Rhythm of the Shark

Brisk Walking Pace (M.M = 100 - 110) Jeff Smith

 
``Swimming in the deep''

Piano

    
               
f

    

  
5 ``What's that smell?''

f  
    
               

    

  
9 ``I've gotta find that smell'' ``Look at them run''

 
    
               


1

      
13 3 ``I like it when they run''

       
ff
    
             

      

17 ``Dodge to the left'' ``Dodge to the right'' ``Here I come!''

      
    
             

Hand



21 motions

fff
     
            
 2

 
``Swallow some tuna.''
 



26

mf
     
          

 

    
31 ``Swallow some cod.''

 

     
              


36 ``I feel good.''

    
               




40 ``Real good.''

    
               

``Swimming in the deep''



44

    
                
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Music engraving by LilyPond 2.10.33—www.lilypond.org

 Educational Notes for “Rhythm of the Shark”
Jeff Smith
Music can be an engaging and illustrative compan-
ion to many topics in modern education. Sadly,
there is little that deals intelligently with the lives
of sea creatures. The most popular examples, Dis-
ney’s Under the Sea and the Beatles’ Octopus’s
Garden, paint a world of whimsy and delight about
the creatures who inhabit the ocean, without say-
ing much of consequence about the lives those crea-
tures lead.
“Rhythm of the Shark” was written in an attempt
to convey something of the reality of life as a shark.
It is intended to be both rhythmically and concep-
tually engaging; entertaining as well as informa-
tive. In addition to the music itself, the piano score
also contains notes for an optional narration, which
strives to annotate the elements of the score and
the imagery each section is trying to evoke. For
younger audiences, performance of the narration
is an important aspect of creating the full, educa-
tional experience, allowing the children to create
more vivid mental imagery to associate with the
music.
For an older, more discerning audience, the narra-
tion can either be omitted altogether, or performed
in conjunction with an encore performance of the
music, depending on the instructor’s assessment of
how well the audience made the connections for
themselves.
The Imagery
Most sharks are incapable of pumping water past
their gills unless they are in motion. Consequently,
they must be constantly in motion to avoid drown-
ing. To illustrate this, I wanted to choose a rhythm
to represent the undulating motion of the shark’s
tail. And since sharks are cool, dangerous and
predatory, I felt a very low, gutteral bluesy motif
would work best.
To illustrate the shark’s need for constant motion,
3
I’ve placed this theme on the left hand and kept it
going, monotonously, throughout the entire com-
position.
Bars 1 - 4
The introductory bars establish the shark theme
and set the mood for the rest of the composition.
The hungry predator patrols his domain.
Bars 5 - 12
Sharks have an amazing sense of smell. Not only
can they smell a single particle of blood amidst a
million particles of seawater, but they also have an-
other sense organ that it is believed permits them
to smell the electro-magnetic field emitted by their
prey. (All living creatures radiate some degree of
electro-magnetic radiation.)
These bars of music represent the rising curiosity
of the shark, as it becomes aware of the sense of
distant food and sets out to investigate.
Bars 13 - 20
Having followed his senses, the shark encounters his
prey. A chase ensues as his intended victim takes
flight. The music (in the right hand) takes on a
more strident rhythm, evokative of rapid respira-
tion and increased tension. In the second half of
this section, the shark closes in and his desperate
prey attempts some last minute evasions.
Bars 21 - 28
Carnage. The bright, sharp and slightly dischor-
dant chord attacks in the right hand conjure images
of flashing teeth and devastation.
When performing the narration, hand motions are
called for in bar 25. To perform the hand mo-
tion, extend your arms straight out in front of you,
palms facing together, with your fingers interlaced,
but stiff and straight. In time to the music, raise
your right arm away from the left (moving from
the shoulder) and clash your arm back down again.
Do this two or three times, to suggest the image of
shark jaws opening and closing. Do not repeat this
motion any longer than to the end of bar 26.
Bars 29 - 36
The excitement of the chase and the kill now past,
the shark can turn to his meal. The slow, languid
and descending chords in this section feel like pieces
of meat floating slowly downward. Their longer du-
ration and more peaceful tonality also represents
the slowing heartbeat as the shark recovers from
the exertions of the chase. As suggested in the nar-
ration, it can also be interpreted as the sounds of
lunch being swallowed and moving down the gullet.
Bars 37 - 44
Having finished eating, the shark swims about his
kill site, looking for remaining scraps. I’ve taken
the liberty of a touch of anthropomorphism, allow-
ing him to feel self-satisfied and perhaps a touch
arrogant. He is the king of his domain, at the top
of the food chain and at the height of his power.
This is his victory dance.
Bars 45 - 48
The excitement now completely over, the funda-
mental theme, which has been there all along,
regains dominance, reminding us that no matter
what else may happen in his life, no matter what
distractions or interruptions might come his way,
this shark must always keep moving. The music
fades out as he swims off into the distance, return-
ing to patrol mode.
Further Notes
As a scientist, a composer and an educational the-
orist, I am intrigued by the notion of using music
to create accessible, visceral experiences of curricu-
lum material. By combining these multiple dimen-
sions of scientific content, artistic expression, visual
imagination and literary metaphor, I believe that a
single lesson conducted in this manner can deliver
so much more than just the content of a science
unit. Music engages the mind on many different
levels, working in concert to create an experience
that transcends its component activities. I believe
it is a powerful tool for conveying academic content
in a way that is understood and remembered.
With this in mind, I am allowing “Rhythm of
the Shark” to be used without charge for non-
commercial purposes. I ask only that you send me
an email to let me know that you are using it, and
to let me know how it was received by your audi-
ence.
Direct all enquiries to me by email at
jeff@smithicus.com.