GUIDE	
  THROUGH	
  THE	
  MUSIC	
  OF	
  
	
  

TOM	
  TYKWER’S	
  
	
  

“PERFUME:	
  THE	
  STORY	
  OF	
  A	
  MURDERER”	
  
	
  
BY	
  
	
  

GUILLERMO	
  CEPEDA	
  ANDRADE	
  
	
  

MMus	
  candidate	
  in	
  scoring	
  for	
  film,	
  TV	
  and	
  video	
  games	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
Supervisors:	
  Lucio	
  Godoy,	
  Alfons	
  Conde	
  
	
  
Berklee	
  College	
  of	
  Music	
  
	
  
Valencia,	
  Spain	
  
	
  
June	
  12th,	
  2014	
  
	
  
	
  
	
  
	
  
	
  

	
  

Acknowledgments	
  

TABLE	
  OF	
  CONTENTS	
  
	
  

1. Introduction	
  ….................................................................................................1	
  
2. Synopsis	
  ….........................................................................................................1	
  
3. Cue	
  list	
  …............................................................................................................6	
  
4. Analysis	
  of	
  cues	
  …...........................................................................................8	
  
4.1	
  

Pre-­‐Title	
  .............................................................................................................8	
  

4.2	
  

Main	
  Title	
  ..........................................................................................................9	
  

4.3	
  

Baby	
  Grabs	
  Finger........................................................................................10	
  

4.4	
  

Orphanage	
  &	
  Tannery................................................................................11	
  

4.5	
  

Streets	
  Of	
  Paris..............................................................................................13	
  

4.6	
  

Pelissier	
  ...........................................................................................................15	
  

4.7	
  

Girl	
  With	
  Plums	
  ............................................................................................16	
  

4.8	
  

The	
  Plumgirl’s	
  Scent	
  ..................................................................................18	
  

4.9	
  

Losing	
  Her	
  Scent	
  .........................................................................................19	
  

4.10	
   Baldini	
  At	
  Studio	
  .........................................................................................20	
  
4.11	
   Baldini	
  Testing	
  Perfume	
  ..........................................................................21	
  
4.12	
   Grenouille	
  Meets	
  Baldini	
  .........................................................................21	
  
4.13	
   Amor	
  &	
  Psyche	
  ............................................................................................22	
  
4.14	
   Baldini	
  Tests	
  New	
  Perfume	
  ....................................................................24	
  
4.15	
   The	
  13th	
  Essence	
  .........................................................................................26	
  
4.16	
   Distilling	
  Roses	
  ............................................................................................27	
  
4.17	
   Experiment	
  ....................................................................................................30	
  
4.18	
   Grenouille	
  Leaves	
  Baldini	
  .......................................................................34	
  
4.19	
   No	
  Smell	
  ..........................................................................................................37	
  
4.20	
   Meeting	
  Laura	
  ..............................................................................................39	
  
4.21	
   Lavender	
  Fields	
  ...........................................................................................40	
  
4.22	
   Pauline	
  .............................................................................................................41	
  
4.23	
   The	
  Tank	
  .........................................................................................................42	
  
4.24	
   I	
  Enjoy	
  My	
  Work	
  ..........................................................................................44	
  
	
  
	
  

	
  

4.25	
   The	
  Method	
  Works	
  .....................................................................................46	
  
4.26	
   The	
  Twins	
  Are	
  Missing	
  .............................................................................48	
  
4.27	
   Beauty	
  ..............................................................................................................50	
  
4.28	
   Grasse	
  In	
  Panic	
  .............................................................................................52	
  
4.29	
   Dark	
  Alley	
  .......................................................................................................57	
  
4.30	
   Richi’s	
  Nightmare	
  ........................................................................................59	
  
4.31	
   Richi’s	
  Escape	
  ................................................................................................62	
  
4.32	
   Laura’s	
  Murder	
  .............................................................................................69	
  
4.33	
   Laura’s	
  Essence	
  ............................................................................................71	
  
4.34	
   Awaiting	
  Execution	
  ....................................................................................72	
  
4.35	
   The	
  Perfume	
  ..................................................................................................75	
  
4.36	
   Beauty	
  II	
  ..........................................................................................................81	
  
	
  
5. Themes	
  …........................................................................................................83	
  
6. Motifs	
  …...........................................................................................................88	
  
7. Backgrounds	
  ….............................................................................................92	
  
8. Conclusions	
  …...............................................................................................99	
  
	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

ACKNOWLEDGEMENTS	
  
	
  
	
  
I	
   would	
   like	
   to	
   thank	
   Brian	
   Cole,	
   Clara	
   Barbera,	
   Marisol	
   Arcis,	
  
Alex	
   Cuadrado,	
   María	
   Iturriaga,	
   Ana	
   Calvillo	
   and	
   all	
   the	
   staff	
   at	
  
Berklee	
   Valencia	
   for	
   given	
   their	
   support	
   in	
   making	
   my	
   master’s	
  
degree	
  a	
  magnificent	
  experience.	
  
Special	
   thanks	
   to	
   my	
   professors:	
   Lucio	
   Godoy,	
   Alfons	
   Conde,	
  
Vannesa	
   Garde,	
   Ben	
   Houge,	
   Constantino	
   Martínez,	
   Ben	
   Cantil	
   for	
   their	
  
valuable	
  guidance,	
  teachings	
  and	
  advices.	
  
I	
  would	
  like	
  to	
  thank	
  all	
  my	
  classmates	
  for	
  being	
  so	
  kind	
  and	
  for	
  
being	
  the	
  best	
  company	
  I’ve	
  had	
  during	
  my	
  master’s	
  degree.	
  
Thank	
   you	
   to	
   the	
   Ecuadorian	
   government	
   for	
   the	
   scholarship	
  
that	
   has	
   allowed	
   me	
   to	
   accomplish	
   my	
   goal.	
   Thank	
   you	
   to	
   the	
  
Ecuadorian	
  institutions:	
  IECE	
  and	
  SENESCYT.	
  
Thank	
   you	
   to	
   my	
   parents	
   and	
   my	
   brother	
   for	
   being	
   a	
   support	
  
and	
  an	
  inspiration.	
  
This	
  work	
  is	
  dedicated	
  to	
  my	
  dear	
  nephews:	
  Nicolás	
  Cepeda	
  and	
  
Tomás	
  Cepeda,	
  and	
  to	
  my	
  dear	
  brother	
  Toño	
  Cepeda.	
  I	
  love	
  you	
  all.	
  

	
  
	
  

	
  

1.

INTRODUCTION	
  	
  

	
  
The	
   current	
   study	
   is	
   intended	
   to	
   be	
   a	
   deep	
   analysis	
   of	
   the	
   music	
   and	
   its	
  
narrative	
   function	
   for	
   the	
   movie	
   Perfume:	
   The	
   Story	
   of	
   a	
   Murderer	
   by	
   Tom	
  
Tykwer.	
   The	
   study	
   includes:	
   musical	
   analysis	
   of	
   every	
   cue,	
   explanation	
   of	
   the	
  
instrumentation	
  used,	
  transcriptions	
  from	
  the	
  soundtrack,	
  a	
  list	
  of	
  themes,	
  motifs	
  
and	
   backgrounds,	
   an	
   explanation	
   of	
   the	
  narrative	
   function	
   of	
   the	
   music,	
   and	
   a	
   list	
  
of	
  the	
  cues	
  with	
  their	
  duration.	
  
Perfume:	
   The	
   Story	
   of	
   a	
   Murderer	
   (2006)	
   is	
   a	
   movie	
   based	
   on	
   the	
   novel	
   Das	
  
Parfum	
  (1985)	
  written	
  by	
  Patrick	
  Süskind.	
  The	
  film’s	
  director,	
  Tom	
  Tykwer,	
  also	
  
composed	
  the	
  entire	
  score	
  for	
  this	
  film.	
  Carrying	
  out	
  both	
  tasks	
  is	
  an	
  exceedingly	
  
rare	
  and	
  difficult	
  act,	
  but	
  is	
  also	
  one	
  that	
  allows	
  for	
  deep	
  analysis	
  with	
  the	
  music	
  
and	
  film	
  created	
  fluidly	
  from	
  the	
  same	
  artistic	
  vision.	
  	
  
	
  
	
  

2.

SYNOPSIS	
  
	
  
The	
   story	
   centers	
   around	
   the	
   life	
   of	
   Jean-­‐Baptiste	
   Grenouille,	
   a	
   man	
   with	
   a	
  

superhuman	
  sense	
  of	
  smell.	
  	
  
Grenouille’s	
   mother	
   gives	
   birth	
   to	
   him	
   in	
   the	
   stench	
   of	
   the	
   Paris	
   fish	
  
market	
  and	
  she	
  quickly	
  tries	
  to	
  hide	
  the	
  unwanted	
  child	
  among	
  the	
  fish	
  entrails	
  
cast	
  under	
  the	
  gutting	
  table	
  of	
  her	
  stall.	
  The	
  baby	
  cries	
  out,	
  however,	
  and	
  is	
  saved	
  
by	
  onlookers	
  who	
  scorn	
  the	
  mother	
  as	
  a	
  murderer.	
  This	
  is	
  the	
  first	
  sound	
  to	
  enter	
  
young	
   Jean	
   Baptiste’s	
   ears,	
   a	
   sound	
   which	
   ultimately	
   leads	
   to	
   his	
   mother’s	
  
execution	
  on	
  the	
  gallows,	
  leaving	
  Grenouille	
  alone	
  in	
  the	
  world.	
  
The	
   boy	
   is	
   sent	
   to	
   an	
   orphanage,	
   where	
   another	
   orphan	
   attempts	
   to	
   kill	
  
him	
  but	
  is	
  soon	
  saved	
  by	
  Madame	
  Gaillard,	
  the	
  headmaster	
  of	
  the	
  orphanage.	
  The	
  

	
  
	
  
	
  

	
  

1	
  

other	
   children	
   sense	
   that	
   there	
   is	
   something	
   different	
   about	
   Grenouille	
   and	
   feel	
  
unnerved	
  by	
  him.	
  
As	
  the	
  child	
  grows	
  to	
  a	
  young	
  man,	
  he	
  realizes	
  that	
  he	
  has	
  a	
  unique	
  gift.	
  He	
  
possesses	
   an	
   uncanny	
   ability	
   to	
   smell	
   and	
   recognize	
   everything	
   by	
   its	
   scent:	
  
wood,	
  grass,	
  stones	
  and	
  water,	
  even	
  when	
  far	
  away.	
  
At	
  age	
  of	
  thirteen,	
  Madame	
  Gaillard	
  sells	
  Grenouille	
  to	
  Grimal,	
  a	
  hardened	
  
man	
  who	
  runs	
  a	
  tannery.	
  For	
  orphans	
  working	
  there,	
  life	
  expectancy	
  was	
  a	
  mere	
  
five	
  years	
  more	
  of	
  life,	
  but	
  Grenouille	
  survives	
  working	
  16	
  hours	
  a	
  day.	
  	
  
As	
  and	
  adult,	
  Grenouille	
  is	
  taken	
  to	
  town	
  by	
  Grimal	
  for	
  a	
  delivery.	
  In	
  the	
  city,	
  he	
  
discovers	
   thousands	
   of	
   new	
   odors	
   that	
   he	
   dissects	
   down	
   to	
   their	
   smallest	
   notes	
  
and	
  molecules.	
  
Overwhelmed	
  by	
  the	
  scents	
  of	
  the	
  city,	
  he	
  slips	
  away	
  from	
  his	
  boss	
  and	
  his	
  
gifted	
   nose	
   leads	
   him	
   in	
   front	
   of	
   a	
   perfume	
   shop	
   where	
   he	
   becomes	
   excited	
   by	
  
rich	
   and	
   beautiful	
   scents.	
   Grenouille	
   notices	
   everyone	
   gather	
   around	
   the	
   shop,	
  
eager	
   to	
   try	
   a	
   new	
   perfume	
   called	
   “Amor	
   and	
   Psyche”.	
   Suddenly,	
   he	
   perceives	
   a	
  
new	
  delicious	
  scent,	
  that	
  of	
  an	
  adolescent	
  girl	
  who	
  is	
  walking	
  the	
  streets	
   selling	
  
plums.	
  Eventually	
  she	
  stops	
  in	
  the	
  back	
  alley	
  and	
  Grenouille	
  sneaks	
  up	
  on	
  her	
  so	
  
that	
   he	
   can	
   smell	
   her.	
   She	
   sees	
   him	
   and	
   screams,	
   but	
   he	
   covers	
   her	
   mouth	
   and	
  
nose	
  and	
  unintentionally	
  suffocates	
  her.	
  After	
  realizing	
  that	
  she	
  is	
  dead,	
  he	
  strips	
  
her	
  body	
  naked	
  and	
  smells	
  her	
  until	
  the	
  scent	
  fades.	
  
Grenouille	
   then	
   realizes	
   the	
   purpose	
   and	
   meaning	
   of	
   his	
   miserable	
  
existence:	
  he	
  would	
  learn	
  how	
  to	
  capture	
  and	
  preserve	
  scents	
  so	
  as	
  to	
  never	
  lose	
  
such	
  a	
  sublime	
  beauty	
  as	
  the	
  smell	
  of	
  the	
  young	
  girl.	
  
One	
   night,	
   back	
   at	
   the	
   tannery,	
   he	
   is	
   out	
   delivering	
   goatskins	
   to	
   Baldini,	
   an	
  
Italian	
   perfumer	
   when	
   he	
   notices	
   a	
   smell	
   just	
   like	
   “Amor	
   and	
   Psyche”	
   and	
   upon	
  
	
  
	
  
	
  

	
  

2	
  

speaking	
   with	
   the	
   perfumer,	
   able	
   not	
   only	
   to	
   reveal	
   the	
   exact	
   ingredients	
   in	
   the	
  
elixir,	
  but	
  also	
  to	
  make	
  a	
  perfect	
  copy	
  of	
  “Amor	
  and	
  Psyche”	
  using	
  the	
  ingredients	
  
in	
  the	
  shop’s	
  basement.	
  Baldini	
  is	
  impressed	
  to	
  notice	
  that	
  he	
  made	
  an	
  exact	
  copy	
  
of	
  the	
  perfume.	
  Grenouille	
  replies	
  to	
  Baldini	
  that	
  can	
  make	
  this	
  perfume	
  even	
  and	
  
promptly	
  adds	
  a	
  few	
  more	
  ingredients.	
  
After	
   Baldini	
   tells	
   Grenouille	
   to	
   leave,	
   he	
   smells	
   the	
   new	
   perfume	
   and	
  
realizes	
  it	
  is	
  incredible.	
  He	
  then	
  goes	
  to	
  the	
  tannery	
  and	
  buys	
  Grenouille	
  for	
  fifty	
  
francs.	
   Because	
   of	
   Grenouille’s	
   new	
   perfumes,	
   Baldini’s	
   shop	
   quickly	
   becomes	
   a	
  
success	
  again.	
  	
  
Baldini	
  teaches	
  him	
  that	
  each	
  perfume	
  has	
  twelve	
  different	
  oils-­‐scents	
  in	
  it.	
  
He	
   also	
   tells	
   the	
   young	
   boy	
   of	
   an	
   ancient	
   Egyptian	
   legend	
   in	
   which	
   a	
   13th	
   scent	
  
was	
   found	
   on	
   a	
   pharaoh’s	
   tomb.	
   When	
   the	
   tomb	
   was	
   opened,	
   the	
   perfume	
   was	
  
released	
  after	
  thousands	
  of	
  years,	
  possessing	
  such	
  subtle	
  beauty	
  and	
  such	
  power	
  
that	
  every	
  single	
  person	
  who	
  smelled	
  it	
  believed	
  they	
  were	
  in	
  paradise.	
  
Grenouille	
   becomes	
   obsessed	
   with	
   the	
   idea	
   of	
   learning	
   how	
   to	
   capture	
   a	
  
scent	
   and	
   asks	
   Baldini	
   to	
   teach	
   him	
   how	
   to	
   preserve	
   the	
   scent	
   of	
   all	
   things,	
   and	
  
promises	
   in	
   return,	
   to	
   make	
   Baldini	
   the	
   best	
   perfumer	
   in	
   the	
   whole	
   world.	
   He	
  
teaches	
  Grenouille	
  how	
  to	
  make	
  scented	
  oil	
  from	
  rose	
  petals	
  using	
  a	
  machine	
  that	
  
involves	
   boiling	
   the	
   petals	
   in	
   water	
   and	
   then	
   condensing	
   the	
   scented	
   oil.	
  
Grenouille	
  then	
  tries	
  to	
  do	
  this	
  with	
  different	
  objects	
  he	
  finds	
  like	
  copper,	
  class,	
  
iron	
  and	
  even	
  a	
  dead	
  cat.	
  Baldini	
  tells	
  him	
  that	
  one	
  mustn’t	
  distil	
  the	
  scent	
  of	
  a	
  cat	
  
or	
  people,	
  and	
  upon	
  hearing	
  this,	
  Grenouille	
  faints	
  and	
  quickly	
  becomes	
  sick	
  as	
  he	
  
has	
  lost	
  the	
  will	
  to	
  live.	
  	
  

	
  
	
  
	
  

	
  

3	
  

He	
  is	
  so	
  obsessed	
  with	
  his	
  idea	
  so	
  he	
  asks	
  again	
  to	
  Baldini	
  if	
  there	
  is	
  any	
  
other	
   way	
   to	
   preserve	
   smell	
   besides	
   distils	
   it.	
   Baldini	
   tells	
   him	
   that	
   there	
   is	
   one	
  
method	
  known	
  as	
  the	
  mysterious	
  art	
  of	
  Enfleurage	
  that	
  he	
  could	
  learn	
  in	
  Grasse.	
  
This	
   news	
   revives	
   Grenouille	
   who	
   decides	
   to	
   set	
   off	
   for	
   Grasse	
   immediately.	
  
Baldini	
  arranges	
  the	
  travel	
  papers	
  for	
  Grenouille,	
  in	
  condition	
  that	
  he	
  left	
  him	
  100	
  
formulas	
  for	
  new	
  perfumes.	
  
En	
  route,	
  he	
  stops	
  in	
  a	
  cave	
  where	
  there	
  are	
  almost	
  no	
  scents	
  lingering	
  in	
  
the	
   air.	
   While	
   staying	
   there,	
   he	
   realizes	
   that	
   he	
   has	
   no	
   odor	
   of	
   his	
   own,	
   as	
   if	
   he	
  
does	
  not	
  exist.	
  This	
  experience	
  shakes	
  him	
  to	
  the	
  core	
  and	
  he	
  decides	
  to	
  create	
  a	
  
scent	
  for	
  himself	
  that	
  is	
  irresistible.	
  
On	
   the	
   road	
   to	
   Grasse,	
   Grenouille	
   catches	
   the	
   scent	
   of	
   a	
   beautiful	
   red-­‐
haired	
  girl,	
  Laura.	
  Once	
  again	
  he	
  breathed	
  in	
  a	
  wonderful	
  scent	
  which	
  he	
  had	
  only	
  
encountered	
   once	
   before	
   in	
   his	
   life.	
   A	
   scent	
   that	
   drives	
   him	
   mad	
   and	
   that	
   he	
   must	
  
possess.	
  
Grenouille	
   eventually	
   finds	
   a	
   job	
   in	
   Grasse.	
   There	
   he	
   learns	
   another	
  
process	
  of	
  capturing	
  scents,	
  which	
  involves	
  heating	
  flowers	
  in	
  a	
  large	
  vat.	
  In	
  his	
  
passion	
   to	
   extract	
   all	
   scents,	
   he	
   kills	
   a	
   young	
   lavender-­‐field	
   girl,	
   so	
   that	
   he	
   can	
   try	
  
to	
  capture	
  her	
  scent	
  by	
  putting	
  her	
  in	
  the	
  vat,	
  but	
  it	
  doesn’t	
  work.	
  
