Track-by-Track: Soundtrack Discussion and Analysis

[Encaitare]

For quite a while I've been thinking it would be a cool idea to get a bunch of people together to analyze the LotR soundtracks, to discuss the technical aspects of it as well as how it contributes to the events in the movie, the mood, etc. Since there has been some interest expressed in this idea, it has at last manifested, and I'm putting it in Novices and Newcomers, due to the wise counsel of Esty.

I suppose this will work in much of the same way as the Chapter by Chapter threads -- we'll focus on one track at a time; all aspects of each track are open for discussion. One thing which has been bugging me is how long to provide for each track discussion. CbC starts a new chapter every Monday. Since so many of us are busy during the week (and I need no further distractions from my mountains of homework :rolleyes: ) I'm thinking it would make sense to start a new track every Friday; I could do so right after I get home from school. I've also been wondering if we need a full week to discuss each track. I guess we'll see how the first one goes and take it from there!

In light of Mr. Wight's Idea + Example = Better Topic (http://forum.barrowdowns.com/showthread.php?t=11230) thread, I'll start with Track One of FotR: The Prophecy.

The following Quenya lines are heard during this track:

Hlasta!
Quetis Ilfirimain:
Corma turien te
Corma tuvien
Corma tultien te
Huines se nutien.
Tercáno Nuruva.
Tuvien Corma tultien te
Huinesse nutien
Corma turien te Corma.

Listen!
It speaks to those who were not born to die:
[One] Ring to rule them [all]
[One] Ring to find [them]
[One] Ring to bring them [all]
[And] in the Darkness bind them
[The] Herald of Death
To find [One] Ring, to bring them [all]
[And] in the Darkness bind them
[One] Ring to rule them [all], [One] Ring

The lyrics and translation are not given in full in the CD booklet; I found them at arwen-undomiel.com, which also features many more Elvish bits from the soundtracks and their translations. If you follow the words along while listening to the track, you can make the words out, more clearly in some places than in others.

At this point in the movie, we have the flashback to Sauron's defeat. It's great that this translation would be what the choir is actually singing. Howard Shore and everyone who worked on the music could have chosen random syllables, and hardly anyone would have known the difference. The attention to detail is great here, and will continue throughout the soundtracks. Also, it is fitting that the words would be in Quenya rather than Sindarin, as the story is one which goes back into history and would merit a more formal tongue.

After we have the grand and terrifying brass, choir, and timpani part (the timpani almost seems like a pounding heartbeat) which accompanies Sauron's presence, the score moves to more mysterious violins, and the movie moves on to Gollum. We hear hints of the Ring theme (I hope you all know what I mean) with the trumpet solo at 2:17.

Towards the end of the track, the sound of the music grows a little lighter, with plucked strings (like the next track will use for the far more light-hearted hobbit music) and softer, calmer dynamics. There is another trumpet solo (3:34) which gives us the Hobbiton theme for the first time, and will tie in nicely to track 2.

Time for me to turn in... hope to see some responses! :)

[Aiwendil]

There is another trumpet solo (3:34) which gives us the Hobbiton theme for the first time, and will tie in nicely to track 2.


I love this little trumpet solo; it functions, in a way, to pull one away gently away from the bombastic earlier section toward the Shire. There's what sounds to me like a somewhat distant chord change underneath it (as I recall - I don't have the CD at hand) that is rather nice.

Howard Shore and everyone who worked on the music could have chosen random syllables, and hardly anyone would have known the difference.

As indeed Rosenman did for the Bakshi movie. The use of Quenya and Sindarin for the choral sections was an excellent choice, and I agree that a Quenya translation works best here. I do have a few issues with the "neo-Quenya" and "neo-Sindarin", though - I would have used "Alfirimain" instead of "Ilfirimain", for example. But I doubt that many care about such things.

[Encaitare]

I do have a few issues with the "neo-Quenya" and "neo-Sindarin", though - I would have used "Alfirimain" instead of "Ilfirimain", for example. But I doubt that many care about such things.

Would you care to explain this for a poor confused soul? I'm afraid I don't know nearly enough about Elvish to understand the significance or difference here. :confused:

There's what sounds to me like a somewhat distant chord change underneath it (as I recall - I don't the CD at hand) that is rather nice.

Yes, three chords underlie this solo. Since I'm firmly against doing my history essay before dinner, I figured out which chords they were: first, D major. Second (not completely sure about this one) a minor, and third is C major. D has always sounded sounded mysterious to me, then it goes to the fifth of the D scale and makes it minor, in a transition of sorts between musical scenes. Finally, the a chord moves to its relative major, C, giving it the lighter, calmer sound I mentioned in my last post.

Thanks for your response, Aiwendil. Come on, guys, join the fun!

[Sapphire_Flame]

What I love about this track is the choral opening, with the orchestra slowly easing into the background. It really sets the emotional stage for the film, and the rest of the music. In fact, up until the dropoff at 2:11, the choir is the central force of this track.

Another nice bit is the emphasis of the strings at 0:37; a sort of "Hey, look, the title!" piece, but very delicately arranged.

Towards the end of the track, the sound of the music grows a little lighter, with plucked strings (like the next track will use for the far more light-hearted hobbit music) and softer, calmer dynamics. There is another trumpet solo (3:34) which gives us the Hobbiton theme for the first time, and will tie in nicely to track 2.

That is a brilliant lead in. It is a graceful transition into the idyllic setting of Hobbiton and the Shire.

This is a really brilliant thread; thank'ee, Encaitare, for starting this up!

Abedithon le,

~ Saphy ~

[Encaitare]

Thanks, Saphy; glad you've come to join us.

By the way, Aiwendil, I read your essay over on the Tolkien Forum about music in Middle-earth -- wonderful job on that. I really enjoyed reading it.

A note to all readers: you don't have to have any great musical knowledge to post here. You can post your favorite parts of the track, what emotions it evokes in you, why you think it evoked said emotions, the effect you think was trying to be achieved, the relations to the movie events, the tie-in to the cultures we see, etc. All you have to do is have opinions and a sense of observation, which I know we've all got here! And if you do happen to have a more technical knowledge of music, please share it!

[Aiwendil]

Encaitare wrote:
Would you care to explain this for a poor confused soul?

Well, il- was at one point a negative prefix, but later on Tolkien seems to have been using al- instead. Of course, it's very difficult to try to take the massive body of Tolkien's linguistic material and try to formulate a single unified version of either Quenya or Sindarin, so differences of opinion are to be expected.

By the way, Aiwendil, I read your essay over on the Tolkien Forum about music in Middle-earth -- wonderful job on that. I really enjoyed reading it.


Thanks. I think perhaps the number of musical terms that I used scares some away, even if I'm not really saying anything too complicated.

Sapphire_Flame wrote:
Another nice bit is the emphasis of the strings at 0:37; a sort of "Hey, look, the title!" piece, but very delicately arranged.


Yes, this is a very nice little moment, and somehow very evocative (I think) of the sense of ancient history being presented.

Again Encaitare:
first, D major. Second (not completely sure about this one) a minor, and third is C major.

This sounds about right to me. I think it's the D - a change that I was thinking of. Not, in fact, distant at all, but the fact that the A is minor makes all the difference (and is accentuated by the fact that the melody climbs here to a C (the note that makes the chord minor)).

[Kitanna]

What I love about this track is the choral opening, with the orchestra slowly easing into the background. It really sets the emotional stage for the film, and the rest of the music.

I totally agree with that. Not only does it open up the movie for us, it sets the stage for just how powerful and moving the rest of the music will be. It's wonderful how Howard Shore uses different instruments to stir up a wide range of emotions for the listener.

Whenever I listen to my FOTR cd I can see the opening of the movie and hear Galadriel's monologue. It's not often I listen to a soundtrack a can see the scenes from the book and movie. Truly wonderful.

[Encaitare]

What I love about this track is the choral opening, with the orchestra slowly easing into the background. It really sets the emotional stage for the film, and the rest of the music. In fact, up until the dropoff at 2:11, the choir is the central force of this track.

The choir is used so much throughout all the soundtracks, probably because it's so versatile. Certain instruments tend to have a characteristic tone to them (for example, it's difficult to make a flute sound angry, or a string bass to sound cheery). Yet a choir can achieve any sort of sound depending on the voicing and the chords. In this case, it definitely does set the emotional stage, and then creates the tension of the battle.

EDIT:

I just received an unsigned rep, which read as follows:

Nice idea for a topic...alas that I cannot participate as I am not as talented in music as you obviously are.

Firstly, thanks for the compliment. :)

And secondly, no! This is negative thinking! Like I said previously, you don't have to be any sort of musical genius to participate. Music is all about emotion, and in the case of a movie score, it's also about carrying along the story. All you need to know is how the music makes you feel, and how it contributes to the storyline. If whoever sent that rep reads this, please don't be afraid to join in! :)

[Bêthberry]

By the way, Aiwendil, I read your essay over on the Tolkien Forum about music in Middle-earth -- wonderful job on that. I really enjoyed reading it.




A wonderful idea for a thread, Encaitare. Once some of the seasonal hubub slows down, I hope to have time to contribute to this. (And once I've proverbially spread a bit of jam around on other yeasty posts, I can return to 'give a toast' to yours again! Honestly, I dislike that expression, "spread some rep around.' It sounds so crudely suggestive for such a high-minded forum. ;))

Could either you or Aiwendil provide a link to this essay? Much appreciated ifyou could!

[Encaitare]

The essay may be found hither (http://www.thetolkienforum.com/showthread.php?t=14562). Enjoy!

[Encaitare]

I hereby commence the analysis of track 2: Concerning Hobbits.

The title is the first of many to be taken from the books (or drafts), as we'll see later in "The Shadow of the Past" and "The Treason of Isengard."

The first few notes have a plodding sort of sound, like we're now settling into a more ordinary and mundane place. Next enters what sounds to me like a wooden flute (played by Sir James Galway?) and a fiddle (I think this is played by Dermot Crehan, who also does the Rohan theme). These two instruments, and the style of playing, with a lot of grace notes, remind me of Celtic music. It definitely creates a tranquil, lush image in my mind.

Then at 0:27, the harpsichord enters and continues as accompaniment under the fiddle. It moves in what is called Alberti bass -- tones 1 5 3 5. The tones do change, but their relation remains mostly the same. This was used widely in 18th century music, and the harpsichord was also popular in England at this time, tying into the idea of Hobbits really just being little Englishmen.

Thanks to all who have responded so far, I hope to see some new faces in here since this is a very popular track.

EDIT: Well, I was over at a music dictionary website (http://www.music.vt.edu/musicdictionary/), looking up the difference between Alberti bass and an ostinato, when suddenly something caught my eye -- something that looked suspiciously like Oliphaunt. I clicked upon the link and found this definition:

Oliphant [pronounced oe-lee-FAHN]

An ivory horn of Medieval Europe, usually ornately decorated and primarily used as a sign of status and wealth rather than as a musical instrument.

Has nothing to do with the track -- just an interesting tidbit of information. :)

[Kitanna]

Ah, Concerning Hobbits! Probably the song with the lightest feel to it. It has such a Celtic feel with it's flute and fiddle. Whereever you hear it it can really make you feel like you're at home. It's such an innocent sounding song too.

[Aiwendil]

This is one of my favorite tracks.

To be perfectly honest, when I heard exerpts from this track and from the Enya songs prior to the release of the CD, I was afraid that the whole soundtrack would turn out to be "new age"-type Celtic noise. Of course, as it turns out, the tracks I heard happened to be the most Celtic ones there were (a bit like Bilbo thinking Mirkwood was endless since the tree he climbed was in a valley).

And after repeated listenings, I realize that this track is much more than cliched Celtic music. As Encaitare points out, there is something very mid-18th century about it, not only in the fact that a harpsichord is used but also in the manner of its use. The track on the whole is a blend of Celtic and Rococco styles that somehow, in my opinion, perfectly captures the feel of the Shire.

I do wonder what kind of flute that is. It certainly isn't an ordinary transerve concert flute - it could be a wooden baroque flute, I suppose. At first I assumed it was some kind of recorder, but now that I think about it, it doesn't really sound like one.

[Encaitare]

I do wonder what kind of flute that is. It certainly isn't an ordinary transerve concert flute - it could be a wooden baroque flute, I suppose. At first I assumed it was some kind of recorder, but now that I think about it, it doesn't really sound like one.

After playing the theme on a tin whistle and a plastic double pennywhistle (basically two little recorders stuck together so I can play my own harmony -- yay!), I still think it's a wooden flute. The tin whistle's sound wasn't clear enough, and the pennywhistles sounded a little too clean. You're right, Aiwendil, it's definintely not an ordinary flute. I originally thought wood because my flute teacher plays this beautiful wooden flute, and it reminds me of that.

A little note: I said maybe this flute part was done by Sir James Galway, but now I think probably not. He's so famous, and I can't find his name anywhere in the CD booklet -- they'd have to credit him. Now I think it likely it was someone from the London Philharmonic or the New Zealand Symphony... I just wish I knew who. :confused:

[Aiwendil]

I originally thought wood because my flute teacher plays this beautiful wooden flute, and it reminds me of that.


I've only played a wooden flute once (many years ago) - but somehow I don't recall the tone being quite like that in this track. But my memory may be faulty - also I don't doubt that there's significant variation in tone among different wooden flutes. And of course the tone quality I was able to produce was obviously far inferior to what a professional can do - yes, the more I think about it, the more it seems that it is a wooden flute on the track.

[Encaitare]

The first thing that caught my attention when I turned on this track was the recurring flute. In the last track, we had a nice flute and string combination that sounded light and happy. Here, we have the same instruments, but with a far more darker sound. (Oh, I love low notes on the flute -- just listen to that vibrato! Heh. I'm a dork.)

Then it segues very quickly into harsh-sounding brass: the Mordor theme. There's a really creepy noise at 1:48, violins, I think -- reminds me of Shelob and creepy-crawlies and such.

We also hear the repetition of a theme, which was heard in Track 1 (2:17). In this track, the theme is heard at 2:15, and a couple of times after that.It seems to represent history, as "The Shadow of the Past" accompanies Frodo and Gandalf realizing exactly what this golden trinket is and what it means.

Lastly, at the very end of the track (3:24), it sounds like a sped-up version of the Rivendell theme. Whether this has any significance about how they will eventually end up in Rivendell, I'm not sure.

So what are your thoughts on this one?

[dancing spawn of ungoliant]

I think the first and third track in FotR soundtrack stand out as representing a very different style than any other piece in the whole trilogy. And maybe it's as it should be considering those songs tell about ancient times when the Numenoreans came to Middle-Earth.

The 3rd piece opens with a soft and kind of eerie feeling. Strings back up the solo wind instrument beatifully. After that (1:00) it's a musical mess of different themes. Of course it supports the film perfectly but as a separate piece it's rather anxious and oppressive. I don't really like this track though it has some very nice elements in it because it makes me feel uneasy.

Like Encaitare already pointed out, there would seem to be a little hint to Shelob's theme i.e. the creepy glissando (sliding).
The brass instruments reflect the Gondorian culture though we don't hear the Gondor theme yet. On the other hand Mordor and Isengard use the brass as well so perhaps those wind instruments we hear on the 3rd track refer to Gondor being somewhat under the influence of Mordor.

Btw, I recommend all of you who are interested in LotR soundtracks to visit http://www.elvish.org/gwaith/movie_soundtrack.htm . There you find the lyrics and translations for almost every piece in the trilogy. And if you can get a copy of Music from the Movies (http://www.musicfromthemovies.com/shop/asp/prodtype.asp?prodtype=8) (issue 42...I think it sold out) LotR special with 90 pages or so filled with interviews and pics, read it! It provides a nice survey of the film score.

[Sapphire_Flame]

Ah, "Shadow of the Past". The first appearance of my all-time favourite theme in LotR: the Ringwraith Choir! :D That gorgeous chanting in Adunaic at the appearance of the Nazgul riding out from Minas Morgul is really brilliant; creepy, and yet ancient and commanding. Sho shcary! ^^

I also agree with what Enca said, about the music showing that Frodo and Gandalf have just discovered what this little gold ring really is. Brilliantly shown with music. *huggles Howard Shore*

Abedithon le,

~ Saphy ~

[Encaitare]

Thanks very much for posting those links, ungoliant -- I know I'll be spending a lot of time following the words along the page as I listen to the music!

And speaking of Howard Shore, did anyone yet watch the DVD about the making of the music, which comes with the box set? I've yet to watch it, but I hope it's good.

[dancing spawn of ungoliant]

Alas, I don't have the collector's set but just the regular EE. If there's something very interesting on that dvd, it'd be nice if you (or anyone that happens to own that) could share it in this thread - if it's not completely off topic, of course. Anyway, would it be time for track four? I can't wait to get my hands on that piece ;)

[Encaitare]

When I get around to watching the DVD, I will definitely tell about it here or start a new thread for it. In a little while you'll probably be able to buy it separately, like the National Geographic DVD which came in the FotR box set.

It's time for Track 4: The Treason of Isengard -- I apologize for not posting it yesterday; I have been a bit busy with New Year's and all!

The track opens with soft vocals which sound very mysterious. At this point in the movie, Frodo is still kept a little in the dark, so he is worried about what is going to happen. Yet as the music progresses and as Sam and Frodo travel through the sunlit Shire, it becomes somewhat lighter; again we hear "In Dreams," the Shire theme (1:26), this time on French horn, which becomes the Fellowship theme on various instruments, but only a couple at any one time. The Fellowship in its earliest stages is beginning with the two hobbits.

Then the Fellowship theme is heard again at 2:00, as the style of the music changes completely: it becomes far more serious in tone, and full of brass to announce Gandalf's presence. As it moves on to Saruman, there is a crescendo which heightens the tension and sense of danger. The choir sings the following in Black Speech, part of the poem of the Ring:

Ash Burz-Durbagu burzum-ishi [3:10-3:16]
Daghburz-ishi makha gulshu darulu. [2:55-3:09] [3:17, 3.21-3:29]

One for-Dark-Lord in-darkness
in-Mordor where shadows lie.

Or, to put it in normal terms, One for the Dark Lord on his dark throne / In the land of Mordor where the Shadows lie. :D

[dancing spawn of ungoliant]

The choir sings its part softly on top of a pedal point for 35 seconds. It gives very old, ancient feeling. Something that has roots in way back history has put things in motion again. The "walking theme" begins at 00:51. The drums play some kind of a marching comp on the background. The melody doesn't sound completely sad or depressed but a bit plaintive. After all, the two hobbits are leaving their home behind for the first time. Until - a glimpse of hope is delivered by In Dreams and Fellowship themes. As Encaitare said:"The Fellowship in its earliest stages is beginning with the two hobbits." So the Fellowship theme is very soft and rather just predicts the things they are going to go through during their quest.

Between 1:56 and 2:20 as the brass take over the melody, the strings have two different pedal points. I don't know if they're used here to refer to the beginning of this track, but to me it seems like things concerning the same historical event are just beginning to happen in the Shire while in greater cities the coming battle, corruption and such are already more concrete facts.

The choir chanting in Black Speech sounds once again ancient but also majestic. It matches the feeling of Orthanc very well since the setting itself reflects both of those adjectives. The choir, drum and brass end this track in forte without diminuendo or ritardando. The music just suddenly stops without any kind of a warning which is perfect to give emphasis to the shock about Gandalf's capturing.

[Encaitare]

More happy Shire music here!

At the beginning the flute plays the theme again, slightly altered. Also returning is the Alberti bass from Track 2, played this time on bassoon. As the hobbits are running away from the angry farmer Maggot, the music takes on an urgent feel. They crash into one another, and we hear a crash symbol at 0:43. Then as they reach the bottom of the hill, the notes become lower and the tempo more slow, ending at 0:50.

At 1:06, the low strings move in descending thirds. Starting around 1:08 , if you listen really closely, I think there's a flexatone (http://www.billbaker.nl/pic/instrumenten/flexatone.jpg) in there, making eerie wavy noises underneath the strings and choir. It seems that the brash horns stand for Mordor. The brass notes are high over the low strings, which could very well be our poor frightened hobbits, looking for somewhere to hide. Once more, the choir sings, this time in Adûnaic:

Nêbâbîtham Magânanê
Nêtabdam dâurad
Nêpâm nêd abârat-aglar
îdô Nidir nênâkham
Bârî 'n Katharâd

'We deny our maker.
We cling to the darkness.
We grasp for ourselves power and glory.
Now we come, the Nine,
Lords of Eternal Life.'

By 2:25, the horns and choir fade, and we are left once more with the lower stings, the hobbits.

[Kitanna]

I love the contrast in this song. It starts out with the innocent music and feel of Hobbits and the Shire. Then it morphs into the evil music of the Wraiths.

[dancing spawn of ungoliant]

if you listen really closely, I think there's a flexatone in there, making eerie wavy noises underneath the strings and choir.
Wow! You are really skillful in recognizing different instruments! Do you play in an orchestra? :)
The Black Rider - In my opinion it's one of the pieces in FotR that are easiest to get into. Despite the dissonancing chords it's really pleasant to listen to. The middle part of the piece is very distressing. After the dominant brass and choir leave the listener gasping (2:25) the drum plays for a few seconds like imitating a heart beat. The pace of the "heart beat" is quite calm, especially for a hobbit who has been chased by a black rider. But I think it still somehow reflects the feeling that the hobbits managed to evade the danger and they don't have to worry for a while.

[Encaitare]

Wow! You are really skillful in recognizing different instruments! Do you play in an orchestra?

Thanks! I play in the school's wind ensemble and full orchestra, and also in an orchestra outside of school.

I watched the Creating the Lord of the Rings Symphony DVD and I would recommend it to anyone who is serious about music. It's mostly just the music being played by the orchestra/choir with a few short interview clips with Howard Shore, but it's fascinating to watch. I learned several things from it as well. Seems I was wrong about the Shire theme; it is a tin whistle in Track 2 after all. And where I've been saying oboe, it's often been an English horn. Ah, well. I was close.

Track six:

The very beginning (very as in just the first few notes) reminds me of the Mordor theme, a reminder that the Nazgul are still out there somewhere. At 0:24, it becomes distinctly hobbitish again, with a smidge of bounce to it.

Side note, not really LotR related: at 0:53, I was trying to figure out what theme that would be... I realized that for a few seconds it sounds similar to the music from Pirates of the Caribbean!

Around 1:15, the timpani slowly starts to make an appearance in the background, which as ungoliant said, is rather like a heartbeat. Then the pace really beings to pick up, and a gong enters, adding to the traces of Mordor which can already be detected. When the brass and choir are added, it is evident that things cannot be pleasant for our poor hobbits.

Suddenly things grow dangerously quiet. When we played Beethoven's Fifth in orchestra, there is a Grand Pause in which nobody plays, and it lasts a beat longer than anyone listening would expect it to. The conductor, who is a fascinatingly deep guy, told us that that one beat of silence should be the loudest thing in the entire symphony. While there is not total silence, it somehow feels even worse, making you feel uneasy, like you are in hiding while one of those black riders is about somewhere outside. Low brass, a soft gong, and some more of the discordant strings, so much like in Shelob's lair, break the silence and then we are back to the loud brass once more.

This transforms into the Isengard theme, at which I always get excited because it's in five. I always kind of move in time with the music when I hear it.... ONE two three FOUR five ONE two three FOUR five... It gives an impression that's slightly off kilter, and the accented beats are like strong hammer falls, giving the image of the orcs forging away in Isengard. As I learned from the LotR Symphony DVD, they actually had a guy banging with a mallet or hammer on a huge, suspended piece of metal.

Then it slows and becomes gentler. I am not sure what part of the movie this corresponds with; I'm thinking Gandalf on top of Orthanc, although I'm not sure.

And as a last note, this track is pi minutes long. :cool:

[Nuranar]

Ah! The Isengard theme is in 5/4 time? No wonder it kept throwing me off! Time is not my strong point by any means, but I know enough to get really confused. And that's really neat about how they added that metallic, unmusical clash.
Then it slows and becomes gentler. I am not sure what part of the movie this corresponds with; I'm thinking Gandalf on top of Orthanc, although I'm not sure.
You have me curious, so I just got out my extended DVD (only one I've got) and watched the Pony sequence. I think most parts in that track are there, but not connected together, understandably. However, I never heard the hobbity part at 0:24 at all, nor did I find the final bit. There's no scene at Orthanc until the hobbits and Strider are well into the wilderness, and then it opens with Saruman and the palantír.

Awesome thread, by the way. Although I definitely lack your orchestral background, Encaitare, I'm a reasonably proficient pianist. (Strong point memorization, not sight-reading. So although it takes me ages to learn a pieces well, once I do it's stuck for good. And I've always loved movie soundtracks. I guess that comes from growing up with a father who played his Star Wars, Superman, etc. records all the time. ;)

And as a last note, this track is pi minutes long.

