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Listening to ROTK: A Storm is Coming

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The Tennis Ball Kid
Post subject: Listening to ROTK: A Storm is Coming
Posted: Sun 08 Jan , 2006 10:07 pm
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Hello! this is a continuation of a thread I began at TORC, and finished at B77. This time I have decided to heck with it, and am crossposting it here, at TORC, and at The Hall Of Fire. :)


That thread consisted of me posting an analysis of the track as heard on the CD, and also an analysis of the music that appeared in the film. Discussion was loosely based around it's use in the film, the use of Tolkien's languages, how it worked as an independent piece of music, as a soundtrack album, and the emotional response it triggers.

For TTT, the format will stay much the same; however, I will not be posting an analysis of the music as heard in the film, for two reasons:

1. Discussion would be chaotic, to say the least, as TTT (&ROTK) differ from FOTR in that the soundtrack albums are rearranged, and not in chronoogical order as FOTR was.

2. A fine study has been done of the music in TTT, but not by me. The interested could click here. :D


[ img ]
The soundtrack for The Two Towers was released on December 10th, 2002; it included 72 minutes out of more than three hours of music composed for the film. A complete release of the score is expected to arrive sometime this year. :D


.......................................
0:00–Quiet strings play variations on the Moria/Darrowdelf/Cadahras music as we see first the Newline Logo, then the Newline Title, then...
0:25–the Wingnut title.
0:32–The first phrase of the Ring Theme plays over the title, The Lord of the Rings.
0:42–The Ring Theme continues, with rising horns beneath, as we pan over the Misty Mountains
0:50–Strings take up another variation on the Moria music as we continue to sweep over the peaks of the mountains. We start to hear Gandalf's voice and the rumble of the Balrog. As the camera begins moving straight toward the wall of one peak, Gandalf voice becomes clearer.
1:43 – The music makes a dramatic switch to pounding music as we move through the wall of the mountain and to see Gandalf facing down the Balrog on the Bridge of Khazad-dûm.
1:50 – Gandalf clashes his staff onto the rock of the bridge.
1:58 – Sustained brassy notes are heard as the bridge collapses and the Balrog falls into the depths of Moria.
2:11 – The sustained notes give way into a low soft note as the relieved Gandalf turns to walk away. But the whip comes up to snap around his ankle...
2:14 – ...and he tumbles into the chasm, grabbing the ledge as he falls. The Fellowship is startled and Frodo tries to run to him but is stopped by Boromir. Low brass notes descend down, down, down...
2:30 – ...into a last low, sustained note........... "Fly, you fools!" (The music from 2:11 - 2:30 is the same as the music heard for this scene in FOTR. )
2:32 – Mettana!
2:32–Choir I calls out the challenge, "To the death!" (not heard in the movie). Four quick, brassy descending notes blare out and we're off into pounding music accompanied by a low, chanting chorus (Choir II) as Gandalf falls after the Balrog.
2:35 – Choir II: katabrikihu tanakhi uduhu bin-nât aznân tarsisi Bazar gurd! satf agânî sulluzu zatablugi tarsisi! tarsisi! - till 2:45
2:45 – Choir I chimes in with more prominent, powerful singing. (I believe Choir II continues to chant while Choir I sings through 2:45 - 3:32 but it's hard to tell.) Glamdring is falling before Gandalf but he quickly catches up with the sword, grabs it and descends on the Balrog.
2:45–Choir I: irkat-lukhud ma ulfat-atam ma atam ulfat-atam ulfat-atam ulfat-atam ulfat-atam zatagrafizu - till 2:59
2:59 – Choir II is back. The fight gets personal as Gandalf begins hacking away at the Balrog, both still falling rapidly.
2:59 – Choir II: zatagrafizu gurd! zatablugi zatablugi sulluzu ulfat-atam bin-nât tarsisi! tarsisi! - till 3:07
3:07 – The brass and Choir I echo each other in a descending phrase. The Balrog and Gandalf are bouncing off the walls and tumbling as they fall.
3:07 – Choir I: ma nîd uduhu
3:11 – The notes of the brass and Choir I begin ascending, higher and higher as Gandalf and the Balrog fall deeper and deeper until it climaxes into...
3:11 – Choir I: bin-nât aznân tarsi(si) Bazar udu agânî-furkh(în) sakhu gurd!
3:32 – ...a cessation of the pounding music and sub-chanting as Choir I sings a more lyrical 6/8 melody. The camera cuts to a dim shot of a cavern filled with water. Slowly a glow grows and we see the small-in-comparison, flaming Balrog fall from the ceiling.
3:32 – Choir I: Mettanna. Nurunna! An mauya mahtie.
3:41 – The choir shouts out it's last notes over some final pounding percussion as, from above, we see the Balrog fall with a flash into the water.
3:41–Mettana.
.......................................
  Irkat-lukhud ma  	No shaft of light
katabrikihu 	Can breach it
Ulfat-atam ma 	No breath of air
tanakhi uduhu 	Comes from it
bin-nât aznân tarsisi 	Only an endless dark rises
  	 
