Planet of the Apes (The Hunt) Notes

Notes on the Planet of the Apes set work. Hope they help.

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Jerry Goldsmith
Planet of the Apes
Goldsmith's Use of Devices
Armed apes on horseback
Uses certain devices to emphasis a sense of terror
Unconventional instruments and techniques
Considerable amount of percussion instruments
Avoids traditional tonality ­ surrealist techniques, chromatic
Syncopated rhythms
Performing Instruments and their Handling
Quite a large symphony orchestra with additional instruments
Triple woodwind (bass clarinet and double bassoon)
All oboe players are required to play cor angalis at times (b.1)
Flute players must play piccolo
Standard brass section, without the tuba
Additional instruments ­ unconventional ­ ethnic instruments ­ ram's horn and a Tibetan
horn, percussion instruments ­ boobams (b.10), electric harp, electric bass clarinet, strings play
quite a minor role, piano is probably one of the most important instruments (solo motif ­ b.4), brass
section use a variety of mutes, wood mute for horn b.10, straight mute for trombone at b.23, plunger
mute for trumpet at b.55, violin has false harmonics b.6869
Percussion ­ reinforces sense of terror, gives powerful rhythmic emphasis ­ timpani at the
beginning of each bar, ethnic gives a sense of strangeness to the scene, fragmented xylophone
motifs, side drum roll crescendos that build to climaxes
Complex texture built over repetitive patterns
Starts homophonically
B.11 emphasises the texture of the rest ­ riff in piano which accompanies long held notes by
violins which leads to quite a dissonant chord and a fragmented melody (3 note motif in the
xylophone), riff is picked up by woodwind
B.42 ­ tutti climax ­ powerful cross rhythms, still homophonic
Introduction of polyphony towards the next climax
B.52 ­ two note chromatic rising figure in the bass, rising fifth figure in the ram's horn,
additional rhythms in the percussion
B.55 ­ next climax, polyrhythm
B.74 ­ new two part contrapuntal texture ­ imitation between the upper and lower strings
B.84 ­ the extract leads to an ending with several ostanti
B.110 ­ introduction of the two main motifs: first motif b.1 C in piano and timpani followed by C
C# C# F# in woodwind. B.4 Chromatic piano motif in octaves.
1122 ­ Piano motif being played on a G instead of a C. It is now considered a riff. Two important
motifs introduced for the first time. 1 ­ Long note violin not crescendo to a discord. 2 ­ Rapid
three note motif on xylophone, flutes and piccolo. These ideas are repeated.
New conga rhythm at bar 16
2337 the riff is now taken over by the woodwind. Long held notes now move to the trombones.
New bass line in low woodwind and double bass. Opening motif returns at b.26 but now on the
strings. Initial timpani reinforced by the snare drum.
3844 ­ music is now building up to a climax. The riff is now being treated a sequence (38/39).
4041 there is a wide leaping chromatic descending quaver line, leads to the climax at 42.
4551 ­ the long held notes are now in the horns for the first time.

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­ music then builds rapidly the second climax. Two note rising semitone phrases in the
bass with rising and falling 5ths in the ram's horn. New percussion parts added and an Eb pedal
on the harp.
5558 ­ climax ­ play a series of ostinato phrases
5973 ­ riff returns based on G with a new semiquaver accompanying motif. 63 ­ long notes are
now in the muted trumpet and harp.
7483 ­ new passage for strings in two part dissonant imitative counterpoint.…read more


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