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The Lord of the Rings Trilogy: Music from the Motion Pictures Arranged for Solo Piano The Lord of the Rings Trilogy: Music from the Motion Pictures Arranged for Solo Piano
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Previously available only in three separate volumes, Howard Shore's award-winning music for the Lord of the Rings trilogy is now available as a deluxe single volume of solo piano sheet music. Adorned with gorgeous color stills from the motion pictures, this is the ultimate music tour of Middle-earth for intermediate and advanced pianists.

The Lord of the Rings Trilogy Gift Set The Lord of the Rings Trilogy Gift Set
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One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind themIn ancient times the Rings of Power were crafted by the Elven-smiths, and Sauron, The Dark Lord, forged the One Ring, filling it with his own power so that he could rule all others. But the One Ring was taken from him, and though he sought it throughout Middle-earth, it remained lost to him. After many ages, it fell by chance into the hands of the hobbit Bilbo Baggins.From his fastness in the Dark Tower of Mordor, Sauron's power spread far and wide. He gathered all the Great Rings to him, but always he searched far and wide for the One Ring that would complete his dominion.On Bilbo's eleventy-first birthday, he disapeared, bequeathing to his young cousin, Frodo, the Ruling Ring and a perilous quest: to journey across Middle-earth, deep into the shadow of the Dark Lord, and destroy the Ring by casting it into the Cracks of Doom.THE LORD OF THE RINGS tells of the great quest undertaken by Frodo and the Fellowship of the Ring: Gandalf the Wizard; the hobbits Merry, Pippin and Sam; Gimli the Dwarf; Legolas the Elf; Boromir of Gondor; and a tall, mysterious stranger called Strider.

A Christian can almost be forgiven for not reading the Bible, but there's no salvation for a fantasy fan who hasn't read the gospel of the genre, J.R.R. Tolkien's definitive three-book epic, the Lord of the Rings (encompassing The Fellowship of the Ring, The Two Towers, and The Return of the King), and its charming precursor, The Hobbit. That many (if not most) fantasy works are in some way derivative of Tolkien is understood, but the influence of the Lord of the Rings is so universal that everybody from George Lucas to Led Zeppelin has appropriated it for one purpose or another. Not just revolutionary because it was groundbreaking, the Lord of the Rings is timeless because it's the product of a truly top-shelf mind. Tolkien was a distinguished linguist and Oxford scholar of dead languages, with strong ideas about the importance of myth and story and a deep appreciation of nature. His epic, 10 years in the making, recounts the Great War of the Ring and the closing of Middle-Earth's Third Age, a time when magic begins to fade from the world and men rise to dominance. Tolkien carefully details this transition with tremendous skill and love, creating in the Lord of the Rings a universal and all-embracing tale, a justly celebrated classic. --Paul Hughes

The Fellowship of The Ring The Fellowship of The Ring
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Part Oneof the Triology "The Lord of the rings."

Risk: Lord of the Rings Trilogy Edition Risk: Lord of the Rings Trilogy Edition
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The classic game of conquest travels into Middle-earth with this special edition of RISK. Adapted after the battles waged in The Lord of the Rings, it features a highly detailed Middle-earth game board drawn by an official cartographer from the film, and a gold-tone pewter replica of The Ring. Choose to command a Good or Evil force, unite your armies and go into battle with specially sculpted characters, representing Elven Archers, Riders of Rohan Orcs, Dark Riders, Eagles and Cavetrolls. Play by classic RISK rules or add in The Lord of the Rings twists. Uncover ancient Sites of Power around Middle-earth, maximize your powers before the Fellowship leaves the land, and use your leader to aid you in this time-honored game of strategy and daring. Includes 20x20" game board, ring, 4 armies, 42 territory cards, 2 wild cards, 40 adventure cards, 3 red dice, 2 black dice and an instruction book. For 2 to 4 players. Ages 9 and up.

