Shigeru Umebayashi Code
In both “In the Mood for Love” and the “2046 Theme Song,” are specific musical styles that are used. These are able to represent the characters, plot and thematic material within each of the films. Making the music a central point to define the actions of the characters provides movement through each of the clips while creating a story for the viewer. The musical concepts that are applied to each of these then become a central component to create the actions of the plot.
In the film clip, “In the Mood for Love,” is specific styles used. There are three main sections in this piece, each which show a different set of actions and emotions. Doing this allows the viewer to see the emotions and moods and to put together their own story about the love relationship between the two characters in the movie.
The musical style begins with an adagio. This starts with an introduction to also introduce the film with synthesizer and drum, both which are used to grab the attention of the viewer. As the scene moves into the first section, a solo violin comes in to define “theme A.” This is followed by a rhythmic pattern with a symphony of violins. When the solo violin starts with theme A, both of the characters are introduced. The violin is in a minor key and not only represents the beginning of the movie, but also shows the emotion of the characters through the minor key and slow melody. This repeats with the first melodic phrase, and then moves into a contrapuntal phrasing, “B.” Phrase B is still slow but moves into a major key, which aligns with the film as the couple meets and goes out together. Phrase A is then repeated as the couple moves through the evening, which brings back the emotions of sadness. This aligns with the picture as the couple pulls away from each other and leaves each other. This part of the piece is unified through the repetitiveness of rhythm in the violin and the repetition of the phrases to show the emotions of each character.
The theme A repeats again and moves to the next scene. This differs from the first melody as the oboe leads the melody and the violin creates a counter melody that is opposed to this. This moves into the couple parting then shows the smoke of the man as he is sitting alone in a room. A third melody comes in, which ends the adagio section and shows the woman writing. Showing this split creates a different type of tension and shows a transition point between the two characters before they start their love affair.
The second part to this film is in • time. It has the same symphonic sound of violins with a solo violin. This creates a change in scene and in mood because of the time signature. The time signature change and the continuous rhythm shows a specific type of coloring for the film, which creates a sense of urgency while building the tension among the characters. The violins continue to keep the rhythm as the violin moves into a slow melody, or theme A, which is also in a minor key. This shows the man moving to a hallway and to a hotel room. Theme A has two phrases, a and b to show this specific section. This repeats as the couple meets. When this moves to theme B, there is a slow picture of the couple parting and the woman pinching her skin. This is used to show an emotional response of the two parting and her feelings for the man. This is further shown through the same theme as the woman cries on a man’s shoulder. The theme then moves into a variation with the same melody, only it is played at a faster pace. This shows the couple moving back together and moves to a higher set of notes to create a climax to the piece as the couple comes back together. This is representative of the love scene that is not shown, but which the viewer can assume because of the music and scenery. There is then a coda which shows the couples parting and with an alternate melody. The emotions are created through this show the affair without showing scenes, but only giving the emotional excitement and sadness of both characters.
The third section of the piece stops the rhythmic pace and shows the idea of whispering secrets into the hole of a tree. The violins no longer have a rhythmic pace and instead hold longer notes with the solo violin above and in a minor key. This reflects the emotions of the two characters as they part ways. The violins underneath create a countermelody to the solo violin when not holding specific chords. The melody in this section repeats a new A theme, which is repeated throughout the last section. At the climax of this, the man is walking away from the tree with the violins all playing the theme together. The violin comes in to repeat the melody line a last time as the credits play and the sadness of each of the characters are shown again. The coloring in this section is used to show the emotions of the character, which is sad as each parts ways.
In “2046” there is a different approach to the thematic material. The music starts with violins and a bass type drum. The symphonic violins hold the rhythm throughout the piece, which creates tension toward the scenes while driving the short film forward. The drum is used as an accent to create extra tension throughout the piece. This is followed in by a solo violin, which is in a minor key and has a slower theme. The melody repeats twice through the first scene, which is followed by a break with the other violins. They modulate to the minor one step down, then begin the second theme. After each break, the drum comes back in to bring in the next melody. This moves back to theme A which then repeats. After repeating twice, this modulates again through the rhythmic violins. The scene also changes to a couple meeting while showing pictures of them being together.
