Extended Essay: Music HOW DO HANS Z IMMER AND KLAUS BADELT BOTH USE THE FILM SCORES OF THE PIRATES OF THE CARIBBEAN SERIES AS A VEHICLE TO CONVEY MESSAGES AND PORTRAY CHARACTERISATION THROUGH MUSICAL ELEMENTS ?
herpderphurrdurr International School of Stavanger 11/11/2011
Word Count: 4000 (Excluding: Title Page, Table of Contents, Abstract, Acknowledgements, Bibliography and Appendices) Word Count for Abstract: 274 Candidate Number: 000862-034
Table of Contents
Page
1. 2. 3. 4.
Abstract Acknowledgements Introduction Body/Development a. Background b. Characterisation c. Rhythm d. Modulations e. Counterpoint f. Dynamics g. Tempo h. Instrumentation i. Further Development 5. Conclusion 6. References/Bibliography
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Abstract As a talented musician, rather than examining classical music, I sought to investigate the importance of official soundtracks of films. This topic seemed interesting to me as it explores a different aspect of contemporary music. Therefore, in this investigation, the question asked concerns the film series Pirates of the Caribbean. How could a continuous emotional film score be integrated without diverting the audience’s attention? I asked myself: How do Hans Zimmer and Klaus Badelt both use the film scores of the Pirates of the Caribbean series as a vehicle to convey messages and portray characterisation through musical elements? With the aid of the sheet music from all three movies of the Pirates of the Caribbean series, I have studied its importance and how it helps develop the movie itself. By dissecting the score into several sections classified by musical elements, I could see that the most common musical devices were integrated into the soundtrack along with some unique ones that are rarely used. Music can be perceived in various ways, sparking off different emotions, and thus, both film composers have fulfilled their purpose with the score. The conclusion I drew from my interpretation of the music was that the score succeeded in conveying these messages and portraying characterisation. Klaus Badelt, afterwards replaced by Hans Zimmer, both have committed themselves to this craving process of producing a wonderful official soundtrack that brings forth another sense to the movie and creating a lasting image to each character through each of the memorable motifs and themes. In analysing this film score, I learnt that the music within the new forms of entertainment is essential for that specific game or movie to be an entirety.
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Acknowledgements I would like to direct my sincerest thanks towards our school’s music teacher, Mr Mudra, as well as the IB coordinator, Ms Park, for providing me with this unique chance to research and write this extended essay on the topic of music, more specifically film scores (Pirates of the Caribbean). I would like to extend the same gratitude towards my own piano teacher, who aided me in the process of editing this essay with her musical expertise. By writing this essay, I am not just fulfilling the requirements of the IB programme, but also taking this opportunity to extend my knowledge on the field of music. Again, I would like to express my deepest respect to all those that supported me.
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Introduction Have you ever imagined watching a film without music? Don’t even bother; it would be a total catastrophe. Just imagine sitting in a cinema with utter silence, eyes glued to the screen. It would be impossible nowadays. A movie is not complete without music. The official soundtrack (hereafter referred to OST) of a motion picture is an important aspect of music, yet it is largely overlooked and confined within its boundaries. This act is similar to ignoring the works of a great classic like Beethoven and Mozart, producers of masterpieces. Names such as John Williams, Hans Zimmer, Danny Elfman, Jerry Goldsmith and James Horner are among the few popular and renowned film composers that the world contains. An eloquent quote by Hans Zimmer, film composer of Ridley Scott’s Gladiator, Gore Verbinski’s Pirates of the Caribbean series and Christopher Nolan’s Batman series, states: “A good score should have a point of view all of its own. It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.” This is what all film composers strive to achieve: a something extra that does not appeal to the eye, but to the ear. That impression strikes me when I listen to Klaus Badelt’s score for the Pirates of the Caribbean: Curse of the Black Pearl, and is echoed with Hans Zimmer’s score for the following two movies in the sequel. It is noted that there is a fourth film in the entire Pirates of the Caribbean series, but it will not be taken into consideration in this investigation. In this study, I will examine how both film composers exploit their musical talents to enrich the experience of viewing Pirates of the Caribbean series, and more particularly how Zimmer transforms Badelt’s original score into a more suitable soundtrack for the sequels. The specific question asked is: How do Hans Zimmer and Klaus Badelt both use the film scores of the Pirates of the Caribbean series as a vehicle to convey messages and portray characterisation through musical elements.