Toybiz Prologue Elrond Lord Of The Rings Trilogy Action Figure Toybiz Prologue Elrond Lord Of The Rings Trilogy Action Figure
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"This incredibly detailed, fully poseable action figure is based on the Lord of the Rings Triolgy. The combination of laser-scanning technology coupled with intricate sculpting has flawlessly captured the likenesses of the actors, their costumes and weapons. This Elrond figure comes with authentic character-dedicated accessories and sword attack action! "

Trivial Pursuit: The Lord of the Rings Movie Trilogy Collector's Edition Board Game Trivial Pursuit: The Lord of the Rings Movie Trilogy Collector's Edition Board Game
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In this Trivial Pursuit Collector's Edition, see how much you can recall about the Fellowship and their quest through Middle-earth. How much do you remember from Frodo and Sam's perilous travels to Rivendell, the battles in Moria, the Battle of Helm's Deep or Frodo's travels to Mount Doom? Includes 1800 questions from The Fellowship of the Ring, The Two Towers, and The Return of the King, and specially designed topics that include Good, Evil, Things, Places & History, Warfare & Making Movies. CONTENTS: Gamboard, 300 Question-and-answer cards in a storage box, 1 Die, 4 Pewter pawns, 30 Scoring wedfes, 1 Goldtone ring, 1 Plastic Ringwraith, and Instructions. For 2 to 4 players or teams/Adults

Lord of the Rings Trilogy 24x36 Poster Art Print Lord of the Rings Trilogy 24x36 Poster Art Print
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New Full Size Poster. High Quality. Suitable for Framing.

Lord of the Rings Trilogy 24x36 Poster Art Print Lord of the Rings Trilogy 24x36 Poster Art Print
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New Full Size Poster. High Quality. Suitable for Framing.

Lord of the Rings - Trilogy Poster Movie 11x17 Elijah Wood Ian McKellan Viggo Mortensen Sean Astin MasterPoster Print, 17x11 Lord of the Rings - Trilogy Poster Movie 11x17 Elijah Wood Ian McKellan Viggo Mortensen Sean Astin MasterPoster Print, 17x11
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Decorate your home or office with high quality wall décor. Lord of the Rings - Trilogy Poster Movie 11x17 Elijah Wood Ian McKellan Viggo Mortensen Sean Astin is that perfect piece that matches your style, interests, and budget.

The Lord of the Rings: The Motion Picture Trilogy (The Fellowship of the Ring / The Two Towers / The Return of the King Extended Editions + Digital Copy) [Blu-ray] The Lord of the Rings: The Motion Picture Trilogy (The Fellowship of the Ring / The Two Towers / The Return of the King Extended Editions + Digital Copy) [Blu-ray]
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The Quest Is Over: All three extended versions in dazzling 1080p and DTS HD-MA 5.1 Audio. Deluxe set includes over 26 Hours of spellbinding behind-the- moviemaking material, including the Rare Costa Botes documentaries, on 15 discs. The Lord of the Rings: The Fellowship of the Ring Extended Edition: With the help of a courageous fellowship of friends and allies, Frodo embarks on a perilous mission to destroy the legendary One Ring. The Lord of the Rings: The Two Towers Extended Edition: In the middle chapter of this historic movie trilogy, the Fellowship is broken but its quest to destroy the One Ring continues. The Lord of the Rings: The Return of the King Extended Edition: The final battle for Middle-earth begins. Frodo and Sam, led by Gollum, continue their dangerous mission toward the fires of Mount Doom in order to destroy the One Ring.

