Applied Music
‘Take her to sea’ Titanic (Horner)
When?
1997
Where?
Hollywood
For what purpose?
The blockbuster 1997 film Titanic depicts the true story of the maiden voyage of the
huge ocean liner, and its tragic collision with an iceberg. It also flows the romance of
Jack and Rose (not based on fact) who meet whilst on the doomed voyage. James
Horner was commissioned to write the film score for the film and this particular extract
accompanies the Titanic’s first venture into open sea.
Musical features indicative of the style
Film music has become a genre in it’s own right, and is as varied as the films they
underscore. Dr. James Horner has a classical background having studied at the Royal
College of Music in London, and uses typical orchestral instruments, creating a
symphonic sound. In addition he uses synthesized vocals and various percussion
instruments such as Timpani, suspended cymbals, side drum, bass drum, tam tam,
tubular bells, bell tree, sleigh bells and glockenspiel. As is always the case with film
music, the structure is dictated by the onscreen action and as such bars 45-63 do not
appear in the film.
Vocabulary
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Imitation – Where one part is repeated by another part
immediately after
Ostinato – A repeated pattern
Pedal – A sustained or repeated note over which the harmony
changes
Non-diagetic – Music not heard by the characters in the film, such
as this music. This is contrasted with Diagetic music, which is
music, heard by the characters, and the viewers such as the Irish
dancing music later in the film.
Modal – music based around modes rather than major or minor
keys. It is often identified by the leading note being flattened
Tertiary modulation – Modulations to a key a third apart, a
technique often used by composers in the romantic era
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Tremolo – the rapid playing of a single note, or the rapid
alternation between two notes (indicated in the score by a short
black line thought the stem of the note)
Scotch snap – A rhythmic pattern in which a quick note is followed
by a longer note, such as a quaver followed by a crotchet
Harmonic rhythm – The speed at which the chords change
False relation – Two notes of the same pitch, but with different
accidentals sounding at the same time, for example G natural and
G sharp
Lydian fourth – A raised fourth in a major scale. This results in a
Lydian mode
Structure & Textures
The structure of this movement can be analysed as follows:
Bars
1-29
30-36
37-50
51-67
68-85
86-110
Section
Introduction
Folksong
Dance in 5/4
Folksong
Dance in 6/4
Folksong
Key
Eb-G-B
G
G
G-D
D
B
Introduction Bars 1-29
Horner uses various techniques to build up excitement and expectation. For example:
Rising figure, presented imitatively in the woodwind parts:
Rhythmic pattern in the harp and synthesized voices bars 4-7:
Ostinato patterns over pedal notes bars 8-20:
All of these effects combined, along with Tertiary modulations (Changes of key a third
apart) from Eb to G major at bar 8, and B major at bar 15 Horner manages to set the
scene as the Titanic sets out to the open sea for her maiden voyage. For example bars
11-14 contain a low pedal D, as the camera shows the ships engine room and as the
propellers start spinning and the boilers heat up, the tempo increases. In addition
Horner writes ascending scales in the violins that help reinforce the onscreen images.
Folk song bars 30-36
The folksong ‘The leaving of Liverpool’ is the basis for this section. Known since the late 19th
century it has been recorded by many folk groups:
This is vocalized by the choir (rather than having the words sung), with a soft dynamic and
tremolo in the strings. This creates a shimmering warm feel and is ideal for the exterior shot of
the Titanic moving quickly across a calm peaceful ocean.
Folk Dance bars 37-50
Here Horner introduces a new idea that contrasts with the previous section, although it is still
based on the melodic idea of the folksong. It feels a lot like a dance and is written in 5/4, with a
recurring syncopated figure:
Horner also makes use of a Scotch snap rhythm in bars 43 and 44 again making reference to
Celtic folk styles:
You can also see in this example, the flattened leading note (F#-F natural), again giving a
distinctly modal / folk feel.
Folksong Bars 51-67
The folk song is now vocalized by the sopranos, and then played by unison strings in D major.
This is combined with a tonic pedal in the low strings and triplets in the horns and violas,
creating a lilting motion, similar to the ebb and flow of the waves:
Folk dance bars 68-85
This time the dance is in 6/4 (compound time often used in folk music) and in the new key of D
major. This time though the Harmonic rhythm is much slower than the first time this dance
theme appeared at bar 37. A harp glissando and a suspended cymbal roll perfectly coincides
with a dolphin leaping from the water in the film.
Folksong 86-110
Horner once again makes a tertiary modulation to B major from D major just as Jack shouts ‘I’m
the king of the world’ underpinning the euphoria Jack is feeling.
Fragments of the folksong theme continue into the final bars, with a brief Countermelody in the
horns and viola and bar 90:
This section also has a modal feel with the chords of G, A and D being used against a backdrop
of B major. As a result we see a false relation between the violins and double bass at bars 9596 with a G# on the last beat of bar 95 in the violins and an octave G on the first beat of bar 96
in the double bass:
The final bars include some quite but dissonant chords that eventually resolves to a B major
chord the sustains for the last five bars. The solo horn plays the opening of the folk song with a
raise fourth (known as a Lydian fourth). The horn is then echoed by a flute, which is doubled
by a clarinet and glockenspiel. On screen the Titanic is sailing away from the camera unaware
of the tragedy about to unfold. The extract ends with a bare 5th chord.