Maddened	
   by	
   his	
   desire	
   to	
   preserve	
   the	
   beautiful	
   scents	
   of	
   women	
   he	
  
encounters,	
  he	
  kills	
  a	
  prostitute	
  and	
  tries	
  another	
  method	
  of	
  extraction.	
  He	
  wraps	
  
her	
  body	
  with	
  cloth	
  soaked	
  in	
  animal	
  fat	
  so	
  that	
  the	
  fat	
  can	
  absorb	
  the	
  scent.	
  He	
  
finally	
   gets	
   to	
   capture	
   her	
   scent	
   by	
   heating	
   and	
   condensing	
   the	
   fat	
   mixed	
   with	
  
alcohol.	
  

	
  
	
  
	
  

	
  

4	
  

Grenouille	
  then	
  concocts	
  a	
  plan	
  and	
  reserves	
  thirteen	
  small	
  glass	
  vials	
  to	
  
carry	
   out	
   his	
   vision.	
   He	
   kills	
   twelve	
   girls	
   and	
   preserves	
   their	
   scents	
   in	
   each	
   of	
   the	
  
glass	
  vials.	
  He	
  is	
  now	
  missing	
  only	
  one	
  scent	
  to	
  complete	
  his	
  perfume.	
  
Panic	
   spreads	
   and	
   citizens	
   bar	
   their	
   doors	
   and	
   windows.	
   Laura,	
   the	
   beautiful	
   red-­‐
head,	
   fears	
   for	
   her	
   life	
   and	
   her	
   father,	
   Antoine	
   Richis,	
   decides	
   to	
   take	
   her	
   out	
   of	
  
town	
  to	
  an	
  obscure	
  seaside	
  inn.	
  But	
  Grenouille	
  tracks	
  down	
  the	
  girl’s	
  trail	
  and	
  is	
  
obsessed	
  with	
  converting	
  Laura	
  into	
  his	
  13th	
  scent.	
  
After	
   Grenouille	
   leaves	
   the	
   city,	
   the	
   prostitute’s	
   dog	
   sniffs	
   around	
   the	
  
workshop	
  where	
  he	
  worked	
  and	
  digs	
  up	
  prostitute’s	
  clothes	
  that	
  are	
  buried	
  there.	
  
The	
   townspeople	
   being	
   searching	
   around	
   town	
   and	
   dig	
   up	
   clothes	
   and	
   hair	
  
belonging	
  to	
  some	
  of	
  the	
  victims.	
  
Antoine	
   Richis	
   comes	
   back	
   to	
   find	
   the	
   lifeless	
   body	
   of	
   his	
   daughter	
   and	
  
collapses	
  in	
  despair.	
  Grenouille	
  stops	
  somewhere	
  in	
  the	
  countryside	
  and	
  finishes	
  
his	
   perfume	
   after	
   adding	
   Laura’s	
   scent.	
   Grenouille	
   is	
   arrested	
   and	
   taken	
   to	
   prison	
  
back	
  in	
  Grasse.	
  He	
  manages	
  to	
  hide	
  the	
  small	
  jar	
  in	
  his	
  hands	
  which	
  contains	
  his	
  
masterpiece.	
  
A	
   huge	
   crowd	
   flocks	
   to	
   the	
   main	
   square	
   in	
   Grasse	
   on	
   the	
   day	
   of	
   his	
  
scheduled	
   execution.	
   Grenouille	
   arrives	
   in	
   an	
   expensive	
   carriage,	
   dressed	
   in	
  
beautiful	
  clothes	
  given	
  to	
  him	
  by	
  a	
  nobleman	
  at	
  the	
  prison.	
  
He	
   steps	
   up	
   boldly	
   to	
   the	
   execution	
   block	
   and	
   the	
   executioner	
   drops	
   to	
   his	
  
knees	
   and	
   starts	
   to	
   worship	
   Grenouille.	
   Then,	
   Grenouille	
   takes	
   a	
   handkerchief	
  
from	
   his	
   pocket,	
   puts	
   a	
   drop	
   of	
   his	
   perfume	
   on	
   it,	
   and	
   lets	
   it	
   float	
   out	
   into	
   the	
  
crowd.	
  The	
  wind	
  carries	
  the	
  scent	
  to	
  the	
  onlookers	
  in	
  the	
  square	
  and	
  the	
  entire	
  
crowd	
   melts	
   into	
   a	
   gigantic,	
   orgiastic	
   embrace.	
   Even	
   Antoine	
   Richis,	
   sobbing	
   for	
  
forgiveness,	
  throws	
  his	
  arms	
  around	
  his	
  daughter’s	
  slayer.	
  
	
  
	
  
	
  

	
  

5	
  

Grenouille,	
   who	
   has	
   never	
   experienced	
   love	
   in	
   his	
   life,	
   is	
   overwhelmed.	
   He	
  
realizes	
  that	
  with	
  his	
  perfume	
  he	
  can	
  control	
  anyone	
  and	
  everyone	
  he	
  wants,	
  but	
  
he	
  decides	
  to	
  return	
  to	
  Paris,	
  the	
  place	
  of	
  his	
  birth.	
  He	
  sees	
  a	
  crowd	
  of	
  homeless	
  
people	
  standing	
  around	
  the	
  fire	
  and	
  he	
  douses	
  the	
  entire	
  vial	
  of	
  perfume	
  on	
  his	
  
head.	
   The	
   people	
   smell	
   this	
   and	
   become	
   enraptured,	
   saying	
   that	
   they	
   love	
   him	
  
and	
   that	
   he	
   must	
   be	
   an	
   angel.	
   They	
   crowd	
   around	
   him	
   and	
   maul	
   him	
   to	
   death.	
  
When	
  the	
  crowd	
  finally	
  clears,	
  there’s	
  nothing	
  left	
  of	
  Grenouille	
  but	
  a	
  few	
  tatters	
  
of	
  his	
  clothes.	
  
	
  
3.	
  
	
  
#	
  
	
  
1.
	
  
2.
	
  
3.
	
  
4.
	
  
5.
	
  
6.
	
  
7.
	
  
8.
	
  
9.
	
  
10.
	
  
11.
	
  
12.
	
  
13.
	
  
	
  
	
  
	
  

CUE	
  LIST	
  
NAME	
  

	
  

STARTS	
  

ENDS	
  

DURATION	
  

PRE-­‐TITLE	
  

	
  

00:00:00	
   00:00:38	
   00:00:38	
  

MAIN	
  TITLE	
  

	
  

00:03:28	
   00:04:34	
   00:01:06	
  

BABY	
  GRABS	
  FINGER	
  

	
  

00:07:06	
   00:08:10	
   00:01:04	
  

ORPHANAGE	
  &	
  TANNERY	
  	
  

00:08:25	
   00:13:37	
   00:05:12	
  

STREETS	
  OF	
  PARIS	
  

	
  

00:13:41	
   00:15:50	
   00:02:09	
  

PELLISSIER	
  

	
  

00:16:05	
   00:17:54	
   00:01:49	
  

GIRL	
  WITH	
  PLUMS	
  

	
  

00:17:55	
   00:21:03	
   00:03:08	
  

THE	
  PLUMGIRL’S	
  SCENT	
   	
  

00:24:27	
   00:25:34	
   00:01:07	
  

LOSING	
  HER	
  SCENT	
  

	
  

00:25:43	
   00:27:48	
   00:02:05	
  

BALDINI	
  AT	
  STUDIO	
  

	
  

00:30:23	
   00:30:48	
   00:00:25	
  

BALDINI	
  TESTING	
  PERFUME	
  

00:32:10	
   00:33:26	
   00:01:16	
  

GRENOUILLE	
  MEETS	
  BALDINI	
  

00:33:35	
   00:35:01	
   00:01:26	
  

AMOR	
  AND	
  PSYCHE	
  

00:39:18	
   00:43:05	
   00:03:47	
  

	
  

	
  

6	
  

14.
	
  
15.
	
  
16.
	
  
17.
	
  
18.
	
  
19.
	
  
20.
	
  
21.
	
  
22.
	
  
23.
	
  
24.
	
  
25.
	
  
26.
	
  
27.
	
  
28.
	
  
29.
	
  
30.
	
  
31.
	
  
32.
	
  
33.
	
  
34.
	
  
35.
	
  
36.
	
  
	
  
	
  

BALDINI	
  TESTS	
  PERFUME	
  	
  

00:44:02	
   00:45:03	
   00:01:01	
  

THE	
  13TH	
  ESSENCE	
  

	
  

00:45:08	
   00:47:25	
   00:02:17	
  

DISTILLING	
  ROSES	
  

	
  

00:49:26	
   00:51:17	
   00:01:51	
  

EXPERIMENT	
  

	
  

00:51:56	
   00:55:35	
   00:03:39	
  

GRENOUILLE	
  LEAVES	
  BALDINI	
  

00:57:15	
   00:59:44	
   00:02:29	
  

NO	
  SMELL	
  

	
  

01:01:51	
   01:03:20	
   00:01:29	
  

MEETING	
  LAURA	
  

	
  

01:03:28	
   01:07:39	
   00:04:11	
  

LAVENDER	
  FIELDS	
  

	
  

01:08:21	
   01:09:38	
   00:01:17	
  

PAULINE	
  

	
  

01:10:28	
   01:11:42	
   00:01:14	
  

THE	
  TANK	
  

	
  

01:12:11	
   01:13:21	
   00:01:10	
  

I	
  ENJOY	
  MY	
  WORK	
  

	
  

01:13:50	
   01:18:41	
   00:04:51	
  

THE	
  METHOD	
  WORKS	
  

	
  

01:18:41	
   01:22:02	
   00:03:21	
  

THE	
  TWINS	
  ARE	
  MISSING	
  	
  

01:25:24	
   01:27:28	
   00:02:04	
  

BEAUTY	
  

	
  

01:27:28	
   01:28:33	
   00:01:05	
  

GRASSE	
  IN	
  PANIC	
  

	
  

01:30:29	
   01:36:02	
   00:05:33	
  

DARK	
  ALLEY	
  

	
  

01:37:58	
   01:39:16	
   00:01:18	
  

RICHI’S	
  NIGHTMARE	
  

	
  

01:40:01	
   01:41:25	
   00:01:24	
  

RICHI’S	
  ESCAPE	
  

	
  

01:42:01	
   01:46:24	
   00:04:23	
  

LAURA’S	
  MURDER	
  

	
  

01:48:00	
   01:51:02	
   00:03:02	
  

LAURA’S	
  ESSENCE	
  

	
  

01:51:57	
   01:53:43	
   00:01:46	
  

AWAITING	
  EXECUTION	
  

	
  

01:56:59	
   02:00:05	
   00:03:06	
  

THE	
  PERFUME	
  

	
  

02:00:26	
   02:05:54	
   00:05:28	
  

BEAUTY	
  II	
  
	
  

	
  

02:05:58	
   02:07:56	
   00:01:58	
  
	
  

7	
  

4.	
  
	
  
	
  

ANALYSIS	
  OF	
  CUES	
  
1. PRE-­‐TITLE,	
  00:00:00	
  -­‐	
  00:00:38	
  

	
  

Duration:	
  00:00:38	
  

The	
  movie	
  starts	
  with	
  this	
  cue	
  that	
  accompanies	
  the	
  initial	
  credits	
  for	
  the	
  
production	
   company:	
   Constantin	
   Film	
   in	
   Germany.	
   The	
   music	
   corresponds,	
  
however,	
   to	
  one	
  of	
  the	
  main	
  themes	
   sung	
   by	
   female	
   voices,	
   which	
  we	
  will	
  hear	
  in	
  
other	
  cues	
  of	
  the	
  movie.	
  

	
  

Figure	
  1	
  

	
  
This	
  melody,	
  which	
  is	
  sung	
  over	
  a	
  C	
  pedal	
  played	
  by	
  celli	
  and	
  basses,	
  is	
  a	
  
modal	
   melody	
   that	
   changes	
   between	
   C	
   Lydian	
   mode	
   on	
   the	
   first	
   two	
   bars,	
   to	
  
minor	
  in	
  bar	
  two,	
  then	
  major	
  again	
  in	
  bar	
  three	
  and	
  Lydian	
  b7	
  from	
  bar	
  four	
  to	
  
eight.	
  	
  
	
  
ü Narrative	
  function:	
  	
  
Since	
   we	
   hear	
   the	
   low	
   pedal	
   played	
   by	
   strings	
   and	
   the	
   unstable	
   melody	
  
sung	
  by	
  female	
  voices,	
  the	
  music	
  suggests	
  that	
  the	
  film	
  is	
  full	
  of	
  suspense,	
  as	
  if	
  it	
  
were	
  a	
  horror	
  movie.	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

8	
  

2. MAIN	
  TITLE,	
  00:03:28	
  -­‐	
  00:04:34	
  

	
  

Duration:	
  00:01:06	
  

Instrumentation:	
  full	
  orchestra.	
  
Woodwinds:	
   piccolo,	
   flutes,	
   oboes,	
   English	
   horn,	
   Bb	
   clarinets,	
   bassoons,	
  
contrabassoon;	
   Brass:	
   horns,	
   trumpets,	
   trombones,	
   bass	
   trombone,	
   tuba;	
  
Percussion:	
   tam-­‐tam,	
   bass	
   drum,	
   timpani,	
   suspended	
   cymbal;	
   harp;	
   Strings:	
  
violins	
  I,	
  violins	
  II,	
  violas,	
  celli,	
  double	
  basses.	
  
In	
  this	
  cue	
  all	
  the	
  instruments	
  play	
  dissonant	
  pitches	
  as	
  tied	
  whole	
  notes	
  
pedals	
  that	
  go	
  from	
  the	
  dynamic	
  level:	
  ppp	
  to	
  ff.	
  	
  

	
  
Figure	
  2	
  

This	
   pedal	
   functions	
   as	
   background	
   music	
   for	
   the	
   narrator	
   introducing	
   the	
  
character	
  of	
  the	
  movie,	
  Jean-­‐Baptiste	
  Grenouille,	
  as	
  he	
  explains	
  that	
  his	
  ambition	
  
and	
   obsession	
   was	
   the	
   fleeting	
   realm	
   of	
   scent.	
   When	
   the	
   orchestra	
   reaches	
   the	
  
dynamic	
  level	
  ff,	
  the	
  tittle	
  of	
  the	
  movie	
  appears:	
  “Das	
  Parfum,	
  die	
  Geschichte	
  eines	
  
Mörders”.	
  
	
  
	
  

	
  
	
  
	
  

	
  

9	
  

3.	
  

BABY	
  GRABS	
  FINGER,	
  00:07:06	
  -­‐	
  00:08:10	
   Duration:	
  00:01:04	
  
Instrumentation:	
  
Percussion:	
   tam-­‐tam	
   with	
   bow,	
   glockenspiel,	
   crotales	
   with	
   bow,	
   timpani;	
  

Strings:	
  violin	
  I,	
  violin	
  II,	
  viola,	
  celli	
  and	
  double	
  basses.	
  
The	
   music	
   on	
   this	
   cue	
   starts	
   with	
   the	
   timpani	
   playing	
   a	
   tremolo	
   E	
   in	
   the	
  
dynamic	
  level	
  pp	
  and	
  crescendo	
  to	
   mp.	
  Then	
  the	
  celli	
  and	
  basses	
  play	
  a	
  C	
  pedal	
  as	
  
a	
   harmonic.	
   In	
   general	
   all	
   the	
   instruments	
   in	
   this	
   cue	
   play	
   suspended	
   pitches;	
  
however,	
   the	
   viola	
   gives	
   some	
   movement	
   to	
   this	
   cue	
   playing	
   eight-­‐note	
   triplets:	
   B	
  
and	
  C.	
  

	
  
Figure	
  3	
  

	
  
We	
   can	
   say	
   that	
   the	
   music	
   motif	
   in	
   this	
   cue	
   is	
   the	
   minor	
   second	
   interval	
  
played	
  by	
  the	
  violas:	
  B	
  and	
  C,	
  violins	
  II	
  in	
  harmonics:	
  E	
  and	
  F,	
  violins	
  I:	
  F#	
  and	
  G,	
  
and	
  glockenspiel:	
  F#	
  and	
  G.	
  	
  

	
  
Figure	
  4	
  

	
  
Figure	
  5	
  

	
  
	
  
	
  

	
  

10	
  

An	
  important	
  aspect	
  not	
  only	
  in	
  this	
  cue,	
  but	
  also	
  in	
  the	
  following	
  cues	
  is	
  
that	
   the	
   composer	
   uses	
   the	
   low	
   strings:	
   violas,	
   celli	
   and	
   basses	
   played	
   sul	
  
ponticello	
  to	
  achieve	
  a	
  metallic	
  sound	
  and	
  more	
  vibrating	
  strings.	
  
	
  (see	
  appendix	
  3)	
  

	
  
Figure	
  6	
  

	
  
ü Narrative	
  function:	
  
The	
  tremolo	
  on	
  the	
  timpani	
  gives	
  a	
  sense	
  of	
  suspense	
  for	
  the	
  scene	
  when	
  Jean-­‐
Baptiste	
   is	
   taken	
   to	
   the	
   orphanage	
   as	
   a	
   newborn.	
   The	
   low	
   strings,	
   playing	
  
harmonic	
   pedals,	
   as	
   well	
   as	
   the	
   rest	
   of	
   the	
   instruments	
   playing	
   minor	
   seconds,	
  
also	
  create	
  an	
  ambience	
  of	
  suspense.	
  It	
  is	
  important	
  to	
  note	
  that	
  only	
  percussion	
  
and	
   strings	
   are	
   used	
   in	
   this	
   cue	
   to	
   create	
   the	
   sense	
   of	
   loneliness	
   and	
   fragility	
   of	
  
the	
  children	
  at	
  the	
  orphanage.	
  The	
  timpani	
  appear	
  again	
  at	
  the	
  exact	
  moment	
  that	
  
the	
  baby	
  grabs	
  the	
  child’s	
  finger,	
  always	
  playing	
  tremolo.	
  
	
  
4.	
  	
  

ORPHANAGE	
  &	
  TANNERY,	
  00:08:25	
  -­‐	
  00:13:37	
  

Duration:	
  00:05:12	
  

This	
   cue	
   starts	
   with	
   heartbeats	
   that	
   are	
   also	
   a	
   rhythmic	
   instrument.	
   An	
  
ostinato	
  played	
  by	
  the	
  piano	
  and	
  the	
  heartbeats	
  form	
  the	
  main	
  rhythm:	
  

	
  
	
  
	
  

	
  

11	
  

	
  
Figure	
  7	
  

	
  
The	
  low-­‐registered	
  instruments,	
  double	
  basses,	
  trombones,	
  tuba,	
  timpani,	
  
play	
   a	
   pedal	
   as	
   tied	
   whole	
   notes.	
   Other	
   instruments,	
   such	
   as	
   violins,	
   trumpet,	
  
English	
   horn,	
   clarinets	
   play	
   the	
   motif	
   that	
   we	
   have	
   seen	
   on	
   the	
   previous	
   cue,	
   a	
  
minor	
  second	
  motif.	
  

	
  
Figure	
  8	
  

	
  
Then,	
  the	
  harp	
  and	
  woodwinds	
  play	
  repeated	
  arpeggios	
  that	
  give	
  rhythm	
  
to	
  the	
  cue,	
  and	
  the	
  double	
  basses	
  change	
  its	
  pitch	
  in	
  every	
  bar.	
  

	
  
Figure	
  9	
  

	
  
	
  
	
  

	
  

12	
  

	
  
Figure	
  10	
  

	
  
In	
   this	
   cue	
   we	
   can	
   also	
   hear	
   one	
   of	
   the	
   themes	
   of	
   the	
   Main	
   Title	
   sung	
   by	
  
female	
  voices	
  over	
  the	
  ostinato	
  of	
  the	
  rhythmic	
  heartbeats.	
  
	
  
ü Narrative	
  function:	
  
The	
   heartbeats	
   on	
   this	
   cue	
   are	
   related	
   to	
   life,	
   to	
   the	
   fact	
  that	
   Jean-­‐Baptiste	
   has	
  
survived	
  in	
  spite	
  of	
  his	
  lot	
  in	
  life,	
  first	
  being	
  cast	
  away	
  at	
  the	
  fish	
  market	
  and	
  then	
  
again	
   in	
   his	
   attempted	
   assassination	
   by	
   other	
   children	
   at	
   the	
   orphanage.	
   The	
  
music	
  accompanies	
  the	
  narration	
  about	
  Jean-­‐Baptiste’s	
  growing,	
  as	
  a	
  baby,	
  child	
  
and	
  adolescent.	
  We	
  can	
  hear	
  several	
  timbres	
  of	
  the	
  instruments	
  that	
  appear	
  every	
  
time	
   Jean-­‐Baptiste	
   discovers	
   new	
   scents	
   in	
   nature.	
   The	
   double	
   bass	
   changing	
  
pitches	
   on	
   every	
   bar	
   over	
   the	
   harp	
   ostinato	
   are	
   related	
   to	
   Jean-­‐Baptiste	
  
discovering	
  new	
  odors.	
  
