strings   to   punctuate   military   march   __   horn   and   whistle   ringing   out   with   idiomatic   Celtic   phrases   (dark)_turns   bright   and   major   __   strings   and   whistle   ring   out   with   broad   IDEALS   THEME   __   return   to   DARK   WAR   BRASS   MOTIF   __   strings   playing   IDEALS   THEME   bring  a  stop  to  the  march  __  [brief  pause  with  low  strings,  percussion  and  cor  anglais   articulating   IDEALS   THEME]   __   give   HEROIC   THEME   to   solo   horn   over   bass   string   chords   (‘Sons   of   Scotland…’)   __   variation   of   INTRO   STRING   MOTIF)   __   resolve   in   interval,  playing  AWE  THEME,  punctuated  by  occasional  percussion,  bass  drone  and   piano  __  resolve  after  slow  and  rich  cresc.  into  brass,  strings  and  pipes  recapitulating   theme  __  High  phrase  in  flutes,  strings  dim.       ACTION:  English  army  marches  __  Scottish  army  begins  to  retreat  __  Wallace   makes  speech  to  the  men  and  gains  their  support     23)   THE   BATTLE   OF   STIRLING/BATTLE   TEMPTATION/HEAVY   HORSE   (5:02):   Pounding   percussion   __   progressively   doubling   __   high   airy   synth   pad   from   WAR   TEXTURE   fades   in   __   ends   abruptly   for   processed   pipes   to   take   fragments   of   SCOTTISH  THEME,  along  with  battle  horn-­‐like  blares  __  synth  pad  comes  back  __  so   does   percussion   __   break   [long   pause]   __   pipes   return   triumphantly   (traditional   repertoire)   after   first   arrow   barrage   __   ends   with   pipe   drone   pitch   naturally   detuning   (due   to   loss   of   air   pressure)   __   Rhythmic   FX,   low   synth   FX_SCOTTISH     32   THEME  on  pipes  in  the  background  of  intermittent  string  ostinato  and  brass  blaring   __   string   establish   motif,   accelerando   __   WAR   TEXTURE   synth   pad   returns   __   drum   hit  and  close       ACTION:  Battle  of  Stirling  begins  –  Scottish  forces  tempting  English  –  arrow   barrage   follows   __   more   temptation   –   second   arrow   barrage   __   Scottish   plan   takes   place   –   Scottish   cavalry   pretend   to   flee   –   English   heavy   armored   cavalry   begins   attack  –  countered  by  Wallace’s  idea  to  use  long  sharp  pikes     24)  SIR  WILLIAM  (2:11):  HEROIC  THEME  on  solo  horn  with  mp  string  support  and   harp   __   cor   anglais   takes   it   __   cresc.   and   strings   take   IDEALS   THEME   in   molto   espressivo   __   Coda   starts   on   cut   to   W’s   knighting   ceremony   __   strings   go   low   for   speech   __   then   back   in   f   with   SCOTTISH   THEME   variation   __   riff   on   ending   phrase   in   canon-­‐like  structure,  passing  phrase  from  high  to  low  string       ACTION:  End  of  the  battle  –  victory  cheering  __  Wallace’s  knighting  ceremony     25)  INVASION  OF  ENGLAND  (1:15):  whistle  and  strings  play  EMOTIONAL  THEME  to   capture   Bruce’s   connection   with   Wallace   –   takes   us   into   next   battle   scene   __   again   percussion   and   DARK   WAR   BRASS   MOTIF   __   brief   pause   with   woodwind   and   mp   string  ostinato_  back  to  brass  and  percussion       33     ACTION:  End  of  knighting  ceremony  __  Wallace  talks  briefly  with  and  inspires   the  Bruce  __  Wallace  invades  York     26)   VISION   OF   MURRON   (1:51):   breathy   pad   pedal   note   __   MURRON’S   PRELUDE   variation   high   above   (ethereal   yet   eerie,   