Ha! :D

Was that pun unintentional? :p

[Encaitare]

You have me curious, so I just got out my extended DVD (only one I've got) and watched the Pony sequence. I think most parts in that track are there, but not connected together, understandably. However, I never heard the hobbity part at 0:24 at all, nor did I find the final bit. There's no scene at Orthanc until the hobbits and Strider are well into the wilderness, and then it opens with Saruman and the palantír.

Yes, in the movies the music is not all connected, nor is all the music on the soundtrack in the movie, and vice versa. I haven't got the regular DVD of FotR either, so I'll take your word for it.

Was that pun unintentional? :p

Wow. Yes, it was. Heh.. that was pretty bad. :rolleyes:

[Nuranar]

Yes, in the movies the music is not all connected, nor is all the music on the soundtrack in the movie, and vice versa.

That's what I figured. I don't know it well enough - "well enough" meaning I can sing an entire track - to know when the soundtrack and the movie sound correspond and diverge. I did think it was curious that those bits weren't anywhere near the Prancing Pony sequence. For all I know, of course, that may happen throughout all three movies.

I guess John Williams's style has spoiled me. I'm most familiar with his Indiana Jones scores; well, the 1st and the 3rd... I was entranced immediately by how tightly each track followed the movie. The best examples are the two long chase scenes: the truck in Raiders, and the tank in the Last Crusade. They're 8 and 5.5 minutes long, respectively, and each could be the same recording that's on the film. Except the Raiders one - there's an extra phrase added in the film. That really stuck out to me when I first saw it.

Not saying that one's style is better than the other, by any means! That's just where I'm coming from, and I was curious how closely the soundtrack followed the movie. My favorite pieces of music are those associated with things that I like: When I hear them, I think of "my favorite things." Always a plus! ;)

[Kitanna]

After reading your post, Encaitare, I listened to the song to see if there really is the Hobbit theme in it. And sure enough, there it was. Only it wasn't the happy Hobbit music we heard at the beginning, it's a sadder, more serious version of the theme. Like the Hobbits are no longer living in a peaceful little world as they once had.

[dancing spawn of ungoliant]

Ah, this is a very gloomy track and a real mixture of various themes. At 1:56 there's the choir again chanting in Adûnaic. I spotted an extract that I believe is from the same poem that is heard in The Black Rider. Bârî 'n Katharâd îdô Nidir...
At 2:18 the low calm notes are really frightful! Then the strings start a Shelob-like sliding and tremolo. It's maybe the creepiest part on the whole cd.

It's rather hard to me to think this track as a whole since the themes keep varying and changing so quickly. It consists of beautiful elements, though.
I realized that for a few seconds it sounds similar to the music from Pirates of the Caribbean!
Now that you said it, I noticed it too. This is even more off topic but on the soundtrack of King Arthur there's one piece where I could swear the choir is chanting Grond! Grond! Grond!. Wrong movie, perhaps?
this track is pi minutes long
:D ...Which reminded me of my math homework that I haven't done yet.

[Encaitare]

Once more, we begin with the Mordor theme: brass and a big timpani roll. You know what I was thinking is interesting about the timpani? It's one of those instruments that is felt rather than heard, much like a bass guitar in a rock band. Unless you're listening closely you don't even think about it, but it just gives the music this great sense of depth.

After a cool gong ring, the strings kick in, sounding rather frantic as the hobbits await that terrible something that they know is coming for them.

Oh, how Howard Shore loves his descending thirds and string glissandos/tremolos. :rolleyes:

Something I never noticed before: as the descending thirds continue, there are strings playing sixteenth notes softly beneath them, adding to the tension without it actually registering in your mind. Then arrives the choir, singing more or less the same words as in the past two tracks, only this time it is much more soft and whispery. They sound almost persuasive at first. This reminded me of a passage from the book, in the chapter of the same title:

He [Frodo] was quaking as if he was bitter cold, but his terror was swallowed up in a sudden temptation to put on the Ring. The desire to do this laid hold of him, and he could think of nothing else.

The Ringwraiths of course wanted him to do this so they could get at him. Now, in the movie, this soft singing occurs while they are surrounding the hobbits, so it is in different context. Still, the choice of dynamics is interesting.

The choir swells, and then fades. Quickly, it switches to the Isengard theme, which I must say is one of my favorite parts. You can headbang to it... go on, try it out. I can't see you. :p

Then this too fades as we come to Gandalf upon the top of Orthanc while he does his little moth trick. I wish I knew what the male soloist was singing; unfortunately Gwaith i Phethdain (http://www.elvish.org/gwaith/) doesn't have these lyrics listed, and arwen-undomiel.com's daily bandwidth has been exceeded. *sigh* A Google search has not been of aid... as soon as the site is back up I will check to see if the lyrics are listed there.

A trumpet accompanies the vocalist, which I am beginning to think is a representation of Gandalf. When he was riding to Orthanc and the Fellowship theme was playing, the instrument was a trumpet. Just an idea for now; we'll see if it is supported in later tracks.

It then slips back into the Isengard theme, with some lovely jangling chains creating a very industrial feel. Around 3:15 it changes completely for the remaining seconds of the track, which I believe is for the hobbits and Aragorn in the woods. It will provide a nice transition to Track 8, when Arwen appears.

[Sapphire_Flame]

Then arrives the choir, singing more or less the same words as in the past two tracks, only this time it is much more soft and whispery.
Woohoo! Ringwraith choir! :D :D :D And, after this, they disappear until the RotK soundtrack. *cries*

Enca, I think it might be the same soloist from Track 3 of RotK that sings in this track (cannae remember his name! *headdesk*), but I'm not sure. Sounds right though.

~ Saphy ~

[Encaitare]

That would be the honorable Ben Del Maestro, Saphy. They could very well be one and the same... huzzah for the musical talents of pre-pubescent boys. :p :D

[Kitanna]

Just watched the LOTR symphony DVD and it was excellent. Makes me wish I was good enough to be involved in something like that.

[Lathriel]

I think another person sings in FOTR and that Ben Del Meastro only sings in TTT and ROTK. I think it is actually a guy named Edward Ross because he sings In Dreams as well. It says that he is the soloist in my soundtrack booklet. At first I also thought it was Ben del Meastro but I guess not.

Still that solo is my favourite. I love it when you hear the Isengard theme in an awkward 5/4 time and then it changes into this beautiful flowing melody that is sung by one clear voice.

To me it shows how peace can soar over the noise of evil. (Not that the Isengard theme is noise!!!!)

Kitanna, I also saw the LOTR symphony DVD and I too wish I could play in that orchestra. sadly my parents don't want me to follow music as a career. snif. :( I would just love to play in the London Philharmonic.

[Encaitare]

sadly my parents don't want me to follow music as a career. snif. :( I would just love to play in the London Philharmonic.

Psh... go for it, girl. If you've got the passion and the talent, there is nothing that can stop you. New York Philharmonic for me, if I can achieve that sort of prestigiousness.

Next track later this evening; I'm going out soon and don't have time to do it just now.

[Kitanna]

sadly my parents don't want me to follow music as a career. snif. :( I would just love to play in the London Philharmonic.

That sucks! You should at least try for it, even if it doesn't work out. My parents (at least my mom) would be thrilled if I tried to get into the Chicago Symphony Orchestra, too bad for me I'm no good. Hopefully you'll get the chance to get in the London Philharmonic, Lathriel!

Encaitare~ Can't wait for the next track.

[Encaitare]

We begin here with a single sung note, which is then harmonized by a children's choir. Most of the harmonies sound like minor thirds to me. Then strings and eventually an English horn join in. This beginning part is Arwen doing her dreamy white glowy vision self.

It continues with strings and what sounds like a French horn, all very quiet and romantic for Arwen and Aragorn to have their moment.

At 1:38, the brass comes in, which is -- ta da! -- the Ringwraiths, back for another go at getting that pesky short dude who just keeps on evading them. Nice timpani and a gong are used to build up the tension, and then there is an awesome upper brass bit as the Ringwraiths chase Glorfindel -- whoops, I mean Arwen, and Frodo. :rolleyes:

2:31, the choir comes in with the same Adunaic we've been hearing for several tracks, in a slightly different order, though, for anyone who cares to follow along as s/he listens:

Bârî 'n Katharâd
Îdô nêd nêpâm
Nêtabdam dâurad
Nidir nêpâm
Nêpâm nêd aglar

A fanfare follows this as Arwen challenges the Nazgul; a loud gong seems to be what signals their being swept away by the river. After this it all becomes very soft once more as Frodo fades and turns a nice shade of green. There are strings and a soft choir with some very subtle chord progressions.

So, here is where we first actually meet an Elf -- does the music sound elvish enough to you?

[Kitanna]

The music that is played when Arwen first appears doesn't seem all that Elvish. It's more dreamy and trallala. I suppose though that Elves themselves are too dreamy and tralala. I like this becasue is has that same contrast as The Black Riders. Starting with the music of good and then bringing in the theme of evil

[Lathriel]

Thanks for your support because next year I'll be going to university so I have to really pick what I want to do.

About track 8

It's one of my favourite tracks on the FOTR soundtrack.Of course the intor always takes my breath away. For me the rinwraith theme isn't the biggest part. I like the part where the trumpets sound announcing that the waters in the Ford have rissen. That part of the son isn't actually in the movie but I like it because I can simply see the horses in the wave as I listen to that part.

I also like it that the song starts very subtle. That it isn't a couple of voices that begin to sing but that it is just one voice and that slowly as you see more of Arwen in the movie more voices are added to make the dreamlike image more compact untill you see Arwen completely. I like it when a composer gets the music spot on with the image without being cheesy or overdoing it.

[dancing spawn of ungoliant]

Ah, this is a very beautiful piece. I like the lyrics at the beginning:
Tinúviel elvanui
Elleth alfirin [0.00-0.40]
(Tinúviel elven-fair
Immortal maiden)

It's nice how the lyrics sang during the first appearance of Arwen refer to Luthien. It is very calm and dream-like song until the brass come along. The soft ending ties the piece nicely together.
I had this impression that Peter Jackson actually played the gong himself in some of the tracks but I can't remember if it was this one. I think they showed it on one of the EE DVDs. Just watched the LOTR symphony DVD and it was excellent. Makes me wish I was good enough to be involved in something like that.
Yeah, tell me about it! Despite I play in a very decent youth orchestra at the moment, there's no way I could get a profession out of that.

[Encaitare]

PJ played the gong when Eowyn is standing in front of Meduseld, then Aragorn looks away and when he looks back she is gone.

Thanks for pointing the elvish lyrics out; that's a nice tie-in with Luthien.

[dancing spawn of ungoliant]

Oh, right, now I remember. So the gong was in TTT then.
About track 8 and it's Elvish aspect... apart from the lyrics, I don't think it's particularly elven-like. But that doesn't really bother me. On screen there's emotionally a lot going on. There's this creepy feeling that the Ringwraiths are close and they might just jump out behind the nearest bush. Frodo is convulsing and gasping and it doesn't seem probable that Aragorn & co. could manage to escape.

But then: the next thing we know there's this elf lady in her fluffy gown looking, sounding and acting like an angel. I think this piece doesn't refer to Rivendell or Mordor as much as the emotions during Arwen's first scene. Of course there are clips from different themes but in the film the track (in my opinion) rather emphasizes emotions than reveals any new cultural matters. For me it works really well.

[Encaitare]

And so we enter the lovely world of Rivendell, fa-la-la-lally, down here in the valley.

Fortunately there is no silly rhyming, just pretty music. :p

We have a women's choir and strings, and even a harp which can just be heard underneath them. It all sounds very ethereal. The choir, I was delighted to learn, is singing "A Elbereth Gilthoniel," albeit only the first part:

A Elbereth Gilthoniel,
silivren penna miriel

O Elbereth Star-kindler
(white) glittering slants down sparkling like jewels

Complete lyrics can be found here (http://www.elvish.org/gwaith/movie_soundtrack_fotr.htm#aelbereth).

The Rivendell theme is played by an English horn (neither English nor a horn :rolleyes: ) at 0:28. I may have said this earlier or in some other thread, but interestingly, the first ascending notes of this theme are repeated in several different pieces. They are almost identical to the first four notes to the vocals in Gollum's Song, and to those in Aragorn's song at his coronation, when he says "sinome maruvan." Just a little something I've noticed.

Then the strings come in with the Shire theme, which is continued by a clarinet. In all this magical, floaty music, the clarinet sounds a little more down-to-earth, fitting with Frodo's meeting with Bilbo and his realization that he misses home more than he ever thought he would. It also sounds sadder than any of the other times we have heard the hobbit's theme, showing how Frodo is changed already.

At 2:06, the Rivendell theme is played by a flute (yay!), segueing once more into a full string version of the Shire theme. These two themes keep slipping into one another; the fate of the hobbits will be decided at Rivendell.

[Lathriel]

This is the first time in this soundtrack that this theme is heard. I lIke it how it has this flowing feel to it.
First the theme is alien to you but then you hear the Hobbit theme and it puts you at ease. There are no longer any threatening ringwraiths to be heard.
This song also begins to set the tone for the second half of the CD I think. Since we now depart from the ringwraith theme we get to know a whole bunch of new themes. In fact we don't hear the ringwraith theme untill ROTK.

Since we left the last track with Frodo being sick and a quiet, sad ending it is nice to here the beginning of this one. It is completely different and the music tells me that things are going well, and that we no longer have to fear for Frodo. This track along with the council of Elrond is really a short relief (As in the book) from evil. So not only the characters recover but the listener (reader) as well.

What I also like about this song is the title cause its taken straight from the book.In fact I like that about many of the titles on these soundtracks. Over 50% are of the names are titles from chapters.

I didn't know they sang Elbereth Gilthoniel. Thanks for telling me that Encaitare

This spiece of music also goes very well with the movie. It adds a feel of magic to the scene. It is really one of the last parts that is truly bright in this movie. After Rivendell evrything gets darker which you can clearly hear in the music.

[Encaitare]

The track opens with strings playing a more toned-down version of the Rivendell theme. Then, the lovely Enya has her first appearance on the soundtrack:

O môr henion i dhû:
Ely siriar, êl síla.
Ai! Aníron Undómiel.

Tiro! Êl eria e môr.
I 'lîr en êl luitha 'úren.
Ai! Aníron...


From darkness I understand the night:
dreams flow, a star shines.
Ah! I desire Evenstar.

Look! A star rises out of the darkness.
The song of the star enchants my heart.
Ah! I desire...

Very fitting for Aragorn and Arwen's little scene of romance.

The second half of the track is at the actual Council, with the Fellowship theme beginning to build up. As soon as the transition is made, around 2:15, the strings play a bit of the Rivendell theme briefly, but then switch to that of the Fellowship, with more and more instruments being added. First there are strings, to which are added brass as Gandalf, Aragorn, and our other larger heroes join. When Sam joins them, we hear the Shire theme with its tin whistle (2:55); and then there are full strings playing the same them when Merry and Pippin join. Quickly, it becomes the Fellowship theme once more, with full strings, brass, and timpani... and doesn't that cymbal crash at the end sound so triumphant?

This is the first time we hear the Fellowship theme in full, and the last time we will hear it this way for a while.

Not much analysis here, I know... but I liked doing this one. It's very complex thematically.

[Luinalatawen]

The bulk of this track is misleading to me because Enya's 'Aniron' clearly has nothing to do with the Council of Elrond. However, I do understand the decision to keep this as the title of the track because during the film, the Council is obviously going to be talking - no need of much music during their discussion - so there needed to be more musical material for the track.

As Encaitare said, 2:25/2:30 brings the return of the Fellowship theme. This is especially notable because of how it is very final-sounding. It's no coincidance that this happens while at this last meeting in the safetly of Rivendell. It's the last uplifting, empowering, regal, major-keyed brassy theme before the Fellowship embarks on the journey through the dark Mines of Moria. All the music from here on out on this soundtrack (excluding 'Lothlorien') is primarily filled with a either a feeling of danger itself or the wary anticipation of danger.

This track also brings many thoughts of Frodo - the Fellowship theme gives me images of the Fellowship gathering member by member around the small Hobbit. I see the Fellowship theme as one full of hope, which is what Frodo's will brings to all who join him. The theme seems to completely erase the thoughts that tons of danger lie ahead. During the council scene, I remember feeling worried for Frodo and Middle Earth. However, once the Fellowship theme is heard, I forget all of that and focus on the friendship and loyalty that already seems plentiful among the characters.

[Encaitare]

Welcome to the thread, Luina! You make some good points, especially in the final paragraph. However...

It's the last uplifting, empowering, regal, major-keyed brassy theme before the Fellowship embarks on the journey through the dark Mines of Moria.

I agree with nearly everything in that statement, except for one puzzling thing. The chords are major, but the melody is in c minor. Very curious... I'm still trying to figure out what that might mean in terms of music theory. But in regards to the movie, it's very clever. It has all the beauty of a minor key, with the triumph of a major key; the Fellowship will experience sorrow but also joy.

If anyone can shed any light on this, please help me out! (Perhaps I should ask my theory teacher...)

[Luinalatawen]

Thanks for the greeting, Encaitare, I'm a both LotR-crazed and a music major in college, so of course I'd think this is a great thread :D

Yes, it's in c minor, but there are many, many borrowed chords (ex. flat VI chords in a minor key) in much of what Shore composed for the movie. This has come up a few times recently in my theory class while working on identifying chord progressions/cliches - we've listened to my professor play the chords and noted that in some instances certain progressions remind us of LotR music. I really, really wish I could remember exactly which ones we discussed. But anyway, I suppose this makes the major/minor classification more difficult to distinguish. If it's considered minor though, the piece definitely ends on a Picardy third (I <3 Picardy thirds!).

[Encaitare]

If it's considered minor though, the piece definitely ends on a Picardy third (I <3 Picardy thirds!).

Indeed... and that would make two of us! :D

Egads, I'm dorky... :p

[dancing spawn of ungoliant]

Are you sure it's really in c minor? Concidering the key signature, I'd say it's in A flat major or in F minor (there's B flat, E flat, A flat and D flat). Anyway, the piece contains lots of chords from different minors and majors.
I've to hurry now to my music theory class, but I'll try to come up with some kind of an analysis later :)

[Encaitare]

Pretty sure, at least on this track, anyway. I played it and came up with no D flats... and then to be sure, I sustained the note on my keyboard (using my toe :p ) while playing the second half of the track, and came up with only one chord where it would fit.

Either way, the piece seems to center around C. I suppose maybe it could be in f-minor and start and end on the fifth, and then the D-natural in the melody could be explained as that second-to-last chord being a secondary dominant? V6/V?

Or perhaps I'm just going slightly mad, because that seems a little awkward-sounding to me.

EDIT: Just looked up "borrowed chords" in my theory book, and that idea makes a lot more sense to me, since the piece has characteristics of both C major and minor.

[dancing spawn of ungoliant]

I played it and came up with no D flats
I meant that there was D flat in the key signature. I have the sheet music for the trilogy and I checked that they were in the same key (is that a decent expression at all...I don't know the correct terminology in English).

It's funny that though the lyrics are so simple, I find them quite touching. The lyrics strike the right note (couldn't resist...) in their feeling. There's no need for fancy words and phrases. The story the lyrics tell is unbelievably elvish. I don't seem to be finding words now for what I'm trying to say here but the original culture of the Elves is beautifully concentrated in a few lines. Stars are the most wonderous thing they know and they respect them and that shows in the lyrics well.
Enya is perfect for this piece since she has such a voice I always imagined that Arwen would have. It feel like Arwen would actually be singing this song to Aragorn.

[Encaitare]

I meant that there was D flat in the key signature. I have the sheet music for the trilogy and I checked that they were in the same key (is that a decent expression at all...I don't know the correct terminology in English).

Really? Wait a second, do you mean in the Enya half/Aniron or the orchestral half of the track?

Either way, the expression is correct. :)

[Lathriel]

I love this song and I play it (The Aniron part) on the piano while softly singing along so that I don't bother anyone but still get the satisfaction of singing in elvish.

I also like the fact that the melody for aniron is kept very simple, somehow that makes it very captivating. I like it in general when composers keep it simple and quiet at certain times. Thus the soundtrack has a variety of slow or fast tracks and soft or loud tracks. So it never bores me.

I think the fellowship theme is played very boldly in this piece of music because there is some hope. After much discussion a desicion has been made on what to do with the ring. Besides now the fellowship is at its strongest. It has just been forged and has not fallen appart yet. After the mines of Moria the fellowship theme decreases steadly in its granduer and boldness as the fellowship is falling appart. Especially during the Amon Hen track but that will be later.

[Aiwendil]

Encaitare wrote:
The chords are major, but the melody is in c minor.

I'd say this has to do with Shore's goal of a somewhat antique or modal sound. You are right that the melody sticks closely to C minor but the chords make it unambiguously major - in fact, the chords for the fellowship theme are (as far as I can tell) exclusively major, which curiously enough can only be accomplished by making the melody minor. The result is a lot of nice cross-relations between the flat and natural 3rd and 7th. The same kind of writing comes up much later on, in the Gondor theme for RotK.

Also, the theme ends with a striking sequence of three major chords each a major second apart (probably either A flat, B flat, C or B flat, C, D - sorry, I don't have the CD with me). This is a chord progression that has always fascinated me (and now that I think about it, I believe Rosenman used it in Bakshi's LotR). It is a sequence of three chords that do not co-exist in any of the usual modes, and this results in what one can only describe as a sense of coming to something new, or breaking through into a new key. The major-ness of the final chord is brought fully to our attention because of the cross-relation of its third with the fifth of the first chord - so, for example, in the sequence B flat, C, D, the juxtaposition of the F sharp in the final chord with the F natural in the first chord emphasizes the fact that the final chord is a D major.

Sorry if that sounds like incoherent babble, but I find it to be a fascinating progression.

[dancing spawn of ungoliant]

do you mean in the Enya half/Aniron or the orchestral half of the track?
I meant the Enya half, well, at least. During Aníron there are basically four different chords. A flat major / E flat , E major, C flat major and D flat major.
After Enya's part the orchestra plays four chords: E flat major, g minor, E flat major again and C major. Now there's this C but to me it sound's that there's no modulation yet. The hobbit theme is definitely in C major, though. The fellowship theme for one contains only major chords (as Aiwendil said already) such as B flat, A flat, E flat and C. The whole track even ends with C major and yet I can't define its key. Either Shore uses a whole lot of naturals and sharps or then there's a modulation...I think. :rolleyes: :)

[Encaitare]

I meant the Enya half, well, at least. During Aníron there are basically four different chords. A flat major / E flat , E major, C flat major and D flat major.

Ah, my apologies; I misunderstood you. What I was saying about it being in C/c was only pertaining to the latter part of the music, at the actual council. Aníron indeed has D flats.

[Encaitare]

A short track, but a triumphant one nonetheless.

The first 45 seconds or so are from Bilbo and Frodo's scene, in which Frodo is given Sting and the mithril shirt, and Bilbo goes a little but crazy. It opens with an English horn and strings, and then changes to a sadder sort of Shire theme, with strings and clarinet. The clarinet is then replaced once more by the English horn.

Thus the second part of the track is introduced, via some strings on a tremolo, a brass pedal tone and melody, and a growing timpani roll. The melody is still that of the Shire, although it sounds far more majestic than our original little whistle could ever hope to be! These four small hobbits are off into the big world, part of an important mission.

A gong crash begins the change to the Fellowship theme in bold brass, as the nine of them (ten if you count Bill the pony) come up over that rocky pass in their Hero Shot. The brass and winds then carry the music down from the trumpet solo's final note.

[Kitanna]

Possibly the greatest English Horn solo I have ever heard. And then I love how it picks up in the middle and a brass fanfare takes over (whoa! go brass!)

[Nuranar]

This is possibly (but only possibly) my favorite track for this movie, most particularly because of the bold, inspiring rendition of the Fellowship theme. After my father began to learn the cornet - and all three younger brothers picked it up, in varying degrees of dedication - it crystallized in my mind just how much I thrill to the sound of a solo trumpet. As I've already said, the Indiana Jones soundtracks have always been my favorites. Remember what plays that theme? I think most everything John Williams writes leans on the trumpet. Likely that's why his work always grabs me. I usually have something instrumental on for background when I'm working, and invariably the clear, strong sound of the trumpet will catch my ear. It happened just today - listening to Verdi, of all things. :)

As a point of curiosity, what is the top note that trumpet hits? I ask for a very silly reason, but... :o

Once, when in the car with my father, we had this track playing. For some reason I started to sing with the trumpet. Although I've never have voice lessons, I think I'm a second soprano. (I sang six months in a choir - a good choir, which my brothers are still in, but still only six months four years ago.) I still love to sing and frequently worked out my range on the piano. Turns out I'm a decent soprano up to G (1.5 octaves above middle C). I can hit the A, but the quality and volume are emphatically not there. (Incidentally, I can also go down a full octave below middle C. It's fun - and quite amusing - to randomly sing a strong tenor during worship. :D)

*ahem* When I sang with the track, my voice can hit that top trumpet note well. Relatively well, for my skill at least, but I know it can't be an A. Still, it was definitely at the top of my range, so I hazard that it's that G, or possibly the F or F#. A very unscientific and subjective guess - but what do y'all think? Am I way off base?

