1. Musical Analysis Paper by Derek Voeller
Danny elfman
Musical Analysis Paper by Derek Voeller

2. Biography Born May 29th, 1953 in Los Angeles, CA.
Growing up, he enjoyed listening to movie scores at the movie theater.
After dropping out of High School, he moved to France and preformed with the Le Grand Magic Circus music group.
Also lived in Africa for a short amount of time.
Moved back to California and started taking music classes at California Institute of Art.
His older brother put together a band, which Danny eventually joined as lead singer and guitar.
I’ll be doing my paper on the composer Danny Elfman. He was born in Los Angeles, CA May 29th, 1953 to Blossom Elfman and Milton Elfman, his father was a teacher who was in the air force. Elfman spent his youth at the movie theater listening to his favorite movie scores, some of his favorite composers were Bernard Herrmann and Franz Waxman.
Danny dropped out of High School and followed his older brother to France who was performing in Le Grand Magic Circus musical theater group. After living in France, he visited Africa where he picked up different musical styles which included Ghanaian high life which influenced his music in the future, this including living in France contributed to his unique sound. Elfman contracted a disease called malaria which caused him to be tired a lot of the time and was often sick making it hard to play any music, he eventually after a year stay in Africa went back to the United States.
Back in the United States Elfman decided to pursue his musical talents further by going to take Balinese music from California Institute of the Arts. Although he was never an “official” student of the institute the instructor encouraged him to keep learning. At this time his brother Richard was forming another musical theater group.

3. Biography cont. OINGO BOINGO
The band’s original name was “The Mystic Kights of the Oingo Boingo”.
Originally fronted by Danny’s older brother Richard, who later pursued a film career.
Their most recognized hit was “Weird Science” which was written for the movie with the same name.
Oingo Boing’s music was featured in many other films such as Fast Times at Ridgemont High and Back to School.
The band split up in 1995.
In 1972 Danny’s older brother Richard formed a band called The Mystic Knights of Oingo Boingo. After Richard left the group to pursue a filmmaking career, as a sendoff Richard wrote a film called The Forbidden Zone this film was based on the band’s performances with Richard. This is where Elfman wrote his first score for a film, after filming Danny took over as lead vocalist and guitar for the band. The band later shortened their name to Oingo Boingo and transformed the band into a more Rock style, than musical theater.
Oingo Boingo found most of their success while being included in movie soundtracks, this led to hits like “Goodbye, Goodbye” in the movie Fast Times at Ridgemont High, “Dead Man’s Party” in Back to School, and “Weird Science” for the movie with the same name. After years of member changes the band decided to breakup in Years later Elfman was asked if a reunion tour would be something fans could look forward to in the future, he stated that he would no longer play in a rock band due to hearing loss he suffered caused by years of exposure to loudspeakers.

4. Biography cont.
DANNY’S FIRST FILM SCORE
Was approached by Tim Burton to score his up coming film Pee-Wee’s Big Adventure.
Elfman was cautious at first due to his lack of experience, but later accepted.
Here is a piece that Elfman wrote for the film.
This stemmed a long relationship between Elfman and Burton.
Elfman was approached by an upcoming director Tim Burton, who was currently directing the movie Pee-wee’s Big Adventure. Burton wanted Danny to score the movie, at first he was apprehensive due to his lack of training but later accepted the job. This was the first of many films Danny scored for Burton including, Batman, Beetlejuice, The Nightmare before Christmas, Corpse Bride, and Alice in Wonderland. Elfman actually provided his singing voice for Jack Skellington in Nightmare before Christmas. He continued to do some voice over work for Tim Burton on movies such as Bonejangles of the Corpse Bride.

5. Biography cont. DANNY BECOMES A FILM COMPOSER
Elfman has been the lead composer for almost every single Tim Burton film.
The Simpsons theme song was composed by Elfman, this theme has become one of the most recognized theme songs of all time.
He also has composed for several other films like Scrooged, The Frighteners, Mission: Impossible, Men in Black, Goodwill Hunting, Spider-man, and Epic.
Elfman has an extremely unique sound that most can identify easily.
Recently, he started working with Cirque Du Soleil for their show IRIS.
One of Elfman’s most recognized works was the theme for the television show The Simpsons which has become one of the most popular TV show theme songs of all time. Most Americans know this theme song very well and with the Simpsons on their 26th season it is very rare that you will meet someone who isn’t familiar with this score. Besides his work with Burton, Elfman scored many other films including, Scrooged, The Frighteners, Mission: Impossible, Men in Black, Goodwill Hunting, Spider-man, and Epic.