Bazar udu agânî-furkhîn 	Deep from the beginnings of the world.
Gurd! 	Have fear.
Ma nîd sakhu! 	Do not look down
Ma satf unkhai! 	Nor step too close
Atkât zatagrafizu 	The silence will take you.
Zatablugi sulluzu 	It will swallow you whole.
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!
............................
A brilliant introduction, the slowly building strings moving into the History Of The Ring theme, and then back into the Dwarven music as we glide over the Misty Mountains...

It is followed by a brassy passage, and then a reprise of the music heard in the first film as Gandalf falls.

On the album the choir calls out "Mettanna!" ("To the death!") after he falls, but it is not present in the film.

The next minute or so is some of the most violent music in the trilogy, two choirs, percussion, and massive brass underscore this battle of Maiar.

The cue climaxes on a more lyrical note as Gandalf and Balrog come out of the tunnel, and into the cavern, the orchestra falls away and the choir is alone, in a vast expanse. One of the better combinations of music and image in the film.
[ img ]


Feel free to chime in, or at the very least, turn up the volume just a tad. :D


TTBK
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Magpie's Nest: Foundations Of Stone

Last edited by The Tennis Ball Kid on Fri 10 Aug , 2007 11:09 am, edited 23 times in total.

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Posted: Sun 08 Jan , 2006 11:09 pm
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I responded on HoF. The other HoF...

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I know. :neutral:


_________________________________________
0:00- a reflective, but optimistic version of the hobbit theme opens the track as Sam and Frodo eat lembas bread
0:26–A soft choir begins a slow melody that starts out a bit melancholy but then turns slightly menacing.
[this section is not in the film, where it (presumably) would have appeared is an unrelated string passage; there are also no known lyrics]
1:09–From above we see the Hobbits sleeping as high strings hold their note till the cymbalom joins them to begin the tentative premier of Gollum's new theme, the sneaky and jittery Stinker Theme. Gollum is creeping down the rock face towards the two Hobbits.
1:45 – The cymbalom fades into a moment of silence as Gollum reaches toward the sleepers and then....
1:47–an (exciting :D ) explosion of frantic strings and menacing brass as, having feigned sleep, they reach up to grab Gollum's outstretched hand and the fight is on. After much tussling and fussing, Gollum gets a hold of Sam by the neck and...
2:16–The music calms into a expectant sustained 'note' as Frodo introduces Gollum to Sting
2:21–The Stinker Theme creeps back in as Frodo makes a deal Gollum can't refuse and as the music fades, they come to an agreement -- to Sam's benefit.
____________________________________________________________
This track opens with a rendition of a theme that is, during TTT, sparsely used -- the hobbit/Shire theme. It won't reappear on the album until the penultimate track, and even in the film, it won't reappear until the (unreleased) moment as Merry tells Pippin that there "won't be a Shire to go back to". TTT's musical focus is on men. And Gollum/Smeagol.

Next is a choral piece (lyrics unknown) that doesn't appear in the film, probably intended for the scene where Frodo and Sam wander through the Emyn Muil, ut not quite the right length; so perhaps for a slightly different cut. Whatever the case, I like it.

And then we are introduced to a new theme for Gollum; to quote Doug Adams:
The theme heard for Gollum in film one is the Pity of Gollum Theme. When Bilbo displays Gollum-like traits, this theme is either combined with the Shire music or played outright. The Pity theme appears through the majority of the Gollum scenes in TT, though varied and and twisted into all sorts of shapes. (As stated by others, Gollum also gets his cimbalom music in Two Towers, primarily to represent the side of him that is not piteous—-the side that is a greedy, murderous river Hobbit.)
The cimbalom is hammer dulcimer...the theme is a creeping, jittery composition...it sneaks, precious.

