Jaws Score Discussion

[Nick Parker 3,040]

I was reluctant to start this Thread, as practically every Thread I make is not known for their longevity (for good reason, perhaps?), but I want to provide an alternative to the myriad polls that we have been bombarded with recently. I just want to read some insightful comments about one of my favorite scores, especially things like anecdotes of its impact of some of the older members here. Feel free to discuss its use in the film as well, and I guess one could discuss the film itself.

[JoeinAR 1,949]

It has been my favorite or among my favorite scores for 34 years.

I love its depth, that sadly few here recognise. Its simply the most important of all JW's scores. It is the focal point, without Jaws, what is John Williams, and what is film music in the last film music era?

[Wojo 2,453]

Yes, it's a very good score, truly one of Williams' best. It's one of those rare special scores that draws you in from the very first moments, and never, ever lets you out of its grip, until the reflective end titles briefly roll by. Not even E.T. or Star Wars can make that claim about its music becoming one with a character. The shark in Jaws does not speak, but neither does it have to. John Williams gave the shark its voice.

[JoeinAR 1,949]

But the score to Jaws is much more than a voice for the shark.

[Koray Savas 2,251]

Jaws sucks!

[King Mark 3,625]

I guess it's one of the scores that made me a JW fan...not for the scary music but the pirate /adventure music in the last half of the film.

When Jaws was on TV the first time I recorded "Man Against Beast" with a mini cassette recorder held against the TV speaker

[John Crichton 4]

Jaws sucks!

It took me years to fully appreciate Jaws, and I'm so glad I do now. It really is much more than just the shark theme, and it's also of unparalled importance. Without Jaws there would be no Star Wars, and that's enough to make me stop that thought train.

[Wojo 2,453]

But the score to Jaws is much more than a voice for the shark.

You sound as if I implied that's all it is. It's a voice for the shark. It tells the audience there's a shark in the water (or not in the water) long before the heroes and anti-hero of the film know it's in the water. It's also some of the finest summertime/ pirate/ adventure music ever written. From the estuary to the end of the movie, there isn't a dull moment in what's already the finest male bonding meets fishing trip ever cut to celluloid, because of the music.

But when I listen to Jaws, I don't dwell on the causality matrix that places Jaws two years and five scores prior to Star Wars.

I just take the score for what it is. A very good one. It's the score to a horror movie that doesn't try to be the score of a horror movie. It doesn't have to. It's that good.

[Ollie 1,059]

Jaws is a 5 star score and one that I would rank among the greatest composed.

The simplicity of the theme and it's effectiveness is something that I doubt anyone associated with the film could have forseen, even Williams himself probably didn't realize just how effective it would be.

One of the main things I love about the score is that Williams gives the shark theme a different spin each time you hear it, it never sounds the same each time the shark appears. Of course the swashbuckling seafaring music, or "pirate" music as Spielberg put it, is outstanding and compliments the score perfectly.

[Andy 4,085]

This soundtrack is so psychologically rooted within me. I agree with Joey's comments above - this score has amazing depth and honesty and efficiency. This is where it all starts. Who here hasn't played "Jaws" in the pool with friends, humming the shark motif as you chase them 'round the pool?

It's so easy to dismiss the shark theme too, but man... it's not just the two notes, it's how they're played. I love "The Shark Approaches" for Hooper's cage scene. The orchestra just builds, and builds, and builds. Those strings just slice and cut like hacksaws and it is so beautiful. I could never tire of that cue.

And of course the barrel chase is pure magic. The thrill of the hunt and the fun of the chase.

We used to watch the super 8mm film of Jaws on an old school film projector and show 10 minutes of excerpts on the bedsheet hung up in the basement. This was long before home video took hold. When I did get a VCR, my very first video rental ever was Jaws.

[Nick Parker 3,040]

I love "The Shark Approaches" for Hooper's cage scene. The orchestra just builds, and builds, and builds. Those strings just slice and cut like hacksaws and it is so beautiful. I could never tire of that cue.

The "shrieking" strings and piano in that cue always give me chills, far more than that other famous "shrieking strings" horror score.

[Andy 4,085]

I really wish they'd release this with better sound quality.

[Romão 2,274]

It is without one of best and most important scores ever written. There are many examples of sucessful films with sucessful scores, but few films have their place in history secured thanks in such great measure to its score. But I'm not very fond of judging scores according to the impact they had. The action writing, with its seldom repetitive nature is probably Williams best in the 70's, only to find true paralel in 1980 with ESB.

