Listening to ROTK: A Storm is Coming

[TheTennisBallKid]

Syncing the Unused music to film:

Until such time as I have access to the techology neccessary to make my own isolated score + subtitles version of the film, I'm stuck trying to manually line up the unused cues with the visuals. It may not be exact to the smallest fractions of a second, but I can get close enough.

My setup for this is a computer with a DVD drive and iTunes...it should be possible to do this with less than that, but it'd be trickier...

Unless otherwise noted, all DVD timestamps are from the Region1 EE.

Disc One:

Glamdring/Foundations of Stone (Disc One, Track One; OST Track One)
Timings:
2:32_2:35, for both film and CD.

In the film, the first choral outburst of "Mettana!" ("To the Death!") is dialed out. It would have gone between "Fly you fools!" and Gandalf's fall. Cut, almost certainly, so as not to overpower Frodo yelling "No!"


Elven Rope (Disc One, Track Two)
The timings:
CR: 1:10_1:26
EE: 6:05_6:21

In the film, the scene following the Elven Rope sequence where Sam and Frodo come up a rise and into sight of Mordor is scored with a tracked rendition of the Evil Times motif (FOTR:CR:"The Nazgûl", 5:10_5:26). Shore's original composition used a weary statement of the Shire theme.

Note: The unused section has to start a couple seconds before the tracked piece does in order to sync with the film...right after Frodo says "Real Elven rope."

Lost in Emyn Muil/The Taming of Sméagol (Disc One, Track Three; OST Track Two)

CR/OST: 1:26_2:07/0:26_1:07
The unused choral piece is an excerpt from a cue written for an earlier cut of the scene. It's included here because Shore likes it a lot; the full piece will probably be included on the forthcoming "rarities disc".


Ugluk's Warriors (Disc One, Track Five)
CR: 1:26-1:41
EE: 16:50_17:05

In the film, a choral passage intended to underscore the Uruks resuming their march was cut, though the instrumentals remain.


The Three Hunters (Disc One, Track Six)
CR: 2:06_2:22
EE: 19:12_19:28

In the film, the establishing shots of Isengard are unscored, the music written for that section uses the Isengard Five-Beat.


Night Camp (Disc One, Track Eight)
CR: 2:14_2:50
EE: 30:54_31:26

In the film, the attack on the Orc camp uses music tracked from a couple other different places in the film, on the CR Shore's original cacophony of percussion, trumpets, and aleatory French Horns is restored.


Fangorn (Disc One, Track Ten)
CR: 0:00_5:13
EE: 36:32_41:45

In this case, what was written as a single piece was edited quite a bit in the film, but in its original form can be played uninterrupted in conjunction with the visuals and still fit.

In the film, the opening 45 seconds that build as Aragorn begins to track the hobbits are cut. The short action piece as they run to the edge of Fangorn is intact. The marimba rendition of the Ent theme as the scene moves into the forest is cut, although the strings underneath remain in the film, as does the music for the subsequent chase sequence. Treebeard's awakening, underscored by a reiteration of the same figure heard as they reached the edge of the forest, is replaced by music tracked in from Weathertop. The bassoon solo as Treebeard carries the hobbits is not present; the final tense percussive phrases as he places them before the White Wizard are used in the film.


The Dead Marshes (Disc One, Track Eleven
CR: 3:11_5:08
EE: 46:22_48:19

In the film, the music leading up to the unused section has a different mix than the CR, but is still present. The unused music, starts at 3:11 with a blast of deep brass -- familiar from the OST -- as Frodo falls into the water. The half spoken, half sung choral passage is heard as he is surrounded by the ghosts....another jolting explosion of brass is heard as Gollum pulls him out. The History of the Ring is partially stated as Frodo strokes the Ring later that night. More of the aleatory device related to the Dead Marshes and partial brass hints at Gollum's Pity are heard as Frodo hears Gollum lamenting the loss of his precious.

Wraiths on Wings (Disc One, Track Twelve)
CR: 0:31_2:07
EE: 49:04_50:39

The film version is the same length as the original composition, but is edited a bit; the Wraith theme isn't developed as fully, and some of the choir is toned down. I have no idea why it was edited, as the cue, as written and recorded, is scary as hell...or Mordor, rather.

