“Lord of the Rings” Music Analysis Part 4 (Final) – The One Ring Theme

Variation 1: “The History of the Ring” (Adams, 2011)

        This theme is extremely crucial to this movie as the entire plot-line orbits around it. Shore remarks that he “writes in a breathing sort of rhythm so it feels natural. It’s a human feeling” (Billboard, 2018).

        The way the music for this tiny gadget is written, speaks a lot about the bigger meaning of the ring. Because this human-like nature is given to the ring-a small object-it indicates that it possesses powers as deep as influencing humans around it by its mere presence.

        Harmonically, this theme is in minor mode, with the melody occurring on a raised fourth atop a minor triad. With the continuation of this melodic line, we face an area of harmony where two harmonic areas overlap; A minor and F minor. Moreover, when merging together the first nine notes of the melody, an A minor triad with augmented ninth results (Adams, 2011). First, we are presented with a murky chord, which then settles into a nice consonant chord and therefore, the music exactly translates what the ring is supposed to represent; maliciousness and lies.

        Nevertheless, “The History of the Ring” is merely the commencement of the journey of the ring and is only the revival of it. This tune stays consistent in the first movie and starts to display notable moulding in The Two Towers, as the storyline intensifies. Another fact deserving mentioning is that this variation of the Ring’s theme intertwines with Gollum’s theme (Adams, 2011). This is because, in the film, Gollum’s past is very much interweaved with the Ring.

Variation 2: “The Evil of the Ring” (Adams, 2011)

        This adaptation of The Ring theme is limited to four pitches and is employed in an Eastern-tinted harmonic way (Adams, 2011). This can be shown by the augmented second (moving from bar three to bar four). Besides, what provides this variation with an Eastern feel is the utilization of the North African double reed rhaita, “ A kind of oboe, a double reed horn with a flared bell” (Katz, Aykroyd and Landis, 2016). Later on in the story, this theme is also blended with “The Story of the Ring,” played in horns, trombones, and tuba. This application of darker instrumentation serves to amplify the rings growing cryptic powers. It suggests that now instead of the ring being something that may jeopardize everyone, it is definitely something that will put everyone in danger.

Variation 3: “The Seduction of the Ring” (Adams, 2011)

        This version is presented by a chanting boys choir, punctuated by bass drum strokes (Adams, 2011) resulting in an alluring atmosphere, portraying the victim’s (possibly) fatal attraction to the ring. The chosen instrumentation of using boys to sing the theme brings a form of purity to the theme-something bewitching and raw-to lure people into the rings trap. This theme stays more or less consistent throughout the story and seldom remodels orchestration or notation (as, contrastingly, most other themes do). Additionally, when taking the second phrase of The Fellowship theme, it quotes the first three notes of The Seduction theme. This indicates that the ring with all its alluring dangers is connected to the people in the Fellowship, putting their collaboration in jeopardy. In terms of harmony, whilst this theme at first appears to have all the characteristics of a D minor harmonic line, it truly begins on the fourth degree of an A minor scale with the B natural concluding this (so it is a Bb against a suggested A minor harmony).

        Towards the end of the story when the ring is destroyed, the Orcs are swallowed by the Middle-earth, Sauron’s eye is extinguished, the fourth age of the middle earth has begun, and Gondor is reborn, all the material from: “The History of the Ring,” “Evil Times” and “Seductions”, combine to create a harmonic plate to release the suffering and horror that has been brought upon everyone by the ring. In closing, this theme very much translates all the temptation and evil that the ring stands for. Throughout the movies, several characters refer to their desires and temptations to take the ring but are scared to be corrupted by it. This scary responsibility of the ring bearer, as well as how easy it is to get enchanted by the ring, is an ongoing theme throughout the movies. Through the boy’s choir singing the tune, this enchanted-ness is portrayed as something innocent and pure (as a child) and therefore serves to provide the ring with a sense of not being as dangerous as it is made out to be. Consequently, this theme greatly helps to add to the deceiving nature that the ring is supposed to reflect, and therefore aids to support the movie, as it is so central to the movies whole plot line.