[Gruesome Son of a Bitch 6,488]

"Sea Attack Number One" is one of JW's most brilliant cues. I'm thinking specifically of when they start to scurry around the decks after the shark first passes. I sing this as though the notes are lyrics. Obviously, this isn't normal, but this is JW we're talking about here.

[Jay 37,287]

"Sea Attack Number One" is one of JW's most brilliant cues. I'm thinking specifically of when they start to scurry around the decks after the shark first passes. I sing this as though the notes are lyrics. Obviously, this isn't normal, but this is JW we're talking about here.

I know exactly what you're talking about! I've actually made up lyrics to the various SW themes back when I was first trying to keep track of which theme was playing when in the OT scores

[Melange 446]

Melange Question Of The Day = Was there ever a Meco Jaws?

[Neimoidian 14]

Ironic that the most beloved soundtrack album is a re-arrangement of the score (which actual album presentation is considered inferior).

Having heard original album I cannot deny it's better than what's on Collector's Edition and in the film itself.

[crocodile 7,984]

Which reminds me I need to listen to the original film performance. It must have been six years since the last time!

The album version is very good indeed. But my favourite is goint to be the Varese re-recording. It gets frequent listens from me.

Karol - who loves the score, of course.

[Charlie Brigden 7]

I love the original album, but I prefer the CE. It's where my memories come from.

The score itself, obviously, is a masterpiece. It's so greatly balanced, with some of the greatest pieces coming from the non-horror/action work. For instance 'Father and Son' and 'End Title.' It's hard picking a favourite from the score, as it's all so great and it depends on my mood. But right now, I'd say 'The Pier Incident'. The ethearal and mysterious beginning is just genius, and then when the theme kicks in and it all goes off, it's just chilling.

[Neimoidian 14]

That Father and Son cue is brilliant. It captures emotions without being blatantly emotional. None writes like this these days.

I also love the beginning of Ben Gardner's Boat. It's eerie atmosphere never fails to give me creeps.

[Jeshopk 8]

Sea Attack Number One is one of my all time favorite pieces. The approach is somewhat outdated, but that says more about the times we live in than the music itself. More scary films could use this approach, where the sole purpose of the music is not just to serve up scares. Without contrast, there is no true darkness. Same can be said about Poltergeist. Without light, there is no dark.

[Ollie 1,059]

I really can't endorse the Varese album, it's awful. There are tempo and performance issues throughout the score. The shark theme sounds the same everytime it's played.

The original album is great but for me the complete score is a must have.

Melange Question Of The Day = Was there ever a Meco Jaws?

No. I do enjoy Meco's take on several of Williams' scores. I have the best of Meco album.

[BTR1701 59]

I guess it's one of the scores that made me a JW fan...not for the scary music but the pirate /adventure music in the last half of the film.

When Jaws was on TV the first time I recorded "Man Against Beast" with a mini cassette recorder held against the TV speaker

Just last night I finished a transcription of the "Man Against Beast" score (or "Sea Attack Number One", depending on which version of the soundtrack you have) into Finale from the original almost-impossible-to-read handwritten manuscript.

If you read music and would like a copy, I'd be happy to send you the PDF file. Email me at btr1701@gmail.com if you're interested.

[A24 4,326]

Sea Attack Number One is one of my all time favorite pieces. The approach is somewhat outdated, but that says more about the times we live in than the music itself. More scary films could use this approach, where the sole purpose of the music is not just to serve up scares. Without contrast, there is no true darkness. Same can be said about Poltergeist. Without light, there is no dark.

The lighthearted adventure music for a thriller or horror movie wasn't really evident back then either. Even Spielberg didn't expect that Williams would come up with this type of 'mood', but he went along with it anyway. It surprised me too the first time I saw Jaws many years ago. Yes, it's dated but somehow I find it charming.

Alex

[Wojo 2,453]

Name one movie over 30 years old that is NOT dated in some way.

