board77

Helm's Deep:


[0:00]As a warg pounces on poor Hama, the Isengard theme is stated on solo tuba. This leads into a rapid brass phase based on the Isengard theme.[0:12]As Legolas appears and lets loose his arrows a martial brass and percussion motif (previously heard while Eomer's riders attacked the orcs earlier in the film; unreleased) rises and builds.[0:24]As Aragorn races back to warn the caravan a trumpet sounds the alarm over heavy percussion.[0:53] The percussion continues with a deep drumroll; then:[0:56] As Theoden tries to convince Eowyn to lead the people to Helm's Deep and she tries to convince him to let her fight, the percussion is joined by an Old English choir.[1:11] As he rides off, a heroic brass motif that had been gathering itself comes to the forefrount. Choir and brass build to epic proportions and a crescendo as Aragorn locks eyes with Eowyn, then rides off.[1:36]The horn call from 0:24 is reprised and followed by a drum roll as they mount the hill, and see the wargs.[1:45]
Lyrics:

Quote:

Hwær cwóm helm? Hwaer cwóm byrne? Where is the helm and the hauberk,
Hwær cwóm feax flówende? and the bright hair flowing?
Hwær cwóm hand on hearpestrenge? Where is the hand on the harp string,
Hwær cwóm scir fýr scinende? and the red fire glowing?

The horn call as Aragorn runs back to the group reminds me of a western; the bugle calls as a scout races back to the wagon train to warn them indians are attacking etc.

The use of Old English choir reaches a turning point in the score here; previously it had been only been used as an elegy. Now they fight. The combined brass, percussion, and choir make a very rousing call to arms.

Perhaps too rousing, as it was either re-recorded or re-mixed for the film; which has strings in place of the choir for most of the piece.


[1:46]After Theoden says that they will leave the dead, and as Legolas and Gimli stand stunned, a melancholy string phrase enters.[1:57]As the scene cuts to the refugues arriving at Helm's Deep, "The Call" is given a sweeping rendition by the strings that builds to a peak at[2:25]A note is held as Eowyn enters the refuge.[2:31]Wistful strings lead to[2:40]A martial renditiom of the Rohan theme, for hardanger fiddle and deep percussion, as the camera pans over the fortress.[3:00]The last section of the theme is given an emotional rendering on strings as the two children are reunited with their mother.[3:06]The Rohan theme plays again as Theoden and his riders return, the strings holding the last notes very long as Eowyn realizes one rider in particular is not to be seen.[3:]After the unscored scene where Gimli confirms her fears, Elizabeth Frasier intones the solemn poem "The Missing", while Eowyn reacts in stunned silence.
Lyrics:

Quote:

Héo dréag ðá losinga She felt the loss
Earla ðinga ðe héo forléas. Of everything that had been missed.

Excerpt from the longer:

Quote:

Héo naefre wacode dægréd She never watched the morning rising,
Tó bisig mid dægeweorcum Too busy with the day's first chores,
Ac oft héo wacode sunnanwanung But oft she would watch the sun's fading,
Ðonne nihtciele créap geond móras As the cold of night crept across the moors.
And on ðaere hwile And in that moment
Héo dréag ðá losinga She felt the loss
Earla ðinga ðe héo forléas. Of everything that had been missed.
Héo swá oft dréag hire sáwle sincende So used to feeling the spirit sink,
Héo ne cúðe hire heortan lust. She had not felt her own heart's wish.

The arrival of the refugees at Helm's Deep is underscored by a sweeping rendition of Theoden's "The Call" motif. Theoden has protected his people...

The Rohan theme is used, with the martial drumbeats, to show what they will defend, and then the sentimental strings show why they defend it.


ttbk

Lyrics From Magpie's Nest

[00:00]As Frodo insists that he has "to believe [Gollum] can come back.", a saddened oboe rendition of "The Pity of Gollum" plays.[00:11]High strings turn threatening as Sam asserts that Gollum cannot be saved.[00:20]Somber, darkened strings play as Frodo first aplogizes, then reach a peak as he claims the Ring as his precious then walks off.[00:43]

[00:46]As the travelers watch the Mumak pass by, low end strings paint a musical picture of the lumbering beats.[1:06]

[1:09]Faramir is informed that Gollum has been found; Low strings give a forboding atmosphere....[1:20]Faramir takes Frodo outside; Strings play ascending phrases, that rise each time they are repeated, there are also shimmering aleatory phrases occuring at the same time; the tension builds till:[1:38]Frodo looks over the side and sees Gollum; the Stinker theme enters on cymbalom.[1:46]"To enter the Forbidden Pool bears the penalty of death." Rapid string arrepegios....[2:00]Strings build to an interwined statement of The History of the Ring and The Pity of Gollum as Faramir asks if he should shoot.[2:26]He raises his hand, and a high string note is held for what seems an eternity...[2:36]Frodo wishes to save his life. Low strings play over violin counterpoint, which hints at The Pity of Gollum.[2:56]Violins plays an impassioned rendition of the theme as Frodo comes to him.[3:20]As Smeagol relucatntly picks up his food and follows Frodo, high strings throb tensely..[3:38]In the film, the tension is abated by a low brass passage as he is captured, but here we segue to...

[3:38]Faramir is questioning Gollum; "Where are you leading them? Answer me!"; shimmering strings again as Gollum cries, then...[3:50]Pity of Gollum recieves a tragic statement; "Why does it cry?"[4:00]The cymbalom rendition of the Stinker theme from 1:38 reaapears as Gollum curses "tricksy master"[4:13]The Pity of Gollum fades away, and tense strings build and build over the cymbalom....[4:38]A crescendo, then the music fades out before: "My... PRECIOUS!!"

[4:39]Boy choir seduces Faramir with The Seduction of The Ring.[5:10]As Frodo tears away, uneasy strings quietly fade...


Interesting here is the absence of Shore's trademark brass; this track is about tension, and the tension builds in the strings. The threat here isn't orcs, or other malevolent monsters of Middle-Earth; it's shifting and uncertain loyalties. Frodo, identifying himself with Smeagol over Sam (musically, the Smeagol theme is associated with him, as he shows Gollumish tendencies....this makes it all the more fascinating when he sees Gollum in the pool, and goes down to him. Talk about subtext. ); Gollum, struggling for mastery over Smeagol; The Ring, tempting Faramir with its alluring power....which he greatly desires...


The lyrics for the Seduction of the Ring are the same as when it tempted Aragorn and Boromir:

Code: Select all I tuo, i macil The strength, The weapon Astaldoron mauri The needs of the valiant nai Corma macilya Be the Ring your weapon I tuo, i macil The strength, The weapon (repeated in the singing) Á lelyat túrenna! Go to victory!

3:38-4:38 is not used in the film; it can be cued up fairly easily though, starting after Faramir asks "Where are you leading them?".

Most of the last section, from 4:55 on, is cut off by the "Ring noise"; the throbbing sound effect that pretty much replaces The Seduction of the Ring in the last two films. While I can't argue against the effectiveness of the effect (it does work), I find the musical motive more interesting and can't help wondering what Shore must have wanted to do with it by the time Frodo reached the Cracks of Doom. Oh well. Here I find it jarring, cutting off the music halfway through....




ttbk

I don't have anything to say about this track, just wanted to say that I'm still reading.