Conclusion

        In closing, throughout the LR franchise, Shore not only manages to consistently develop his music but also succeeds in sustaining continuity, providing deeper meanings of the story as a whole, as well as the journey of many individual characters. This is accomplished through his leitmotifs and the way in which they intermingle with each other, forming a complex web of musical themes to not only foreshadow events, moods, and outcomes of the story but most importantly assist the audience in subconsciously creating these connections, before they are given the visual evidence for it/event takes place in the movie. Through the music, this is done by employing several techniques through instrumentation, harmonic choices, textural devices and more. The way in which many of the themes overlap and connect, as for example the Fellowship theme with The One Ring theme at one point, helps to not only highlight connections to the audience but also create new connections that otherwise would not be made. Therefore, through this technique of not only having different themes for different purposes but intertwining those themes with one another, helps to elevate the story to a higher form and create deeper meanings to the audience’s subconscious. Overall, however, it is apparent that this is all reached by Shores exceptionally complex and highly organized approach to the technique of using leitmotivs and expanding on these, throughout the movies.

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Works Cited (for all 4 posts combined)

Adams, D., Walsh, F. and Shore, H. (2011). The music of The Lord of the Rings films. Van Nuys: Alfred Music Publishing Company.

Bernhart, W. (1997). Word and Music Studies Defining the Field: Proceedings of the First

International Conference on Word and Music Studies at Graz, 1997. p.242.

Billboard. (2018). ‘Lord of the Rings’ Composer Howard Shore Talks Hobbits, His Start on ‘SNL’ and Working With Martin Scorsese. [online] Available at: http://www.billboard.com/articles/6304248/the-hobbit-howard-shore-the-battle-of-five-armies-score-lord-of-the-rings-music%5BAccessed 3 Apr. 2018].

Fleurant, G. (2018). Dancing Spirits: Rhythms and Rituals of Haitian Vodun, the Rada Rite. London: Greenwood Press, p.131.

Foster, R. (2003). The complete guide to Middle-earth. London: HarperCollins.

Judith Bernanke, “Howard Shore’s Ring Cycle: The Film Score and Operatic Strategy.” In Studying the Event Film: The Lord of the Rings. Ed. Harriet Elaine Margolis, Sean Cubitt, Barry King, and Thierry Jutel. (Manchester: Manchester University Press, 2008), 176.

Katz, S., Aykroyd, D. and Landis, J. (2016). The Blues Brothers. [Solna]: Universal Sony Pictures Home Entertainment Nordic.

Ling, J. (2007). A history of European folk music. Rochester, N.Y: University of Rochester Press.

Pushak, Evan. (2016). Lord Of The Rings: How Music Elevates Story. [online] Available at: https://www.youtube.com/watch?v=e7BkmF8CJpQ [Accessed 3 Apr. 2018].

Thsmusic.net. (2018). Torrington High School Music Department. [online] Available at: http://www.thsmusic.net/film-scoring [Accessed 2 Apr. 2018].

Vallely, F. (2011). Focus: Irish traditional music. Irish Studies Review, 19(2), pp.238-240.

Woodzie.org. (2018). Rohan. [online] Available at: http://www.woodzie.org/lotr/rohan.htm [Accessed 2 Apr. 2018].

“Lord of the Rings” Music Analysis Part 3 -The Rohan Theme

        “Rohan” is a pivotal location within the trilogy. It is meaningful within LR as it is portrayed as a pure human culture (without the influence of elves, etc.) and embodies core values like bravery, loyalty, and in the movies is uniquely associated with its horses. This rising of Middle-earth’s men trying to declare the world as theirs grows more violent as the movies go on, and during the sequels is brought further into focus by the application of music. It is especially in The Two Towers, that the music of this human race begins to be realized more in the music, which is largely characterized by its Nordic influences (Adams, 2011). Most Nordic folk music leans towards clearly structured melodic cells, where the motifs of the refrain are more closely related to one another than those of the verses (Ling, 2007). Moreover, Nordic influences can be characterized by repeated, interweaving phrases (Ling, 2007). Each of these techniques is used for the Rohan theme and form close similarities to the style of music and how it is formed to the Rohan culture. One can compare the music’s defining properties to Rohan art and architecture, as well as their connection to the natural world (Adams, 2011). In terms of instrumentation, a noteworthy instrument is a double fiddle, an instrument which was designed solely for the score of this movie and features eight (instead of the normal four) strings of a fiddle. This results in each string having a resonating neighbour string, and could very much be associated with a mandolin.