Then there is a frantic action passage for brass and strings. Very much in the mode used for The Watcher, and later for Shelob. (it reminds me of his score for The Fly, which I heartily reccomend to anyone who has ears...in fact, go to Amazon now and listen to the sample from the first track. All of you. :poke: ) It's twice as long in the film.

The track closes with another rendition of Gollum's new, sneaky theme...



TtBk
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And again...

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I'm not even sure there's anyone reading this besides anyway, but... :shrug:


The Riders Of Rohan consists of three distinct musical compositions.

The first opens with low strings and brass, punctuated by two percussive beats, as the Three Hunters hide behind some rocks to avoid being spotted by the riders. This is followed by an increasingly complex rythmic passage for brass, strings, percussion, and woodwinds that builds and builds as they are surrounded, and cuts out suddenly as the riders halt.

A very effective piece of music in the film, non-thematic because the identity of the riders is unknown, but not overly foreboding either.


The second begins softly with ascending horns, then strings, as Gandalf prepares to leave the stables of Rohan...then, as Shadowfax gallops out, a full fledged rendition of The White Rider Theme, which is made up of "four ascending notes repeated, the fourth note becoming the first of the next repetition, while three descending chords are playing in harmony."[1]

Here we are introduced to the theme that will be associated with Gandalf and Shadowfax throughout the last two film's. Gandalf the Grey was "a mediator" accoding to Shore[2] "He's a facilitator. He's a character that moves the action and he's very fleeting. There isn't anything that's specifically tied to Gandalf the Grey because he's the one that moves between all the characters." Gandalf the White, however, has a horse. And when he rides that horse, this theme plays.

An oddity, is showcased here; because of the unchronological sequencing of the TTT album, this is not the first time the theme appeared in the film (that's in The White Rider), and it's really a weaker introduction...


The third, and final, passage begins slowly on strings, then the gentle melody of Eowyn's theme comes in, first on strings, then joined by woodwinds. It moves into The Rohan theme, on horns playing counterpoint to each other, as Theoden slowly stands, then, as he grasps his sword, the theme plays through a second time, this time for solo hardinger fiddle (with horns playing counter point again). It resolves uneasily though, with snarling brass, as Thedoen tries to kill Grima.


Eowyn's theme is one of my favorites in the score. Simple, but lovely...it's like a simpler cousin to the love theme from Ben-Hur. It's used to depict Éowyn's feelings of frustration and captivity; it's first appearance coming as she runs away from Wormtongue. (heard in The King Of The Golden Hall)


The Rohan theme is rather broadly associated with the people of Rohan; it's signature instrument is the hardinger fiddle.

It has it's second fullest statement here, as Thedoen recieves his sword, and his kingdom is revived. The only grander renditions are in the TTT end credits (essentially a concert arrangement of this cue, sans solo fiddle, and with a triumphant ending), and of course, in ROTK...



TTBK
1: LOTR: TT Extended Edition, Music as heard in the film, part two
2: FOTR: Annoated Score

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Lalala...


The Passage Of The Marshes opens with low brass and strings, creeping music consistent with the tone of the Ring company's journey so far, before moving into an aleatory string passage that occurs twice, the first time over the long shot of the marshes, the second as Frodo is lured into the water. (which is accompanied by a crescendo)

Perhaps the most interesting -- certainly the most unique -- part of the track was dialed out the film; the repeating bass phrase with the atmospheric muttering chorals (which, as Magpie notes, are reminiscent of Ligeti). In the film we still hear muttering voices, but it's closer to a sound effect.

The choir has the same effect as the eariler strings, an uneasy, and unmelodical, texture...


The track then moves into a lovely arrangement of the "Pity Of Gollum" theme, with promient violin, as Frodo tells Gollum that he was once Smeagol. It's worth noting at this juncture that ROTK (Gollum's flashback) starts out with a variation on this theme...

Gollum's "Stinker" theme returns on cimbalom over tympani to close the track.