	
  
5.	
  	
  

STREETS	
  OF	
  PARIS,	
  00:13:41	
  -­‐	
  00:15:50	
  

Duration:	
  00:02:09	
  

In	
   this	
   cue,	
   the	
   music	
   starts	
   with	
   harmonics	
   of	
   celli	
   and	
   violins,	
   then	
   a	
  
clarinet	
  playing	
  the	
  interval	
  of	
  minor	
  thirds	
  and	
  major	
  thirds.	
  The	
  piano	
  plays	
  an	
  
idea	
  of	
  the	
  main	
  motif	
  but	
  just	
  with	
  two	
  pitches	
  (G	
  and	
  F#)	
  and	
  the	
  main	
  harmony	
  
for	
  the	
  second	
  theme	
  of	
  the	
  film:	
  C	
  Major,	
  A	
  minor,	
  E	
  minor	
  and	
  G	
  Major.	
  

	
  
	
  
	
  

	
  

13	
  

	
  
Figure	
  11	
  

	
  
Figure	
  12	
  

The	
   second	
   main	
   theme	
   of	
   this	
   film	
   appears	
   in	
   this	
   cue	
   played	
   by	
   the	
  
violins	
   over	
   the	
   harmony	
   previously	
   mentioned.	
   The	
   harp	
   plays	
   glissandi	
   and	
   the	
  
woodwinds	
  play	
  fast	
  arpeggios	
  as	
  32nd	
  notes.	
  

	
  
Figure	
  13	
  

	
  
The	
  resulting	
  sound	
  on	
  this	
  melody	
  is	
  C	
  Lydian,	
  A	
  Dorian,	
  E	
  Aeolian	
  and	
  G	
  
Ionian	
  (used	
  as	
  dominant).	
  
	
  
ü Narrative	
  function:	
  
The	
   clarinet	
   at	
   the	
   beginning	
   of	
   this	
   cue	
   gives	
   the	
   sensation	
   of	
   the	
   sound	
   of	
   an	
  
electrocardiograph	
  machine.	
  The	
  melody	
  played	
  by	
  the	
  violins	
  over	
  the	
  harmony	
  
previously	
   mentioned	
   accompanies	
   the	
   scene	
   where	
   Jean-­‐Baptiste	
   is	
  
overwhelmed	
  by	
  hundreds	
  of	
  new	
  odors	
  he	
  discovers	
  in	
  town.	
  At	
  that	
  moment,	
  he	
  
	
  
	
  
	
  

	
  

14	
  

is	
   living	
   inside	
   a	
   fantasy	
   or	
   a	
   dream.	
   The	
   glissandi	
   on	
   harp	
   and	
   arpeggios	
   on	
  
woodwinds	
  contribute	
  to	
  this	
  dreamlike	
  state.	
  The	
  melody	
  played	
  by	
  the	
  violins,	
  
which	
  is	
  formed	
  by	
  seven	
  notes,	
  convey	
  the	
  feeling	
  of	
  obsession	
  within	
  him;	
  since	
  
this	
  melody	
  is	
  repeated	
  even	
  though	
  the	
  harmonies	
  around	
  it	
  change.	
  
At	
  the	
  end	
  of	
  the	
  cue,	
  the	
  music	
  is	
  interrupted	
  by	
  Grimal	
  shouting	
  at	
  Jean-­‐Baptiste	
  
who	
  was	
  enjoying	
  the	
  new	
  scents	
  with	
  his	
  eyes	
  closed.	
  
	
  
6.	
  

PELLISSIER,	
  00:16:05	
  -­‐	
  00:17:54	
  

Duration:	
  00:01:49	
  

The	
   music	
   of	
   this	
   cue	
   has	
   a	
   few	
   instruments	
   compared	
   to	
   the	
   previous	
   one	
  
that	
   utilized	
   a	
   full	
   orchestra.	
   The	
   violas	
   play	
   the	
   note	
   E	
   as	
   an	
   ostinato	
   which	
  
provides	
   rhythm	
   to	
   the	
   cue.	
   There	
   are	
   four	
   percussion	
   instruments	
   that	
   play	
  
together	
  after	
  a	
  bar	
  of	
  rest:	
  tam-­‐tam,	
  gong,	
  bass	
  drum	
  and	
  timpani.	
  

	
  
Figure	
  14	
  

	
  
Figure	
  15	
  

	
  
	
  
	
  

	
  

15	
  

The	
   melody	
   and	
   harmony	
   are	
   in	
   charge	
   of	
   two	
   harps	
   playing	
   arpeggios.	
  
The	
  resulting	
  sound	
  of	
  this	
  is	
  the	
  E	
  Phrygian	
  mode.	
  

	
  

	
  
Figure	
  16	
  

	
  
ü Narrative	
  function:	
  
The	
   few	
   instruments	
   used	
   in	
   this	
   cue	
   make	
   it	
   very	
   subtle.	
   The	
   violas	
   and	
  
percussion	
  that	
  play	
  repeated	
  notes	
  give	
  a	
  sense	
  of	
  obsession	
  that	
  Jean-­‐Baptiste	
  
feels	
  about	
  tracking	
  down	
  and	
  collecting	
  new	
  odors.	
  Additionally,	
  the	
  sound	
  of	
  the	
  
harps	
   provides	
   a	
   feeling	
   of	
   elegance,	
   beauty	
   and	
   mystery	
   about	
   the	
   scent	
   of	
   the	
  
perfumes	
  that	
  Jean-­‐Baptiste	
  has	
  discovered	
  at	
  Pellissier’s	
  store,	
  especially	
  the	
  one	
  
called	
  Amor	
  and	
  Psyche.	
  
	
  
7.	
  

GIRL	
  WITH	
  PLUMS,	
  00:17:55	
  -­‐	
  00:21:03	
  

Duration:	
  00:03:08	
  

This	
  cue	
  starts	
  with	
  a	
  soprano	
  voice	
  singing	
  the	
  following	
  melody,	
  which	
  is	
  
the	
  third	
  musical	
  theme	
  in	
  the	
  movie:	
  

	
  
	
  
	
  

	
  

16	
  

	
  
Figure	
  17	
  

	
  
Narratively,	
   the	
   soprano	
   voice	
   resembles	
   a	
   voice	
   of	
   a	
   mermaid	
   who	
   seems	
  
to	
  call	
  Jean-­‐Baptiste	
  when	
  he	
  realizes	
  about	
  the	
  beautiful	
  scent	
  of	
  the	
  girl.	
  
Then,	
   the	
   violins	
   play	
   the	
   previous	
   melody	
   that	
   is	
   accompanied	
   by	
   the	
  
sustained	
   notes	
   of	
   the	
   strings	
   and	
   arpeggios	
   on	
   harp.	
   The	
   resulting	
   harmony	
   is	
  
the	
   following,	
   in	
   which	
   the	
   fundamentals	
   move	
   by	
   an	
   interval	
   of	
   tritone	
   at	
   the	
  
beginning.	
  

	
  

	
  

	
  
Figure	
  18	
  

	
  
This	
   is	
   a	
   beautiful	
   melody	
   and	
   harmony	
   that	
   hearkens	
   back	
   to	
   Jean-­‐
Baptiste’s	
  first	
  encounter	
  of	
  the	
  sublime	
  scent	
  of	
  the	
  girl	
  with	
  the	
  plums.	
  
Afterwards,	
   the	
   solo	
   harp	
   plays	
   a	
   consonant	
   melody	
   and	
   harmony,	
   and	
   a	
  
violin	
  comes	
  in	
  playing	
  a	
  dissonant	
  pitch	
  in	
  harmonics	
  at	
  the	
  exact	
  moment	
  that	
  
the	
   character	
   smells	
   the	
   girl’s	
   hand.	
   This	
   dissonance	
   played	
   by	
   the	
   violin	
   is	
  
related	
   to	
   the	
   obsession	
   that	
   Jean-­‐Baptiste	
   feels	
   about	
   the	
   girl’s	
   scent	
   and	
   not	
  
	
  
	
  
	
  

	
  

17	
  

precisely	
   about	
   her	
   beauty.	
   Then,	
   we	
   can	
   listen	
   the	
   baritone	
   voice	
   that	
   sings	
  
intervals	
   of	
   tritone.	
   Narratively,	
   this	
   is	
   also	
   related	
   to	
   Jean-­‐Baptiste’s	
   weird	
  
obsession	
  of	
  scents.	
  
Subsequently,	
   the	
   composer	
   repeats	
   the	
   girl’s	
   theme	
   but	
   this	
   time	
  
performed	
  by	
  the	
  choir	
  to	
  vary	
  the	
  timbre.	
  
	
  
8. THE	
  PLUMGIRL’S	
  SCENT,	
  00:24:31	
  -­‐	
  00:25:34	
  	
  

Duration:	
  00:01:07	
  

This	
   cue	
   is	
   a	
   continuation	
   of	
   the	
   previous	
   scene	
   when	
   Jean-­‐Baptiste	
   has	
  
just	
   unintentionally	
   suffocated	
   the	
   girl	
   with	
   the	
   plums.	
   The	
   instrumentation	
   in	
  
this	
   cue	
   is	
   just	
   harp	
   and	
   soprano	
   voice	
   that	
   signals	
   the	
   girl’s	
   theme:

	
  
Figure	
  19	
  

	
  
	
  	
  

Narratively,	
   the	
   use	
   of	
   only	
   two	
   instruments	
   represents	
   the	
   girl’s	
   death	
  

and	
  the	
  melody	
  still	
  sounding	
  implies	
  that	
  her	
  scent	
  lingers	
  on.	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

18	
  

9. LOSING	
  HER	
  SCENT,	
  00:25:43	
  -­‐	
  00:27:48	
   Duration:	
  00:01:07	
  
In	
  the	
  beginning,	
  the	
  music	
  in	
  this	
  cue	
  is	
  similar	
  to	
  the	
  one	
  on	
  cue	
  #3,	
  BABY	
  
GRABS	
  FINGER,	
  but	
  now	
  with	
  more	
  instruments	
  added.	
  (see	
  appendix)	
  
It	
   starts	
   with	
   the	
   timpani	
   that	
   plays	
   tremolo	
   at	
   the	
   dynamic	
   level	
   pp.	
   French	
  
horns,	
   clarinets,	
   and	
   flutes	
   now	
   play	
   the	
   minor	
   second	
   motif	
   that	
   has	
   been	
  
previously	
  played	
  only	
  by	
  violas	
  and	
  violins.	
  

	
  

	
  

	
  
Figure	
  20	
  

	
  
This	
   minor	
   second	
   motif	
   that	
   has	
   appeared	
   previously	
   on	
   the	
   scene	
   where	
  
the	
   baby	
   is	
   alone	
   and	
   fragile,	
   is	
   used	
   again	
   in	
   this	
   cue	
   and	
   is	
   related	
   to	
   Jean-­‐
Baptiste	
   loneliness	
   after	
   the	
   girl’s	
   death	
   and	
   especially	
   for	
   him,	
   after	
   losing	
   her	
  
scent.	
  
Then,	
   we	
   have	
   a	
   cut	
   of	
   Jean-­‐Baptiste	
   back	
   to	
   Grimal’s	
   place.	
   Here,	
   a	
   new	
  
motif	
  appears	
  played	
  by	
  woodwinds,	
  French	
  horn	
  and	
  strings,	
  and	
  accompanied	
  
by	
  celli	
  and	
  basses	
  that	
  play	
  the	
  following	
  tied	
  whole	
  notes:	
  A,	
  G,	
  E,	
  and	
  D.	
  

	
  
Figure	
  21	
  

	
  
	
  
	
  

	
  

19	
  

	
  
Figure	
  22	
  

	
  
These	
  melodies	
  accompany	
  the	
  narrator	
  voice	
  explaining	
  the	
  new	
  purpose	
  
of	
  Jean-­‐Baptiste’s	
  miserable	
  existence:	
  he	
  would	
  learn	
  how	
  to	
  preserve	
  scent,	
  so	
  
as	
  to	
  never	
  again	
  lose	
  such	
  sublime	
  beauty.	
  
	
  
10.

BALDINI	
  AT	
  STUDIO,	
  00:30:23	
  -­‐	
  00:30:48	
   Duration:	
  00:00:25	
  
The	
   music	
   in	
   this	
   cue	
   corresponds	
   to	
   the	
   theme	
   of	
   Baldini,	
   the	
   perfumer.	
  

This	
   theme	
   is	
   formed	
   by	
   arpeggios	
   of	
   the	
   chord	
   Bb-­‐(Maj	
   7)	
   played	
   by	
   the	
   piano	
  
solo.	
  

	
  
Figure	
  23	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

20	
  

11.

BALDINI	
  TESTING	
  PERFUME,	
  00:32:10	
  -­‐	
  00:33:26,	
  Duration:	
  00:00:25	
  
This	
  is	
  also	
  a	
  short	
  cue	
  where	
  the	
  music	
  accompanies	
  the	
  scene	
  of	
  Baldini	
  

testing	
   the	
   perfume	
   called:	
   “Amor	
   and	
   Psyche”.	
   The	
   melody	
   is	
   alternated	
   by	
   the	
  
harp	
  and	
  glockenspiel	
  and	
  is	
  accompanied	
  by	
  the	
  strings.	
  

	
  
Figure	
  24	
  

	
  
12.

GRENOUILLE	
  MEETS	
  BALDINI,	
  00:33:35	
  -­‐	
  00:35:01,	
  Duration:	
  00:01:26	
  
In	
   this	
   cue	
   we	
   hear	
   two	
   harps.	
   One	
   plays	
   the	
   melody	
   and	
   the	
   other	
   the	
  

harmony:	
  an	
  arpeggio	
  of	
  the	
  chord	
  C-­‐6.	
  
The	
  melody	
  is	
  the	
  same	
  as	
  the	
  one	
  from	
  the	
  previous	
  cue	
  (Baldini	
  testing	
  perfume)	
  
but	
  play	
  one	
  whole	
  step	
  higher,	
  in	
  the	
  key	
  of	
  C	
  minor.	
  

	
  
Figure	
  25	
  

	
  
	
  
	
  
	
  
	
  

	
  

21	
  

ü Narrative	
  function:	
  
The	
  quality	
  of	
  the	
  C-­‐6	
  chord,	
  the	
  melody	
  played	
  by	
  the	
  harp,	
  and	
  the	
  chords	
  of	
  
the	
  strings	
  create	
  a	
  mysterious	
  environment	
  for	
  Jean-­‐Baptiste	
  who	
  is	
  surprised	
  to	
  
discover	
   the	
   scents	
   at	
   Baldini’s	
   laboratory,	
   who	
   keeps	
   not	
   only	
   essences	
   from	
  
plants,	
  but	
  also	
  dead	
  animals.	
  
	
  
13. AMOR	
  AND	
  PSYCHE,	
  00:39:18	
  -­‐	
  00:43:05	
  

Duration:	
  00:03:47	
  

The	
  music	
  on	
  this	
  cue	
  is	
  similar	
  to	
  the	
  one	
  on	
  the	
  cue	
  #6,	
  PELLISSIER,	
  but	
  
with	
   more	
   instruments	
   and	
   greater	
   complexity.	
   It	
   starts	
   in	
   the	
   same	
   way	
   as	
   the	
  
PELLISSIER	
  cue,	
  with	
  the	
  violas	
  playing	
  the	
  note	
  E	
  as	
  a	
  quarter	
  note	
  ostinato.	
  Also,	
  
we	
   can	
   hear	
   both	
   harps	
   playing	
   arpeggios	
   and	
   accompaniment;	
   the	
   resulting	
  
sound	
  is	
  an	
  A	
  Aeolian.	
  The	
  new	
  instruments	
  in	
  this	
  cue	
  are	
  the	
  strings	
  that	
  play	
  
diatonic	
  steps	
  with	
  tremolo	
  and	
  a	
  glockenspiel	
  that	
  plays	
  arpeggios	
  at	
  intervals	
  of	
  
thirds	
  in	
  relation	
  to	
  the	
  first	
  harp.	
  

	
  
Figure	
  26	
  

	
  
	
  
	
  

	
  

22	
  

	
  
Figure	
  27	
  

	
  
Then,	
  the	
  key	
  signature	
  modulates	
  to	
  F	
  minor	
  when	
  Jean-­‐Baptiste	
  starts	
  to	
  
make	
  a	
  better	
  perfume	
  than	
  Amor	
  and	
  Psyche.	
  The	
  first	
  harp	
  and	
  the	
  glockenspiel	
  
continue	
   to	
   play	
   arpeggios;	
   however	
   the	
   low	
   strings,	
   celli	
   and	
   double	
   basses,	
  
move	
  diatonicly	
  by	
  step	
  in	
  the	
  key	
  of	
  F	
  minor.	
  

	
  
Figure	
  28	
  

	
  
	
  
	
  
	
  

	
  

23	
  

ü Narrative	
  function:	
  
Because	
  of	
  the	
  fact	
  that	
  Jean-­‐Baptiste	
  mixes	
  Amor	
  and	
  Psyche,	
  we	
  can	
  hear	
  at	
  
the	
   beginning	
   of	
   the	
   cue	
   that	
   the	
   music	
   is	
   similar	
   to	
   the	
   one	
   at	
   Pellissier’s	
   store	
  
where	
   Grenouille	
   discovered	
   this	
   perfume.	
   Later,	
   the	
   music	
   becomes	
   more	
  
complex	
   when	
   more	
   instruments	
   appear;	
   the	
   low	
   strings	
   moving	
   by	
   diatonic	
  
steps	
   and	
   the	
   modulation	
   to	
   F	
   minor	
   are	
   related	
   to	
   Jean-­‐Baptiste’s	
   talent	
   and	
  
ability	
   to	
   make	
   a	
   much	
   better	
   perfume.	
   The	
   tremolo	
   used	
   in	
   the	
   violins	
   and	
   the	
  
ostinato	
  played	
  by	
  the	
  harps	
  and	
  violas	
  create	
  a	
  suspense	
  environment	
  for	
  Baldini	
  
who	
  is	
  overwhelmed	
  to	
  see	
  Grenouille’s	
  procedure.	
  
	
  
14. BALDINI	
  TESTS	
  NEW	
  PERFUME,	
  00:44:02	
  -­‐	
  00:45:03	
   Duration:	
  00:01:01	
  
	
  

The	
  music	
  on	
  this	
  cue	
  starts	
  with	
  the	
  violins	
  1	
  playing	
  tremolo.	
  Then,	
  violins	
  2	
  

and	
   violas	
   enter	
   and	
   finally	
   low	
   strings	
   and	
   mandolins	
   playing	
   chords	
   with	
  
tremolo.	
  
	
  

	
  
	
  
	
  

	
  

24	
  

	
  
Figure	
  29	
  

	
  
ü Narrative	
  function:	
  
In	
   this	
   cue,	
   the	
   instruments	
   play	
   suspended	
   whole	
   notes.	
   This	
   music	
   serves	
   as	
  
a	
   background	
   for	
   Giuseppe	
   Baldini	
   who,	
   after	
   testing	
   the	
   magnificent	
   perfume	
  
created	
  by	
  Jean-­‐Baptiste,	
  has	
  closed	
  his	
  eyes	
  and	
  imagined	
  he	
  is	
  back	
  in	
  time	
  to	
  
his	
  hometown	
  in	
  Italy.	
  We	
  can	
  hear	
  the	
  mandolin	
  in	
  this	
  cue,	
  which	
  traditionally	
  
has	
  been	
  an	
  instrument	
  used	
  in	
  Italian	
  music.	
  
