1
 

SOUNDTRACK
 ANALYSIS
 
SFTV
 CULMINATING
 EXPERIENCE
 PAPER
 2014
 
by
 Niko
 Paterakis
 


 
BRAVEHEART
 (dir.:
 Mel
 Gibson)
 
Original
 soundtrack
 composed
 by
 James
 Horner
 

 

 
INTRODUCTION
 

The
 reason
 I
 chose
 this
 film
 and
 its
 soundtrack
 for
 the
 purposes
 of
 this
 assignment
 is
 
because
  it
  holds
  a
  very
  dear
  place
  in
  my
  personal
  life.
  Not
  only
  does
  it
  come
  from
 
admiration
  for
  Mel
  Gibson,
  who
  directed,
  produced
  and
  starred
  in
  the
  film,
  as
  an
 
actor-­‐turned-­‐director,
  who
  learned
  the
  latter
  craft
  through
  reported
  keen
 
observation
  and
  curiosity
  during
  his
  capacity
  as
  the
  former,
  but
  also
  as
  an
 
introduction
 to
 the
 culture
 and
 history
 of
 Scotland,
 a
 place
 I
 came
 to
 know
 and
 love
 
during
 my
 student
 years
 in
 Glasgow.
 During
 that
 time,
 I
 immersed
 myself
 in
 the
 local
 
traditional
 music
 scene
 and
 shared
 a
 house
 with
 a
 history
 scholar,
 who
 enlightened
 
me
  as
  to
  the
  historical
  context
  of
  the
  inspired
  story
  this
  film
  was
  based
  on.
 
Furthermore,
  coming
  from
  a
  small
  country
  with
  a
  rich
  history,
  divided
  by
  a
 
conquering
  force
  that
  threatened
  its
  very
  cultural
  integrity,
  this
  film
  resounded
 


 

2
 

personally
 with
 me
 and,
 given
 my
 particular
 interest
 in
 folk
 music
 from
 around
 the
 
world,
  perhaps
  this
  contributed
  to
  an
  emotional
  connection
  with
  the
  films’
 
soundtrack.
 

 
Moreover,
 I
 have
 come
 to
 admire
 James
 as
 a
 composer
 and
 an
 artist
 with
 an
 inspired
 
vision
  on
  how
  to
  combine
  different
  musical
  tools
  and
  disciplines
  to
  serve
  a
  film’s
 
narrative.
  Also,
  given
  his
  particular
  inclination
  towards
  Celtic
  music,
  I
  feel
  this
 
soundtrack
 is
 one
 of
 his
 strongest.
 

 
On
 a
 final
 introductory
 note,
 considering
 the
 requirements
 of
 this
 assignment,
 this
 
paper
  is
  intended
  to
  be
  an
  informed,
  yet
  not
  strictly
  academically
  rigorous
 
presentation
 of
 the
 soundtrack’s
 structure
 and
 function
 within
 the
 film.
 

 
MAIN
 BODY
 

 
To
  begin,
  it
  is
  worth
  making
  a
  broad
  presentation
  of
  James
  Horner’s
  soundtrack,
 
which
 we
 will
 later
 analyze
 more
 carefully,
 identifying
 key
 themes
 and
 motifs
 and,
 
finally,
 making
 a
 more
 close
 assessment
 of
 how
 it
 is
 constructed
 and
 how
 it
 interacts
 
with
 the
 narrative.
 

 
The
  music
  was
  recorded
  in
  1995
  at
  Abbey
  Road
  Studios
  by
  Shawn
  Murphy
  and
 
released
  under
  The
  Decca
  Record
  Company
  Limited.
  It
  features
  3
  traditional
 
instrument
  soloists
  and
  the
  London
  Symphony
  Orchestra,
  conducted
  by
  the
 


 

3
 

composer
  himself.
  Total
  music
  during
  the
  action
  (i.e.:
  excluding
  credits)
  lasts
  77
 
minutes
 spread
 over
 42
 cues
 with
 an
 average
 cue
 length
 of
 approximately
 3
 minutes
 
and
 ranging
 between
 less
 than
 a
 minute
 to
 more
 than
 6
 minutes
 long.
 

 
The
  soundtrack
  draws
  on
  three
  different
  musical
  disciplines:
  traditional
 
instruments
  of
  the
  region
  in
  question
  (Scotland),
  electronic
  instruments
  and
 
textures
 (to
 enhance
 atmospheric
 qualities)
 and
 orchestral
 music.
 

 
It
 is
 largely
 thematic,
 but
 not
 strictly
 in
 a
 traditional
 Wagnerian
 sense,
 where
 each
 
character
  is
  assigned
  their
  own
  musical
  identity.
  Themes
  are
  generally
  more
 
connected
 with
 broad
 concepts
 (such
 as
 national
 pride
 –
 SCOTTISH
 THEME;
 ideals
 
of
  valor,
  honor
  and
  freedom
  –
  IDEALS
  THEME;
  etc.),
  interpersonal
  connections
 
(such
 as
 love
 –
 LOVE
 THEME
 &
 EMOTIONAL
 THEME)
 and
 situations
 (armed
 conflict
 
–
  WAR
  TEXTURE;
  etc.).
  Even
  the
  few
  exceptions
  (LONGSHANKS’
  THEME
  &
 
MURRON’S
 THEME),
 seem
 to
 pertain
 more
 to
 how
 the
 main
 character
 experiences
 –
 
and,
  perhaps
  by
  extension,
  a
  means
  of
  emotional
  instruction
  to
  the
  audience
  as
  to
 
how
  to
  experience
  –
  the
  particular
  situation
  in
  which
  they
  appear;
  e.g.:
 
 
LONGSHANKS’
  THEME
  is
  always
  dark
  and
  menacing
  and
  is
  closely
  associated
  to
  the
 
English
 threat;
 in
 other
 words,
 it
 paints
 a
 sonic
 picture
 of
 them
 as
 ‘the
 bad
 guys’,
 not
 
necessarily
  of
  the
  specific
  character.
  Similarly,
  MURRON’S
  PRELUDE,
  a
  serene
  and
 
minimal
  melodic
  motif
  preceding
  the
  LOVE
  THEME,
  though
  linked
  to
  William
 
Wallace’s
 dead
 wife,
 feels
 more
 like
 it
 draws
 us
 into
 what
 she
 means
 to
 him
 rather
 


 

4
 

than
  an
  actual
  reference
  to
  her
  as
  a
  character.
  I
  feel
  the
  brevity
  of
  her
  onscreen
 
presence
 amplifies
 this
 theory.
 

 
In
  fact,
  this
  very
  contrast
  makes
  these
  themes
  classifiable
  into
  three
  general
 
categories:
 

 
1) HISTORICAL
 
These
  themes
  operate
  in
  a
  more
  traditional
  way,
  emphasizing
  on
  events
  that
 
further
 the
 dramatic
 narrative
 of
 the
 story.
 They
 generally
 have
 a
 noble
 and
 
uplifting
 character.
 

 
Themes
  in
  this
  category:
  SCOTTISH
  THEME,
  IDEALS
  THEME,
  AWE
  THEME,
 
HEROIC
 THEME
 

 
2) PERSONAL
 
The
 evocative
 character
 of
 these
 themes
 and
 their
 associations
 with
 the
 film’s
 
more
 intimate
 moments
 make
 them
 communicators
 of
 a
 narrative
 world
 far
 
removed
 from
 the
 grandiose
 historical
 events
 of
 the
 story.
 A
 world
 where
 our
 
hero
 derives
 their
 deepest
 urges
 to
 be
 who
 they
 are
 in
 the
 historical
 context
 
of
 the
 film.
 

 
Themes
  in
  this
  category:
  LOVE
  THEME,
  LIBERATION
  THEME,
  EMOTIONAL
 
THEME,
 MURRON’S
 PRELUDE
 


 

5
 

 
3) CIRCUMSTANTIAL
 
These
  themes
  have
  a
  much
  more
  mundane
  function,
  associated
  with
 
particular
 situations
 and
 types
 of
 events,
 as
 well
 as
 more
 musical
 functions,
 
such
 as
 transitions,
 etc.
 –
 more
 on
 this
 later
 on.
 

 
Themes
  in
  this
  category:
  WAR
  TEXTURE,
  INTRO
  STRING
  MOTIF,
 
CONCLUSIVE
 STRING
 MOTIF,
 DARK
 WAR
 BRASS
 MOTIF,
 WAR
 TEXTURE
 


 

 
THEMATIC
 ANALYSIS
 

 
At
 this
 stage,
 I
 will
 present
 the
 various
 themes,
 explain
 my
 naming
 system,
 as
 well
 as
 
point
  out
  some
  commonly
  used
  motifs
  and
  textures,
  including
  a
  brief
  musical
 
analysis
 and
 discussion
 about
 where
 they
 appear
 in
 the
 film
 and
 how
 they
 interact
 
with
 and
 support
 the
 visual
 narrative.
 

 
A) SCOTTISH
 THEME
 

 
This
 theme
 is
 established
 early
 on
 in
 the
 introduction
 of
 the
 film
 on
 Uillean
 bagpipes
 
instead
 of
 Scottish
 ones,
 as
 Horner
 himself
 preferred
 their
 more
 mellow
 and
 lyrical
 
tone
 to
 that
 of
 their
 Scottish
 counterpart,
 which
 is
 much
 louder
 and
 more
 abrasive
 
sounding.
 


 

6
 


 


 

 
According
  to
  Gibson
  himself,
  during
  the
  DVD
  commentary,
  the
  purpose
  of
  the
 
introductory
 establishing
 shots
 was
 to
 “[…]
 give
 [the
 audience]
 Scotland
 […]”,
 both
 
visually
 and
 sonically.
 This
 effectively
 served
 as
 a
 brief
 for
 the
 music,
 which
 was
 in
 
my
  opinion
  very
  effective
  in
  evoking
  the
  geographical
  location
  but
  also
  a
  majestic
 
and
 uplifting
 atmosphere
 to
 frame
 a
 truly
 inspiring
 story.
 