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Body Background In order to truly understand why these two musicians produced the soundtrack we now hear today, we must first address the premise that they had to focus upon – pirates. Pirates are classified as a group of criminals that are known to sail the seas, pillaging merchant ships on the waters and the trading ports onshore. They are a dangerous group, and therefore the director needed a sense of danger to the film score. When Gore Verbinski decided to direct a movie about pirates, he wanted a great film composer that would help enhance the atmosphere of the exciting pirate adventures (which he would illustrate in his films). Thus, producer Jerry Bruckheimer hired two renowned film composers – Klaus Badelt and Hans Zimmer – to make the original soundtrack for Pirates of the Caribbean: The Curse of the Black Pearl directed by Gore Verbinski. He asked the composers to bring out both the “scary and funny” tone of it as it would remind him of his childhood memories of riding the theme park ride of Disneyland. Hans Zimmer is the composer that has contributed throughout the whole series of Pirates of the Caribbean. Therefore, this makes him the man that is all-knowing about his scores. During interviews, Zimmer has described what he aimed to achieve with the score and its role in the movie. He believes that he could provide the audience with a livid memory of the film. The process of perfecting this vehicle, as explained by many of Zimmer’s collaborators, such as Lorne Balfe, Bob Badami and Bruce Fowler, was a very time-consuming process that required heaps of concentration and many long nights. However, since only three weeks were spent on the development of the soundtrack for the Black Pearl, Zimmer expected this one to be of lesser importance in his career. Even though the music is played by an orchestra, I have acquired the film score for piano for all three films and will be basing all my musical findings upon this sheet music. These scores are not all complete with every detail of the song and may be altered by the publisher for simplicity reasons. Furthermore, not all songs from the original soundtrack are present, but only those that are the most recognisable and suitable to be transposed into piano sheet music. It is also noted that the music used in the film may not be entirely identical to the released soundtrack of the Pirates of the Caribbean series. The essay will be divided into several sections, each outlining a musical component present in the score, and only one example (song) will be provided per section. This song may not be the perfect example for the specific category, but it is sufficient to show that this musical element is present in the piece. The example may also contain elements that have been mentioned previously or will be mentioned.
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Characterisation Characterisation is commonly shown through the film music. The title of the soundtrack is actually named after the character in some instances. For example, there are songs named “Will And Elisabeth”, “Jack Sparrow”, “Barbarossa Is Hungry”, “Davy Jones”, etc. These titles indicate that the music is meant to illustrate the moods of these characters. There are also indirect links to characters, such as a leitmotif that is always played when Jack makes his humorous entrances. A leitmotif (German for “leading motif”) refers to a recurring theme associated with a particular person, location or idea. The same leitmotif is always played when Jack is introduced in the films, thus stressing the importance of these few notes and adds a whole new level of understanding to the character. Another example is an eerie motif played by claves and the pan flute that represents the mysteriousness of the pirates, sometimes followed by a dangerous sounding theme to portray all the obvious traits of the pirates. A succession of chords is present in “The Medallion Calls”, based upon the tonic and subtonic chords of D minor. By playing in a minor key, it gives a more haunting tone to all of the pieces. This is the main motif that represents Captain Jack Sparrow. Zimmer and Badelt maintain the harmony through these chords but also create a humorous emotion so that it has a playful ring to it.