	
  
	
  
	
  
	
  

	
  

25	
  

15. THE	
  13TH	
  ESSENCE,	
  00:45:08	
  -­‐	
  00:47:25	
  

Duration:	
  00:02:17	
  

The	
   music	
   in	
   this	
   cue	
   is	
   similar	
   to	
   the	
   one	
   on	
   11.	
   BALDINI	
   TESTING	
  
PERFUME,	
  but	
  it	
  has	
  new	
  timbres.	
  It	
  starts	
  with	
  the	
  harp	
  playing	
  the	
  harmonized	
  
melody	
   in	
   the	
   key	
   of	
   Bb	
   minor	
   and	
   accompanied	
   by	
   pizzicato	
   low	
   strings.	
   The	
  
flutes	
   and	
   oboes	
   fill	
   the	
   part	
   where	
   the	
   harp	
   is	
   not	
   playing	
   to	
   add	
   a	
   different	
  
timber.	
  We	
  can	
  also	
  hear	
  a	
  celesta	
  playing	
  fast	
  arpeggios	
  over	
  the	
  harp’s	
  melody.	
  

	
  
Figure	
  30	
  

	
  
Then,	
  the	
  piece	
  modulates	
  to	
  F	
  minor	
  through	
  a	
  secondary	
  dominant	
  in	
  Bb	
  
minor:	
  C7	
  that	
  becomes	
  the	
  V7	
  degree	
  in	
  the	
  new	
  key.	
  

	
  
Figure	
  31	
  

	
  
	
  
	
  

	
  

26	
  

Later,	
   the	
   piece	
   modulates	
   several	
   times	
   and	
   changes	
   its	
   tempo	
   and	
   meter	
  
to	
   4/4.	
   	
   In	
   this	
   part	
   we	
   can	
   hear	
  a	
   variation	
   of	
   Baldini’s	
   theme	
   played	
   this	
   time	
   by	
  
the	
  violins,	
  while	
  the	
  harmony	
  changes	
  to	
  unexpected	
  chords.	
  

	
  
Figure	
  32	
  

	
  
ü Narrative	
  function:	
  
This	
  cue	
  has	
  two	
  parts,	
  the	
  first	
  being	
  more	
  rhythmic	
  and	
  used	
  for	
  the	
  scenes	
  
where	
   the	
   narrator	
   explains	
   the	
   success	
   of	
   Baldini’s	
   perfumery	
   after	
   buying	
  
Grenouille	
   from	
   Grimal	
   for	
   fifty	
   francs.	
   The	
   second	
   part	
   of	
   the	
   music	
   is	
   delineated	
  
by	
   a	
   tempo	
   and	
   meter	
   change,	
   and	
   is	
   used	
   for	
   the	
   story	
   that	
   Baldini	
   tells	
   to	
  
Grenouille	
   about	
   a	
   legend	
   of	
   a	
   perfume	
   found	
   in	
   a	
   vial	
   in	
   a	
   pharaoh’s	
   tomb	
  
possessing	
   such	
   subtle	
   beauty	
   and	
   power	
   beyond	
   compare.	
   This	
   perfume	
  
contained	
  the	
  elusive	
  13th	
  essence	
  that	
  could	
  never	
  be	
  identified.	
  
	
  
16. DISTILLING	
  ROSES,	
  00:49:26	
  -­‐	
  00:51:17	
  

Duration:	
  00:01:51	
  

Instrumentation:	
  flutes,	
  celesta,	
  harp,	
  and	
  strings.	
  
The	
  theme	
  in	
  this	
  scene	
  is	
  similar	
  to	
  that	
  of	
  cue	
  number	
  10,	
  BALDINI	
  AT	
  
STUDIO,	
  but	
  this	
  time	
  with	
  the	
  addition	
  of	
  more	
  instruments.	
  Also,	
  in	
  cue	
  number	
  
11,	
  BALDINI	
  TESTING	
  PERFUME,	
  we	
  can	
  hear	
  the	
  same	
  theme	
  in	
  the	
  same	
  key	
  
signature:	
  Bb	
  minor,	
  now	
  with	
  an	
  augmented	
  rhythm.	
  
	
  
	
  
	
  

	
  

27	
  

In	
  this	
  excerpt,	
  the	
  music	
  starts	
  with	
  Baldini’s	
  theme	
  played	
  by	
  the	
  celesta	
  
and	
  a	
  counterpoint	
  played	
  by	
  the	
  harp	
  in	
  the	
  key	
  of	
  Bb	
  minor:	
  

	
  
Figure	
  33	
  

	
  
Then,	
  the	
  violins	
  I	
  enter,	
  doubling	
  the	
  melody	
  and	
  the	
  violas	
  draw	
  out	
  the	
  
same	
  line	
  in	
  intervals	
  of	
  thirds.	
  The	
  rest	
  of	
  the	
  strings	
  fill	
  the	
  harmony.	
  

	
  
Figure	
  34	
  

	
  
	
  
	
  

	
  

28	
  

Afterwards,	
  we	
  have	
  a	
  direct	
  modulation	
  to	
  the	
  key	
  of	
  G	
  minor	
  and	
  then	
  
back	
  to	
  Bb	
  minor.	
  This	
  modulation	
  repeats	
  again	
  and	
  then	
  changes	
  to	
  the	
  key	
  of	
  E	
  
minor.	
  We	
  can	
  see	
  that	
  the	
  composer	
  is	
  modulating	
  by	
  intervals	
  of	
  minor	
  thirds,	
  
in	
  the	
  characteristic	
  style	
  of	
  Danny	
  Elfman.	
  

	
  
Figure	
  35	
  

	
  
Here	
  is	
  another	
  example	
  of	
  modulation	
  by	
  the	
  interval	
  of	
  descending	
  
minor	
  thirds:	
  

	
  
Figure	
  36	
  

	
  
	
  
	
  

	
  

29	
  

Finally	
  the	
  music	
  resolves	
  again	
  in	
  the	
  key	
  of	
  Bb	
  minor.	
  
	
  
ü Narrative	
  function:	
  
The	
  use	
  of	
  timber	
  in	
  the	
  celesta	
  paired	
  with	
  a	
  harp	
  in	
  counterpoint	
  creates	
  a	
  
sense	
  of	
  fantasy	
  and	
  magic.	
  Jean-­‐Baptiste	
  is	
  surprised	
  by	
  Baldini’s	
  explanation	
  of	
  
how	
  ten	
  thousand	
  roses	
  will	
  boil	
  and	
  condense	
  to	
  produce	
  a	
  single	
  ounce	
  of	
  
essential	
  oil.	
  To	
  do	
  all	
  this	
  in	
  a	
  mechanism	
  devised	
  by	
  Baldini	
  is	
  nothing	
  short	
  of	
  
enchanting.	
  The	
  harmony	
  change	
  of	
  minor	
  thirds	
  also	
  heightens	
  the	
  sense	
  of	
  
magic	
  and	
  chemistry.	
  
	
  
17.	
  

EXPERIMENT,	
  00:51:56	
  -­‐	
  00:55:35.	
   	
  

Duration:	
  00:03:39	
  

Instead	
  of	
  using	
  traditional	
  musical	
  themes,	
  we	
  come	
  to	
  realize	
  that	
  this	
  
cue	
  has	
  many	
  textures	
  that	
  lie	
  in	
  the	
  background.	
  	
  However,	
  there	
  is	
  one	
  brief	
  
exception	
  to	
  this	
  tendency,	
  in	
  a	
  scene	
  where	
  a	
  	
  small	
  motif	
  of	
  a	
  previous	
  theme	
  is	
  
echoed.	
  
This	
  begins	
  with	
  the	
  strings	
  playing	
  suspended	
  notes	
  starting	
  from	
  the	
  dynamic	
  
level	
  pp	
  and	
  later	
  crescendoing	
  as	
  the	
  cue	
  progresses.	
  We	
  can	
  also	
  hear	
  a	
  harp	
  
playing	
  ascending	
  and	
  descending	
  arpeggios	
  that	
  form	
  dissonance	
  in	
  relation	
  to	
  
the	
  strings.	
  The	
  resulting	
  sound	
  is	
  an	
  exotic	
  mode:	
  the	
  C	
  harmonic	
  major	
  scale.	
  
Narratively,	
  the	
  string	
  background	
  and	
  arpeggios	
  create	
  an	
  aura	
  of	
  suspense	
  and	
  
mystery	
  surrounding	
  this	
  new	
  essential	
  oil	
  produced	
  by	
  the	
  distilling	
  of	
  ten	
  
thousand	
  roses.	
  

	
  
	
  
	
  

	
  

30	
  

	
  
Figure	
  37	
  

	
  
The	
   brass	
   section	
   enters,	
   playing	
   a	
   crescendo	
   and	
   reaching	
   the	
   dynamic	
  
level	
   forte	
   in	
   the	
   exact	
   moment	
   that	
   we	
   see	
   a	
   drop	
   of	
   liquid	
   fall	
   into	
   a	
   vial	
   of	
  
essential	
  rose	
  oil.	
  

	
  
Figure	
  38	
  

	
  
	
  
	
  

	
  

31	
  

While	
   Jean-­‐Baptiste	
   is	
   experimenting	
   in	
   the	
   perfume’s	
   laboratory	
  
preserving	
   the	
   scents	
   of	
   various	
   things,	
   the	
   violas	
   and	
   celli	
   play	
   an	
   ostinato	
   of	
  
sixteenth	
  notes	
  in	
  the	
  key	
  of	
  C	
  minor	
  to	
  add	
  movement	
  to	
  the	
  cue.	
  The	
  harp	
  also	
  
plays	
  an	
  ostinato	
  of	
  quarter	
  notes:	
  C,	
  G,	
  Eb,	
  A,	
  D,	
  Eb;	
  and	
  the	
  violins	
  play	
  a	
  short	
  
motif	
  in	
  thirds	
  over	
  the	
  ostinatos.	
  The	
  glockenspiel	
  also	
  plays	
  the	
  same	
  ostinato	
  
as	
  the	
  harp	
  but	
  in	
  eighth	
  notes.	
  
The	
   interesting	
   aspect	
   of	
   this	
   section	
   is	
   the	
   polyrhythm	
   formed	
   by	
   the	
  
joining	
   of	
   the	
   previously	
   mentioned	
   instruments.	
   Narratively,	
   the	
   polyrhythm	
  
contributes	
   to	
   the	
   obsession	
   that	
   Jean-­‐Baptiste	
   feels	
   about	
   trying	
   to	
   capture	
   the	
  
scent	
  of	
  all	
  things.	
  

	
  
Figure	
  39	
  

	
  
	
  
	
  

	
  

32	
  

	
  
Figure	
  40	
  

	
  
Afterwards,	
   we	
   see	
   a	
   down-­‐trodden	
   Jean-­‐Baptiste,	
   upset	
   by	
   his	
   failed	
  
experiments.	
  In	
  the	
  moment	
  that	
  he	
  accuses	
  Baldini	
  of	
  being	
  a	
  liar,	
  we	
  can	
  hear	
  in	
  
the	
  background	
  a	
  series	
  of	
  tied	
  whole	
  notes.	
  Then,	
  a	
  short	
  melody	
  surfaces	
  that	
  is	
  
an	
   extract	
   of	
   one	
   of	
   the	
   main	
   themes	
   of	
   this	
   movie	
   found	
   in	
   the	
   previous	
   cue	
   5.	
  
STREETS	
  OF	
  PARIS.	
  

	
  
Figure	
  41	
  

	
  
	
  
	
  
	
  

	
  

33	
  

Finally,	
  the	
  violas	
  start	
  playing	
  tremolo	
  sul	
  ponticello,	
  and	
  the	
  woodwinds	
  
enter	
   in,	
   accompanied	
   by	
   percussive	
   instruments:	
   timpani	
   glissandi	
   with	
   pedal	
  
and	
  tam-­‐tam.	
  
Narratively,	
   the	
   music	
   works	
   with	
   the	
   scene	
   when	
   Baldini	
   discovers	
   that	
   Jean-­‐
Baptiste	
  has	
  also	
  experimented	
  with	
  a	
  dead	
  cat	
  to	
  extract	
  its	
  scent.	
  

	
  
Figure	
  42	
  

	
  
18.	
  

GRENOUILLE	
  LEAVES	
  BALDINI,	
  00:57:15	
  -­‐	
  00:59:44.	
  Duration:	
  00:02:29	
  
The	
   music	
   in	
   this	
   cue	
   starts	
   with	
   a	
   pedal	
   of	
   double	
   basses	
   and	
   celli	
   playing	
  

C	
   and	
   G,	
   and	
   a	
   harp	
   playing	
   the	
   an	
   ascending	
   and	
   descending	
   C	
   Lydian	
   scale.	
   This	
  
scale	
  changes	
  to	
  C	
  Lydian	
  b7	
  and	
  then	
  back	
  to	
  Lydian	
  again.	
  

	
  
	
  
	
  

	
  

34	
  

	
  
Figure	
  43	
  

	
  
At	
   the	
   end	
   of	
   this	
   first	
   part,	
   we	
   can	
   also	
   hear	
   the	
   English	
   horn	
   carry	
   a	
  
melody	
  over	
  the	
  accompaniment	
  of	
  the	
  harp	
  that	
  suggests	
  the	
  C	
  Lydian	
  mode.	
  

	
  
Figure	
  44	
  

	
  
Because	
  of	
  the	
  instrumentation	
  used	
  and	
  the	
  fact	
  that	
  the	
  Lydian	
  mode	
  is	
  
brighter	
  than	
  other	
  modes,	
  the	
  composer	
  strategically	
  implemented	
  this	
  scale	
  to	
  
accompany	
  the	
  narrator’s	
  voice	
  as	
  he	
  explains	
  the	
  satisfaction	
  that	
  Baldini	
  feels	
  as	
  
he	
  now	
  owns	
  one	
  hundred	
  formulas	
  for	
  new	
  perfumes.	
  These	
  new	
  aromas	
  were	
  
provided	
   by	
   the	
   apprentice	
   Jean-­‐Baptiste,	
   and	
   Baldini	
   at	
   last	
   feels	
   rewarded	
   for	
  
his	
  many	
  years	
  of	
  hard	
  work.	
  
When	
  Jean-­‐Baptiste	
  is	
  on	
  his	
  way	
  to	
  Grasse,	
  the	
  music	
  corresponds	
  to	
  the	
  
first	
   theme	
   of	
   the	
   movie	
   that	
   we	
   hear	
   in	
   the	
   very	
   first	
   cue:	
   1.	
   PRE-­‐TITLE.	
   The	
  
instrumentation	
   uses	
   the	
   same	
   female	
   voices	
   singing	
   the	
   melody	
   but	
   now	
   with	
  

	
  
	
  
	
  

	
  

35	
  

more	
   instruments	
   added:	
   strings,	
   celesta,	
   timpani	
   and	
   bass	
   drum.	
   At	
   the	
   end	
   of	
  
the	
  cue,	
  the	
  harp	
  stands	
  alone	
  playing	
  ascending	
  glissandi.	
  

	
  
Figure	
  45	
  

	
  

	
  
Figure	
  46	
  

	
  
	
  
	
  

	
  

36	
  

	
  
Figure	
  47	
  

	
  
Narratively,	
   the	
   music	
   gives	
   a	
   sense	
   of	
   greatness	
   and	
   freedom.	
   It	
  
accompanies	
  the	
  scenes	
  where	
  the	
  narrator	
  explains	
  that	
  Jean-­‐Baptiste	
  is	
  at	
  least	
  
able	
  to	
  breathe	
  freely	
  as	
  he	
  goes	
  to	
  the	
  mountains,	
  ever	
  further	
  from	
  mankind.	
  
	
  
19.	
  

NO	
  SMELL,	
  01:01:51	
  -­‐	
  01:03:20	
  

Duration:	
  00:01:29	
  

On	
  the	
  first	
  part	
  of	
  this	
  cue,	
  the	
  instruments	
  play	
  random	
  notes	
  ascending	
  
and	
   descending.	
   The	
   harp	
   also	
   plays	
   random	
   glissandi	
   in	
   a	
   frenetic	
   way.	
  
Narratively,	
   the	
   music	
   accompanies	
   the	
   scene	
   where	
   Jean-­‐Baptiste	
   washes	
  
himself	
  in	
  the	
  rain,	
  desperately	
  trying	
  to	
  remove	
  all	
  other	
  odors	
  from	
  his	
  body	
  
When	
   he	
   realizes	
   that	
   he	
   has	
   no	
   smell	
   of	
   his	
   own,	
   the	
   dynamic	
   level	
   of	
   the	
  
instruments	
   are	
   piano	
   and	
   we	
   can	
   hear	
   the	
   motif	
   of	
   minor	
   second	
   that	
   was	
  
present	
  also	
  in	
  the	
  cue	
  3:	
  BABY	
  GRABS	
  FINGER.	
  

	
  
Figure	
  48	
  

	
  
	
  
	
  

	
  

37	
  

This	
  motif,	
  played	
  over	
  the	
  pedal	
  of	
  the	
  rest	
  of	
  the	
  instruments,	
  embodies	
  
the	
   fragility	
   and	
   loneliness	
   of	
   the	
   protagonist	
   who	
   has	
   been	
   cast	
   off	
   by	
   society	
  
since	
   birth.	
   This	
   instrumentation	
   and	
   motif	
   was	
   also	
   used	
   when	
   he	
   left	
   the	
  
orphanage	
  after	
  her	
  mother’s	
  death.	
  
In	
   the	
   second	
   part	
   of	
   the	
   cue,	
   we	
   can	
   hear	
   the	
   woodwinds	
   playing	
  
alternately	
   a	
   minor	
   melody	
   over	
   the	
   accompaniment	
   of	
   low	
   notes	
   in	
   the	
   harp	
   and	
  
double	
   basses	
   playing	
   tremolo.	
   The	
   rest	
   of	
   the	
   strings	
   add	
   a	
   sense	
   of	
   darkness,	
  
echoing	
  the	
  woodwinds	
  very	
  subtly	
  and	
  imitating	
  them	
  sul	
  tasto	
  

	
  
Figure	
  49	
  

	
  
Narratively,	
  the	
  music	
  in	
  this	
  part	
  of	
  the	
  cue	
  accompanies	
  the	
  protagonist’s	
  
two	
   contrasting	
   emotions:	
   sadness	
   and	
   a	
   determination	
   to	
   forge	
   ahead.	
   Jean-­‐

	
  
	
  
	
  

	
  

38	
  

Baptiste	
  decides	
  to	
  continue	
  his	
  journey	
  to	
  Grasse	
  and	
  aspires	
  to	
  leave	
  his	
  mark	
  in	
  
the	
  world	
  by	
  creating	
  the	
  perfect	
  perfume.	
  
	
  
20.	
  

MEETING	
  LAURA,	
  01:03:28	
  -­‐	
  01:07:39	
  

Duration:	
  00:04:11	
  

In	
   this	
   cue,	
   we	
   can	
   hear	
   a	
   new	
   theme,	
   Laura’s	
   theme,	
   sung	
   by	
   a	
   soprano	
  
with	
  an	
  accompaniment	
  of	
  tremolo	
  strings.	
  The	
  lyrics	
  of	
  the	
  music	
  are	
  in	
  Italian	
  
and	
  the	
  translation	
  of	
  the	
  first	
  part	
  is	
  the	
  following:	
  
To	
  the	
  soul	
  
Will	
  fit	
  
More	
  harmonic	
  
The	
  music	
  
The	
  only	
  caress	
  
Over	
  an	
  unattractive	
  body,	
  
And	
  like	
  that	
  it	
  breathes	
  
The	
  sumptuous	
  note	
  
So	
  that	
  will	
  be	
  
The	
  image	
  
Of	
  an	
  angel…	
  
	
  
In	
  the	
  beginning,	
  the	
  harmony	
  and	
  melody	
  move	
  between	
  F	
  Major	
  and	
  F	
  Minor.	
  

	
  
Figure	
  50	
  

	
  
	
  
	
  

	
  

39	
  

This	
   is	
   very	
   beautiful	
   music,	
   which	
   accompanies	
   the	
   emotion	
   that	
   Jean-­‐
Baptiste	
  feels	
  when	
  he	
  perceives	
  Laura’s	
  scent	
  and	
  when	
  he	
  sees	
  her	
  for	
  the	
  first	
  
time.	
  For	
  him,	
  Laura	
  is	
  an	
  angel	
  of	
  sublime	
  beauty.	
  