Gandalf the White (Disc One, Track Thirteen)
CR: 0:00_4:26
TE: 41:15_45:40

Due to the additions to this scene for the EE, the original composition can only be synced to the TE.

Most, but not all of the first 34 seconds -- which utilizes the Ent/Fangorn motif as the Three Hunters make their way through the trees -- is ued in the film. Note: to sync it you have to start the CD track as soon as the scene shifts to Fangorn, not the point where the music fades in during the film.

The slow musical build from 0:35_1:35 is not in the film, and is replaced by sound effects and the tracked statement of the Ent motif.

1:35_2:31 is in the film, as Gandalf is revealed to the Three Hunters.

The brass and timpani of 2:31_2:52 accompany the end of Gandalf's fight with the balrog, the choral excerpt from "The Fight" is heard as Gandalf plunges his sword into it and vanquishes it.

2:53_3:50 is also unused in the film. Deep brass, accompanied by a busy texture of violins and woodwind arpeggios underscores the balrog's fall and Gandalf's death. A flutter of woodwinds at 3:15 moves the scene to his journey through time and space, and 3:30 he returns to life. The scene shifts back to Fangorn...the CD track will be in sync till they reach the edge of the forest and Gandalf calls for Shadowfax.

The White Rider (OST)
CD: 0:40_2:28
TE: 45:19_47:06

The OST has an alternate version of the music for Shadowfax's appearance. This earlier draft opens with a horn passage when Gandalf whistles for his steed (in the final version, this brief section is left unscored), and the choral piece begins with a greater emphasis on the female voices, and has string arpeggios (that are reprised in "Forth Eorlingas") instead of horns.

Again, it syncs better with the TE, the cue starts at 0:40 on the track, and lines up with Gimli saying "Gandalf." The unused section of the track is 1:01_2:00.


Olórin Revealed (Fan Credits)
EE2: 2:04:33_4:55
0:00_0:24
TE: 43:24_43:48

The unused cue for the balrog fight is in the fan credits, and it has yet another alternate; the begining of it is Shore's original concept for Gandalf stepping out of the light and revealing himself to the Three Hunters. It opens with a short horn call, then moves into a setting of "The Fight". It's a bit on the heavy side, and was replaced after someone in the editing room experimented with using the choral triplets -- that utilize both "The Fight" and "The Call" -- Shore had already written for Gandalf's appearance at Helm's Deep. The more mystical feel of it apparently fit the scene, so Shore rewrote it, and incorporated the triplets, and by using the motive twice, created the White Rider (in Nature) theme.

"The Fight" is another motif relating to Gandalf's spiritual presence in Middle-earth, though. As I noted before, it is the slow choir underneath the rapid triplets in the WR(iN) theme, and it appears by itself several times when Gandalf is battling with his foes:

Foundations of Stone/Glamdring: 2:32 (unused section, see above), 3:32 (The Falling Star)

The White Rider/The Court of Meduseld: (0:00_0:07; 2:15_2:22) When he is revealed to Saruman as Gandalf the White.

Gandalf the White: (2:45_3:54) The end of the balrog fight. Incidentally, the fan credits version of this piece does not have choir. Whether that's because Shore didn't, at that point, intend to have choir there, or because it just hadn't been recorded yet, I don't know. My guess would be the latter though.

Forth Eorlingas (OST)
CD: 0:00_0:58

Yet another alternate for Gandalf being revealed to the Three Hunters...this one is essentially a longer version of what appears in the film, recorded for a lengthier cut of the scene, where, according to Doug Adams, "Gandalf simply took a bit longer to say hello."

Disc Two:


The Forests of Ithilen (Disc Two, Track Six)
CR: 2:14_2:54
EE: 1:41:07_41:47

This short cue was intended to underscore Gollum bringing Frodo the rabbits. Contrabass clarinet and bassoon play pathetic variations on the Hobbit Outline figure as Sméagol tries very hard to please nice Master. It ends as Sam informs him that there's only one way to eat a brace of coneys. Cut from the film because it's a bit too much on the comedic side....

