Track-by-Track: Soundtrack Discussion and Analysis

[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, 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.

[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 (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.