 
It
 is
 centered
 on
 D
 major
 pentatonic
 –
 like
 most
 of
 the
 themes,
 as
 we
 will
 see
 further
 
on
  –
  a
  common
  scale
  for
  Celtic
  music
  and
  particularly
  bagpipes,
  with
 
ornamentations
 that
 are
 idiomatic
 to
 the
 style.
 

 
Cues
  where
  it
  appears:
  1.
  PRELUDE/MAIN
  TITLE,
  6.
  OUTLAWED
  TUNES
  ON
 
OUTLAWED
  PIPES,
  23.
  HEAVY
  HORSE,
  24.
  SIR
  WILLIAM,
  33.
  LAMENT,
  35.
  THE
 
LEGEND
 SPREADS,
 42.
 BANNOCKBURN
 

 
B) IDEALS
 THEME
 

 


 

7
 

I
  named
  this
  theme
  like
  this
  because
  of
  the
  moments
  where
  it
  seems
  to
  appear
 
within
 the
 film.
 We
 hear
 it
 first
 exposed
 when
 William
 Wallace’s
 father
 tells
 his
 son
 
that
  “[…]
  it’s
  our
  wits
  that
  make
  us
  men
  […]”,
  teaching
  him
  that
  the
  ability
  to
  fight
  is
 
not
  enough;
  the
  reason
  one
  fights
  for
  defines
  a
  man
  (cue
  3:
  I
  CAN
  FIGHT).
 
Furthermore,
  it
  reappears
  as
  he
  enters
  the
  battlefield
  in
  the
  first
  battle
  of
  Stirling
 
(cue
 22:
 SONS
 OF
 SCOTLAND);
 after
 the
 now
 iconic
 speech
 before
 the
 battle;
 when
 
the
 battle
 is
 won,
 before
 he
 receives
 his
 knighthood
 (cue
 24:
 SIR
 WILLIAM);
 before
 
his
  capture
  by
  an
  ambush
  set
  at
  his
  final
  meeting
  with
  Robert
  the
  Bruce
  (cue
  38:
 
THE
 TRAP);
 and,
 last
 but
 not
 least,
 the
 also
 iconic
 ‘Freedom!’
 moment
 just
 before
 his
 
execution
 near
 the
 end
 of
 the
 film
 (cue
 41:
 THE
 EXECUTION).
 

 


 

 
To
 me,
 these
 are
 moments
 that
 focus
 on
 William
 Wallace’s
 values
 in
 terms
 of
 what
 
he
 hopes
 to
 achieve
 for
 his
 country.
 The
 theme
 identifies
 itself
 with
 purpose,
 valor,
 
victory
 against
 injustice,
 unification
 in
 defiance
 of
 tyranny
 and
 freedom
 respectively.
 

 


 

8
 

Musically,
 it
 is
 probably
 the
 most
 interesting
 theme
 in
 that
 it
 takes
 place
 over
 a
 4/4
 
rhythmic
  sequence,
  but
  grouped
  in
  phrases
  of
  3
  half-­‐notes,
  which
  seems
  to
 
somehow
  make
  it
  repeat
  more
  easily.
  Indeed,
  it
  is
  a
  quite
  repetitive
  theme,
  which
  is
 
extended
  in
  some
  parts
  of
  the
  film
  with
  inserted
  codas
  (e.g.:
  after
  the
  battle
  of
 
Stirling
 is
 won
 –
 cue
 24:
 ‘SIR
 WILLIAM’).
 It
 is
 also
 tonally
 centered
 around
 D
 major
 
and
  is
  usually
  presented
  as
  bright
  and
  triumphant
  throughout
  the
  film,
  always
 
played
  on
  the
  strings,
  except
  in
  its
  first
  exposition
  during
  a
  moment
  between
 
William
  Wallace
  and
  his
  father,
  where
  it
  is
  given
  to
  cor
  anglais
  and
  is
  much
  more
 
intimate.
 

 
C) AWE
 THEME
 

 
This
 theme
 bears
 some
 similarity
 to
 the
 IDEALS
 THEME,
 in
 that
 it
 contains
 a
 lot
 of
 
leap
  intervals,
  as
  shown
  below.
  Again,
  tonally
  centered
  around
  D
  major,
  but
  with
 
some
  modal
  interchange
  in
  the
  harmony,
  which
  gives
  it
  an
  imposing
  yet
  intimate
 
and
 melancholic
 tone
 that
 resolves
 on
 a
 broad
 and
 reflective
 cadence.
 It
 is
 sung
 by
 a
 
boys
  choir,
  which,
  according
  to
  Horner
  himself,
  makes
  a
  cue
  more
  “reflective”
 
(source:
 

“James
 

Horner
 

Breakfast
 

https://www.youtube.com/watch?v=eX5XWBnSpL8).
 

 

interview
 

part
 

1”:
 


 

9
 


 

 
Conceptually,
  it
  connects
  itself
  with
  pivotal
  moments
  in
  William
  Wallace’s
  life.
  His
 
father’s
  death
  fighting
  the
  English,
  where
  it
  appears
  appropriately
  as
  a
  funereal
 
lament
  (cue
  4:
  DEATH
  IN
  THE
  WALLACE
  FAMILY);
  during
  his
  battle
  speech,
  in
  a
 
more
  uplifting
  feel,
  preparing
  the
  music
  for
  the
  powerful
  crescendo
  of
  the
  roused
 
Scottish
  army
  ready
  to
  fight
  (cue
  22:
  SONS
  OF
  SCOTLAND);
  during
  his
  execution,
 
similarly
  as
  before,
  culminating
  in
  the
  ‘Freedom!’
  moment
  (cue
  41:
  THE
 
EXECUTION).
 

 
D) LOVE
 THEME
 

 
This
  is
  probably
  one
  of
  the
  most
  recognizable
  themes
  of
  the
  film.
  Musically
  quite
 
simple
  and
  effective,
  rooted
  in
  A
  minor,
  it
  is
  usually
  played
  on
  traditional
  Celtic
 
 
instruments
 such
 as
 flute
 and
 Uillean
 pipes
 –
 usually
 supported
 by
 harp,
 that
 gives
 it
 
a
 feel
 of
 antiquity
 and
 a
 certain
 sense
 of
 fragility
 (e.g.
 cue
 5:
 A
 GIFT
 OF
 A
 THISTLE).
 
However,
  it
  also
  appears
  on
  cor
  anglais
  –
  which
  gives
  it
  a
  sense
  of
  longing
  typical
  to
 
the
  instrument
  and
  a
  very
  soulful
  character,
  with
  added
  warmth
  from
  the
  strings
 


 

10
 

and
  pads
  usually
  supporting
  it
  harmonically
  in
  this
  case
  (e.g.
  cue
  26:
  VISION
  OF
 
MURRON)
  –
  and
  strings
  –
  where
  it
  becomes
  more
  soaring
  and
  feverish
  in
  some
 
more
 dynamic
 moments
 in
 the
 film
 (e.g.
 cue
 32:
 BETRAYAL
 AND
 DESOLATION).
 

 


 

 
Interestingly,
  its
  use
  is
  not
  limited
  to
  a
  single
  object
  of
  affection.
  It
  appears
 
numerous
  times
  in
  the
  film
  and
  seems
  to
  highlight
  that
  deep
  bond
  between
  Wallace
 
and
  a
  number
  of
  people,
  including
  his
  wife
  Murron,
  the
  Princess
  and
  Robert
  the
 
Bruce.
  It
  seems
  to
  allude
  to
  the
  core
  of
  his
  values,
  something
  of
  a
  more
  emotional
 
nature
 that
 fuels
 him
 from
 a
 very
 deep
 place
 and
 in
 a
 very
 personal
 way.
 

 
Other
  cues
  where
  it
  appears:
  12.
  WALLACE
  COURTS
  MURRON,
  13.
  THE
  SECRET
 
WEDDING,
  cue
  17:
  MURRON’S
  FUNERAL,
  27.
  MEETING
  WITH
  THE
  PRINCESS,
  37.
 
FOR
 THE
 LOVE
 OF
 A
 PRINCESS,
 39.
 THE
 PRINCESS
 PLEADS
 FOR
 WALLACE’S
 LIFE
 

 
E) LIBERATION
 THEME
 


 

11
 


 
I
  have
  identified
  two
  moments
  where
  this
  features
  prominently
  and
  has
  two
  almost
 
opposite
 functions.
 One
 is
 when
 a
 young
 William
 Wallace
 leaves
 his
 home
 with
 his
 
uncle
 Argyle
 after
 his
 father’s
 death
 (cue
 6:
 LEAVING
 HOME),
 so
 in
 a
 sense
 it
 feels
 
like
  liberation
  from
  the
  past,
  but
  with
  a
  tinge
  of
  sadness.
  The
  second
  moment
  is
 
largely
  varied
  and
  much
  longer,
 after
 his
 first
 encounter
 with
 the
 Princess
 and
 has
  a
 
much
 brighter
 and
 more
 lyrical
 character
 (cue
 37:
 FOR
 THE
 LOVE
 OF
 A
 PRINCESS).
 

 


 

 
It
  is
  one
  of
  the
  more
  classical
  sounding
  themes
  in
  the
  film,
  always
  on
  strings
  and
 
centered
  in
  B
  minor,
  so
  still
  orbiting
  around
  the
  D
  major
  center
  that
  seems
  to
 
connect
 most
 of
 the
 themes
 with
 each
 other
 –
 more
 on
 this
 later
 on.
 