TTBK

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The Uruk-hai opens with horn calls, playing the first half of the Fellowship theme -- or, the Fellowship Prelude -- with light percussion underneath, as the Three Hunters are introduced. A brass heavy, heroic statement of the full theme follows, over the long shots of them running through the countryside. The theme is passed through the woodwinds as Aragorn finds Merry's brooch; and then finally, it plays on strings as they continue their hunt. It quiets for a moment, then as they reach the borders...the Rohan theme's first phrase is played on brass (and echoed by the strings).

In the film, this cue plays a large part in the scene; giving it a rythmic drive, it urges them on with the ever-present percussion and a repeating brass figure. It also reintroduces us to the Fellowship theme, which is not quite forlorn as when we last heard it, at the end of FOTR, but the emphasis on brass gives it a harsher edge.

The Rohan theme gets it's theatrical introduction here, a partial statement on the brass, which holds the last note, drowning out the string counterpoint. (an effect lessened in the film because of a slightly different mix)

Apart from the film, this is interesting just because of how much time Shore gets to develop and variate the theme here; at a full minute and a half, this would be the good basis for a concert arrangement. It's also insanely hummable...dun, dun, da da dun, da da dun, da da dun, da da dun, da da dun! :D

The second half of the track flows closely on the heels of the opening, chronologically. It features the Isengard percussion before moving into a swirling rhaita solo of the Mordor/Sauron theme which crescendos, then moves into a rather straight-forward, but strong, rendition of the Isengard theme.

Truncated a bit from what is heard in the film, but still notable for vigorous statements of the main evil themes.


The track as a whole is part of a larger sequence, an overture of sorts, in the film, that introduces the storylines for the rest of the Fellowship. Highlights of the unreleased music from this sequence would include a heroic passage as Merry loses his brooch; the music heard as the Rohirrim ride back to Edoras with Theodred; the elegaic choir as the Westfold is burnt (Old English choir is a device used to identify with the plight of Rohan throughout); and the magnificent intertwining of the choral piece from Boromir's last stand, the Isengard percussion, and horn statements of the Fellowship theme as the Three Hunters continue their pursuit. The latter two are at Hirgon's LOTR Music site, "The Burning Of The Westfold" has quite a bit of background noise still present though.




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Hello to anyone reading! :wave:


[0:00]The King of the Golden Hall opens with the Fellowship Prelude on horns as Gandalf and the Three Hunters approach Edoras. [0:07]A hardanger fiddle plays the first phrase of the Rohan theme, which is followed by a descending horn passage, then a slow statement of the theme on horns as we see the king in decline. [0:24]Eowyn's theme is given a wistful statement by woodwinds, then strings, as she shakes off Grima's advances, and goes outside.[0:54] The Rohan theme is given a melancholy rendering by the hardanger, then a fuller orchestral version as the camera pans over the city, horns wind the theme down. [1:50]An ominous bass line is introduced, the strings hold a note, then a rising and falling rythmic brass motif enters as Gandalf and co. cross the hall, it quiets into an uneasy passage with swirling strings that reaches an abrupt halt.[2:32]Horns and strings begin an elagic passage as Theoden mourns the loss of his son, an oboe joins the melody at [2:50], and then a gentle, rising Old English choir comes in, the track ends with a choral "aaah" as Gndalf sees the two children arrive on the horse.

The lrics are from The Fallen, written by Philippa Boyens. The lines that are used in the score are in bold:
Quote:
Hé laered hine rídan He taught him to ride,
And wealdan méce To wield a sword.
And standan fæst To stand strong
And féond ne forhtian. And show his enemy no fear.
Nú hé sceal leornian Now he must learn
Ðæt hearde sóð: The hard truth:
Hé raerede his cnapa That he had brought his boy
Of cilde tó menn From childhood.
Ðæt hé his déað geséo. So that he might face his death like a man.


Sé féond wæs simble mid heom. The enemy was always with them.
Sé féond ne reccede ege. The enemy did not care about fear.
And time stamps, from Magpie's Nest:
 [02:58] Of
[03:02] cilde
[03:06] tó
[03:07] menn
[03:11] Ðæt
[03:15] hé
[03:17] his
[03:19] déað
[03:23] ge-
[03:25] sé
[03:27] o.
Most interesting here is the use of the hardanger fiddle, a Norwegian instrument which gives Rohan's music a distinct rustic feel. It can be used to give emotional weight to their tragedy, as is shown here; but as heard in The Rider's of Rohan, it also gives them a nobility that a simple brass and strings fanfare would not have.

