Jerry Goldsmith: Planet of the Apes (1968); Hunt Scene (p.388)

Context

Music composed for a scene quite early on in the movie in which humans are hunted across countryside by apes on horseback.

As a piece of applied music, it is intended for a specific purpose, in this case to enhance the images on screen.

The core A level question is, therefore:

How does Jerry Goldsmith create a sense of movement/tension/panic through his music for the Hunt scene in Planet of the Apes?

To answer the question you will need to refer to the various elements of music and the ways in which the composer has combined them for particular effects.

Orchestration

Large orchestra with some unusual additions, such as the ram’s horns and Tibetan horn played by the brass section, the electric amplification of the harp and bass clarinet, and the range of exotic percussion such as boo bams (tuned bamboo tubes), timbales (metal shelled drums) friction drum (cord passing through a drum skin) and vibraslap (loose metal ‘teeth’ which rattle inside a wooden shell).

The piano plays an important part, introducing one of the main motives in b.4 and used to create momentum through semiquaver patterns such as that in bs.11-22

Woodwind and brass timbres prominent, especially the reedy sound of oboes and clarinets, the high squealing of flutes & piccolo

Strings less prominent than wind and percussion until passage from b.74

Tends to work with strong contrasts of instrumental colour, rather than blending timbres

Make a note of 3 examples of unusual or striking orchestral effects:

1.

2.

3.

Melody

Largely built up from a few short motives:-

A: Ww b.1 (quavers, rising semitone then fourth)

B: Piano b.4 (spiky chromatic quaver figure)

C: Violins, ww. & xyl. b.11-14 (long note cresc. to dissonant squeal)

D: Ram’s horn b.52 (rising and falling 5th)

These are the main motives (there are other melodic ideas) and they are varied and developed during the course of the extract.

Comment on the following:

  1. The relationship between the piano part in b.4 and b.11ff
  1. The use of motive A in b.30-1
  1. The ways in which motive C is varied throughout the extract

Rhythm

Tied in with the melodic motives – each of these has its own distinctive rhythmic profile, such as the four quavers of A.

Strongly marked pulse, often with emphasis on downbeat.

Regular metre with odd bars changed. Largely 3/4 to bar 40, then 4/4 dominates.

Cross-rhythms create tension, e.g. congas from b.16

Screws up tension by diminution of rhythmic patterns: quavers to b9 give way to semiquavers from 10-22, for example.

Make a note of three passages in which rhythmic devices create tension

1.

2.

3.

Harmony

High level of dissonance throughout, but also pedal notes (see the opening bars) and the repetition of patterns (ostinatos/riffs) leads the ear to familiarity with the sounds.

Based on a 12 note row – this piece uses some of the techniques of Serialism devised by Schoenberg after WW1 and much in vogue amongst the post WW2 avant garde composers who were Goldsmith’s contemporaries.