 
F) EMOTIONAL
 THEME
 

 
As
  seen
  with
  the
  LIBERATION
  THEME,
  this
  one
  seems
  to
  also
  have
  a
  multiple
 
function,
 although
 much
 more
 elaborately
 applied;
 hence
 the
 name.
 It
 appears
 in
 the
 
courtship
 between
 William
 and
 Murron
 (cue
 12:
 WALLACE
 COURTS
 MURRON)
 as
 a
 


 

12
 

soft
  serenade-­‐like
  accompaniment
  to
  their
  affair;
  blossoms
  into
  a
  passionate
 
exposition
  during
  their
  wedding
  night
  (cue
  14:
  THE
  SECRET
  WEDDING);
  then,
  it
 
feverishly
  blares
  high
  in
  the
  strings
  during
  the
  attack
  on
  Murron,
  as
  William
 
desperately
  tries
  to
  save
  her
  from
  the
  English
  guard
  (cue
  15:
  ATTACK
  ON
 
MURRON);
  a
  soft
  and
  sweet
  whisper
  during
  William
  and
  Robert
  the
  Bruce’s
  first
 
meeting
  (cue
  25:
  INVASION
  OF
  ENGLAND);
  a
  sorrowfully
  expressive
  passage
  for
 
Murron’s
  funeral
  and
  Robert
  the
  Bruce’s
  betrayal
  on
  the
  battlefield
  (cue
  17:
 
MURRON’S
 FUNERAL,
 cue
 32:
 BETRAYAL
 AND
 DESOLATION);
 finally,
 a
 requiem
 line
 
for
 boys’
 choir
 in
 William’s
 execution
 (cue
 41:
 THE
 EXECUTION).
 

 


 

 
On
 the
 whole,
 it
 seems
 to
 be
 reserved
 for
 two
 key
 persons
 in
 William
 Wallace’s
 life;
 
Murron,
 his
 dead
 wife,
 the
 visions
 of
 whom
 keep
 him
 fighting;
 and
 Robert
 the
 Bruce,
 
leading
 contender
 for
 the
 throne
 of
 Scotland,
 whom
 he
 attracts
 as
 a
 kindred
 spirit,
 
willing
  to
  defy
  his
  fellow
  noblemen
  to
  bring
  freedom
  from
  the
  English
  yolk
  to
  his
 
country.
 


 

13
 


 
One
 might
 attempt
 a
 deeper
 analysis
 of
 the
 narrative
 subtext
 and
 see
 that
 the
 people
 
William
  shares
  an
  intimate
  relationship
  with
  define
  part
  of
  his
  symbolization:
  his
 
dead
  wife
  and
  a
  noble
  man;
  two
  individuals
  he
  cannot
  ever
  consummate
  his
 
relationship
 with.
 

 
G) LONGSHANKS’
 THEME
 

 
This
 is
 a
 much
 subtler
 motif,
 which
 I
 reluctantly
 call
 a
 theme
 as
 such.
 It
 is
 connected
 
to
  King
  Edward
  I’s
  activities,
  such
  as
  forcefully
  instructing
  his
  son
  to
  quell
  the
 
Scottish
 rebellion
 (cue
 19:
 THE
 KING’S
 VENGEANCE)
 and
 some
 time
 later
 after
 the
 
Princess
 returns
 from
 meeting
 Wallace
 and
 the
 king
 announces
 his
 ruse
 before
 the
 
battle
  of
  Falkirk
  (cue
  28:
  LONGSHANKS’
  SURPRISE).
  More
  interestingly,
  though,
  it
 
also
  makes
  an
  appearance
  when
  Longshanks
  is
  not
  present,
  but
  he
  is
  being
 
represented
 in
 some
 way
 (e.g.:
 battle
 of
 Stirling
 –
 cue
 22:
 SONS
 OF
 SCOTLAND,
 cue
 
41:
 THE
 EXECUTION).
 

 


 

 
I
 find
 this
 to
 be
 very
 intelligently
 placed
 in
 the
 film,
 considering
 the
 fact
 that
 Wallace
 
and
 Longshanks
 never
 meet
 face
 to
 face,
 as
 a
 way
 to
 keep
 the
 audience
 in
 touch
 with
 


 

14
 

the
 basic
 core
 of
 the
 story:
 no
 matter
 who
 is
 on
 screen
 or
 not,
 the
 story
 is
 essentially
 
defined
  by
  an
  archetypal
  duality,
  the
  dark
  powerful
  tyrant
  versus
  the
  poor
  rebel
 
bearing
 the
 light
 of
 freedom.
 

 
H) HEROIC
 THEME
 

 
Also
  a
  very
  recognizable
  theme
  from
  the
  film,
  it
  first
  makes
  its
  appearance
  during
 
Wallace’s
 speech
 to
 the
 Scottish
 army
 before
 the
 battle
 of
 Stirling
 (cue
 22:
 SONS
 OF
 
SCOTLAND),
 where
 William
 Wallace
 emerges
 from
 a
 figure
 of
 rumor
 into
 flesh
 and
 
bone
 and
 unites
 an
 army
 of
 scattered
 and
 weak
 allegiances
 into
 a
 fighting
 force
 to
 be
 
reckoned
  with.
  This
  is
  the
  moment
  he
  cements
  himself
  firmly
  into
  history
  and
  the
 
theme
 represents
 this
 well,
 usually
 on
 solo
 horn
 and/or
 cor
 anglais
 and
 traditional
 
flute,
 giving
 the
 phrase
 to
 the
 strings,
 thus
 maintaining
 at
 once
 idiomatically
 Celtic
 
characteristics
 –
 such
 as
 its
 D
 major
 pentatonic
 centre
 –,
 a
 rousing
 air
 of
 nobility
 and
 
sheer
 musical
 power.
 

 


 

 


 

15
 

Other
  cues
  where
  it
  appears:
  24.
  SIR
  WILLIAM,
  41.
  THE
  EXECUTION,
  42.
 
BANNOCKBURN
 

 

 
MOTIFS
 

 
The
  recurring
  motifs
  have
  a
  role
  of
  their
  own
  in
  this
  soundtrack.
  They
  are
 
intelligently
  recycled
  and
  adapted
  to
  facilitate
  a
  variety
  of
  transitions,
  but
  also
  set
 
the
 mood
 in
 a
 more
 poignant,
 subversive
 way.
 

 
1)

INTRO
 STRING
 MOTIF
 


 
This
 motif
 first
 appears
 as
 a
 brief
 intermezzo
 for
 the
 violins
 to
 usher
 in
 the
 
SCOTTISH
 THEME
 in
 the
 film’s
 introduction.
 Musically,
 it
 actually
 gives
 an
 identity
 
to
 the
 rest
 of
 the
 string
 work
 in
 the
 soundtrack,
 often
 flirting
 with
 intervals
 like
 2nds
 
and
 4ths
 in
 an
 Arvo
 Part
 sort
 of
 vain,
 which
 give
 the
 soundtrack
 –
 and,
 indeed,
 the
 
composer
 himself
 –
 a
 sonic
 identity,
 a
 ‘timeless’
 quality
 –
 in
 the
 sense
 that
 the
 
harmony
 does
 not
 make
 it
 identifiable
 to
 a
 particular
 time
 or
 place
 –
 and
 a
 very
 
atmospheric
 and
 modern
 edge,
 which
 I
 feel
 make
 it
 relatable
 to
 a
 modern
 audience.
 
A
 variation
 is
 later
 used
 when
 William
 Wallace
 returns
 home
 as
 an
 adult.
 Another
 
one
 appears
 the
 morning
 after
 Wallace
 and
 Murron
 consummate
 their
 hidden
 
marriage
 in
 the
 woods.
 Therefore,
 it
 feels
 like
 the
 composer’s
 intention
 is
 to
 


 

16
 

subconsciously
 associate
 this
 motif
 with
 the
 concept
 of
 beginning;
 of
 the
 story
 itself;
 
of
 a
 character’s
 new
 beginning/introduction;
 of
 a
 couple’s
 new
 beginning,
 etc.
 

 
2) MURRON’S
 PRELUDE
 

 
Probably
  the
  subtlest
  and
  least
  heard
  theme
  of
  the
  film,
  MURRON’S
  PRELUDE
 
appears
  in
  two
  scenes:
  the
  couple’s
  wedding
  in
  the
  woods
  (cue
  13:
  THE
  SECRET
 
WEDDING)
  and
  during
  Wallace’s
  dream
  just
  before
  his
  meeting
  with
  the
  Princess
  of
 
France
  (cue
  26:
  VISION
  OF
  MURRON).
  Its
  main
  function
  is
  to
  introduce
  the
  LOVE
 
THEME,
  but
  this
  way,
  it
  is
  specifically
  addressed
  to
  his
  wife,
  rather
  than
  the
  other
 
characters
 this
 theme
 also
 accompanies
 within
 the
 film.
 

 


 

 
3) CONCLUSIVE
 STRING
 MOTIF
 

 
This
 is
 a
 rising
 crescendo
 string
 motif
 with
 similar
 harmonic
 configuration
 to
 the
 
previous
 one
 that
 often
 serves
 as
 the
 conclusion
 to
 a
 cue
 or
 a
 transition
 from
 one
 
theme
 (cue
 32:
 BETRAYAL
 AND
 DESOLATION)
 or
 scene
 to
 another
 (cue
 13:
 THE
 


 

17
 

SECRET
 WEDDING
 –
 from
 William
 and
 Murron
 in
 the
 woods
 the
 morning
 after
 their
 
wedding
 to
 following
 each
 other
 at
 the
 village
 market
 place).
 It
 is
 proven
 to
 be
 very
 
malleable,
 as
 it
 is
 temporally
 varied
 often,
 conceivably
 to
 better
 accommodate
 
timing
 issues
 with
 some
 of
 the
 sync
 points
 in
 the
 film.
 

 
4)

DARK
 WAR
 BRASS
 MOTIF
 


 
This
  consists
  of
  a
  two-­‐chord
  progression
  with
  a
  sort
  of
  unsettling
  effect
  played
  in
 
the
  low
  register
  on
  horns
  and
  trombones.
  It
  is
  introduced
  in
  the
  beginning
  of
  the
 
film,
  well
  timed
  in
  my
  opinion
  with
  the
  narrator’s
  line:
  “[…]
  history
  is
  written
  by
 
those
 who
 have
 hanged
 heroes
 […]”
 (cue
 1:
 MAIN
 TITLE).
 It
 is
 usually
 in
 crescendo,
 
from
 piano
 to
 mezzoforte,
 and
 is
 used
 a
 lot
 during
 battle
 scenes.
 I
 take
 this
 to
 mean
 
that
 it
 is
 associated
 with
 the
 English
 and
 the
 threat
 they
 pose
 to
 the
 Scots.
 