CR: 3:26_3:44
EE: 1:43:21_43:39

In the film, this brief militaristic piece for Frodo's first view of the Haradrim is replaced by the Mumakil music, which makes it's intended entrance a short time later, therefore appearing twice, when it was only meant to accompany the.sight of the Oliphaunts.

Also of note, the entire sequence that ends Disc One can by synced with the CD by using these timestamps:

CR: 2:54_
EE: 1:42:50_

One of the Dúnedain/Evenstar (Disc Two, Track Seven; OST, Track Eight)
CR: 2:35_3:05
OST: 0:00_0:30
EE: 3:34_4:04

Elizabeth Fraser's beautiful solo, familar from the OST track, is not in the film mix for the scene where Aragorn recalls his conversation with Arwen; instead just the female choir and strings are heard. The CR uses it, as does the OST.

The Wolves of Isengard/Helm's Deep (Disc Two, Track Eight; OST, Track Twelve)
CR: 0:00_2:41
EE: 8:24_11:05

The CR version is much the same as the film, but with a few significant edits. The first is when Legolas spots the approaching Warg riders; the original composition uses a brass phrase to lead into a crescendo as the camera narrows in on his face (1:22 on the CR), then cuts to percussion as the shot goes back to the Wargs, then introduces the fiddle as it moves to the refugees. In the film, a short section of Khazad-dûm is tracked in, leading to a similar crescendo, but not until just before it cuts to the Rohhirim.

The other major edit is at 2:09, as we again cut to the Wargs, this time charging straight for the Théoden and the Rohhirim. The film abruptly cuts off the choir and uses a tracked rendition of the Isengard theme, with the chains on piano percussion, a brief reprise of the choir, then some tracked in harsh brass chords as the armies are about to clash. The original composition intertwines the Isengard theme -- with heavy drums and the low horns -- with an extended rendition of "The Call".

It's thrilling, all out action piece...one of the best in the score. And there's such a greater sense of desperation to it, Shore's glorious setting of the "Where is the Horse and the Rider?" poem for Old English choir, calling back and forth with the primal horns, and contending with the relentless pounding of the drums. I love it. The edited piece in the film really doesn't match up.

CR: 1:22_2:08
OST: 0:53_1:41
EE: 9:47_10:33

The OST has an alternate passage for the part of the sequence where Théoden tells Éowyn to lead the people to Helm's Deep. The film (and CR) use different mix that has a prominent fiddle instead of choir. Changed, I'm guessing, to reflect more of the vulnerable and emotional side of the Rohhirrim and to be more specific to Éowyn. And, so as to not drown out the dialogue. I do love the choir on the OST though.

The Voice of Saruman (Disc Two, Track Ten)
CR: 0:00_0:14
EE: 18:26_18:40

The first fourteen seconds, some rising brass chords, are unused in the film; they wouldn't have mixed well with the Orc chants, and there's more dramatic power when the Isengard theme comes in at that point of Saruman's speech.

Arwen's Fate/Breath of Life (Disc Two, Track Eleven; OST, Track Fourteen)
CR/OST: 0:00_1:53
EE: 20:06_21:58

CR/OST: 1:54_3:58
EE: 22:12_24:16

In the film, the first half of this track has some juggling around, some vocal lines are cut, and the alto flute solo meant for later is used as Aragorn mounts Brego. To sync the original cue to the film, note that you have to start it when Merry and Pippin see Saruman's army, a few seconds before the DVD chapter "Breath of Life" begins.

The solo woodwind passage already partially used, Elrond's conversation with Arwen is left unscored. Sheila Chandra's vocals are then tracked, and looped several times, as Arwen sees her vision of the future, and death, and then a section of "Gilraen's Song" from FOTR (performed by Hilary Summers) is tracked in as she weeps. The original composition for this scene, the aforementioned flute solo over a bed of strings, is one of the score's dramatic highlights...the film edit suffers both from the looping, and from the way it suddenly jumps from one vocalist to another.

Sons of the Steward (Disc Two, Track Thirteen)
CR: 0:59_1:36
EE: 31:09_31:46

The music written for Faramir's dream, a setting of "The Death of Boromir", was mostly replaced by high pitched sound effects. To sync the whole cue up, start at 30:10 on the DVD, it plays till 32:12....