All that aside, this is STILL one of my all-time favorite tracks.

[Encaitare]

It is an A above middle C, Nuranar... don't underestimate yourself!

[Nuranar]

AWESOME! :D That has so made my day! :cool:

[Lathriel]

I like this track(Well I like every track anyway) Everytime I hear it I feel hope. In fact all I have to do is think of the song and it plays in my head as most of the LOTR tracks do. I love the fact that the instruments are clearly heard. The rest of the orchestra basically provides the harmony while the clarinet (Or is it an Oboe, maybe the sound is too sharp for a clarinet,at least my brother's clarinet can be extremely mellow at times), the French Horn and the Trumpet are clearly heard rising above the rest of the orchestra and giving their clear melody. Sometimes it gives me goosbumps.
After this track the sound of this CD changes instantly and we don't hear the fellowship theme in its full glory anymore.
Also another thing I like about this track is that before the trumpet takes over the strings announce its coming, they increase the intensity untill finally the lower brass comes in, and then the trumpet gives the fellowship theme in its full glory. All I can say is Beautiful!!!

[Encaitare]

The rest of the orchestra basically provides the harmony while the clarinet (Or is it an Oboe, maybe the sound is too sharp for a clarinet,at least my brother's clarinet can be extremely mellow at times),

They switch off; you can hear the transitions if you listen closely. :)

[Lathriel]

I think I'll listen to the track again. It makes sense.

By the way I like your signature.
I guess the like TPotO a lot too.

[Encaitare]

Dwarf music time!

First we have a men's choir, singing in what Gwaith-i-Phethdain calls "Neo-Khuzdul," since Tolkien did not provide many examples of the language. It goes as follows:

Durin ku binamrad
Ugmal sulu addad ku ba
Abad ku ganaga
Tur ganad
Abanul Durin
Ku bin Amrad
Ku ba kana a na aznan
Un du abad
Ku gan aga aznan.

The full poem by Philippa Boyens is:

Durin who is Deathless
Eldest of all Fathers
Who awoke
To darkness
Beneath the mountain
Who walked alone
Through halls of stone
Durin who is Deathless
Lord of Khazad-dum
Who cleaved
The Dark
And broke
The silence
This is your light!
This is your word!
This is your glory!
The Dwarrowdelf of Khazad-dum!

Some tentative strings and brass come softly over the choir, our Fellowship moving through the ancient Dwarf city, trying to be inconspicuous. Much of the first part of the piece really establishes the dark mood of the place.

Beginning at 2:06, one of my favorite bits of the score occurs: Dwarrowdelf. The music is no longer dark and mysterious, but beautiful and uplifting, a reminder of city's "glory days." It becomes more expansive, as if it is resonating throughout the great chamber even as we listen.

But alas, soon our marveling heroes are besieged once more. At 3:18, it quickly takes on an urgent pace. The fanfares of brass are the heroes trying their best to fend off the enemy. One thing that's interesting about this track is this little sound at 3:35 -- it sounds like a shake on a flute, but it reminds me of an orcish whoop or something.

While the music is very important, the decision not to use music is equally important. I remember seeing FotR for the first time, and being surprised by the way the music just drops out when the Fellowship is fighting the orcs in the chamber of Mazarbul. Shore simply chose to let the sounds of battle do the job for him.

[Lathriel]

Every time I hear the opening notes of the second half of this track I hold my breath.

Then when it reaches its climax I give a small gasp because I can truly see the dwarven halls before me. (Just like Gimli in the movie)Because the melody speaks of glory and ancient beauty. It just breathes awe of a greatness that is gone, vanished in the passage of time. Also it is so full there is not one lone instrument but many who let their sound burst forth.

The first part of the track has the Gollum theme which strongly indicates that he is not out of the picture but is entering it to become of greater importance later.

I like it that there is no battle music for the fight with cave troll because that gives us variety and also adds to the suspence. However the music leading up to the fight does make you get ready. Brain:"Okay music is increasing in tempo, something is afoot."

[The Tennis Ball Kid]

The eye opening moment when Gandalf lights up Darrowdelf and that glorious music plays is probably my favorite moment in the score, and maybe the movie. Wow! Just wow!

Shore simply chose to let the sounds of battle do the job for him.
Actually it's probably a combination of Shore and PJ; quite often the the composer would work together with the director to decide which parts would have music and what it does.


ttbk

[Encaitare]

If there's a track on this which is effective for waking you up in the morning, this track is definitely it. It starts out with the Fellowship theme in bold brass with strings.

The time signature seems to change a lot in the beginning section, something I never really paid any attention to until now. It starts out in 4, then seems to change to 6/8 at 0:09. Then at 0:17, it switches to being in 5, like the Isengard theme.

At 1:04, the music, having grown somewhat chaotic, stops. Here comes the Balrog! The "dwarvish" choir sings:

Urus ni buzra!
Arrâs talbabi fillumâ!
Ugrûd tashniki kurdumâ!
Lu! Lu! Lu!
Urkhas tanakhi!


Fire in the deep!
Flames lick our skin!
Fear rips our heart!
No! No! No!
The demon comes!

The tension grows as they realize exactly what it is they must face, and then as they begin to run, the strings get a little frantic. Reminds me of the hobbits running back in the Shire -- except this time the one chasing them is a wee bit scarier than Farmer Maggot. ;)

There is plenty of brassy stuff while the Fellowship runs, with the drums (drums, in the deep) and the choir, becoming more fervent as they repeat the final line -- "the demon comes!" I really like knowing that... it makes the words more than just a cool choir. Now I actually know what they're singing about, and it makes me as the listener feel stress... I can only imagine what the Fellowship is thinking!

The Fellowship theme is repeated again, a little bit of triumph before a tragedy. At 4:17, Gandalf casts down the Balrog, but he too falls at 4:37.

We then hear some low chords, and another lovely male soprano solo; words are not even needed here. All in all, a great track, full of excitement and also sadness.

[Lathriel]

This is the last time we hear the fellowship theme in a triumphant style. (In FOTR anyway)

The choir certainly cranks up the tension. I really like the story attached to it, they got a bunch of maori football players together to do the chanting. this was because all their voices were pretty low and therefore perfect for dwarvish.

Of course the vocal solo at the end is very beautiful and it suits the moment beautifully which is why I often feel my eyes brimming with tears.

[Encaitare]

The whole sound of this track is mysterious, with ghostly sorts of choirs and plenty of Eastern instruments to give it an exotic feel. The harp makes it very ethereal.

The Elves lament Gandalf's death... for a looooong time ;) ...

Solo in Sindarin:

In gwidh ristennin,
i fae narchannen
I Lach Anor ed ardhon gwannen

Mithrandir, Mithrandir! A Randir Vithren!
Ú-reniathach i amar galen
I reniad lín ne môr, nuithannen

Chorus in Quenya

Ilfirin nairelma nauva i nauva
Ilfirin nairelma ar ullume nucuvalme
Nauva i nauva melme nóren sina nairelma


'The bonds cut,
the spirit broken
The Flame of Anor has left this World'

Mithrandir, Mithrandir, O Pilgrim Grey!
No more you will wander the world green
Your journey in darkness stopped.'


'Undying [is] our regret, [it] will be what will be [or 'What should be shall be']
Undying [is] our regret and yet we will cast all away,
[It] will be what will be, love for this land [is] our regret.'

The track ends with a French horn (I believe, could be wrong) and strings.

Let's see if we can't get some actual discussion going, huh? Here are some questions to think about: Does this piece fit your thoughts of what Elvish music would sound like? If not, what would you do differently? How does this (either the contents of the track or your own ideas) fit in with Lorien's history and people?

[The Tennis Ball Kid]

Whoops! I missed a week!

I'll do The Tottering Stairs of Khazad-dum tonight, and Lotherion over the weekend.


The rendition of the Fellowship theme that opens the track is rivaled only by the ones from The Uruk-hai and For Frodo as the most triumphant.

"the demon comes!" I really like knowing that... it makes the words more than just a cool choir.
Yes, it's almost like the dwarves it killed are warning the Fellowship to run(!).

The scene itself gets a little silly when they're on the stairs, but the music almost gives it a little credence.

You have to love the reprise of the Fellowship theme as they escape the stairs; dun dun, da da dun, da da da, da dun, da dun, dun dun....

Most of the music from this scene is released, but I'm pretty sure there's a rendition of the Balrog music, sans choir, as they cross the bridge.

The etheral oohing after Gandalf falls is just gorgeous, as is the solo, which I'm pretty sure is female BTW, of course the track cuts off before the choral piece after the solo.

All things considered, this track's a pretty good listen.


ttbk

[Encaitare]

which I'm pretty sure is female BTW

Hmm... I'm pretty sure it's a male, a young boy like we heard when Gandalf is on top of Orthanc playing with the local insect life. I've been poking about the 'Net trying to find out who it is so we can be sure once and for all, but I can't find anything yet...

[The Tennis Ball Kid]

Hmmm, this site (http://www.geocities.com/magpie930/) says it's Mabel Faletolu (http://www.geocities.com/magpie930/SOURCE_SONGS/FOTR/SShymn_for_gandalf.htm).


ttbk

[Encaitare]

Thanks for the link... so it's a lady after all! Eeenteresting....

[Lathriel]

I think its Edward Ross, the same guy who sings In dreams.

Anyway, the first time I heard the Lothlorien track along with the movie I thought it was too dark for the movie. However, when I later discovered that it was Gandalf's Lament I understood everything.
Now I really like this track although I would have liked to see more of the elves' light side since I know they are also capable of happier songs.

[dancing spawn of ungoliant]

It's been a month since my last visit on this thread (too busy with school work) but now I finally have some time to discuss with you :)

At the first time when I listened to this piece on the soundtrack, I was disappointed because the atmosphere didn't match with its name: Lothlorien. But now I think the song is more about the Fellowship entering this mysterious realm and their astonishment at its grandeur. Maybe this song's feeling is quite appropriate for people living under danger and whose culture is fading.

That some kind of a string instrument at the beginning sounds very interesting, very Oriental like Encaitare said. Elizabeth Frazer's voice is somehow more "rough" than any other Elvish song's performer's. I think it's good for a lament, thogh. At 3:55 the style changes completely. It's now again all about the Fellowship and their journey. The brass instruments play a hopeful little melody which ends with a major chord. Though they've lost Gandalf, their mission still stands a chance.

[Encaitare]

As the Fellowship leaves the protection of Lorien, the music is a melancholy choir accompanied by strings. The lyrics, I was happy to learn, are from Galadriel's song "Namárië":

Ai! laurie lantar lassi súrinen,
yéni únotime ve ramar aldaron!
yéni ve linte...

Ah! like gold fall the leaves in the wind,
long years numberless as the wings of trees!
Long years like swift...

The site (http://www.elvish.org/gwaith/movie_soundtrack_fotr.htm#namarie) where I got the words gives a slightly different translation to account for the actual order of the words, sentence structure, and whatnot. I took the translation from the book, though, except for the last line since it is incomplete.

The Fellowship theme then returns, slightly variated in brass, but the lower strings provide a sense of grandeur and foreboding. As the boats pass the Argonath, the choir begins to sing once more:

Et Eärello Endorenna utúlien.
Sinome maruvan ar Hildinyar tenn' Ambar-metta!

Out of the Great Sea to Middle-earth I am come.
In this place I will abide, and my heirs, unto the ending of the world!

In the book, Frodo notes the "great power and majesty" of the Argonath, and he is filled with "awe and fear". The music demonstrates this in several ways. Firstly, it is the Ring's theme which we hear, fitting since the Siege of Barad-Dur against Sauron claimed Anarion's life, and the Ring itself eventually claimed Isildur's. Secondly, though, there still is a great sense of power surrounding these statues. The music declares force, pride, and might -- it commands.

From a technical standpoint, I really like the swelling dynamics in this second section. They rise and fall, much like water.

Thoughts? Comments? Do you think the lyrics are fitting? How does the style of the music tie in with the emotions of these scenes?

[Anguirel]

Together, I think the Bridge of Khazad Dum, Lothlorien, and the Great River represent the absolute peak of the FOTR soundtrack.

The Bridge (Track 13, appropriately enough), is quite simply the most dramatic track on the FOTR CD. I see the scene swimming before my eyes. And...how do I describe this...the Fellowship theme is far more...urgent...than in, say, the Ring Goes South. I'm struggling with the musical vocabulary, but there are these sort of higher notes streaming from it, like sparks off a blade. The shadow and flame really emanates from it, and especially later from the choir.

Like others, I at first didn't like Lothlorien, either visually or musically. I remembered the joyous haven, the relief I'd experienced on my first reading; how I was literally begging my book to stay longer, never to leave the safety and beauty of the golden eaves. The "menace" of Track 14 just didn't seem right. But it's grown on me (as has the film interpretation, with the fabulous FOTR EE.) It's simply another point of view, and an interesting one. What must Boromir, Gimli, Merry or Pippin have thought on entering this strange land of dreams, where the branches resounded with laments? The melancholia of the place is caught exactly.

As for the Great River...it's actually the most fully Elven music in FOTR. I can never be satisfied with listening to it once; I have to replay the voyage...

[Lathriel]

I love this track because it portrays the Argonath and their granduer so well while at the same time it has a melancholy tone since the Argonath are a reminder of the Kingdom of Gondor during its greatness and now it is in a weakened state.

Et Eärello Endorenna utúlien.
Sinome maruvan ar Hildinyar tenn' Ambar-metta!

Out of the Great Sea to Middle-earth I am come.
In this place I will abide, and my heirs, unto the ending of the world!

This is actually a foreshadowing of what is to come, the return of the king; because Aragorn sings this in ROTK as he stands in Minas Tirith. I didn't realize that untill now, so thanks for the lyrics Encaitare

[Dragon Reborn]

Just had to say this is a fantastic idea for a thread and as soon as Im not so heavily burdended with schoolwork i will be right on to making some contributions!

[Encaitare]

The track begins sounding rather eerie, with the choir and strings slowly building. At this point, Boromir is trying to convince Frodo to give him the Ring, and the choir sings the following (in Quenya):

i tuo...
i macil...
... (a?)staldaron...
marinyë... cor...
i tuo...
i macil...
a lelyat
túrenna...
i tuo...

the strength...
the sword...
... of-the-valiant (?)...
I-live... ring (?)...
the strength...
the sword...
let they go (?)
to-victory...
the strength...

It seems like a little bit of a rough translation, but it corresponds pretty well to what is going on. Boromir truly believes that he can save Gondor by use of the Ring. After this little episode, the strings become dominant for a bit as Frodo tries to run.

The brass solo which immediately follows reminds me of the Minas Tirith theme that we'll hear in RotK, symbolizing Boromir's fierce loyalty to his land. I have not watched FotR in a long time, so I'm a bit rusty on what exactly is going on after this -- battle shots, I imagine. But at 2:07, the Isengard theme returns with the Uruk-hai. It stops at 2:36, but not before delivering three last hammerblows, which further drive home the point that Boromir, our valiant warrior, is being shot down. The choir returns, mournfully backed up by strings:

... i alda helda
i ehtelë lin(d)a.
Manna lelyalyë
Voromirë...
canelya ... dessë si .... mas

... the tree naked
the spring beautiful.
Where-to you-go
Boromir...
your-valour... ?-in now ... ?

For me this is the most emotional track, because in the movie the sound fades until it seems as though everything is happening very far away, and the music covers most of it up. You can hear Boromir's cries, and see Merry and Pippin's distraught faces just by listening.

Gentle brass and strings playing the Fellowship theme end the track; I believe this is played in the movie when Boromir is finally dead.

One thing I'm not so sure about is this: supposedly, the following lines are sung while Boromir is being shot:

Ú-velin i vegil an aegas
egor i bilin a linnas

I-do-not-love the sword for sharpness,
or the arrow for swiftness

This is of course from Faramir's speech in TTT (the book): "...but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend: the city of the Men of Numenor..." It's a beautiful passage, and very appropriate for what is going on. However, it doesn't seem to be in the track itself. Maybe it's just in the movie?

[The Tennis Ball Kid]

I have not watched FotR in a long time, so I'm a bit rusty on what exactly is going on after this
This site (http://www.geocities.com/magpie930/main.htm), has a good run down of what's going when on the soundtracks.

However, it doesn't seem to be in the track itself. Maybe it's just in the movie?
It's only in the EE, thus not on the soundtrack, and it plays while he's defending Merry and Pippin.

I'm very behind, but I'll try to catch up to these three tracks either tonight or tommorow....

Edit:
Does this piece fit your thoughts of what Elvish music would sound like? If not, what would you do differently? How does this (either the contents of the track or your own ideas) fit in with Lorien's history and people?
1. Not really, my ideas for Elvish music prior to watching these films wasn't very in depth beyond "Tra la lally, down in the valley..."

Not sure I'd change anything, the otherworldy Middle-Eastern effect worked well in the film.

The Great River:
Et Eärello Endorenna utúlien.
Sinome maruvan ar Hildinyar tenn' Ambar-metta!

Out of the Great Sea to Middle-earth I am come.
In this place I will abide, and my heirs, unto the ending of the world!
I hadn't noticed that before, it's remarkable how much depth the use of Tolkien's language adds to score, it's something the Bashki cartoon didn't have.

The epic rendition of the 'Ring theme' as they pass the Argonath is one of highlights of the album, in large part because it's the only full statement of the theme on the CD.

Amon Hen:
Together with The Breaking of The Fellowship this one the better musical endings to a film I've ever see_er, heard. ;)

The Seduction theme playing as Aragorn (not Boromir) is tempted by the Ring gives an eerie start to the proccedings.

Then, the brass, which I believe you've correctly connected to Minas Tirith, as Aragorn faces down the Uruk-hai, this minute and a half is some of the best action writing I've ever heard.

The Isengard theme as heard here is frightening, menacing, as Boromir, Merry and Pippin are set upon by the orcs.

The track finishes with a mournful rendtion of the 'Fellowship' theme as Boromir dies, how long ago Moria and that full, triumphiant statement of it seem now...

Missing on the CD are the fantastic additions to the EE; namely: the 'Nature/Moth' theme as Merry and Pippin create a diversion to allow Frodo to escape, and the new choral pieces as Boromir defends the two young Hobbits.



ttbk

[Encaitare]

Thanks for the link!

The Seduction theme playing as Aragorn (not Boromir) is tempted by the Ring gives an eerie start to the proccedings.

Ah, yes, seduction. That was the term I was looking for and just couldn't come up with while writing my last post. Quite an appropriate title for it, too.

[Lathriel]

The Seduction theme is very key in the movies (and in the book) because almost all the characters are seduced by the ring. Even Sam is almost seduced by it. As the dutch title of LOTR says they are Bound by the ring It is one of my favourite theme songs because it doesn't only sound seductive, its also melancholy due to all the evil influences the ring brings with it. It certainly fits with Boromr because he ends up loosing his life in the quest of getting the ring to Mordor. Overall I really like this track due to its contrast between the quiet of the rings power, and Boromir's death compared to the loudness of battle. This is usually split in strings with choir for the quiet parts (and a solo for lowbrass) to Full blown brass for the battles. However, I really like it that Howard Shore decided not to go along this path completely but to turn down the volume of the music halfway through the fight.
Encaitare thanks once again for the lyrics, I didn't know their meaning yet so its great to finally see what they are actually singing.

[Encaitare]

This track is just so beautiful and sad... I love it.

So we start out with strings on a pedal tone under very "round"-sounding brass; the two then merge to a melancholy variation on the Shire theme -- Frodo, while with quite a ways to go, is not the hobbit he was when he first left home. As Sam comes after Frodo, the strings drift along even as he does under the water.

At 1:44, Frodo pulls Sam out, and the theme becomes more hopeful -- especially as the original whistle that we heard in Track 2 returns, although it's much sadder. It shows us that while there will be suffering, at least Sam and Frodo will be together.

Cut to Boromir's boat and those who will be the Three Hunters. There is a snippet of the Shire theme again which then changes to the Fellowship theme. The theme is no longer full; several instruments seem to be missing, as their group is broken.

Percussion grows and then fades in the background as the Shire theme and eventually the whistle return. After this solo, the percussion returns muted under strings. Edward Ross' vocal solo follows, accompanied at times by a boys' choir. It brings in the phrase "there and back again," implying that while hardship will ensue, all is not lost. There is still hope. Strings and brass do a short conclusion of this solo, which leads nicely into the next track... but that's for next week. ;)

Do share your thoughts. :)

[The Tennis Ball Kid]

Gosh, is it Friday already?

The emotional highlight of the score, don't how much there is to say.....love the tom-toms(?) near the end.


I love In Dreams, it's, as Shore has called it, "The Hobbit Hymn"; I greatly prefer it to what to comes next and wish it came at the begining of the credits in the movie.




ttbk

[Lathriel]

This track announces the end of a wonderful hour of music.I also really like "In dreams" but what annoys me is that sometimes the choir says in dream and doesn't pronounce the s. I know its silly but ever since my music teacher got mad at us for not pronouncing words correctly when singing I have a habit of listening for it when I listen to other singers.
The repeat of the hobbit theme makes me think about the beginning of the story and how far they have come. I also take note of the changing moods that have occured during this soundtrack. In the end the soundtrack has noticably become darker which sets the tone for the soundtrack of TTT.

[Encaitare]

Happy Friday, everyone! TGIF to the max. :cool:

We have come to the final track of FotR; this consists of Enya's song followed by an instrumental finale. Lyrics:

May it be an evening star
Shines down upon you
May it be when darkness falls
Your heart will be true
You walk a lonely road
Oh, how far you are from home

Mornië utúlië
Believe and you will find your way
Mornië alantië
A promise lives within you now

May it be the shadow's call
Will fly away
May it be you journey on
To light the day
When the night is overcome
You may rise to find the sun

Mornië utúlië
Believe and you will find your way

Mornië alantië
A promise lives within you now

A promise lives within you now

"May it Be" itself sounds much like Enya's other songs -- in my opinion, this is not a bad thing. It does have the gentle string and vocal accompaniment that she uses often in her songs. Parts of the melodic line are similar to the Shire theme.

I like the use of "Mornië utúlië / Mornië alantië" (Darkness has come / Darkness has fallen) -- I think these were the first Elvish phrases I ever learned. The point that there are indeed dark forces at hand is addressed, but other parts of the lyrics, such as "believe and you will find your way," have a message of hope and encouragement. The lyrics as a whole remind me of the Irish blessing:

May the road rise to meet you.
May the wind be always at your back.
May the sun shine warm upon your face.
And rains fall soft upon your fields.
And until we meet again, May God hold you in the hollow of His hand.

And note that all the "blessings" given in "May it Be" will eventually come true -- a star will even shine down upon Sam in Mordor.

When the song is over, we hear the Shire and Fellowship themes, first soft and then rising in triumph. While this part of the story ends on a sad note (Boromir's death, the breaking of the Fellowship), it's still evident that there is strength left in the sundered friends.

Since the bulk of this track is taken up by the song, let's talk about that, shall we? How do the lyrics apply to the situations at hand? And to which character(s) do you think the lyrics are directed?

[Lathriel]

I actually have a fond memory of this song. At my highschool we have a Grande Ball. This is the time when the grade twelves wear their grad dresses again.Also the band students provide all the music. So me and my friend got together and I sang "May it be" while my friend provided the piano part.

Appart from that I like this song because it is very like Enya but it also fits the mood of the overall soundtrack. Its neat that they let the previous track,"The Breaking of the fellowship" smoothly flow over into May it Be. I think it might actually be my favourite credit swong out of the three. (Gollum's song,Into the West)
But they have one thing alike,great lyrics. I think the lyrics for every song are excelent.

The lyrics of May it Be clearly bring a message of hope. To me it says that although you will go through some very dark times and there are many dangers ahead,you will make it Frodo Baggins.And when you have made it good wil return.

[Encaitare]

Hey, congrats, guys! We made it to TTT! Still interested?

Right. Track One. The opening brass is like a "welcome back". I envision a thick book, leather-bound and inviting with yellowed pages, being opened to its second chapter. And we, the eager readers, fall back once more into the tale. We are immediately reminded of what's going on by the strings' repetition of the Ring theme. (In the movie, I absolutely love the camera panning over the mountains. Awesome shots there.)

The violins continue; the sound is sad and nothing ever seems to resolve completely. At 1:42, we are whisked back to the Bridge of Khazad-Dum. We hear the brassy battle carry out, and the segment has the same conclusion at 2:30 as it did back in track 13 of FotR -- that low string tone. But since here we see things continue from Gandalf's point of view, the music picks up almost immediately with the choir. At 2:32 we hear:

[Quenya]
Mettanna.
Nurunna!


To the end
To the death!