[Incanus 5,713]

As many here have said the Jaws score is an undeniable classic. I listened to it just before seeing this thread and once again found it to be an exhilarating experience. One of the things that really stood out for me on my first listen of the original OST album all those years ago was how diverse this score is. And how cohesive it is despite all the different styles or genres it contains. The scary horror music and the shark ostinato in various forms, the semi classical scoring for the Tourists on the Menu scene and the Fugue for building the Shark Cage, the adventurous almost piraty and upbeat music for the Shark hunt and sailing and the solemn very dramatic and dark music underscoring the drama and dialogue. Williams makes it all work as the music serves the picture in perfect sync adding fear, wit and drama of the film tremendously. For a person used to hearing only the main theme on compilations the OST was a revelation. Night Search (so magically mysterious and deliciously foreboding with a great stinger at the end just like the scene itself), The Indianapolis Story, the hair raisingly exciting finale of Hand to Hand Combat (where the music resolves itself in those perfect cascading piano notes as the tension is released when the shark dies) and many other tracks left me in awe of how powerful and evocative this music was beyond the shark motif. And then I heard concert versions of Out to the Sea and Shark Cage Fugue on Spielberg/Williams Collaboration album that further added my admiration of the score and how Williams had expanded and elaborated this music further in those pieces.

The album containing the actual score that was released about half a year after I had bought the OST offered an interesting second perspective to the music I was so used to hearing in one form. The added music contained some of my favourite renditions of the shark motif such as the powerfully rhythmic The Pier Incident and the pounding panic inviting variation in Shark Attack. The album also provided the very much missed quote of the sea shanty "The Spanish Lady" in Between the Attacks and some of the more introspective and melancholy dramatic underscore like Father and Son which I found fantastic and fitting for the character moments of Chief Brody. Subtle but beautiful with musical suggestion rather than full blown Hollywood style writing.

The score shows a very close collaboration and very open to suggestions style the composer and director seem to have had from the start. Spielberg's love for music and his obvious respect and trust in Williams produced a true classic film score which is the first in a line of many.

[Omen II 1,235]

Melange Question Of The Day = Was there ever a Meco Jaws?

Maybe not, but have you ever heard Lalo Schifrin's wonderful disco / funk arrangement of the theme for his 1976 album Black Widow? I love it - it should be so wrong but somehow it sounds so right. As usual YouTube comes up trumps, so click

if you dare to groove on down.

:cool:

[JoeinAR 1,949]

But the score to Jaws is much more than a voice for the shark.

You sound as if I implied that's all it is. It's a voice for the shark. It tells the audience there's a shark in the water (or not in the water) long before the heroes and anti-hero of the film know it's in the water. It's also some of the finest summertime/ pirate/ adventure music ever written. From the estuary to the end of the movie, there isn't a dull moment in what's already the finest male bonding meets fishing trip ever cut to celluloid, because of the music.

But when I listen to Jaws, I don't dwell on the causality matrix that places Jaws two years and five scores prior to Star Wars.

I just take the score for what it is. A very good one. It's the score to a horror movie that doesn't try to be the score of a horror movie. It doesn't have to. It's that good.

no I didn't think you implied anything, I just meant what I said. I appreciate the fact that John never teased the audience with the theme, we heard it, we knew the shark was there. He never cheated us.

The dated comment is unnecessary. Jaws was filmed 35 years ago, so it has aged, but gracefully.

[MrScratch 294]

Jaws is one of the best film scores ever, it's in my top five of JWs scores. It was one of the first OSTs I ever bought and I've loved every note of it from the very first listen.

[BTR1701 59]

no I didn't think you implied anything, I just meant what I said. I appreciate the fact that John never teased the audience with the theme, we heard it, we knew the shark was there. He never cheated us.

Williams didn't cheat us, but Spielberg used that as a way to provide one of the most shocking moments in the film: when Brody is sitting on the end of the boat throwing bloody chum in the water. The shark suddenly rises up out of the water right in front of him. It was a moment that almost always resulted in terrified screams in the theater when the film was first released. The reason it works so well is because of precisely what you noted-- that every other time the shark had appeared in the movie up to that point, it was accompanied by Williams's signature theme. That scene is the *only* time in the movie when the shark appears with no music whatsoever. Spielberg lulled the audience into a false sense of security and then hit them with it.

[Nick Parker 3,040]

That scene is the *only* time in the movie when the shark appears with no music whatsoever.

What about the end of the film?

[Gruesome Son of a Bitch 6,488]

The beginning of "The Pier Incident" when Brody is reading up on sharks is so awesome.

[Nick Parker 3,040]

I agree, and as someone said earlier, the transition from Brody to the two fisherman is chilling.

[Melange 446]

Maybe not, but have you ever heard Lalo Schifrin's wonderful disco / funk arrangement of the theme for his 1976 album Black Widow? I love it - it should be so wrong but somehow it sounds so right. As usual YouTube comes up trumps, so click

if you dare to groove on down.

I liiiiiiiiike it!!!