specter-­‐like   quality)   __   cor   anglais   takes   same  melody  __  synth  fades  out,  into  LOVE  THEME  with  strings  in  p       ACTION:  Wallace  dreams  of  his  dead  wife     27)  MEETING  WITH  THE  PRINCESS  (1:37):  synth  resumes  pedal  tone  __  cor  anglais   plays  LOVE  THEME  (slowly,  melancholically),  then  synth  supports  with  p  chords       ACTION:  Wallace  makes  a  personal  connection  with  Princess  Sophie     28)   LONGSHANK’S   SURPRISE   (1:24):   Synth   pad   low   pedal   note   __   low   strings   play   LONGSHANKS  THEME       ACTION:   King   Edward   reveals   his   secret   plans   for   the   upcoming   battle   of   Falkirk  against  the  Scotts     29)   MARCH   TO   EDINBURGH   (0:55):   high   synth   pad   pedal   note   __   pipe   &   synth   marching   motif   __   traditional   percussion   __   WAR   TEXTURE   variation   with   slow   dynamics     34       ACTION:   A   message   from   the   Princess   reaches   Wallace,   warning   him   of   Longshanks’  deception     30)  FALKIRK  (1:15):  CONCLUSIVE  STRING  MOTIF  variation  __  high  pedal  note  __  cor   anglais  &  flute  draw  descending  motif    (melancholic)       ACTION:  Robert  the  Bruce  agrees  to  support  Wallace’s  forces  at  Falkirk  __  his   father  convinces  him  otherwise…     31)  (2:41):  First  part  of  CONCLUSIVE  STRING  MOTIF  __  DARK  WAR  BRASS  MOTIF  __   chordal   motion   __   percussion   hit   brings   strings   in   (harmonic   moves   similar   to   Holst’s   ‘Mars’)   __   motif   similar   to   Longshanks’   theme   __   marching   motif   with   percussion,  low  string  marcatos  and  Bartok  pizz.  __  strings  repeating  short  ostinato   phrase  in  long  cells  separated  by  modern  percussion  hits  and  bells  __  accelerando  as   the   Irish   and   Scots   draw   nearer   to   each   other   and   pick   up   the   pace   __   trumpets   take   motif,   supported   DARK   WAR   BRASS   MOTIF   and   woodwind   doubling   strings,   lengthened  ostinato  phrase       ACTION:   Beginning   of   the   battle   –   Scotts   and   Irish   face   each   other   on   the   battlefield  with  unexpected  consequences…       35   32)   BETRAYAL   AND   DESOLATION   (6:18):   Percussion   with   molto   espressivo   string   playing   (reminiscent   of   INTRO   STRING   MOTIF)   __   espressivo   cresc.   to   arrow   barrage_bass   enters   w/   horn   solo   on   top   __   perc.   hit   with   arrow   hitting   Wallace   __   intermittent   brass   chords   __   horn   ends   on   long   note,   strings   take   EMOTIONAL   THEME   with   drum   hits   __   traditional   perc.   &   perc   FX   (tubular   bells   gliss.),   Celtic   idiomatic   string   ostinato   &   sparse   brass   flourishes   __   percussion   and   CONCLUSIVE   STRING   MOTIF   cresc.   __   bass   hit   on   cut   to   Wallace   on   the   ground   __   DARK   WAR   BRASS   MOTIF   __   low   string   detache   &   ritenuto   ascending   in   CONCLUSIVE   STRING   MOTIF,   falling   back   down   in   melancholic   descending   string   line   when   Wallace   springs   up   __   strings   take   LOVE   THEME   PRELUDE   (con   triztezza),   solo   horn   counterpoints   around   it   __   theme   goes   more   espressivo   and   louder   with   Wallace’s   surrender   to   death   __   progression   interrupted   by   Bruce’s   intervention   __   strings   ascend   with   cresc.,   then   take   LOVE   THEME   triumphantly   as   Wallace   escapes   __   drop   dynamics  as  Wallace  is  in  the  