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