I would love to add in the female vocal of "Aaaa..aaaaaah.aaaaaaa....haaaaa haaaaa" from Dirty Harry into it, as a cherry on the top.

You know, at 1:41 on this video

[Wojo 2,453]

no I didn't think you implied anything, I just meant what I said. I appreciate the fact that John never teased the audience with the theme, we heard it, we knew the shark was there. He never cheated us.

Williams didn't cheat us, but Spielberg used that as a way to provide one of the most shocking moments in the film: when Brody is sitting on the end of the boat throwing bloody chum in the water. The shark suddenly rises up out of the water right in front of him. It was a moment that almost always resulted in terrified screams in the theater when the film was first released. The reason it works so well is because of precisely what you noted-- that every other time the shark had appeared in the movie up to that point, it was accompanied by Williams's signature theme. That scene is the *only* time in the movie when the shark appears with no music whatsoever. Spielberg lulled the audience into a false sense of security and then hit them with it.

You know, that's a brilliant observation, and one that I never really gave much thought to. It's a trade-off, because there's another moment when the "shark" appears with no music at all, also. But it's not the shark, it's a kid with a fin. So in that sense, John Williams' music itself is smart enough to let you know when the shark's there, and when it's not, so in this case, in retrospect you know it's a fake shark. No music. He saves the music for the real shark, when even Brody is thinking it's another wolf cry.

BAM! And then Brody gets scared crapless laying a chum line when the shark jumps out at him. No music. Sucker punched the audience. Brilliant. Love it.

[Nick Parker 3,040]

I am pretty sure they describe that in the "liner notes" (more like a transcript of the DVD interview) of the Collector's Edition.

[Wojo 2,453]

Which I would have read once about seven or eight years ago.

[Nick Parker 3,040]

I would not blame you, honestly.

[Andy 4,085]

Some random thoughts on Jaws, the Collector's Edition (Which I listened to today)

1. Track 15 - The Great Shark Chase - From 0:30 - 1:00 there is a passage of music that is not to my knowledge in the film. What happened here? The scene seems pretty tight with Quint loading the harpoon and firing into the shark. What were these 30 seconds meant to underscore?

2. Track 10 - Out to Sea - At 2:10, Williams hints at the End Titles with the tolling bell and the chord structure. Interesting. Was this to suggest that they're a long way from shore, similar to the long swim Brody and Hooper have ahead of them during the End Titles?

3. Track 14 - At about 1:15, we have the shark theme kick in, which promptly fades to silence. In the film, it continues for much longer, punctuated by some sinister singular strings which underscore Quint reaching for his baseball bat to smash the radio. Why was this edited down for the CD? It's such a cool moment in the film, and one instance of the shark motif being used to underscore action that actually doesn't feature the shark.

4. Why does this CD sound so incredibly bad? It doesn't sound like this in the film. My windshield was rattling due to the excessive bass, but there's such a lack of definition. It's frustrating. Sometimes I like to listen to Jaws first to make the RCA Return of the Jedi sound comparatively better afterwards. Think we're stuck with this as the definitive release for all time?

[Josh500 1,615]

A John Williams masterpiece, but for me it ranks behind other JW masterpieces like Star Wars, Jaws, E.T., Raiders, Temple of Doom, Last Crusade, and even A.I....

[Charlie Brigden 7]

A John Williams masterpiece, but for me it ranks behind other JW masterpieces like Star Wars, Jaws, E.T., Raiders, Temple of Doom, Last Crusade, and even A.I....

Jaws ranks behind Jaws?

[Josh500 1,615]

A John Williams masterpiece, but for me it ranks behind other JW masterpieces like Star Wars, Jaws, E.T., Raiders, Temple of Doom, Last Crusade, and even A.I....

Jaws ranks behind Jaws?

Whoops! Strike the second Jaws.

A John Williams masterpiece, but for me it ranks behind other JW masterpieces like Star Wars, E.T., Raiders, Temple of Doom, Last Crusade, and even A.I....

[Nick Parker 3,040]

3. Track 14 - At about 1:15, we have the shark theme kick in, which promptly fades to silence. In the film, it continues for much longer, punctuated by some sinister singular strings which underscore Quint reaching for his baseball bat to smash the radio. Why was this edited down for the CD? It's such a cool moment in the film, and one instance of the shark motif being used to underscore action that actually doesn't feature the shark.

I thought about that the last time I saw the film, and I came to the conclusion that, while it was pretty cool to hear in the film, I just cannot imagine a way they would cohesively add that little moment on the CD.