Eowyn's theme gets it's first full statement in the film here, it's a forceful entry for the beautiful melody, and combined with the fiddle solo as the flag tears away, one of the most memorable uses of music in the trilogy(IMO), one of those scenes I find delightful, just because the music carries so much of them. I like that. :)

Not a great deal to say about the middle section, I enjoy the music as the Three Hunters ensure Gandalf's safe passage through the hall a great deal though...

The last cue, as Theoden mourns, is the first time Old English(Rohhirric) appears on the album, but it is used in association with Rohan throughout the film.


All this music is from one lengthy sequence in the film, one that is nearly completely represented on the CD; The Riders Of Rohan, and The White Rider contain additional music from it. Given the suite like nature of much of the CD, not intended to be a chronological reresentation, this doesn't bother me that much, but I do think it would have made more sense for the music after Theoden is freed to be heard after the music in this track. In order to let the theme develop in the course of listening...



TTBK

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The Tennis Ball Kid
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After a longer than intended pause, we continue!

This track covers the sequence where Frodo, Sam, and Gollum arrive at the Black Gates.

[0:00]Rising horns and strings lead into a rhaita statement of the begining of the Mordor theme as they see the Gates.[0:12]The theme is continued on strings, and the bass plays the skip-beat ostinato[1] underneath.[0:24]The Mordor theme is stated in full as the scene cuts to the orcs atop the gate. It is picked up by the low brass as the camera returns to the hobbits, who are awed by the front door of Mordor. A mounting horn and percussion phrase follows as the Easterlings appear, the gate opens, and the tension increases as Sam decides that this is their chance.[1:11]There is a pause, then a short rythmic passage that ends as he falls...

Jumping head in the action...

[1:24]High strings lead into first the Pity of Gollum theme, then the Ring theme, as Gollum tries to convince them that there is another way.[1:49]An ascending woodwind phrase leads into darker strings as Frodo tries to decide whether to believe him.[2:07]The Pity of Gollum is given a slow, airy statement by the strings, with the skip beat ostinato reappearing underneath on the bass.[2:39]The theme winds down, and a solemn horn solo underscores the tension, as he has decided to follow Gollum, and Sam can't believe it.


Thematically, the interesting part of this track is the way Shore inertwines the Smeagol/History of the Ring themes, throughout TTT the already closely linked themes come closer together, due to their shared history...


:wave:
TTBK
[1] The skip beat ostinato is one the short danger motifs associated with the forces of evil, it is a rapid, repetitive, ascending phrase of 4 notes.

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I'm not entirely sure what to say here, so these are just a few thoughts.

I don't know or recognise most of the themes, so your commentary about the intertwining of the Smeagol/Ring themes was particularly interesting. Shore's choice to use it there in particular is telling in regards to Gollum's motives there. His fate and the fate of the Ring . . . the two themes put together: he wants to keep the Ring close to himself as long as possible, to save it. I love the way Shore uses the strings. One generally things of them as light and more airy (especially violins), but they're so dark and foreboding in most of this. Kind of like the Ring itself, I suppose. Pretty and shiny, but really rather evil.

And that's all I've got.

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Quote:
I don't know or recognise most of the themes
Please ask questions then. I love answering questions. :D

Quote:
His fate and the fate of the Ring . . . the two themes put together: he wants to keep the Ring close to himself as long as possible, to save it.
Exactly. That's part of what makes these scores so interesting, they really tell the story, and do more than just comment superficially...

Good observation about the strings.


Oh, and I have Soul Of The Ultimate Nation now. :D More to say on that after a few more listens.... ;)



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The Tennis Ball Kid wrote:
Quote:
I don't know or recognise most of the themes
Please ask questions then. I love answering questions. :D
I shall have to think of some, then. :D At some point when I've got more time I'll go back through your commentaries while listening to the soundtracks.

Quote:
That's part of what makes these scores so interesting, they really tell the story, and do more than just comment superficially...
Agreed. I had no idea they were so complex.
Quote:
Oh, and I have Soul Of The Ultimate Nation now. :D More to say on that after a few more listens.... ;)
How is it? Should I rush out to the store and buy a copy (because I have so much extra cash lying around right now :roll:).