This moves into a third theme, which is followed by a woman looking at herself in the mirror. This theme works to change the emotion to the piece, as the violin moves to a higher
pitch for coloring. This highlights the middle area of the film by showing the woman in different
poses. This moves back to theme A which shows the woman and man separate from each other and staring into a blur. When theme B comes in, the dynamics are louder, which adds intensity. There is also a contrapuntal melody that imitates the violin solo through the violas. The pitches are also at a higher range, which adds into the tension. The pictures follow this by showing several individual shots of different women and men that are related to the affair that occurred. The piece ends with the drum stopping the tension as the dynamics and the violins are at a louder level. This is used for coloring and leaves the viewer with assumptions about what occurred and what the outcome is.
The similarity between these two pieces of music begins with the choice of instruments to highlight what is occurring. The violin solo is used to create a sad and emotive melody throughout both scores. This is furthered with the choice of rhythmic structure, also which is led by the symphonic sounds and which is used to create tension and unification through both pieces. Both of the violins used for rhythm drive the action and piece forward and stay at an even piece through each section of the film. The coloring is also similar as each describes the emotions in the film. For instance, using a minor key creates a sad and emotive response to the characters. This changes with coloring through dynamic levels increasing and pitch increasing during the climax and when the plot reaches a sense of tension. This is seen through the pictures used, which lets the viewer know what is occurring throughout the film score.
The aesthetics of film that is used in both of these clips create the meaning of the film. Even though both have a set of pictures and distinct actions that don’t reveal exactly what is occurring, one can assume that they are both about a love affair. The looks that are on the actors and actresses faces, the clips that are chosen and the way that the music relates to this with the
melody, coloring and minor key all create meaning. More than this, the meaning relates to the
emotional responses. An example of this is when there is a sad melodic line in “In the Mood for Love.” The clip shows the woman parting ways with the man then crying on a man’s shoulder. One can then make assumptions through the coloring of the melody that she is sad and hurt by the situation. Having the music speak for the characters then creates a more effective response with the specific scenes. This creates the “supra reality” of what is occurring in both pieces through the use of rhythm, melody, tone, pitch and movement of the music. For both pieces of music, this also creates a theatrical build up and a sense of finality. For instance, in “2046,” the final part has a larger dynamic level with the violins having a counter melody. This ends with the drum line to finish the music (Prendergast, Roy).
The principles of Shigeru Umebayashi’s film scoring then relate to this through the several components he focuses on for the emotional responses desired. For instance, his focus on pitch, timbre, harmonics, loudness and rhythm are evaluated in each film. These each are unified through the use of rhythm to drive forward the piece. The pitch, timbre, harmonics and loudness are used less frequently, but accent the climax of each piece. There are also sound envelopes used, such as attacks, sustains and decays, all which are designed to color and highlight the characters that are used and the events that are occurring. The speed in each is slow, which further highlights what is occurring. When the rhythm is added in, it shows urgency and emotion through the characters because it is less frequent (Mott, Robert).
There is also an emphasis through Umebayashi’s techniques to use acoustic properties as the basis. Each of the instruments has an authentic sound and feel and has a resonance that is more natural, especially through the use of symphonic instruments. The only time where this is contrasted is at the beginning of “In the Mood for Love,” when a synthesizer is used. However, this is only used to grab the attention of the viewer and is not heard again throughout the piece.
This shows ‘space and time’ that is older in nature. Since both tie into the old story of the love affair, as well as the older myth of telling your secrets to a tree, the acoustic sound that creates an authentic feel fits better with the plot in the film and creates a sense of space that transcends time. Instead of having a ‘contemporary’ feel, it is one that is recognized and ancient (Altman, Rick).
Through the different concepts in these two film clips is the ability for the music to drive the plot forward. The use of musical techniques is a central component in the film. These are specifically used to allow the viewer to make assumptions about the certain plot in the films. This is also used to create an emotional response and to allow the viewer to understand what the characters are thinking and feeling because of the musical accents that are used. The techniques, coloring and rhythm of each film score then becomes a different approach to communicate specific actions to the viewer.