 


 

 
TEXTURE
 

 
There
 is
 also
 a
 non-­‐melodic
 motif
 that
 behaves
 like
 a
 theme,
 in
 that
 it
 is
 recurrent
 
and
 obviously
 associated
 with
 a
 particular
 state
 in
 the
 film.
 

 


 

18
 

WAR
 TEXTURE
 

 
This
  texture
  first
  presents
  itself
  in
  William
  Wallace’s
  stylized
  arrival
  to
  the
  base
 
camp
 of
 the
 English
 guard
 who
 captured
 and
 killed
 his
 wife
 (cue
 16:
 REVENGE).
 It
 
consists
  in
  percussion,
  percussion
  FX,
  extended
  cymbal
  techniques,
  pan
  flute
 
extended
  techniques,
  breathy
  string
  pads
  and
  a
  vocal
  pad
  ostinato
  that
  create
  and
 
sustain
  a
  tense
  and
  eerie
  atmosphere
  that
  keeps
  us
  alert
  over
  a
  prolonged
  slow-­‐
motion
  sequence,
  only
  to
  be
  further
  immersed
  in
  the
  film
  during
  the
  release
  of
 
return
 to
 normal
 speed,
 furthering
 the
 story
 and
 increasing
 the
 activity.
 It
 reoccurs
 
often
  in
  the
  film,
  stripped
  down
  to
  its
  more
  characteristic
  forms
  –
  mainly
  the
 
breathy
 string
 pad,
 occasionally
 some
 of
 the
 percussion
 effects
 and,
 very
 often,
 the
 
pan
  flute
  –
  and
  seems
  to
  be
  associated
  with
  anticipation
  of
  conflict,
  whether
  large
 
scale
  (full-­‐on
  battle
  –
  e.g.
  cue
  23:
  THE
  BATTLE
  OF
  STIRLING)
  or
  small
  scale
  (e.g.:
 
ambush
 –
 e.g.
 cue
 36:
 AMBUSHED
 AMBUSH).
 

 
I
 feel
 the
 most
 effective
 use
 of
 it,
 after
 its
 introduction,
 is
 the
 scene
 of
 his
 betrayal
 by
 
the
  Scottish
  nobles
  during
  a
  meeting
  with
  Robert
  the
  Bruce
  (cue
  38:
  THE
  TRAP).
 
After
  establishing
  the
  theme’s
  association
  with
  conflict
  and
  returning
  to
  slow
 
motion,
  which
  was
  characteristic
  of
  the
  use
  in
  pivotal
  moments
  in
  the
  film,
  it
  is
 
almost
  as
  if
  the
  music
  briefly
  takes
  on
  a
  leading
  role
  in
  the
  narrative
  and
  uses
  its
 
communicative
 power
 to
 prepare
 the
 audience
 for
 the
 painful
 scene
 to
 come.
 

 
Other
 cues
 where
 it
 appears:
 18.
 RETALIATION,
 40.
 THROUGH
 THE
 CROWD
 


 

19
 


 
ASSESSMENT
 

 
As
 previously
 said,
 this
 is
 mostly
 a
 thematic
 soundtrack,
 where
 each
 musical
 motion
 
is
  assigned
  multiple
  related
  dramatic
  situations,
  which
  they
  often
  differentiate
  by
 
changing
 dynamics,
 expression
 and
 instrumentation.
 

 
For
  example,
  the
  IDEALS
  THEME
  first
  appears
  on
  cor
  anglais
  with
  string
  pad
 
support
 when
 Wallace’s
 father
 imparts
 wisdom
 to
 his
 young
 son
 (cue
 3)
 and
 adds
 to
 
the
  intimacy
  of
  the
  scene
  between
  a
  boy
  connecting
  to
  the
  man
  he
  will
  grow
  to
 
become
 through
 his
 father.
 It
 returns
 later
 with
 temperance
 and
 a
 sweeping
 air
 of
 
nobility
 on
 full
 string
 section
 when
 he
 enters
 the
 battlefield
 of
 Stirling
 (cue
 22),
 then
 
similarly
 but
 louder
 and
 more
 majestically
 when
 the
 battle
 is
 won
 (cue
 24).
 It
 is
 as
 if
 
the
 composer,
 after
 establishing
 a
 connection
 between
 this
 musical
 gesture
 and
 an
 
ideal
 of
 the
 story,
 eventually
 shows
 the
 character
 embody
 this
 ideal
 more
 and
 more.
 
This
 concept
 is
 brought
 to
 an
 extraordinary
 climax
 during
 Wallace’s
 execution
 (cue
 
41)
 for
 the
 now
 iconic
 ‘Freedom!’
 moment.
 
Similarly,
  the
  EMOTIONAL
  THEME
  is
  exposed
  in
  great
  variety
  throughout
  this
 
soundtrack.
  In
  cue
  12
  (‘WALLACE
  COURTS
  MURRON’),
  it
  makes
  its
  first
  shy
 
appearance
 in
 the
 middle
 of
 the
 cue,
 ethereally
 played
 on
 cor
 anglais
 and
 strings
 to
 
underscore
  William
  and
  Murron’s
  rekindled
  affection
  for
  one
  another.
 
  In
  cue
  14
 
(‘THE
  SECRET
  WEDDING’),
  high
  in
  the
  strings
  while
  cor
  anglais
  counterpoints
 
around
  it
  during
  their
  first
  erotic
  encounter;
  in
  cue
  15
  (‘ATTACK
  ON
  MURRON’),
 


 

20
 

feverishly
 in
 the
 high
 strings
 on
 top
 of
 a
 dark
 and
 racy
 progression
 during
 the
 attack
 
on
 Wallace’s
 wife;
 in
 cue
 17
 (‘MURRON’S
 FUNERAL’),
 it
 is
 presented
 in
 an
 espressivo
 
passage
 in
 the
 strings,
 dramatically
 supporting
 William
 asking
 his
 dead
 wife’s
 father
 
for
 his
 blessing
 of
 their
 marriage
 at
 her
 grave;
 in
 cue
 25
 (‘INVASION
 OF
 ENGLAND’),
 
it
 is
 enigmatically
 used
 for
 the
 first
 time
 between
 William
 and
 a
 character
 other
 than
 
his
  wife,
  Robert
  the
  Bruce,
  when
  they
  first
  come
  in
  personal
  contact;
  in
  cue
  32
 
(‘BETRAYAL
 AND
 DESOLATION’),
 the
 second
 moment
 between
 these
 two
 men
 is
 in
 
stark
 contrast
 with
 the
 first,
 as
 it
 accompanies
 a
 scene
 of
 betrayal;
 finally,
 in
 cue
 41
 
(‘THE
  EXECUTION’),
  it
  becomes
  Wallace’s
  swan
  song
  through
  a
  boys’
  choir
  and
 
string
 section.
 

 
A
 slightly
 different
 approach
 is
 seen
 in
 the
 examples
 of
 cue
 21
 (‘MAKING
 PLANS
 –
 
GATHERING
 THE
 CLANS’)
 and
 cue
 35
 (‘THE
 LEGEND
 SPREADS’),
 where
 traditional
 
elements
 –
 a
 pipe
 improvisation
 in
 both
 instances
 –
 support
 the
 SCOTTISH
 THEME
 
and
 exalt
 Wallace.
 

 
Furthermore,
  perhaps
  due
  to
  the
  versatility
  and
  number
  of
  themes
  used
  and
  how
 
deeply
  intertwined
  with
  the
  storyline
  they
  are,
  most
  cues
  contain
  more
  than
  one
 
theme,
  usually
  connected
  via
  one
  of
  the
  motifs
  and
  coexisting
  well
  thanks
  to
  the
 
shared
 tonality
 –
 D
 major.
 
For
 example,
 in
 the
 pre-­‐mentioned
 example
 of
 cue
 22,
 the
 IDEALS
 THEME
 and
 the
 
HEROIC
 THEME
 succeed
 each
 other,
 with
 the
 AWE
 THEME
 making
 a
 grand
 entrance
 
at
  the
  conclusion
  of
  Wallace’s
  rousing
  war
  speech.
  This
  way,
  the
  uplifting
  nobility
  of
 


 

21
 

the
  IDEALS
  THEME
  is
  not
  only
  connected
  with
  Wallace’s
  inspiring
  entry
  into
  the
 
battlefield,
  it
  also
  becomes
  an
  effective
  precursor
  to
  the
  first
  exposition
  of
  the
 
HEROIC
 THEME,
 where
 Wallace
 cements
 his
 place
 in
 history
 as
 a
 figure
 of
 mythical
 
proportions.
  Finally,
  the
  emotional
  arc
  both
  director
  and
  composer
  seem
  to
  be
 
working
  towards
  in
  this
  scene
  culminates
  with
  the
  grandiose
  conclusion
  of
 
Wallace’s
 speech
 over
 the
 AWE
 THEME.
 
Another
  example
  is
  the
  end
  of
  that
  same
  battle
  (cue
  24),
  where
  the
  previous
 
exposition
  is
  now
  revered,
  i.e.:
  the
  HEROIC
  THEME
  precedes
  the
  IDEALS
  THEME.
 
Having
  these
  two
  cues
  at
  the
  beginning
  and
  end
  of
  such
  an
  important
  event
  and
  the
 
reversal
  of
  the
  themes
  used
  gives
  a
  sense
  of
  framing
  a
  section
  with
  ‘book
  ends’.
  It
 
further
  amplifies
  the
  implicit
  message
  of
  this
  progression
  is
  that
  an
  ideal
  turns
  a
 
man
  into
  a
  hero,
  the
  hero
  is
  affirmed
  by
  leading
  his
  people
  to
  victory
  and
  that
 
victory,
 as
 well
 as
 the
 hero
 himself,
 becomes,
 in
 turn,
 an
 ideal
 for
 these
 people.
 

 
Therefore,
 the
 main
 reason
 behind
 the
 tonal
 convergence
 and
 conceptual
 flexibility
 
of
 the
 themes
 in
 the
 soundtrack
 seems
 to
 be
 its
 effectiveness
 considered
 under
 both
 
an
 intellectual
 and
 a
 more
 emotive
 appreciation
 of
 its
 function
 is
 used
 to
 great
 effect.
 

