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
2
3
4
5
6
7
8
9
10
11
12
13
16
17
Page 1 of 17
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.
Page 2 of 17
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.
Page 3 of 17
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.
Page 4 of 17
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.
Page 5 of 17
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.
Page 6 of 17
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.
Page 7 of 17
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.
Page 9 of 17
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.
Page 10 of 17
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.
Page 11 of 17
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.
Page 12 of 17
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.
Page 13 of 17
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.
Page 14 of 17
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.
Page 15 of 17
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.
Page 16 of 17
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.
Page 17 of 17