Track-by-Track: Soundtrack Discussion and Analysis

[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!

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]

An article in my local paper today about the new 4 disc Fellowship soundtrack: Chord of the 'Rings'

Newsday loves horrible puns.

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 although perhaps not. You might also try listening to the 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 made when that first Orc falls at Helm's Deep.

oh... and here's a link the article Chord of the Rings ... which I just got, btw (the pun - not the link)... had to think hard there a moment.

[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. 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.