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Christina Antosiak
Music 344: Wind Rep Project
April 2, 2012
Analysis of “Godzilla Eats Las Vegas” by Eric Whitacre
1. Broad Description
Eric Whitacre, at age 27, is a remarkable composer. His band pieces were written for the
wind ensemble at the University of Nevada-Las Vegas. “Godzilla Eats Las Vegas” is the
soundtrack for an imaginary and very funny film script that has Godzilla mamboing as he
demolishes Las Vegas. Once the Luxor casino’s sphinx has seduced the beast, and army of
Elvises attacks and defeats it. The music—complete with shrieking horns, band members yelling
“mambo,” and depictions of famous Vegas entertainer—is utterly entertaining.
2. Type/Genre
Whitacre’s composition was written for a wind ensemble.
3. Background Information
A. Style Period: Whitacre’s composition was first performed in 1996 (the 20th
Century). In short, in my opinion, Whitacre’s composition is characteristic of this
style/20th century music because 20th century music entails the following
elements: tone color, composers used noiselike and percussive instruments, the
glissando was used more, variety of rhythmic patterns (irregularity and
unpredictability), composers weren’t tied down to using traiditional chords (for
dissonance/consonance), there was no central tonal system (i.e. major or minor
scale—the song can change in the 20th century) but rather an expansion of tonal
abilities/ideas, the time signature would change in the middle of the piece,
polyrhythmic music (more than one rhythm would be played at the same time by
different sections), and unpredictable melodies were a given due to the above
elements. In my opinion, Whitacre’s “Godzilla Eats Las Vegas” is characteristic
to 20th century music.
B. In the compositional style of the composer? Yes. Whitacre, writes the following
types of compositions for music: SATB Choral, SSA Choral, TTBB Choral, Wind
Symphony, Orchestra, Solo Voice, Music Theatre, and Film Scores. His
repertoire is known to contain contemporary sounds and influences while
demanding precision, intonation, and ensemble. His rhythms often contain mixed,
complex, and/or compound meters and his pieces have frequent meter changes
and unusual rhythmic patterns. Another key feature of his music is his use of
aleatoric/indeterminate sections as well as unusual score instructions involving
hand actions or props (a lot of the above are notated within “Godzilla Eats Las
Vegas”).
C. Why did the composer write this piece? Taken from Eric Whitacre’s website he
states: “It took me seven years to get my bachelor’s degree from the University of
Nevada, Las Vegas. By the time I graduated I was ready to eat Las Vegas. Tom
Leslie, conductor of the UNLV Wind Orchestra, asked me to write another piece
for the group as I was leaving, and I thought it would be a blast to do something
completely ridiculous.”
D. Who originally performed the work and in what setting? “Godzilla Eats Las
Vegas” was commissioned by the University of Nevada Las Vegas, Thomas G.
Leslie, conductor, and received its premiere November 28th, 1996.
E. Associated traditions/additional Considerations? Whitacre states that this piece
calls upon the players: “to scream in terror, dress like Elvises (Elvi), and play in
about thirty different styles from mambo to cheesy lounge music. The audience
follows a ‘script’ that I wrote simulating a campy, over the top ‘Godzilla’ movie
(is there any other kind?). I wrote the bulk of the piece while in my first year at
Juilliard, and no kidding, I used to act out the script every morning devouring
animal crackers, wreaking havoc all over the breakfast table. The ‘script’ was
originally twice as long, and had an entire subplot devoted to a young scientist
and his love interest. As I started to finish the piece, however, it didn’t seem that
funny and that story (along with an extended Elvis tribute) ended up on the
cutting room floor. The idea that this piece is being played all over the world in
such serious concert venues is the single funniest thing I have ever heard. It has
been played on the steps of the Capitol by the United States Marine Band, by the
Scottish National Wind Symphony (they play in kilts, so help me God), and I
have a video of a Japanese audience visibly confused and shaken by the whole
experience. Can you imagine? I’m laughing my head off even as I write this! The
performers are encouraged to go crazy: wear showgirl costumes, Elvis costumes,
act out scenes on stage, use video and lighting – anything to get a laugh.