Quote:

ost of the last section, from 4:55 on, is cut off by the "Ring noise"; the throbbing sound effect that pretty much replaces The Seduction of the Ring in the last two films. While I can't argue against the effectiveness of the effect (it does work), I find the musical motive more interesting

Agreed. The music is much subtler, as is this conquest of the Ring's. (Besides, I love boy choirs. )

And going back a track . . .

I had no idea that what the choir is singing is an OE version of Tolkien's poem. I love that poem and I'm probably missing something, but that doesn't seem like the right place for it. Especially with the lines they chose, it's more wistful -- not a call to arms. I love Elizabeth Fraser's part though. It fits perfectly.

Hi Mossi!!!

Quote:

had no idea that what the choir is singing is an OE version of Tolkien's poem. I love that poem and I'm probably missing something, but that doesn't seem like the right place for it. Especially with the lines they chose, it's more wistful -- not a call to arms.

(excellent question, ask more of these! )

The poem is really another musical motif associated with Rohan; it's first appearance, during the burning of the Westfold, is wistful, elegiac; from there on it functions as a call to arms, a call for them (Theoden in particular) to defend their people. The full extent of this will be displayed at Helm's Deep...


Hirgon has a DVD rip of "The Burning of the Westfold".





TTbk

Hi Fuzzi!!

The Tennis Ball Kid wrote:

The poem is really another musical motif associated with Rohan; it's first appearance, during the burning of the Westfold, is wistful, elegiac; from there on it functions as a call to arms, a call for them (Theoden in particular) to defend their people. The full extent of this will be displayed at Helm's Deep...

The bit with the Westfold is beautiful! So . . . it's not so much the words that are important? And . . . the Westfold is burned (sad, wistful), which is why the Rohirrim go to war (changes to call to arms)? And then it's all brought togther by Théoden at Helm's Deep. Interesting! I like it much better now.

The White Rider(in Nature)

The White Rider -- that is, Gandalf -- becomes a mover and shaker of events in TTT, and as such he moves from falling under the more general musical depiction of the Fellowship theme to to having specific themes. The first of these, which I already have touched on, is related to both the Fellowship and Isengard themes; Gandalf both comes from the Fellowship, and stands in opposition to the other White Wizard.

A second theme -- which I haven't mentioned before, because I only recently became aware of its significance -- is related to Gandalf's role as an extension of Nature; or more specfically: the will of the forces that govern Nature. (as a result, the theme is musically akin to Shore's Reclamation of Nature, or "Moth" theme)

The first theme plays when he is moving against Saruman and Isengard; the second announces the presence of Nature's (Eru's) ambassador, embodied in the form of an old man...

It (along with everything else) won't come to its dramatic end for a few more tracks yet, but up to here it has appeared:

In the opening choral bombastic of Foundations of Stone, juxtaposed against the balrog music from the first film. (2:32 and 3:32)

In an unused musical cue for the end of his fight with the balrog, at the peak of Zirak-Zigil. This can be heard in the EE credits. (from 2:04:34-6:46 Region1; 1:59:33-2:01:42 Region2; or, I've uploaded it here.)

At the begining of The White Rider, when he reveals himself to Saruman in the Golden Hall. (0:00-0:10)

It travels hand-to-hand with choral lyrics from The Fight:

Quote:

Cuiva Olórin Awake Olórin
Nárendur Servant of fire
Tira nottolya Face your foe
Tulta tuolya Summon forth your strength
An mauya mahtie For you must fight
Ter oiomornie Through endless dark
Ter ondicilyar. Through chasms of stone.
Mettanna To the end.
Nurunna! To the death!

TTBK

Scholarly work TTBK. I always look forward to your analyses.

PS - your best sig pic ever.

Thanks, Lidless.



This track is a suite of three major dramatic cues related to Aragorn and Arwen, one of which was not used in the film.

Breath of Life:
[0:00]The cue starts as the hobbits and Treebeard watch the orcs stream out of Isengard, then shortly our attention is turned towards Aragorn, who is floating along the river, half-dead. Strings and sarangi begin the music, giving it a feel like much of the music from Lothlorien.[0:11]Aragorn comes to rest on the shore. Sheila Chandra, backed by choir, sings Arwen's theme. This continues as she kisses him, and bestows the Grace of the Valar.[1:02]As the solo fades out, Brego the Wonder Horse appears. As he nuzzles Aragorn, Arwen's theme continues; brass rising to the forefront.[1:32]Aragorn mounts. The solo voice returns, and sings a few more phrases before the scene fades to Arwen in Rivendell.[1:53]

The Arwen/Evenstar theme makes it's first appearance since "Evenstar" (which I need to revisit to correct some things...) as Arwen makes telepathetic contact with Aragorn; the use of sarangi here connects her to the more mystical elements of Elvish culture, as usually reflected in the Lothlorien theme. The choral text here is "Aragorn":

Quote:

Uich gwennen na 'wanath ah na dhín. You are not bound to loss and silence.
An uich gwennen na ringyrn ambar hen. For you are not bound to the circles of this world.
Boe naid bain gwannathar, All things must pass away,
Boe cuil ban firitha. All life is doomed to fade…
Boe naer gwannathach, Sorrowing you must go,

In the film one of the choral lines from 0:11-1:03 is cut, so the choir doesn't enter the mix for about ten more seconds. All the lyrics at 1:32 were cut, as well.

Arwen's Fate:
[1:55]As Elrond begins his speech ("He is not coming back..."), woodwinds begin The Diminshment of the Elves.[2:33]The scene shifts to Aragorn's grave, the strings give the theme some weight here...[2:58]"You will linger on...". [3:29]The scene cuts back to Arwen again.[3:46]As she contemplates all this with teary eyes, the theme finishes, on high strings, that move to an almost painful end.[3:58]

The Diminishment of the Elves appears here for the first time chronologically since Aragorn's conversation with Elrond beside his mother's grave in FOTR ("Gilraen's Memorial", FOTR:CR; "Farewell to Lorien", TTT Special Edition CD). The next cue in the film, "The Leavetaking", opens with the denouement of this cue, the theme relaxing as father and daughter embrace.

The theme deals with the Elves' understanding of mortality, and of their departure from Middle-Earth.

This cue was completely dropped from the film and replaced by:

1. The opening of the album version of "Evenstar" which plays, and is then looped, as Arwen stands before Aragorn's grave and wanders under the trees etc.

2.. A section of "Gilraen's Song" -- which is either tracked from FOTR, or from a new recording made for TTT* -- when it cuts back to Arwen in Rivendell.

While "Evenstar" uses Arwen's theme, which does fit the scene to certain extent, The Diminishment of the Elves is closer to the main point: whether Arwen will leave Middle-Earth....or stay and become mortal. Neither is inappropriate for the subtext, but the latter digs a bit deeper. And the switch from Isabel Bayrakdarian to Hilary Summers is jarring.

My guess would be that it was decided to the leave the conversation unscored until the vision of the future for dramatic effect; a good silence. It works. The original cue is terrific though, I love the melancholy feel, and those high strings at the word. Syncing it up to the film is fairly simple: start the CD track (at about 1:55) right as Elrond says "He is not coming back", which is 22:12 into Disc Two of the EE, Region 1.