clear       ACTION:   Wallace’s   forces   are   betrayed   by   the   Scottish   nobles   –   the   English   gain   the   upper   hand   __   Wallace   chases   Longshanks   off   the   battlefield   –   knight   defends  the  King  and  unhorses  Wallace  –  Wallace  surprise-­‐attacks  him  and  unmasks   him   to   find   it   is   Robert   the   Bruce   –   Wallace   surrenders   himself   to   defeat   –   Robert   the  Bruce  helps  him  escape     33)  LAMENT  (1:33):  synth  pad  mid-­‐range  pedal  note  &  chord  support  __  pipes  play   SCOTTISH  THEME  –  modal  cresc.     36       ACTION:   Robert   the   Bruce,   devastated,   walks   amongst   the   fallen   of   the   battle   of  Falkirk,  ridden  with  guilt  for  his  betrayal     34)   MORNAY’S   DREAM   (1:43):   synth   drone   with   pipes   –   pause   when   waking   up   –   agitato  string  ostinato/  brass  swells  –  brass  motif  is  repeated  more  established  by   the  higher  brass  and  with  quicker  succession  –  suspended  climax  __  bass  motif  takes   the  cue  off   *  ended  with  pan  flute  FX  used  during  Wallace’s  rebellion  (cue  16  –  REVENGE)       ACTION:   Scottish   nobleman   Mornay   has   a   nightmare   about   Wallace   pursuing   him  for  his  betrayal  –  wakes  up  to  Wallace  bursting  into  his  room  on  horse  –  kills   Mornay  and  escapes     35)   THE   LEGEND   SPREADS   (1:04):   horn   &   woodwinds   sync-­‐point   with   body   hitting   table   –   horn   dim.   to   n.   while   pipes   play   melismatic   passage   with   trad.   perc.   –   triumphant  SCOTTISH  THEME  on  the  strings  &  perc  FX  on  top       ACTION:   Scottish   nobleman   Lochlan   is   also   found   dead   –   montage   of   Wallace   climbing   on   top   of   a   hill,   interspersed   with   scenes   of   Scotts   praising   him   for   his   actions       37   36)  AMBUSHED  AMBUSH  (0:59):  WAR  TEXTURE  breathy  textural  atonal  sound  FX   (as   with   Wallace’s   rebellion)_fade   in   –   trad.   perc.   __   processed   brass   blares   –   reminiscent  of  cue  23  –  HEAVY  HORSE       ACTION:   Wallace   attends   meeting/ambush   with   the   English   –   seals   them   in   their  chosen  building  and  burns  them  alive     37)   FOR   THE   LOVE   OF   A   PRINCESS   (2:12):   LOVE   THEME   comes   in   on   cor   anglais,   strings  and  harp,  strings  and  cymbal  flourish  take  theme  w/  soaring  quality  –  makes   transition   into   a   brighter   and   more   classically   lyrical   variation   of   LIBERATION   THEME  –  horn,  low  strings  and  low  perc.  tremolo  takes  cue  out       ACTION:  Princess  secretly  meets  Wallace  in  the  night     38)  THE  TRAP  (1:48):  Strings  come  in  and  counterpoint  around  pipes  with  IDEALS   THEME   –   irregular   and   prolonged   repetition   and   exposition,   steady   and   intense   cresc.  –  Sudden  interruption  and  suspenseful  climax  –  WAR  TEXTURE  breathy  sound   FX   punctuated   by   sparse,   almost   funereal   percussion,   low   brass   play   LONGSHANKS’   THEME       ACTION:  Robert  the  Bruce  prepares  to  meet  Wallace  –  a  trap  is  sprung,  set  by   the  nobles,  unbeknownst  to  the  Bruce  –  the  Bruce  is  injured,  Wallace  is  captured       38   39)   THE   PRINCESS   PLEADS   FOR   WALLACE’S   LIFE   (3:35):   Celtic   harp,   harmonized   clarinets   (p),   chimes   and   traditional   flute   playing   LOVE   THEME   variation   –   flute   plays  single  phrase  from  LOVE  THEME  at  the  