Faramir's Good Council/The Forbidden Pool (Disc Two, Track Fifteen; OST, Track Thirteen)
CR/OST: 1:31_2:20/4:40_5:27
EE: 42:21_43:11

Only about the first ten seconds of this cue was used in the film; The Seduction of the Ring theme as Faramir comes looking for the Ring is cut off by the "Ring sound", and the subdued strings that would have ended the cue as Frodo pulls away go unheard, as well.


War is Upon Us (Disc Three, Track Two)

Three forlorn trumpet calls are woven into this composition as Théoden and the Three Hunters make their rounds of the battlements. When playing the cue against the film, the first call sounds over the long shot of Helm's Depp and Théoden's line "They will break upon this fortress as water on rock." (47:35) -- this is also where we first hear a trumpet in the film, but in the film it's the trumpet call from 1:15, which has been edited in early, along with the ending of the cue. The place where the cue fades out the film is the same place as where the second trumpet call would have gone, as Théoden begins to say "Within these walls..." Originally the cue would have faded out as Théoden says "What would you have me do?"

What is heard in the film:
CR: 0:00_1:00_1:15_1:30
EE: 46:33_47:50

As written:
CR: 0:00_1:30
EE: 46:33_48:03

Where is the Horse and the Rider? (Disc Three, Track Three)
CR: 4:31_5:04
EE: 56:44_56:17

These low strings, intended to underscore Aragorn's conversation with Haleth, were not used in the film.

The Host of the Eldar (Disc Three, Track Four)
CR: 1:03_1:09
EE: 59:47_59:53

This brief reprise of the Fellowship theme as the Elven archers stand at attention was cut as part of a creative decision to have the melody be associated exclusively with members of the Fellowship.

The Host of the Eldar (Disc Three, Track Four)
CR: 2:43_2:50
EE: 1:02:40_2:47

These two chords were not used in the film, they would have been heard after Legolas asks Gimli if he wants a box....

Master Peregin's Plan (Disc Three, Track 9)
CR: 1:54_2:19
EE: 1:21:24_21:49

As intended, this dark brass and strings passage would have been heard as Treebeard looks over the destroyed forest.

The Last March of the Ents(Disc Three, Track 10)
CR: 1:42_2:09
EE: 1:24:16_24:44

Replaced in the film by the "Ring noise", these droning strings that threaten to turn into the Seduction theme would have been heard as Sam tries encourage Frodo after they have been taken to Osgiliath.

CR: 2:09_2:31
EE: 1:24:53_25:15

This solo clarinet variation on the hobbit material would have underscored Sam's indignant speech to Faramir about how his brother died.

The Nazgûl Attack(Disc Three, Track 11)
CR: 1:21_2:45
EE: 1:27:17_28:41

The unused portion of the cue starts after Théoden says "What can men do against such reckless hate?". A militaristic drumbeat begins under the horn writing as Aragorn urges him to ride out. Then, as Gimli calls attention to the coming of dawn, and Gandalf's promise to return is recalled, the White Rider (in Nature) theme returns. This time the rapid choral triplets are at the forefront, and they increase in intensity, leading to a crescendo that cuts out before Gimli blows the horn. (note: the choir fades under the horn call. If this had been used in the film, I imagine it would have been edited)

The film, of course, uses a tracked in renditiom of The Reclamation of Nature from "The Last March of The Ents", which was the result of a decision by the filmmakers to emphasize the dramatic connection between Treebeard and Théoden's decisions to fight, as opposed to Shore's original composition -- heard here -- which highlights Gandalf's part in this, as the bringer of aid.

Théoden Rides Forth/Forth Eorlingas(OST, Track 16)
OST: 1:41_46
CR: 0:41_46

The original CD release contains an alternate for Gandalf's appearance atop the hill: it does not have the choral outburst of "Sceadufæx!". The reasons for this are unknown....perhaps the choral overlay had not been recorded in time to put it on the CD.