Hope Returns:
[3:58]Aragorn is wandering along on Brego.Low strings slowly ascend.[4:14]An ominous gong sounds, and an ostinato begins as he spots the army of Isengard.[4:21]Aragorn's theme is stated by brass....[4:34]....then strings....as he rides to Helm's Deep.[4:50]A partial statement of the Rohan theme plays as he arrives in sight of the fortress.

After a tense opening with a rising scale, the orchestra comes to life with a rousing rendition of Aragorn's theme as he rides to Helm's Deep ahead of Saruman's forces.

This is the second time Aragorn's theme appears on the album, the previous being 0:54-1:06 of The Uruk-hai. (which I did not make note of, and the phrase in Evenstar that I recognized as Aragorn's them -- isn't. Which just goes to show that I'm still putting the pieces of this puzzle together)

This is one of my favorite cues both on the album and in the film, and an excellent example of the music carrying the scene -- the pacing, the emotion....everything; without the music it's just some guy riding a horse through pretty, with it is a thrilling sequence wherein hope (Estel) returns to Rohan. I forgive PJ for the cliff-diving theatrics because of this cue, ok?



TTBK
*I haven't compared it to either the FOTR cue, or to another instance of a similar phrase occuring in TTT -- which might also be from FOTR...follow me so far? Anyway, it wasn't meant for this scene...

Choral lyrics from Magpie's Nest

The Hornburg is a suite covering the events leading up to the batle of Helm's Deep, and the first part of the battle.

[0:00]As Eowyn and the refugees make their way into the glittering caves, and families are seperated, the Rohan theme is stated nearly in full by horns and strings...[0:28]...then completed by a solo trumpet.[0:46]

Here is another poignant rendition of the Rohan theme, the mournful horn solo anticipating the sorrow the coming battle will bring.

[0:46]Theoden is dressing for battle and recites"Where is the Horse and the Rider?" while images of the Uruk-hai marching are juxtaposed against those of young boys and old men preparing to fight; the motif for Theoden that uses Old English chorals and an ascending horn figure (also in Helm's Deep) is stated, rising to a crescendo..[1:44]...then it moves into low string variations on Rohirric thematic material as Theoden asks "How did it come to this?"

The combination of music, visuals and poetry here is sublime. Bernard Hill's performance. The orcs marching, marching, marching... The young boys being armed. The somber mixed choir, delivering an elegy.

"How did it come to this?"

My goodness. Does cinema get any better than this?

The choral and horn motif -- which is, I believe, a variation on the motif from Helm's Deep and The White Rider -- continues to function as a theme for Theoden; this thematic strand will come to head in the next track...

Lyrics are from The Call(Where is the Horse and the Rider?):

Quote:

Hwær cwóm helm? Hwaer cwóm byrne? Where is the helm and the hauberk,
Hwær cwóm feax flówende? and the bright hair flowing?

Timestamps

[1:52]The camera pans over the defenses of the Hornburg, then comes to rest on Aragorn, sitting on the steps outside the keep; a horn plays Aragorn's theme.[2:10]

Interesting variation on Aragorn's theme here, the sparse orchestration reflecting his mood...

[2:11]A string passage as he shows Haleth the quality of his blade[2:21]

This is not identical to the music used in the film. Probably an alternate take.

In the film this builds to hints at the Fellowship and Rohan themes, before moving into a determined reprise of Aragorn's theme as he prepares for battle, then...

[2:21]Quiet horn and string variations of the Fellowship theme as Legolas and Aragorn reconcile their differences...[2:50]
(the arrival of the Elves is not on the CD, though Hirgon has a DVD rip of that cue, and, of course, it'll be on the Complete Recordings set in just a couple months. )
[2:51]Solo oboe states a soft phrase from a variation on the Rohan theme usually used as a battle cry; here it's underscoring a shot of the women and children huddled in the cave.[2:59]An ascending string phrase plays twice as Aragorn looks out at the orc horde...[3:03]
[3:03]The first orc has fallen. An driving tympani ostinato begins as the Uruks charge...[3:06]...variations on the Rohan theme play...[3:11 "So it begins."...the ostinato continues...[3:15]....then is joined by a martial horn setting of the Lothlorien theme as Aragorn gives the order and the Elves fire. The Elves have joined the fight...[3:49]Reprise of the Rohan variation from 3:06 as Theoden orders a volley.

(the unreleased music in this section includes a reprise of the motif heard at Parth Galen when Boromir defends Merry and Pippin and as the Three Hunters chase the Uruks across Rohan.)

[4:08]A transition to later in the film, and now the percussion is the mechanical beat of Isengard, underneath a fast rendition of the Rohan theme as Aragorn dispatches some orcs....the music fades out as the scene moves to Fangorn.[4:36]


ttbk

The Riders of Rohan Motif:

This is another sub-theme I've recently noticed. It is based off the main Rohan theme, but is shorter and is accompanied by an bass ostinato.

It is associated with the Riders of Rohan...riding.

It appears:

1. A sweeping brass rendition in the Extended Edition scene where Eomer rides to Edoras with Theodred. (An MP3 of this 19 second cue, taken from the DVD, with some minor sound effects, can be downloaded here. )

2. When the Uruk-hai camp is attacked. (possibly tracked from "Helm's Deep", but it's hard to tell under all the sound effects)

3. In a threatening and ambigious setting, when the Three Hunters encounter Eomer. (0:00-0:58; The Riders of Rohan)

4. When the Wargs attack. (0:24-0:53 & 1:36-1:41; Helm's Deep)

It will also feature prominently in the next track, and in ROTK....




TTBK

Forth Eorlingas

This track, only partially used in the film, is the begining of the three part climax to the score.

[0:00]Aragorn has just suggested that they ride out "for [Theoden's] people." Gimli points out that the sun is rising (which recalls to mind Gandalf's promise to return on the fifth day at dawn); Old English lyrics from The Call are sung in rapid triplets throughout this whole piece, and are here juxtaposed against a slow choral statement of the White Rider (in Nature) theme, which is accompanied by an English Horn. This builds as the dialogue continues...then the White Rider theme drops out...[0:26]...and the triplets continue alone for a moment, Theoden has decided that "the horn of Helm Hammerhand will blow one last time in the deep."...[0:28]...as preparations are made to ride out, the choral motif for Theoden appears; again, juxtaposed against the triplets. It builds to a peak, and it fades right before Gimli blows the horn...[0:58]

This particular piece of music is one of the most interesting in The Two Towers; both for it's complicated intersection of thematic material, and because of how it was used -- and not used -- in the film.

The first 20 seconds appear in the film; but they appear when Gandalf is revealed in Fangorn. While the secondary White Rider theme is applicable to the scene, the Old English lyrics and thematic material associated with Rohan aren't, quite so much, and the piece was obviously not originally intended for the scene.

Where it was meant to go is just a matter of speculation until it gets officially confirmed, but the only logical place for it, both thematically, and logistically, is where I've suggested above.

In the film, this scene is scored with a statement of the Nature's Reclamation theme, the same rendition that was written for The Last March of the Ents. The decision by the filmmaker's to use the Nature theme is not wholly inappropriate here -- except for the fact that the choral lyrics are from a poem about the Ents -- Nature, through Gandalf, brings about the victory at Helm's Deep. But as originally conceived by Shore...