4. Write a paragraph per element.
A. Form:
The form of “Godzilla Eats Las Vegas” is, as stated on Whitacre’s site,
divided into two differential parts—a part 1 and part 2. Therefore, the piece is AB
form. The structure and the organization of the score is interpret what you may
from what Whitacre says: “I used to act out the script every morning devouring
animal crackers, wreaking havoc all over the breakfast table. The ‘script’ was
originally twice as long, and had an entire subplot devoted to a young scientist
and his love interest. As I started to finish the piece, however, it didn’t seem that
funny and that story (along with an extended Elvis tribute) ended up on the
cutting room floor. The idea that this piece is being played all over the world in
such serious concert venues is the single funniest thing I have ever heard. Can you
imagine? I’m laughing my head off even as I write this! The performers are
encouraged to go crazy: wear showgirl costumes, Elvis costumes, act out scenes
on stage, use video and lighting – anything to get a laugh.” In other words, the
piece contains various elements. I was laughing out loud reading the above too
and even while listening to the piece. Honestly, there isn’t a set structure/form.
For example the scores tempo markings have no hint of a structure: bright and
flashy (quarter note = 144), sing, then a relaxed rumba (quarter note = 128-136),
sing, slowly with terrible anticipation (quarter note = 62-66), Maestoso! Sempre
Pesante, mysterioso, pesante, singing (half whistle with wide vib.), allargando,
mambo furioso, scream, lisstesso tempo, big vegas swing, easy swing, allegrando,
liberace!, tempo tragic, molto allargando, doloroso, march of the elvi, quickly,
freely, tempo di tango, poco piu mosso, stringendo, listesso tempo, broadly,
allargando, maestoso, piu mosso, and expressivo. In my opinion, there really is no
structure: but rather Whitacre is showing a Part 1 and a Part II with a story and the
score’s structure is defined through this:
Part One
FADE UP
It is a Bright and Sunny day as the sequined curtain rises on tinsel town, and the excitement of a
new day filled with the possibility of The Big Payoff is practically palpable. The band kicks off
the show in high gear and all is well as we suddenly hear:
CUT TO DESERT
A lone shakuhachi flute usher the arrival of something really VERY bad.
CUT BACK TO BAND
A relaxed rhumba. showgirls blissfully jiggle.
CUT TO MILITARY COMMAND CENTER (stock footage)
Morse code signals the confirmation of approaching doom.
CUT BACK TO BAND
The players finish off their third set and head for the bar; outside we hear:
SLOW ZOOM
Oh no, oh no, oh no, it’s:
CLOSE UP
Godzilla! Glorious Godzilla!
VARIOUS QUICK CUTS (stock footage)
Godzilla destroys cars, screaming tourists, ect.
CUT BACK TO BAND
The band, quasi Greek Chorus, calls for Godzilla to Mambo.
GODZILLA, FULL FRAME
Godzilla mambos, casually crushing hysterical Vegans without missing a step.
EXTREME CLOSE UP
A tiny terrier barking bravely, then:
CUT BACK TO GODZILLA
Demolishing everything in his path… not even the doggie escapes!
WIDE PAN
As Godzilla heads down the strip, searching relentlessly for:
CLOSE UP (stock footage)
Frank Sinatra (Stomped!)
CLOSE UP (stock footage)
Wayne Newton (Stamped!)
CLOSE UP (stock footage)
Liberace (Stepped upon!)
VARIOUS CUTS
The Village Gods destroyed, Godzilla continues his carnage until the City of Sin is leveled!
Part Two
FADE UP
A fearless army of Elvises (Elvi) appear in the distance, formation marching through the littered
streets
VARIOUS CLOSE UPS
The Elvi attack, using bombers, missiles, ect.
EXTREME CLOSE UP
One wicked laugh from Godzilla and the Elvi scatter like mice!
QUICK CUT (stock footage)
The Sphinx sits outside The Luxor, looking seductive in a Mae West sort of way.
CLOSE UP
Godzilla takes one look and his eyes pop out of his head.
QUICK CUTS
The Sphinx (Sphinxtress?) seduces the Reptile, who instantly falls in love and begins to…
WIDE SHOT
…tango with her.
SPLIT SCREEN
As they dance, the Elvi slowly regroup and head for the:
QUICK CUT (stock footage)
Pirate ships at Treasure Island
ACTION SEQUENCE (MONTAGE)
The Elvi approach the dancing monster and launch a ferocious volley of cannonballs directly at
him.