Variation 1: “The Rohan Fanfare” (Adams, 2011)

        Here it is apparent that instrumentation wise, the “Rohan Fanfare” is performed in midrange brass, on top of that, using a harbinger fiddle – a traditional stringed instrument used originally to play cultural and traditional Nordic music (Ling, 2007) to represent the more brittle side of the Rohan cultures struggling. The use of brass can represent power, strength, and courage whilst the strings could represent their sorrow, passion, and reflection. This music then develops, as the people of Rohan move closer to Gondor, “The Realm of Gondor.” This development is apparent due to stretching the opening pitches from a minor third, to a perfect fourth (Adams, 2011). This means the new variation is now a whole tone higher than it was before:

Variation 2: “Realm of Gondor”

        This variation again portrays this musky, earth-like character as it is presented in horns and strings in a low to mid-range register for the utilised instruments. Besides, it is notable that the first three pitches of this theme (A, D, C) are employed in the different variations to characterize that no matter what variation it is played in, it is of Rohan descent.

        An additional variation of the Rohan theme “The Riders of Rohan” in The Two Towers is performed with several scalar runs in the low registers on the strings, as well as bassoon, concurrently with continuous upward roaring movement. This results in the music having wave-like properties. If one were to trace the notes as a visual, it can distinctly be seen that every bar, there is an upwards shift, which could be correlated with the people of Rohan striving to win, their determination, and their willpower.

Variation 3: “Riders of Rohan” (Adams, 2011)

        To conclude, as we have explored with the Shire theme, likewise, the Rohan theme does an exceptional job in defining a sense of culture and place. Whilst the Shire theme is indicative of traditional Irish music, the Rohan theme succeeds in conveying in a few notes, the essentials of the Rohan culture. This is done through the use of traditional instruments, including the Hardanger fiddle, but additionally by the sense of simplicity and of honour, which the music achieves in conveying in its structure, notation, and “rich, powerful orchestration in brassy instruments” (Woodzie, 2018).

 

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Works Cited

Adams, D., Walsh, F. and Shore, H. (2011). The music of The Lord of the Rings films. Van Nuys: Alfred Music Publishing Company.

Ling, J. (2007). A history of European folk music. Rochester, N.Y: University of Rochester Press.

Woodzie.org. (2018). Rohan. [online] Available at: http://www.woodzie.org/lotr/rohan.htm [Accessed 2 Apr. 2018].

“Lord of the Rings” Music Analysis Part 2 – The Shire Theme

        The thematic material for this musical theme is only fully introduced to the audience when they are shown the Shire (the Hobbits home). The theme is presented to connect this vast body of thematic material to the nature of the Hobbit, and what embodies him, “food and drink, safety and friendship…the most basic and unheroic lifestyle of the Hobbits” (Adams, 2011). Consequently, this theme is significant as it depicts a feeling of security and belonging. This is essential to have, as it later on in the movie-provides something that the Hobbits consider worth struggling for, therefore giving the movie a human characteristic as we are presented with what is at stake. When taking this musical material to its basic building blocks, it is built off an Anhemitonic Pentatonic Scale. According to Fleurant, “Pentatonic scales can either be semitonic with semitones or anhemitonic, without semitones… with Anhemitonic scales (as this theme does) having the same set of pitches.” Most Anhemitonic Pentatonic songs have an added pitch; this specific theme does as well, in the form of a sixth interval tone to act as a passing note.

Anhemitonic Pentatonic Scale used in LR (Adams, 2011)

        Melody-wise, this theme holds a diatonic, stepwise moving melody. In terms of harmony, the chords are kept moderately simple, using chords I-iii-IV-I, IV-V-I-V. Nevertheless, this is to the benefit of the tune as it means it is plastic in its construction, and Shore was thereby capable to form several variations out of this material (discussed below).