 
Moreover,
 there
 are
 a
 couple
 of
 select
 moments
 where
 Horner
 is
 not
 afraid
 to
 take
 
that
  flexibility
  a
  step
  further
  in
  a
  much
  more
  ‘unmusical’
  approach.
  He
  becomes
  a
 
sort
  of
  music
  editor
  and
  forms
  a
  peculiar
  ‘collage’
  of
  motifs
  to
  construct
  some
  of
  the
 
cues
  to
  extremely
  engaging
  effect.
  For
  instance,
  cue
  23
  (‘HEAVY
  HORSE’)
  consists
  in
 
constant
  war-­‐like
  traditional
  percussion,
  the
  high
  breathy
  pad
  from
  WAR
  TEXTURE,
 


 

22
 

processed
  brass
  (trombone
  and
  horn)
  blares,
  the
  SCOTTISH
  THEME
  and
  a
  synth
 
string
 ostinato,
 all
 curiously
 put
 together
 and
 brought
 in
 and
 out
 seemingly
 at
 will,
 
with
 little
 interconsistency.
 However,
 the
 effect
 on
 this
 slow-­‐motion
 scene,
 depicting
 
the
 battered
 Scottish
 army
 facing
 the
 onslaught
 of
 English
 heavy
 cavalry,
 immerses
 
the
  audience
  in
  the
  drama
  with
  a
  staggering
  rising
  sense
  of
  alert
  and
 
unpredictability
  and
  in
  solemn
  awe
  of
  the
  indomitable
  fighting
  spirit
  of
  the
 
underdog.
 

 
The
 second
 instance
 where
 this
 approach
 is
 used
 is
 the
 final
 grand
 moment
 of
 the
 
film
  (cue
  42:
  ‘BANNOCKBURN’),
  when
  Wallace’s
  trusted
  comrade
  Hamish
  releases
 
Wallace’s
  sword
  in
  the
  air
  in
  response
  to
  Robert
  the
  Bruce’s
  call
  to
  arms.
  The
 
HEROIC
  THEME
  is
  played
  exultantly
  on
  a
  full
  string
  section,
  while
  the
  SCOTTISH
 
THEME
  is
  brought
  in
  and
  out
  irregularly
  on
  pipes,
  giving
  an
  inspiring,
  hair-­‐raising
 
sense
 of
 awe
 as
 the
 troops
 decide
 to
 charge
 and
 defeat
 a
 far
 superior
 military
 force
 
once
 again.
 

 
This
 opens
 a
 small
 yet
 interesting
 parenthesis
 regarding
 Horner’s
 use
 of
 electronic
 
sounds
  and
  textures
  within
  the
  soundtrack.
  He
  has
  kept
  them
  mostly
  subtle
  and
 
seemingly
 assigned
 them
 specifically
 for
 atmospheric
 qualities.
 This
 facilitates
 their
 
use
 in
 almost
 half
 the
 cues
 in
 the
 film
 (specifically
 cues
 1,
 2,
 4,
 5,
 6,
 11,
 15,
 16,
 18,
 19,
 
21,
 23,
 26,
 28,
 29,
 33,
 34,
 36,
 38,
 40)
 without
 detracting
 from
 the
 temporal
 function
 
evoked
  by
  the
  traditional
  instrumentation,
  but
  rather
  enhancing
  the
  ‘fairytale’
 
quality
 of
 the
 narrative.
 Since
 the
 direction
 is
 willing
 to
 zoom
 in
 on
 the
 characters’
 


 

23
 

inner
 world,
 stripping
 them
 of
 their
 heroic
 significance
 and
 exposing
 their
 personal
 
vulnerabilities,
 it
 makes
 sense
 for
 the
 music
 to
 emulate
 this
 intimate
 tone.
 

 

 
CONCLUSION
 

 
This
  is
  the
  work
  of
  a
  composer
  who
  is
  not
  afraid
  to
  explore
  and
  fuse
  different
 
disciplines
 to
 sculpt
 a
 very
 diverse
 and
 expressive
 soundtrack
 that
 works
 on
 many
 
levels.
 The
 music
 achieves
 its
 purpose
 of
 immersing
 the
 audience
 in
 a
 specific
 time
 
and
 place,
 without
 limiting
 itself,
 but
 allowing
 its
 emotional
 dimension
 to
 extend
 far
 
beyond
 and
 resonate
 with
 its
 audience.
 The
 themes
 are
 memorable
 and
 accessible,
 
while
  the
  textures
  are
  subtle
  and
  effective,
  but
  are
  repeated
  often
  enough
  to
 
establish
  their
  role.
  In
  addition,
  the
  flexibility
  of
  the
  themes
  to
  be
  adapted
  to
 
situations
  that
  are
  similar
  in
  a
  broad
  sense,
  integrated
  into
  other
  musical
  contexts
 
and
  paired
  with
  each
  other
  during
  sequences
  with
  an
  appropriate
  emotional
 
succession
  provide
  recognizable
  associations
  that
  enable
  access
  to
  the
  rich
 
emotional
 subtext
 of
 the
 film.
 

 
APPENDIX
 1:
 FULL
 SOUNDTRACK
 CUE
 SHEET
 

 
*
  titles
  used
  from
  officially
  released
  original
  soundtrack
  recording
  (tracklist
  and
  music
 
available
  here:
  https://www.youtube.com/watch?v=OLPwu3dw6BA)
  /
  cues
  separated
  in
 
terms
 of
 dramatic
 and/or
 musical
 continuity
 by
 author
 Niko
 Paterakis
 


 

24
 


 
1)
  PRELUDE/
  MAIN
  TITLE
  (3:24):
  electronic
  lead,
  vox
  pad
  w/
  hurdy
  gurdy
  drone
 
and
 harp
 __
 strings
 w/
 vox
 pad
 and
 pipe
 for
 SCOTTISH
 THEME
 __
 horns
 (DARK
 WAR
 
BRASS
 MOTIF)
 and
 more
 intent
 strings
 –
 lots
 of
 repeating
 phrases
 __
 strings
 &
 solo
 
horn,
 taken
 by
 celli
 (variation
 of
 SCOTTISH
 THEME)
 just
 before
 the
 barn
 scene
 

 
ACTION:
 Film
 introduction
 –
 Establishing
 shots
 of
 the
 Highlands
 __
 Enacting
 
some
 of
 the
 narration,
 Scots
 and
 English
 meeting
 for
 a
 council,
 presenting
 a
 young
 
William
  Wallace
  argue
  with
  his
  father
  and
  brother
  about
  joining
  them
  for
  visiting
 
the
 council.
 

 
2)
  THE
  BARN
  (0:51):
  percussion,
  hurdy
  gurdy
  drone,
  chimes
  and
  SFX
  –
  rising
  and
 
falling
 dynamics
 

 
ACTION:
 William
 witnessing
 hanging
 bodies
 in
 the
 council
 barn
 

 
3)
  I
  CAN
  FIGHT
  (0:52):
  IDEALS
  THEME
  first
  ‘shy’
  exposition
  on
  strings
  and
  cor
 
anglais
 

 
ACTION:
 Father
 leaves
 Wallace’s
 home
 for
 skirmish
 against
 the
 English
 

 
4)
  DEATH
  IN
  THE
  WALLACE
  FAMILY
  (2:31):
  Enter
  AWE
  THEME
  on
  strings
  and
  vox
 
pad
 –
 enter
 cor
 anglais
 and
 synth
 lead
 –
 *same
 electro
 bass
 lead
 as
 intro
 


 

25
 


 
ACTION:
  Wallace
  realizing
  his
  father
  and
  brother
  are
  gone
  __
  preparing
  the
 
bodies
 for
 burial
 __
 Family
 funeral
 

 
5)
  A
  GIFT
  OF
  A
  THISTLE
  (1:31):
  descending
  strings
  passage
  introducing
  folk
  flute
 
(cadenza
 of
 LOVE
 THEME)
 –
 enter
 harp
 __
 LOVE
 THEME
 with
 string
 pad,
 bass,
 harp
 
and
 pipe
 –
 reply
 strings,
 tail
 with
 solo
 flute
 

 
ACTION:
  Murron
  (future
  wife)
  sees
  Wallace
  at
  funeral,
  who
  offers
  him
  a
 
thistle
  (traditionally
  emblematic
  flower
  of
  Scotland)
  for
  his
  loss
  __
  Uncle
  Argyle
 
arrives
 

 
6)
  OUTLAWED
  TUNES
  ON
  OUTLAWED
  PIPES/
  LEAVING
  HOME/
  THE
  ROYAL
 
WEDDING
  (3:16):
  string
  pad
  drone
  –
  SCOTTISH
  THEME
  __
  string
  pad
  drone
  –
 
SCOTTISH
 THEME
 on
 pipe,
 string
 pad
 harmonic
 support
 __
 LIBERATION
 THEME
 (1st
 
exposition)
 on
 strings
 during
 leaving
 home
 __
 choir
 pad
 (reminiscent
 of
 intro)
 and
 
Gregorian
 chants
 for
 wedding
 scene
 

 
ACTION:
 William
 and
 his
 uncle
 witness
 bagpipers
 playing
 over
 the
 graves
 __
 
Leaving
 family
 home
 __
 Royal
 wedding
 between
 Edward
 II
 and
 the
 French
 Princess
 
Sophie
 

 


 

26
 

7)
  RETURNING
  HOME
  (1:12):
  Solo
  horn
  –
  rising
  string
  &
  harp
  move
  –
  strings
 
repeating
  intro
  movement
  __
  alternative
  cadence
  with
  horn
  section
  (DARK
  WAR
 
BRASS
 MOTIF)
 

 
ACTION:
 Wallace
 returning
 to
 his
 family
 home
 as
 an
 adult
 

 
8)
 SCOTTISH
 WEDDING
 1
 (1:05):
 [source
 music]
 –
 traditional
 Celtic
 music
 

 
ACTION:
 Wallace
 arrives
 at
 wedding
 celebration
 in
 his
 village
 

 
9)
 (1:18):
 source
 music
 [traditional
 drum]
 