At this point I will note that the EE fancredits scroll has another alternate version of "Forth Eorlingas"(2:00:00-2:02:06) , sans both the cry of "Sceadufæx!" and Ben Del Maestro's solo as they ride down the hill. It sounds incomplete, but it is interesting to hear some of the details from underneath the solo.

Théoden Rides Forth (Disc Three, Track 12)
CR: 3:34_3:56
EE: 1:32:21_32:43 {under review}

The music for the Ents destroying Isengard was apparently written for a version of the scene that was about 30 seconds longer than the final cut; this section of the cue, where the orchestral fury momentarily stills, with sustained string notes, would have been in the film right after the dam is broken and the water pours down into Isengard (the edit at 1:32:21 is very obvious if you know it's there). The quiet moment would have underscored the reaction shots from Saruman, Treebeard, and the Hobbits, then as the water filled the caverns, the brass would kick back in and then the choir.

Presumably, the edit was made either just because they wanted to trim the scene down a bit....or because it was preferred that the orchestra rage unabated.

CR: 5:09_5:47
EE: 1:33:50_34:26

This unused cue would have entered when the Nazgûl rises in front of Frodo at Osgiliath. The first several seconds of the encounter would still be punctuated only by the sound of the wings flapping, but after that, instead of going into the "Ring noise", droning strings similar to what is heard in "Last March of the Ents" would come in -- again, evoking the "Seduction of the Ring". Harsh brass chords would come as Frodo nearly gives in and puts the Ring, but a string variation on the Fellowship theme would be heard as Sam knocks him down.

The Tales That Really Matter/Samwise The Brave(Disc Three, Track 13; OST, Track 18)
EE: 1:36:47_54
EE: 1:37:07_14

There are two edits for the album version of Sam's speech, both removing material used over reaction shots of Gollum: the first a held note, the other an extra downbeat chord. Both are necessary dramatically, but the music flows better in their absence.

Samwise The Brave(OST, Track 18)

OST: 2:45_2:54

The OST has the music for the TE transition from Osgiliath to Helm's Deep. This section was rescored for the EE, since the scene now moves to the Huorns, and that is what is heard on the CR.



ttbk

[kams]

Isn't Gollum's Song the same in CR, OST and movie, precious?

[TheTennisBallKid]

Well . . . the song is. There are three different versions of the end credits, however.



ttbk

[TheTennisBallKid]

My observations regarding Disc Three (except for the credits -- which I will get to along with Gollum's Song, and more quickly than I have been lately, I hope) have been edited into the previous post.



ttbk

[TheTennisBallKid]

Gollum's Song:
[0:00]The camera pulls back to show that the hardest part of the hobbit's journey still lies ahead: Mordor, a veritable vision of Hell.

Musically, strings and humming choir begin a variation on the Pity of Gollum theme.

[0:24]There is a cymbal (gong?) clash as the screen turns black.

[0:36]The music rises to a crescendo as the credits roll; the choir fades out, and the strings come to the forefront, accompanied by a harp. The theme is continued, but with a bit more anguish.

[1:13]Emiliana Torrini sings the first verse of the song:

Where once was light
Now darkness falls
Where once was love
Love is no more
Don't say—goodbye
Don't say—I didn't try

She is supported by strings, low brass, and again, a harp.

[1:50]She sings the chorus:

These tears we cry
Are falling rain
For all the lies you told us
The hurt, the blame!
And we will weep to be so alone
We are lost
We can never go home

The high strings from (0:36) return as counterpoint to her voice.

[2:28]She sings the second verse:

So in the end
I'll be—what I will be
No loyal friend
Was ever there for me
Now we say—goodbye
We say—you didn't try...

The harp is supplanted by an oboe, to rather eerie effect.

[3:04] The chorus returns:

These tears you cry
Have come too late
Take back the lies
The hurt, the blame!
And you will weep
When you face the end alone
You are lost!
You can never go home
You are lost
You can never go home...

[3:53]The last string notes fade out....

Gollum's Song is basically a further exploration of the Pity of Gollum theme; not merely reprising it, but continuing the development of it.

Throughout most of the first two films the Pity theme wanders, one of the more loosely formed themes in the score. It is also closely related to the History of The Ring theme, and the two themes are intertwined more and more as TTT moves along, till the Ring theme eventually wins out, as heard at the very end of the film...."and then we will be the master!"