The	
   woodwinds	
   and	
   brass	
   are	
   also	
   added	
   to	
   the	
   instrumentation,	
   playing	
   a	
  
crescendo	
  which	
  leads	
  to	
  the	
  piece’s	
  climax	
  (see	
  appendix).	
  Narratively,	
  this	
  is	
  the	
  
moment	
  when	
  Jean-­‐Baptiste	
  sees	
  Laura	
  in	
  her	
  balcony.	
  
	
  
21.	
  

LAVENDER	
  FIELDS,	
  01:08:21	
  -­‐	
  01:09:38	
  

	
  

Duration:	
  00:01:17	
  

This	
  music	
  is	
  similar	
  to	
  cue	
  16.	
  DISTILLING	
  ROSES.	
  The	
  piece	
  begins	
  with	
  
the	
  celesta	
  playing	
  Baldini’s	
  theme	
  with	
  a	
  melodic	
  variation.	
  Then,	
  the	
  strings	
  join	
  
in	
  the	
  melody	
  playing	
  harmony	
  in	
  the	
  key	
  of	
  Bb	
  minor.	
  	
  

	
  
Figure	
  51	
  

	
  
As	
   in	
   the	
   previous	
   cue	
   #16	
   DISTILLING	
  ROSES,	
   the	
   harmony	
   modulates	
   through	
  
intervals	
  of	
  minor	
  thirds.	
  

	
  
	
  
	
  

	
  

40	
  

Narratively,	
   the	
   music	
   is	
   related	
   in	
   general	
   with	
   a	
   scene	
   of	
  
experimentation	
  and	
  chemical	
  formulation.	
  We	
  can	
  hear	
  this	
  line	
  when	
  Baldini	
  is	
  
testing	
  perfumes,	
  when	
  Baldini	
  and	
  Jean-­‐Baptiste	
  are	
  distilling	
  roses	
  and	
  in	
  here	
  
again	
   when	
   Jean-­‐Baptiste	
   is	
   extracting	
   the	
   scent	
   of	
   flowers	
   by	
   the	
   art	
   of	
  
Enfleurage.	
  
	
  
22.	
  

PAULINE,	
  01:10:28	
  -­‐	
  01:11:42	
  

Duration:	
  00:01:14	
  

The	
  music	
  in	
  this	
  cue	
  starts	
  with	
  the	
  pizzicato	
  strings	
  playing	
  intervals	
  of	
  
perfect	
  fifth	
  (E-­‐B)	
  and	
  alternating	
  them	
  with	
  the	
  tritone	
  interval	
  (E-­‐A#).	
  

	
  
Figure	
  52	
  

	
  
Then	
  the	
  harp	
  enters,	
  playing	
  a	
  sixteenth	
  note	
  accompaniment	
  of	
  intervals	
  
in	
  a	
  minor	
  third	
  (E-­‐G)	
  and	
  alternating	
  with	
  the	
  second	
  degree	
  of	
  the	
  scale	
  (F#)	
  for	
  
two	
  bars.	
  The	
  harp	
  also	
  plays	
  a	
  tritone	
  interval	
  for	
  two	
  bars.	
  The	
  violins	
  I	
  play	
  tied	
  
whole	
  notes	
  B	
  and	
  C#	
  over	
  the	
  pizzicato	
  of	
  the	
  strings	
  and	
  the	
  harp	
  ostinato.	
  Here,	
  

	
  
	
  
	
  

	
  

41	
  

we	
   can	
   also	
   appreciate	
   the	
   violins	
   playing	
   tremolo	
   sul	
   ponticello	
   to	
   achieve	
   a	
  
metallic	
  sound.	
  

	
  
Figure	
  53	
  

	
  
Narratively,	
  this	
  music	
  generates	
  suspense,	
  especially	
  with	
  the	
  use	
  of	
  the	
  
tritone	
   interval,	
   and	
   the	
   viewer	
   senses	
   something	
   is	
   about	
   to	
   happen	
   to	
   the	
  
beautiful	
  Pauline.	
  
	
  
23.	
  

THE	
  TANK,	
  01:12:11	
  -­‐	
  01:13:21	
  

Duration:	
  00:01:10	
  

The	
  music	
  in	
  this	
  cue	
  is	
  a	
  backdrop	
  for	
  the	
  scene	
  when	
  Pauline	
  is	
  left	
  alone	
  
and	
  Jean-­‐Baptiste	
  murders	
  her,	
  putting	
  her	
  in	
  the	
  tank	
  with	
  water	
  to	
  capture	
  her	
  
scent.	
   In	
   general,	
   all	
   the	
   instruments	
   play	
   tied	
   whole	
   notes	
   and	
   appear	
  
progressively	
   to	
   add	
   suspense	
   to	
   the	
   scene.	
   Narratively,	
   the	
   fact	
   that	
   the	
  
instruments	
  are	
  added	
  progressively	
  and	
  that	
  the	
  dynamic	
  level	
  goes	
  from	
  p	
  to	
  f,	
  
connects	
  visually	
  to	
  Jean-­‐Baptiste	
  as	
  he	
  silently	
  approaches	
  the	
  unsuspecting	
  girl.	
  

	
  
	
  
	
  

	
  

42	
  

	
  
Figure	
  54	
  

	
  
After	
   a	
   gradual	
   creeping	
   forward,	
   the	
   harp	
   enters,	
   playing	
   dissonant	
  
arpeggios	
   followed	
   by	
   the	
   brass	
   which	
   crescendos	
   to	
   the	
   dynamic	
   level	
   f.	
   This	
  
crescendo	
   ends	
   as	
   Jean-­‐Baptiste’s	
   face	
   appears	
   in	
   front	
   of	
   Pauline.	
   The	
   strings	
  
also	
  play	
  dissonant	
  tied	
  whole	
  notes	
  and	
  at	
  the	
  end	
  of	
  the	
  cue	
  while	
  violins	
  play	
  
random	
  dissonant	
  notes.	
  

	
  
Figure	
  55	
  

	
  

	
  
	
  
	
  

	
  

43	
  

Narratively,	
  the	
  music	
  in	
  this	
  cue	
  gives	
  a	
  sense	
  of	
  suspense	
  and	
  uneasiness,	
  
as	
   we	
   know	
   something	
   bad	
   is	
   about	
   to	
   happen	
   to	
   Pauline.	
   This	
   dissonant	
   music	
  
extends	
   to	
   the	
   scene	
   where	
   Jean-­‐Baptiste	
   has	
   placed	
   the	
   dead	
   naked	
   girl	
   inside	
  
the	
  tank	
  to	
  experiment	
  with	
  her	
  corpse.	
  
	
  
24.	
  

I	
  ENJOY	
  MY	
  WORK,	
  01:13:50	
  -­‐	
  01:18:41	
  

Duration:	
  00:04:51	
  

The	
   music	
   in	
   this	
   cue	
   starts	
   with	
   a	
   very	
   low	
   frequency	
   playing	
   C	
   and	
   a	
  
bowed	
   vibraphone	
   playing	
   G,	
   which	
   forms	
   a	
   perfect	
   fifth	
   interval.	
   Then,	
   a	
   piano	
  
enters	
   playing	
   a	
   low	
   C	
   from	
   time	
   to	
   time,	
   and	
   a	
   viola	
   also	
   joins	
   playing	
   C	
  
employing	
  the	
  same	
  bowing	
  effect	
  sul	
  ponticello	
  that	
  has	
  been	
  used	
  previously	
  in	
  
other	
   cues.	
   This	
   tinges	
   the	
   cue	
   with	
   a	
   metallic	
   sound,	
   and	
   adds	
   tension	
   to	
   the	
  
narrative.	
  

	
  
Figure	
  56	
  

	
  
Additionally,	
   a	
   bass	
   drum	
   appears	
   playing	
   crescendo	
   and	
   decrescendo	
  
tremolo.	
   The	
   violas	
   and	
   celli	
   form	
   parallel	
   tritone	
   intervals	
   of	
   tied	
   whole	
   notes	
  
using	
  the	
  bowing	
  effect	
  sul	
  ponticello	
  (C#	
  -­‐	
  G),	
  (D#	
  -­‐	
  A),	
  (C#	
  -­‐	
  G).	
  
	
  
	
  
	
  

	
  

44	
  

	
  
Figure	
  57	
  

	
  
In	
   this	
   first	
   part	
   of	
   the	
   cue,	
   the	
   recurring	
   low	
   frequencies,	
   metallic	
   sounds,	
  
and	
   tritone	
   intervals	
   create	
   an	
   aura	
   of	
   tension	
   for	
   the	
   scene	
   in	
   which	
   Jean-­‐
Baptiste	
   hides	
   Pauline’s	
   dead	
   body.	
   The	
   music	
   works	
   effectively	
   in	
   creating	
  
suspense	
  as	
  other	
  characters	
  enter	
  the	
  laboratory	
  and	
  ask	
  Jean-­‐Baptiste	
  what	
  is	
  
inside	
  the	
  covered	
  tank.	
  
Afterwards,	
   the	
   harp	
   plays	
   arpeggios,	
   suggesting	
   a	
   harmony	
   that	
   moves	
   to	
  
F	
   minor	
   with	
   1st	
   degree	
   and	
   C7	
   as	
   its	
   dominant.	
   The	
   woodwinds	
   play	
   dissonant	
  
pitches	
  in	
  relation	
  to	
  this	
  harmony.	
  

	
  
Figure	
  58	
  

	
  
	
  
	
  

	
  

45	
  

Then,	
  the	
  glockenspiel	
  continues	
  the	
  arpeggios	
  played	
  before	
  by	
  the	
  harp	
  
over	
   a	
   pedal	
   of	
   the	
   low	
   strings.	
   The	
   French	
   horns	
   and	
   woodwinds	
   enter	
   and	
  
finally	
   the	
   strings,	
   woodwinds	
   and	
   French	
   horns	
   play	
   intervals	
   of	
   minor	
   second	
  
repetitively	
  until	
  achieving	
  the	
  dynamic	
  level	
  ff.	
  
	
  
In	
   this	
   second	
   part	
   of	
   the	
   cue,	
   the	
   music	
   creates	
   tension	
   with	
   the	
   use	
   of	
  
arpeggios	
  in	
  the	
  harp	
  and	
  glockenspiel.	
  The	
  rest	
  of	
  the	
  instruments	
  play	
  dissonant	
  
pitches	
   and	
   arrive	
   at	
   a	
   crescendo.	
   The	
   music	
   connects	
   to	
   the	
   scene	
   when	
   Jean-­‐
Baptiste	
  is	
  scheming	
  to	
  soak	
  up	
  the	
  scent	
  of	
  a	
  prostitute	
  with	
  animal	
  fat	
  and	
  the	
  ff	
  
crescendo	
  strikes	
  at	
  the	
  exact	
  moment	
  when	
  he	
  hits	
  her	
  with	
  a	
  hammer.	
  
	
  
25.	
  

THE	
  METHOD	
  WORKS,	
  01:18:41	
  -­‐	
  01:22:02	
  Duration:	
  00:03:21	
  
The	
   music	
   in	
   this	
   cue	
   is	
   a	
   continuation	
   of	
   the	
   previous	
   scene	
   and	
   begins	
  

with	
   percussion	
   playing	
   eighth	
   notes	
   that	
   resemble	
   heartbeats	
   also	
   a	
   piano	
  
playing	
   an	
   ostinato	
   of	
   a	
   high	
   B	
   and,	
   an	
   octave	
   higher,	
   alternating	
   between	
   A#	
   and	
  
B.	
  It	
  is	
  possible	
  to	
  hear	
  female	
  voices	
  with	
  reverb	
  that	
  resemble	
  ghosts.	
  Then	
  the	
  
low	
   strings,	
   celli	
   and	
   basses	
   enter,	
   playing	
   a	
   progression	
   of	
   whole	
   notes	
   to	
   add	
  
movement.	
  

	
  
Figure	
  59	
  

	
  
	
  
	
  
	
  

	
  

46	
  

Afterwards,	
  the	
  male	
  voices	
  echo	
  the	
  notes	
  of	
  the	
  low	
  strings,	
  and	
  a	
  flute	
  
continues	
   with	
   the	
   ostinato	
   note	
   played	
   previously	
   by	
   the	
   piano	
   (B).	
   The	
   harp	
  
enters,	
  playing	
  arpeggios	
  over	
  the	
  B	
  minor	
  chord.	
  The	
  harmony	
  played	
  by	
  the	
  low	
  
strings	
   however,	
   continually	
   change	
   in	
   pitch.	
   The	
   cue	
   finishes	
   with	
   the	
   piano	
   that	
  
enters	
   again	
   playing	
   arpeggios	
   and	
   ending	
   each	
   one	
   of	
   them	
   dissonantly.	
   A	
   minor	
  
second	
  interval	
  and	
  ostinato	
  note	
  (B)	
  is	
  now	
  played	
  by	
  the	
  violins.	
  

	
  
Figure	
  60	
  

	
  
ü Narrative	
  function:	
  
The	
   ostinato	
   of	
   the	
   heartbeats	
   and	
   the	
   piano	
   are	
   related	
   to	
   Jean-­‐Baptiste’s	
  
obsession	
   to	
   carry	
   out	
   his	
   plan	
   to	
   create	
   a	
   consummate	
   perfume.	
   The	
   changing	
  
harmony	
   in	
   the	
   low	
   strings	
   give	
   a	
   sense	
   of	
   movement	
   to	
   accompany	
   the	
   scene	
  
where	
   he	
   is	
   working	
   to	
   distill	
   the	
   woman’s	
   scent.	
   The	
   male	
   voices	
   singing	
   low	
  
notes	
   create	
   a	
   macabre	
   environment	
   as	
   the	
   character	
   is	
   experimenting	
   with	
   a	
  
corpse.	
  Also	
  a	
  female	
  voice	
  enters	
  when	
  a	
  drop	
  of	
  the	
  woman’s	
  perfume	
  is	
  finally	
  
rendered.	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

47	
  

26.	
  

THE	
  TWINS	
  ARE	
  MISSING,	
  01:25:24	
  -­‐	
  01:27:28	
  

Duration:	
  00:02:04	
  

The	
   music	
   in	
   this	
   cue	
   is	
   similar	
   to	
   the	
   one	
   in	
   23-­‐THE	
   TANK	
   with	
   a	
   few	
  
minor	
  differences.	
  It	
  starts	
  in	
  the	
  same	
  way	
  as	
  in	
  THE	
   TANK,	
  with	
  a	
  solo	
  clarinet	
  
playing	
  (B)	
  over	
  a	
  pedal	
  of	
  celli	
  with	
  harmonics.	
  The	
  instruments	
  appear	
  one	
  by	
  
one	
   playing	
   tied	
   whole	
   notes.	
   It	
   is	
   possible	
   to	
   hear	
   a	
   suspended	
   note	
   sung	
   by	
   a	
  
female	
  voice,	
  with	
  the	
  French	
  horns	
  changing	
  harmony	
  from	
  A	
  major	
  to	
  A	
  minor.	
  

	
  
Figure	
  61	
  

	
  
The	
   music	
   continues	
   with	
   arpeggios	
   played	
   by	
   harp	
   and	
   strings.	
  
Woodwinds	
   and	
   brass	
   create	
   dissonant	
   pitches	
   between	
   the	
   two.	
   They	
   arrive	
   at	
   a	
  
crescendo	
  with	
  a	
  dynamic	
  level	
  f	
  and	
  then	
  decrescendo	
  to	
  pp.	
  	
  

	
  
	
  
	
  

	
  

48	
  

	
  
Figure	
  62	
  

	
  
Before	
   all	
   the	
   instruments	
   play	
   these	
   dissonant	
   pitches	
   in	
   crescendo	
   and	
  
decrescendo,	
  a	
  pedal	
  of	
  low	
  strings	
  stands	
  alone,	
  playing	
  a	
  C	
  sul	
   ponticello	
  which	
  
creates	
  a	
  metallic	
  sound.	
  

	
  
Figure	
  63	
  

	
  
	
  
	
  

	
  

49	
  

ü Narrative	
  function:	
  
With	
  all	
  the	
  dissonance,	
  the	
  music	
  here	
  creates	
  an	
  ambiance	
  of	
  suspense.	
  We	
  
first	
  experience	
  this	
  when	
  the	
  ladies	
  and	
  John-­‐Baptiste	
  are	
  inside	
  the	
  maze	
  and	
  he	
  
is	
  trying	
  to	
  approach	
  Laura,	
  and	
  the	
  suspense	
  continues	
  when	
  Antoine	
  Richis	
  calls	
  
for	
   his	
   daughter	
   and	
   she	
   does	
   not	
   appear.	
   The	
   music	
   helps	
   to	
   build	
   this	
   tension	
  
because	
   the	
   viewers	
   assume	
   that	
   Jean-­‐Baptiste	
   has	
   killed	
   her	
   to	
   preserve	
   her	
  
scent.	
   Finally,	
   the	
   low	
   strings	
   appear	
   when	
   Jean-­‐Baptiste	
   has	
   started	
   the	
  
procedure	
  of	
  preserving	
  the	
  twins’	
  scent.	
  
The	
  music	
  connects	
  the	
  suspense	
  inside	
  the	
  maze	
  with	
  the	
  worry	
  that	
  the	
  parents	
  
feel	
   about	
   their	
   daughters,	
   and	
   also	
   sets	
   the	
   mood	
   in	
   the	
   scene	
   where	
   Jean-­‐
Baptiste	
   is	
   carrying	
   dead	
   bodies	
   and	
   beginning	
   his	
   procedure	
   to	
   preserve	
   their	
  
scent.	
  
	
  
27.	
  

BEAUTY,	
  01:27:28	
  -­‐	
  01:28:33	
  

Duration:	
  00:01:05	
  

The	
   music	
   in	
   this	
   cue	
   starts	
   immediately	
   after	
   the	
   last	
   one.	
   It	
   is	
   a	
   richly	
  
harmonious	
   chorale	
   in	
   great	
   contrast	
   with	
   the	
   previous	
   dissonant	
  
instrumentation.	
  The	
  tenors	
  sing	
  a	
  repeated	
  melody	
  and	
  the	
  basses	
  change	
  pitch,	
  
suggesting	
   the	
   following	
   harmonies	
   and	
   modes:	
   G	
   Lydian,	
   E	
   Dorian,	
   B	
   Aeolian,	
  
and	
  D	
  Ionian.	
  The	
  rest	
  of	
  the	
  voices	
  fill	
  in	
  the	
  harmony.	
  This	
  beautiful	
  melody	
  and	
  
harmonics	
   can	
   be	
   heard	
   earlier	
   in	
   cue	
   #5	
   STREETS	
   OF	
   PARIS,	
   with	
   the	
   use	
   of	
  
instruments	
  instead	
  of	
  a	
  solo	
  choir	
  and	
  in	
  a	
  slightly	
  modified	
  key	
  signature	
  of	
  C	
  
Major	
  instead	
  of	
  G	
  Major.	
  

	
  
	
  
	
  

	
  

50	
  

	
  
Figure	
  64	
  

	
  
Then,	
   the	
   music	
   modulates	
   a	
   major	
   second	
   below	
   and	
   the	
   melody	
   changes	
  
a	
  bit.	
  The	
  modes,	
  however,	
  remain	
  the	
  same:	
  F	
  Lydian,	
  D	
  Dorian,	
  A	
  Aeolian	
  and	
  C	
  
Ionian.	
  