Each chord is played by both hands separately, so that the jig is more bouncy and has more of an elastic feel. Played with more of a staccato touch, the notes are short and crisp. The longer rests at the end enhance the liveliness of the little tune for the captain. Since the bass clef is played in a very low register, then it has a booming voice that acts as a foundation and the treble only strengthens and provides a more comfortable pitch for the previous chord. This extract is short, and it serves it purpose perfectly. When Jack sets foot onto the dock, his famous motif is played and it gives him a more entertaining and ridiculous twist. In the second movie, his motif is played again when Jack escapes from the Turkish prison where he is first introduced again. Again in the third one, this motif is played when we see the captain stuck on his own ship in Davy Jones’ Locker. He never ceases to ridicule, which portrays his humorous personality.
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Rhythm A piece such as “The Medallion Calls” brings forth the adventurous nature of the pirates and the evil inside them – one piece can serve for several purposes. This bass line rhythm of the note D is also shared in the pieces “I’ve Got My Eye On You” and “Drink Me Up Hearties” & “Singapore” from Pirates of the Caribbean 2 and 3 respectively. The rhythm begins with an eighth note, then two sixteenth notes, followed by four more eighth notes as shown below:
The key is in D minor, which is shared by all the pieces alike with the time signature 3 over 4, where each beat is grouped together. For more emphasis, the bass line may be played as octaves, to produce the greatest effect of a strong thumping beat. Another method to play the left hand is to stress the first note of every measure (perhaps as an octave), so the D is heard in the bass. This bass rhythm is first set by snare drums and one long note held by violins and violas for two measures, afterwards played by cellos and double basses, and then the melody is sparked off by a strike on the bass drum. This bass rhythm sets a fast pace for the rest of the song, and also creates an exciting rhythm for heartbeat to follow, so the faster the more suspenseful. The fact that the last half of the first beat is filled with two sixteenth notes allows for the heart to skip a beat, creating more suspense. By using string instruments, Badelt is creating a soothing atmosphere as string instruments usually have smooth transitions. The build-up of instruments also adds to the atmosphere sculpted by the visual pictures of the film. In the Curse of the Black Pearl, this music is played when first introducing “Captain” Jack Sparrow (Johnny Depp), giving him a majestic figure while sailing on a small vessel that is slowly sinking, so the music creates a contradiction with what is happening on screen. By creating this humorous contrast, the director has turned the soundtrack at that instant into a device that creates a lasting image in the viewer’s mind. On the contrary, in At World’s End, the energetic theme is played when there is a fire fight between the East India Trading Company and the pirates in Singapore; hence the music adds to the suspense.
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Modulations The score, however, does not just contain catchy bass lines and majestic melodies, but is also full of modulations. Klaus Badelt has set the standard for such modulations like the extract shown below from “Blood Ritual”.
“Blood Ritual” contains a very slow and solemn introduction as it depicts the pirates trying to regain their real identity. This modulation is based upon the tonic intervals of D minor, which then descends to A minor. Since it is slow-paced, it allows for the listener to hear the clear change of key signature, fulfilling the purpose of a true modulation. By establishing this transformation, Badelt creates interest, and also shows that there is an oscillation of moods within the pirates. Hans Zimmer has defined the term “modulation” in a different manner and by adding a multiple variations in the extract below. Zimmer’s quick permutation adjoins two different themes related to Jack within the piece that was dedicated to him, entitled “Jack Sparrow”. In this case, it acts a bridge between these two themes, maintaining a high level of suspense.
In this extract, each chord is a modulation of the previous one. But however, it is noted that before and after the extract both are in the key of D minor. Contrary hand motion with irregular Page 8 of 17
chromatic intervals, as shown above, helps to maintain suspense as it acts as a breath-holder, so that the audience neither blinks nor breathes in order to follow the action. This corresponds exactly to the movies, as usually this section is played when there are swordfights or exchange of cannon fire between pirate ships. It may also act as a turning point at the end of the motif, as it acts as an unexpected and abrupt stop to the suspense.