end  of  its  re-­‐exposition  –  progression   reiterated   with   choral   pad   –   harp   aids   motif   in   higher   register   –   deccelerando   towards  the  end,  two  false  endings  –  woodwinds  take  it  out  –  Princess  visits  Wallace   –  threatens  Longshanks       ACTION:   After   meeting   Wallace   in   the   dungeon,   the   Princess   asks   Longshanks   to   spare   his   life   –   the  King   is   sick,   yet   immovable   –   the   Princess   reveals   she   is   pregnant   to   Wallace’s   child   and   that   she   plans   to   eliminate   his   son,   her   husband     40)  THROUGH  THE  CROWD  (1:16):  breathy  SFX  from  WAR  TEXTURE  again  –  strings   come  in  indistinctly  and  eventually  iterate  simplified  version  of  LOVE  THEME  slowly   over  SFX  –  ends  on  LONGSHANKS’  THEME     ACTION:  Wallace  is  marched  to  the  execution  platform  amidst  a  crowd  that   derides  him     41)  THE  EXECUTION  (3:42):  Strings  enter  w/  flute  and  play  slow  rising  and  falling   arpeggios   over   the   AWE   THEME   chords   –   percussion   enters   and   adds   depth   and   a   heightened   sense   of   alert   –   solo   horn   plays   HEROIC   THEME   over   strings   taking   previous  arpeggios  –  strings  cresc.  slowly  over  an  exchange  of  a  rising  motif  creating     39   slight   cacophony   with   AWE   THEME   chords   until   the   progression   ‘finds   itself’   –   warm   espressivo   climax   with   noble   and   measured   IDEALS   THEME   exposition   (“Freedom!”)   –   pipes   and   flute   join   w/   melismatic   passages   during   second   exposition   –   EMOTIONAL   THEME   takes   over   serenely   in   boys’   choir,   supported   by   high  strings  and  harp  arpeggios  –  finale  variation  to  a  dramatic  minor  cadence       ACTION:   As   the   brutality   of   the   torture   increases,   the   crowd   itself   beckons   Wallace   to   beg   his   executioners   for   mercy.   Instead,   he   cries:   ‘Freedom!’   –   the   executioners  spare  him  further  pain  and  take  his  life  –  before  the  axe  falls,  Wallace   has  a  vision  of  his  wife  smiling  at  him  –  Wallace  dies     42)   BANNOCKBURN   (3:37):   Single   whistle   plays   SCOTTISH   THEME   over   sparse,   militaristic   percussion   (and   narrative)   –   single   bass   tone,   then   cor   anglais   joins   whistle   in   final   phrase   –   brief   pause,   only   percussion   whistle   and   horn   play   HEROIC   THEME  –  low  strings  join  –  little  louder/cor  anglais  joins  theme  (fills  mid.  register)  –   strings  play  INTRO  STRINGS  MOTIF  variation  with  cor  anglais,  then  create  a  canon   of   rising   string   lines   in   cresc.   –   (axe   release)   Strings   and   brass   in   f   subito   playing   HEROIC   THEME,   while   pipes   play   SCOTTISH   THEME   over   in   a   majestic   irregular   fugue   –   Orchestra   drops   out,   leaving   low   strings   to   dim.   out   over   chords   –   Pipes   and   percussion  take  cue  out     ACTION:   the   Scottish   army   meets   the   English   one,   solely   to   negotiate   surrendering   the   Scottish   crown   to   England.   Robert   the   Bruce   beckons   Wallace’s     40   forces   to   join   him   in   battle.   Hamish   –   William’s   best   friend   –   unsheathes   and   throws   Wallace’s   sword   in   the   air   to   rouse   the   troops   –   the   Scotts   attack   the   English   –   William  Wallace’s  voice  narrates  the  final  line  of  the  film