Gollum's Song takes this often wispy theme and sets it in a firmer structure. The self-pity has turned to malice, and it has become menacing. The theme will be referenced in ROTK, but it will not return in its once familar guise.

I love the dark, moody feel of the song...

Some the orchestral details are quite lovely: the choir at the begining; the harp arpeggios; that oboe in the second verse (sends chills up my spine, that does...)

The lyrics, of course, also follow the dramatic shift from self-pity to hatred and betrayal...

My thoughts on Torrini's voice waver between thinking that it fits the tone and context of the song, and finding it irritating. It's certainly somewhat odd...and even when I don't outright dislike it, I don't really find it pleasant to listen to....

End Credits:

On the OST the song is followed by a short suite of the Rohan themes; an original composition written for the end credits by Shore (much the same as the triumphaunt Fellowship theme fanfare that ends FOTR, and the contemplative Wagner homage at the end of ROTK).

[3:54]The strings play an rendition of Éowyn's theme, which leads to...

[4:16]A brass heavy arrangement of the Rohan theme, nearly identical to the cue for Théoden's awakening, except without the fiddle solo, and it's allowed to resolve (unlike the abrupt ending to the film cue). It ends with solos for French Horn (5:20) and then trumpet (5:27) that lead to a grand orchestral finale. It's about as satisfying an ending as I could possibly imagine, and is one of my favorite pieces of music from the films.

Because the film's credits are a few minutes longer, the remaining time was filled with an assortment of pieces tracked together from elsewhere in the score:

[Gollum's Song: OST, CR, film]
[Éowyn's Theme: OST, CR, film]
[Seduction of the Ring (excerpted from the end of "The Forbidden Pool": CR, film]
[White Rider in Nature (alternate, lengthier cue for Gandalf's appearance in Fangorn that is on the OST at the begining of "Forth Eorlingas": film]
[Diminshment of The Elves: film]
[Rivendell theme (taken from the opening of "The Leavetaking"): CR, film]
[Evenstar theme (taken from alternate version of "Evenstar"): CR, film]

This is most notable, because it opens with a solo English Horn instead of Isabel Bayrakdarian's vocals. It's absolutely beautiful.

[Rohan theme finale: OST, CR, film]

And that's Howard Shore's epic masterpiece: The Lord of the Rings: The Two Towers.

Does anyone want to listen to The Return of the King?


ttbk

[Voronwë the Faithful]

As, I've said before, the Return of the King soundtrack is the only one that I am fairly well familiar with. I can't promise to have much to say (though I will try) but I would be very interested in your observations, and those of others (Eru?) that have more musical knowledge than I have.

[TheTennisBallKid]

I don't think this thread needs much introduction regarding its purpose or content, but I will say that for me the ROTK album is probably the most frustatingly brief one....which is inevitable, I guess, when you have to choose 72 minutes out of more than four hours of music.

I will also say that I hope to be able to complete this discussion before ROTK:CR is released. But that's only a fool's hope.



A Storm is Coming
[0:00]The music begins over a black screen. The score opens with a cross between the wandering Pity of Gollum theme and the stepwise Hobbit theme. A bouncy, waltz-like string phrase leads into....
[0:32]The History of the Ring theme, over the "The Lord of the Rings" title card. This rendition of the Ring theme differs a bit from what was used for the first two films' openings; it's slightly slower, and there's a greater emphasis on the strings....
[0:48]The film begins, and the scene of Déagol and Sméagol fishing is underscored by a flute solo that is in the same vein as the music that began this track. "Pastoral" comes to mind as an obvious description.
[1:14]Some the more playful Hobbit material from the first two scores is referenced here, building to a peak as Déagol falls into the water.

There is some unreleased suspense music as Déagol is pulled along by the fish. Then, when he sees the Ring....

[1:39]The History of The Ring is played by solo violin, with ominous low brass counterpoint...

There is some more unreleased music as he stumbles out of the water, mostly low rumblings from the orchestra; he looks at the Ring, and the Seduction of the Ring theme appears, sung by boys choir:

I tuo, i macil The strength, The weapon
Astaldoron mauri The needs of the valiant
nai Corma macilya Be the Ring your weapon
I tuo, i macil The strength, The weapon (repeated in the singing)Á lelyat túrenna! Go to victory!