6. Biography cont. INFLUENCES Philip Glass - famous Minimal composer
Carl Orff - Carmina Burana
Sergei Prokofiev - The Love for Three Oranges
Maurice Ravel - Miroirs
Igor Stravinsky - The Rite of Spring
Pyotr Ilyich Tchaikovsky
Bernard Hermann - The Day the Earth Stood Still
Danny had influences including modern composers like Philip Glass, Carl Orff, Sergei Prokofiev, Maurice Ravel, Igor Stravinsky, and Pyotr Ilyich Tchaikovsky. What initially grabbed Danny’s attention towards movie scores was Bernard Hermann’s work in the movie The Day the Earth Stood Still.

7. The Batman Theme from Batman
Composition history
The Batman Theme from Batman
Directed by Tim Burton.
One of the most difficult scores for Danny to write.
Elfman was requested by Burton after working with him on Pee Wee’s Big Adventure.
He won his only Grammy for Best Score Soundtrack Album for a Motion Picture.
This theme has become unambiguous with the name Batman.
This song is the theme for the 1989 Tim Burton movie based on the comic book/tv show character Batman. This score was one of the most difficult scores for Danny Elfman to write. He was a relatively unknown in the industry and the only reason he was selected was due to Tim Burton’s referral after working with him on Pee-wee’s Big Adventure. Only after showing John Peters (the film’s producer) the main title was Elfman finally trusted with the film’s score. The score was released as its own album, which was a rarity in the 80’s. Elfman won his only Grammy for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media at the 32nd Grammys. The main theme has become unambiguous with the name Batman, it have even been used in the waiting line for the Batman ride in Six Flags amusement parks.

8. The Spider-man Theme Spider-man
Composition history
The Spider-man Theme Spider-man
Directed by Sam Raimi
Won a BMI Film Music award and was nominated for a Best Score Soundtrack for Visual Media in 2003 Grammys.
Not recognized as much as the Batman theme but the movie was a commercial success.
Mostly orchestra and ethnic drums.
The score was for the film Spider-man directed by Sam Raimi which was released in After doing Batman for Tim Burton, Elfman was up to the challenge when Sony approached him with both Spider Man films, although this score did not meet the success as Batman did, it is still a very recognizable score from a super hero movie. The score is mostly an orchestra and ethnic percussion with electronic elements throughout the movies score. The score won the BMI Film Music Award and was nominated for Best Score Soundtrack for Visual Media in 2003 Grammys. Elfman continued to work on the sequel to Raimi’s Spider-man movie, Spider-man 2.

9. Jack’s Lament – Nightmare Before Christmas
Composition history
Jack’s Lament – Nightmare Before Christmas
Directed by Tim Burton
After the success of the Batman films, Elfman was very excited to work with Burton again.
This piece was not only composed by Elfman, but he also provided the vocals for the recording for the lead character Jack Skellington.
Score won Best Music at the Saturn Awards.
Another Tim Burton film scored by Danny Elfman called The Nightmare before Christmas released in With the wide spread cult following of this movie most people are familiar with the score from this movie, Tim Burton was so pleased with the work on Batman he immediately approached Elfman about doing the score for his stop motion movie, this particular song from the score wasn’t only composed by Danny Elfman, but he also provided the vocals for the main character Jack Skellington in the song. Burton knew of Elfman’s band Oingo Boingo and was so excited to have Elfman participate more in the film besides just composing the score. In this movie he also voiced Barrel and “Clown with a tear away face.” Elfman was quoted as saying about Tim Burton "We don't even have to talk about the music. We don't even have to intellectualize – which is good for both of us, we're both similar that way. We're very lucky to connect" (Breskin, 1997). The score won Best Music at the Saturn Awards.