Variation 1: “Pensive Setting”

        This variation is utilized for recollective times that the Hobbits have. Especially striking is how this is realized by a solo whistle, almost like a faraway thought. “If I don’t use the Whistle, the clarinet is an elegant substitute for it.” Quoted in Adams (2011). The importance of this quote is Shores awareness of the impact of instrumentation on the expressive value of a theme. In the first movie, this theme is performed after the Hobbits leave their home to attach a sense of homesickness and loneliness. Nevertheless, in the second movie, this homesickness is converted into motivation for what is at stake, revealing more pain than just simple homesickness. Their mission has matured into a troublesome chore, and so in this context, the melody mirrors their worn out, dull reflections of what the melody at first stood for.

Variation 2: “Rural Setting”

        This variation is deemed to represent the Hobbits in their wholesome characters. Instrumentation is kept considerably light and charming with an addition of folk-like instruments including the whistle (used in “Pensive” setting as well) and the bodhran; an Irish frame drum which used to be called a “poor man’s tambourine as it was made from farm implements and without cymbals” (Vallely, 2011). This also accompanies the Hobbits as they depart their journeys. The use of this particular variation only arises in the beginning and does not return until the very end of The Return of the King (when the hobbits return home).

Variation 3: “In Dreams”

        This tune is the consequence of merging all of the above investigated Shire theme variations, enclosed in a rich harmonic language, which mostly speaks for itself (Adams, 2011). The lyrical melody merely adds to the effect, which is essentially formed by the rich orchestration and execution of the harmony. The melody on top is performed by a solo treble and is a variation of the Shire theme and uses a part of the Fellowship theme for the song’s bridge. Harmony-wise, this song is the outcome of all of the Shires harmony combined and arranged to succumb to the richest orchestral ranges. A “rolling chorale effect is achieved by shifting harmonies every two beats” (Adams, 2011). The melodic line is similar to the Shires “Pensive” variation, but more asserted.

        In conclusion, this theme is one of the most fundamental elements of this trilogy, as it carries an element of profound sentimental feelings of home and safety, a joyous life, which is all at stake when they try to save the world. Without this music, the audience might not be able to identify with the homesickness and struggles of the characters, as they leave their home for the first time ever. Using the Shire theme to symbolize all the joy and beauty of their home which they not only miss but want to save, makes their individual mental and emotional journeys so much more relatable, adding more depth to the movies meaning. Furthermore, the Shire themes warm-hearted and soothing tune helps to provide the movie with a sort of balance from all the extreme drama and sadness that we are faced with. Although most of the Shire theme is rooted in homesickness and melancholy whenever the hobbits talk about going home, it is in its basic building blocks, still a representation of happiness. It, therefore, helps to not only generate a feeling of homesickness and what is at stake but also helps to maintain a balance, and every now and then provides a short break of joy from the almost constant struggle and darkness which we are faced with along their journeys.

“Lord of the Rings” Music Analysis Part 1 – The Fellowship Theme

        The Lord of the Rings (LR) franchise consists of a film and two sequels: “The Fellowship of the Ring” (2001), “The Two Towers” (2002) and “The Return of the King” (2003). Howard Shore not only composed but orchestrated and conducted his music for the trilogy. Including the largest selection of Leitmotifs, which are a “recurrent musical fragment representing a character, place, object or idea” (Bernhardt, 1997) yet, the scores to this trilogy were truly an outstanding achievement in the film music industry. The consistency and development of Shores music across all three films are a key factor in maintaining continuity as well providing deeper meanings of not only the story as a whole, but the journey of many individual characters, due to the many leitmotifs being utilized throughout.

        Today we will examine the development of music in the trilogy by looking at a few of the main themes and leitmotivs. There is a huge selection of themes present in this trilogy, however, I will focus on The Fellowship Theme, The Shire Theme, The Rohan Theme and The One Ring Theme. Since there is so much to talk about, I will devote each theme its own blog post.