QUICK CLOSE UPS
The cannonballs find their mark, and Godzilla:
WIDE SHOT
Falls to the ground, annihilated. The Elvi are triumphant!
CROSSFADE
The lounge is open again, and the city of Las Vegas toasts the victory. The scene climaxes with:
VARIOUS CUTS (stock footage)
People happy, tearful, ect. Stock footage, stock music.
SLOW FADE OUT AND FADE UP
A dark, ominous, and very familiar sound…
SLOW ZOOM
Godzilla lives! Godzilla lives! Complete terror (possible sequel?).
WIDE SHOT
The Show is over. The End.
FADE TO BLACK
B. Rhythm:
“Godzilla Eats Las Vegas” contains both frequent meter changed and
unusual rhythmic patterns. In the form section (part A above) we can already
realize that different sections (i.e. the mambo vs. the bright vs. the cocktail jazz)
are going to contain different rhythmic motives, meters, and challenging rhythms.
Some rhythmic ideas that I noted from reading the score are as follows: the notes
range from sixteenths/7 notes in 1 quarter note/whole notes/quarter notes/dotted
sixteenth/dotted quarter/etc, there’s free rubato/soloistic sections (clarinet,
mallets, saxophones, etc), the tempo changes bring about difficult rhythmic
changes (i.e. students must respond to the correct tempo to perform the correct
rhythms), there’s lots of singing and screaming (thus, this must fit into the rhythm
correctly too), there’s growl/flutters (within the flutes, piccolo, oboe, clarinet,
saxophones, and horns), there’s a trombone part that reads verbatim “open
C.
D.
E.
F.
slowly—quasi bomber” (haha) anyways, the students must know the meanings of
all of the above and how to incorporate the correct rhythmic patterns within the
tempos, changing meters, etc.
Melody: shape
As stated above, there is no distinct melody within “Godzilla Eats Las
Vegas” but rather the theme is based upon Part 1 and Part 11 that solely
encompass the story of how Godzilla eats and kills everything, supposedly dies,
but is still alive! In short, we can state that (as stated in the form section) this
composition contains the following themes/tones/melodies within the piece: bright
and flashy (quarter note = 144), sing, then a relaxed rumba (quarter note = 128136), sing, slowly with terrible anticipation (quarter note = 62-66), Maestoso!
Sempre Pesante, mysterioso, pesante, singing (half whistle with wide vib.),
allargando, mambo furioso, scream, lisstesso tempo, big vegas swing, easy swing,
allegrando, liberace!, tempo tragic, molto allargando, doloroso, march of the elvi,
quickly, freely, tempo di tango, poco piu mosso, stringendo, listesso tempo,
broadly, allargando, maestoso, piu mosso, and expressivo.
Harmony:
Whitacre is known for his “Whitacre chords.” In other words these are
pan-diatonic clusters usually arranged in successive increasing or decreasing
density. Whitacre achieves this growth and decay by splitting voices divisi—in
one case up to 18 parts. These sonorities can often be read as seventh or ninth
chords, with or without suspended seconds and fourths. Perhaps his most famous
chord is a root-position major triad with an added major second and/or perfect
fourth. Whitacre makes frequent use of quartal, quintal and secundal harmonies,
and is also known for his use of unconventional chord progressions. In “Godzilla
Eats Las Vegas” Whitacre employs, in what I have notated, his “Whitacre chords”
with pan diatonic chords and many (many!) dissonant chords/harmonies. The
piece begins in C, changes to Db Major (for 1 measure!) and immediately
resolves back to C. The dissonance, overall, is incredible. The piece may stay in C
but accidentals are used within every instrument of this piece.
Timbre:
The timbre of this piece is phenomenal. Following, I’d like to provide you
with the instrumentation and then talk about how that flows into the piece:
singers, piccolo, flute I/II, Oboe I/II, Bassoon I/II, Bb Soprano Clarinet I/II/III,
Bass Clarinet I/II, Alto Sax, Tenor Sax, Bari Sax, Bb Trumpet I/II/III, Horn
I/II/III/IV, Trombone I/II, Bass Trombone, Euphonium, Tuba I/II, Piano, Mallet
Percussion, Timpani, Percussion I/II/III/IV with varied needs of: bass drum, bells,
bongos, chimes, claves, concert tom (1), cowbell, cymbals (crash, splash, and
suspended), flexatone, glass/garbage cans, gong, lion’s roar, marching machine,
marching whistle, mark tree, ratchet, snare, tambourine, tam-tam, timbales,
triangle, vibraphone, and a xylophone. The above color/instrumentation/voicing
parts really elaborate the story line of this piece in its: mambo style, cocktail jazz,
elvis style, bright and flashy style, mysterioso, pesante, liberace, allargando, etc
because with all the above instrumentation it adds color and thus adds the effects
of the story.