Chanting in Khuzdul begins as the foes descend ever deeper into the former Dwarven realm. Starting at 2:44:

Irkat-lukhud ma
katabrikihu
Ulfat-atam ma
tanakhi uduhu
bin-nât aznân tarsisi

No shaft of light
Can breach it
No breath of air
Comes from it
Only an endless dark rises

Here, it would seem that the trumpets/brass are Gandalf (as we have heard in past tracks), the throbbing drums are the Balrog ("drums, drums in the deep"), and the ongoing chanting simply represents the setting.

At 3:32, the drums cease for a few moments as Gandalf and the Balrog fall over the surface of the water. I particularly like this section -- it sounds almost more epic than what we're previously been hearing. In fact, it reminds me of some of the victorious music we'll hear in RotK, not surprisingly: since they are about to hit the water, it can't bode too well for the Balrog. At this point we hear:

[Quenya]
Mettanna
Nárendur
An mauya mahtie
Mettanna

To the end
Servant of fire
For you must fight
To the end

Thusly the track ends, and for a little while we are kept in the dark as to exactly what will happen.

Only portions of the written lyrics were used in the actual track. Full Quenya lyrics are here (http://www.elvish.org/gwaith/movie_soundtrack_ttt.htm#fight) and full Khuzdul lyrics are here (http://www.elvish.org/gwaith/movie_soundtrack_ttt.htm#abyss).

My apologies for posting this so late (it's almost midnight for me, anyway) -- my internet randomly shut down on me this afternoon.

[Lathriel]

I remember watching TTT for the first time and getting goosebumps because of the beautiful combination of image and music.

In the soundtrack for FOTR we actually don't hear the ring theme but on this soundtrack we do. I was really glad when I heard the theme on the TTT soundtrack because it is central to the story and the melody is so haunting.

Anyway, I'm too tired to think of more since I have a jetlag. I will expand on this post later.

[Encaitare]

Before I begin, I have a question for all readers/participants thus far: is anyone still interested? It seems that Lathriel, ttbk (sometimes) and myself have been the only ones posting as of late, and I'd like to know if anyone else is following the thread. I'd certainly like to continue, but if no one is going to respond, then I don't know if it's worth it to post.

So anyway, track 2. It starts off with the Shire theme on clarinet, but the strings and choir add a darker tone -- the familiar characters are coming to a place that is completely new.

The second section, in which Gollum is climbing down the wall, does indeed have a sound like creeping footsteps. The harsh brass and strings follow as Frodo and Sam fight off Gollum. The track ends with the same footstep-like tones, on brass and vibraphone, I believe.

Apologies that this is so short -- it's not a very eventful track.

[Lathriel]

Come on peoples!!! Join the discussion. Talk about anything form how this track makes you feel,to any memories that are connected to it or how you feel certain themes relate to the book or movies.

I have to agree with you Encaitare, this track isn't very exciting although it is neat how the vibraphone (or is it dulcimer) is chosen to represent Gollum. I have the LOTR symphony by Johan de Meij where Gollum is portrayed by a saxophone(I don't know which kind but its smaller then an alto sax)I like the dulcimer better because it is much more subtle and it really portrays his ability to be quiet when he has to be,plus his tendency to sneak from here to there.

[Kitanna]

I'm still interested I just really haven't had much to say or I just haven't had the time to say anything. And ending on that note I still have nothing to say, but I do have stuff for the next track from TTT.

[The Tennis Ball Kid]

Sorry I haven't been around, school has been keeping me insanely busy lately. :(





ttbk
Edit: In passing, an observation about The Prophecy, since I wasn't here for that discussion: This is really reminescent of a Biblical epic from the fifties and sixties, like The Robe (http://www.varesesarabande.com/details.asp?pid=VCL%2D1103%2D1025%2D2) (just scroll down and listen to the first sample). I thought that was kinda neat.

[Estelyn Telcontar]

I have a question for all readers/participants thus far: is anyone still interested?

Since you're asking readers, not just participants, yes! I don't have the time to participate actively in this discussion, but I do enjoy reading it. So please do carry on!

[Anguirel]

I'm certainly still interested.

Some miscellaneous comments:

1. The Breaking of the Fellowship is lovely, but I sometimes feel slightly too remniscent of Titanic. Sort of standard cinematic emotional tune number 16. But I only get that feeling when I'm struck with cynicism...

2. I'm not that fond of "In Dreams", but the choir is omitting the s on purpose, so the soloist alone sings it. This is a means of making sure the s will be synchronised, and will start and finish at the right time. My objection is that there's something a bit blocked up about the soloist's voice, as if he has a slight cold...

3. I love "May It Be". In fact, I find myself singing it under my breath in unguarded moments...

4. The Two Towers, for me, is a motivational CD. I play it when I'm stirring myself to write. The Foundations of Stone are a nice menacing introduction, though they don't quite match either The Prophecy or A Storm is Coming.

5. I never really rate the Taming of Smeagol, or the later Passage of the Marshes. Unlike some of the Rohan tracks, they rely strongly on knowing and seeing what's going on, and aren't much good at conjuring images in their own right.

6. I cannot wait to rhapsodise on how much I love the Rohan theme!

[dancing spawn of ungoliant]

Somehow it is much easier for me to listen to TTT's soundtrack than FotR's. I guess the score isn't as gloomy as in FotR and it's more "melodic".
The Shire theme gives me immediately a calm feeling: everything's going to be fine though in the movie Frodo and Sam have just started their lonely and almost hopeless journey to Mordor.
Otherwise I think this is the lamest track in TTT. The song's latter half's dissonant chords are really unpleasant to listen to. And as Encaitare said, it doesn't really happen very much in this piece.

[Encaitare]

What I like about the FotR soundtrack are the location themes.

What I like about the RotK soundtrack is the encompassment of every emotion I have ever felt.

What I like about the TT soundtrack is the fact that it blends the two perfectly. We will later hear the Rohan theme (which, like ungoliant, I love to no end) and when the Rohirrim arrive at Helm's Deep, it's a wonderfully majestic version of the theme.

Just my random thoughts.

[The Tennis Ball Kid]

I don't really like May It Be....the coda with the Fellowship theme is nice though.


Foundations Of Stone, ahh, I love the way the music starts before the visuals do, and on further viewings it's like you already that you're zooming over mountains.

A reprise of the Gandalf v. Balrog music, but this time instead of etheral ooohs it goes to battle music! :eek: :D Booming brass, and violent choir as Angel and Demon wrestle within the depths of the earth! I love it! :D

And then the beautiful moment when the orchestra gives way and the choir is alone in the cavern with the lake and the falling star....


The Taming Of Smeagol, after a brief statement of the Shire theme to re-orient us after the fury of the last track we get a choral piece that isn't in the film, a nice melody that turns menacing (?with hints of Gollum's theme from Fellowship underneath the end?), some suspense music as Gollum's second theme plays as he stalks down the cliff. Then a rapid, dissonant piece as he attacks the Hobbits, then quiets again as they resume their trek to Mordor...

One interesting thing about the album is that, unlike FOTR, it's not in chronological order beyond these first two tracks. Shore used a lot of 'mini-suites' for TTT and ROTK.




ttbk

[Lathriel]

Since Encairtare will be back late tonight I have the honour of introducing the next track.

Track #3 The Riders of Rohan

It begins fast but then the melody slows down to make way for the Rohan theme. In this track the Rohan theme is first played by the brass,then the violins and lastly by the Hardinger. The Hardinger is a scandinavian fiddle and it has extra strings that vibrate to give the fiddle's unique sound.

The Rohan theme is central to the second movie and it also happens to be my mom's favourite theme of all the soundtracks. The theme certainly fits the moment in the movie and it gives you a feeling of being swept into ME if you aren't there already.

I myself really like the fact that a folk instrument is used for the theme instead of a more common instrument.

So how do you feel about this track? Is the Rohan theme your favourite?

[Aiwendil]

The theme for the Rohirrim might just be my favorite theme from the movies as well. The success of the theme at evoking the character of the Rohirrim continues to astonish me. In particular, something about the tone color of the hardinger instantly conjures up visions of the riders sweeping across the plains, at least for me. Part of what's so striking is, I think, the juxtaposition of the more rustic, perhaps more soloistic, tone color of the hardinger and the more familiar orchestra. My favorite moment is when the hardinger comes to the point where the brass ended the phrase, but instead of ending it leaps up over some climactic orchestral chords.

[Dûrbelethwen]

I too like the hardinger. It seemed to me that the sound is depressed state of Rohan in instrumental form.

[Encaitare]

I like the feeling of danger we have at the beginning of the track, since the Rohirrim first seem like they might be hostile towards our heroes.

All the music associated with Rohan is very beautiful, not just the theme played by the hardinger. The string theme at 1:42 is musically similar, and yet provides different images for me. This gentler theme seems to represent the practical side of Rohan, a place with strength that is being held under the surface. The theme the hardinger plays encompasses many other aspects of the society: majesty, beauty, honor. The melody does not sound happy, but it does sound driven and inspired.

The end bit of the track, if I'm not mistaken, is when Theoden has Grima thrown out of Meduseld. A bit jumpy, really. Grima doesn't really have enough of a part -- or even enough of a definite affiliation with anyone -- to have a full theme. The closest thing I can think of is the low brass like we hear in the Isengard theme.

[Anguirel]

I play this, and several other Rohan tracks, when writing battle scenes...

This is the first track, perhaps, which causes images to swell before the eye; I can see Eomer's eored speeding by; Eowyn in her white dress; the flag of the White Horse on the wind.

My only regret is that it feels too short and leads on to a piece of music I found as uninspiring as the scene it went with. All that unsubtle business with the corpse...

But that is later, and for the moment we are in Edoras, shorn of its glory but not of its romance. I love the point at about 2:24 when we are transported into the cramped, sorrowful, mourning of the golden hall; and the fiddle comes into its own here. But there's a beauty amid the tears; a feeling that hope is on the horizon. At about 3:36 the track feels like it's come to a slightly menacing end, but trickles on in a minor way, ever so slightly claustrophobic, smothering the chance of redemption we saw before.

Incidentally, I shuddered when Bernard Hill and others seemed to think that the Rohirrim were Celts. Was this a PJesque decision? The white horse motif and Norwegian fiddle would seem to hint otherwise.

[The Tennis Ball Kid]

I'll respond to the track tonight (hopefully!), but right now I thought y'all might want to hear the latest on the complete score box-set:
>>>Why is it so hard to release a complete score for this movie? It's not like they have to hurdle through loads of legality.>>>

Well, that depends on who is releasing it, does it not? Remember that during the whole process there was a major shake up at Warner Brothers Records, and that the division that was responsible for the three original soundtrack CDs (Reprise) essentially ceased to exist. Many executives lost their jobs or resigned, and a lot of the key people who had been pushing this material through were no longer on the map. This doesn’t mean that the LOTR project was ever abandoned, or even in trouble, but it did take time to find someone to champion it once again. Despite the fact that the project seems like a no-brainer success just waiting to happen, you still need to find someone that’s got space on his plate to shepherd it through. It is a huge, huge project, and more than slightly high profile.

>>>Yeah I know they want alternate cues, unused materials, ect.... but they all already exist. >>>

Unfortunately that’s not right. Not everything was mixed. Sure film mixes existed for almost everything, but not album mixes. And since the previously released music will now exist in a different context, a good portion of that will need to be remixed as well. Including the bonus material, you could easily be dealing with 12 to 13 hours of music that need mixing. That’s a huge job – and you’ve got to pay someone to do it. And that means you need to get a large budget approved very early. So assuming you have the producer with the time and energy, the mixer with the expertise and the willingness, you still need to push everything though a big company. Again, that’s not at all a bad thing, it’s just how things work. But it still takes time.

>>>2. They might be waiting to tie it into some other product (Like a book: Music of the Lord of the Rings)>>>

Oh sure, blame me! :) Really though, my timeline is entirely dictated by the record company’s decisions. There’s no way on earth they’re going to hold this project up because some Chicago area guy decided he wanted to walk the beach while contemplating the best way to describe the Shire Theme. They say jump, I say, where should I land?

>>>3. They may have wanted to wait until the LOTR fans were ready to absorb an expensive set.>>>

This is a very good point. No matter how you slice it, there’s going to be a certain price tag attached to this project. So how best to release it? Do you strike while the iron is hot, and get it out right after the last movie? That’s a time problem and perhaps unlikely to recoup the studio’s budget – everyone just got finished buying the one-disc soundtrack, that’s a pretty egregious double-dip. Do you put it out right after the last DVD? That’s an expense problem. If your average LOTR fan just spent $60 on the extended ROTK DVD, will he turn around and drop another $150 on CDs? At Christmastime? Do you cut it down then? Just put out a new mix and a handful of unreleased tracks? Maybe cut everything from the extended editions? The fans would be out for blood, and really no one involved wants to put out a compromised version of this.

>>>4. It could be: production problems, legal problems, art problems, permission problems>>>

Well the good news there aren’t any “problems,” there are just decisions that need to be made. Think of it this way, the more material involved, the more people involved. The more people involved, the more time-intensive the decision making process will be.

Fortunately, I’m happy to say most of these decisions have been made now. In fact, the last I heard, things are pretty well set at this point. Why no announcement yet? Well, you’ve got to realize that advertising is part of the decision making process as well. These things tend to be announced when they’re going to be most effective at capturing attention, but without being crass. As I say, I’m hoping to be able to report something in a month or so, but I’m giving that timeline because that’s the next time I’m planning to be in NY at the office, so I’ll ask then if it’s ok to say something.

Oh and as for the FSM quote… I’m a huge fan of Mr. Bettencourt, but I have to respectfully contradict him by saying that his quote is inaccurate in at least two ways and accurate in at least one wonderful way.

Ok, my vagueness is even annoying ME now. Sorry, guys!
:)

Also, I've been going through the DVDs to see how much music is missing and I could post a track list for disc one if anyone is interested.




ttbk

[Encaitare]

ttbk-- Thanks for posting that! Sounds like it will be great whenever it comes out. Although when I saw "Doug Adams" I immediately thought of the late great writer... :rolleyes:

I could post a track list for disc one if anyone is interested

What do you mean? A lsit of corresponding tracks of music in the DVDs?

[The Tennis Ball Kid]

What do you mean? A lsit of corresponding tracks of music in the DVDs?
Yeah, basically; it's my guess at a track list for the first CD of the box-set....


The Riders Of Rohan:
This track has three pieces of music, the first is the pounding, rhythmic bit as Eomer and co. surrond the Three Hunters.

This reminds me of something out of The Magnifcent Seven (which I was listening to today), something about the driving rhythms...I like it, especially the way it ends by seemingly circling itself around the Hunters same as Eomer does then suddenly halts.

The second, and shortest, underscores Gandalf riding from Edoras, the main thing of note is the "White Rider" theme making it's first appearance on the album.

The third, is simply splendid, the lead in with Eowyn's theme on strings, and the build-up to the fiddle solo of the Rohan theme, I find this piece quite moving.




:)
ttbk

[Kitanna]

For some reason the very beginning of this reminds me of horses galloping. I think it has to do with the percussion in the opening bars. Very suspenseful music, like music played during a hunting scene.

Then the French horns and trumpets (I believe it's trumpets and horns...) come in with the Rohan theme and then the strings and finally the Hardinger. It's a very pretty and calming theme. One of my favorites on the TTT soundtrack.

[Encaitare]

Yeah, basically; it's my guess at a track list for the first CD of the box-set....

Go for it. :)

[The Tennis Ball Kid]

Proposed (by me) tracklist for disc one:
#1: "Prologue" (7:10)**
#2: "The Shire, Middle Earth"(:58)
#3: "Concerning Hobbits"(1:31)
#4: "The Road Goes Ever On...."(:39)
#5: "A Wizard is Never Late"(4:05)**
#6: "Very Old Friends"(1:39)
#7: "A Night To Remember"(1:26)
#8 "Party#1"(:45)
#9 "Party#2"(:57)
#10: "The Sackville-Bagginses!"(1:43)
#11: "Goodbye"(1:00)
#12: "It's In My Pocket"(1:43)
#13: "The End of My Book"(1:09)
#14: "Riddles in The Dark"(1:18)
#15: "Neither Secret, or Safe..."(3:14)**
#16: "The Green Dragon" (:20)
#17: "Rosie" (:17)
#18: "It Is The One Ring" (1:48)
#19: "Bilbo Found It" (:23)
#20: "Sauron endured" (:44)
#21: "Remarkable Hobbits" (3:53)**
#22 "The Journey Begins" (1:47)**
#23: "Wood Elves" (:49)
#24: "To Isengard!" (:40)**
#25: "Reason Exchanged for Madness" (2:27)**
#26: "The Treason of Isengard" (:55)**
#27: "Shortcut To Mushrooms" (:49)**
#28: "Brandybucks and Tooks" (:14)
#29: "Get off the road!" (:13)*
#30: "The Black Rider" (2:36)**
#31: "At The Sign of The Prancing Pony" (:27)**
#32: "No Gandalf" (:21)
#33 "Strider" (:38)**
#34 "Frodo Baggins" (:23)
#35 "Nazgul In The Night" (1:12)**
#36 "Journey To Rivendell" (2:07)
#37: "Second Breakfast" (1:08)
#38: "Desecration of Isengard" (:39)
#39: "A Knife In The Dark" (1:40)**
#40: "Even the Smallest Creature..." (4:02)**
#41: "Weed" (:48)
#42: "AATF" (5:23)**
#43: "Short Cuts Make For Long Delays" (1:01)
#44: "Many Meetings" (3:18)**
#45: "Aniron" (2:02)*
#46: "Men? Bah!" (2:23)
#47: "Broken Heirloom" (1:06)
#48: "Isildur's Bane" (1:12)
#49: "Gondor Needs The Ring, Not A King" (2:08)
#50: "The Fellowship is Formed" (3:10)**
79:41 of music, 35:07 released
*=released, **=partially unreleased
-----------------------------------------------------------------------
My estimated times aren't perfect, obviously, but I'm pretty sure they're close enough that this will all fit onto one CD.

The major unreleased music:

"Prologue": Unreleased except for the part in Gollum's cave

The Fellowship theme playing over the title card

A lot of the Shire and Hobbit themes leading up to the party

Tons of the Ring theme, which is almost non-existent on the album

The Passing of the Elves

"Journey To Rivendell" which develops the Fellowship theme a bit

And then quite a bit from after they arrive at Rivendell, especially the use of the Gondor theme at the council.




:)
ttbk

[Lathriel]

Looks like you got it all figured out!
If that big CD set comes out I am definitly going to buy it. The rest of my family rolls their eyes but I don't care. There are so many little pieces of music that I hear while watching the movies that aren't on the soundtrack. Plus it would be nice if they added some of Merry and Pippin's songs.

[Encaitare]

Whoops! With my AP test yesterday I completely forgot to post. Shan't happen again (if I can help it).

Low brass and timid strings set the scene for the atmosphere of the Marshes. They provide an extremely eerie feel. When the music gets more forceful around 1:04, there are voices added, although I can't find any lyrics or translation.

The voices around 1:20 make me shiver.

Afterwards, things calm down a bit as the continue through the Marshes. At 1:53 and continuing, there is a variation of the Ring theme. Then at 2:26, we hear those creeping footfall noises previously attributed to Gollum. I'm not sure what instrument that is -- I originally thought it was a xylophone of some sort, although it now sounds to me like a plucked string being played very quickly. Any ideas?

[Lathriel]

Sometimes I skip this track cause it scares me. In general music has a big affect on me and if music is somewhat eerie it can really scare me. (Like Shelob's lair in ROTK)
Every time I hear the track I can see the ghosts (from the movie)that try to reach out to Frodo and that freaks me out.

[The Tennis Ball Kid]

we hear those creeping footfall noises previously attributed to Gollum. I'm not sure what instrument that is -- I originally thought it was a xylophone of some sort, although it now sounds to me like a plucked string being played very quickly. Any ideas?
I believe it's a hammered dulcimer, If I remember correctly from the documentary with TTT:EE.

Like Alice, I seem to have fallen down the rabbit hole and become very late...


Not really much to say about this one I think, very effective horror music (especially the voices! *shudder*), sort of a return to their roots for both Shore and Jackson.

Then it plays out with Gollum leading them on.

One thing, this track seems to start exactly where the previous one left off musically.





ttbk

[Encaitare]

I'm posting this a day early because tomorrow I am departing with the school band for a trip to Disney World(!) until Monday. We've got to meet up at 3:30 AM ( :eek: ) in order to catch an early flight, so there's no sensible way for me to post tomorrow.

So track 5 begins with the Fellowship theme once more, sounding subdued at first and then very triumphant as the Three Hunters track the Uruk-hai in search of Merry and Pippin.

An oboe plays the theme as well -- it seems like a hobbity sort of sound, and for me it ties in the fact that the loyalty and friendship within the broken Fellowship is the motivation behind this hunt.

Around 1:30, the Rohan theme kicks in, but it is quickly dominated by low brass. The hammering rhythm in the background reminds me of Isengard, which has hold over Rohan, but then this too is overwhelmed by the theme of Mordor, which in turn has hold over Isengard. At 1:24, the Isengard theme returns.

I'm looking forward to next week -- more Rohan theme goodness!

[Anguirel]

...this track summons to the mind one of the most iconic moments of the film (and book), when the Three Hunters are running across the plains. I remember being excited beyond words when I heard it. 28 seconds in the Fellowship theme (I think? Duh-duh, duhh, duh-duh-duuhh) cuts in, swelling the heart and making me want to jump off my chair. We then hear only a few notes of Rohan before the Forces of Evil take over. The dichotomy, the struggle, the epic of the story, is perfectly encapsulated. But the moment at 00:28 is still the peak, certainly of the track, possibly of the film...it has what Tolkien called eucatastrophe. It seems to me a far more potent expression of this than the badly mishandled arrival of Aragorn at the Pelennor Fields in the film of ROTK.

[Lathriel]

I don't like the Mordor or Isengard theme too much. However, I do really like the intro. And I also really like it that the Isengard theme has that industrial sound to it.
Well my mom is calling me so I'll post more later.

[The Tennis Ball Kid]

I'll attend to this ASAP, I've been busy, with among other things, listening to the new Star Wars CD over and over. :o




ttbk

[Encaitare]

At the very beginning of this track, we hear the hardinger again, followed by a very wistful rendition of the Rohan theme. String instruments are, in my opinion, very dangerous things. They can either sound like dying cats or create some of the most beautiful sounds that you'll ever hear. Fortunately, when the hardinger solos at 0:53, it's the latter situation. It's got a feel like a glorious place stripped of majesty, and the hardinger is it's last bit of dignity and strength shining through. The harp is a nice touch.

I like the way the theme does not resolve the way we might expect at 1:34 -- instead, it takes a much darker turn. Low strings and brass dominate for a time before giving way to something more exciting.

2:33 to the end is very sad; it's when Theoden grieves for Theodred. Gandalf is present at the time, and the trumpet, which has often seemed to represent Gandalf, plays a rendition of the Fellowship theme underneath the choir.

[Lathriel]

The very beginning of th track is known as Eowyn's theme. That is before it becomes the Rohan theme.
Of course this is one of my favourite tracks on this CD.
Partly because I think the music is exactly like the culture it is trying to portray. The Hardinger really gives the track that celtic feel. The fiddle fits with the horses and the plains which are such a large part of the Rohan people's culture.
And it is just breathtaking with the shot of Edoras and the Golden Hall of Meduseld.

[The Tennis Ball Kid]

But the moment at 00:28 is still the peak, certainly of the track, possibly of the film...
It's good (very good), but I wouldn't go quite that far. The peak of the film comes later... :)

I think it captures the sense that the Fellowship, though scattered, still holds true. I like the simpler orchestration here, it is but a remmant that pursues the orcs.


The fiddle solo as the flag tears away in the wind is glorious, the visuals and music working together perfectly.


I also like the way the Old English lyrics are used throughout TTT to underscore the Rohhirrm's plight.

While I'm here....

