A2 Edexcel Music: Goldsmith's Planet of the Apes revision notes

Just a compilation of the notes from the Edexcel book and notes from the website. Most of the commentary from the book was quite waffly so hopefully these notes will seem more concise

Notes on abbreviations:

Cl = clarinet
Tbnes = trombones
Semiqs = semiquavers
Tpt = trumpet
Picc = piccolo

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  • Created by: Emily
  • Created on: 17-01-13 19:12
Preview of A2 Edexcel Music: Goldsmith's Planet of the Apes revision notes

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17/01/2013 E. Singh
Goldsmith's Planet of the Apes: The Hunt (Opening)
(Cue ram's horn and freaky monkeys with guns riding horses)
Composed by Jerry Goldsmith (1929­2004) in 1968
Film tells the story of American astronauts who land on a remote planet and are captured by gorillas (Charlton Heston isn't in a religious role!)
The music of the film is written in a modernist style, but Goldsmith reserves using the full orchestra for the most dramatic scenes (such as this one)
Goldsmith liked to use a full symphony orchestra where possible, often in conjunction with ethnic and electronic instruments which can be seen here
Tonality Harmony Melody ­ piece built from no of Rhythm and metre ­ The chase is
short fragmentary ideas. Many on! Driving rhythms are key
don't last for longer than a bar
1. Music is not atonal. Uses a 1. Dissonant harmony from the 1. Opening 5note motif ­ rising 1. Emphasis on first beat by timps
system of tonal centres in outset: b12 viola's A clashes s/tone then leap. Repeated 6 and keys for opening 7 in
which the central note is with cello's B flat times in 7 bars 8ves...
repeated mostly on the first 2. Often bare octaves when no 2. Second motif in piano b4 2. ...To continuous semiqs in
beat/main beats e.g. b14 C is dissonance e.g. b11, 4 extended to 12 chromatic notes piano at b11 increase rhythmic
repeated 3. Verticalisation of chromatic at b89 drive
2. Tonal centre moves to G in b11 melodic notes forming the 3. Motif now riff on G (transp) 3. Conga drums crossrhythms
and to E flat in b23 `series' (see Tonality) b11 (see Structure) (two beats against 3/4)
3. Emphasis on semitones 4. Climax of violin's long note 4. Riff in oboe, cl and harp b23, increase rhythmic tension b16
create tonal ambiguity e.g. b89 b13 ends with s/tone clash. long note motif in tbns and bass 4. Frequent syncopation e.g. b13
4. Use of verticalisation (serialism Interval expanded b26 to is b89 in retrograde 5. Most complex rhythm b55:
technique) e.g. b1 two string 3note chord incl. diminished 5. Notes used in piano b 4 used as 7tuplet scales against 3
chords outline first 8 notes of 5
chords in strings and wind b17 crotchets against semiq and q
piano's 12note motif at b89 5. Dissonance at 1 climax b42:
6. Fragments of wind parts in percussion
last chord of bar has 12 strings b26, 30, 35 6. Strings 6tuplet scales b74

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E. Singh
chromatic notes (from b89 7. Motifs overlapped e.g. b40 7. Changed in metre e.g. b10, 41,
although played singly in w/wind Eflat motif in piano creates confusion
retrograde from b40) below quaverlong note motif 8. Bass ostinato b84 in quavers
(from b13) but doubled in crotchets by
8. Inversion: b32 lower wind have lower w/wind b88
b89, up to G# in b34
Texture Structure ­ short motifs manipulated and Orchestration/instrumentation ­ large
developed to unify the music symphony orchestra with additions
1.…read more

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E. Singh
4. B38 ­ 44 Build to 1st climax. Riff treated as 5. Boo bams, timbales, friction drums, bass resin
rising seq b389. Tpt variation of 3note drum, conga drum and vibraslap ­ convey
figure on beat not on upbeat sense of strangeness of apes
5. B45 ­ 51 Buildup to 2nd climax. Riff on C, 6. Metallic percussion (e.g. glock) are not used
long notes in horns and xylo fragmented 7. Piano has solos at b5, 8 to 9. Later has driving
notes.…read more

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James Parker-Bishop

Very nice indeed, good job, I like the layout :) Cheers :) 

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