Handout for Raymond Knapp, UCLA: Derivation and Deployment of

Handout for Raymond Knapp, UCLA: Derivation and Deployment of Music from Tchaikovsky’s The
Sleeping Beauty in Disney’s Sleeping Beauty
A. Derivation of Songs and Other Leitmotivic Music from Tchaikovsky’s The Sleeping Beauty
Songs:
1. “Once upon a Dream”
2. “Hail to the Princess Aurora”
3. “One Gift” / “Sleeping Beauty”
4. “I Wonder”
5. Briar Rose’s Vocalise
[6. “The Skumps Song”
Other Leitmotivic Music:
A. The three good fairies
i. pre-materialization
ii. routine magic
iii. domestic
iv. to action
v. sneaking
B. Maleficent
i. menace
ii. Forbidden Mountain
Derivation from Tchaikovsky’s The Sleeping Beauty:
principal melody of No. 6. “Valse,” in Act I
opening of No. 1. “Marche,” in Prologue
Coda of No. 8. “Pas d’action,” in Act I
trio of No. 6. “Valse,” in Act I
first part of No. 25. “Pas de quatre,” in Act III (Cendrillon, Prince
Fortuné, L’Oiseau Bleu, La Princesse Florine)
uncredited; not from Tchaikovsky’s The Sleeping Beauty]
Derivation from Tchaikovsky’s The Sleeping Beauty:
opening of variation iv (Canari qui chante) in No. 3. “Pas de six
[Les six Fées],” in Prologue
from variation ii (La Fée-Argent) in No. 23. “Pas de quatre,” in
Act III (La Fée-Or, La Fée-Argent, La Fée-Saphir, La Fée-Diamant)
“Danse des demoiselles d’honneur et des pages,” part 6 of No.
8. “Pas d’action,” in Act I
from the opening section of No. 9. “Finale,” in Act I
from variation 1 (Candide) of No. 3. “Pas de six [Les six Fées],”
in Prologue
No. 24. “Pas de caractère: Le chat botte et la chatte blanche,” in
Act III
No. 19. “Entr’acte symphonique (Le Sommeil) et Scène,” in Act
II, Sc. 2 (also Lilac Fairy’s forest spell in No. 9. “Finale,” in Act I)
C. Prince Phillip (ceremonial)
beginning of 10. “Entr’acte et Scéne," in Act II, Sc. i
D. Storybook
Fée des Lilas’s “counterspell” music, first heard as the principal
counterweight to Carabosse’s music in the “Introduction,” then
elaborated anew in:
No. 4. “Finale,” in Prologue; in No. 9. “Finale,” in Act I
No. 14. “Scène (Désiré et la Fée des Lilas,” in Act II, sc. i
No. 19. “Entr’acte symphonique (Le Sommeil) et Scène,” in Act
II, sc. ii (again as counterweight to Carabosse’s music)
E. Heroic Engagement
initially from Aurora’s sleeping death in No. 9. “Finale,” in Act
I (derived from Carabosse’s leitmotiv), but subsequently
drawing more generally on Carabosse’s music (e.g., opening
section of “Introduction,” and, passim, in No. 4. “Finale,” in
Prologue, and in No. 9. “Finale,” in Act I)
F. Apotheosis
from No. 30. “Finale et Apothéose,” in Act III
Handout for Raymond Knapp, UCLA: Derivation and Deployment of Music from Tchaikovsky’s The
Sleeping Beauty in Disney’s Sleeping Beauty
B. Deployment within Disney’s Sleeping Beauty of the Derived Songs and Leitmotivic Music
Detailed in A.
NB: Following the labelling in A, the six songs are given by number, and the leitmotivic scoring
by letter and sub-numeral. Songs, when used only instrumentally, are given in Italics.
Opening Credits:
Vocal: 1
Instrumental:
Aii - Aiii
Curse trajectory:
2
D
3
Ai-Aii
3
Bi
4
Aii - Aiv // Bi
Storybook; celebrating //
Aurora; fairy gifts & curses //
5-4
5-Aiii
1
4-5
(1)
Aiii-Aii
[6]
1
(1)
C
1 / Av / Bi
~16 years later: critters & courtship; cake & dress;
back to magic; back to the castle; pricked; sunset
Aftermath:
3 – (1)
2
(1)
Aiv
1
1 - Bi - Aiv - E - Bii - E - Bi - D - E - D - 2 - F - 1-4
Celebrations & sleep; capturing, taunting, & rescuing Prince
Phillip; heroic flight & battle; kiss; awakenings; waltz
NB: Illustrations for the PowerPoint presentation are from Chapter 14, “Eyvind Earle,” in John
Canemaker’s Before the Animation Begins: The Art and Lives of Disney Inspirational Sketch
Artists (New York: Hyperion, 1996), and from the 2003 release of the 1959 film Sleeping Beauty,
which is also the basis for the timings in the above charts.