 
ACTION:
 rock
 toss
 contest
 between
 Wallace
 and
 Hamish
 

 
10)
 SCOTTISH
 WEDDING
 2
 (0:56)
 

 
ACTION:
 The
 feast
 resumes
 after
 contest
 

 
11)
  PRIMA
  NOCTES
  (00:45):
  vox
  pad
  and
  harp
  ostinato,
  hurdy
  gurdy
  drone,
 
traditional
  flute
  carrying
  melody
  __
  enter
  electric
  bass
  –
  could
  be
  a
  variation
  of
 
MURRON’S
 THEME
 

 


 

27
 
ACTION:
  local
  lord
  claims
  bride
  for
  himself
  by
  royal
  English
  law
  for
  her
 

wedding
 night
 

 
12)
  WALLACE
  COURTS
  MURRON
  (4:07):
  traditional
  Celtic
  music
  __
  bouzouki,
 
whistle,
  bohdran
  __
  [stop]
  __
  LOVE
  THEME
  on
  pipe
  and
  string
  pad
  __
  flute
  plays
  with
 
pipe
  and
  closes
  phrase
  __
  flute
  continues
  phrase
  with
  string
  pad
  rising
  harmonically
 
and
 resolves
 __
 strings
 and
 cor
 anglais
 play
 EMOTIONAL
 THEME
 __
 strings
 close
 __
 
cor
 anglais
 recapitulates
 LOVE
 THEME
 __
 horn
 takes
 it
 and
 gives
 it
 to
 strings
 playing
 
previous
 flute
 cadenza
 __
 pipes
 &
 string
 pad
 recapitulating,
 then
 strings
 for
 a
 grand
 
finish
 

 
ACTION:
  Murron
  leaves
  her
  home
  impulsively
  at
  William’s
  invitation
  and
 
they
  head
  out
  into
  the
  woods
  __
  re-­‐acquaintance
  conversation
  __
  takes
  her
  back
 
home
 –
 gives
 her
 back
 the
 thistle
 she
 gave
 him
 when
 they
 were
 children
 

 
13)
  THE
  SECRET
  WEDDING
  (1:34):
  string
  pedal
  note
  __
  MURRON’S
  PRELUDE
  on
 
strings
  with
  some
  variations
  added_
  enter
  LOVE
  THEME
  on
  folk
  flute,
  harp
  and
 
strings
 

 

 

ACTION:
  William
  invites
  Murron
  to
  meet
  in
  the
  woods
  and
  proposes
  to
  her
  –
 

she
 accepts
 

 


 

28
 

14)
 (3:49):
 harp
 on
 slow
 ostinato
 &
 flute
 EMOTIONAL
 THEME_strings
 recapitulate,
 
harp
 continues
 –
 strings
 close
 phrase
 –
 cor
 anglais
 riffs
 on
 theme’s
 opening
 phrase
 
over
 2
 pedal
 chords
 (Dm,
 G),
 strings
 join
 with
 full
 phrase
 feverishly
 while
 cor
 anglais
 
canonizes
  around
  them
  –
  morning
  comes
  w/
  horn
  –
  CONCLUSIVE
  STRING
  MOTIF
 
leading
  to
  variation
  of
  INTRO
  STRING
  MOTIF_
  in
  market
  place:
  flute
  and
  harp
 
variation,
  strings
  join
  in
  and
  end
  on
  dark
  tone
  (English
  soldier
  sees)
  –
  ominous
 
minor
 phrase
 in
 the
 cor
 anglais
 to
 end
 the
 phrase
 

 

 

ACTION:
  Wedding
  in
  the
  woods
  __
  first
  erotic
  contact
  __
  morning
  after
 

playfully
  talking
  to
  each
  other
  in
  the
  market
  –
  Murron
  catches
  English
  soldier’s
 
attention…
 
 

 
15)
  ATTACK
  ON
  MURRON
  (2:46):
  hurdy
  gurdy
  drone
  –
  harmonically
  descending
 
strings
  and
  horns
  –
  dark
  motion
  _
  percussion
  &
  string
  ostinato
  w/
  woodwinds
 
taking
  dark
  motif,
  SFX
  and
  strings
  and
  horns
  playing
  EMOTIONAL
  THEME__
  horn
 
leads
  to
  string
  cresc.
  and
  sudden
  stop
  __
  vox
  pad
  closes
  dynamics
  and
  low
  strings
 
close
 phrase
 

 

 

ACTION:
  English
  soldier
  attempts
  to
  rape
  Murron,
  she
  defends
  herself
  –
 

William
 rushes
 to
 neutralize
 guards
 –
 soldier
 sounds
 alarm
 –
 Murron
 runs
 to
 escape
 
on
 horse,
 but
 gets
 caught
 –
 William
 escapes
 to
 the
 woods
 

 


 

29
 

16)
  REVENGE
  (6:38):
  Percussion
  and
  pan
  flute
  FX
  __
  hurdy
  gurdy
  drone
  drops
  in
 
and
 out
 __
 cymbal
 extended
 techniques
 and
 repetitive
 pan
 flute
 motif
 __
 vox
 pad
 give
 
definition
 w/
 pedal
 when
 they
 spot
 W
 __
 string
 line
 __
 dense
 texture
 that
 maintains
 
and
  slowly
  increases
  tension
  (WAR
  TEXTURE)
  __
  muted
  brass
  come
  in
  when
  W
 
attacks
  __
  low
  drone
  __
  cue
  slowly
  reveals
  Celtic
  flavour
  w/
  percussion
  and
 
medieval-­‐sounding,
 war-­‐like
 pipe
 line
 __
 low
 brass
 blares
 __
 ethnic
 voices
 and
 synths
 
join
  __
  motifs
  progressively
  rise
  tone
  by
  tone
  and
  accelerate
  leading
  to
  climax
  of
 
conflict
  __
 
  pan
  flute
  FX
  takes
  cue
  out
  and
  dynamics
  suddenly
  drop
  to
  string
  high
 
pedal
 and
 synth
 drone
 __
 same
 
 pan
 flute
 FX
 

 

 

ACTION:
  Wallace
  returning
  to
  surrender
  to
  the
  lord
  that
  killed
  Murron,
  but
 

ambushes
 him
 with
 a
 surprise
 attack
 and
 avenges
 her
 death
 

 
17)
  MURRON’S
  FUNERAL
  (1:57):
  harp
  plays
  LOVE
  THEME
  under
  soft
  high
  string
 
pedal
  note
  __
  strings
  take
  on
  melody
  softly
  __
  cor
  anglais
  leads
  string
  section
  to
 
EMOTIONAL
  THEME
  (somber,
  melancholic
  tone)
  __
  evocative
  crescendo
  __
  string
 
place
 ending
 coda
 and
 resolves
 in
 a
 minor
 cadence
 with
 quiet
 low
 drone
 

 

 

ACTION:
 Murron’s
 funeral
 –
 William
 receives
 bereaved
 father’s
 blessing
 


 
18)
 RETALIATION
 (0:47):
 *
 same
 high
 synth
 sound
 and
 pan
 flute
 flourish
 as
 cue
 16
 
(REVENGE)
  __
  low
  drone,
  simple
  martial
  motif
  on
  pipes
  with
  accompanying
 
traditional
 percussion
 __
 pan
 flute
 FX
 take
 cue
 out
 


 

30
 


 
ACTION:
  English
  forces
  burn
  Wallace’s
  village
  in
  retaliation
  to
  his
  uprising
  to
 
avenge
 Murron’s
 death
 –
 Wallace’s
 forces
 trap
 them
 in
 a
 gorge
 using
 troops
 as
 decoy
 

 
19)
  THE
  KING’S
  VENGEANCE
  (2:05):
  Low
  string
  motif
  LONGSHANKS’
  THEME
  __
 
enter
 oboe
 __
 pan
 flute
 FX
 and
 drum
 hit
 usher
 synth
 and
 real
 strings
 to
 enter
 minor
 
cresc.
 __
 pipes,
 drones
 and
 percussion
 enter
 

 

 
20)
 THE
 FIGHTING
 CONTINUES
 (0:17):
 Drones,
 traditional
 percussion
 &
 distinctive
 
pan
 flute
 flourish
 

 

 

ACTION:
 Scotts
 moving
 through
 the
 plains
 


 
21)
 MAKING
 PLANS
 –
 GATHERING
 THE
 CLANS
 (1:59):
 Sparse
 percussion,
 low
 male
 
vox
  choir
  pad,
  hurdy
  gurdy
  drone
  __
  layering
  synth
  pads
  __
  cresc.
  with
  percussive
 
accompaniment
 __
 sudden
 stop:
 hurdy
 gurdy
 drone,
  then
  idiomatic
  Celtic
  interval
  __
 
enter
 pipes
 soloing
 in
 traditional
 style
 __
 string
 synth
 and
 whistle
 playing
 SCOTTISH
 
THEME
 in
 tandem
 

 

 

ACTION:
  Wallace
  hunting
  a
  stag
  –
  New
  recruit
  attempts
  to
  kill
  him
  –
  Stephen
 

of
  Ireland
  protects
  him
  __
  messengers
  bring
  news
  of
  alliance
  with
  neighboring
  clans
 
–
 Wallace
 and
 his
 men
 rejoice
 at
 the
 prospect
 of
 war
 


 

31
 


 
22)
  SONS
  OF
  SCOTLAND
  (6:02):
  sparse
  percussion,
  brass
  playing
  LONGSHANKS’
 
THEME
  (faint
  bass
  piano
  providing
  motion)
  enriching
  with
  strings
  to
  punctuate
 
military
  march
  __
  horn
  and
  whistle
  ringing
  out
  with
  idiomatic
  Celtic
  phrases
 
(dark)_turns
  bright
  and
  major
  __
  strings
  and
  whistle
  ring
  out
  with
  broad
  IDEALS
 
THEME
  __
  return
  to
  DARK
  WAR
  BRASS
  MOTIF
  __
  strings
  playing
  IDEALS
  THEME
 
bring
 a
 stop
 to
 the
 march
 __
 [brief
 pause
 with
 low
 strings,
 percussion
 and
 cor
 anglais
 
articulating
  IDEALS
  THEME]
  __
  give
  HEROIC
  THEME
  to
  solo
  horn
  over
  bass
  string
 
chords
  (‘Sons
  of
  Scotland…’)
  __
  variation
  of
  INTRO
  STRING
  MOTIF)
  __
  resolve
  in
 
interval,
 playing
 AWE
 THEME,
 punctuated
 by
 occasional
 percussion,
 bass
 drone
 and
 
piano
 __
 resolve
 after
 slow
 and
 rich
 cresc.
 into
 brass,
 strings
 and
 pipes
 recapitulating
 
theme
 __
 High
 phrase
 in
 flutes,
 strings
 dim.
 