Counterpoint Counterpoint, which is a relationship between two or more voices that can be completely independent melody- and rhythm-wise yet are harmonically interdependent and sound like a single symphonic piece, is rare but can be heard in “One Last Shot”. However, this is not written in the sheet music, so therefore the extract cannot be given. Two different voices are heard in the melody, while the horn’s voice is stronger and the strings give more of a harmonic sound to the melody, thus becoming a countermelody. This allows for two different messages to be conveyed, or a reinforcement of a present love theme.
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Tempo The tunes playing at the credits are magnificent in that they take all the highlights of the movie and gather them together for a quick summary of what happened in the previous two hours, which would then be a grand medley. Another piece called “He’s A Pirate” is always the first song heard when the credits begin in every single movie of the series. This bravado is a common trait shared in all the movies. This piece is a great last impression on the audience, and it almost captivates me to stay behind and listen to the whole piece. It also gives a tune for the audience to hum whilst leaving the cinema or wherever the viewer has seen the movie. This is the tune that the whole movie becomes associated with, and more so becomes the theme of the movie even if it has ties various love themes.
Above are the beginning measures which have an incredibly fast beat with an eighth note equal to 110. That is almost four times as a fast as a second. The time signature is strange variation to the normal
, which is a
, so each bar is twice as long but the tempo causes it to be
twice as fast. It could be either grouped as duplets or triples, so it gives the conductor choice over where he wants to stress the notes, as on the downbeat a small accent is usually present, even if not notated. It contains a similar melody line to “The Medallion Calls”, but since “He’s A Pirate” is quicker, it sounds different. It shares the same D minor key, which is common in many pieces and repeated in the later films.
Above is the majestic melody line for the bravado. Due to the tempo, the listener feels a rush as if everything has been accelerated. In turn, this creates an elevated feeling about the grand finale. The tempo in this piece is very strict as it is a march with the cello playing on every one and a half beats. The tempo is further strengthened by the cymbals that also reiterate the note played by the cello. Strictness is an essential component for the concluding song, as it gives the final message of the entire movie.
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Dynamics Contrary to all the exciting fast-paced music, Badelt’s slow and moving love themes never ceases to give chills. For example, “One Last Shot” plays when in the final minutes of the movie when the lovers embrace each other, therefore Badelt must produce a romantic atmosphere.
Badelt begins with a silent approach, starting at pianissimo, and slowly fluctuating the dynamics according the melody line in the left hand. High strings play a single D minor chord, and held with a tremolo throughout the whole extract, so that there is a constant pitch that exists in the higher register. This creates a euphoric feeling that allows the audience to truly appreciate the footage that is occurring on the screen. When the lovers hug each other, the audience usually has teary eyes, and this music helps to consolidate this emotion. When reaching the sixth measure, there is an awkward change in time signature to then turns to change it back to
and then to
. Badelt
. So effectively, he has used the time signature
to symbolise a gradual smorzando (Italian for “dying away”). It seems like each measure becomes fainter and more dragged. We see that this is an instant where there is a parallel between dynamics, time signature and tempo. Then there is a sudden change in tone when the bare eighth note rhythm is reintroduced, and this is more energetic, so leading to a greater volume. A change in volume gives the impression that something new and exciting is being introduced.
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Instrumentation The orchestration of the soundtracks varies from film to film, producing a generic sensation to each movie. Generally, the Curse of the Black Pearl has a simple orchestration structure: louder sections are played by low brass and low strings while quieter sections are played only by strings or sound effects. A vital characteristic in this score’s sound is the horn, which plays all of the melodies in louder parts, usually doubled by different string instruments. All other necessary sounds required for the film was created digitally. In the following films, Zimmer has transformed the score so that it was more dependent on orchestral instruments rather than synthesizers and sampled instruments such as tom-toms and cymbals, etc. By making this change, Zimmer has given a livelier feel to the score. Zimmer describes his work on Pirates of the Caribbean as something that is “fun”, because he enjoys working with such styles of movies: where new melodies can be created whilst maintaining the same theme and he can also turn more to a “rock and roll” side of music. Although it is not clearly heard, there is a progressive use of guitars, both bass and acoustic. This is seen in the opening premiere of At World’s End at Disneyland. By adding this touch, Zimmer has effectively provided the orchestra with a crazy sense so more soul can be poured into the score, thus engraving the message deep into the viewer’s mind.
