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It has come to my attention, from listening to John Scott's scores recently, that he has been fond of using that famous JAWS motif (by Stravinsky?) that John Williams appropriated for his classic JAWS score.
It has popped up so far in A Study In Terror, The Long Duel (I think), Antony & Cleopatra, People That Time Forgot and Final Countdown.
I suppose it just takes one lucky association to own it forever.
to hell with Stravinsky
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It has come to my attention, from listening to John Scott's scores recently, that he has been fond of using that famous JAWS motif (by Stravinsky?) that John Williams appropriated for his classic JAWS score.
It has popped up so far in A Study In Terror, The Long Duel (I think), Antony & Cleopatra, People That Time Forgot and Final Countdown.
I suppose it just takes one lucky association to own it forever.
to hell with Stravinsky
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Posted: |
Jun 27, 2013 - 4:28 PM
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By: |
Ludwig van
(Member)
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Don't forget that the JAWS motif can't be reduced to a pair of pitches. It also incorporates the musical features of rhythm, articulation, register, instrumentation, tempo, and is fashioned into a larger composition that has a dramatic shape to it, beginning with actually just the one note, then two, then it becomes an ostinato. Once that happens, there are dissonant chords with the two notes and a melody overtop.
If the motif was simply two notes, then we would be able to recognize it with changes to all of the above mentioned features. But I think we would have a hard time recognizing it if it were sounded, say, in a high clarinet in a very slow rhythm, played legato (smoothly) with a decrescendo, it didn't become an ostinato, and to top it off, it was harmonized with simple major chords. That would be a different motif altogether.
All I'm saying is that motifs are more than just an interval of two notes. And the JAWS motif is another great example of Williams coordinating so many musical features toward the same expressive end, in this case the constant rhythm, staccato articulation, low string instrumentation, moderate tempo, and the larger composition into an orchestrated crescendo with a motif that becomes an ostinato, harmonized with dissonant chords and an eerie melody overtop all create the terror of a mindless, menacing creature that emerges from the watery depths.
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