 

 

ACTION:
 English
 army
 marches
 __
 Scottish
 army
 begins
 to
 retreat
 __
 Wallace
 

makes
 speech
 to
 the
 men
 and
 gains
 their
 support
 

 
23)
  THE
  BATTLE
  OF
  STIRLING/BATTLE
  TEMPTATION/HEAVY
  HORSE
  (5:02):
 
Pounding
  percussion
  __
  progressively
  doubling
  __
  high
  airy
  synth
  pad
  from
  WAR
 
TEXTURE
  fades
  in
  __
  ends
  abruptly
  for
  processed
  pipes
  to
  take
  fragments
  of
 
SCOTTISH
 THEME,
 along
 with
 battle
 horn-­‐like
 blares
 __
 synth
 pad
 comes
 back
 __
 so
 
does
  percussion
  __
  break
  [long
  pause]
  __
  pipes
  return
  triumphantly
  (traditional
 
repertoire)
  after
  first
  arrow
  barrage
  __
  ends
  with
  pipe
  drone
  pitch
  naturally
 
detuning
  (due
  to
  loss
  of
  air
  pressure)
  __
  Rhythmic
  FX,
  low
  synth
  FX_SCOTTISH
 


 

32
 

THEME
 on
 pipes
 in
 the
 background
 of
 intermittent
 string
 ostinato
 and
 brass
 blaring
 
__
  string
  establish
  motif,
  accelerando
  __
  WAR
  TEXTURE
  synth
  pad
  returns
  __
  drum
 
hit
 and
 close
 

 

 

ACTION:
 Battle
 of
 Stirling
 begins
 –
 Scottish
 forces
 tempting
 English
 –
 arrow
 

barrage
  follows
  __
  more
  temptation
  –
  second
  arrow
  barrage
  __
  Scottish
  plan
  takes
 
place
  –
  Scottish
  cavalry
  pretend
  to
  flee
  –
  English
  heavy
  armored
  cavalry
  begins
 
attack
 –
 countered
 by
 Wallace’s
 idea
 to
 use
 long
 sharp
 pikes
 

 
24)
 SIR
 WILLIAM
 (2:11):
 HEROIC
 THEME
 on
 solo
 horn
 with
 mp
 string
 support
 and
 
harp
  __
  cor
  anglais
  takes
  it
  __
  cresc.
  and
  strings
  take
  IDEALS
  THEME
  in
  molto
 
espressivo
  __
  Coda
  starts
  on
  cut
  to
  W’s
  knighting
  ceremony
  __
  strings
  go
  low
  for
 
speech
  __
  then
  back
  in
  f
  with
  SCOTTISH
  THEME
  variation
  __
  riff
  on
  ending
  phrase
  in
 
canon-­‐like
 structure,
 passing
 phrase
 from
 high
 to
 low
 string
 

 

 

ACTION:
 End
 of
 the
 battle
 –
 victory
 cheering
 __
 Wallace’s
 knighting
 ceremony
 


 
25)
 INVASION
 OF
 ENGLAND
 (1:15):
 whistle
 and
 strings
 play
 EMOTIONAL
 THEME
 to
 
capture
  Bruce’s
  connection
  with
  Wallace
  –
  takes
  us
  into
  next
  battle
  scene
  __
  again
 
percussion
  and
  DARK
  WAR
  BRASS
  MOTIF
  __
  brief
  pause
  with
  woodwind
  and
  mp
 
string
 ostinato_
 back
 to
 brass
 and
 percussion
 

 


 

33
 


 

ACTION:
 End
 of
 knighting
 ceremony
 __
 Wallace
 talks
 briefly
 with
 and
 inspires
 

the
 Bruce
 __
 Wallace
 invades
 York
 

 
26)
  VISION
  OF
  MURRON
  (1:51):
  breathy
  pad
  pedal
  note
  __
  MURRON’S
  PRELUDE
 
variation
  high
  above
  (ethereal
  yet
  eerie,
  specter-­‐like
  quality)
  __
  cor
  anglais
  takes
 
same
 melody
 __
 synth
 fades
 out,
 into
 LOVE
 THEME
 with
 strings
 in
 p
 

 

 

ACTION:
 Wallace
 dreams
 of
 his
 dead
 wife
 


 
27)
 MEETING
 WITH
 THE
 PRINCESS
 (1:37):
 synth
 resumes
 pedal
 tone
 __
 cor
 anglais
 
plays
 LOVE
 THEME
 (slowly,
 melancholically),
 then
 synth
 supports
 with
 p
 chords
 

 

 

ACTION:
 Wallace
 makes
 a
 personal
 connection
 with
 Princess
 Sophie
 


 
28)
  LONGSHANK’S
  SURPRISE
  (1:24):
  Synth
  pad
  low
  pedal
  note
  __
  low
  strings
  play
 
LONGSHANKS
 THEME
 

 

 

ACTION:
  King
  Edward
  reveals
  his
  secret
  plans
  for
  the
  upcoming
  battle
  of
 

Falkirk
 against
 the
 Scotts
 

 
29)
  MARCH
  TO
  EDINBURGH
  (0:55):
  high
  synth
  pad
  pedal
  note
  __
  pipe
  &
  synth
 
marching
  motif
  __
  traditional
  percussion
  __
  WAR
  TEXTURE
  variation
  with
  slow
 
dynamics
 


 

34
 


 

 

ACTION:
  A
  message
  from
  the
  Princess
  reaches
  Wallace,
  warning
  him
  of
 

Longshanks’
 deception
 

 
30)
 FALKIRK
 (1:15):
 CONCLUSIVE
 STRING
 MOTIF
 variation
 __
 high
 pedal
 note
 __
 cor
 
anglais
 &
 flute
 draw
 descending
 motif
 
 (melancholic)
 

 

 

ACTION:
 Robert
 the
 Bruce
 agrees
 to
 support
 Wallace’s
 forces
 at
 Falkirk
 __
 his
 

father
 convinces
 him
 otherwise…
 

 
31)
 (2:41):
 First
 part
 of
 CONCLUSIVE
 STRING
 MOTIF
 __
 DARK
 WAR
 BRASS
 MOTIF
 __
 
chordal
  motion
  __
  percussion
  hit
  brings
  strings
  in
  (harmonic
  moves
  similar
  to
 
Holst’s
  ‘Mars’)
  __
  motif
  similar
  to
  Longshanks’
  theme
  __
  marching
  motif
  with
 
percussion,
 low
 string
 marcatos
 and
 Bartok
 pizz.
 __
 strings
 repeating
 short
 ostinato
 
phrase
 in
 long
 cells
 separated
 by
 modern
 percussion
 hits
 and
 bells
 __
 accelerando
 as
 
the
  Irish
  and
  Scots
  draw
  nearer
  to
  each
  other
  and
  pick
  up
  the
  pace
  __
  trumpets
  take
 
motif,
  supported
  DARK
  WAR
  BRASS
  MOTIF
  and
  woodwind
  doubling
  strings,
 
lengthened
 ostinato
 phrase
 

 

 

ACTION:
  Beginning
  of
  the
  battle
  –
  Scotts
  and
  Irish
  face
  each
  other
  on
  the
 

battlefield
 with
 unexpected
 consequences…
 

 


 

35
 

32)
  BETRAYAL
  AND
  DESOLATION
  (6:18):
  Percussion
  with
  molto
  espressivo
  string
 
playing
  (reminiscent
  of
  INTRO
  STRING
  MOTIF)
  __
  espressivo
  cresc.
  to
  arrow
 
barrage_bass
  enters
  w/
  horn
  solo
  on
  top
  __
  perc.
  hit
  with
  arrow
  hitting
  Wallace
  __
 
intermittent
  brass
  chords
  __
  horn
  ends
  on
  long
  note,
  strings
  take
  EMOTIONAL
 
THEME
  with
  drum
  hits
  __
  traditional
  perc.
  &
  perc
  FX
  (tubular
  bells
  gliss.),
  Celtic
 
idiomatic
  string
  ostinato
  &
  sparse
  brass
  flourishes
  __
  percussion
  and
  CONCLUSIVE
 
STRING
  MOTIF
  cresc.
  __
  bass
  hit
  on
  cut
  to
  Wallace
  on
  the
  ground
  __
  DARK
  WAR
 
BRASS
  MOTIF
  __
  low
  string
  detache
  &
  ritenuto
  ascending
  in
  CONCLUSIVE
  STRING
 
MOTIF,
  falling
  back
  down
  in
  melancholic
  descending
  string
  line
  when
  Wallace
 
springs
  up
  __
  strings
  take
  LOVE
  THEME
  PRELUDE
  (con
  triztezza),
  solo
  horn
 
counterpoints
  around
  it
  __
  theme
  goes
  more
  espressivo
  and
  louder
  with
  Wallace’s
 
surrender
  to
  death
  __
  progression
  interrupted
  by
  Bruce’s
  intervention
  __
  strings
 
ascend
  with
  cresc.,
  then
  take
  LOVE
  THEME
  triumphantly
  as
  Wallace
  escapes
  __
  drop
 
dynamics
 as
 Wallace
 is
 in
 the
 clear
 

 

 

ACTION:
  Wallace’s
  forces
  are
  betrayed
  by
  the
  Scottish
  nobles
  –
  the
  English
 

gain
  the
  upper
  hand
  __
  Wallace
  chases
  Longshanks
  off
  the
  battlefield
  –
  knight
 
defends
 the
 King
 and
 unhorses
 Wallace
 –
 Wallace
 surprise-­‐attacks
 him
 and
 unmasks
 
him
  to
  find
  it
  is
  Robert
  the
  Bruce
  –
  Wallace
  surrenders
  himself
  to
  defeat
  –
  Robert
 
the
 Bruce
 helps
 him
 escape
 

 
33)
 LAMENT
 (1:33):
 synth
 pad
 mid-­‐range
 pedal
 note
 &
 chord
 support
 __
 pipes
 play
 
SCOTTISH
 THEME
 –
 modal
 cresc.
 