As the triumphant start of a trilogy, The Lord of the Rings: The Fellowship of the Ring leaves you begging for more. By necessity, Peter Jackson's ambitious epic compresses J.R.R. Tolkien's classic The Lord of the Rings, but this robust adaptation maintains reverent allegiance to Tolkien's creation, instantly qualifying as one of the greatest fantasy films ever made. At 178 minutes, it's long enough to establish the myriad inhabitants of Middle-earth, the legendary Rings of Power, and the fellowship of hobbits, elves, dwarves, and humans--led by the wizard Gandalf (Ian McKellen) and the brave hobbit Frodo (Elijah Wood)--who must battle terrifying forces of evil on their perilous journey to destroy the One Ring in the land of Mordor. Superbly paced, the film is both epic and intimate, offering astonishing special effects and production design while emphasizing the emotional intensity of Frodo's adventure, and ends on a perfect note of heroic loyalty and rich anticipation. After the breaking of the Fellowship, Frodo and Sam journey to Mordor with the creature Gollum as their guide in The Two Towers. Meanwhile, Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies) join in the defense of the people of Rohan, who are the first target in the eradication of the race of Men by the renegade wizard Saruman (Christopher Lee) and the dark lord Sauron. Fantastic creatures, astounding visual effects, and a climactic battle at the fortress of Helm's Deep make The Two Towers a worthy successor to The Fellowship of the Ring, grander in scale but retaining the story's emotional intimacy. With The Return of the King, the greatest fantasy epic in film history draws to a grand and glorious conclusion. The trilogy could never fully satisfy those who remain exclusively loyal to Tolkien's expansive literature, but as a showcase for physical and technical craftsmanship it is unsurpassed in pure scale and ambition, setting milestone after cinematic milestone as Frodo and Sam continue their mission to Mordor to destroy the soul-corrupting One Ring. While the heir to the kingdom of Men, Aragorn, endures the massive battle at Minas Tirith with the allegiance of Legolas, Gimli, and Gandalf, Frodo and Sam must survive the schizoid deceptions of Gollum, who remains utterly convincing as a hybrid of performance (by Andy Serkis) and subtly nuanced computer animation. Jackson and cowriters Fran Walsh and Philippa Boyens have much ground to cover; that they do so with intense pacing and epic sweep is impressive enough, but by investing greater depth and consequence in the actions of fellow hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), they ensure that The Return of the King maintains the trilogy's emphasis on intimate fellowship and remains faithful to Tolkien's overall vision. By ending the LOTR trilogy with noble integrity and faith in the power of imaginative storytelling, The Return of the King, like its predecessors, will stand as an adventure for the ages. --Jeff Shannon and David Horiuchi Our Review of the Extended Edition on DVD (Dec. 14, 2004): The extended editions of Peter Jackson's The Lord of the Rings present the greatest trilogy in film history in the most ambitious sets in DVD history. In bringing J.R.R. Tolkien's nearly unfilmable work to the screen, Jackson benefited from extraordinary special effects, evocative New Zealand locales, and an exceptionally well-chosen cast, but most of all from his own adaptation with co-writers Fran Walsh and Philippa Boyens, preserving Tolkien's vision and often his very words, but also making logical changes to accommodate the medium of film. While purists complained about these changes and about characters and scenes left out of the films, the almost two additional hours of material in the extended editions (about 11 hours total) help appease them by delving more deeply into Tolkien's music, the characters, and loose ends that enrich the story, such as an explanation of the Faramir-Denethor relationship, and the appearance of the Mouth of Sauron at the gates of Mordor. In addition, the extended editions offer more bridge material between the films, further confirming that the trilogy is really one long film presented in three pieces (which is why it's the greatest trilogy ever--there's no weak link). The scene of Galadriel's gifts to the Fellowship added to the first film proves significant over the course of the story, while the new Faramir scene at the end of the second film helps set up the third and the new Saruman scene at the beginning of the third film helps conclude the plot of the second. To top it all off, the extended editions offer four discs per film: two for the longer movie, plus four commentary tracks and stupendous DTS 6.1 ES sound; and two for the bonus material, which covers just about everything from script creation to special effects. The argument was that fans would need both versions because the bonus material is completely different, but the features on the theatrical releases are so vastly inferior that the only reason a fan would need them would be if they wanted to watch the shorter versions they saw in theaters (the last of which, The Return of the King, merely won 11 Oscars). The LOTR extended editions without exception have set the DVD standard by providing a richer film experience that pulls the three films together and further embraces Tolkien's world, a reference-quality home theater experience, and generous, intelligent, and engrossing bonus features. --David Horiuchi Versions of Lord of the Rings: The Motion Picture Trilogy on Blu-ray and DVD Original Theatrical Edition Platinum Series Special Extended Edition Original Theatrical and Extended Limited Edition Original Theatrical Edition [Blu-ray] Extended Edition [Blu-ray] Release Date May 25, 2004 Dec. 14, 2004 Aug. 29, 2006 Apr. 16, 2010 TBA Format/Disc # Three DVDs 12 DVDs Six DVDs Three Blu-ray Discs, Three DVDs, Three Digital Copies 15 Discs Total: Films are on Blu-ray, with Special Features on DVDs Digital Copies No No No Yes, on three discs (expired Apr. 4, 2011) Yes, online (expires Jun. 26, 2012) Extra footage None 30 minutes added to Return of the King; 43 minutes added to The Two Towers; 50 minutes added to Return of the King For all three films: Both the theatrical and extended edition on one disc None Same as extended-edition DVD Commentaries None Commentary by Peter Jackson, Fran Walsh, and Philippa Boyens; Commentary by the design team; Commentary by the production/post-production team; Commentary by the cast, including Elijah Wood, Ian McKellen, Sean Astin, Andy Serkis, John Rhys-Davies, Orlando Bloom, Christopher Lee, and Miranda Otto None None Same commentaries as extended-edition DVD Documentaries Fellowship of the Ring: "Welcome to Middle-earth," "The Quest for the Ring," "A Passage to Middle-earth"; The Two Towers: "On the Set: The Lord of the Rings: The Two Towers"; "Return to Middle- earth"Return of the King: Three documentaries: "The Quest Fulfilled: A Director's Vision," "A Filmmaker's Journey: Making The Return of The King," "National Geographic Special: Beyond the Movie" "From Book to Vision," "From Vision to Reality," "The Journey Continues...," Documentaries on J.R.R. Tolkein, "From Book to Script" documentaries, "Designing and Building Middle-earth," "Home of the Horse Lords," "Gollum," "Filming 'The Two Towers,'" "Visual Effects," "Editorial: Refining the Story," "Music and Sound," "The Battle for Helm's Deep is Over..."; "Filming The Return of the King," "Weta Digital," "Post-Production: Journey's End," "The Passing of an Age," "Cameron Duncan: The Inspiration for 'Into the West'" Three behind-the-scenes documentaries by Costa Botes, the filmmaker director Peter Jackson personally hired Same as theatrical-edition DVD Same as extended-edition DVD, plus Costa Botes documentaries from the Original Theatrical & Extended Limited Edition Featurettes Fellowship of the Ring: 15 featurettes originally created for lordoftherings.net; The Two Towers: Eight featurettes originally created for lordoftherings.net; Return of the King: Six featurettes None None Same as theatrical-edition DVD None Other Features Exclusive 10-minute behind-the-scenes previews of The Two Towers and The Fellowship of the Ring; Enya "May It Be" music video; An inside look at the Special Extended DVD Edition of The Lord of the Rings Trilogy; Preview of Electronic Arts' video games; DVD-ROM features: Exclusive online content; Emiliana Torrini "Gollum Song" music video; "The Long and Short of It," a short film by Sean Astin; "The Lord of The Rings" Trilogy Supertrailer Design Galleries; "Middle-earth Atlas: Tracing the Journeys of the Fellowship" interactive map; "New Zealand as Middle-earth" interactive map w/on-location footage; production photos; "The Mumakil Battle" demonstration / multi-angle interactive feature; "DFK6498" short film, "Strike Zone" short film, DVD-ROM access to exclusive online features None Same as theatrical-edition DVD Same as extended edition DVDs; see above for complete special features