There are some quieter horns as Sméagol asks for the Ring, but when Déagol refuses to give it to him....

(from here on, the music on the CD does not appear in the film; my comments here are based on playing the CD from 1:54 on while watching the TE DVD from 3:13 on....)
[1:54]As they stand facing each other, the tension rises along some slow string chords...
[2:03]There is a hit from the low ends of the orchestra as they begin to struggle. The basses continue in this vein, thumping out two pitches from the Descending Third motif, the brass plays the Seduction theme, increasing in intensity till....
[2:16]The whole string section plays the Seduction theme melody twice through, while the bass continue in the background....
[2:22]The Ring falls to the ground and the struggle continues; the Evil of the Ring/Sauron theme appears briefly on the Rhaita, and then the Seduction theme and Descending Thirds play against and around each other till the end of the fight, winding down after Sméagol gains the upper hand, and the track ends with a couple heartbeat-like thuds on the timpani.....



There are several interesting things going here, the first being the cross between Gollum's theme and the Hobbit's theme that opens the score....my lack of musical education will probably show here, but the best way I can find to express it is that the melody is the Pity of Gollum's, but the way it moves around belongs to the Shire material. Obviously, it's linking Sméagol to his Hobbit beginings...much the same way as his theme was linked to the History of the Ring in TTT.

It's something that will happen a lot in ROTK: themes interconnecting and changing form, as the story begins to draw towards a close....

The violin solo of the Ring theme as Déagol finds the precious is a rather unique rendition of the theme; nowhere else is it imbued with that much tragedy, at least not so overtly...it always has that ancient, weary feel to it...but the violin sounds especially sad; it's not just lamenting Déagol's impending death, it's mourning that the Ring has been found, and all the woe that it brings with it....

Probably most interesting to me in this track is the Seduction of the Ring theme: the devolpment that it undergoes, what was left off the film, and what was left off the CD.

Throughout the first two films, we have seen the Ring trying to seduce men, and hobbits, to take it, to use it; and the theme is always sung by a boys choir, sounding so innocent....

It is only here and now that we see its siren call be successful, and only here and now does the theme get to show its true colors: not a gentle, pure boys choir, but a violent orchestral explosion!

So, of course, it was cut from the film.

It was replaced by the high-pitched "Ring sound" and the heartbeat sound effects. On the sound featurette on the extended DVD set the sound designers explain that this was done because they felt that "emotional darkness" of the scene was brought out better this way. This may be fair enough an assement; the scene is certainly very dark and I find it hard to watch, and the sound design plays a large part in that.

But, in their use of one device to show the Ring's power over those who come near it, they neglect a stronger and more nuanced way to do the same thing; there is some continuity with the sound effect -- it was used in TTT -- but the music has been present since the first film. And the sound effect is oppressive from the start, it doesn't change, it doesn't...seduce.

The inclusion of one statement of the theme on the CD or film and exclusion of the other makes for a weaker listen in both cases. Context is very important here (this is usually the case in this thematically-heavy score, but here especially....). Fortunately, we'll be able to hear the whole thing the way it should be in a few months or so....




ttbk

[Voronwë the Faithful]

Yeah! I've said before that the ROTK soundtrack is the only one that I have any real familiarity with. Of course, at this time, it's been a while since I've listened to it, but I'll try to give it another listen soon. I'm not sure how much I'll be able to say even so, I lack the knowledge to comment intelligently. But I'll try to add a few insights here and there, at the very least. Mostly I am greatly looking forward to reading YOUR insights, ttbk, and those of our other knowledgable musicians (Eru, are you out there?) regarding this music that I am bit more familiar with.

I really love that gentle flute solo, and the 'pastoral' Hobbity feel building in violence as the Ring takes hold of Déagol and Sméagol. As so often happens in these films, it is the music that makes this scene a success.

[Primula Baggins]

This is my favorite of the three scores just as it's my favorite of the three films. I really look forward to reading what you've got to say about some of the tracks I especially love, ttbk!