The Box-Set:Disc One:
#1: Prologue (7:10)**
#2: The Shire, Middle Earth(:58)
#3: Concerning Hobbits(1:31)
#4: The Road Goes Ever On....(:39)
#5: A Wizard is Never Late(4:05)**
#6: Very Old Friends(1:39)
#7: A Night To Remember(1:26)
#8 Party#1(:45)
#9 Party#2(:57)
#10: The Sackville-Bagginses!(1:43)
#11: Goodbye(1:00)
#12: It's In My Pocket(1:43)
#13: The End of My Book(1:09)
#14: Riddles in The Dark(1:18)
#15: "Neither Secret, or Safe..."(3:14)**
#16: "The Green Dragon" (:20)
#17: "Rosie" (:17)
#18: "It Is The One Ring" (1:48)
#19: "Bilbo Found It" (:23)
#20: "Sauron endured" (:44)
#21: "Remarkable Hobbits" (3:53)**
#22 "The Journey Begins" (1:47)**
#23: "Wood Elves" (:49)
#24: "To Isengard!" (:40)**
#25: "Reason Exchanged for Madness" (2:27)**
#26: "The Treason of Isengard" (:55)**
#27: "Shortcut To Mushrooms" (:49)**
#28: "Brandybucks and Tooks" (:14)
#29: "Get off the road!" (:13)*
#30: "The Black Rider" (2:36)**
#31: "At The Sign of The Prancing Pony" (:27)**
#32: "No Gandalf" (:21)
#33 "Strider" (:38)**
#34 "Frodo Baggins" (:23)
#35 "Nazgul In The Night" (1:12)**
#36 "Journey To Rivendell" (2:07)
#37: Second Breakfast (1:08)
#38: Desecration of Isengard (:39)
#39: A Knife In The Dark (1:40)**
#40: Even the Smallest Creature... (4:02)**
#41: Weed (:48)
#42: AATF (5:23)**
61.58 Of music, 28.26 released

Disc Two:
#1: "Short Cuts Make For Long Delays" (1:01)
#2: "Many Meetings" (3:18)**
#3: "Aniron" (2:02)*
#4: "Men? Bah!" (2:23)
#5: Broken Heirloom (1:06)
#6: Isildur's Bane (1:12)
#7: Gondor Needs The Ring, Not A King (2:08)
#8: The Fellowship is Formed (3:10)**
#9: "Gilraen" (:57)*
#10: "The Ring goes South" (3:46)**
#11: "Rabbi! From Dublin!"(4:20)
#12: "Moria" (3:56)
#13: "Open Sesame!" (:40)
#14: "The Watcher" (1:34)
#15: "Journey In The Dark" (2:15)**
#16: "Pity/The Darrowdelf" (5:26)**
#17: "Here They Come!" (1:05)
#18: "Not dead (yet!)" (4:15)**
#19: "The Bridge Of Khazad-Dum" (7:53)**
55.24 of music, 13.53 released

Disc Three:
#1: "Lothlorien" (7:25)**
#2: "Lament For Gandalf" (1:58)**
#3: "Silver Trumpets" (1:05)
#4: "The Mirror Of Galadriel (2:50)
#5: "Test Of Galadriel (2:28)**
#6: "The Fighting Uruk-hai" (1:57)
#7: "Gifts Of Galadriel" (5:21)**
#8: "The Great River/The Argonath" (5:09))**
#9: "Boromir Succumbs" (2:40)
#10: "Temptation Of Aragorn" (:48)**
#11: "That Which It Defends" (7:22)**
#12: "The Passing Of Boromir" (1:55)**
#13: "The Breaking Of The Fellowship/In Dreams/May It Be" (11:39)*
51.43 music, 27.24 released
[*=released, **=partially released]

The latest news is that we might be getting the complete scores one at a time, staggered by a couple months, begining this fall, presumably to avoid turning people off by the huge price to get the whole thing at once. And we should get more news hopefully in a couple weeks. LINK (http://www.filmscoremonthly.com/board/posts.asp?threadID=27460&forumID=1)

This might be of interest if anyone here is attending the Symphony in Toronto:
By the way, if any one’s going to be in the Toronto area the weekend of June 4 and 5 and planning on attending the any Kitchener Waterloo Philharmonic’s LOTR concerts, I’m scheduled to speak as part of a panel at Roy Thompson Hall that weekend discussing film music and Shore’s scores. Should anyone be interested in a little sneak preview of upcoming publications, please drop me a line. I sound far less like a bad fortune cookie in person. (My email is in my profile.)

-Doug Adams


:D
ttbk

[Encaitare]

The track immediately establishes a frantic feel with the brash Mordor theme. Even when the music softens a bit, it still seems urgent. Not until 1:24 does it relax a bit, although it becomes more eerie. A subtle rendition of the Ring theme is heard from the strings. The very end of the track features a very bleak-sounding version of the Fellowship theme.

On a level of personal preference, this track doesn't do much for me... which I suppose is evident by the meager analysis above!

[Lathriel]

I am not very fond of this track either but I do like the very end of the track when the strings take over. I always find that they represent Gollum's plea to Frodo to take another road into Mordor.

[The Tennis Ball Kid]

It doesn't do much for me either.

*shrug*


I did like how it was used in the film though, the Mordor theme blaring up as they see the gate, etc.



ttbk

[Encaitare]

Most of the track features beautiful vocals in Sindarin, with soloist Isabel Bayrakdarian

Solo [0.00]

Ú i vethed nâ i onnad.
Si boe ú-dhanna.
Ae ú-esteli, esteliach nad.


Chorus (simultaneous with above) [0.00]

Ú i vethed nâ i onnad.


Chorus (alone) [0.48]

Nâ boe ú i.


Solo [1.58]

Estelio han, estelio han, estelio,
estelio han, estelio veleth.


Chorus (simultaneous with above) [1.58]

[Es]teliach nad, estelio han.



Literal Translation:

'Not the end [it] is the beginning.
Now it-is-necessary [that] don't-fall
If you don't-trust some-thing.'

'Not the end [it] is the beginning.'


'[It] is necessary don't that.'



'Trust this, trust this, trust
Trust this, trust love.'

You trust some-thing, trust this.'


A Nicer Translation:

This is not the end; it is the beginning.
You cannot falter now
If you don't trust something

This is not the end; it is the beginning

You cannot do that


Trust this, trust this, trust
Trust this, trust love

You trust something, trust this.

This is one of my favorite tracks on the album because of the wonderful harmonies. They seem decidedly "elvish" to me, these gentle choirs, and the low strings provide the melancholy, "wood-like" tone that also seem characteristic of elves. And as a flautist, I of course love the flute solo. Cheers to the soloist there -- low tones on a flute are awesome.

[Lathriel]

I love this track too, it is really one of my favourite tracks of all the three CDs.
It is so haunting and sad. This song really represents Arwen's difficulty with the choice she has to make. She has to choose between Aragorn or staying immortal and there are consequences either way. The feeling that would come with these choices is so well illustrated by the music. It is hard to explain and I am probably rambling.
It is just so haunting and I'm now teaching myself how to play it on the piano. (It is an easy song though)

[dancing spawn of ungoliant]

I used to like this track a lot but now I've grown weary of it. It suits the film well but as a song out of its context I find it rather dull. Isabel Bayrakdarian has an appropriate eerie voice, though.And as a flautist, I of course love the flute solo.I like the flute solo, too, though it's really the strings I like the most :p low tones on a flute are awesome. Can't argue with that!

I think this track contains nice elements but together they form a somewhat conventional or even boring whole. Maybe it's because most of the score has exciting dissonances and exotic instruments while this piece just repeats the same basic chords with regular orchesral instruments the whole time. I admit that not every single song can have something new and amazing in it but it was a little disappointment to me that I got tired to it so soon.
I'm now teaching myself how to play it on the piano. (It is an easy song though) I've played it on the piano as well. :)

[Encaitare]

ungoliant -- True, "Evenstar" lacks the complexity of the rest of the score. Still, I think the simplicity of it is very pretty and pleasing to the ear. Perhaps we could see it as the simple yet deep certainty of Arwen's love?

New track: the White Rider.

The beginning of the track sounds very dark, especially with the effect of the choir. This is the part when Gandalf is trying to "exorcise" Saruman's power from Theoden. The pounding drums in the background remind me of the Isengard theme, which is fitting.

The music in this track skips around, I suppose so it flows nicely. Still, it's kind of confusing. The next section is when Gandalf explains his new title to Aragorn, Legolas, and Gimli. The rising and faling of the lower strings makes me think of Rivendell -- the Fellowship is partly reunited. A slight tension seems to mount, but is relieved at 1:02. The music here grows very beautiful -- simple choir with some instrumental background accompaniment.

Around 2:00, the music changes again as the four ride off to Edoras, on a mission.

There are many different styles and sections in this track -- which do you like best?

[Lathriel]

At first I didn't like the intro of this track at all. Now I do like it though. But I like the middle of the song best.
I really like the choir but I don't know the lyrics. Do you Encaitare?

[Encaitare]

Lim-strang wæs geboren [0.12]
Bearn léod-cyninga [0.24]
Magorinc Mearces. [0.37]
Bunden in byrde tó laedenne
Bunden in lufe tó ðegnunge
Lang beadugear cýðað
Lic onginneð búgan.
Swift déadlic géar Stieppað geond willan.
Ac éagan gíet lóciað Beorhtre gesihðe;
Heorte gíet béateð.


'Strong-limbed he was born
This son of Kings;
This warrior of Rohan.
Bound by birth to lead.
Bound by love to serve.
Long years of war begin to show.
The body has begun to bend.
Swift mortal years outpace the will.
But the eyes still watch clear-sighted.
The great heart is beating still.'

Wow... Old English is pretty cool. I love how you can see the basis of modern words in the old ones.

[Lathriel]

When I see old english I always try to find words that we use today which are very similar to the words they used then.

E.G the word geboren is the dutch word for born. Bugan seems very close to begun. It is just so neat.

[dancing spawn of ungoliant]

I like the very beginning of the track the most. The choir, the brass and the drums are growing the tension towards a climax and then - a sudden silence. Plus, the first note of this piece, the long low e, is beautifully played by the cellos(?). I think this particular exctract sounds somehow better just as music without the film stealing all attention. The music in this track skips around, I suppose so it flows nicely. Still, it's kind of confusing. Yes, it's interesting that they have mixed the order of the themes. The result suonds really nice to me, though.

[Lathriel]

I really like the harmonies in this song. In general I think one of Howards Shore's strongest pieces are the ones with a choir, or another vocal part.

[The Tennis Ball Kid]

Shore's re-arrangement of the music for the album can be....interesting. Here the connection seems to be music from scenes with The White Rider in them. (obviously :p )


The use of Old English (Rohhiric) for the Rohhirim, along with the fiddles, definitely gives them their own sound throughout the film, moreso than Gondor had one in ROTK....




ttbk

[Encaitare]

Sindarin lyrics:

Naur vi eryn,
lanc i dalaf.
Mathach vi geven?
Nostach vi 'wilith?
Mâb le i nagor,
Bâd gurth vi ngalad firiel.
Dorthach vi mar han?
Dagrathach go hain?


'The woods are burning,
the ground lies bare.
Do you feel it in the earth?
Can you smell it in the air?
The war is upon you,
Death moves in the fading light.
Are you part of this world?
Will you join their fight?'


Word-for-word translation:

'Fire in forest,
naked [is] the ground.
Feel-you [it] in earth?
Smell-you [it] in air?
Takes you [or you are taken by] the war,
Goes death in light fading.
Dwell-you in land this?
Will-make-war-you with them?'

I like how the music starts off low and menacing. It almost has a woodish sort of feel, like the creaking of branches. The voices come in like whispers through the woods. My favorite part begins at 0:54, when the solo instrument is accompanied by the percussion. I'm not sure what the instrument is, though I think it's a double reed, which would be appropriate for the whole wood theme.

Around 2:18 it changes again, with the strings entering and the percussion becoming louder. I'd really like to know what kind of percussion was used in this section, though they might have just been tapping away on wood blocks for all I know.

I'm not sure where all these lyrics come in; I suspect that just a few lines are used. Even so, I like them. I think it's cool how the lines "Do you feel it in the earth? Can you smell it in the air?" mirror Galadriel's opening lines in FotR.

[Lathriel]

I like this track but at times I think it is a little to dark. But reading the lyrics I understand why it is so dark. This track is partly showing the anger that Treebeard feels towards Saruman.
In the book it is Treebeard who says "I can feel it in the earth, I can smell it in the air" So it is very appropriate that those words were put in the lyrics. I like that of most of the lyrics in LOTR. Often you can find small qoutes from the book in them.

[Encaitare]

In the book it is Treebeard who says "I can feel it in the earth, I can smell it in the air" So it is very appropriate that those words were put in the lyrics. I like that of most of the lyrics in LOTR.

Ooh, yes, I'd forgotten that. Thanks for pointing that one out -- it fits the track even better. :)

[Lathriel]

Track 11:The Leave Taking

I get the honour of bringing in the next track since Encaitare won't be here.

So we begin with the Rivendell theme although this version is not so vigorous as the one we heard in Fellowship. And it melts into the Lothlorien theme as Elrond "talks" to Galadriel about the ring. Which then brings us to Frodo and Sam and we hear the ring theme at 2:56. I myself call it the fate theme since everybody is becoming connected to the ring or is involved and thus the ring becomes part of their fate.

In this track you can hear the connection between the Rivendell and Lothlorien theme. They both are wistful and there is a sense of a growing darkness. This music has a certain melancholy to it that I find very fitting for elves.

I really like this track since there is a bit of quiet before the next track which is louder and faster. This way there seems to be more variety throughout the CD.

Of course the choir is beautiful and I like the fact that the ring theme is played by and oboe since the oboe has a melancholy sound but at the same time it is also very cold and clear exactly like the ring itself.

[Kitanna]

For Treebeard~

It almost has a woodish sort of feel, like the creaking of branches.

I like the woodish feel at the beginning of the track. The first thirty seconds is very mysterious, much like Ents are very mysterious. I also love how the music keeps picking up, then suddenly it drops into the percussion and the wind solo.

[Kitanna]

For The Leave Taking~

I like this track. The Rivendell theme always puts me in a calm state of mind and that's probably why I like it. Then at 1:15 on the track it goes from Rivendell to the Lorien theme (also a lovely theme).
The Rivendell theme is very peaceful and very homely. Then the Lorien theme is more mysterious. Then there's the Ring theme around 3:11 which more played for Gollum and the prolouge from FOTR.
So this is really three themes in one and I like those tracks the best because of the contrast.

[Lathriel]

Track 12: Helm's Deep

This track begins much faster. Obviously this announces conflict. The choir joins in at 0:56 and seems to add an urgency to the track.

Then the music slows down so that it can bring in the Rohan theme in war mode. I call it that because as the Hardinger is playing you can hear the drums in the background.

It ends slowly with a soprano, which I think represents the sorrow Eowyn feels because Aragorn is lost.

I really like this track and I think the vocal parts give it a nice sweeping feel.

[The Tennis Ball Kid]

This is some of the more exciting action music on the CD. Love the horn phrases and war drums. The choir is mixed much too low in the film.

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 choir at the end, as Eowyn realizes Aragorn is not there, is from "The Missing". (the lyrics are in the CD booklet)


ttbk

[Lathriel]

Code:
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?

This comes back later in Forth Eorlingas (# 15 or 16)

[Encaitare]

The whole track has a very ominous feel to it, magnified by the low instrumentation at the beginning. At 0:45, upper strings enter, providing a spoofy contrast. I like the tremolos starting around 1:25; they definitely add to the feel.

Around 2:57, a version the "seduction theme" is heard in the middle and upper strings, which develops until 4:38. The seduction theme is repeated in the way which we originally know it, by a choir. The track ends with a small string buildup.

In fact, much of this track consists entirely of strings -- what do you think of this? What might the purpose of this instrumentation be? To me, strings are a very "borderline" sort of instrument; they can create some of the most beautiful and also some of the most grating sounds. They're additionally somewhat persuasive and subtle; sometimes they're there without the listener fully realizing it. This seems to make sense with the need of Frodo to persude Gollum to trust him.

[Lathriel]

I like it that this track is just strings. No loud trumpets. (Trumpets are nice but I don't like it when they are used overmuch. E.G John William's Star Wars soundtracks)

I also think that strings are able to make an eerier atmosphere than trumpets.

[Encaitare]

A very pretty track, in my opinion. I love these vocal solos that come along every so often. Although, I'm missing the wonderful soprano of young Del Maestro -- that kid can sing higher than me -- luckily he'll be back soon.

So this track features the vocal stylings of Ms. Sheila Chandra, in Sindarin:

Uich gwennen na 'wanath ah na dhín. [0.11]
An uich gwennen na ringyrn ambar hen.
Boe naid bain gwannathar,
Boe cuil ban firitha.

Boe naer gwannathach, [...] [1.33]


'You are not bound to loss and silence.
For you are not bound to the circles of this world.
All things must pass away,
All life is doomed to fade…

Sorrowing you must go, [and yet you are not without hope].'

I think many will agree that the whole "Aragorn's-dead-oh-wait-he's-awoken-being-kissed-by-Brego-just-in-time-to-see-a-huge-number-of-Uruks-coming-along" thing was a bit off, but damn! does it have nice music. :p

The solo is accompanied by simple, underlying strings and brass. 1:55 marks a transition, in which there is another solo -- sounds like a gentle brass instrument. Here, the accompaniment is very dark, and soon the strings and winds take over the melody. Hints at the themes of Rohan become apparent. It suggests here (http://www.geocities.com/magpie930/main.htm) that this middle section is an alternate scoring of the scene for Aragorn's vision. Which do you like better: the one used, or the purely instrumental version? And just listen to that high C that the violins play at 3:54! O, how marvelously in tune it is! :D

The biggest switch in the piece comes just afterward; this is when Aragorn is riding to Helm's Deep and spots the Uruk-hai coming. The music builds (turn the volume up and the timpani sounds great) and then becomes properly heroic. The strings play a variation of the Fellowship theme, and the track ends with a bit of the Rohan theme to let us know that Aragorn has reached his destination.

Which of the two vocal solos we've heard thus far (Evenstar, Breath of Life) do you prefer? Why?

[Lathriel]

Just a quick note (I found an internet connection)

I really like this track although I seem to go through phazes of liking it and not caring for it.I don´t know why though.
I like the voice and I do like how they searched for a different voice which could represent a theme. Thus they have a certain voice for Lothlorien, Evenstar, and Gollukm´s song. It certainly makes each track very distinguishable.

[The Tennis Ball Kid]

much of this track consists entirely of strings -- what do you think of this?
Pretty much what has already been said, they give it a very nervous feel....


I think many will agree that the whole "Aragorn's-dead-oh-wait-he's-awoken-being-kissed-by-Brego-just-in-time-to-see-a-huge-number-of-Uruks-coming-along" thing was a bit off, but damn! does it have nice music.
LOL. Yes, I can forgive many things if the music is really good. :D

The music as Aragorn rides off is absolutely thrilling.

Which do you like better: the one used, or the purely instrumental version?
You know what? I think I'll try listening to this 'alternate' while watching the movie....




ttbk

[Encaitare]

More beautiful Rohan music! The track opens with the Rohan theme and really provides a feeling of strength that has survived for years, as if Helm's Deep itself is a place from which the Rohirrim can draw strength.

The vocal segment at 0:46 mounts tension, especially with the drums in the background as a reminder that battle is drawing near. The next transition comes around 1:50, with the militaristic trumpet. At about 2:30, the Fellowship theme returns to mingle with that of Rohan.

3:04 brings clear tidings that battle has begun. As the Uruk-hai approach, the Isengard theme is boldly represented (I especially love the gongs). The small fanfare at 3:50 makes me think of the Rohirrim on the Deeping Wall answering the challenge of the enemy. 4:10 brings a different version of the Rohan theme than we are used to hearing -- the battle is in full swing.

[solarisa]

*real short post, and i haven't heard that "quenya" part before. normal people would believe it's elvish if howard stuck rubbish lyrics init.
...hmm i don't know what soundtrack its on (but its in the movie) i like the hobbit-part, with the celtic flute (?) its really quite peacefull (not off topic, am i?) :D

[Kitanna]

This is my favorite track on TTT soundtrack. Mainly because at 3:13 the Lorien theme returns (or to me what sounds an awful lot like the Lorien theme...correct me if I'm wrong). Only this time it's the Elves are going to war. I always loved that little piece of music right there. With the brass melody and the drums beating in the back.

And of course then it goes into the Rohan theme again, only a more fierce version.

[Lathriel]

Don´t worry Kitanna, you are right. It is the Lorien theme.

I actually really like the beginning with the voices chanting. I also like how the music builds up till the climax at the end.

[dancing spawn of ungoliant]

This is a great piece. It's unbelievable how even a few bars of the Fellowship theme makes me feel that everything's going to be alright. The repeated use of the theme in scenes involving narrow escapes and friendship has made me link it automatically with hope.

The military version of Lothlorien theme is very nice. Just with changing the rythm a bit and adding some drums on the background it's feeling changes completely. The only negative thing is that I think it somehow lessens the Elves' nobility and gracefulness because their theme resembles now quite much Men's war themes or the idea what such themes could be like. On the other hand it brings the Elves more close to Men and makes those two races more equal comrades in war.

[Encaitare]

Computer is fixed, whee!

Like much of this soundtrack, some of the music is presented out-of-order. The first segment is when Gandalf the White reveals himself to Aragorn, Legolas, and Gimli. The second part is when Aragorn and Theoden ride out to meet the Uruk-hai, to when Gandalf and Eomer arrive with the Rohirrim.

This track is almost purely vocal for the first minute, with the adult choir steadily crescendo-ing over the children's voices. Pity I can't find out what they're saying, if anything.

There is really no transition made to the second part of the track. This part, in which Aragorn and Theoden ride out of Helm's Deep, is not quite triumphant, but contains a bold rendition of the Rohan theme. The theme does not resolve, but instead moves into the Fellowship theme as Gandalf arrives with Eomer.

And then comes the solo by Ben Del Maestro-- I cannot describe how much I love it. From Fellowship of the Word-Smiths (http://www.elvish.org/gwaith/movie.htm):

Solo in Old English (Rohirric)

for ðon hé wæs scea hé fæx wæs ford ealra mé du and hé fæx hlá [2.14]

Chorus in Old English (Rohirric) (simultaneous with above):

for ðon hé waes Sceadufæx FE [2.14]
hláford ealra méara

'For he was Shadow...., he, ...fax, was ...lord of all hor..., ...dow..., and he, ...fax, lord...'

'For he was Shadowfax,
Lord of all Horses.'

It is a fragment of The Mearas by Philippa Boyens:

'In the distance they saw him,
White sun caught in his mane.
Logn they called him,
But he would not come.
for he was Shadowfax,
Lord of all Horses.
And he answered only to one.'

I think it's interesting how the horse of Rohan bore the one who brought victory to Rohan in this battle, so cheers to Shadowfax! Even the end of this section doesn't seem to resolve 'normally,' though (on the tonic chord). The strings repeat the melody of the solo in E minor, and the melody finishes on E. But the note below it is A. It establishes the darker tone we will hear in the beginning of the next track.

[The Tennis Ball Kid]

The opening is most probably intended for the place the track title would suggest, Aragorn urging Theoden to go fight, instead of Gandalf's return.

The lyrics (found here: )
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?
Or in other words, a continuation of "Where Now The Horse And The Rider" 's use in the last track and in Helm's Deep.

In the film we get a choral rendition of the Nature/Moth/Hope theme, which ties in to the Ents, and the way that theme is used in ROTK. Either way, it's great music.


The second half of this track is a religious experience. 'nuff said.



TTBK

[Lathriel]

Finally, I am home again and have access to the computer.

I love this track and I think it is my favourite. The way it begins quietly with the choir and then builds up till the end when Ben del Meastro sings his solo, which I absolutely love!

You would think I have all the time in the world to post something but ARGH I am so busy. I 'll try to write more later, somehow, somewhere.

[Encaitare]

The very first thing on the track is Elizabeth Fraser's solo lamenting Haldir:

Ar sindarnóriello mornie caita,
Ar ilye tier unduláve lumbule...

'And grey-country-from lies darkness,
And all roads down-licked [the] clouds...'

You'll recognize this from Galadriel's Lament. Sad stuff... poor movie!Haldir. :( The one problem I have with this is that I think she pronounces 'caita' wrong. According to the Quenya lessons we've been following, the first syllable of 'caita' should rhyme with why and not way. Just nitpicking, though.

The next section seems to have the Fellowship theme at its roots; the brash trumpets signify war more than the original theme does. The Isengard theme grows up underneath it and plays fully at 1:21. The Rohan theme is sounded on trumpet, and then fades.

We then turn to the Ents; the choir begins immediately, and is joined by another solo:

Chorus in Sindarin

rithannen i geven [2.18]
thangen i harn
na fennas i daur
ôl dûr ristannen
eryn...

Solo [Ben del Maestro] in Sindarin

...echuiannen [2.58]
i ngelaidh dagrar
ristar thynd, cúa tawar
dambedir enyd i ganed
si linna i 'waew trin 'ylf
Isto i dur i chuiyl
i ngelaidh dagrar

Translation

'Earth shakes
Stone breaks
The forest [is] at [your] door
The dark sleep is broken
The woods...

... have awoken
The trees have gone to war
Roots rend, wood bends
The Ents have answered the call
Through branches now the wind sings
Feel the power of living things
The trees have gone to war'

Word-for-word translation:

'Shaken the earth
broken the stone
at door the forest
sleep dark broken
woods awoken
the trees make-war
rend roots, bends wood
answered Ents the call
now sings the wind through-the branches
have-knowledge [of] the strength of-the living-creatures
the trees make-war'

I love the way the choir builds, joined by both the high solo and the lower mens' voices -- it's like the hobbits and the Ents together, almost. The moving violins under the brass really do give the impression of the chaos that is going on, especially when the dam is broken.