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Quote:
How is it? Should I rush out to the store and buy a copy[?]
No. :P You'd be better off saving all your extra cash
(hahaha..) for FOTR Complete, which I think you'd really appreciate. And even besides that, I think The Fly is a more impressive piece in Shore's back catalogue...

But. It is a Howard Shore score.

And. It is has the same sound as LOTR. :love:

Epic choir...fiesty brass...I've only( ;) ) listened to six times though (and I haven't heard it context; i.e. the video game...), so I'm not familar with all the themes yet, the only one I've really got a handle on is the main one, but it's a doozy...maybe I'll go through it, track by track, and give impressions...


It's good. :D

Oh, and...

http://media20a.libsyn.com/podcasts/fsm ... st_008.mp3
http://media20a.libsyn.com/podcasts/fsm ... st_009.mp3
http://media20a.libsyn.com/podcasts/fsm ... st_010.mp3

Those would probably give you a better idea of what it actually sounds like...



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Hello again! :)

[0:00]Isabel Bayrakdarian sings the Evenstar theme, back by female choir and gentle strings, as Arwen stands by Aragorn's tomb in Minas Tirith.
Quote:
Ú i vethed nâ i onnad. Not the end [it] is the beginning.
Si boe ú-dhanna. Now it-is-necessary [that] don't-fall
Ae ú-esteli, esteliach nad If you trust some-thing, trust this.
[0:32]A gentle oboe reading of Aragorn's theme as we move to Aragorn and Arwen in Rivendell.[0:47]Choir joins:
Quote:
Nâ boe ú i. [It] is necessary don't that.
[1:04]Horn and string variation on the Evenstar theme, as Arwen tells him that his path is with Frodo.[1:34]Aragorn's theme returns on the woodwinds.[1:58]The Evenstar theme returns for choir and soloist as they kiss.
Quote:
Estelio han, estelio han, estelio,
estelio han, estelio veleth. Trust this, trust love.
[2:30]The Evenstar variant from 1:04 returns as Aragorn tries to give the Evenstar back.The track winds down as Aragorn tells Eowyn where the woman who gave him the jewel is...

Here the beautiful Evenstar theme (the Evenstar referenced in the title is Arwen Undomiel; not the jewel) is introduced.In the film, it is first used at the begining of the Arwen/Aragorn sequence in Rivendell, but the CD track features a rendition from the "Arwen's Fate" scene; which is slighter longer, and has a more prominent solo vocal.

The Evenstar theme is used in conjunction with Arwen in general, and specifically, with her decision to choose a mortal life, and a mortal man. It is related to 'Anrion' from FOTR, but with a much more tragic sense to it.

The lyrics come from Phillipa Boyens poem 'Evenstar', which has it's base in Arwen's lines:
Quote:
Ú i vethed...nâ i onnad. Boe bedich go Frodo. Han bâd lîn. Si peliannen i vâd na dail lîn. Si boe ú-dhannathach. Ae ú-esteliach nad... estelio han. Estelio ammen.

This is not the end. It is the beginning. You must go with Frodo. That is your path. It is already laid before your feet, you cannot falter now. If you trust nothing else, trust this.[ the Evenstar jewel] Trust us.
The other theme referenced here is Aragorn's theme (or: The Heroics Of Aragorn); a theme connected to his evolution from Ranger to King; it is a rather elusive idea throughout FOTR, slowly developing from some ascending notes in the Prancing Pony, to a brass fanfare at Weathertop, to a more fully formed themeatic idea, finally, at Amon Hen. It's most distinctive feature is its three(?) ascending notes. It will appear on the TTT album a couple more times (Breath Of Life, Isengard Unleashed), and in ROTK will be linked to the Gondor theme...

Here it is given a unique, gentle reading by the woodwinds as Arwen urges him onto his path to being a leader of men.



All together, this is a very beautiful track, and a fitting accompaniment to this love story....


ttbk

Lyrics from: Magpie's nest

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MaidenOfTheShieldarm
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I've never cared for the scene itself, but the track is beautiful. I like the end, especially. It's so sad and graceful and poignant, like their story should be.

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Hi Mossy! :wave:

:D

The first half of this track is taken from Gandalf's exorcism of Theoden.