	
  
Figure	
  65	
  

	
  
ü Narrative	
  function:	
  
I	
  would	
  like	
  to	
  establish	
  a	
  comparison	
  between	
  this	
  cue	
  and	
  cue	
  #5,	
  STREETS	
  
OF	
   PARIS	
   where	
   the	
   music	
   embodies	
   Jean-­‐Baptiste’s	
   sense	
   of	
   triumph	
   upon	
  
	
  
	
  
	
  

	
  

51	
  

leaving	
  his	
  village	
  after	
  years	
  of	
  servitude	
  and	
  sacrifice.	
  Finally,	
  he	
  visits	
  a	
  larger	
  
city	
  and	
  for	
  the	
  first	
  time	
  experiences	
  thousands	
  of	
  exhilarating	
  new	
  odors.	
  In	
  this	
  
cue,	
   BEAUTY,	
   the	
   repetition	
   of	
   the	
   same	
   music	
   symbolizes	
   a	
   new	
   triumph.	
   After	
  
struggling	
   with	
   many	
   techniques	
   of	
   scent	
   preservation	
   and	
   failing,	
   and	
   facing	
  
many	
  obstacles	
  to	
  create	
  his	
  scented	
  masterpiece,	
  he	
  now	
  is	
  on	
  track	
  to	
  meet	
  his	
  
goal.	
  With	
  the	
  scent	
  of	
  the	
  twins,	
  he	
  has	
  successfully	
  collected	
  two	
  perfumes	
  and	
  
now	
   decides	
   he	
   must	
   complete	
   his	
   collection	
   of	
   twelve	
   essences	
   and	
   add	
   a	
  
thirteenth,	
  which	
  according	
  to	
  the	
  Baldini’s	
  legend,	
  holds	
  mystical	
  powers.	
  
	
  
28.	
  

GRASSE	
  IN	
  PANIC,	
  01:30:29	
  -­‐	
  01:36:02	
  

Duration:00:05:33	
  

The	
  music	
  in	
  this	
  cue	
  starts	
  with	
  the	
  violins	
  and	
  violas	
  playing	
  an	
  ostinato	
  
pattern	
   of	
   sixteenth	
   notes,	
   which	
   provides	
   rhythm	
   and	
   movement	
   to	
   the	
   music.	
  
The	
  scale	
  used	
  is	
  a	
  C	
  minor	
  harmonic.	
  

	
  
Figure	
  66	
  

	
  
Then,	
  we	
  hear	
  a	
  suspended	
  cymbal	
  which	
  introduces	
  the	
  rest	
  of	
  the	
  strings	
  
which	
   play	
   C	
   minor	
   and	
   Ab	
   Major	
   harmony.	
   A	
   harp	
   plays	
   ascending	
   arpeggios	
  
with	
  no	
  chord	
  tone	
  resolution	
  and	
  a	
  tuba	
  doubles	
  the	
  low	
  strings.	
  
	
  
	
  
	
  

	
  
	
  
	
  

	
  

52	
  

	
  
	
  

	
  

Figure	
  67	
  

	
  
The	
   music	
   continues	
   with	
   the	
   ostinato	
   played	
   by	
   violins	
   and	
   violas	
   echoed	
  
by	
   a	
   similar	
   arpeggio	
   in	
   the	
   harp.	
   The	
   low	
   strings,	
   celli	
   and	
   basses,	
   however,	
  
change	
   the	
   harmony	
   diatonically	
   to	
   the	
   key	
   of	
   C	
   minor.	
   The	
   violins	
   increase	
   in	
  
pitch	
   progressively	
   until	
   playing	
   a	
   very	
   high	
   and	
   suspended	
   note	
   (C)	
   and	
   the	
  
sixteenth	
  note	
  ostinato	
  is	
  passed	
  on	
  to	
  the	
  celli	
  and	
  basses.	
  

	
  
Figure	
  68	
  

	
  

	
  
	
  
	
  

	
  

53	
  

	
  

Afterwards,	
   the	
   sixteenth	
   note	
   ostinato	
   returns	
   to	
   the	
   violins	
   and	
   violas,	
  

and	
  the	
  low	
  strings	
  play	
  a	
  pattern	
  of	
  quarter	
  note	
  that	
  include	
  the	
  tritone	
  and	
  its	
  
resolution:	
  (C-­‐D),	
  (C-­‐Eb),	
  (C-­‐Gb),	
  (C-­‐G	
  natural).	
  

	
  
Figure	
  69	
  

	
  
The	
  woodwinds	
  are	
  also	
  added	
  and	
  the	
  French	
  horns	
  crescendo	
  over	
  the	
  
previous	
   ostinato.	
   Afterwards,	
   the	
   vibraphone,	
   celesta	
   and	
   harp	
   play	
   ascending	
  
arpeggios	
   with	
   no	
   chord	
   tone	
   resolution.	
   String	
   accompany	
   with	
   a	
   series	
   of	
   tied	
  
whole	
  notes.	
  

	
  
Figure	
  70	
  

	
  
	
  
	
  

	
  

54	
  

	
  
Figure	
  71	
  

	
  
Then,	
   the	
   woodwinds	
   and	
   harp	
   begins	
   a	
   series	
   of	
   ascending	
   and	
  
descending	
  arpeggios	
  and	
  a	
  church	
  organ	
  enters	
  playing	
  suspended	
  chords.	
  

	
  
Figure	
  72	
  

The	
   organ	
   notes	
   progressively	
   form	
   a	
   diminished	
   chord	
   and	
   the	
   music	
  
resolves	
   with	
   a	
   C	
   Major	
   chord	
   played	
   by	
   this	
   solo	
   instrument	
   with	
   a	
   double	
  
appoggiatura	
  that	
  resolves	
  to	
  the	
  third	
  degree.	
  

	
  
Figure	
  73	
  

	
  
	
  
	
  

	
  

55	
  

	
  
Figure	
  74	
  

	
  
ü Narrative	
  function:	
  
The	
   progressive	
   development	
   of	
   the	
   music	
   and	
   the	
   use	
   of	
   orchestral	
  
instruments	
  help	
  to	
  narrate	
  this	
  scene	
  where	
  Jean-­‐Baptiste	
  starts	
  killing	
  beautiful	
  
girls	
   to	
   preserve	
   their	
   scents.	
   The	
   sixteenth	
   note	
   ostinato	
   played	
   by	
   the	
   strings	
  
adds	
   movement	
   to	
   this	
   cue	
   and	
   connects	
   to	
   the	
   fact	
   that	
   Jean-­‐Baptiste	
   is	
   enacting	
  
his	
   plan.	
   The	
   music	
   also	
   conveys	
   a	
   sense	
   of	
   restlessness	
   among	
   the	
   citizens	
   of	
  
Grass,	
   who	
   are	
   now	
   in	
   a	
   panic	
   over	
   the	
   latest	
   murders.	
   They	
   fear	
   for	
   their	
  
daughters	
  who	
  might	
  become	
  the	
  next	
  victims	
  of	
  Jean-­‐Baptiste.	
  
The	
   different	
   timbres	
   of	
   the	
   instruments	
   used	
   in	
   this	
   cue	
   and	
   the	
   constant	
  
crescendo	
   and	
   decrescendo	
   dynamics	
   also	
   help	
   to	
   narrate	
   the	
   panic	
   of	
   the	
   people	
  
and	
   their	
   reaction	
   upon	
   finding	
   dead	
   naked	
   girls	
   in	
   different	
   places	
   throughout	
  
the	
   city:	
   rivers,	
   streets	
   and	
   inside	
   houses.	
   Even	
   a	
   nun	
   is	
   killed	
   by	
   Jean-­‐Baptiste	
  
who	
   is	
   later	
   found	
   naked	
   inside	
   the	
   town	
   church.	
   The	
   addition	
   of	
   the	
   organ	
   to	
   the	
  
instruments	
   of	
   the	
   orchestra	
   is	
   enhances	
   the	
   moment	
   when	
   the	
   priest	
   tells	
   the	
  
people	
  of	
  Grasse	
  that	
  the	
  murderer	
  is	
  a	
  demon,	
  a	
  depraved	
  monster,	
  a	
  disciple	
  of	
  
Satan,	
  all	
  while	
  Jean-­‐Baptiste	
  listens	
  on	
  in	
  the	
  congregation.	
  
The	
  diminished	
  chord	
  played	
  by	
  the	
  organ	
  announces	
  the	
  end	
  of	
  the	
  cue	
  when	
  
a	
  citizen	
  of	
  Grasse	
  enters	
  the	
  church	
  with	
  a	
  message	
  saying	
  that	
  the	
  murderer	
  has	
  
been	
  caught	
  and	
  confessed	
  to	
  everything.	
  The	
  final	
  C	
  Major	
  chord	
  with	
  the	
  double	
  
	
  
	
  
	
  

	
  

56	
  

appoggiatura	
  connects	
  the	
  priest	
  thanking	
  God	
  for	
  hearing	
  their	
  prayers	
  and	
  then	
  
panning	
   to	
   the	
   face	
   of	
   Jean-­‐Baptiste	
   who	
   has	
   finished	
   his	
   perfume	
   using	
   the	
  
twelve	
   essences	
   of	
   the	
   girls.	
   However,	
   a	
   thirteenth	
   scent	
   is	
   still	
   missing	
   to	
  
complete	
  his	
  mystical	
  collection	
  and	
  to	
  add	
  it	
  to	
  the	
  perfume.	
  
	
  
29.	
  

DARK	
  ALLEY,	
  01:37:58	
  -­‐	
  01:39:16	
   	
  

Duration:	
  00:01:18	
  

The	
   music	
   in	
   this	
   cue	
   is	
   the	
   same	
   as	
   in	
   the	
   cue	
   #	
   24,	
   I	
  ENJOY	
  MY	
  WORK	
   but	
  
its	
   duration	
   is	
   shorter.	
   It	
   starts	
   with	
   a	
   vibraphone	
   with	
   bow	
   playing	
   G,	
   then	
   the	
  
piano	
   playing	
   a	
   low	
   C	
   repetitively,	
   and	
   then	
   the	
   viola	
   playing	
   C	
   with	
   tremolo.	
   It	
   is	
  
also	
   possible	
   to	
   make	
   out	
   a	
   bass	
   drum	
   playing	
   pianissimo,	
   appearing	
   after	
   the	
  
entrance	
  of	
  these	
  instruments.	
  

	
  
Figure	
  75	
  

	
  
Afterwards,	
   the	
   music	
   continues	
   with	
   the	
   double	
   basses	
   playing	
   tremolo	
  
and	
  the	
  violas	
  and	
  celli	
  playing	
  sul	
  ponticello	
  intervals	
  of	
  parallel	
  tritones	
  between	
  
them.	
   Other	
   intervals	
   are	
   formed	
   in	
   relation	
   to	
   the	
   established	
   chords	
   in	
   the	
  
double	
  basses.	
  
	
  
	
  
	
  

	
  

57	
  

	
  
Figure	
  76	
  

	
  
ü Narrative	
  function:	
  
Compared	
   to	
   the	
   previous	
   cue	
   #	
   28,	
   GRASSE	
   IN	
   PANIC	
   where	
   the	
   composer	
  
uses	
   a	
   full	
   orchestra	
   with	
   organ,	
   this	
   cue	
   has	
   only	
   a	
   few	
   instruments	
   that	
  
symbolize	
   Laura	
   being	
   alone	
   in	
   a	
   dark	
   alley.	
   The	
   timber	
   of	
   the	
   instruments,	
  
repeated	
   low	
   notes	
   on	
   the	
   piano,	
   the	
   metallic	
   sound	
   of	
   the	
   low	
   strings	
   and	
   the	
  
intervals	
  played	
  later	
  by	
  the	
  ensemble	
  create	
  a	
  lot	
  of	
  suspense	
  and	
  tension.	
  In	
  this	
  
scene,	
   Laura	
   is	
   walking	
   through	
   an	
   alley	
   and	
   Jean-­‐Baptiste	
   is	
   waiting	
   for	
   her	
   with	
  
a	
  hammer	
  at	
  the	
  end	
  of	
  it.	
  	
  
The	
  music	
  in	
  this	
  cue	
  is	
  shorter	
  than	
  the	
  one	
  in	
  the	
  cue	
  #24,	
  I	
  ENJOY	
  MY	
  WORK	
  
because	
   Jean-­‐Baptiste	
   doesn’t	
   actually	
   end	
   up	
   killing	
   Laura,	
   thanks	
   to	
   Laura’s	
  
father,	
   Antoine	
   Richi,	
   who	
   arrives	
   suddenly,	
   calling	
   out	
   her	
   name.	
   Instead,	
   the	
  
music	
  in	
  the	
  other	
  cue	
  is	
  longer	
  because	
  Jean-­‐Baptiste	
  is	
  able	
  to	
  kill	
  the	
  prostitute	
  
and	
  prepares	
  her	
  corpse	
  to	
  preserve	
  its	
  scent.	
  
	
  
	
  

	
  
	
  
	
  

	
  

58	
  

30.	
  

RICHI’S	
  NIGHTMARE,	
  01:40:01	
  -­‐	
  01:41:25	
   	
  

Duration:	
  00:01:24	
  

The	
   music	
   starts	
   with	
   the	
   double	
   basses	
   playing	
   a	
   pedal	
   of	
   tied	
   whole	
  
notes,	
  the	
  celli	
  play	
  a	
  fourth	
  G-­‐C	
  interval	
  with	
  harmonics	
  and	
  the	
  piano	
  remaining	
  
on	
   a	
   repetitive	
   low	
   C,	
   as	
   in	
   the	
   previous	
   cue.	
   The	
   violas	
   complete	
   the	
   C	
   Major	
  
chord	
  playing	
  E	
  with	
  harmonics,	
  and	
  we	
  can	
  also	
  hear	
  a	
  piccolo	
  that	
  moves	
  from	
  E	
  
to	
  F.	
  

	
  
Figure	
  77	
  

	
  
Then,	
   the	
   violins	
   play	
   a	
   G	
   moving	
   to	
   Bb	
   with	
   harmonics.	
   The	
   resulting	
  
sounds	
   are	
   a	
   perfect	
   fifth	
   and	
   a	
   minor	
   seventh	
   in	
   relation	
   with	
   the	
   low	
   pedal	
  
played	
  by	
  double	
  basses	
  and	
  the	
  piano.	
  We	
  can	
  also	
  hear	
  again	
  the	
  sul	
   ponticello	
  
effect	
  played	
  this	
  time	
  by	
  the	
  celli	
  to	
  attain	
  a	
  metallic	
  sound.	
  

	
  
	
  
	
  

	
  

59	
  

	
  
Figure	
  78	
  

	
  
Afterwards,	
  the	
  violins	
  play	
  fast	
  arpeggios	
  and	
  glissandi	
  until	
  achieving	
  the	
  
dynamic	
  level	
  f.	
  After	
  this	
  crescendo,	
  the	
  bass	
  drum	
  plays	
  tremolo	
  in	
  mp	
  in	
  small	
  
crescendos	
   and	
   decrescendos.	
   Then	
   we	
   hear	
   parallel	
   tritone	
   intervals	
   again,	
  
played	
  by	
  violas	
  and	
  celli	
  with	
  sul	
  ponticello	
  that	
  we	
  heard	
  in	
  the	
  previous	
  cue.	
  

	
  
Figure	
  79	
  

	
  
	
  
	
  

	
  

60	
  

	
  
Figure	
  80	
  

	
  
ü Narrative	
  function:	
  
The	
   timbre	
   of	
   the	
   piccolo	
   and	
   the	
   C	
   major	
   chord	
   provide	
   a	
   sensation	
   of	
  
relative	
   calm	
   for	
   Richi	
   because	
   his	
   daughter	
   is	
   safe	
   at	
   home.	
   However,	
   the	
   low	
  
note	
   of	
   the	
   piano	
   and	
   double	
   basses	
   create	
   a	
   sense	
   of	
   foreboding	
   and	
   the	
   metallic	
  
sound	
  of	
  the	
  celli	
  by	
  sul	
  ponticello	
  gives	
  an	
  ominous	
  tone	
  of	
  danger	
  and	
  threat.	
  
The	
  violins	
  play	
  rapid	
  arpeggios	
  and	
  glissandi	
  until	
  achieving	
  the	
  dynamic	
  level	
  f	
  
in	
  the	
  moment	
  where	
  Richi	
  has	
  awakened	
  from	
  a	
  nightmare	
  after	
  dreaming	
  that	
  
Jean-­‐Baptiste	
  was	
  in	
  Laura’s	
  room.	
  
The	
  low	
  notes	
  of	
  the	
  basses,	
  piano	
  and	
  bass	
  drum	
  resound	
  as	
  Richi	
  runs	
  to	
  
Laura’s	
   bed.	
   Finally,	
   the	
   tritone	
   intervals	
   played	
   by	
   the	
   violas	
   and	
   celli	
   appears	
  
when	
  Richi	
  asks	
  Laura	
  if	
  she	
  has	
  opened	
  the	
  window	
  and	
  she	
  answers	
  “No.”	
  These	
  
intervals	
   are	
   present	
   also	
   in	
   previous	
   cues	
   symbolizing	
   an	
   ever-­‐present	
   danger	
  
that	
   lingers	
   since	
   Jean-­‐Baptiste	
   is	
   determined	
   to	
   complete	
   his	
   perfume	
   with	
   the	
  
essence	
  of	
  a	
  final	
  13th	
  victim.	
  
	
  
	
  
	
  
	
  
	
  

	
  

61	
  

31.	
  

RICHI’S	
  ESCAPE,	
  01:42:01	
  -­‐	
  01:46:24	
  

Duration:	
  00:04:23	
  

The	
  music	
  in	
  this	
  cue	
  starts	
  with	
  a	
  rhythmic	
  pattern	
  of	
  quarter	
  notes	
  in	
  the	
  
strings	
  that	
  play	
  chords	
  in	
  the	
  key	
  of	
  F	
  minor.	
  The	
  timpani	
  plays	
  the	
  bass	
  of	
  the	
  
chords	
   when	
   the	
   strings	
   are	
   not	
   playing	
   while	
   the	
   flute	
   plays	
   the	
   fifth	
   degree	
   of	
  
the	
  chord	
  (C)	
  as	
  tied	
  whole	
  notes	
  and	
  going	
  to	
  the	
  minor	
  sixth	
  of	
  the	
  chord	
  (Db)	
  
and	
   returning	
   to	
   C	
   for	
   resolution.	
   The	
   chords	
   heard	
   are:	
   F	
   minor,	
   C	
   sus4/F,	
   Db	
  
Major,	
  Bb-­‐7,	
  C7sus4,	
  and	
  C7.	
  

	
  
Figure	
  81	
  

	
  

Afterwards,	
   the	
   harp	
   plays	
   a	
   short	
   motif	
   with	
   the	
   accompaniment	
   of	
   the	
  

strings	
   and	
   immediately	
   the	
   harp	
   starts	
   playing	
   a	
   rhythmic	
   pattern	
   that	
   the	
  
strings	
   played	
   before,	
   but	
   this	
   time	
   using	
   eighth	
   notes.	
   The	
   strings	
   also	
   play	
  
chords	
   that	
   appear	
   repetitively	
   using	
   tremolo	
   sul	
   ponticello,	
   crescendos	
   and	
  
decrescendos.	
  

	
  
	
  
	
  

	
  

62	
  

	
  
Figure	
  82	
  

	
  
Then,	
   the	
   brass	
   section	
   enters	
   and,	
   together	
   with	
   the	
   strings	
   and	
  
percussion,	
   plays	
   the	
   Csus4	
   chord	
   for	
   one	
   bar	
   in	
   crescendo	
   until	
   reaching	
   a	
  
dynamic	
  level	
  of	
  ff.	
  This	
  happens	
  when	
  Druot,	
  the	
  boss	
  of	
  Jean-­‐Baptiste,	
  discovers	
  
human	
  hair	
  that	
  was	
  dug	
  up	
  by	
  his	
  dog.	
  	
  

	
  
	
  
	
  

	
  

63	
  

	
  
Figure	
  83	
  

After	
  this	
  crescendo,	
  the	
  music	
  modulates	
  directly	
  to	
  D	
  minor.	
  The	
  basses,	
  
celli	
   and	
   violas	
   play	
   pizzicato	
   while	
   the	
   violins	
   continue	
   playing	
   the	
   cue’s	
   motif.	
  
The	
  woodwinds	
  double	
  the	
  strings	
  to	
  add	
  more	
  body	
  in	
  the	
  instrumentation,	
  and	
  
	
  
	
  
	
  

	
  

64	
  

the	
  timpani	
  continues	
  to	
  play	
  even	
  when	
  the	
  other	
  instruments	
  cut	
  out,	
  recreating	
  
a	
  sort	
  of	
  call	
  and	
  response,	
  this	
  time	
  at	
  a	
  dynamic	
  level	
  of	
  f.	
  	