I can't tell what the choir at 4:00 is saying -- is it a repetition of the above? It's difficult for me to make out.

[Lathriel]

I like it that they got the same singer to sing Haldir's Lament as the Lothlorien track in FOTR.

The chanting of the choir really suits the march of the ents, it has this urgent feel and even a feeling of hope, that good will be victorious. Again I really like Del Maestro's solo. He's got such a gorfeous voice!

Just like the track before the boy's choir does chanting but they seem different to me.
On track 16 I think it sounds more urgent but in track 17 I think it sounds more desperate.

I really like this track but I think I prefer track 16 of the two.

[Encaitare]

The opening part of the track is a solo flute (yay!) accompanied by strings. At 0:27, the flute is replaced by a clarinet in a melody that seems related to the Shire theme.

At 0:42, the violins hold a pedal tone over the horns in the same theme we heard in the Breaking of the Fellowship in FotR. This is also a variant of the Shire theme.

At 2:03, the clarinet returns with the original Shire theme.

The strings gradually dominate and then fade away to Gollum's bit of sneaking at 2:59. The low brass under the violins resembles the music we will hear in Shelob's cave in RotK.

[Encaitare]

No response? Oh well.

Here we are, at the last track of the Two Towers soundtrack. I know that like all the credit songs in the movies, people have mixed feelings about this one. Emiliana Torrini is the vocalist here. The first minute and 15 seconds (approximately) are instrumental, with strings on the melody and gentle horns underneath. We then have the vocals. Since it's in English I'm not posting the lyrics, but if you want them they can be found here (http://www.stlyrics.com/lyrics/thelordoftheringsthetwotowers/gollumssong.htm).

After the vocals, we hear the strings playing the Rohan theme, followed by brass and strings doing what is usually the hardinger solo.

So, what are your thoughts on this song? Do you like it? Or does Torrini's voice get on your nerves, like I know it does to some people? I personally like it a lot, but then again, I like Bjork, whose voice is similar.

[The Tennis Ball Kid]

Sorry I haven't been here....


Isengard Uleashed:

The choral Moth theme is beautiful here...but also violent...

I love the way the choir builds, joined by both the high solo and the lower mens' voices -- it's like the hobbits and the Ents together, almost.
I really like that. :)


Samwise The Brave:

We return to the emotional core of the score; the Shire theme....it's not in TTT a lot, but it is here, and it's almost heartbreaking....


Gollum's Song:

I like her voice here, I don't know if I'd listen to her out of the context of this song, but her voice has the right sound for this song....


The instrumental parts are my favorite parts of this track though, the melodies at the start are wonderful, and I love the way they work with the visuals at the end of the film.

And the finale with Eowyn's theme and the Rohan theme makes a great sendoff.




On to ROTK then, eh?


ttbk

[Kitanna]

I can't really say much for this song, except I really, really like it. I like the voice of the vocalist. That's really all I have to say about it.

[Lathriel]

Sorry, I haven't had much time to go on the Barrowdowns :( .

Anyway I love the track Samwise the brave because it is some quiet after the storm and before another one. The music is so peaceful and reminds me of Sam's speech. (Which is one of my favourite parts in The Two towers)

I also like Gollum's song. For one the voice fits Gollum to a T and the lyrics are excelent. And the intro is melancholy but I like that because it announces the sad song that follows. Thus it is good that the track ends on a happy note and it reminds us that there is more to come.

[dancing spawn of ungoliant]

Gollum's song. Hmmm. I think it can't be compared to the awesomeness of May it be and Into the West but as a piece of music, it's very nice. As the credit song of TTT, I don't really like it.

At the end of TTT when the camera raises above trees and shows Mordor, Gollum's song begins. The soft sound of a choir with a terrible and hopeless landscape is a very emotional combination. I get the feeling that Frodo and Sam have just got their courage back but they are clearly walking towards a certain doom. There's no way they could make it.

I'm not actually a fan of Emiliana Torrini's voice but that's not the problem. It's the lyrics that irk me. I don't know about you but I get a little overdose of Gollum in TTT. The whole film is practically all about Gollum. First he's a baddie, then he's scitzophrenic and then he's just a misunderstood chap. The lyrics support the last notion. "No loyal friend was ever there for me..." Huh? Well, if you kill your best friend and move into a cave for a few hundred years, what do you expect? It's also misleading because in RotK it's made pretty clear to us that Gollum isn't that sympathetic character altogether.

About Isengard Unleashed, it's unbelievably beautiful. Love it.

[Encaitare]

First he's a baddie, then he's scitzophrenic and then he's just a misunderstood chap. The lyrics support the last notion. "No loyal friend was ever there for me..." Huh? Well, if you kill your best friend and move into a cave for a few hundred years, what do you expect? It's also misleading because in RotK it's made pretty clear to us that Gollum isn't that sympathetic character altogether.

The lyrics are from Gollum's POV, though, and we know we're going to get skewed views with that. Maybe he felt that he was the wronged one since everyone drove him away.

[dancing spawn of ungoliant]

The lyrics are from Gollum's POV, though, and we know we're going to get skewed views with that. Maybe he felt that he was the wronged one since everyone drove him away. I know, it just contradicts my view of Gollum. I had a pretty strong mental image of Gollum when I read LotR and the movie-Gollum was pretty far from it. :)

Anyway, I still think that it's little odd that a few seconds after Gollum has decided to kill Frodo and Sam, a song full of self-pity begins. There's nothing wrong with the piece itself but I think they could have come up with another and better credit song.

[Encaitare]

Anyway, I still think that it's little odd that a few seconds after Gollum has decided to kill Frodo and Sam, a song full of self-pity begins.

Very true. :rolleyes:

[Lathriel]

But you have to remember that there were some people in the audience who didn't know about Shelob yet.

Still you've got a point

[Encaitare]

Welcome to the Return of the King! Again, thanks to all who have taken part in this thread. This soundtrack is my favorite of the three because of the wide variety of sounds and emotions, so hopefully we will be able to have some good discussions. :)

The very first thing we hear is an oboe backed by strings. I would say the the oboe could be "Gollum's instrument" since we have heard it used in the Prologue when he is first introduced -- not sure if it's used elsewhere for the same purpose.

Brass then joins for the Ring theme during the titles, which opens each movie. We are also about to get a little history or backstory, like the beginning of each movie. What is different here is that it's a surprisingly calm scene with sweet hobbity music. (Pity it doesn't last!) There's a flute solo, and then the oboe returns with a plucky little tune.

Deagol is pulled under the water, and at 1:38 we hear the Ring theme on solo violin. I remember sitting in the theater seeing this movie for the first time and thinking how odd and artsy the sound of the violin is. It's really quite different from anything we've heard in the soundtracks before.

The last part is the Mordor theme, featuring a variety of instruments including clarinet, trombone, and tuba. This is not in the movie, but A Magpie's Nest (http://www.geocities.com/magpie930/CBC_ROTK/r01a_storm_is_coming.htm) suggests that it was an alternative soundtrack to Smeagol's murder of Deagol, whereas in the movie we only have an eerie sound and a thudding heartbeat. I thought the movie version was pretty funky and different from anything in the previous movies as well.

What do you think of this track? As I said, it's not what we're used to from the past two soundtracks. Is that a good thing or a bad thing, in your opinion?

[The Tennis Ball Kid]

As a note on the unused music: sync the CD at 1:54 with the DVD at 3:04 (Region1, EE), it plays till Smeagol has gotten a deathgrip; it gives the scene quite a different feel. (obviously :p) You can also see a short clip of the scene with the music still present on the sound documentary on disc four of the EE set.

The noise used over that scene was also used in TTT, and later in ROTK, usually when Frodo is being tempted by the Ring. (e.g. right before he claims it at Mount Doom)

As for the track as a whole, Shore obviously uses a similar musical feel for the Stoors as he does for the Hobbits. And there's a very nice rendition of the Ring theme; the last minute however, is what I was humming for weeks after I first got the CD.



TTbk

[Kitanna]

The Return of the King soundtrack, gasp!

I know I've said very little in this thread, but I do emjoy it and I am glad we have finally reached ROTK, my favorite of all.

The first song starts out with the Shire feel to it, all happy and what not. As though no evil will come to Smeagol and Deagol and then the Ring theme takes over at 1:38. Then the mood changes. The strings no longer have the light happy feel, instead they are heavy and the evil theme comes into play. A very nice mix I think.

[Elladan and Elrohir]

Hey all,

Just want to drop in and say I've been lurking on the thread every once in a while and love the discussion. I love music and I love the soundtracks even though I can't go nearly as indepth as most of you guys can. My favorite soundtrack is FOTR, because it has some of the most memorable (for me) moments, it introduces most of the major themes for the first time, and it features the Shire and Fellowship themes (my two favorites) far more prominently than in the other two, particularly ROTK.

Just a sidenote: It would seem to me that the title "A Storm Is Coming" goes far better with track 2 than with track 1. Track 2 ("Hope and Memory") seems to embody the message musically of "A Storm Is Coming." And, of course, that title doesn't seem to fit with a track mostly concerned with the Smeagol flashback.

OK, back to lurking until I have anything I feel confident enough about to comment on! (Wow, two dangling prepositions in one sentence.)

[Encaitare]

It's nice to hear you've been reading, E&E! Please feel free to share your thoughts with us more often. :)

[Lathriel]

I really like this track. Some of the things Howard Shore used reminds of elements that you can often find in ballet music. Especially the beginning where a woodwind begins and strings join in.
When you hear the Mordor theme I have a little theory about it. You can hear the Mordor theme but you can also hear the strings frantically playing against it. The Mordor theme resembles the power of the ring and the strings resemble the good part of Gollum despairing at what is happening to him. At least that is how I like to think about it.

Yeah my 500th post!!!!

[The Tennis Ball Kid]

Congrats, Lathriel. :smokin:


Just a sidenote: It would seem to me that the title "A Storm Is Coming" goes far better with track 2 than with track 1. Track 2 ("Hope and Memory") seems to embody the message musically of "A Storm Is Coming."
I'm not sure what you mean here...could you elaborate? :)


I don't quite understand "A Storm Is Coming" being the title for this track, given that it is a line in the film (EE only), and has nothing to do with the opening scene.

"Hope And Memory" I'll comment on when we get to that track...



ttbk

[Elladan and Elrohir]

Heh, sorry. What I was trying to say is that I think the title "A Storm is Coming" fits track 2 better, because the music of track 2 embodies the essence of that title. Whenever I hear it, I think, "Now that's what 'A Storm is Coming' sounds like in Howard Shore terms." Hope that's clearer.

In a nutshell, I'm just saying that track 1's title should, IMHO, be given to track 2. For that matter, track 2's title could almost be given to track 1.

Boy, I hope that gets understood.

[The Tennis Ball Kid]

I don't think anyone will mind this slight sidetrack.... :D
link (http://www.comingsoon.net/news/topnews.php?id=11224)
Shore's Rings Complete Recordings Coming
Source: Reprise Records
September 16, 2005


The complete Oscar and Grammy winning score to "The Fellowship of the Ring," from the epic film trilogy "The Lord of the Rings," will be available in a deluxe four-disc edition from Reprise/WMG Soundtracks on November 22nd, 2005.

This historic release contains over 180 minutes of music on three CDs, comprising the full score of the 2001 film, composed by Howard Shore. "The Lord of the Rings: The Fellowship of the Ring, The Complete Recordings" marks the first edition of the three complete recording releases of the film trilogy whose score has been honored with three Academy Awards, four Grammy Awards, and two Golden Globe Awards. This deluxe set also includes exclusive new artwork, packaging, and extensive liner notes culled from "The Music of the Lord of the Rings Films," to be published in 2006. Enya's song "May It Be," which received an Oscar nomination for Best Original Song and which she performed at the Academy Awards ceremony, is contained on "The Complete Recordings" within all-new selection titles that reflect the complete score being released in its entirety for the first time.

Says "The Lord of the Rings" director, Peter Jackson, "No matter how many great performances or exciting visuals we put together for the movie, we found that it was all somewhat two dimensional until we added the emotional heart of Howard Shore's music. Then, and only then, did the film come to life."

Added Paul Broucek, Executive Vice President of Music at New Line Cinema, "Listening to the breathtaking music Howard Shore created is like seeing the movie time and time again. You just close your eyes, open your ears and the whole film unfolds before you. Howard's work is incredibly visual, evocative and narrative."

Composer of over sixty film scores, Howard Shore brought a lifetime of experience to creating the epochal soundtrack for The Lord of the Rings: The Fellowship of the Ring. Shore used Tolkien's texts and drew from multiple periods throughout music history to evoke the book's enchanted worlds. He developed over 80 leitmotifs to describe the cultures of Middle-earth. Collaborating with authors/lyrists Fran Walsh and Philippa Boyens, he composed choral music including the Tolkien-created languages for the Elves (Quenya and Sindarin), the Dwarves (Khuzdûl), Men (Adûnaic) and the evil cultures of Mordor (Black Speech). The result was a movie music breakthrough that has been followed by such subsequent triumphs by Shore as The Aviator, Gangs of New York, The Lord of the Rings: The Two Towers and "The Return of the King." "The Lord Of The Rings Symphony: Six Movements for Orchestra and Chorus," a two-hour work based on the twelve hours of score composed for the film trilogy, has been performed in over 70 concerts in cities all over the world.

Composed for symphony orchestra and three separate choirs, "The Lord of the Rings: The Fellowship of the Ring, The Complete Recordings" highlights two original compositions by the multi-platinum Irish recording artist, Enya, including "Aníron (Theme for Aragorn and Arwen)" and "May It Be." Also featured in the score are solo performances by Elizabeth Fraser, Edward Ross, Mabel Faletolu as well as cast members Ian Holm, Ian McKellen, Viggo Mortensen, Billy Boyd and Dominic Monaghan.

The fourth disc will present "The Lord of the Rings: The Fellowship of the Ring, The Complete Recordings" in 5.1 Surround Sound in DVD format. The set will also include exclusive new artwork, packaging, and extensive liner notes: "The Music of the Lord of the Rings Films -- Part I: The Fellowship of the Ring" by author Doug Adams.

"Appropriately enough for the film adaptation of one of fantasy literature's most enduring favorites," wrote the All Music Guide, "Howard Shore's score for Peter Jackson's 'The Lord of the Rings: The Fellowship of the Ring' is traditional and majestic, using sweeping strings, brass and choral sections to create moments of fire-and-brimstone menace as well heroic triumph."



ttbk

[Elladan and Elrohir]

WOOHOO!!!

Sure, we knew it was probably coming sooner or later, but man, that's awesome! Now, along with saving up to buy the Extended Edition Collector's Gift Sets, I can also start saving up for the Complete Music Soundtracks! Bravo!

[Encaitare]

That full-score box set sounds awesome... I'd better start scrounging for money. :D

This track is, of course, from the part when Pippin goes off with Gandalf to Minas Tirith, leaving Merry behind. We have strings playing a hobbity tune that I think I recall from FotR, and the clarinet plays a sad variant of the Fellowship theme. The music then grows, beginning to introduce the Minas Tirith theme. This is followed by the Rohan theme on French horn, and a closing mainly on strings. (It's a short track, and pretty straightforward.)

As E&E brought up, the title of the track doesn't really make sense to me. I guess it could correspond with the scene in the EE, in which Merry talks about how he and Pippin used to do everything together. That could be the "memory" and Gandalf taking Pippin away could be the "hope," but it's a stretch.

[Lathriel]

I am SOOOOOOOOOOOOO EXCITED!!!!!!!!!!!! (about the CD set)ok, I better now. :rolleyes: I will also have to begin scrounging money together.

Hope and Memory...nice and short. I like how it begins so urgently and then the music slows down for the hobbit theme then it speeds up,only to slow down again for a version of the fellowship theme/Minas Tirith theme. I like how these two themes are woven together into one track.

Maybe it is called Hope because Gandalf and Merry Hope to arrive at Minas Tirith in time and Memory because Merry remembers when he and Pippin were in the Shire and how he had always looked out for Pippin.(He tells Aragorn this in the EE I think)

[The Tennis Ball Kid]

I think the "Hope" comes from the alternate cut of this scene, if you'll recall the theatrical trailer, there was a version of this scene where Merry says "You will see the Shire again"; Shore probably named the track at a point when they were still using it. And the memory part is fairly straight-forward then, pertaining to Merry remembering....


As for the music, it's lovely, one of the few tracks that can actually bring a tear to my eye. You can just feel Merry and Pippin's agony at being seperated.



ttbk

[Encaitare]

First we have the Minas Tirith theme on horn, with sustained strings. The music we next hear is reminiscient of the Mordor theme, I think. At 0:54, it gets exciting, with a bolder rendition of the first theme. At 1:15, the choir comes in with this (bold text is what is actually sung):

Revail vyrn dan minuial
ú galad, ú vin anor hen
Cano an dregad
ú natha ored
Gwanwen ost in giliath
Dannen Osgiliath

(Sindarin)


Black wings against a pale morning
There is no more light, not in this sun
Call the retreat
There will be no warning
The citadel of the stars is gone
Osgiliath is fallen

The Minas Tirith/Gondor theme is played more slowly, and then a horn fanfare brings us up to this solo:

Mennen nored dîn [choir: 2.15]
Gwanwen i 'ûr bân
Sílant calad Dûn [solo: 2.02]
Tollen Rochon 'Lân

(Sindarin)

Their race was over;
All courage gone.
A light shone in the west -
The White Rider had come.

I love how the orchestra drops to such a piano that the vocals are the focus of the moment, when Gandalf fends off the Nazgul. It seems that the soaring vocal solo is another theme pertaining to Gandalf -- we hear it when he is on top of Orthanc, just after he falls, and now.

At 2:35, a more triumphant rendition of the theme is played; this is from when Gandalf and Pippin arrive in Minas Tirith, so we're going back in time a little bit from the last part. The track ends just as they come to the White Tree... which is incidentally the name of the next track. :)

[Lathriel]

I really like the solo from Ben del Maestro in this track.
I also like the Gondor theme, although its too bad Howard Shore didn't try to get some exotic instrument to represent Gondor. But then the classical instruments do seem to fit Gondor. The stately theme certainly fits the Gondorian attitude. You can hear the pride they have for Minas Tirith.

I like the Lyrics, I didn't really know what they meant before. Thanks Enca for providing like usual.

[dancing spawn of ungoliant]

The first 55 seconds of this track make me feel horribly uneasy. It's a really unpleasant part to listen to but it fits nicely to the film. I bet those Gondorian soldiers were feeling a bit uneasy, too, while keeping watch in Osgiliath.

At 1:15 begins a theme that is titled as "Minas Tirith Song" in the sheet music. I love the majestic part from 1:38 to "Mithrandir's Song" (~2:00) and Ben Del Maestro's solo. My favourite has to be Gondor's theme, though. It gives me shivers when at 2:53 the d minor chord (the sheet music has no f in that chord so there are just d and a, but anyway...) turns into Bb major. I wish they had played that whole theme louder so I didn't have to turn the volume up every time I'm watching that part of the movie (though I should probably blame those people who mixed and mastered the score). ;)

I think the brass are an excellent choice for Gondor. As a country which has fought for ages against Mordor, it's theme should have enough feeling of an ancient and noble culture and the bold wind instruments do that perfectly.

[Encaitare]

The track begins with Boromir's death music (= true love). Lucky Boromir! He died in the first movie and still get appearances in all of them! It then switches to when Pippin is off to reach the beacon. The quarter slurred up to eighth rhythm reminds me of several other occasions when the hobbits are running somewhere, not in a situation of great danger (as in a battle or fleeing Shelob).

The next theme is a variation of Gondor's, with the same underlying low tones and moving upper strings. It builds and develops, and at 2:35 it becomes the "original" Gondor theme with which we are the most familiar. (Waaaay too familiar during the Oscars! They really needed more than one soundclip. :rolleyes: )

Like the last track, this one doesn't resolve, but rather rolls on into the next one.

[Lathriel]

What I like about the ROTK soundtrack is thta most pieces seem to flow together. Maybe Howard Shore wrote the music with a symphony in mind where one movement smoothly flows inot the next.
The music in this track really suits the moment and I love it. The contrast between the strings and low brass is neat! Of course the strings have the runs which means that if this music was translated for band us flutes would have to play them all!!!!


Encaitare:Freaky Avatar!!!

[Encaitare]

Encaitare:Freaky Avatar!!!

Thanks. ;)

Oh, how I do love this track. It really carries the feeling of resigned despair over from the scenes in the movie. The beginning part is, of course, from when Faramir and Co. are riding through the streets of Minas Tirith and out towards Osgiliath.

(Sindarin)

Boe le henio [choir: 0.00]
E sí câr athad iyn [choir: 0.22]
Ane ah a phen [choir: 0.44]
I ú athelitha. [choir: 1.01]

You must understand.
He does the duty of two sons now.
For himself; and for the one
who will not return.

The wooden flute is lovely, but of course I'm biased. ;) At 1:22 the Minas Tirith theme is heard, and the percussion is the most noticeable even though it has been steadily building for some time. That's one of the coolest things about the music Shore composed for Gondor. Minas Tirith is a fortress, and war is upon its people. The drums, soft but always present, serve as a reminder of that. They grow faster and louder, to a rhythm and speed that might be used for marching.

And at 2:36... Mr. Billy Boyd in his solo debut. The orchestra grows in volume and tension from total silence. I think this scene is very powerful in the movie because it's kind of surreal and artsy like the very beginning of RotK. The fact that we only hear the music, the occasional sound of the horses, and finally the arrows being released was enough to bring me to tears in the theatre, something which scarcely happens. So yay for Howard Shore and Billy Boyd!

[Aiwendil]

How could I have missed track 4, "The White Tree", my favorite out of all three scores?

I know we've now moved on to track 5, but I simply must say that, in my opinion, the racing strings leading into the Gondor theme (the sequence with the beacons being lit) is one of my favorite moments in film music. It's a moment where, I think, all elements of the music come together perfectly. The chords are incredible and the orchestration allows the chords to come through splendidly. It sounds to me like there are some fairly distant progressions in the midst of the sequence - as a matter of fact, at certain moments it rather reminds me of Horner's The Wrath of Khan.

As the music moves forward, Shore effects a tremendous build-up of tension. The strings race; the brass becomes more and more insistent; the chords continue to rise and to break through into new tonal territory (or so it sounds to me; I haven't studied the progression). Then we have a tremendously satisfying arrival at the big statement of the Gondor theme. Now, I love Shore's music, but I must say that across the three scores there are many instances of build-ups that lead to nothing, that simply reach their height and stop, or are cut short. Here, however, we have a real arrival and a straightforward, consonant, periodic, and majestic subject. It's a great moment.

[Lathriel]

I LOVE this track. Sometimes it makes my eyes all watery. Of course I love the flute solo (go flutes, go!). It is so melancholy and then the Minas Tirith theme comes in with the trumpets proudly playing out. I really like how it builts up untill Pippin sings. This song I really like, and I also like the fact that Billy practically composed it himself. The lyrics are actually from Chapter three;Three is company. Originally the song is happy but you can see how easily you can make it sad.

[Encaitare]

Maybe three people are wondering right now, "Hey, wasn't Enca supposed to start a new track on Friday?" The answer is "Yes, but Enca's basement was too flooded to use the computer much, and too noisy to hear any music."

When it's all cleaned up and we no longer have a bevy of fans and wet-dry vacuums lying around, I'll start the next track... probably next Friday. :)

[Himilsillion]

I am new at the downs but, I have been reading the forums for a long time. This thread is a great idea and I really like it.

[Elladan and Elrohir]

Just *BUMPING* this thead back up to the top so we can hopefully continue this fascinating discussion.

[Lathriel]

Encaitare, what's going on. I would dearly like to continue the discussion. We left off with the beautiful melody in track three. What will happen with track four?

[Encaitare]

I'm really sorry for keeping you guys waiting. I've had so much RL stuff going on that has made it difficult for me to get online for a good amount of time, and when I was able I had to devote the time to Werewolf. But enough excuses. Since I suppose there seems to be popular demand, let's resume. Since Track 6 is pretty short, I think we can move on to Track 7 on Friday.

The switch from the pretty music of Gondor to the variation of the harsh Mordor theme is very jarring -- I always listen to the more lyrical tracks with the volume way up, and then I have to rush to turn it down before my ears get blasted!

The upper instruments play the main Mordor theme while the lower ones play in descending thirds. Beginning at 0:36, the music becomes very tense, and then with the tremolo or trill at 0:56, we are back into the brash theme. The drums at this point remind me of the 5/4 Isengard beat, although that's probably to embody the chaos of Mordor and Minas Morgul since Isengard really has nothing to do with this part. 1:29 is more gentle as the immediate danger passes.

This track isn't really a favorite of mine, just because it is so loud and brash... but I guess it's fitting for the location to which it pertains!

[Lathriel]

The first time I was listening to this CD I jumped when this track came on. It actually happened to me several times and I also had moments where I rushed to trun down the volume. I don't like this track very much either. However, I do like the last part. The melody there is actually heard before in the Fellowship when they are climbing mount Caradhras. So I really liked to hear it again.