10. Simpsons Theme – The Simpsons
Composition history
Simpsons Theme – The Simpsons
One of Elfman’s early works.
Arguably Danny’s most well known pieces.
Took 3 days, 2 hours and 48 minutes to create.
Two different theme’s recorded the main theme and then the closing theme in a lower octave.
Won National Music Award for best theme in 2002.
The Simpson’s theme was composed by Danny Elfman in 1985, Matt Groening (Simpsons creator) approached Elfman about doing the theme song requesting a “retro-style” theme, Elfman set tow work takin 3 days, 2 hours and 48 minutes to create the most iconic theme from pop culture to date. This is Elfman’s most popular piece of music he has ever composed due to the show’s popularity. There were two different versions of the theme song one that is the original that is still used today and the one that was used at the ends of the episodes which was a lower octave for the end of the show, the music was slightly rearranged after season 2. Then it was not touched again till season 6 in which they decided to make the theme song even shorter than it already was, this theme won the National Music Award for "Favorite TV Theme" in 2002, and has won the BMI TV Music Award in 1996, 1998, and In 1990, the Simpsons theme was nominated for the Emmy for "Outstanding Achievement in Main Title Theme Music". Elfman did not write the opening themes for the Halloween specials for the Simpsons, he has only been involved with writing the original theme song for this amazingly popular T.V. show.

11. Batman Theme – listening guide
Link to song is here.
Score starts in quadruple meter in simple division.
The horns start with the song’s motif, that is repeated throughout the song.
After the intro the song changes to a much faster tempo and into compound division.
The song’s rhythm now takes a marching feel.
Now the march almost fades away, while the orchestra takes longer draws.
Song returns to the march.
Orchestra slows down and the harp is making it’s presence noticed during this time.
The rhythm starts to build up to the resolution of the song.
The song ends with a gong hit.
0:00 – 0:15 Introduction: The song starts in quadruple meter simple division with a minor key, it starts with the horn section softly playing the melodic motif for the piece and then is followed by some of the woodwind section playing the same melody. This really helps creates the mysterious tone Elfman was going for.
0:46 – 0:55 Phrase A: Now the song moves to a compound division and the tempo is much faster. The orchestra is playing a very rhythmic marching style piece. The trombone plays the motif but this time much faster. The trombone then plays the motif again but this time accompanied by the flute and plays an additional two notes that add consonance to the harmony.
1:02 – 1:08 Phrase B: A short phrase where the marching almost seems to fade away and the violins take longer draws with the bow. The violins then play a descending melody with the tubas.
1:08 – 1:13: The piece then returns to phrase A. This time the flutes play an arch trill piece.
1:20 – 1:58 Phrase B: The violins return to phrase B and the tempo has slowed down. The string and woodwind sections play a round of the new melody. Then is followed by a series of arpeggios on the harp. The string section then continues to play the melody of phrase 2. This is then followed by the flutes playing the same notes that the harp was playing earlier. Violins then play a variation of the phrase B melody that ends with a trill.
Now in the spotlight is the harp, it is playing another series of notes going up then down in pitch. The orchestra behind the harp is playing long draws of each chord and gives a kind of tension as you wait for this part to end. A gong helps relieve the tension of this section.
2:25 – 2:44 End: The percussion section starts building up to the resolution of the song. You can hear the marimba in the piece. The horns and strings sections the play a series of notes that progressively get louder in volume until it finishes with a final note and a gong.

12. Spider-man Theme – listening guide
Link to song here.
Starts with violins as the rest of the orchestra builds up behind.
The rhythm has a gallop feel.
Electronic instrument playing a simple beat over the intro.
Horns start the main melody of the score.
The contrast of the violins playing very fast over the rest of the orchestra, gives a very dissonant feeling.
The choir now enters the song.
Everything changes now, the score almost sounds like a completely different song.
The ethnic percussion is very noticeable now.
The song is closing and the final melody is played on the horns. The song slowly fades out.
0:00 - 0:20 Introduction: The piece starts with the violins playing long notes on the higher registers of the instrument. Underneath the violins you can hear some of the orchestra building in volume.
0:20 – 0:41 Phrase A: This is where the piece starts its first phase. It’s in simple division with a fast tempo. The orchestra starts a gallop here that really builds the tension of the piece. Next a really interesting electronic percussion instrument plays a simple beat on top of the orchestra. The instruments in the bass register start playing short duration chords that eventually get louder. This build up eventually resolves with a crash cymbal.
0:41 – 0:57: The horns are now playing a melody over the rhythm of the rest of the orchestra. The strings start to join the horns with a harmony on top of the original melody set by the horns. Also a choir starts its own harmony with the piece.
1:08 – 1:22 Phrase B: The violins play flurry of notes in quick secession repeatedly. In contrast to the violins, the horns are playing long notes that gives the sound kind of like a swaying feeling. This contrast creates a colossal feeling and sense of burden.
1:34 – 1:45: The trumpets let out a single long note that is followed by a choir singing a conjunct melody that starts with a short note and then a longer note. The tuba plays under the choir to add some bass to the sound. This is repeated but this time the choir only sings a single note and then ends with a cymbal splash.
1:45 – 2:35 Phrase C: The piece then changes to what I believe is a compound division. Also the music seems to almost shift into a completely different song. The tempo is slower during this phrase. The strings are now more drawn and play a wide range melody. The horns and woodwinds follow the strings, playing longer notes and playing a disjunct melody.
2:35 – 2:51 Phrase D: This phrase starts with a long cymbal splash then what I believe is a harp playing. The mood of the piece has changed again into a more minor key. Then a French horn plays a small melody which is followed by the strings building up the tempo and pushing the piece into a gallop. A set of hand drums and the choir comes back into the song and builds volume into the next section
The song is starting to coming to a close and this is the final melody played by the horns. It sounds very heroic and fits the theme of the song very well. The melody is conjunct and has a narrow range.