Texture:
The texture of “Godzilla Eats Las Vegas” is mainly homophonic but also
contains some homorhythms. The piece is phenomenal in portrarying this texture.
For example, he gives clarinets the main line, then saxophones, then flutes, then
the brass, then the percussion, then someone screams (i.e. all the instruments get
something!).
G. Expression:
The expression within Whitacre’s piece contains differential dynamics,
phrases, articulations, and especially tempo markings. The dynamics range
anywhere from p, fp, pp, ff, f, mf, mp, f mp, etc; the dynamics contained in this
piece reflect Godzilla and the people/dogs/etc within the story line. Similarly, the
articulation is akin to the dynamic level: very differential and it also represents the
story line of this work (i.e. short, accented notes, long, staccato, legato, etc). The
phrases reflect the tempos they are set in. For example, the beginning is
characterized as “bright and flashy” at quarter note = 144 and the phrases
showcase fast 16th note patters in the clarinets and flutes and then the flutes trail
off into trills and the brass instruments begin a mirror pattern of the short melodic
idea until rehearsal letter A. At this point every instruments phrase and tempo
change again, this time into “bright 2.” Afterwards, the composition follows suite
into constant changing dynamics, phrase structures, and tempos.
H. Additional music considerations: moments of tension and release, drama,
unity, what makes it interesting?
This is a great question! This entire piece is interesting. In my opinion, the
tensions and ends of phrases that lead to the new exciting tempos are exciting.
The different instrumentation (singing/screaming/etc) is unique in that I’ve never
heard all of these components used in a piece before. Furthermore, the story line
is hilarious and I love how Whitacre even states that he finds it funny that his
composition has been performed in serious venues: steps of the Capitol by the
United States Marine Band, by the Scottish National Wind Symphony (they play
in kilts, so help me God), and I have a video of a Japanese audience visibly
confused and shaken by the whole experience.
5. The heart of the music
The heart of Whitacre’s “Godzilla Eats Las Vegas” is not about all these technical
concepts, as listed above, but about the story line and emotion of the piece. As
Whitacre states: “It took me seven years to graduate . . . I was ready to graduate! . . . I
used to act out the script every morning devouring animal crackers, wreaking havoc
all over the breakfast table. . . As I started to finish the piece, however, it didn’t seem
that funny and that story (ended up on the cutting room floor) . . . The performers are
encouraged to go crazy: wear showgirl costumes, act out scenes on stage – anything
to get a laugh.” In my opinion, I think Whitacre was sick of college and rather than
writing some serious composition that had to fit the musical parameters for a wind
repertoire piece, he thought forget that! I’m writing something hilarious and fun!
Honestly, in my opinion, the heart of the music here is for people to laugh and enjoy
the piece.
6. Concepts that can be taught using this composition. What concepts are most
important to teach from this? Name 4 or 5.
1. Not all wind repertoire has to have a main melodic line.
2. Your percussion section will become knowledgeable from all the
differentiation of instruments they will have to use.
3. Your band will learn a lot about various different tempos and how to quickly
alternate. This is useful in general with music (can help with sight-reading I
believe).
4. Your band will learn various differential unusual rhythms and how to
incorporate those in different tempo settings.
Works Cited
American Record Guide61:2 (March-April 1998) p. 69. Durable URL:
http://gateway.proquest.com.proxy2.library.illinois.edu/openurl?url_ver=Z39.882004&res_dat=xri:iimp:&rft_dat=xri:iimp:article:citation:iimp053428_3
Whitacre, Eric, and . "Godzilla Eats Las Vegas." Eric Whitacre: Composer, Conductor,
Lecturer. Eric Whitacre, 2012. Web. 2 Apr 2012. <http://ericwhitacre.com/musiccatalog/wind-symphony/godzilla-eats-las-vegas>.