[Encaitare]

Since I don't really like "Minas Morgul," let's move on to Rohan! Ooh, pretty music! :p

As the title would suggest, the Rohan theme is featured for much of this track, sounding very militaristic. I love how Shore can bend and shape the same theme into so many different styles. And O! that lovely hardinger, in that lovely minor. Gets me every time, right here. *points at heart*

At 0:52, there is a solo on a wooden flute... I am not sure if it's a theme we've heard before, but it's the part when Theoden tells Merry that he cannot come with the Riders. It sounds like it could be tied into the Shire theme, but at a much more sorrowful extreme. Between the solo and approx. 1:30, the horns and strings build up to the crescendo into Eowyn's little theme, when she scoops up Merry. (It's a nice little theme, really. Fits very nicely with the main Rohan theme.) The track ends very triumphantly as the Rohan theme is varied with new rhythms.

[Himilsillion]

This track is my second favorite track of the entire score. I really like the varitions Shore put into the Rohan theme. You can here some large percussion playing after Eowyn's theme to the end. I think that adds some very nice touch to the harmony and the little details. The way the middle part (flute solo and Eowyn's theme) flows is very nice. I like how the transitions from the militaristic style and the soft emotional middle part.

[Lathriel]

We Made it To Page 6!!!!!!
I also really like this track. The Rohan theme goes well into war mode.( the Lothlorien theme isn't as good at it) I like how this track begins fast, then has a slow middle and a fast ending. Merry's moment is so nice, I always thought it sounded like a variant of the Shire theme.

[Himilsillion]

I agree with you on that the Lothlorien theme dosn't go into "war mode" as well as the Rohan theme does. The Harmony lines in Rohirrim are just better than the The Lothlorien March. Plus there is better balance in Rohirrim in my opinion.

[Encaitare]

Okay, let's go with "Enca shall now update this thread either Friday or Saturday of every week, depending on what her schedule allows." And this week, it happens to be Saturday.

Ngîl cennin eriel vi
Menel aduial,
Glingant sui vîr
Síliel mae.

Ngîl cennin firiel vi
Menel aduial,
Dúr, dúr i fuin
Naenol mae.

I saw a star rise high in the
Evening sky,
It hung like a jewel,
Softly shining.

I saw a star fade in the
Evening sky,
The dark was too deep and so light died,
Softly pining.

So this is the part with Arwen and her vision. It's a nice scene, with lovely music, but the best part is, of course, Elrond in his little corsety robe. :p We can tell she is returning to Rivendell by the arpeggios of the Rivendell theme in the string section. A small oboe solo connects this section with a darker rendition of the same theme as the reforging of the sword is discussed. We then hear this:

An i ú nathant
An i naun ului
A chuil, anann cuiannen
A meleth, perónen

For what might have been,
For what never was.
For a life, long lived
For a love half given

The soloist soars high as it is made clear that Arwen's decision is made.

So: do you like? Not like? Let's talk -- I want responses, especially seeing as you all were so distraught when I didn't update for a while. ;)

[Himilsillion]

I love the Arpeggios!!! The balance is good and the vocals are very pretty. I didn't really like the Oboe solo at 2:05 because it was to short and should have been more prominent in the transition. The transistion might have been better if you added some lower voices to harmonize with the Oboe. Personally I am not a big fan of oboe solos.

[Lathriel]

I really like this track. Sometimes I try and sing along to see how far I can make it. Especially with those high notes at the end! I always end with a squeek so I stopped singing those two last notes. They are just too high for me.
I also love arpeggios and I sometimes call them bridges. That's what they look like on the page and I think they sound like it too.
Isn't Renee Flemming from Canada (I thought I heard that somewhere) I really like her voice. Plus this song goes so well with the scene but it doesn't sound too much like the stereotypical movie music that goes with emotional scenes. In general I think that Howard Shore is good at avoiding the stereotypical sound of movie music. E.G composers who try to write a movie theme that represents the style of the Dragonheart theme.

[Encaitare]

Even though the tracks which correspond with our heroes in Mordor are generally not favorites of mine, this one is plain awesome in all its creepy glory. The first thirty seconds or so feature a solo -- a variant of the Ring theme -- on English horn. Strings move tentatively underneath; their erratic motion takes away the sensation of a metered piece and makes everything seem very free of form. The English horn then moves into a melody that seems related to the Shire theme... and ta-da! We then have the French horn on that same theme. This is the part when Frodo turns Sam away (cue book fans: "Huh?"), and the music is quite sad to match. The strings join the English horn on melody a la Shire music, rather than doing a tremolo underneath as they often do for Mordor, and indeed as they do at the end of this track. At 1:20, the string part initially reminded me of the music when the Fellowship is on Caradhras. But instead, we hear another rendition of the Ring theme on brass.

So, as my 8th grade history teacher used to say: "Questions? Comments? Short stories?" :)

[Lathriel]

I'm not a fan of the mordor themes either but I do like this one. It is very creepy indeed. Especially when I first heard this track and the movie;it creeped me out.
The beginning of the track really gives me a sense of a barren landscape and the strings in the background make me think of the wind that is howling through the pass.
At the end we once again have the theme that we were first introduced to in FOTR while the fellowship climbed Caradhras, but it isn't as complete this time around since the theme ends in its Mordor alternative. Overall the listener knows that the hobbits have strayed into an environment that is far from hospitable.

[Folwren]

I missed number eight, and I'm really sorry I did, because that's one of my favorites.

Nine. . .This track I've always seen as cold and hard, as is really great because that's what it's supposed to be. It sounds hopeless to me, and that's really sad. :(

Not much else to say on this one.

-- Folwren

[Himilsillion]

I love the solos the solos are what make this piece. I like the solos a lot. :D

[Encaitare]

I missed number eight, and I'm really sorry I did, because that's one of my favorites.

This goes for everyone: if you miss a track and would like to comment on it anyway (as long as it's a relatively recent one), please feel free to do so! This thread is far from rigidly managed. :D

[The Tennis Ball Kid]

This goes for everyone: if you miss a track and would like to comment on it anyway (as long as it's a relatively recent one), please feel free to do so!
I'm quite glad to hear that, as I've been missing in action for quite a while...I'm sure you know how it is when life gets busy... :o

But I am indeed here now. :D


With tracks 3-5 I'll restrict my comments to saying that these three serve as a magnificent suite that shows off several facets of the Gondor theme; with Minas Tirith it's the more martial renditions during the battles; in The White Tree it's the triumphiant version as the city's hope is rekindled; and in The Steward Of Gondor it's the tragedy and nobility of their long defeat (to quote) that can be heard.

It's interesting to note that Gonor's culture is represented by the brass, much the same way Rohan is by the strings, and the Shire by the pipes and flutes...


I really like Minas Morgul, the bombast of screaming violins made this one of my favorite scenes to watch when ROTK was in theaters, but, yes...it's a rather odd choice to follow so closely after the quieter tracks before it.


Riders Of Rohan...Shore does something interesting here...at the begining of the track various sections the Rohan theme are being passed about by the orchestra, reflecting the rapid gathering of the troops...by the end, the whole orchestra plays the theme, Rohan is ready for war!


At 0:52, there is a solo on a wooden flute... I am not sure if it's a theme we've heard before, but it's the part when Theoden tells Merry that he cannot come with the Riders. It sounds like it could be tied into the Shire theme, but at a much more sorrowful extreme.
I believe it is a variation of sorts on the Shire theme, or at least connected to it...it's also heard in The Black Gate Opens, when Frodo is struggling up Mount Doom.

The music after it, and before Eowyn's theme, is related to the beautiful motif from ROTK:EE heard when Eomer is telling Eowyn that Merry (and her) have no place in the war, and during the Merry's Simple Courage scene. :)

I love Eowyn's theme, bit of a pity it's only on the CDs three times....


Twilight And Shadow is just lovely.....


Most of the first statement of The Ring theme in Cirith Ungol is unused in the film, the horn is taken out of the sound-mix, but the strings remain.

I abhor Frodo sending Sam away, but I'll readily admit that the music is appropriately emotional, and that I'm quite fine with it once removed from the context of the film. Quite fine.

That is the "Cadahras theme" worked in there, it's also in track six, but in both cases the music was dropped from the film.
*********************
And as a final note, the FOTR box-set was moved back to December 13th, as no doubt you know if you've pre-ordered it from Amazon or etc....

ttbk

[Lathriel]

Thanks TTTK
I would really like to hear more of the FOTR score and then we can discuss it on the Barrowdowns!!!! It could be the next thread after this one is done. We would be busy for a long time.
Once again, I'm coming back to your post TTTK. I had never really realized that the Ride of the Rohirrim has the Rohan theme passed around through the orchestra. But now that you mention it...I really like playing those kind of pieces where each section has its little moment to shine and pass the theme along.

[Encaitare]

The track opens with the Rivendell theme in the brass. It is then furthered and developed for much of the track with the whole orchestra and choir joining in.

Elo! Andúril; [choir: 0.28]
Lach en Annûn [choir: 0.36]
I chatho asgannen, [choir: 0.43]
Ad echannen! [choir: 1.02]

Behold! Andúril;
Flame of the West
The blade [that was] broken,
[has been] remade!

At 1:15, we return briefly to brass and lower strings in a melody that reminds me of a mix of Rivendell's music and "Into the West". At 1:43, the upper strings enter. At 1:56, there is growing tension; 2:17 to the end gives us that lovely softness in which Elrond and Aragorn say, "I give my hope to Men," "I keep none for myself".

The coolest part about this track is how the Rivendell theme is used in different ways. As TTBK pointed out in his last post, Shore seems to be using that technique a fair amount in this score.

[Lathriel]

I thought there was a mix of the rivendell theme and the Minas Tirith(Gondor) theme. But the Into the west theme seems to be closely related to Minas Tirith theme and Howard Shore always seems to put them together.
I like this track but it is not my fabourite. Sometimes I am not in the mood for it either.
I really like how the strings join the brass, and how they together reach the climax.

[Himilsillion]

I think this track shows the suffering Gondor has been through and still will continue to go through at the hands of Suaron if he is not stopped. It also shows how much faith the men have put into Aragorn and, the hope that he puts in the men. Just like they said in the movie. I really like how Howard Shore blends the themes together. The blending of Rivendell's theme with Into the West shows the support of the elves for the victory over sauron.

[Encaitare]

The music in this track is super-creepy -- I think we can all agree on that! Like much of the music in Mordor, it's not necessarily the kind of thing you'd listen to for pleasure, but it definitely fits what's going on in the movie.

We begin with the lower voices, which are then joined by the upper strings in a very tentative style. Around 0:36, the pace picks up slightly, increasing the feeling of nervousness. (That little slidey noise at about 0:48 is very funky -- I envision the violinists just sliding a finger right up the E-string. Brief silence is followed by a re-entry of the lower instruments; the notes sound like slow, creeping footsteps. The upper strings enter frantically as Frodo runs. At 1:47 there's that cool tremolo and glissando that's been alerting us for much of the soundtrack that something particularly nasty is happening. And the track continues in a like manner. I won't bore you by listing every single entrance. The next important part comes at 3:30, where the horns play a more prominent part as the tension melts away -- Shelob has been driven off. Go Sam!

[Lathriel]

This track really creeps me out! I actually don't listen to this one often because of it.
It has such an insect feel to it. All those violins playing a chaos of runs, arpeggios, and trills.Although it is not my favourite track it works so well with the scene. I think this is Howard Shore at its best. This horror genre is lukily not cheesy, no typical horror cords like the IH,IH,IH. I hope you know what I mean. Those discordant chords usually played when someone is stabbed several times or somthing like it.

[Aiwendil]

This track has always struck me as deviating somewhat from the style of the rest of Shore's score. Some moments in it remind me very strongly of the Star Wars scores- for instance, the lower voices 'creeping about' at the beginning, or the rising march-like figure in the brass at 3:10. And the quintessentially 'spidery' music at about 1:27 and continuing calls to mind Herrmann's Psycho score. On the other hand, other moments do relate strongly to the rest of the LotR score - for instance, the tremolo/glissando that Encaitare notes at 1:47. Overall, a very effective track.

Encaitare said something interesting:
Like much of the music in Mordor, it's not necessarily the kind of thing you'd listen to for pleasure, but it definitely fits what's going on in the movie.


I wonder about this - to what extent do dark and depressing scenes warrant dark and depressing music that one wouldn't listen to for pleasure? I only bring it up because in my opinion there's a fallacy here, into which a fair number of directors, producers, and composers seem to be falling these days. The fallacy is that the best way to use music to accentuate unpleasantness is to make the music in some sense unpleasant. But it seems to me that music can suggest all these dark things while remaining thoroughly good, pleasurable music in its own right. I can think, for instance, of bits of Beethoven that could characterize Mordor quite well - and I think few would argue that Beethoven is not pleasurable.

John Williams said something about this in one of the Revenge of the Sith DVD special features - he noted (and I'm paraphrasing) that while the movie was certainly the darkest of the six, the score was probably not any darker than the other scores, because darkness need not be scored darkly.

[The Tennis Ball Kid]

One comment on track 10:
At 1:15, we return briefly to brass and lower strings in a melody that reminds me of a mix of Rivendell's music and "Into the West".
That's the "Silver Trumpet theme". The name comes from the scene where it's first heard; Boromir and Aragorn in Lothlorien, talking about Minas Tirith and "silver trumpets calling you home...".

The theme is associated with Gondor's line of kings, and it's rebirth with the return of the King.( ;) ) It's heard once in FOTR, not at all in TTT, and in ROTK it's heard in Minas Tirith (as Gandalf and Pippin arrive at the city), the begining of The White Tree (as they pass by the white tree), and then here. There are also several statements not on the album, most notably when Anduril is reforged, and then quite beautifully during "The Decline Of Gondor". :)


Shelob's Lair actually is the kind of thing I sometimes listen to for pleasure. :p As Aiwendil noted, I can hear Hermann in this...sounds a lot like parts of Cape Fear.

This is Shore going back to his roots, with The Fly, and other horror scores...creepy indeed!


ttbk

[Lathriel]

Encaitare is away so I will just introduce track 12.

It begins with low brass and violins. It really has an urgent tone to it. I think the eeriest part of this track is when the choir joins in at 1:10. There is a reall build up to it with the trumpets. I don't really like that part because the trumpets are muffled (you kow when they put the muffler in their bells.) It has such a harsh sound bu it does fit Mordor.
However, I do like the track overall because of the choir and the overall creepy mood that is maintained throughout the track.
So what do you think?

[Encaitare]

Before I put up the next track, I shall give a few brief thoughts on Track 12.

I love how the horns in LotR (both in the soundtrack and the ones the Rohirrim use) all sound in a perfect fifth. I don't know if that's how medieval horns were; I've been trying to find out, unsuccessfully. Anyhow, since the open fifth is such a pure interval, I think it does succeed in making that sound meant to inspire warriors in battle.

The choir is lovely and eerie. I did a bit of searching and found this for the lyrics:

Coll am
na waewath goeyl

Tellin i Neder
Gurth renia

Meditha han phan
Meditha ar dhon

[Source (http://groups.msn.com/SMME/chitchat.msnw?action=get_message&mview=1&ID_Message=1569&all_topics=1)]

Borne aloft
By fell winds.

The Nine have come
Death has taken wing.

He will eat it all
Eat all the world.

This sounds right to me, although the lyrics only make sense in the EE DVD, when Gandalf and the Witch-King face off.

Now for the next track! There is a low playing of the Rohan theme at the very beginning. Then there are these astonishing chords at 0:50, which I think is one of the most beautiful progressions in the whole score, and I admire its simplicity. I listened to it several times and figured out the chords to that little section (0:50-1:07). I think it's right, although maybe I messed up an inversion. The key is A minor:

i VI6 i v6 i VI6 iii6 VII6/4 VI

By the end of the phrase, it's moved into F major and arpeggiates in a little fanfare. Then it moves quickly into music akin to that of Mordor. At 1:47 the choir comes back in. Here, the two sites I've been using conflict. A Magpie's Nest (http://www.geocities.com/magpie930/CBC_ROTK/r13fields_of_the_pelennor.htm) says that the Ringwraith words that I quoted above are what the choir is saying; Gwaith-i-Phethdain (http://www.elvish.org/gwaith/movie_soundtrack.htm) says it's this:

Dollost - dîr cuiol
u-'ar nin degi!

Le echelithar aen
Athar fuin ban
Rhaw lîn mannen
Ind tham lîn
Lanc na chen be-thobas.

Anant i vaethor ú-ritha
Hên Rohan
Fim sui anghathel
Bain a goeol.

Na vedui istant
Na vedui cenn
Dîr ú-naun hon...
Vess e tiriant.


You fool - no living man
Can kill me!

You will be borne away
Beyond all darkness;
Your flesh devoured;
Your shriveled mind
Left naked to the lidless eye.

But still the soldier did not move,
Child of Rohan,
Slender as a steel-blade,
Fair yet terrible.

Too late he knew,
Too late saw,
This was no man...
He looked upon a woman.

I'm inclined to go with the first one because it seems to fit better. The track closes on another triumphant fanfare.

[Magpie]

Hello all. Magpie here. I found this thread by following information in my site statistics and was intrigued by the discussion so I've been following along for a few weeks now.

I know this is primarily a music discussion, not lyric, but I thought I could provide some information on the discrepancy in lyrics between my site and Ryszard's (G-i-P).

The poem Angmar can be found in an article about David Salo in a magazine issue devoted to the LOTR soundtracks. It says, "Witch King Attacks Eowyn". The poem The Nazgul can be found in the same issue in an article about ROTK. It says, "The Nazgul attack Minas Tirith".

You will notice that G-i-P lists both poems as being contained in The Fields of the Pelennor. For Angmar. it gives a time stamp. For The Nazgul, it provides phonetic syllables which match the words in that poem.

Since the phonetic lyrics come from the LOTR Symphony, we know they were sung there. Also, I know someone who had a score from the symphony and she confirmed they were sung to The Ringwraith Theme. (That section of track 13 is considered a Ringwraith variant.)

I can't explain why G-i-P has lists Angmar as being sung there, but the phonetic lyrics are what convince me that the lyrics are from The Nazgul and my ears confirm this.

I'm not trying to defend my position... I just never expect anyone to take anything on faith. Usually when I disagree with someone, like in this track, I try to explain my opinion. For some reason, I didn't do that - probably because I was rushing a lot to get those last cue by cues up. It is my intention to some day email Ryszard with my corrections. I haven't taken the time to yet, but he hasn't updated his movie work in awhile either. I suspect we're both just busy.

I'm happy that my work has been a support for this lovely discussion. I'll keep following along, if you don't mind. And watch the What's New section of A Magpie's Nest for updates in the next few weeks.

edit:
ahem... interesting label I have there, "newly deceased". I can assure you I feel quite healthy... except for this cough.

[Kitanna]

This is going to be a quick post and hopefully I can say something a little bit longer later, but the beginning of this song always reminds me of Mars: The Bringer of War. It's just that opening beat that is so soft I have to turn my speakers up all the way to hear it.

[Encaitare]

Welcome to the Downs, Magpie! It's great to see you here, especially since your site has provided such excellent references and information to help in our discussions.

I can't explain why G-i-P has lists Angmar as being sung there, but the phonetic lyrics are what convince me that the lyrics are from The Nazgul and my ears confirm this.

I agree; I was going crazy trying to follow the Angmar lyrics along with the music and it just wouldn't work... finally I tried it with The Nazgul, and lo and behold, it fit.

Enjoy reading the thread, and feel free to put your two cents in at anytime! :)

[Lathriel]

I really like the beginning of this track. Every time I hear it I picture the Rohirrim gathering at the edge of the Pellenor Fields. For the rest I don't have much to say about this track.

[Encaitare]

I think we'll take a brief hiatus during the holiday season, since everyone will surely be so busy (myself very much included!). Have a lovely Christmas/Hanukkah/Yule/any other winter holiday or lack thereof, my dears!

[Encaitare]

I hope you all had a fantabulous holiday! Now we may return triumphantly to our musical fun. :D

This track begins with the low brass in a very deconstructed version of the Mordor theme. Not too exciting, but at 0:19 there's this little sound that's pretty cool. I've no idea what it is; some kind of percussion, I guess. Upper strings come in at 0:24, and at 0:41 they move into what immediately reminded me of Eowyn's theme. But according to Magpie's site, this section is when the Mouth of Sauron brings out Frodo's mithril coat, so that wouldn't make sense. Whatever it is, it moves into a horn solo, and at 1:43, the rest of the brass section comes in with a discordant fanfare. The music drops and then grows, concluding the track.

Any thoughts about what that middle section might be?

Happy New Year! :)

[Encaitare]

An article in my local paper today about the new 4 disc Fellowship soundtrack: Chord of the 'Rings' (http://www.newsday.com/entertainment/music/ny-ffmus4568008jan01,0,7552898.story?coll=ny-music-headlines)

Newsday loves horrible puns. :rolleyes:

[Magpie]

Here's a section from the magazine "Music from the Movies", issue 42 - devoted (almost) to the LOTR soundtrack.

'Hope Fails' has a dark opening with low celli that evolves into a dark and ominous brass part. What does this music lead us to?
This track on the CD begins with the celli playing the music for 'The Army of the Dead' and there are certain motifs that I use for this. The choral music is performed with all-male singers; they are singing a part of the poem called 'The Dimholt Road' in Sindarin. (magpie: there are no voices on this track that I can discern... perhaps the interview preceded the final mix of the track or HS is speaking of that section of the movie... not just the CD.) The structure of the piece, the composition and the orchestration is unique to 'The Army of the Dead'. It's how I arrived at the counterpoint by using long and very fast moving lines. I used Tibetan hanging gongs; the lower extremes of the piano, contrabassoon, bassoons, and the bass clarinet were all used in very specific ways. The writing is modern and using clusters of sound within the voices. 'The Army of the Dead' is based more in the twentieth century than other parts of the score.

About one minute into this CD track there's a part I love which will be on the DVD, but it's not in the film. It's really what 'Hope Fails' was all about; it's a piece I wrote for a scene at 'The Black Gate'. It's a scene when Aragorn, Gimli, Legolas, Pippin, and Gandalf approach the black gate, Sauron sends out one of his emissaries to meet the. He comes out and at one point of their discussion he takes out the mithril vest Frodo was wearing, and he implies that Frodo suffered greatly and he's dead.

My comments:
I've just checked my friend, Michael's, analysis of the ROTK TE and he says this about the Paths of the Dead scene (first part):
Released material: ROTK, 14, 0:01-0:41. Mostly unreleased, with some unreleased choral work as the Army of the Dead gathers around.
so the singing is in the movie but not on the CD.

I don't think the sound Encaitare is hearing at 0:19 is the gong. I wonder if it's the monochord (http://www.geocities.com/magpie930/INSTRUMENTS/instruments.htm#monochord) although perhaps not. You might also try listening to the sarangi (http://www.geocities.com/magpie930/INSTRUMENTS/instruments.htm#sarangi). Both instruments were used for Lothlorien/Elven music and I don't know that he would use it for such a dark purpose as well.

For a really, odd sound... listen to the sound (http://www.geocities.com/magpie930/temp_sound_clips/Uruk_falls_odd_sound.mp3) made when that first Orc falls at Helm's Deep.

oh... and here's a link the article Chord of the Rings (http://www.nynewsday.com/entertainment/stage/ny-ffmus4568008jan01,0,6203099.story?coll=nyc-enthome-stage) ... which I just got, btw (the pun - not the link)... had to think hard there a moment.

[Lathriel]

I like "Hope Fails" because of that strange sound. Now that choral work has been mentioned I can't wait for the complete score of ROTK because it is so difficult to hear all the music when there is dialogue over top.

I was really happy this christmas because I got the complete FOTR score and its awesome!!!Now I still have some LOTR things to look forward to at christmas time.

[Orominuialwen]

I don't think the sound Encaitare is hearing at 0:19 is the gong. I wonder if it's the monochord (http://www.geocities.com/magpie930/INSTRUMENTS/instruments.htm#monochord) although perhaps not. You might also try listening to the sarangi (http://www.geocities.com/magpie930/INSTRUMENTS/instruments.htm#sarangi). Both instruments were used for Lothlorien/Elven music and I don't know that he would use it for such a dark purpose as well. I don't think it's the monochord. That sounds more like a really low sitar. This sound seems to be more like tympani to me.

As for that mystery theme in the middle of the track, I've always associated it with Gondor.

[The Tennis Ball Kid]

Any thoughts about what that middle section might be?
I might just being hearing things (well, obviously :p , but you know what I mean...), but I think that might be the "Merry's Simple Courage" theme; heard at 1:36:58, and 1:50:00 on disc one of ROTKEE, 10:35 of the second disc, and at 1:12 of The Ride Of The Rohirrim.



ttbk

[Encaitare]

The track opens with a pounding, steady rhythm. This then moves into a cool medley that moves between themes: Rohan, Gondor, and finally the Fellowship theme at 0:31. Men of the West indeed!