[0:00}A deep string chord, as Gandalf flings off back his cloak and reveals himself to be Gandalf the White.[0:03]Mixed choir and brass issue the same challenge he gave to the balrog: " Mettanna!(To the end!)"[0:13]The choir, in Old English(Rohhiric):
Lim-strang wæs geboren
Bearn inga
Magorinc 
 in byrde 
An extract from The King. On the CD it's edited down by about ten seconds, what is heard in the film is in bold below:
Quote:
Lim-strang wæs geboren Strong-limbed he was born
Bearn léod-cyninga This son of Kings;
Magorinc Mearces. This warrior of Rohan.
Bunden in byrde tó laedenne Bound by birth to lead.
Bunden in lufe tó ðegnunge Bound by love to serve.
Lang beadugear cýðað Long years of war begin to show.
Lic onginneð búgan. The body has begun to bend.
Swift déadlic géar Stieppað geond willan. Swift mortal years outpace the will.
Ac éagan gíet lóciað Beorhtre gesihðe; But the eyes still watch clear-sighted.
Heorte gíet béateð. The great heart is beating still.'
So it is about Theoden, whose life the wizards are contending over.

The underscore during all this is just as, if not more, interesting. The Isengard percussion beat is heard, and also a brass passage that illustrates the genius of Shore's Isengard and White Rider themes. In a musical effect similar to the mixing of Lee's and McKellen's voices in Fangorn, Shore leaves it open to interpretation whether he is using one theme, or the other. Or both. Just as Gandalf is Sauruman as he should have been, the White Rider theme is the Isengard theme as it should have been. Both open with the same three notes, after that they're structure is slightly different; 'Isengard' pauses briefly, then there are three more ascending notes; 'White Rider' adds a fourth note, which becomes the first note of another four notes...
(I didn't realize all this completely till just now. I, too, am learning...)

'Tis touches such as this that let me appreciate these scores on levels intellectual, as well as visceral.

The second half is from after Gandalf's return, and Shadowfax's first appearance.

[0:40]Gentle string arpeggios, he has come back, at the turn of the tide.[1:02]Horn fanfare as he whistles for his steed.[1:15]Female choir(till 1:44), then male choir, over more string arpeggios sing:
 for  ðon hé waes Sceadufæx  	for he was Shadowfax,
hláford ealra méara 	Lord of all Horses.
From The Mearas.

[2:00]The White Rider theme makes its first appearance in the score, and is magnificently stated by brass and strings as Gandalf and the Three Hunters make their way over the plains of Rohan.

The piece from 1:02 to 2:00 is an alternate, and is not used in the film. The film version (which Hirgon has) has horns rather than strings, and places a greater emphasis on the male voices.

To sync the whole piece from :40 onward with the film, you have to start it at about 45:19 into the TE DVD, it fits perfectly. If someone just has the EEs, I can figure out how to do it for just Shadowfax's appearance, but it's trickier...


TtBk

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:wave:



We'll start listening to this track at 0:54, and then go back to the start. ;)

This section of music was intended for Merry and Pippin's initial encounter with Treebeard, but only 1:37 onward was used, the emphasis being on the sound effects in this scene. It can be synced to the film by starting the EE DVD Disc 1 (region 1) at about 39:59, "Tree? I am no tree..."

On to the music...

[0:54]Fangorn's signature sound -- wandering bassoon melodies, over bass marimbas, double-bass, , and woodblock percussion -- plays as Treebeard challenges the assertion that he is a tree. It is not hasty, but it is deliberate...but not neccessarily sure it is going to go anywhere. The forest is not awake yet...

[1:44]The music takes a threatening turn as Treebeard repeats his accusation that they're orcs, and squeezes them. The more lighthearted marimba disappears, and the bassoon and bass percussion continue to plod.[2:10]A tense note is held while the percussion continues as Treebeard decides to bring them before the White Wizard...[2:17]....high strings enter and the percussion builds to a roll as they are dropped before him.