  	
  

	
  
Figure	
  84	
  

	
  
Then,	
   the	
   brass	
   enters	
   again,	
   playing	
   the	
   Csus4	
   chord,	
   which	
   is	
   the	
   fifth	
  
degree	
  of	
  the	
  previous	
  key	
  F	
  minor.	
  The	
  instruments	
  achieve	
  a	
  crescendo	
  to	
  the	
  
dynamic	
   level	
   ff	
   that	
   leads	
   to	
   ascending	
   and	
   descending	
   arpeggios	
   as	
   sextuplets	
  
played	
  by	
  the	
  piccolo,	
  flute,	
  harp	
  and	
  violins.	
  The	
  harmony	
  is	
  Db,	
  Ebsus4,	
  Eb	
  and	
  
resolves	
   to	
   F-­‐.	
   The	
   harmonic	
   analysis	
   is	
   bVI,	
   bVII	
   resolving	
   to	
   I-­‐,	
   a	
   well-­‐known	
  
cadence.	
  

	
  
	
  
	
  

	
  

65	
  

	
  
Figure	
  85	
  

	
  
After	
   this	
   crescendo,	
   the	
   only	
   instrument	
   that	
   continues	
   playing	
   the	
  
ascending	
   and	
   descending	
   arpeggios	
   as	
   sextuplets	
   is	
   the	
   harp.	
   The	
   Taiko	
   drums	
  
play	
   quarter	
   notes	
   decrescendoing	
   from	
   f	
   to	
   ppp,	
   and	
   the	
   soprano	
   voice	
   sings	
   a	
  
small	
   motif	
   of	
   Laura’s	
   theme	
   that	
   we’ve	
   heard	
   before	
   in	
   cue	
   #20,	
   MEETING	
  
LAURA.	
  

	
  
Figure	
  86	
  

	
  
Then,	
  the	
  violas	
  play	
  glissando	
  with	
  harmonics	
  and	
  resolve	
  together	
  with	
  
the	
  celli	
  and	
  basses	
  playing	
  tied	
  whole	
  notes	
  to	
  F,	
  which	
  is	
  the	
  first	
  degree	
  of	
  the	
  

	
  
	
  
	
  

	
  

66	
  

key.	
   Additionally,	
   the	
   small	
   motif	
   of	
   two	
   notes	
   (C	
   and	
   Db)	
   that	
   the	
   flute	
   played	
  
before	
  is	
  now	
  played	
  by	
  the	
  harp	
  and	
  French	
  horns.	
  
	
  
ü Narrative	
  analysis	
  of	
  the	
  first	
  part:	
  
The	
  rhythmic	
  pattern	
  played	
  by	
  the	
  strings	
  at	
  the	
  beginning	
  of	
  the	
  cue	
  mimics	
  
the	
  movement	
  of	
  the	
  carriage	
  and	
  the	
  horses	
  that	
  we	
  see	
  onscreen	
  as	
  they	
  leave	
  
the	
   city	
   of	
   Grasse.	
   The	
   composer	
   chose	
   a	
   minor	
   harmony	
   to	
   give	
   a	
   sense	
   of	
  
nostalgia	
   for	
   Richi	
   and	
   his	
   daughter	
   leaving	
   the	
   city,	
   and	
   also	
   for	
   Jean-­‐Baptiste	
  
who	
  is	
  worried	
  because	
  he	
  can’t	
  track	
  down	
  Laura’s	
  scent	
  in	
  town.	
  	
  
Then,	
   the	
   solo	
   harp	
   playing	
   the	
   harmony	
   accompanies	
   the	
   scene	
   where	
   the	
  
dog	
  is	
  digging	
  and	
  finds	
  clothes.	
  The	
  strings	
  playing	
  sul	
  ponticello	
  with	
  crescendos	
  
and	
  decrescendo	
  add	
  tension	
  to	
  this	
  situation.	
  
The	
  brass	
  appears	
  in	
  crescendo	
  to	
  ff	
   when	
  Druot	
  finds	
  a	
  clump	
  of	
  hair	
  of	
  one	
  
of	
   Jean-­‐Baptiste’s	
   victims.	
   The	
   modulation	
   to	
   D	
   minor	
   with	
   the	
   same	
   rhythmic	
  
pattern	
  is	
  heard	
  when	
  Jean-­‐Baptiste	
  runs	
  to	
  the	
  mountains	
  desperately	
  in	
  order	
  
to	
  not	
  lose	
  Laura’s	
  scent.	
  	
  
He	
   stops	
   for	
   a	
   while	
   because	
   he	
   does	
   not	
   perceive	
   her	
   scent	
   and	
   then	
   he	
   takes	
  
a	
   deep	
   breath	
   trying	
   to	
   smell	
   her.	
   The	
   music	
   in	
   this	
   part	
   corresponds	
   to	
   the	
  
piccolo,	
   flute,	
   harp	
   and	
   strings	
   playing	
   frenetic	
   arpeggios	
   as	
   sextuplets.	
   The	
  
camera	
  travels	
  through	
  the	
  mountains	
  until	
  reaching	
  Laura.	
  The	
  harmony	
  of	
  bVI,	
  
bVII	
   resolving	
   to	
   I-­‐	
   contributes	
   to	
   the	
   narration	
   of	
   Jean-­‐Baptiste’s	
   superhuman	
  
sense	
  of	
  smell,	
  as	
  if	
  he	
  were	
  a	
  superhero.	
  
The	
  soprano	
  voice	
  singing	
  a	
  motif	
  of	
  Laura’s	
  theme	
  is	
  present	
  at	
  the	
  moment	
  
when	
  Laura	
  looks	
  back	
  to	
  the	
  camera	
  in	
  slow	
  motion,	
  as	
  she	
  becomes	
  aware	
  that	
  
Jean-­‐Baptiste	
   has	
   finally	
   tracked	
   her	
   down.	
   When	
   Richi	
   and	
   Laura	
   arrive	
   to	
   the	
  
	
  
	
  
	
  

	
  

67	
  

hostel,	
   the	
   music	
   changes	
   to	
   the	
   tied	
   whole	
   notes	
   played	
   by	
   strings	
   and	
   French	
  
horns	
  with	
  the	
  harp	
  playing	
  a	
  two-­‐note	
  motif	
  (C	
  and	
  Db)	
  that	
  adds	
  some	
  tension.	
  
	
  
Afterwards,	
  the	
  music	
  continues	
  with	
  the	
  violins	
  and	
  violas	
  playing	
  dissonant	
  
pitches	
   among	
   them	
   and	
   the	
   double	
   basses	
   play	
   two	
   notes,	
   the	
   second	
   and	
   minor	
  
third	
   degree	
   (G	
   and	
   Ab)	
   as	
   eighth	
   notes	
   only	
   for	
   one	
   bar,	
   and	
   then	
   they	
   resolve	
  
again	
   to	
   the	
   first	
   degree	
   (F).	
   Narratively,	
   this	
   occurs	
   when	
   Richi	
   is	
   looking	
  
through	
  the	
  window	
  at	
  Laura’s	
  room	
  to	
  be	
  sure	
  that	
  the	
  room	
  is	
  safe	
  to	
  spend	
  the	
  
night.	
  

	
  
Figure	
  87	
  

	
  
The	
   woodwinds	
   appear	
   one	
   by	
   one	
   playing	
   tied	
   whole	
   notes.	
   A	
   clarinet	
  
plays	
   a	
   small	
   motif	
   of	
   minor	
   seconds	
   as	
   well	
   as	
   the	
   trumpet	
   (C-­‐Db).	
   The	
   harp	
  
plays	
   the	
   original	
   chords	
   in	
   F	
   minor	
   and	
   the	
   strings	
   play	
   sul	
  ponticello	
   as	
   we’ve	
  
heard	
   before	
   in	
   this	
   cue.	
   Finally,	
   the	
   harp	
   stands	
   alone	
   as	
   a	
   solo	
   instrument	
  
	
  
	
  
	
  

	
  

68	
  

playing	
   these	
   chords	
   until	
   it	
   fades	
   out.	
   This	
   music	
   ties	
   in	
   to	
   the	
   scene	
   where	
   all	
   of	
  
the	
  clothes	
  and	
  hair	
  of	
  Jean-­‐Baptiste’s	
  victims	
  have	
  been	
  dug	
  up.	
  The	
  use	
  of	
  solo	
  
harp	
  connects	
  emotively	
  to	
  Jean-­‐Baptiste	
  who	
  walks	
  alone	
  to	
  the	
  hostel	
  and	
  also	
  
to	
  Antoine	
  Richi	
  and	
  Laura	
  who	
  are	
  the	
  only	
  guests	
  at	
  the	
  hostel.	
  
	
  
32.	
  

LAURA’S	
  MURDER,	
  01:48:00	
  -­‐	
  01:51:02	
  

Duration:	
  00:03:02	
  

The	
   music	
   in	
   this	
   cue	
   starts	
   with	
   pizzicato	
   played	
   by	
   the	
   double	
   basses,	
  
and	
   with	
   harmonics	
   played	
   by	
   the	
   rest	
   of	
   the	
   strings	
   and	
   half	
   notes	
   played	
   by	
   the	
  
low	
  tom	
  and	
  bass	
  drum.	
  
The	
   harmonic	
   progression	
   in	
   which	
   the	
   bass	
   descends	
   chromatically	
   is	
   the	
  
following:	
  
PART	
  1	
  
I-­‐	
  
Bb-­‐	
  
	
  
bVI	
  
Gb	
  
	
  
	
  	
  

V/3	
  
F/A	
  
	
  
Vsus4	
  
Fsus4	
  

V-­‐/b3	
  
F-­‐/Ab	
  
	
  
V7	
  
F7	
  

IV/3	
  
Ebadd9/G	
  
	
  
I-­‐	
  
Bb-­‐	
  

After	
  this	
  introduction,	
  the	
  instruments	
  keep	
  playing	
  in	
  the	
  same	
  way	
  and	
  

a	
  harp	
  enters	
  playing	
  the	
  harmony	
  with	
  a	
  motif	
  of	
  eighth	
  notes.	
  The	
  harmony	
  of	
  
the	
  next	
  part	
  is:	
  
PART	
  2	
  
I-­‐	
  
Bb-­‐	
  
	
  
bVI	
  
Gb	
  (harp	
  enters)	
  
	
  
IV-­‐7	
  
Eb-­‐7	
  
	
  
	
  
	
  
	
  

bVI/3	
  
Gb/Bb	
  
	
  
II	
  dim7	
  
Cdim7	
  
	
  
#IV	
  dim7	
  
E	
  dim7	
  

bVII/3	
  
Ab/C	
  
	
  
V	
  
F	
  
	
  
V7sus4	
  
F7sus4	
  

	
  

bIII	
  
Db	
  
	
  
I-­‐	
  
Bb-­‐	
  
	
  
V7	
  
F7	
  

69	
  

Then,	
  the	
  strings	
  repeat	
  this	
  previous	
  harmony,	
  playing	
  tremolo	
  with	
  the	
  
dynamic	
  level	
  fp	
  in	
  crescendos	
  and	
  the	
  soprano	
  voice	
  enters	
  to	
  singing	
  a	
  melody.	
  
It	
  is	
  important	
  to	
  note	
  that	
  the	
  violas	
  play	
  a	
  slow	
  glissando	
  from	
  time	
  to	
  time.	
  

	
  
Figure	
  88	
  

The	
  cue	
  finishes	
  with	
  the	
  V	
  chord	
  (F)	
  that	
  doesn’t	
  resolve	
  to	
  I-­‐,	
  and	
  then	
  a	
  
bass	
  drum	
  alone	
  that	
  plays	
  tremolo.	
  
	
  
ü Narrative	
  function:	
  
The	
  harmony	
  used	
  in	
  this	
  cue	
  is	
  similar	
  to	
  that	
  of	
  the	
  Baroque	
  period,	
  as	
  the	
  
film	
   is	
   set	
   in	
   the	
   year	
   1738.	
   The	
   use	
   of	
   the	
   low	
   tom	
   and	
   bass	
   drum	
   playing	
   the	
  
ostinato	
   is	
   related	
   to	
   Jean-­‐Baptiste’s	
   obsession	
   and	
   determination	
   to	
   finish	
   his	
  
perfume.	
   It	
   also	
   gives	
   provides	
   a	
   sense	
   of	
   doomed	
   fate	
   for	
   Laura-­‐	
   there	
   is	
   nothing	
  
she	
  can	
  do	
  to	
  stop	
  her	
  own	
  death	
  
The	
  strings	
  playing	
  tremolo	
  and	
  harmonics	
  in	
  crescendo,	
  and	
  the	
  glissando	
  of	
  
the	
  violas	
  add	
  tension	
  to	
  this	
  consonant	
  and	
  beautiful	
  harmony.	
  
	
  
	
  
	
  
	
  

	
  

70	
  

33.	
  

LAURA’S	
  ESSENCE,	
  01:51:57	
  -­‐	
  01:53:43	
  

Duration:	
  00:01:46	
  

The	
  music	
  in	
  this	
  cue	
  is	
  similar	
  to	
  the	
  one	
  in	
  cue#	
  20,	
  MEETING	
  LAURA.	
  It	
  
starts	
   with	
   the	
   tremolo	
   by	
   the	
   violas	
   and	
   celli	
   that	
   play	
   a	
   minor	
   sixth	
   interval	
  
between	
   them	
   (A	
   and	
   F)	
   forming	
   the	
   F	
   Major	
   chord.	
   The	
   rest	
   of	
   the	
   strings	
   join	
  
also	
   in	
   tremolo	
   forming	
   the	
   F	
   Major	
   chord	
   that	
   alternates	
   with	
   F	
   minor.	
   Then,	
   the	
  
harmony	
   changes	
   to	
   C	
   sus4	
   and	
   C	
   that	
   works	
   as	
   dominant.	
   Afterwards,	
   the	
  
soprano	
  voice	
  sings	
  Laura’s	
  theme	
  over	
  the	
  accompaniment	
  of	
  the	
  strings.	
  

	
  
Figure	
  89	
  

	
  
It	
  is	
  also	
  possible	
  to	
  hear	
  a	
  timpani	
  even	
  as	
  the	
  instruments	
  crescendo.	
  The	
  
music	
  in	
  this	
  cue	
  finishes	
  with	
  an	
  F	
  Major	
  played	
  by	
  the	
  strings	
  and	
  woodwinds.	
  
Narratively,	
  the	
  first	
  part	
  of	
  this	
  cue	
  is	
  played	
  by	
  the	
  strings	
  without	
  the	
  soprano	
  
voice	
   as	
   Richi	
   approaches	
   Laura’s	
   room.	
   When	
   he	
   opens	
   her	
   door,	
   cymbals	
  
sounds	
   and	
   a	
   strong	
   light	
   comes	
   from	
   Laura’s	
   body.	
   After	
   the	
   crescendo,	
   the	
  
soprano	
  voice	
  sings	
  Laura’s	
  theme	
  as	
  we	
  see	
  Jean-­‐Baptiste	
  distilling	
  her	
  scent-­‐	
  the	
  
13th	
   and	
   final	
   scent	
   that	
   he	
   needed	
   to	
   create	
   his	
   masterpiece.	
   The	
   instruments	
  
play	
  to	
  a	
  crescendo	
  as	
  he	
  adds	
  Laura’s	
  essence	
  to	
  his	
  perfume.	
  
	
  
	
  
	
  
	
  

	
  

71	
  

34.	
  	
  

AWAITING	
  EXECUTION,	
  01:56:59	
  -­‐	
  02:00:05	
  

Duration:	
  00:03:06	
  

The	
  music	
  in	
  this	
  cue	
  is	
  very	
  similar	
  to	
  that	
  of	
  cue	
  #13,	
  AMOR	
  AND	
  PSYCHE,	
  
but	
   it	
   uses	
   a	
   full	
   orchestra	
   and	
   choir.	
   It	
   is	
   important	
   to	
   mention	
   that	
   the	
   motifs	
  
and	
  themes	
  in	
  this	
  cue	
  have	
  appeared	
  before	
  in	
  cues	
  #4,	
  ORPHANAGE	
   &	
   TANERY	
  
and	
  #6,	
  PELLISSIER.	
  
The	
   key	
   signature	
   of	
   this	
   cue	
   is	
   A	
   minor.	
   The	
   music	
   starts	
   with	
   the	
   viola	
  
playing	
  an	
  E	
  note,	
  the	
  fifth	
  degree	
  of	
  the	
  key,	
  as	
  a	
  quarter-­‐note	
  ostinato.	
  Then,	
  the	
  
harp	
   plays	
   an	
   accompaniment	
   of	
   four	
   notes	
   as	
   arpeggios	
   (E-­‐A-­‐F-­‐C)	
   and	
   a	
   solo	
  
oboe	
  enters	
  playing	
  a	
  melody	
  that	
  contains	
  an	
  augmented	
  second	
  interval	
  (G#	
  -­‐	
  F)	
  
characteristic	
  of	
  Gypsy	
  or	
  Arabic	
  scales.	
  

	
  
Figure	
  90	
  

	
  
The	
   oboe	
   stops	
   playing	
   the	
   melody	
   and	
   the	
   strings	
   play	
   the	
   second	
  
inversion	
  of	
  the	
  A	
  minor	
  chords:	
  A/E	
  with	
  tremolo	
  from	
  the	
  dynamic	
  level	
  p	
  to	
  a	
  
crescendo.	
  Then,	
  the	
  violins	
  play	
  ascending	
  and	
  descending	
  notes	
  in	
  the	
  scale	
  of	
  A	
  
harmonic	
  minor.	
  

	
  
	
  
	
  

	
  

72	
  

	
  
Figure	
  91	
  

	
  
The	
   new	
   aspect	
   of	
   this	
   cue,	
   compared	
   to	
   cue	
   #13,	
   AMOR	
  AND	
  PSYCHE	
   is	
  
that	
   the	
   female	
   voices,	
   soprano	
   and	
   alto,	
   enter	
   singing	
   tied	
   whole	
   notes	
   in	
   the	
  
same	
  scale.	
  

	
  
Figure	
  92	
  

	
  
Afterwards,	
   the	
   piece	
   modulates	
   directly	
   to	
   the	
   key	
   of	
   F	
   minor.	
   The	
   harp	
  
and	
   the	
   glockenspiel	
   play	
   an	
   ostinato	
   with	
   arpeggios	
   in	
   eighth	
   notes,	
   and	
   the	
  
harmony	
   is	
   given	
   by	
   the	
   basses	
   that	
   change	
   pitch	
   by	
   steps	
   in	
   relation	
   to	
   the	
   F	
  
minor	
  key.	
  
	
  
	
  
	
  

	
  

73	
  

	
  
Figure	
  93	
  

	
  
All	
   the	
   instruments	
   in	
   the	
   orchestra	
   enter	
   progressively	
   and	
   strings	
  
continue	
   to	
   play	
   continually	
   higher	
   scales	
   in	
   pitch	
   and	
   then	
   quickly	
   lower.	
  
Immediately,	
  the	
  piece	
  modulates	
  directly	
  back	
  to	
  the	
  original	
  key,	
  A	
  minor	
  with	
  
the	
  same	
  instrumentation	
  we	
  heard	
  at	
  the	
  beginning.	
  

	
  
Figure	
  94	
  

	
  
ü Narrative	
  function:	
  
It	
   is	
   important	
   to	
   note	
   that	
   the	
   music	
   in	
   this	
   cue	
   connects	
   to	
   crucial	
   aspects	
   of	
  
the	
  storyline.	
  It	
  hearkens	
  back	
  to	
  a	
  young	
  Jean-­‐Baptiste	
  who	
  showed	
  great	
  talent	
  
in	
  recognizing	
  nature’s	
  myriad	
  scents.	
  The	
  music	
  also	
  connects	
  to	
  the	
  time	
  when	
  
	
  
	
  
	
  

	
  

74	
  

he	
   successfully	
   replicated	
   the	
   perfume	
   “Amor	
   and	
   Psyche”	
   and	
   made	
   it	
   even	
  
better	
   than	
   the	
   original.	
   The	
   third	
   time	
   we	
   hear	
   this	
   melody	
   play,	
   Jean-­‐Baptiste	
  
has	
  created	
  the	
  best	
  perfume	
  of	
  all	
  timesb	
  y	
  mixing	
  the	
  scents	
  of	
  beautiful	
  dead	
  
girls.	
  