The use of the White Rider (in Nature) theme and corresponding lyrics from The Fight are more specfic to the dramatic forces at work in this scene; since it is Gandalf, as an extension of Nature, who is bringing aid to Rohan.

And even more importantly, the further development of the motif for Theoden gives a greater emotional impact by directly linking the underscore to his character. The Nature theme anticipates the Eucatastrophe; Theoden's theme indicates his resolve.

Of course, it also gives this part of the film a unique musical finale, instead of repeating what we had heard moments ago for the Ents. (though perhaps drawing a parallel between the two events was part of the reasoning behind the decision to use the Nature theme here)

And...I'll discuss the Nature theme, and this, more with the next track...

Lyrics are from The Call and The Fight:

Quote:

0:00 - Choir I: Hwær cwóm helm Hwær cwóm byr Hwær cwóm feax flówende (2x)
Choir II: Tul cui ta ya tu
0:09 – Choir I: Hwær cwóm hand on hearpestrenge Hwær cwóm scínende (2x)
Choir II: o ol ya ló
0:18 – Choir I: Hwær cwóm helm Hwær cwóm byr Hwær cwóm feax flówende (2x)
Choir II: an rin mau ya
(at this point, the second choir switches to Old English)
0:28 – Choir I: Hwær cwóm hand on hearpestrenge Hwær cwóm scínende (2x)
Choir II: hwær cwóm helm hwær
0:37 – Choir I: Hwær cwóm helm Hwær cwóm byr Hwær cwóm feax flówende (2x)
Choir II: cwóm byr-ne hwær
0:47 – Choir I: Hwær cwóm hand on hearpestrenge Hwær cwóm scínende (2x)
Choir II: cwóm scir fyyr

[The music pauses for several seconds as the horn is blown, then...]
[0:59]As the door of the keep is battered down, and Theoden and company ride out, and through the streets, a forceful rendition of the Riders of Rohan motif is heard...primarily in the brass, punctuated by cymbal crashes....[1:12]...then on the strings, seguing into....[1:24]...a triumphant rendition of the Rohan theme as they charge down the rampart.[1:41]The White Rider (in Nature) theme is heard as Gandalf appears at the crest of the hill. [1:47]As Eomer and his men appear on the slope, the Fellowship theme is given a grand, full statement that moves into...[2:14]...the theme for Shadowfax and Gandalf last heard in The White Rider; here though, in addition to the string arpeggios and mixed choir, is Ben Del Maestro's soprano solo...one of the most stunningly beautiful moments in the score. It's a technique Shore uses several times throughout the films: calming orchestral thunder in order to juxtapose a single, pure voice against epic events (in this case, two thousand horsemen making an impossible charge down hill...)
From The Mearas:

Quote:

2:14–Solo: for ðon hé wæs scea hé fæx wæs ford ealra mé du and hé fæx hlá
Chorus: for ðon hé waes Sceadufæx hlá

[2:42]Finally, as the sunrise appears and blinds the Uruks and the evil is driven from the valley, we get the climax of this storyline: a glorious, string heavy playing of the White Rider theme that shows Gandalf's relationship to the Fellowship and Isengard.


This entire piece is played as a relief from the tension that has built through the battle; there is not even a hint of any of the Isengard material here. Even before we see Gandalf and the calvary arrive, the Rohan theme is jubilant.

1:41-1:47 has an additional choral lyric layered over it in the film, probably from "The Fight", and probably not originally intended by Shore.

The cue from 0:59 on can be heard sans the boy soprano solo in the EE fancredit scroll (2:00:00-2:02:06); it sounds incomplete, but it's interesting to hear some more of the details underneath.



TTBK
Resources: Magpie's Nest: Forth Eorlingas (lyrics)
Doug Adams: LOTR Package Update? (April 13th) (discussion of the Nature themes)

[this cue is led into by two (as of yet) unreleased compositions: the development of the hobbit theme as Merry and Pippin discuss how the fires of Isengard will spread...and after the scene cuts to the fighting at Helm's Deep, an elegaic string piece that incorporates Aragorn's theme as Theoden calls for a retreat...

Aragorn tells Haldir to fall back, the music fades out...]

[0:00]Haldir has just been wounded; the camera cuts between Haldir dying, Aragorn rushing to his side and images of the dead Elves. Elizabeth Fraser, with counterpoint from a mixed choir, sings the Lothlorien theme....[0:39]

Lyrics are from Namárië:

Quote:

ar ilyë tier undulávë lumbulë and all paths are drowned deep in shadow;
ar sindanóriello caita mornië and out of a grey country darkness lies

Rather than underscoring the action of the battle here, Shore gives an elegy for the fallen Elves. The melody is the Lothlorien theme, in the same setting that was used for Gandalf's Lament in Fellowship of the ring.Also reprised from Fellowship is Elizabeth Fraser's voice as the solo.

According to Shore the lament in Fellowship was diegetic; i.e., the Elves are actually singing it in the trees, rather than it being merely musical underscore. Thus, as the same voices are recalled here, we're hearing what will be sung in Lorien because of the death of the Elves.

[0:39]...horns creep in as Aragorn lets go of Haldir. [0:45]A rough statement of Aragorn's theme is heard as he fights his way to a ladder and leaps...[0:54]Quick rendition of the Riders of Rohan motif as the gate is defended...[0:57]...slight jump ahead to Aragorn and a few Elves running to the back gate, underscored by a brassy continuation of the Riders of Rohan motif.[1:08]

[Aragorn and Gimli, to the heroic strains of the Fellowship theme, defend the causeway...]

[1:08]A descending brass phrase (last heard during the Warg attack) plays twice over the Isengard 5/4 percussion as the Uruks prepare their ballistae to fire. [1:21]A small jump ahead, to the ladders being raised...the Isengard theme plays on the low brass, while the percussion continues. The music fades as Legolas manages to knock down one of the ladders...[1:37]

[variations on the Fellowship theme that I can only describe as...'swashbuckling' ...are heard as Legolas throws down a rope and hauls his friends up...]

[1:39]Deep brass and strings play a V phrase as Theoden calls for retreat...[1:47]A horn statement of the Rohan theme leads into...[1:55]...a quick three notes from Aragorn's theme as he is shown leading the men back to the keep....[1:58]...and then a final trumpet solo of the Rohan theme.[2:09]


*********************************************

[Treebeard has just discovered the fate of the forests next to Isengard. The Huorns have begun to move. But his business is with Isengard tonight...]

[2:09]"...with rock and stone." A low chord throbs several times....[2:18]As the Ents emerge from Fangorn a boys choir sings the Reclamation of Nature theme over light percussion...[2:58]"...the last march of the Ents." The Ents are now advancing towards Isengard; a boy soprano soars over a mixed choir, building to a crescendo and mixed right into...[3:12]

[3:12]...brass variations on the Reclamation of Nature theme accompanied by an agressive string ostinato as Treebeard hurls a large stone to free a fellow Ent from some Orcs and Merry and Pippin throw rocks...[3:18]...a trumpet phrase builds to...[3:27]...a trill as some scaffolding is cast into the caverns....[3:30]...while Saruman watches the destruction continue, the brass, strings and a percussion ostinato build to build...a peak.[3:48]"Break the dam. Release the river." Strings take up the Nature theme, and the percussion ostinato beats away.(there is a bit more music in the film than on the album here)[3:59] Isengard is flooded. Mixed choir joins a furious orchestra, building and building to incredible intensity...and fading out after a gigantic crescendo in order to transition to the next scene.