In the film clip, “In the Mood for Love,” is specific styles used. There are three main sections in this piece, each which show a different set of actions and emotions. Doing this allows the viewer to see the emotions and moods and to put together their own story about the love relationship between the two characters in the movie.
The musical style begins with an adagio. This starts with an introduction to also introduce the film with synthesizer and drum, both which are used to grab the attention of the viewer. As the scene moves into the first section, a solo violin comes in to define “theme A.” This is followed by a rhythmic pattern with a symphony of violins. When the solo violin starts with theme A, both of the characters are introduced. The violin is in a minor key and not only represents the beginning of the movie, but also shows the emotion of the characters through the minor key and slow melody. This repeats with the first melodic phrase, and then moves into a contrapuntal phrasing, “B.” Phrase B is still slow but moves into a major key, which aligns with the film as the couple meets and goes out together. Phrase A is then repeated as the couple moves through the evening, which brings back the emotions of sadness. This aligns with the picture as the couple pulls away from each other and leaves each other. This part of the piece is unified through the repetitiveness of rhythm in the violin and the repetition of the phrases to show the emotions of each character.
The theme A repeats again and moves to the next scene. This differs from the first melody as the oboe leads the melody and the violin creates a counter melody that is opposed to this. This moves into the couple parting then shows the smoke of the man as he is sitting alone in a room. A third melody comes in, which ends the adagio section and shows the woman writing. Showing this split creates a different type of tension and shows a transition point between the two characters before they start their love affair.
The second part to this film is in • time. It has the same symphonic sound of violins with a solo violin. This creates a change in scene and in mood because of the time signature. The time signature change and the continuous rhythm shows a specific type of coloring for the film, which creates a sense of urgency while building the tension among the characters. The violins continue to keep the rhythm as the violin moves into a slow melody, or theme A, which is also in a minor key. This shows the man moving to a hallway and to a hotel room. Theme A has two phrases, a and b to show this specific section. This repeats as the couple meets. When this moves to theme B, there is a slow picture of the couple parting and the woman pinching her skin. This is used to show an emotional response of the two parting and her feelings for the man. This is further shown through the same theme as the woman cries on a man’s shoulder. The theme then moves into a variation with the same melody, only it is played at a faster pace. This shows the couple moving back together and moves to a higher set of notes to create a climax to the piece as the couple comes back together. This is representative of the love scene that is not shown, but which the viewer can assume because of the music and scenery. There is then a coda which shows the couples parting and with an alternate melody. The emotions are created through this show the affair without showing scenes, but only giving the emotional excitement and sadness of both characters.
The third section of the piece stops the rhythmic pace and shows the idea of whispering secrets into the hole of a tree. The violins no longer have a rhythmic pace and instead hold longer notes with the solo violin above and in a minor key. This reflects the emotions of the two characters as they part ways. The violins underneath create a countermelody to the solo violin when not holding specific chords. The melody in this section repeats a new A theme, which is repeated throughout the last section. At the climax of this, the man is walking away from the tree with the violins all playing the theme together. The violin comes in to repeat the melody line a last time as the credits play and the sadness of each of the characters are shown again. The coloring in this section is used to show the emotions of the character, which is sad as each parts ways.
In “2046” there is a different approach to the thematic material. The music starts with violins and a bass type drum. The symphonic violins hold the rhythm throughout the piece, which creates tension toward the scenes while driving the short film forward. The drum is used as an accent to create extra tension throughout the piece. This is followed in by a solo violin, which is in a minor key and has a slower theme. The melody repeats twice through the first scene, which is followed by a break with the other violins. They modulate to the minor one step down, then begin the second theme. After each break, the drum comes back in to bring in the next melody. This moves back to theme A which then repeats. After repeating twice, this modulates again through the rhythmic violins. The scene also changes to a couple meeting while showing pictures of them being together.