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Further Development In contrast to Badelt’s original themes for the characters, Hans Zimmer has also created some melodies of his own such as “Davy Jones” and “What We Shall Die For” that spark off different emotions. These pieces contain their own special effect that entices the audience in a completely different method. Hans Zimmer has not strayed off the road Badelt paved, but has offered several alternate routes to that destination as well. Davy Jones is a mythical sea creature that has been recreated by Verbinski to be the antagonist in the second and third films. He has an appearance with a face like a squid, a crab claw, a wooden leg and much more and there is a story that accompanies this tragedy. This story has been dictated musically with his music box and organ.
This piece is very mournful and grave, as it is played in the minor key to bring forth the discomfiting tone of Davy Jones. When played in the higher register, it provides a sympathetic emotion for the awful situation Jones has been in. There is an abrupt transition between the music box, which is actually, and the organ, which signifies envy and revenge.
The organ, which is played more heavily, signifies that there is action taking place in that his story may have reached a climax, while in the movie it may be a sad scene. Afterwards, it dies down again, so it tells the audience that the action has subsided.
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One piece that I find startlingly attractive is called “What Shall We Die For” even though it is a short piece of two minutes. This potent piece is a choral and orchestral twist on the traditional “Hoist The Colours” song, where Elizabeth is giving her speech before the final great stand-down. It is a glum and solemn piece played by the horn and strings. It has a relatively slow tempo and the melody (horn) is composed of whole notes and further built upon that with various instruments such as strings and voices.
This suspenseful build-up of instruments signifies how that victory is becoming more apparent by the second, so that it serves as a source of hope for the pirates. The steady beat of the bass drum functions as a tempo for the heart, and as there is a slight accelerando, so that is an increase in heart rate. Since the piece is built upon a two minute long crescendo, the message is that the will of the pirates is growing stronger by every second. This extract ends on a G major chord, to show that victory is becoming evident. It is known that major chords are associated to happiness and joy, while minor chords are more sombre and grave. It is known that complicating the score may be prone to criticism and remove the main messages. The development in these pieces is substantial, yet they remain so appealing to the human ear. Many of these concluding pieces are just merely repetitions of previous themes (that have been played in order to separate between the different characters) and combined together to portray that unity has finally been reached, so that the conflict is now over. “One Day” is a beautiful piece that is played after the pirates have won their well-deserved victory over the East India Trading Company. An underlying eighth-note rhythm is present continuously and ties Jack’s arrival theme and the three love themes into one piece. This piece is original in the third movie and conveys that they have emerged victorious after all the fighting that has taken place. This piece is a clear example of how Zimmer has just created bridges between four different themes to make a song, as he wants to depict that the differences have been settled with one enormous battle.
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In this song, lower strings are used to set the ambient background, while higher strings develop the main melody. This gives a sad yet majestic feeling since it depicts that they have just won a tremendous battle, but along with it also have gone some losses, as every conflict does. The main melody notes are long, shaping an atmosphere similar to a requiem, but the sixteenth notes serve to moderate the atmosphere so there is a fine balance between sorrow and exhilaration. We see that Zimmer has taken Badelt’s original score to a new level by bringing his own taste of music to the pit.