There are two main ideas at work here:

1. Choral lyrics from The Ents:

Quote:

rithannen i geven Earth shakes
thangen i harn Stone breaks
na fennas i daur The forest [is] at [your] door
ôl dûr ristannen The dark sleep is broken
eryn... The woods...
...echuiannen ... have awoken
i ngelaidh dagrar The trees have gone to war
ristar thynd, cúa tawar Roots rend, wood bends
dambedir enyd i ganed The Ents have answered the call
si linna i 'waew trin 'ylf Through branches now the wind sings
Isto i dur i chuiyl Feel the power of living things
i ngelaidh dagrar The trees have gone to war

These have appeared earlier, at the Ent Moot (Treebeard; 0:00-0:53) and when Gandalf speaks in Fangorn about how "the Ents will wake up and find that they are strong."

Both of those instances use the more Ent specific thematic material rather than the Nature theme.

2. The Reclamation of Nature theme.

The Reclamation of Nature theme -represents Middle-earth's resistance to the evil and industrialization embodied by Sauron etc. In the score, it is used when the people of Middle-earth selflessly give their aid to this cause, choosing to place themselves and their lives in opposition to the encroaching Shadow and in line with the will of Nature.(which in turn leads you back to Eru... )It is linked to Tolkien's concept of Eucatastrophe...not that it is the "Eucatastrophe theme" per se....it's about the choice that enables the Eucatastrophe.

(Shore read the books! )

It has appeared, thus far:

1. For choir and boy solo when the Moth comes to Gandalf at Isengard.

2. In the low brass, when the Moth returns with Gwhair.

3. When Merry and Pippin distract the Orcs in order to allow Frodo to escape at Amon Hen.

4. A brief statement by solo woodwind when Merry and Pippin discuss the living trees of the Old Forest and Fangorn.


Returning to the track at hand and the Ents...

The boys choir is associated with purity in Shore's work...whether it be the false purity that the Ring seduces with....or the actual purity of Nature.

The flooding of Isengard is operatic, biblical...the full cleansing wrath of the natural world upon the the twisted metal and barren rock that Saruman would have made it.




ttbk

Magpie's Nest: Isengard Unleashed (lyrics)
Doug Adams: LOTR Package Update?; April 13, 2006 (discussion of Nature)

[...the scene with the Nazgul begins with some variations on the Ringwraith material but is mostly left unscored, the wing-flapping/heartbeat sound effects and the "Ring noise" coming to the forefront. (and very effectively so)

There is a short brassy cue as Sam knocks Frodo down the stairs and Faramir drives off the fellbeast....then silence as Sam tries to get Frodo to recognize him...]

[0:00]The Shire Hymn chords begin with a solo flute. By rights they shouldn't even be there...
[0:27]A melody starts to come in on an oboe.... "It's like in the great stories..."
[0:43]Brass and strings (violins, especially) take up the Shire theme...the scene cuts to Helm's Deep. "How could the world go back to the way it was..."
[0:57]As we move to Isengard, the emphasis is shifted to the strings. The shadow is only a passing thing...
[1:27]The scale of the music moves down a bit as we return to Sam. "Folk in those stories had lots of chances of turning back..."
[1:43]A note holds as Frodo wonders what they were holding on to...[slightly longer in the film, with the reaction shot of Gollum...]
[1:49]Sam helps him to his feet, a quiet variation of the Hobbit theme..."That there’s some good in this world, Mr. Frodo. And it’s worth fighting for."
[here's a pause -- again, longer in the film, holding over Gollum...]
[2:04]A simpler and more straightforward rendition of the Shire theme -- with the characteristic woodwinds -- plays...Faramir approaches them."I think at last... we understand one another, Frodo Baggins."
[2:31]The Noble End plays as he releases them, knowing that it means his life will be forfeit. The music fades as we see Gandalf etc. coming up the hill at Helm's Deep.[2:54] [2:45-2:54 is in the TE, but the EE is slightly different as it segues to the Huorn scene]

This is probably the one scene in the trilogy that I'll say is overscored. Sam's speech is enough by itself, we don't need the swelling strings to tell us that it's beautiful. Tone down either the music or the words and I think it would work better. Perhaps leave it unscored till "there's some good in this world", and then bring in the Shire theme.

That said -- it's a lovely composition which plays fine on CD, largely a reprise of Fellowship's ending, utilizing similar development of the "Hobbit's Understanding" variation of the Shire theme. ("A Hobbit's Understanding" is the most complex variation of the hobbit material, and represents the hobbit's unique understanding of the world)

The simpler rendition of the Shire theme following Sam's line about the Good in This World states, without words, what they're fighting for. (the scoring documentary on Disc 4 gives further insight into this, showing the score being re-worked so the theme doesn't start until after the reaction shot of Gollum -- who does not have a home...)

The Noble End is the theme that first appeared in FOTR after Boromir has been wounded, and as he defends Merry and Pippin from the Uruks. It will re-appear in ROTK, most notably in "The Steward of Gondor". Here it is foreshadowing...

..................................
The TE ending flows better, I think, both as a film and musically. There are some interesting additions -- lighter renditions of the Fellowship, hobbit and Ent themes; the cue for the Huorns; some interesting development of the Pity of Gollum...but it all feels a bit anti-climatic.

The one cue that is in the TE but not on the CD is Sam and Frodo's conversation -- which has an absolutely gorgeous rendition of the Shire theme when Frodo tells Sam that he wouldn't have gotten far without him.

.....................................

[2:54]The underlying chords for Gollum's Stinker theme are played by the strings as he sulks along...
[3:04]Then the cimbalom joins in...
[3:24]The Slinker (Pity of Gollum) plays as he fantasizes of killing the hobbits and becoming the master of the Ring.
[3:36]Part of Gollum's dialogue is not on the CD and the ending (a harsh chord as he tells himself that it's too risky) is edited in early.[3:45]

...and the score ends on an ominous note, with Gollum's themes playing against each other....



ttbk

Syncing the Unused music to film:

Until such time as I have access to the techology neccessary to make my own isolated score + subtitles version of the film, I'm stuck trying to manually line up the unused cues with the visuals. It may not be exact to the smallest fractions of a second, but I can get close enough.

My setup for this is a computer with a DVD drive and iTunes...it should be possible to do this with less than that, but it'd be trickier...

Unless otherwise noted, all DVD timestamps are from the Region1 EE.

Disc One:

Glamdring/Foundations of Stone (Disc One, Track One; OST Track One)
Timings:
2:32_2:35, for both film and CD.

In the film, the first choral outburst of "Mettana!" ("To the Death!") is dialed out. It would have gone between "Fly you fools!" and Gandalf's fall. Cut, almost certainly, so as not to overpower Frodo yelling "No!"


Elven Rope (Disc One, Track Two)
The timings:
CR: 1:10_1:26
EE: 6:05_6:21

In the film, the scene following the Elven Rope sequence where Sam and Frodo come up a rise and into sight of Mordor is scored with a tracked rendition of the Evil Times motif (FOTR:CR:"The Nazgul", 5:10_5:26). Shore's original composition used a weary statement of the Shire theme.