 

36
 


 

 

ACTION:
  Robert
  the
  Bruce,
  devastated,
  walks
  amongst
  the
  fallen
  of
  the
  battle
 

of
 Falkirk,
 ridden
 with
 guilt
 for
 his
 betrayal
 

 
34)
  MORNAY’S
  DREAM
  (1:43):
  synth
  drone
  with
  pipes
  –
  pause
  when
  waking
  up
  –
 
agitato
 string
 ostinato/
 brass
 swells
 –
 brass
 motif
 is
 repeated
 more
 established
 by
 
the
 higher
 brass
 and
 with
 quicker
 succession
 –
 suspended
 climax
 __
 bass
 motif
 takes
 
the
 cue
 off
 
*
 ended
 with
 pan
 flute
 FX
 used
 during
 Wallace’s
 rebellion
 (cue
 16
 –
 REVENGE)
 

 

 

ACTION:
  Scottish
  nobleman
  Mornay
  has
  a
  nightmare
  about
  Wallace
  pursuing
 

him
 for
 his
 betrayal
 –
 wakes
 up
 to
 Wallace
 bursting
 into
 his
 room
 on
 horse
 –
 kills
 
Mornay
 and
 escapes
 

 
35)
  THE
  LEGEND
  SPREADS
  (1:04):
  horn
  &
  woodwinds
  sync-­‐point
  with
  body
  hitting
 
table
  –
  horn
  dim.
  to
  n.
  while
  pipes
  play
  melismatic
  passage
  with
  trad.
  perc.
  –
 
triumphant
 SCOTTISH
 THEME
 on
 the
 strings
 &
 perc
 FX
 on
 top
 

 

 

ACTION:
  Scottish
  nobleman
  Lochlan
  is
  also
  found
  dead
  –
  montage
  of
  Wallace
 

climbing
  on
  top
  of
  a
  hill,
  interspersed
  with
  scenes
  of
  Scotts
  praising
  him
  for
  his
 
actions
 

 


 

37
 

36)
 AMBUSHED
 AMBUSH
 (0:59):
 WAR
 TEXTURE
 breathy
 textural
 atonal
 sound
 FX
 
(as
  with
  Wallace’s
  rebellion)_fade
  in
  –
  trad.
  perc.
  __
  processed
  brass
  blares
  –
 
reminiscent
 of
 cue
 23
 –
 HEAVY
 HORSE
 

 

 

ACTION:
  Wallace
  attends
  meeting/ambush
  with
  the
  English
  –
  seals
  them
  in
 

their
 chosen
 building
 and
 burns
 them
 alive
 

 
37)
  FOR
  THE
  LOVE
  OF
  A
  PRINCESS
  (2:12):
  LOVE
  THEME
  comes
  in
  on
  cor
  anglais,
 
strings
 and
 harp,
 strings
 and
 cymbal
 flourish
 take
 theme
 w/
 soaring
 quality
 –
 makes
 
transition
  into
  a
  brighter
  and
  more
  classically
  lyrical
  variation
  of
  LIBERATION
 
THEME
 –
 horn,
 low
 strings
 and
 low
 perc.
 tremolo
 takes
 cue
 out
 

 

 

ACTION:
 Princess
 secretly
 meets
 Wallace
 in
 the
 night
 


 
38)
 THE
 TRAP
 (1:48):
 Strings
 come
 in
 and
 counterpoint
 around
 pipes
 with
 IDEALS
 
THEME
  –
  irregular
  and
  prolonged
  repetition
  and
  exposition,
  steady
  and
  intense
 
cresc.
 –
 Sudden
 interruption
 and
 suspenseful
 climax
 –
 WAR
 TEXTURE
 breathy
 sound
 
FX
  punctuated
  by
  sparse,
  almost
  funereal
  percussion,
  low
  brass
  play
  LONGSHANKS’
 
THEME
 

 

 

ACTION:
 Robert
 the
 Bruce
 prepares
 to
 meet
 Wallace
 –
 a
 trap
 is
 sprung,
 set
 by
 

the
 nobles,
 unbeknownst
 to
 the
 Bruce
 –
 the
 Bruce
 is
 injured,
 Wallace
 is
 captured
 

 


 

38
 

39)
  THE
  PRINCESS
  PLEADS
  FOR
  WALLACE’S
  LIFE
  (3:35):
  Celtic
  harp,
  harmonized
 
clarinets
  (p),
  chimes
  and
  traditional
  flute
  playing
  LOVE
  THEME
  variation
  –
  flute
 
plays
 single
 phrase
 from
 LOVE
 THEME
 at
 the
 end
 of
 its
 re-­‐exposition
 –
 progression
 
reiterated
  with
  choral
  pad
  –
  harp
  aids
  motif
  in
  higher
  register
  –
  deccelerando
 
towards
 the
 end,
 two
 false
 endings
 –
 woodwinds
 take
 it
 out
 –
 Princess
 visits
 Wallace
 
–
 threatens
 Longshanks
 

 

 

ACTION:
  After
  meeting
  Wallace
  in
  the
  dungeon,
  the
  Princess
  asks
 

Longshanks
  to
  spare
  his
  life
  –
  the
 King
  is
  sick,
  yet
  immovable
  –
  the
  Princess
  reveals
 
she
  is
  pregnant
  to
  Wallace’s
  child
  and
  that
  she
  plans
  to
  eliminate
  his
  son,
  her
 
husband
 

 
40)
 THROUGH
 THE
 CROWD
 (1:16):
 breathy
 SFX
 from
 WAR
 TEXTURE
 again
 –
 strings
 
come
 in
 indistinctly
 and
 eventually
 iterate
 simplified
 version
 of
 LOVE
 THEME
 slowly
 
over
 SFX
 –
 ends
 on
 LONGSHANKS’
 THEME
 

 
ACTION:
 Wallace
 is
 marched
 to
 the
 execution
 platform
 amidst
 a
 crowd
 that
 
derides
 him
 

 
41)
 THE
 EXECUTION
 (3:42):
 Strings
 enter
 w/
 flute
 and
 play
 slow
 rising
 and
 falling
 
arpeggios
  over
  the
  AWE
  THEME
  chords
  –
  percussion
  enters
  and
  adds
  depth
  and
  a
 
heightened
  sense
  of
  alert
  –
  solo
  horn
  plays
  HEROIC
  THEME
  over
  strings
  taking
 
previous
 arpeggios
 –
 strings
 cresc.
 slowly
 over
 an
 exchange
 of
 a
 rising
 motif
 creating
 


 

39
 

slight
  cacophony
  with
  AWE
  THEME
  chords
  until
  the
  progression
  ‘finds
  itself’
  –
 
warm
  espressivo
  climax
  with
  noble
  and
  measured
  IDEALS
  THEME
  exposition
 
(“Freedom!”)
  –
  pipes
  and
  flute
  join
  w/
  melismatic
  passages
  during
  second
 
exposition
  –
  EMOTIONAL
  THEME
  takes
  over
  serenely
  in
  boys’
  choir,
  supported
  by
 
high
 strings
 and
 harp
 arpeggios
 –
 finale
 variation
 to
 a
 dramatic
 minor
 cadence
 

 

 

ACTION:
  As
  the
  brutality
  of
  the
  torture
  increases,
  the
  crowd
  itself
  beckons
 

Wallace
  to
  beg
  his
  executioners
  for
  mercy.
  Instead,
  he
  cries:
  ‘Freedom!’
  –
  the
 
executioners
 spare
 him
 further
 pain
 and
 take
 his
 life
 –
 before
 the
 axe
 falls,
 Wallace
 
has
 a
 vision
 of
 his
 wife
 smiling
 at
 him
 –
 Wallace
 dies
 

 
42)
  BANNOCKBURN
  (3:37):
  Single
  whistle
  plays
  SCOTTISH
  THEME
  over
  sparse,
 
militaristic
  percussion
  (and
  narrative)
  –
  single
  bass
  tone,
  then
  cor
  anglais
  joins
 
whistle
  in
  final
  phrase
  –
  brief
  pause,
  only
  percussion
  whistle
  and
  horn
  play
  HEROIC
 
THEME
 –
 low
 strings
 join
 –
 little
 louder/cor
 anglais
 joins
 theme
 (fills
 mid.
 register)
 –
 
strings
 play
 INTRO
 STRINGS
 MOTIF
 variation
 with
 cor
 anglais,
 then
 create
 a
 canon
 
of
  rising
  string
  lines
  in
  cresc.
  –
  (axe
  release)
  Strings
  and
  brass
  in
  f
  subito
  playing
 
HEROIC
  THEME,
  while
  pipes
  play
  SCOTTISH
  THEME
  over
  in
  a
  majestic
  irregular
 
fugue
  –
  Orchestra
  drops
  out,
  leaving
  low
  strings
  to
  dim.
  out
  over
  chords
  –
  Pipes
  and
 
percussion
 take
 cue
 out
 

 
ACTION:
  the
  Scottish
  army
  meets
  the
  English
  one,
  solely
  to
  negotiate
 
surrendering
  the
  Scottish
  crown
  to
  England.
  Robert
  the
  Bruce
  beckons
  Wallace’s
 


 

40
 

forces
  to
  join
  him
  in
  battle.
  Hamish
  –
  William’s
  best
  friend
  –
  unsheathes
  and
  throws
 
Wallace’s
  sword
  in
  the
  air
  to
  rouse
  the
  troops
  –
  the
  Scotts
  attack
  the
  English
  –
 
William
 Wallace’s
 voice
 narrates
 the
 final
 line
 of
 the
 film