Hi Marc. The music in the clip of Batman returning is all from Batman Begins. At 2:42 in the clip, the music is from “Batmobile Chase” from the complete Batman Begins soundtrack (on YouTube), starting at 3:50. And the second portion of the music in the clip at 3:19 is from “Back Up” also from the complete Batman Begins soundtrack, starting at 0:39. So none of it from The Dark Knight as the Wikipedia article stated. When you listen to the complete tracks from Batman Begins, you’ll hear that the music is pretty much a note-for-note retread of the first film’s soundtrack. By the way, the author of that comment above, Film Score Junkie, was what I called myself back then!

Do you know which track from Batman Begins or The Dark Knight contains the cue that comes in at 2:42 on the Batman returning video posted on your article? When there’s very little sound but then the light shines on him and the music hits.

Thanks

Yes, I am the one who wrote that Hamlet opera. Thanks for your kind words. As for Psycho, there is a piano version of the prelude in the AFI’s Top 25 Film Scores piano book. It doesn’t have other cues you mention, but it may be a start. Sure, send me some music if you like. Always happy to give feedback.

Yes, I think it will work but I would have to say I have no idea what it might ultimately sound like. My first step is transcribing the cues, which is challenging in the more dissonant parts, then to try orchestrating them differently and adding some drum parts.
The Prelude really suits itself to this but I am also working on some other cues. The Madhouse is a wonderfully dissonant piece. Temptation also works really well, it is the cue playing while Marion packs her bags and contemplates running off with the money.
I like the idea of improvising over some loops, I will work with that. I appreciate your thoughts. I really like your own music, if you are Mark Richards the composer, your Hamlet is riveting. I am also awed by your work in this blog, you have such a great grasp of musical ideas.
Maybe I’ll send you some stuff later this summer if I get anywhere. Thanks!

A rock version of Psycho? Actually, I could see that working in a strange way. Like so much rock music, Herrmann’s music is highly rhythmic and composed of short spans that loop into ostinatos. The harmony is of course the big thing that will sound very different, especially in that score (I presume you’ll be working with the Prelude). I could also see it working in adapted form – something like taking an accompanimental loop and extending it further while improvising new material overtop. There are so many things that could be done with that material.

OK, I got it! took a little while but now I hear it, you’re right the key is to count in eighth notes.
I am working on transcribing music from the Psycho score, my hope is to arrange it for rock band. (wacky idea I guess) I’d love to hear your thoughts.

Thanks for your kind words! So in the scene of the first escape attempt, the chanting is definitely in 5/4. It’s easier to hear if you count eighth notes rather than quarters: the 2+2+3+3 pattern is certainly there. As for finding the downbeat, the quicker 2+2 beats tend to sound like pickups to me, so the first 3-eighth beat sounds like a downbeat to me. But I’m sure there are others who will hear the downbeat on the first 2-eighth beat instead.

Thank you – I never would have discovered that. That wiki article was also fascinating especially the background on how they crowd sourced the chant….

Hi Jonathan. Thanks for your comment. The answer to your question seems to be that the music you seek in the film is not on the soundtrack because it was not part of that film’s score to start with. Here’s what it says on the Wikipedia page for The Dark Knight Rises score under “Risen from Darkness”, which is the cue used at this point in the film: “This track is not the one used within the film, however, but is instead the initial cue before it underwent re-editing. The version used in the film itself makes heavy use of temp tracks lifted directly from the previous two films (as opposed to the new variations on those cues found in here) and the middle section is edited differently as well. Additionally, the rising note at the beginning of the track is shorter in the film.”