Note: The unused section has to start a couple seconds before the tracked piece does in order to sync with the film...right after Frodo says "Real Elven rope."

Lost in Emyn Muil/The Taming of Smeagol (Disc One, Track Three; OST Track Two)

CR/OST: 1:26_2:07/0:26_1:07
The unused choral piece is an excerpt from a cue written for an earlier cut of the scene. It's included here because Shore likes it a lot; the full piece will probably be included on the forthcoming "rarities disc".


Ugluk's Warriors (Disc One, Track Five)
CR: 1:26-1:41
EE: 16:50_17:05

In the film, a choral passage intended to underscore the Uruks resuming their march was cut, though the instrumentals remain.


The Three Hunters (Disc One, Track Six)
CR: 2:06_2:22
EE: 19:12_19:28

In the film, the establishing shots of Isengard are unscored, the music written for that section uses the Isengard Five-Beat.


Night Camp (Disc One, Track Eight)
CR: 2:14_2:50
EE: 30:54_31:26

In the film, the attack on the Orc camp uses music tracked from a couple other different places in the film, on the CR Shore's original cacophony of percussion, trumpets, and aleatory French Horns is restored.


Fangorn (Disc One, Track Ten)
CR: 0:00_5:13
EE: 36:32_41:45

In this case, what was written as a single piece was edited quite a bit in the film, but in its original form can be played uninterrupted in conjunction with the visuals and still fit.

In the film, the opening 45 seconds that build as Aragorn begins to track the hobbits are cut. The short action piece as they run to the edge of Fangorn is intact. The marimba rendition of the Ent theme as the scene moves into the forest is cut, although the strings underneath remain in the film, as does the music for the subsequent chase sequence. Treebeard's awakening, underscored by a reiteration of the same figure heard as they reached the edge of the forest, is replaced by music tracked in from Weathertop. The bassoon solo as Treebeard carries the hobbits is not present; the final tense percussive phrases as he places them before the White Wizard are used in the film.


The Dead Marshes (Disc One, Track Eleven
CR: 3:11_5:08
EE: 46:22_48:19

In the film, the music leading up to the unused section has a different mix than the CR, but is still present. The unused music, starts at 3:11 with a blast of deep brass -- familiar from the OST -- as Frodo falls into the water. The half spoken, half sung choral passage is heard as he is surrounded by the ghosts....another jolting explosion of brass is heard as Gollum pulls him out. The History of the Ring is partially stated as Frodo strokes the Ring later that night. More of the aleatory device related to the Dead Marshes and partial brass hints at Gollum's Pity are heard as Frodo hears Gollum lamenting the loss of his precious.

Wraiths on Wings (Disc One, Track Twelve)
CR: 0:31_2:07
EE: 49:04_50:39

The film version is the same length as the original composition, but is edited a bit; the Wraith theme isn't developed as fully, and some of the choir is toned down. I have no idea why it was edited, as the cue, as written and recorded, is scary as hell...or Mordor, rather.

Gandalf the White (Disc One, Track Thirteen)
CR: 0:00_4:26
TE: 41:15_45:40

Due to the additions to this scene for the EE, the original composition can only be synced to the TE.

Most, but not all of the first 34 seconds -- which utilizes the Ent/Fangorn motif as the Three Hunters make their way through the trees -- is ued in the film. Note: to sync it you have to start the CD track as soon as the scene shifts to Fangorn, not the point where the music fades in during the film.

The slow musical build from 0:35_1:35 is not in the film, and is replaced by sound effects and the tracked statement of the Ent motif.

1:35_2:31 is in the film, as Gandalf is revealed to the Three Hunters.

The brass and timpani of 2:31_2:52 accompany the end of Gandalf's fight with the balrog, the choral excerpt from "The Fight" is heard as Gandalf plunges his sword into it and vanquishes it.

2:53_3:50 is also unused in the film. Deep brass, accompanied by a busy texture of violins and woodwind arpeggios underscores the balrog's fall and Gandalf's death. A flutter of woodwinds at 3:15 moves the scene to his journey through time and space, and 3:30 he returns to life. The scene shifts back to Fangorn...the CD track will be in sync till they reach the edge of the forest and Gandalf calls for Shadowfax.

The White Rider (OST)
CD: 0:40_2:28
TE: 45:19_47:06

The OST has an alternate version of the music for Shadowfax's appearance. This earlier draft opens with a horn passage when Gandalf whistles for his steed (in the final version, this brief section is left unscored), and the choral piece begins with a greater emphasis on the female voices, and has string arpeggios (that are reprised in "Forth Eorlingas") instead of horns.

Again, it syncs better with the TE, the cue starts at 0:40 on the track, and lines up with Gimli saying "Gandalf." The unused section of the track is 1:01_2:00.


Olorin Revealed (Fan Credits)
EE2: 2:04:33_4:55
0:00_0:24
TE: 43:24_43:48

The unused cue for the balrog fight is in the fan credits, and it has yet another alternate; the begining of it is Shore's original concept for Gandalf stepping out of the light and revealing himself to the Three Hunters. It opens with a short horn call, then moves into a setting of "The Fight". It's a bit on the heavy side, and was replaced after someone in the editing room experimented with using the choral triplets -- that utilize both "The Fight" and "The Call" -- Shore had already written for Gandalf's appearance at Helm's Deep. The more mystical feel of it apparently fit the scene, so Shore rewrote it, and incorporated the triplets, and by using the motive twice, created the White Rider (in Nature) theme.

"The Fight" is another motif relating to Gandalf's spiritual presence in Middle-earth, though. As I noted before, it is the slow choir underneath the rapid triplets in the WR(iN) theme, and it appears by itself several times when Gandalf is battling with his foes:

Foundations of Stone/Glamdring: 2:32 (unused section, see above), 3:32 (The Falling Star)

The White Rider/The Court of Meduseld: (0:00_0:07; 2:15_2:22) When he is revealed to Saruman as Gandalf the White.

Gandalf the White: (2:45_3:54) The end of the balrog fight. Incidentally, the fan credits version of this piece does not have choir. Whether that's because Shore didn't, at that point, intend to have choir there, or because it just hadn't been recorded yet, I don't know. My guess would be the latter though.

Forth Eorlingas (OST)
CD: 0:00_0:58

Yet another alternate for Gandalf being revealed to the Three Hunters...this one is essentially a longer version of what appears in the film, recorded for a lengthier cut of the scene, where, according to Doug Adams, "Gandalf simply took a bit longer to say hello."

Disc Two:


The Forests of Ithilen (Disc Two, Track Six)
CR: 2:14_2:54
EE: 1:41:07_41:47

This short cue was intended to underscore Gollum bringing Frodo the rabbits. Contrabass clarinet and bassoon play pathetic variations on the Hobbit Outline figure as Smeagol tries very hard to please nice Master. It ends as Sam informs him that there's only one way to eat a brace of coneys. Cut from the film because it's a bit too much on the comedic side....

CR: 3:26_3:44
EE: 1:43:21_43:39

In the film, this brief militaristic piece for Frodo's first view of the Haradrim is replaced by the Mumakil music, which makes it's intended entrance a short time later, therefore appearing twice, when it was only meant to accompany the.sight of the Oliphaunts.

