The Soundtrack Space: Jaws

John Williams is one of the most successful composers of all time. His soundtracks are iconic and recognisable. Williams’s soundtrack for Jaws (1975), directed by Steven Spielberg, is no exception. It is a masterful example of soundtrack composition that perfectly captures the feeling of watching this horrifying story of a small town terrorised by a great white shark. Williams deservingly received many accolades for the soundtrack, including an Academy Award and a Golden Globe.  

Williams’s incredible work is showcased right from the start of Jaws, as we see the horrific first victim of the bloodthirsty, unknown creature. In ‘Main Title And First Victim’, we get our first instance of the legendary Jaws theme. The classic motif includes two notes played on the tuba. The low notes, played slowly at first but rapidly increasing in pace, evoke an unsettling, suspenseful feeling in the audience. The pace is relentless and unstoppable, just like the shark. The piece escalates with shrill brass notes, almost like alarm sounds, and frantic strings. It crescendos with a cacophony of instruments, portraying the moment when the shark attacks.  

With those two notes, Williams crafts an unforgettable villain

By not showing the villain right away, the horror is increased. Williams is able to capture the existence of this evil without the audience seeing it onscreen, as the soundtrack becomes the distinguishing feature of the villain. We do not know anything about it, but when we hear the music, we experience a feeling of dread as we know that something awful is going to happen. The motif occurs when the shark is actually there, so any false alarm moments (like the fin at Amity beach) do not use the notes. With those two notes, Williams crafts an unforgettable villain. Williams’s work for Jaws has a life of its own external to that of the film – even if you have not seen the film, you have heard those notes. 

Spielberg pays much attention to creating Amity Island, the perfect holiday destination that is about to become the site of a bloodbath. In ‘Montage’, Williams uses an upbeat tone to reflect the Fourth of July spirit, as tourists flock to Amity beach. He employs a classic melody with trumpets to give it a cheerful tone, a stark contrast to previous scenes. It exaggerates Brody’s (and the audience’s) frustration that the Mayor has refused to close the beach, as we know what will happen next, and that this happy music will not last long.  

Williams’s score alternates between a horror film and a swashbuckling adventure. When the hunting group decide to actively pursue the shark, the music shifts to a nautical theme in ‘Out To Sea’. Hopeful high-pitched flute and a string melody provide an upbeat, optimistic tone. This shifts to a tense sound with dramatic strings, reminding us of what they are actually there to face.  

 There is still a sense of optimism, though, through upbeat flute and militaristic drums

The adventurous optimism does not last long. The next track, ‘Man Against Beast’, is the moment where the group first come face-to-face with the great white shark. The first note, a shrill brass sound, marks the moment where the shark pops out of the water in a startling jump-scare. The iconic improvised line, “you’re gonna need a bigger boat”, occurs in this scene as they see the full scale of the shark. Williams’s motif is used to convey the danger they are in. There is still a sense of optimism, though, through upbeat flute and militaristic drums, as their plan to attach barrels to the shark is in action.  

‘Blown To Bits’ soundtracks Brody’s final efforts against the shark. It is a loud piece with a cacophony of uncomfortable brass and drums. The piece is not without hope, though, as the nautical sound is again used when we see Brody’s resourcefulness against the shark in a close-quarters attack. It is incredibly suspenseful, with the relentless motif getting louder as the shark gets closer to Brody. This is triumphantly cut off once Brody manages to blow up the shark by shooting the air cylinder in its mouth.  

Jaws ends somewhat happily as Brody and Hooper are reunited and they swim to shore. Williams conveys their sense of accomplishment in ‘End Titles’. The music is peaceful, with a steady melody of wind instruments and swelling strings. Williams’s score for Jaws is one of the best soundtracks of all time. He is able to craft a terrifying villain in two notes, while also marking a transition from sheer horror to adventure through the nautical theme.