13. Jack’s lament – listening guide
Link to song here.
Song starts in a slow tempo and minor key.
After every phrase of the vocals the orchestra plays a few notes to accent the phrase.
The violin is following the melody of the vocals.
The orchestra hits with every syllable of “and I, Jack the Pumpkin King” to bring the attention to the phrase.
The chorus has a waltz feel.
The verse returns and remains relatively the same.
Ending is drawing near and ends with the final chorus.
0:00 – 0:13 Introduction: The song is slow in tempo and the key feels minor. The song begins with a violin and a marimba with some drum hits in the back.
0:13 – 0:49 Verse 1: The marimba continues with the same rhythm and the oboe is carrying the feeling of the song forward. The cello and bass play to fill out the bass register for the song. After every phrase of vocals a horn plays a quick pair of notes to accentuate the ending of the phrase.
0:49 – 1:12 Pre-chorus: The violin sounds like it is following the melody of the vocals and more violins are added to create a building up of tension. The tension reaches its climax when the vocals say “Jack” in the phrase “And I, Jack the Pumpkin King”. The orchestra follows the accent on each syllable in the line “The Pumpkin King” to help that vocal line really stick out. The song then slows down to the tempo of the chorus.
1:12 – 1:40 Chorus: The strings play an almost Waltz feeling melody, that follows the vocal line. Chimes follow the syllables of the vocal line.
1:40 – 2:16 Verse 2: This time the verse has a saxophone to play the melody and the horn continues to punctuate each end of the vocal phrase. Some parts of the verse has been changed slightly to add some variety to the verse, but the overall concept remains the same.
2:39 – 3:14 Chorus and End: The chorus returns with the same structure. It does sound like the volume has increased. The song ends with the marimba again to resolve the song

14. Simpsons Theme – listening guide
Link to the song here.
The famous “The Simpsons” is sung by the chorus to start the song.
The harp plays an arpeggio to lead into the main part of the piece.
As the song picks up, the rhythm is made up of ethnic percussion.
Lots of use of the marimba to keep the tempo up.
The sax solo starts playing the motif of the song and then embellishes.
Back to the original main part of the song.
Song coming to a close and the entire orchestra is playing the main melody of the song.
0:00 – 0:07 Intro: The famous “The Simpsons” line is sung here by a choir and is backed by what sounds like an electronic synth.
0:07 – 0:26 Phrase A: The rhythm comes in with what sounds like an odd time, and the harp starts with a series of fast arpeggios. The flute comes in with the songs main melody, which is conjunct and has a relatively narrow range. The piano is filling the score’s bass register at this point and is providing a good foundation for the rhythm. After the flutes variation of the melody, the strings now play the melody. This is followed by a quick trill on the flutes.
0:26 – 0:38 This section is more longer and the strings tend to draw across the strings for a longer duration. The melody is still being played by the strings. A marimba is heard with a quick flurry of notes. The horns are finally coming into the mix with their own variation of the melody.
0:38 – 0:43 Sax Solo: The saxophone is now the only instrument that is playing. The sax plays a variation of the melody and embellishes a little to add flare to the solo.
0:43 – 0:54: The song moves back into phrase A and the percussion section is now more prevalent than before. The saxophone is now adding some harmony to the melody and is very loud.
0:54 - 0:59: A short break from the phrase that emphasizes the vibraphone that plays the melody of the song

15. bibliography
Basile, N. (n.d.). Danny Elfman. Retrieved from
Danny Elfman Biography. (2010). Retrieved from
Yak, G. (n.d.). Who is Danny Elfman? Retrieved from