Also of note, the entire sequence that ends Disc One can by synced with the CD by using these timestamps:

CR: 2:54_
EE: 1:42:50_

One of the Dunedain/Evenstar (Disc Two, Track Seven; OST, Track Eight)
CR: 2:35_3:05
OST: 0:00_0:30
EE: 3:34_4:04

Elizabeth Fraser's beautiful solo, familar from the OST track, is not in the film mix for the scene where Aragorn recalls his conversation with Arwen; instead just the female choir and strings are heard. The CR uses it, as does the OST.

The Wolves of Isengard/Helm's Deep (Disc Two, Track Eight; OST, Track Twelve)
CR: 0:00_2:41
EE: 8:24_11:05

The CR version is much the same as the film, but with a few significant edits. The first is when Legolas spots the approaching Warg riders; the original composition uses a brass phrase to lead into a crescendo as the camera narrows in on his face (1:22 on the CR), then cuts to percussion as the shot goes back to the Wargs, then introduces the fiddle as it moves to the refugees. In the film, a short section of Khazad-Dum is tracked in, leading to a similar crescendo, but not until just before it cuts to the Rohhirim.

The other major edit is at 2:09, as we again cut to the Wargs, this time charging straight for the Theoden and the Rohhirim. The film abruptly cuts off the choir and uses a tracked rendition of the Isengard theme, with the chains on piano percussion, a brief reprise of the choir, then some tracked in harsh brass chords as the armies are about to clash. The original composition intertwines the Isengard theme -- with heavy drums and the low horns -- with an extended rendition of "The Call".

It's thrilling, all out action piece...one of the best in the score. And there's such a greater sense of desperation to it, Shore's glorious setting of the "Where is the Horse and the Rider?" poem for Old English choir, calling back and forth with the primal horns, and contending with the relentless pounding of the drums. I love it. The edited piece in the film really doesn't match up.

CR: 1:22_2:08
OST: 0:53_1:41
EE: 9:47_10:33

The OST has an alternate passage for the part of the sequence where Theoden tells Eowyn to lead the people to Helm's Deep. The film (and CR) use different mix that has a prominent fiddle instead of choir. Changed, I'm guessing, to reflect more of the vulnerable and emotional side of the Rohhirrim and to be more specific to Eowyn. And, so as to not drown out the dialogue. I do love the choir on the OST though.

The Voice of Saruman (Disc Two, Track Ten)
CR: 0:00_0:14
EE: 18:26_18:40

The first fourteen seconds, some rising brass chords, are unused in the film; they wouldn't have mixed well with the Orc chants, and there's more dramatic power when the Isengard theme comes in at that point of Saruman's speech.

Arwen's Fate/Breath of Life (Disc Two, Track Eleven; OST, Track Fourteen)
CR/OST: 0:00_1:53
EE: 20:06_21:58

CR/OST: 1:54_3:58
EE: 22:12_24:16

In the film, the first half of this track has some juggling around, some vocal lines are cut, and the alto flute solo meant for later is used as Aragorn mounts Brego. To sync the original cue to the film, note that you have to start it when Merry and Pippin see Saruman's army, a few seconds before the DVD chapter "Breath of Life" begins.

The solo woodwind passage already partially used, Elrond's conversation with Arwen is left unscored. Sheila Chandra's vocals are then tracked, and looped several times, as Arwen sees her vision of the future, and death, and then a section of "Gilraen's Song" from FOTR (performed by Hilary Summers) is tracked in as she weeps. The original composition for this scene, the aforementioned flute solo over a bed of strings, is one of the score's dramatic highlights...the film edit suffers both from the looping, and from the way it suddenly jumps from one vocalist to another.

Sons of the Steward (Disc Two, Track Thirteen)
CR: 0:59_1:36
EE: 31:09_31:46

The music written for Faramir's dream, a setting of "The Death of Boromir", was mostly replaced by high pitched sound effects. To sync the whole cue up, start at 30:10 on the DVD, it plays till 32:12....

Faramir's Good Council/The Forbidden Pool (Disc Two, Track Fifteen; OST, Track Thirteen)
CR/OST: 1:31_2:20/4:40_5:27
EE: 42:21_43:11

Only about the first ten seconds of this cue was used in the film; The Seduction of the Ring theme as Faramir comes looking for the Ring is cut off by the "Ring sound", and the subdued strings that would have ended the cue as Frodo pulls away go unheard, as well.


The Tales That Really Matter/Samwise The Brave(Disc Three, Track 13; OST, Track 18)
EE: 1:36:47_54
EE: 1:37:07_14

There are two edits for the album version of Sam's speech, both removing material used over reaction shots of Gollum: the first a held note, the other an extra downbeat chord. Both are necessary dramatically, but the music flows better in their absence.

Samwise The Brave(OST, Track 18)

OST: 2:45_2:54

The OST has the music for the TE transition from Osgiliath to Helm's Deep. This section was rescored for the EE, since the scene now moves to the Huorns, and that is what is heard on the CR.



ttbk

My observations regarding Disc Three (except for the credits -- which I will get to along with Gollum's Song, and more quickly than I have been lately, I hope) have been edited into the previous post.



ttbk

Gollum's Song:
[0:00]The camera pulls back to show that the hardest part of the hobbit's journey still lies ahead: Mordor, a veritable vision of Hell.

Musically, strings and humming choir begin a variation on the Pity of Gollum theme.

[0:24]There is a cymbal (gong?) clash as the screen turns black.

[0:36]The music rises to a crescendo as the credits roll; the choir fades out, and the strings come to the forefront, accompanied by a harp. The theme is continued, but with a bit more anguish.

[1:13]Emiliana Torrini sings the first verse of the song:

Quote:

Where once was light
Now darkness falls
Where once was love
Love is no more
Don't say—goodbye
Don't say—I didn't try

She is supported by strings, low brass, and again, a harp.

[1:50]She sings the chorus:

Quote:

These tears we cry
Are falling rain
For all the lies you told us
The hurt, the blame!
And we will weep to be so alone
We are lost
We can never go home

The high strings from (0:36) return as counterpoint to her voice.

[2:28]She sings the second verse:

Quote:

So in the end
I'll be—what I will be
No loyal friend
Was ever there for me
Now we say—goodbye
We say—you didn't try...

The harp is supplanted by an oboe, to rather eerie effect.

[3:04] The chorus returns:

Quote:

These tears you cry
Have come too late
Take back the lies
The hurt, the blame!
And you will weep
When you face the end alone
You are lost!
You can never go home
You are lost
You can never go home...

[3:53]The last string notes fade out....

Gollum's Song is basically a further exploration of the Pity of Gollum theme; not merely reprising it, but continuing the development of it.

Throughout most of the first two films the Pity theme wanders, one of the more loosely formed themes in the score. It is also closely related to the History of The Ring theme, and the two themes are intertwined more and more as TTT moves along, till the Ring theme eventually wins out, as heard at the very end of the film...."and then we will be the master!"

Gollum's Song takes this often wispy theme and sets it in a firmer structure. The self-pity has turned to malice, and it has become menacing. The theme will be referenced in ROTK, but it will not return in its once familar guise.