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Conclusion Through these soundtracks, both composers have illustrated their excellent musical perception and put their thoughts on paper. To demonstrate their musical talent, they have decorated this magnificent trilogy with their memorable leitmotifs and melodies. Each time we hear a song from the Pirates of the Caribbean trilogy, you can identify which character the song is related to, or what imagine which scene is occurring. This is indeed a fully functioning vehicle to base all musical foundations upon. Within this vehicle, there are various tempos, altering dynamics and ambivalent instrumentations, all enclosed in three valiant film scores. Both composers excessively use modulations to stress their point. These features all benefit the score by surfacing the hidden messages within it. Thus, we see that one portion of a piece can serve as several functions so that each can convey a different message. In effect, the first movie has set the main theme for all of the following ones, so it becomes more unoriginal, thus Hans Zimmer does not get full credit for his work since it was mostly Klaus Badelt’s score in the first movie. With the collaboration of Zimmer and Badelt, they have both brought forth another sense to the movie, ranging from exciting fast-paced bass rhythms with majestic tunes to slow and moving romantic themes all compiled in three films. With this music, they have implemented several musical devices and indicated clear messages through the film, both in themes and details. Also engraved in the score are several places that allow for characters to be introduced and become known to the audience, henceforth portraying characterisation. Although Pirates of the Caribbean is not recognised as one of the ultimate works of motion pictures for musical genius, there are clearly hints that a deeper meaning exists below the superficial melodies and chords. So therefore, I conclude that both composers have utilised the film score profusely to convey the director’s messages and portray characterisation.
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References/Bibliography 1. Badelt, Klaus. Pirates of the Caribbean: Curse of the Black Pearl. Hal Leonard Corporation. 2. Zimmer, Hans. Pirates of the Caribbean: Dead Man’s Chest. Hal Leonard Corporation. 3. Zimmer, Hans. Pirates of the Caribbean: At World’s End. Hal Leonard Corporation. 4. Pirates of the Caribbean: Curse of the Black Pearl. Dir. Gore Verbinski. Perf. Johnny Depp, Orlando Bloom, Keira Knightley. DVD. Walt Disney Pictures, 2003. 5. Pirates of the Caribbean: Dead Man’s Chest. Dir. Gore Verbinski. Perf. Johnny Depp, Orlando Bloom, Keira Knightley. DVD. Walt Disney Pictures, 2006. 6. Pirates of the Caribbean: At World’s End. Dir. Gore Verbinski. Perf. Johnny Depp, Orlando Bloom, Keira Knightley. DVD. Walt Disney Pictures, 2007. 7. Twelftree, Rodney. "Top 10 Film Composers » Top 10 Films – Film Lists, Reviews, News & Opinion." Top 10 Films – Film Lists, Reviews, News & Opinion. N.p., 27 Sept. 2010. Web. 21 Aug. 2011. http://www.top10films.co.uk/archives/3841. 8. "Filmtracks: Pirates of the Caribbean: The Curse of the Black Pearl (Hans Zimmer/Klaus Badelt)." Filmtracks Modern Soundtrack Reviews. N.p., 22 July 2003. Web. 27 Aug. 2011. http://www.filmtracks.com/titles/pirates_caribbean.html. 9. "Filmtracks: Pirates of the Caribbean: Dead Man's Chest (Hans Zimmer)." Filmtracks Modern Soundtrack Reviews. N.p., 1 July 2006. Web. 27 Aug. 2011. http://www.filmtracks.com/titles/pirates_caribbean2.html. 10. "Filmtracks: Pirates of the Caribbean: At World's End (Hans Zimmer)." Filmtracks Modern Soundtrack Reviews. N.p., 18 May 2007. Web. 27 Aug. 2011. http://www.filmtracks.com/titles/pirates_caribbean3.html. 11. Elegyscores. "Hans Zimmer - making of PIRATES OF THE CARIBBEAN Interview 1/2 - YouTube ." YouTube - Broadcast Yourself. . N.p., 9 May 2011. Web. 27 Aug. 2011. http://www.youtube.com/watch?v=V1zUrHWAQfc. 12. Elegyscores. "Hans Zimmer - making of PIRATES OF THE CARIBBEAN Interview 2/2 - YouTube ." YouTube - Broadcast Yourself. . N.p., 9 May 2011. Web. 27 Aug. 2011. http://www.youtube.com/watch?v=R9Tx_9qnHJc&feature=related.
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