The	
   ostinato	
   played	
   by	
   the	
   violas	
   and	
   harp	
   at	
   the	
   beginning	
   of	
   the	
   cue	
   add	
  
mystery	
   and	
   suspense	
   about	
   what	
   is	
   going	
   to	
   happen	
   with	
   Jean-­‐Baptiste,	
   since	
   he	
  
is	
  in	
  jail	
  and	
  the	
  entire	
  town	
  is	
  waiting	
  for	
  his	
  execution.	
  The	
  female	
  voices	
  appear	
  
when	
   he	
   grabs	
   a	
   small	
   vial	
   that	
   contains	
   his	
   perfume,	
   which	
   he	
   has	
   hidden	
   in	
   jail.	
  
The	
   modulation	
   to	
   F	
   minor	
   and	
   the	
   movement	
   provided	
   by	
   the	
   low	
   strings	
  
appears	
  when	
  the	
  guards	
  open	
  Jean-­‐Baptiste’s	
  cell	
  and	
  begin	
  unchaining	
  him.	
  The	
  
crescendo	
   of	
   all	
   the	
   instruments	
   of	
   the	
   orchestra	
   and	
   the	
   violins	
   playing	
   higher	
  
notes	
   progressively	
   appear	
   when	
   the	
   guards	
   discover	
   that	
   Jean-­‐Baptiste	
   has	
  
hidden	
   the	
   vial.	
   However	
   they	
   do	
   nothing	
   to	
   take	
   it	
   away,	
   and	
   simply	
   remain	
  
perplexed.	
  
Then,	
   the	
   instruments	
   play	
   decrescendo	
   and	
   the	
   violins	
   play	
   descending	
  
scales	
  until	
  fading	
  out.	
  Narratively,	
  this	
  occurs	
  when	
  the	
  crowd	
  falls	
  into	
  a	
  lull	
  as	
  
the	
  town	
  priest	
  arrives.	
  	
  
	
  
35.	
  

THE	
  PERFUME,	
  02:00:26	
  -­‐	
  02:05:54	
  	
  

Duration:	
  00:05:28	
  

The	
   music	
   in	
   this	
   cue	
   starts	
   in	
   the	
   same	
   way	
   as	
   in	
   the	
   previous	
   cue	
   named	
  
THE	
   TWINS	
   ARE	
   MISSING,	
   where	
   Jean-­‐Baptiste	
   was	
   unable	
   to	
   kill	
   Laura	
   in	
   the	
  
dark	
  alley.	
  It	
  is	
  first	
  background	
  music	
  that	
  starts	
  with	
  a	
  solo	
  clarinet	
  playing	
  B,	
  
followed	
  by	
  a	
  timpani	
  playing	
  glissando	
  with	
  pedals,	
  and	
  celli	
  playing	
  harmonics.	
  
The	
  rest	
  of	
  the	
  instruments	
  of	
  the	
  orchestra	
  enter	
  progressively.	
  

	
  
	
  
	
  

	
  

75	
  

	
  

Figure	
  95	
  

	
  

Then,	
   the	
   strings	
   and	
   horns	
   that	
   were	
   playing	
   a	
   major	
   chord	
   change	
   to	
   a	
  

parallel	
  minor,	
  however	
  the	
  quality	
  of	
  the	
  chord	
  is	
  not	
  well	
  defined	
  because	
  the	
  
soprano	
   voice	
   keeps	
   singing	
   a	
   major	
   third.	
   Narratively,	
   the	
   undefined	
   quality	
   of	
  
the	
   chord	
   and	
   the	
   various	
   timbres	
   of	
   the	
   instruments	
   are	
   related	
   to	
   the	
  
astonishment	
   in	
   the	
   crowd	
   as	
   they	
   come	
   to	
   see	
   Jean-­‐Baptiste	
   as	
   a	
   strange	
   and	
  
divine	
  being.	
  

	
  
	
  
	
  

	
  

76	
  

	
  
Figure	
  96	
  

	
  
The	
   rest	
   of	
   the	
   instruments	
   appear	
   progressively:	
   the	
   harp	
   playing	
  
arpeggios	
   give	
   a	
   sense	
   of	
   magic	
   and	
   suspense.	
   The	
   brass	
   section	
   appears	
   as	
   a	
  
crescendo	
  when	
  Jean-­‐Baptiste	
  steps	
  up	
  boldly	
  to	
  the	
  execution	
  block.	
  

	
  
	
  
	
  

	
  

77	
  

	
  
Figure	
  97	
  

	
  
Afterwards,	
  the	
  woodwinds	
  play	
  arpeggios	
  one	
  by	
  one	
  and	
  the	
  violins	
  start	
  
playing	
  with	
  open	
  strings	
  behind	
  the	
  bridge,	
  one	
  string	
  at	
  a	
  time	
  in	
  repetition.	
  The	
  
rest	
   of	
   the	
   instruments	
   keep	
   playing	
   tied	
   whole	
   notes	
   without	
   forming	
   a	
  
particular	
  chord.	
  Narratively,	
  this	
  occurs	
  when	
  the	
  executioner	
  drops	
  to	
  his	
  knees	
  
and	
  starts	
  to	
  worship	
  Jean-­‐Baptiste.	
  

	
  
	
  
	
  

	
  

78	
  

	
  
Figure	
  98	
  

	
  

Figure	
  99	
  

	
  

The	
   full	
   orchestra	
   plays	
   a	
   C	
   Major	
   chord	
   as	
   Jean-­‐Baptiste	
   takes	
   out	
   a	
  

handkerchief	
  from	
  his	
  pocket,	
  puts	
  a	
  drop	
  of	
  his	
  perfume	
  on	
  it,	
  and	
  lets	
  it	
  float	
  out	
  
into	
  the	
  crowd.	
  This	
  chord	
  then	
  shifts	
  to	
  A	
  minor,	
  E	
  minor	
  and	
  G	
  Major.	
  This	
  chord	
  
progression	
   was	
   heard	
   before	
   in	
   cue	
   #	
   5,	
   STREETS	
   OF	
   PARIS	
   but	
   this	
   time	
   the	
  
chords	
  last	
  longer	
  (augmentation)	
  and	
  the	
  character	
  is	
  more	
  triumphant	
  and	
  epic	
  
in	
  nature.	
  

	
  
	
  
	
  

	
  

79	
  

	
  
Figure	
  100	
  

	
  
As	
  the	
  handkerchief	
  flies	
  in	
  slow	
  motion	
  through	
  the	
  air,	
  everyone	
  tries	
  to	
  
grab	
   it.	
   Here,	
   the	
   music	
   changes	
   to	
   a	
   harp	
   that	
   plays	
   a	
   high	
   note	
   D	
   and	
  
accompanying	
  D	
  minor	
  in	
  the	
  bass	
  clef.	
  The	
  strings	
  are	
  also	
  present,	
  playing	
  D	
  and	
  
the	
   minor	
   seventh	
   of	
   the	
   key	
   (C).	
   Finally,	
   the	
   cue	
   ends	
   with	
   a	
   Csus4(9)	
   chord	
  
played	
   by	
   the	
   strings.	
   Narratively,	
   the	
   composer	
   uses	
   this	
   music	
   to	
   contrast	
   the	
  
previous	
  triumph	
  and	
  epic	
  sound	
  because	
  in	
  the	
  slow	
  motion	
  scene,	
  Jean-­‐Baptiste	
  
is	
  able	
  to	
  analyze	
  and	
  meditate	
  upon	
  what	
  he	
  has	
  done.	
  

	
  
	
  
	
  

	
  

80	
  

	
  
Figure	
  101	
  

	
  
	
  
36.	
  

BEAUTY	
  II,	
  02:05:58	
  -­‐	
  02:07:56	
  

Duration:	
  00:01:58	
  

The	
  music	
  in	
  this	
  cue	
  is	
  similar	
  to	
  the	
  one	
  in	
  cue	
  #27,	
  BEAUTY,	
  but	
  much	
  
longer.	
   It	
   is	
   choral	
   music	
   where	
   the	
   tenors	
   sing	
   the	
   melody	
   and	
   the	
   rest	
   of	
   the	
  
voices	
  fill	
  the	
  harmony	
  suggesting	
  the	
  following	
  modes:	
  

	
  
Figure	
  102	
  

	
  
	
  
	
  
	
  

	
  

81	
  

A	
   new	
   part	
   is	
   added	
   in	
   the	
   present	
   cue	
   where	
   the	
   melody	
   passes	
   to	
   the	
  
sopranos.	
   The	
   harmony	
   and	
   the	
   modes	
   are	
   the	
   same	
   as	
   in	
   the	
   first	
   part.	
   In	
   part	
   B,	
  
there	
  is	
  a	
  parallel	
  modulation	
  one	
  whole	
  step	
  lower:	
  

	
  
Figure	
  103	
  

	
  
Figure	
  104	
  

Narratively,	
   this	
   beautiful	
   choral	
   music	
   accompanies	
   the	
   slow	
   motion	
  
scene	
  where	
  the	
  entire	
  crowd	
  melts	
  into	
  a	
  gigantic,	
  orgiastic	
  embrace.	
  	
  	
  

	
  
	
  
	
  

	
  

82	
  

5.	
  
	
  

THEMES	
  
In	
  this	
  section,	
  we	
  can	
  find	
  a	
  list	
  of	
  all	
  the	
  melodic	
  themes	
  present	
  in	
  the	
  

movie.	
   The	
   composer	
   assigns	
   them	
   to	
   characters	
   or	
   different	
   circumstances.	
  
Sometimes,	
   these	
   melodies	
   are	
   repeated	
   when	
   same	
   characters	
   appear	
   in	
   other	
  
scenes	
  and	
  when	
  similar	
  situations	
  occur.	
  	
  
	
  	
  
FIRST	
  THEME,	
  present	
  in	
  cues:	
  	
  
	
  
-­‐
Cue	
  #	
  1,	
  PRE-­‐TITLE,	
  00:00:00	
  -­‐	
  00:00:38	
  

	
  

	
  

	
  
	
  
SECOND	
  THEME,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #5,	
  STREETS	
  OF	
  PARIS,	
  00:13:41	
  -­‐	
  00:15:50	
  
	
  

	
  

	
  
	
  
THIRD	
  THEME,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #7,	
  GIRL	
  WITH	
  PLUMS,	
  00:17:55	
  -­‐	
  00:21:03	
  
	
  

	
  
	
  
	
  
	
  

	
  

83	
  

-­‐

Cue	
  #8,	
  THE	
  PLUMGIRL’S	
  SCENT,	
  00:24:31	
  -­‐	
  00:25:34	
  

	
  

	
  
FOURTH	
  THEME,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #10,	
  BALDINI	
  AT	
  STUDIO,	
  00:30:23	
  -­‐	
  00:30:48	
  

	
  

	
  
	
  
	
  

-­‐

Cue	
  #16,	
  DISTILLING	
  ROSES,	
  00:49:26	
  -­‐	
  00:51:17	
  

	
  

	
  
	
  
	
  
	
  
	
  

	
  

84	
  

-­‐

Cue	
  #21,	
  LAVENDER	
  FIELDS,	
  01:08:21	
  -­‐	
  01:09:38	
  

	
  

	
  
	
  
FIFTH	
  THEME,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #11,	
  BALDINI	
  TESTING	
  PERFUME,	
  00:32:10	
  -­‐	
  00:33:26	
  
	
  

	
  

	
  
	
  
-­‐

Cue	
  #12,	
  GRENOUILLE	
  MEETS	
  BALDINI,	
  00:33:35	
  -­‐	
  00:35:01	
  

	
  

	
  
	
  
	
  
	
  

	
  

85	
  

-­‐

Cue	
  #15,	
  THE	
  13TH	
  ESSENCE,	
  00:45:08	
  -­‐	
  00:47:25	
  

	
  

	
  

	
  
	
  
	
  
SIXTH	
  THEME,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #20,	
  MEETING	
  LAURA,	
  01:03:28	
  -­‐	
  01:07:39	
  
	
  

	
  
	
  

	
  
-­‐

Cue	
  #33,	
  LAURA’S	
  ESSENCE,	
  01:51:57	
  -­‐	
  01:53:43	
  

	
  
	
  
	
  
	
  

	
  

86	
  

SEVENTH	
  THEME,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #27,	
  BEAUTY,	
  01:27:28	
  -­‐	
  01:28:33	
  
	
  

	
  
	
  

	
  
-­‐

Cue	
  #36,	
  BEAUTY	
  II,	
  02:05:58	
  -­‐	
  02:07:56	
  
	
  

Duration:	
  00:01:58	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

87	
  

6.	
  
	
  

MOTIFS	
  
Some	
  motifs	
  that	
  are	
  not	
  consider	
  themes	
  or	
  melodies	
  in	
  the	
  movie	
  are	
  

listed	
  below.	
  It	
  is	
  important	
  to	
  mention	
  that	
  the	
  composer	
  repeats	
  them	
  in	
  other	
  
cues	
  using	
  different	
  instrumental	
  textures.	
  These	
  motifs	
  have	
  been	
  used	
  in	
  the	
  
movie	
  when	
  certain	
  feelings,	
  desires	
  and	
  emotions	
  appear.	
  For	
  instance,	
  the	
  first	
  
motif	
  is	
  related	
  to	
  loneliness	
  and	
  absence.	
  
	
  
FIRST	
  MOTIF	
  (MINOR	
  SECOND),	
  present	
  in	
  cues:	
  	
  
	
  
-­‐	
  
Cue	
  #3,	
  BABY	
  GRABS	
  FINGER,	
  00:07:06	
  -­‐	
  00:08:10	
  
	
  

	
  
-­‐	
  

	
  
	
  
-­‐	
  

	
  
	
  
-­‐	
  

	
  
Cue	
  #4,	
  ORPHANAGE	
  &	
  TANNERY,	
  00:08:25	
  -­‐	
  00:13:37	
  
	
  

	
  
Cue	
  #9,	
  LOSING	
  HER	
  SCENT,	
  00:25:43	
  -­‐	
  00:27:48	
  
	
  

	
  
Cue	
  #19,	
  NO	
  SMELL,	
  01:01:51	
  -­‐	
  01:03:20	
   	
  

	
  
	
  
	
  
	
  

	
  

88	
  

SECOND	
  MOTIF,	
  present	
  in	
  cues:	
  
	
  
-­‐	
  
Cue#	
  4,	
  ORPHANAGE	
  &	
  TANNERY,	
  00:08:25	
  -­‐	
  00:13:37	
  
	
  

	
  

	
  
	
  
-­‐

Cue	
  #6,	
  PELLISSIER,	
  00:16:05	
  -­‐	
  00:17:54	
  
	
  

	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

89	
  

-­‐

Cue	
  #	
  13,	
  AMOR	
  AND	
  PSYCHE,	
  00:39:18	
  -­‐	
  00:43:05	
  

	
  

	
  
-­‐

Cue	
  #	
  34,	
  AWAITING	
  EXECUTION,	
  01:56:59	
  -­‐	
  02:00:05	
  
	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

90	
  

THIRD	
  MOTIF,	
  present	
  in	
  cues:	
  
	
  
-­‐	
  
Cue	
  #	
  29,	
  DARK	
  ALLEY,	
  01:37:58	
  -­‐	
  01:39:16	
  
	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

91	
  

7.	
  

BACKGROUNDS	
  
The	
  composer	
  not	
  only	
  uses	
  themes	
  and	
  motifs	
  as	
  a	
  resource	
  to	
  score	
  the	
  

film,	
  but	
  also	
  “backgrounds”	
  or	
  background	
  music.	
  Mainly,	
  these	
  backgrounds	
  are	
  
formed	
   by	
   tied	
   whole	
   notes	
   played	
   by	
   different	
   instruments;	
   however,	
   a	
   type	
   of	
  
background	
   could	
   be	
   an	
   arpeggio	
   that	
   is	
   repeated	
   constantly	
   and	
   that	
   has	
   no	
  
melodic	
   function	
   or	
   does	
   not	
   behave	
   as	
   a	
   theme.	
   It	
   is	
   true	
   that	
   some	
   of	
   these	
  
backgrounds	
   have	
   motifs;	
   however,	
   I	
   have	
   placed	
   them	
   in	
   the	
   category	
   of	
  
background	
  music	
  because	
  of	
  their	
  narrative	
  function.	
  
FIRST	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
	
  
-­‐
Cue	
  #2,	
  MAIN	
  TITLE,	
  00:03:28	
  -­‐	
  00:04:34	
  
	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

92	
  

SECOND	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #14,	
  BALDINI	
  TESTS	
  PERFUME,	
  00:44:02	
  -­‐	
  00:45:03	
  

	
  
THIRD	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #17,	
  EXPERIMENT,	
  00:51:56	
  -­‐	
  00:55:35	
  
	
  

	
  

	
  
	
  
	
  
	
  

	
  

93	
  

-­‐

Cue	
  #23,	
  THE	
  TANK,	
  01:12:11	
  -­‐	
  01:13:21	
  

	
  

	
  

	
  
	
  
-­‐

Cue	
  #26,	
  THE	
  TWINS	
  ARE	
  MISSING,	
  01:25:24	
  -­‐	
  01:27:28	
  
	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

94	
  

-­‐	
  
	
  

Cue	
  #35,	
  THE	
  PERFUME,	
  02:00:26	
  -­‐	
  02:05:54	
  

	
  

	
  

	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

95	
  

FOURTH	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
	
  
	
  
-­‐	
  
Cue	
  #18,	
  GRENOUILLE	
  LEAVES	
  BALDINI,	
  00:57:15	
  -­‐	
  00:59:44	
  
	
  

	
  

	
  
	
  
FIFTH	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #22,	
  PAULINE,	
  01:10:28	
  -­‐	
  01:11:42	
  

	
  
	
  
SIXTH	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #24,	
  I	
  ENJOY	
  MY	
  WORK,	
  01:13:50	
  -­‐	
  01:18:41	
  
	
  

	
  

	
  
	
  
	
  
	
  
	
  

	
  

96	
  

-­‐	
  
	
  

Cue	
  #29,	
  DARK	
  ALLEY,	
  01:37:58	
  -­‐	
  01:39:16	
  

	
  

	
  
	
  
	
  
-­‐

Cue	
  #29,	
  RICHI’S	
  NIGHTMARE,	
  01:40:01	
  -­‐	
  01:41:25	
  
	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

97	
  

SEVENTH	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #28,	
  GRASSE	
  IN	
  PANIC,	
  01:30:29	
  -­‐	
  01:36:02	
  
	
  

	
  

	
  
	
  
EIGHTH	
  BACKGROUND,	
  present	
  in	
  cues:	
  
	
  
-­‐
Cue	
  #31,	
  RICHI’S	
  ESCAPE,	
  01:42:01	
  -­‐	
  01:46:24	
  
	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

98	
  

8.	
  CONCLUSIONS	
  
	
  

The	
  composer	
  of	
  Perfume:	
  The	
  Story	
  of	
  a	
  Murderer	
  assigns	
  melodic	
  themes	
  

to	
   the	
   principal	
   characters	
   in	
   the	
   movie.	
   He	
   also	
   uses	
   small	
   motifs	
   and	
  
backgrounds	
   for	
   different	
   circumstances	
   throughout	
   the	
   film.	
   All	
   these	
   three	
  
elements:	
  themes,	
  motifs,	
  and	
  backgrounds	
  are	
  repeated	
  in	
  the	
  cues	
  and	
  they	
  help	
  
to	
  connect	
  the	
  story	
  according	
  to	
  the	
  narration.	
  	
  
	
  

It	
   is	
   important	
   to	
   mention	
   that	
   the	
   music,	
   besides	
   being	
   so	
   beautiful	
   by	
  

itself,	
  it	
  works	
  perfectly	
  with	
  every	
  scene,	
  not	
  only	
  by	
  the	
  themes	
  and	
  motifs	
  used,	
  
but	
  also	
  for	
  the	
  excellent	
  use	
  of	
  the	
  textures	
  in	
  all	
  the	
  instruments,	
  specially	
  the	
  
use	
   of	
   uncommon	
   textures	
   such	
   as:	
   string	
   harmonics,	
   sul	
   ponticello,	
   pedal	
  
glissandi	
  on	
  timpani,	
  strings	
  played	
  behind	
  the	
  bridge.	
  
	
  

	
  
	
  
	
  

	
  

99