Jaws Case
JAWS is a thoroughly entertaining film about a massive shark that terrorises the seaside resort of Amity. During the opening credits the composer, John Williams, cleverly manipulates the elements of melody, timbre and dynamics to create a mood of suspense and scary anticipation.
The melody in this excerpt is very fragmented. A two note motif, comprising a rising semitone, is stated in the lower strings. This motif is insistently repeated, suggesting the indomitable threat the shark poses. Eventually, the two note motif runs in quavers, suggesting a chase. French horns make wide leaps in augmented 4ths, and what there is of melody from further instruments of the orchestra is fragmented and atonal, evoking the alien underwater world of this monster of the deep.
Timbre effectively contributes to the mood of suspense and anticipation. The dark throb of lower strings effectively evokes the murky depths of the ocean. The harsh tone of French horn arpeggios cleverly suggests some lurking menace. The aggressive, blasting hits from the massed orchestra, especially the brass, give a very threatening feel. Toward the end of the credits shrill high-pitched phrases from the woodwind and strings skilfully hint at violence and blood in the water.
John Williams uses dynamics to expertly build suspense during the opening credits. To begin with there is a barely discernable blip of SONAR signals. Then the semitone motif is introduced, pianissimo. The very soft dynamics suggests something hidden, something lurking. Gradually the dynamics and texture increase. By the end of the opening credits the music is fortissimo. The suspense is built to a climax. The film abruptly cuts to a laidback beach party, but leaves the viewer sure some terrifying horror is yet to come.
Melody, timbre and dynamics combine to create a mood of suspense and scary anticipation in the opening credits of the movie JAWS. John Williams is a fine composer