At 0:50, it quiets down, and at 1:00 we hear the most excellent Sir James Galway on tin whistle, playing a sadder variation of the Shire theme.

At 1:40, the rest of the orchestra enters, soon after joined by the choir. They sing an excerpt of this:

Caedo, losto. Ú-erin davo.
Amman harthach? Anim únad.
Le tûg nach. O hon ú-wannathon.
Ú-moe le anno nad. Ónen a hon beth nín.
Gurth han ristatha. Ta han narcho Gurth.
Gar vethed e-chúnen, go hon bedithon na meth.

Lie down, sleep. / I cannot yield.
Why do you still hope? / I have nothing else.
You are a fool. / I will not leave him.
You owe him nothing / I gave him my word.
Death will break it. / Then let death break it.
He has the last of my heart. / I will go with him to the end.

Meanwhile, the tin whistle continues with a similar melody to before, and finally culminates in the "Into the West" theme with full orchestra. *loves Sir James Galway to little bits*

[Lathriel]

I LOVE James Galway( the way he plays the flute) If I ever could play like that,well...
He manages to get such a smooth sound out of his flute and I know how hard it is because my flute is always sharp. (My flute has tuning issues)
The first time I heard that track I was so touched and it is one of my favourites. Not only does it go so well with the movie, it goes very well on its own too.

[dancing spawn of ungoliant]

I quote here Music from the Movies magazine (#42), should you be interested in what Howard Shore has to say about this track.

"There are two parts to 'The Black Gate Opens', the battle at the gate and Sam with Frodo on Mount Doom. How did you combine these two parts on your CD track and what are the main thematic elements here?"

"'The Black Gate Opens' is the final act of The Fellowship to create a diversion that will allow Frodo and Sam to carry The Ring up to the top of Mount Doom. The CD track 'The Black Gate Opens' begins with Aragorn's speech and then ends with Sam and Frodo on Mount Doom. Sauron opens the gates and tens of thousands of Orcs march out to destroy them. That final moment at The Black Gate is a test of will. The piece starts with Aragorn trying to raise the courage of the troops because they know it's a suicide mission. They are completely overwhelmed, there's no way to survive what's coming and Aragorn tries to raise their moral and lead them on. He gives an inspiring speech, that's the first part of 'The Black Gate Opens'. The piece is a combination of The Fellowship at The Black Gate that's inner-cut with the events unfolding on Mount Doom with Frodo and Sam.

There's also a part of the score not on the CD where Aragorn is at The Black Gate getting his troops ready for battle. The battle doesn't ensue until Frodo has The Ring at the Crack of Doom. When he decides not to throw it in, the battle starts to take place down below in front of The Black Gate. Aragorn says, "For Frodo," and rushes into battle. This is the start of the final battle at The Black Gate. I'm using a development of 'The Fellowship Theme' here, a choral version of it, because it was The Fellowship who joined against Sauronas they charge into battle against the Orcs. There's a battle between Gollum and Sam, that's when the Eagles attack the Nazgûl and Gandalf sees the moth, you hear a bit of that 'Nature Moth Theme' from The Fellowship. It's sung by the boy soprano, Ben del Maestro. The correct name of it is 'The Nature Theme', but it's triggered by the sight of the moth. When Gandalf sees the Eagles appear and the battle starts shifting, the music is very thematic; it has to do with 'The Fellowship Theme', 'The Nature Theme'. Then it's the scenes with Frodo and Sam on Mount Doom that highlight the score to the second part of 'The Black Gate Opens'. The film is cutting back and forth, you have Frodo and Sam on the slopes of Mount Doom and you hear that piece as they remember The Shire and when they hope to return home. That's part of a piece I wrote for Sir James Galway. This is just before Sam picks Frodo up in his arms and you hear 'The Grey Havens Theme'. This music evokes the courage of these two little Hobbits, putting both of their lives at stake for the greater good of Middle-earth. The music has an uplifting quality to it; it builds around the strength of these characters.

Music in films is about perspective and there are many different types of perspectives in a scene. What you're seeing on the screen often doesn't need to be reinforced. This piece also takes on a certain perspective about the characters and it's enriching, it is subtext. The perspective is drawing you to the idea that this person is heroic even though he's undergoing the worst possible struggle of his life. As Sam carries Frodo up Mount Doom we hear a choir part sung in Sindarin. The track ends when Sam offers to carry The Ring for Frodo. Frodo would never let Sam carry The Ring; it was the same with Bilbo. Bilbo never wanted to relinquish The Ring, but Gandalf convinced him to leave it to his nephew Frodo. The Ring has great physical weight to it. Sam says to Frodo at one point where he's near collapsing, "I can't carry The Ring, but I can carry you", and he picks him up with all the last bit of strength that he has. It's a great act of courage and is the ending of the track 'The Black Gate Opens'."

"Peter said that you wrote a completely new theme for Frodo and Sam when they were on Mount Doom. Explain your approach to this theme?"

"I think he's referring the part played by Sir James. It's a new piece I wrote that underscores Sam and Frodo's struggle. It's a choral-based, written to work with Sir James' Tin Whistle. It's a brand new theme of courage. There are different pieces relating to Frodo, mostly Shire music, elements of The Shire, and it's the same with Sam, that's really where their music comes from. This scene is similar to that in its use of harmonies and even the use of the Tin Whistle is part of The Shire. The whistle is The Shire. If we used particular sounds for characters we wanted to carry them the storyline for clarity." ~Howard Shore

***


I like this track very much. The tin whistle is unbelievably beautiful and it will represent The Shire to me probably always. Funny that although this track is a combination of so many themes and it's jumping from the Black Gate to Mount Doom and back, it sounds so- well, whole. As Lathriel said, this is a wonderful composition whether you listen to it as a part of the film or just as a piece of music.

When I first read the title 'The Black Gate Opens' from the back cover of the RotK CD, I was expecting something similar to 'The Black Gate is Closed' in TTT, but after I watched the movie and listened to the soundtrack, I was pleasantly surprised. The battle at the Black Gate and Frodo and Sam struggling up Mount Doom are one of my favourite parts in the whole trilogy and I couldn't have wished a better score for it. Wonderful!

[Himilsillion]

I like how this track kind of "summarizes" all the themes from the Shire theme all the way to the Into the West theme. The hobbit theme solo is awesome I really like it. Great song for the climax of the trilogy.

[Encaitare]

Sorry for the delay! A research paper has been owning my soul. :eek:

This track is just chock-full of choral goodies! From the very beginning, the choir, brass, and pounding timpani deliver a harsh, loud sound that perfectly captures the conflict in Sammath Naur. Philippa Boyens' poem "The Destruction of the Ring" goes like this:

Mi naurath Orodruin
Boe hedi i Vin.
Han i vangad i moe ben bango.
Sin eriol natha tûr în úgarnen
Sin eriol ûm beleg úgannen
Ú cilith 'war
Ú men 'war
Boe vin mebi
Boe vin bango

Into the fires of Orodruin
The One must be cast.
This [is] the price that must be paid.
Only thus its power will be undone,
Only thus a great evil unmade.
There is no other choice,
There is no other way.
One of you must take it,
One of you must pay.

However, in the track the order is different:

Sin eriol natha tûr în úgarnen
Mi naurath Orodruin
Boe hedi i Vin
Han i vangad i moe ben
tûr în úgarnen
Sin eriol
cilith 'war
Boe vin mebi
Boe vin bango

Translated, this would be:

Only thus its power will be undone
Into the fires of Orodruin
The One must be cast.
This [is] the price that must be [paid]
Power will be undone
Only thus
No other choice
One of you must take it,
One of you must pay.

I suppose these changes of order were done so the words would better fit the music.

At 1:08, Renee Fleming has a lovely solo:

Sin eriol ûm beleg úgannen
Ú cilith 'war
Boe vin mebi
Boe vin bango

All stuff we've heard before; you can figure out what it means if it's that important to you. ;) The choir uses some of the same text one last time:

Boe hedi i Vín.
Sin eriol úm beleg úgannen

Then the choir grows softer, less harsh, and we get some new lyrics! This is the whole of "The Mountain of Fire" poem:

Nu dalav
Úrui tuiannen na ruith
Leithia Orodruin oe in phan.
Ristannen i geven,
Danna eliad morn.
Si, na vethed
Meth i naid bain
I wilith úria
I ardhon ban lacha!

Beneath the ground
Swollen hot with anger
Orodruin releases all its ruin.
Earth rips asunder
Black rain falls.
Here at the end;
The end of all things.
The air is aflame,
All the world is on fire!

What is sung:

Si, na vethed
The air is aflame,
All the world is on fire!

Here at the end
The air is aflame
All the world is on fire

As this is sung, we can hear the Ring's seduction theme/motif played in the lowest instruments (3:07).

According to the sheet music as cited on GiP, it continues as follows:

Nu da naid bain úe
rin le regi erin le na
thi úeri o nin gwanno

No proper translation is given, though, so from searching through the texts of the songs in this track I think it means roughly this:

...all things
I cannot reach you
I cannot let you leave me

With this final line, we hear both a bit of the Fellowship theme and a turn for the better.

Next is another Renee Fleming solo:

Orthannen im vi ól
Coll e dû
Or hiriath naur
Na rovail mae sui 'waew
Man prestant i ardhon?
Cerithar aen illiad dim úthenin?

In a dream I was lifted up.
Borne from the darkness
Above the rivers of fire.
On wings doft as the wind.
What's happened to the world?
Is everything sad going to come untrue?

So beautiful! I just thought of this... I like how Quenya was used at the very beginning, in the first track of Fellowship to show the antiquity and history, but the rest is Sindarin, the more modern of the two tongues, even if the Elves are fading.

Any thoughts? Which part is your favorite?

[Lathriel]

I don't really like the beginning of this track. However, as soon as Renee Fleming joins the mix of choral lines throughout the track I like it better. She just has such a beautiful voice!! It is so dramatic and this track certainly gives a climax feeling.
The choir sounds very urgent and because they are mainly chanting at the beginning of the track I get this feeling of pressure. It has now come to the final scene and there is a huge pressure on Frodo since he has to throw in the ring but he can't do it and I think that the chanting certainly adds to that pressure the scene already has.
When Renee Fleming interupts the chant I see it as the ring seducing Frodo one last time. Then the choir continues and again adds pressure.
When Renee sings again it gives me chills and the melody tells us it is over,it is done.

[Elladan and Elrohir]

Some don't like it, but I think it's brilliant in this track when it goes into the Renee Fleming solo as Gollum holds up the Ring. It's like all of a sudden, everything stops as Gollum has his moment.

This is a great track. Don't have anything to add about it musically, but it has that "this is it, the real true climax" epic feel. And of course, the second Fleming solo, done while the Eagles carry Frodo and Sam from Mt. Doom, also fits brilliantly.

This is possibly the best choral track in the entire LOTR soundtracks (although Foundations of Stone would have to fit in there somewhere too).

[dancing spawn of ungoliant]

I don't really like the beginning of this track. I, for one, just love it. The combination of the choir singing triplets while the brass are playing eight and sixteenth notes sounds magnificent, like something big is going to happen. We sure are dealing with the climax of the trilogy here.

"Here at the end; The end of all things." "I cannot reach you I cannot let you leave me."
On screen, we can see and hear the actors, but their dialogue can be heard also through the lyrics of this track. . . Ooh, isn't this almost like in an opera?
I think it's a very nice touch to use one of Tolkien's own compositions here (The Eagles) when all the effort, different characters and their journeys are tied together. However, my favourite poem in this track is "The Mountain of Fire".

Here at the end;
The end of all things.
The air is aflame,
All the world is on fire!

Wow.

It may be just me, but I think that there's something similar in the little brass solos in this track, The End of All Things, at 1:47ish, and back where it all started, in The Prophecy, somewhere around one minute. The latter is much softer, well, a gentle image, a prophecy, of what it will become in the End. I don't know if this connection (if there is one, that is) is intentional, but to me it's just another jewel that makes the score so wonderful.



There were Howard Shore's comments about this track, too, in the Music from the Movies magazine and I'd like to quote here extracts from the interview.

"When Gollum gets The Ring, this is Renée Fleming's second aria; your dynamic approach to this seems to be the key to this part of the film."

"You hear the full two hundred piece choir and orchestra and then it just stops and you hear Renée accapella. Two hundred pieces to only one voice, to highlight the moment.

The biggest orchestration in the film is really right in that section of Mount Doom where Frodo decides not to destroy The Ring. He's standing on the edge of the Crack of Doom and Sam is saying, "Throw it in, destroy it, destroy it!" and Frodo in anguish decides that he's not going to destroy it and he tears it from its chain around his neck. Then Gollum finally leaps on Frodo and gets The Ring. I created musical contrast to highlight the fact that Gollum now has The Ring. It's a specific shot; it's an overhead shot of Gollum holding The Ring up over his head. It's a joyous moment.

Renée's solo lasts four or five bars, and then the orchestra enters and the score starts to build back up again. The choir actually comes back when Frodo regains his strength after losing The Ring. As Frodo approaches Gollum the chorus comes back in and there's this massive sound, it's the climax of the movie, that's when Frodo struggles with Gollum and pushes him over the ledge into the lava with The Ring. This scene was incredibly important for me. This is a very iconic scene in the movie and the book, so you had to be prepared to write that. It took three years to write that piece."

Edit: Page 7! :)

[Folwren]

Oh my goodness! Those transations and explenations you gave Enca were beautifully done!

When I first heard the track, I didn't like it much, but when I was alone and sewing, I would actually listen to it, and then the whole struggle, and the beauty, both attacked me at once, and it almost makes me cry every time I hear it. And now. . .now with what you've said. . .well, music always has gotten to me in a strange way.

Most people, I notice, who hear that song and don't actually listen to it, and who also don't know the story/movie, don't tend to like it so much. But when you sit down, and think about what the music is saying (in the words and instruments), then it can get really powerful.

-- Folwren

[Lathriel]

I do like this track when I am in the mood. However, what I often find is that I can't listen to LOTR as just background music. When the music is on (from FOTR,TTT,ROTK) it demands me attention and if I miss parts of the tracks I feel bad for ignoring it.

[Encaitare]

The opening of this track is soft and gentle (like the peace after the battle), in sharp contrast to the horrors our heroes have just experienced. Strings are soon joined by the flute, playing music reminiscient of the Shire's. By 1:20, brass has joined in as well to perform the Fellowship theme -- it is, after all, the first time the Fellowship (except dead Boromir) has been together since the Breaking back in FotR. Upon Sam's entrance at about 1:47, the flute returns to play the Shire theme.

At 2:16, we are out atop Minas Tirith at the coronation ceremony; the music is gentle but majestic, and the horn plays the Gondor theme. At 3:46, we have Viggo's lovely solo:

Et Eärello Endorenna utúlien
Sinome maruvan ar Hildinyar tenn' Ambar-metta

Out of the Great Sea to Middle-earth I am come.
In this place I will abide, and my heirs, unto the ending of the world

The Fellowship theme returns briefly before Renee Fleming's solo, signaling the appearance of Arwen:

Tinúviel elvanui
Elleth alfirin edhelhael
O hon ring finnil fuinui
A renc gelebrin thiliol...

Tinúviel [the] elven-fair,
Immortal maiden elven-wise,
About him cast [her] night-dark hair,
And arms [like] silver glimmering...

The strings move this into another brief solo by Sir Galway; then the Shire theme is heard as the people of Minas Tirith bow down to our hobbity heroes.

By 6:42 we are panning out, and look, the city turned into a map! :p The music in this bit does not seem to follow any certain theme, but at 7:22, the Shire theme is repeated on flute yet another time. The music is similar to that at the beginning of the trilogy, with the soft beats underneath the melody. At 8:22, a fiddle plays a variation of the theme, too. Even though the same melody is repeated, it is much sadder and darker. This changes at 9:23, when Sam gets his little spurt of courage, and marries Rosie. The music takes a brief happy turn, quite like the original Shire music, but then moves back to a more sorrowful sound.

Only two more tracks left! :eek:

[Kitanna]

I love this track, mainly because it brings in most of the themes from other tracks, all except the evil themes and Rohan's theme I think.

The part played during Aragorn's coronation is probably my favorite of the whole piece. The French Horn plays the Gondor theme and the strings play counter to it. And it sets the stage for Viggo's singing.

The theme first heard in FOTR when Arwen saves Frodo returns as she comes onto the screen. Such pretty vocals.

In the end we are returned to the Shire and the fiddle plays the heroes are coming home. There's even a bit of the Fellowship theme mixed in just before the faster theme of the Shire begins.

[dancing spawn of ungoliant]

Here we have over 10 minutes of lovely motifs bound together. At this point when watching RotK, I usually get a little distracted because I know that the film will end soon. We've been following a 11-hour-long story that began already in year 2001 (What! It's been over four years since FotR came into theatres), and it's quite sad, really, that this is the beginning of the last 20 minutes, or so. It's also the beginning of the many "endings" of RotK - you know, the film could have ended in Minas Tirith turning into a map, the Hobbits returning to the Shire, the last ship to Valinor setting off... Maybe it's a subtle way to remind the viewers that it's soon time to return to RL from Middle-earth. Heh, kind of when your alarm clock goes off in the morning and you don't want to wake up, you hit "snooze" and get to continue sleeping yet for a while before you really have to get up. ;) This can be heard in the score, too. Although the rest of the film is full of happy moments like the reunion of the Fellowship, the coronation and Sam and Rosie's wedding, we don't see or hear that kind of a spirited joy that we saw at Bilbo's birthday party, for example, but this is much more serene happines that is mixed with melancholy.

We hear Renée Fleming's last solo of Arwen, and as Kitanna said, this is the same theme we heard when we first saw Arwen at Troll Shaw. The lyrics are exactly the same and Arwen's part in this story ends to the same words that it began with. We will not see her again.

One of the most interesting things on this track is that it's not the Tin Whistle anymore that plays the theme when the Hobbits return to the Shire, but the flute. The Hobbits have changed quite a bit and using another instrument here is a nice way to show that.


Here's what Howard Shore tells about Viggo Mortensen's solo: "He sang it when they filmed it and I created a piece to accompany it. Viggo created the melody. This is when Aragorn sings acapella for a few bars and then chorus enters to join him in accompaniment."

So, like Billy Boyd, Viggo got to compose his own solo, too. Great job, I say. The solo is very nice, but he sings it so softly that it's hard to tell whether he's singing it for the people who are gathered to his coronation or if he's singing it to himself.

[Magpie]

I've been reading along... wanting to take time to post my own thoughts but not ever doing so. Partly, I tell myself, it's because I'm so busy and I never like to do things unless I can do them properly. But I think, it's a bit of Legolas... for me the grief is still too near. What I mean is, the last few tracks of ROTK hold tremendous emotional power over me and I stand in awe of it almost. I don't know if I can do it justice. I don't know if I can bear a close look.

But so many of you are writing what I'm feeling and I love reading it. I wrote very little of my emotional responses to the soundtrack when doing my website. This track was one rare exception. I wrote a lot of really personal stuff but I'll copy out the part pertinent to Track 17, The Return of the King.

I've been listening to ROTK a lot at bedtime. It swirls in my ears as I fall asleep. Often, I wake up at the beginning of "The End of All Things", perhaps because it has such bombastic opening music. But I think I know it's coming... the end, and my mind needs to take it in. When I list my 'favorite' music from the soundtrack, I rarely list the battle music, or the 'contentious' music. It just doesn't drift up the list. But "The End of All Things" really fits the emotions of the activity on screen so well. My brain sits up and takes notice. Then... it comes. "The Return of the King". It's a long track and it holds, for me, the essence of the goodbyes. It's during this track that we see the last of Gimli, then Éowyn and Faramir, and Éomer... Legolas... and finally, Aragorn and Arwen. It's during this track that we hear the last (bar a few echoed notes) of the Fellowship Theme.

The rest of the soundtrack is sweet. But I've already endured the hardest, the breaking of the Fellowship. I'm resigned now. It will end and I will go on.

For such is the way of it: to find and lose, as it seems to those whose boat is on the running stream.

It isn't often that something evokes a strong emotional reaction and then continues evoking that reaction after repeated exposures. Repetition breeds familiarity, numbness, comfort... whatever. But these last tracks, End of All Things, Return of the King, and The Grey Havens don't lose any of their potency for me. It makes me wonder what it was like for Howard Shore to write, orchestrate and record this music. I wonder if he was as caught up in it as we are. I think maybe he was.

[Lathriel]

I love this track. For me it brings smiles and tears. I think the music clearly shows how Howard Shore feels. I can just hear from the music that he is just as reluctant as we are to leave ME.(Especially in the Greay Havens)
At the beginning of the track I have to smile as the flute begins to play.
The Tin whistle is replaced by the flute because it shows that all the hobbits have matured and grown up.
Depending on my moof this track has various affects on me. Sometimes I get all teary,sometimes I just smile, and sometimes it makes me feel really calm after a hectic day. So every time I listen to this track it is a surprise because every time I feel something different.
I really like Viggo's solo because songs are such an important part of this book,it shows the multitude of cultures and traditions that ME has.
Renee Fleming's voice is breathtaking, she has such a mellow voice but at the same time it is also very pure, in other words it fits Arwen well.
James Galway steals my heart as he plays the flute solo and it makes me feel sad.However, when the theme is repeated I have to smile since it reminds me of the happiness that was there at the beginning of the book and now it returns for Merry,Pippin and Sam. As for Frodo,I'm not sure. I know that it is a mix for me. I am happy that evil is destroyed but I am sad because Frodo has to leave.
So as you can see this is an important track for me. :)

[Encaitare]

The track begins with Galway on the tin whistle with the low strings on a pedal tone. Then the music moves into something which hints at the Shire theme; at 0:51 we hear a brief bit of the Fellowship theme mixed in with the Havens music. The sound here is gentle but sorrowful, which reminds me of the tranquil Sea they stand by. Also, I'm pretty sure I hear a harp in there somewhere, which gives it an almost magical feel.

At 2:19, the music is the same as that of the Breaking of the Fellowship and Sam's promise not to leave Frodo. Here we have another breaking, this time of the hobbits' own group, and Sam can't keep that promise anymore.

At 3:22, the Shire theme comes in, with the whistle once more. This develops until 4:40, at which point the music of the Havens/Into the West takes over. Beginning at 5:12, the choir sings:

Dartha o nas a thar emyn
Men 'wain egor annon thurin
Ah ae anann erphennin hain
Na vedui cenithon aur wain
I badathon raid yriel
Amrûn n'Anor, Annûn n'Ithil.

Still round a corner there may wait
A new road or a secret gate;
And though I oft have passed them by,
A day will come at last when I
Shall take the hidden paths that run
West of the Moon, East of the Sun.

Since it is sung so quietly, it's difficult to hear how much is sung. But it makes me very, very happy that it's in there because I love that poem ever so much. :)

By the way, great responses last time, everyone. It's amazing how much a single track of music can affect us so strongly.

[Magpie]

Only Amrûn n'Anor, Annûn n'Ithil. is sung at 5:17... in this track anyhow.

The whole thing is sung (in English) in Use Well the Days.

The music that was heard at the Breaking of the Fellowship was named by the group I hung with as "The Wisdom of Gandalf." I think our analysis of it would probably differ from Shore's and I have yet to read Doug Adams' notes on this. But it's actually used in a couple of places. You can read what I wrote here: Wisdom of Gandalf (http://www.geocities.com/magpie930/THEMES/THwisdom_of_gandalf.htm)

I have sound files of that final music heard as Sam returns to the Shire that I'd like to share if that's acceptable. I don't share music that is available commercially but this isn't, except on the movie DVDs and I'm going to assume you all have those. But I don't know the policies of this board so I'll ask first. For me, that music was as sweet as anything in the Grey Havens. When that green door closes and the words "The End" come up (you might note that 'the end' is not used in the other two movies) well... it's hard. The words, "I'm back" used to move me to sobbing when I read the book. I'm not sure why. But in that moment in the movie, I am 100% connected to the movies, the books, and my personal relationship to them which is deep. It is bliss.

The End of All Things is filled with dramatic tension and ROTK is emotionally wrenching. I think by time I get to the Grey Havens, I'm spent and the music knows it. It goes easy on us.... not so much in that it's soothing or comforting. But more that it just doesn't demand our souls. I think PJ and HS know that we have to return to the real world soon and they're gently preparing us. (Someone commented on this for the previous track and I totally agree.) When ROTK plays in my ears at bedtime, I usually fall asleep pretty quickly but wake at The End of All Things. I'm there for it and ROTK.. but by the Grey Havens, I'm starting to drift back to sleep. All will be okay. Maybe not right now... but in time. I think it's brilliant psychology.

(Hope this makes some sense. I've been up late on a project and am exhausted. But just can't turn away from a soundtrack post that I can contribute to. Night all.)