This moves into a third theme, which is followed by a woman looking at herself in the mirror. This theme works to change the emotion to the piece, as the violin moves to a higher
pitch for coloring. This highlights the middle area of the film by showing the woman in different
poses. This moves back to theme A which shows the woman and man separate from each other and staring into a blur. When theme B comes in, the dynamics are louder, which adds intensity. There is also a contrapuntal melody that imitates the violin solo through the violas. The pitches are also at a higher range, which adds into the tension. The pictures follow this by showing several individual shots of different women and men that are related to the affair that occurred. The piece ends with the drum stopping the tension as the dynamics and the violins are at a louder level. This is used for coloring and leaves the viewer with assumptions about what occurred and what the outcome is.
The similarity between these two pieces of music begins with the choice of instruments to highlight what is occurring. The violin solo is used to create a sad and emotive melody throughout both scores. This is furthered with the choice of rhythmic structure, also which is led by the symphonic sounds and which is used to create tension and unification through both pieces. Both of the violins used for rhythm drive the action and piece forward and stay at an even piece through each section of the film. The coloring is also similar as each describes the emotions in the film. For instance, using a minor key creates a sad and emotive response to the characters. This changes with coloring through dynamic levels increasing and pitch increasing during the climax and when the plot reaches a sense of tension. This is seen through the pictures used, which lets the viewer know what is occurring throughout the film score.
The aesthetics of film that is used in both of these clips create the meaning of the film. Even though both have a set of pictures and distinct actions that don’t reveal exactly what is occurring, one can assume that they are both about a love affair. The looks that are on the actors and actresses faces, the clips that are chosen and the way that the music relates to this with the
melody, coloring and minor key all create meaning. More than this, the meaning relates to the
emotional responses. An example of this is when there is a sad melodic line in “In the Mood for Love.” The clip shows the woman parting ways with the man then crying on a man’s shoulder. One can then make assumptions through the coloring of the melody that she is sad and hurt by the situation. Having the music speak for the characters then creates a more effective response with the specific scenes. This creates the “supra reality” of what is occurring in both pieces through the use of rhythm, melody, tone, pitch and movement of the music. For both pieces of music, this also creates a theatrical build up and a sense of finality. For instance, in “2046,” the final part has a larger dynamic level with the violins having a counter melody. This ends with the drum line to finish the music (Prendergast, Roy).
The principles of Shigeru Umebayashi’s film scoring then relate to this through the several components he focuses on for the emotional responses desired. For instance, his focus on pitch, timbre, harmonics, loudness and rhythm are evaluated in each film. These each are unified through the use of rhythm to drive forward the piece. The pitch, timbre, harmonics and loudness are used less frequently, but accent the climax of each piece. There are also sound envelopes used, such as attacks, sustains and decays, all which are designed to color and highlight the characters that are used and the events that are occurring. The speed in each is slow, which further highlights what is occurring. When the rhythm is added in, it shows urgency and emotion through the characters because it is less frequent (Mott, Robert).
There is also an emphasis through Umebayashi’s techniques to use acoustic properties as the basis. Each of the instruments has an authentic sound and feel and has a resonance that is more natural, especially through the use of symphonic instruments. The only time where this is contrasted is at the beginning of “In the Mood for Love,” when a synthesizer is used. However, this is only used to grab the attention of the viewer and is not heard again throughout the piece.
This shows ‘space and time’ that is older in nature. Since both tie into the old story of the love affair, as well as the older myth of telling your secrets to a tree, the acoustic sound that creates an authentic feel fits better with the plot in the film and creates a sense of space that transcends time. Instead of having a ‘contemporary’ feel, it is one that is recognized and ancient (Altman, Rick).
Through the different concepts in these two film clips is the ability for the music to drive the plot forward. The use of musical techniques is a central component in the film. These are specifically used to allow the viewer to make assumptions about the certain plot in the films. This is also used to create an emotional response and to allow the viewer to understand what the characters are thinking and feeling because of the musical accents that are used. The techniques, coloring and rhythm of each film score then becomes a different approach to communicate specific actions to the viewer.
