Lacey!!
hi.
Cerin, I love it too...
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The first half of this track is taken from Gandalf's exorcism of Théoden.
[0:00}A deep string chord, as Gandalf flings off back his cloak and reveals himself to be Gandalf the White.[0:03]Mixed choir and brass issue the same challenge he gave to the balrog: " Mettanna!(To the end!)"[0:13]The choir, in Old English(Rohhiric):
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Lim-strang wæs geboren
Bearn inga
Magorinc
in byrde
An extract from
The King. On the CD it's edited down by about ten seconds, what is heard in the film is in bold below:
Lim-strang wæs geboren Strong-limbed he was born
Bearn léod-cyninga This son of Kings;
Magorinc Mearces. This warrior of Rohan.
Bunden in byrde tó laedenne Bound by birth to lead.
Bunden in lufe tó ðegnunge Bound by love to serve.
Lang beadugear cýðað Long years of war begin to show.
Lic onginneð búgan. The body has begun to bend.
Swift déadlic géar Stieppað geond willan. Swift mortal years outpace the will.
Ac éagan gíet lóciað Beorhtre gesihðe; But the eyes still watch clear-sighted.
Heorte gíet béateð. The great heart is beating still.'
So it is about Théoden, whose life the wizards are contending over.
The underscore during all this is just as, if not more, interesting. The Isengard percussion beat is heard, and also a brass passage that illustrates the genius of Shore's Isengard and White Rider themes. In a musical effect similar to the mixing of Lee's and McKellen's voices in Fangorn, Shore leaves it open to interpretation whether he is using one theme, or the other. Or both. Just as Gandalf is Sauruman as he should have been, the White Rider theme is the Isengard theme as
it should have been. Both open with the same three notes, after that they're structure is slightly different; 'Isengard' pauses briefly, then there are three more ascending notes; 'White Rider' adds a fourth note, which becomes the first note of another four notes...
(I didn't realize all this completely till just now. I, too, am learning...)
'Tis touches such as this that let me appreciate these scores on levels intellectual, as well as visceral.
The second half is from after Gandalf's return, and Shadowfax's first appearance.
[0:40]Gentle string arpeggios, he has come back, at the turn of the tide.[1:02]Horn fanfare as he whistles for his steed.[1:15]Female choir(till 1:44), then male choir, over more string arpeggios sing:
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for ðon hé waes Sceadufæx for he was Shadowfax,
hláford ealra méara Lord of all Horses.
From
The Mearas.
[2:00]The White Rider theme makes its first appearance in the score, and is magnificently stated by brass and strings as Gandalf and the Three Hunters make their way over the plains of Rohan.
The piece from 1:02 to 2:00 is an alternate, and is not used in the film. The film version (which
Hirgon has) has horns rather than strings, and places a greater emphasis on the male voices.
To sync the whole piece from :40 onward with the film, you have to start it at about 45:19 into the TE DVD, it fits perfectly. If someone just has the EEs, I can figure out how to do it for just Shadowfax's appearance, but it's trickier...
TtBk
It's a testament both to Shore's ability as an artist, and the incredible opportunity PJ gave him...three years to write a twelve hour score for an epic fantasy is a dream job, really unheard of. And...I won't osgiliate into a discussion of King Kong. *muttermutter* 
I'm glad to be able to share what knowledge and passion I have for this...
The second was in Sith, where Anakin and Padme are each in a tower looking out toward each other as the late afternoon draws on, and Anakin is slowly making a terrible choice. The sad, contemplative music created the depth of emotion in that scene.