        The interplay of the main themes and leitmotifs to be used for analysis are introduced in the very beginning of the movie. The first cue in the movie begins with a chorus singing in a harmonic minor key, known as the Lothlorien Elves theme, after which the Rings own theme fades in as the title is displayed. With the ending of the prologue, Shore shifts from an E flat Minor chord to E Major, together with the narration change of Galadriel to Bilbo (Pushak, 2016). Now The Shire theme is introduced, and on-screen we are placed in context and place in time, after which finally, The Fellowship theme fades in. Specifically four of these themes: The Shire theme, The Fellowship theme, The Rohan and The One Ring theme will be analysed throughout this essay. All of these themes are repeated throughout in various forms of orchestration and moods. Most notably, however, The Fellowship theme, which is repeated 38 times through all three movies combined. It’s strong harmonic opening of Chord I – Flat Three – Chord I characterises it.

1 – The Fellowship Theme

         Although LR has no official main theme, The Fellowship is probably the closest to one that it possesses because – like the other three themes chosen – it is one of the most memorable. This theme is considerably malleable and holds most variations and developments throughout LR. 

        What makes this theme compelling is its harmonically innovative form. Whilst the melody occurs in minor mode, the harmonization appears in the major mode. The theme first appears when Frodo and Sam walk through the Shire cornfield; however only in melodic fragments. The more members join the hobbits along the way, the more these parts develop. Only when they arrive in Rivendell the theme is completely formed (Woodzie, 2018) — yet still not in its full lavish orchestration. Instrumentation wise, the theme is presented in low brass and midrange strings whilst the members of the Fellowship offer their cooperation (Adams, 2011). When they are eventually revealed as the Fellowship of the Ring, the theme is for the first time thoroughly expanded and developed in its orchestration.

       The deeper meaning of this theme is anchored in the collaboration and mission of the Fellowship, rather than its members (Adams, 2011). As long as the mission persists in helping the Ring Bearer, some components of the tune are present. Even though the theme is watered down (in orchestration) in The Two Towers, whilst Gandalf and other characters travel across the Plains of Rogan, it still accompanies them.  Nevertheless, as the film advances, obstacles arise and the group breaks apart, the theme shows increased signs of fragmentation, with only bits remaining in the characters. After Gandalf, for example, is succumbed, The Fellowship theme grievously only appears in fragmented pieces until the very end of the trilogy. After what is left of the Fellowship resume their trip, the theme is played in the faint instrumentation of soft violins and cor anglais, which is promptly crushed by big timpani before it can develop at all (Pushak, 2016). It can consequently never sufficiently form. In The Return of the King’s end, when the Fellowship comes back together, the “theme reaches its heroic zenith” (Adams, 2011). When they have fulfilled saving the world and all characters resume to their normal lives, the theme still does not disappear.

        Presuming they are all changed men and life will never be the same for them (even after they return home) it is only fitting to have The Shire theme combined with fragments of The Fellowship theme slowly accompanying their journeys back home, never to forget this adventure. The fact that the theme is still present even after the group breaks up, means that they are changed men and will always have all members of the Fellowship in their heart.

       To conclude, it is apparent that Shore applies this theme as a sort of glue to hold together most other thematic material throughout the three movies. Not only does it occur in the story as more characters join the hobbits on their journey, but also combined with other themes. This results in providing the movie and its music with a sense of fluidity at all times. Moreover, the theme is so vital to the depiction of the Fellowship and their collaboration, that when the Fellowship breaks up, so does the theme. This all implies that not only is this theme essential to the musical world of LR, but also serves as a form of guidepost to point the audiences attention to happenings onscreen, as well as developing the audience’s relationship with characters, and other dramatic film elements going on (Bernanke, 2008).

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Works Cited

Bernhart, W. (1997). Word and Music Studies Defining the Field: Proceedings of the First International Conference on Word and Music Studies at Graz, 1997. p.242.

Pushak, Evan. (2016). Lord Of The Rings: How Music Elevates Story. [online] Available at: https://www.youtube.com/watch?v=e7BkmF8CJpQ [Accessed 3 Apr. 2018].

Woodzie.org. (2018). Rohan. [online] Available at: http://www.woodzie.org/lotr/rohan.htm [Accessed 2 Apr. 2018].

Adams, D., Walsh, F. and Shore, H. (2011). The music of The Lord of the Rings films. Van Nuys: Alfred Music Publishing Company.