This cue introduces Fangorn's sound, no real specific motif, just an atmosphere that uses mostly wooden instruments to give it a natural feel. The section from 1:44 on gives us a sense of the strength of the place and its keepers, but not a clear sign that Merry and Pippin are about to start an avalanche. (though that has been hinted at in the unreleased clarinet rendition of the Nature theme heard a few minutes earlier)

[0:00]Meandering bassoon as Treebeard and hobbits arrive at the Ent Moot.[0:14]The other ents have arrived; mixed choir sings: echuia, holding it till 0:33.[0:27]A drum roll.[0:36] "Now we must decide if the Ents will go to war." An aleatory string phrase that leads to....(choir enters at :47 with nnen, and holds it till...)[0:53]A crescendo.

More of the Fangorn sound, but with choir, which sings (in a very unhasty manner):
Quote:
...echuiannen ... have awoken
From the Sindarin poem The Ents, which was excerpted earlier in the film as Gandalf told the Three Hunters that Fangorn would wake up, and will return in Isengard Unleashed.


As one last side note, 2:17-2:36 was tracked over Gandalf's appearance; a sequence which features the most jumbled combination of original music, tracked music, and unused music in the entire trilogy....



ttbk
Resources: Magpie's Nest: Treebeard

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Posted: Fri 07 Apr , 2006 3:06 pm
Als u het leven te ernstig neemt, mist u de betekenis.
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If I recall on the original CD's, Track 10 of TTT is Treebeard. The very first few bars of the wooden instruments reminds me VERY much of the original Star Trek series. It is almost exactly, if not exactly, the motif they used when encountering either Klingons or Romulans in space - I cannot remember which one.

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The Tennis Ball Kid
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Hi Lidless!


Gosh...I haven't seen any Trek in years, but I know exactly what you're talking about.


*wonders where his TOS CDs got to, and if they have that on them*



ttbk

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The Tennis Ball Kid
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For the record, I only seem to have one CD from the original series, and it doesn't have that motif on it.


The Leave Taking:
[0:00]Strings quietly play "The Diminishment of the Elves" as Arwen embraces Elrond; it leads into a rising chord that transitions to:[0:31]The Rivendell theme for female choir, with the arrepegios on strings as Arwen and the other elves leave for the Havens.[0:49]Father and daughter exchange glances; the choir continues to sing "Elbereth Gilthoniel", but the arrepegios are replaced by a variation on the Evenstar theme.[1:13] The Lothlorien theme enters, as Galadriel establishes a telepathetic connection with Elrond. As she monologues, the female choir, accompanied by sarangi, sings...[2:00]...they drop the melody, and rise to a crescendo..[2:19] A chilling rendition of The Nameless Fear is heard; the will of the Ring is strong, and it is working its way back into the hands of men.[2:54]The History of The Ring plays as we see Faramir taking the hobbits to Henneth Annun.[3:10]The theme is cut off suddenly, and a dark low brass passage plays as we see Barad-dur, then some melancholy woodwinds, and then the track ends with an ascending string phrase. Do we leave Middle-earth to it's fate? Do we let them stand alone?

The statement of "The Diminishment of the Elves" that opens the track is really the denouement of the unused cue "Arwen's Fate" (heard in Breath of Life), and I'll discuss it more when we get to there...

Arwen's departure from Rivendell (and her father), is represented here by a rendition of the Rivendell theme that has a somewhat slower tempo than usual for the arrepegios; it then shifts to a lovely variation on the Evenstar theme as they lock eyes...both knowing that she is taking her love for Aragorn out of the world with her.

What follows is a bit like a rehash of the prologue, the Lothlorien theme with all its mysticism transfering us back to Galadriel, and her role as narrator. Its lyrics are very appropriate in this context:
Quote:
Man sí minna? Who enters here?
Man ammen toltha i dann hen Amarth? Who brings to us this token of Doom?
I anann darthant dam morn That which has stood so long against the darkness
Si dannatha. will now fall.
Then we have The Nameless Fear, a motif that appeared in FOTR when Galadriel speaks of (you guessed it!) the nameless fear; the shadow in the East; the darkness that will cover Middle-Earth if the Ring has its will, and returns to its master. This little theme gives me chills, everytime....

...especially since it transitions right into The History of The Ring, as Faramir leads the hobbits on. It has a very uneasy feel here; men have a bad track record with the Ring. This does not forebode good...

....and that feeling carries over to the end of the track, as the brass, woodwinds, and strings all share this melancholy air.


A lovely, and dramatic, cue.


ttbk
Lyrics from: Magpie's Nest

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