2. Track 10 - Out to Sea - At 2:10, Williams hints at the End Titles with the tolling bell and the chord structure. Interesting. Was this to suggest that they're a long way from shore, similar to the long swim Brody and Hooper have ahead of them during the End Titles?

If memory serves, all music after the tense chords that play as Quint notices the bobbing fishing line (a great moment, by the way) is cut from the film, probably because Spielberg, Williams, or both thought it was inconsistent with the "no shark, no music" policy (later to be broken in scant minutes for scares). That is a good observation you made, though, I cannot really answer it.

1. Track 15 - The Great Shark Chase - From 0:30 - 1:00 there is a passage of music that is not to my knowledge in the film. What happened here? The scene seems pretty tight with Quint loading the harpoon and firing into the shark. What were these 30 seconds meant to underscore?

You are correct, those seconds (more or less) are not in the film. The cut music sounds pretty similar to the next Track "Three Barrels Under", I would theorize that there was more shark footage, but it either did not look good or it took tension from the scene.

Also, I have another theory. Could 1:49-1:54 in "Three Barrels Under" be Quint's Theme? one hears that motiv quite often in the score, and I cannot recall an instance where it plays before they embark on the Orca.

[JoeinAR 1,949]

A John Williams masterpiece, but for me it ranks behind other JW masterpieces like Star Wars, Jaws, E.T., Raiders, Temple of Doom, Last Crusade, and even A.I....

ugh,

oh how idiotic.

Jaws is the equal of Star Wars and E.T. and superior to everything else you stated, and to even imply that A.I. is superior to Jaws is sheer stupidity, on a high scale. Its the Mount Everest of stupidity.

[Josh500 1,615]

A John Williams masterpiece, but for me it ranks behind other JW masterpieces like Star Wars, Jaws, E.T., Raiders, Temple of Doom, Last Crusade, and even A.I....

ugh,

oh how idiotic.

Jaws is the equal of Star Wars and E.T. and superior to everything else you stated, and to even imply that A.I. is superior to Jaws is sheer stupidity, on a high scale. Its the Mount Everest of stupidity.

Coming from you, it sounds funny.

[Incanus 5,713]

A John Williams masterpiece, but for me it ranks behind other JW masterpieces like Star Wars, Jaws, E.T., Raiders, Temple of Doom, Last Crusade, and even A.I....

ugh,

oh how idiotic.

Jaws is the equal of Star Wars and E.T. and superior to everything else you stated, and to even imply that A.I. is superior to Jaws is sheer stupidity, on a high scale. Its the Mount Everest of stupidity.

Yes Joe. We notice you. You are special. Our own happy JWboy. Now go out and play.

But seriously. Have you ever had a polite conversation where you do not bash everybody else's opinions. Might be refreshing.

[Wojo 2,453]

I think Joe is just proud of how Jaws gives him the biggest hardon of any Williams score, and he's waving it around for all to see.

[JoeinAR 1,949]

No Josh, coming from you it sounds idiotic, you're a complete fool.

AI is a good score but it is forgettable compared to Jaws, as are most.

Thanks Incanus for playing, but I think your penguin needs some attention now.

[Gruesome Son of a Bitch 6,488]

He's right. A.I. is not in the same league.

Jaws is a seminal work from JW's prime that neither A.I. or anything else released after that era can touch.

[Incanus 5,713]

Thanks Incanus for playing, but I think your penguin needs some attention now.

No Joe, the penguins are pesky and always in your way but easy to take care off. You can kick them around any way you like. The polar bears on the other hand are the real danger here. Damn them and their guerilla tactics!

Anywhoo I relistened Jaws a couple of times lat night inspired by this thread and noticed how absolutely wonderful some of the scarier moments are. The track Underwater Siege from the finale (The Shark Approaches on the collector's edition album) has the marvellous harp duo (on the collector's edition there seems to be just one harp) glissandi effects creating very elegant panic and disorientation along with the string section which I have always loved. The whining high strings underscoring the Indianapolis story with hints of the Jaws theme is another moment of very well scored suspence. The sinister harp and bowed cymbals in the end of Chrissie's Death are similarly very chilling after the preceding musical carnage.

The Shark Cage Fugue is another stroke of genius, creating a very busy and determined mood with the musical form. As I said previously the concert version is just tremendous and a piece that cemented my admiration for JWs music. This Fugue theme seems to represent the almost grim determination to catch this shark whereas the Out to the Sea theme seems to be the more piraty "Sailing" theme for the triumphant feel of the open water and thrill of the chase when it is going well.