I love the dark, moody feel of the song...

Some the orchestral details are quite lovely: the choir at the begining; the harp arpeggios; that oboe in the second verse (sends chills up my spine, that does...)

The lyrics, of course, also follow the dramatic shift from self-pity to hatred and betrayal...

My thoughts on Torrini's voice waver between thinking that it fits the tone and context of the song, and finding it irritating. It's certainly somewhat odd...and even when I don't outright dislike it, I don't really find it pleasant to listen to....

End Credits:

On the OST the song is followed by a short suite of the Rohan themes; an original composition written for the end credits by Shore (much the same as the triumphaunt Fellowship theme fanfare that ends FOTR, and the contemplative Wagner homage at the end of ROTK).

[3:54]The strings play an rendition of Eowyn's theme, which leads to...

[4:16]A brass heavy arrangement of the Rohan theme, nearly identical to the cue for Theoden's awakening, except without the fiddle solo, and it's allowed to resolve (unlike the abrupt ending to the film cue). It ends with solos for French Horn (5:20) and then trumpet (5:27) that lead to a grand orchestral finale. It's about as satisfying an ending as I could possibly imagine, and is one of my favorite pieces of music from the films.

Because the film's credits are a few minutes longer, the remaining time was filled with an assortment of pieces tracked together from elsewhere in the score:

[Gollum's Song: OST, CR, film]
[Eowyn's Theme: OST, CR, film]
[Seduction of the Ring (excerpted from the end of "The Forbidden Pool": CR, film]
[White Rider in Nature (alternate, lengthier cue for Gandalf's appearance in Fangorn that is on the OST at the begining of "Forth Eorlingas": film]
[Diminshment of The Elves: film]
[Rivendell theme (taken from the opening of "The Leavetaking"): CR, film]
[Evenstar theme (taken from alternate version of "Evenstar"): CR, film]

This is most notable, because it opens with a solo English Horn instead of Isabel Bayrakdarian's vocals. It's absolutely beautiful.

[Rohan theme finale: OST, CR, film]

And that's Howard Shore's epic masterpiece: The Lord of the Rings: The Two Towers.

Does anyone want to listen to The Return of the King?


ttbk

Quote:

My thoughts on Torrini's voice waver between thinking that it fits the tone and context of the song, and finding it irritating. It's certainly somewhat odd...and even when I don't outright dislike it, I don't really find it pleasant to listen to....

like it rather better than the version sung by Helen Hobson I downloaded off of ITunes.

I don't think this thread needs much introduction regarding its purpose or content, but I will say that for me the ROTK album is probably the most frustatingly brief one....which is inevitable, I guess, when you have to choose 72 minutes out of more than four hours of music.

I will also say that I hope to be able to complete this discussion before ROTK:CR is released. But that's only a fool's hope.



A Storm is Coming
[0:00]The music begins over a black screen. The score opens with a cross between the wandering Pity of Gollum theme and the stepwise Hobbit theme. A bouncy, waltz-like string phrase leads into....
[0:32]The History of the Ring theme, over the "The Lord of the Rings" title card. This rendition of the Ring theme differs a bit from what was used for the first two films' openings; it's slightly slower, and there's a greater emphasis on the strings....
[0:48]The film begins, and the scene of Deagol and Smeagol fishing is underscored by a flute solo that is in the same vein as the music that began this track. "Pastoral" comes to mind as an obvious description.
[1:14]Some the more playful Hobbit material from the first two scores is referenced here, building to a peak as Deagol falls into the water.

There is some unreleased suspense music as Deagol is pulled along by the fish. Then, when he sees the Ring....

[1:39]The History of The Ring is played by solo violin, with ominous low brass counterpoint...

There is some more unreleased music as he stumbles out of the water, mostly low rumblings from the orchestra; he looks at the Ring, and the Seduction of the Ring theme appears, sung by boys choir:

Lyrics, from Magpie's Nest wrote:

I tuo, i macil The strength, The weapon
Astaldoron mauri The needs of the valiant
nai Corma macilya Be the Ring your weapon
I tuo, i macil The strength, The weapon (repeated in the singing)Á lelyat túrenna! Go to victory!

There are some quieter horns as Smeagol asks for the Ring, but when Deagol refuses to give it to him....

(from here on, the music on the CD does not appear in the film; my comments here are based on playing the CD from 1:54 on while watching the TE DVD from 3:13 on....)
[1:54]As they stand facing each other, the tension rises along some slow string chords...
[2:03]There is a hit from the low ends of the orchestra as they begin to struggle. The basses continue in this vein, thumping out two pitches from the Descending Third motif, the brass plays the Seduction theme, increasing in intensity till....
[2:16]The whole string section plays the Seduction theme melody twice through, while the bass continue in the background....
[2:22]The Ring falls to the ground and the struggle continues; the Evil of the Ring/Sauron theme appears briefly on the Rhaita, and then the Seduction theme and Descending Thirds play against and around each other till the end of the fight, winding down after Smeagol gains the upper hand, and the track ends with a couple heartbeat-like thuds on the timpani.....



There are several interesting things going here, the first being the cross between Gollum's theme and the Hobbit's theme that opens the score....my lack of musical education will probably show here, but the best way I can find to express it is that the melody is the Pity of Gollum's, but the way it moves around belongs to the Shire material. Obviously, it's linking Smeagol to his Hobbit beginings...much the same way as his theme was linked to the History of the Ring in TTT.

It's something that will happen a lot in ROTK: themes interconnecting and changing form, as the story begins to draw towards a close....

The violin solo of the Ring theme as Deagol finds the precious is a rather unique rendition of the theme; nowhere else is it imbued with that much tragedy, at least not so overtly...it always has that ancient, weary feel to it...but the violin sounds especially sad; it's not just lamenting Deagol's impending death, it's mourning that the Ring has been found, and all the woe that it brings with it....

Probably most interesting to me in this track is the Seduction of the Ring theme: the devolpment that it undergoes, what was left off the film, and what was left off the CD.

Throughout the first two films, we have seen the Ring trying to seduce men, and hobbits, to take it, to use it; and the theme is always sung by a boys choir, sounding so innocent....

It is only here and now that we see its siren call be successful, and only here and now does the theme get to show its true colors: not a gentle, pure boys choir, but a violent orchestral explosion!

The last minute of this track stayed in my head for months after ROTK came out, and I hummed it incessantly.

So, of course, it was cut from the film.

It was replaced by the high-pitched "Ring sound" and the heartbeat sound effects. On the sound featurette on the extended DVD set the sound designers explain that this was done because they felt that "emotional darkness" of the scene was brought out better this way. This may be fair enough an assement; the scene is certainly very dark and I find it hard to watch, and the sound design plays a large part in that.

But, in their use of one device to show the Ring's power over those who come near it, they neglect a stronger and more nuanced way to do the same thing; there is some continuity with the sound effect -- it was used in TTT -- but the music has been present since the first film. And the sound effect is oppressive from the start, it doesn't change, it doesn't...seduce.

The inclusion of one statement of the theme on the CD or film and exclusion of the other makes for a weaker listen in both cases. Context is very important here (this is usually the case in this thematically-heavy score, but here especially....). Fortunately, we'll be able to hear the whole thing the way it should be in a few months or so....



ttbk