DVD Information

Binding: Blu-ray
Aspect Ratio: 2.35:1
Audience Rating: PG-13 (Parental Guidance Suggested)
Brand: NEW LINE HOME VIDEO
Manufacturer: New Line Home Video
Original Release Date:
Actors:
  • Elijah Wood
  • Viggo Mortensen
  • Ian McKellen

Lord of the Rings: Trilogy Trailer Lord of the Rings: Trilogy Trailer
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Lord of the Rings: The Fellowship of the Ring Lord of the Rings: The Fellowship of the Ring
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Music from The Lord of the Rings Trilogy Music from The Lord of the Rings Trilogy
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Music Tracks

Binding: Audio CD
Artist:
Format: Soundtrack
Number of Discs: 2
Manufacturer: Silva America
Original Release Date:
Tracks Disc Number: 2
Tracks:
  • The Fellowship Of The Ring: The Fellowship
  • The Fellowship Of The Ring: The Prophecy
  • The Fellowship Ring: Concerning Hobbits
  • The Fellowship Of The Ring: The Shadow Of The Past/A Knife In The Dark
  • The Fellowship Of The Ring: The Bridge Of Khazad Dum
  • The Fellowship Of The Ring: May It Be
  • The Two Towers: The Riders Of Rohan
  • The Two Towers: Evenstar
  • The Two Towers: Forth Eorlingas/Isengard Unleashed
  • The Two Towers: Gollum's Song
  • The Return Of The King: Hope And Memory/Minas Tirith
  • The Return Of The King: The White Tree
  • The Return Of The King: Twilight And Shadow
  • The Return Of The King: The Fields Of Pelennor
  • The Return Of The King: The Return Of The King/Finale
  • Into the West
  • Gollum's Song
  • May It Be
  • Into The West

Lord of the Rings trilogy trailer



The Music of Middle Earth - an Analysis on the Use of Music in the Film: "the Lord of the Rings: the Fellowship of the Ring"

The Lord of the Rings: The Fellowship of the Ring was the first movie in the Lord of the Rings Trilogy, based on the popular fantasy books written by J.R. R. Tolkein. The movie was a blockbuster hit at both the box office and at the Oscars. The story, in and of itself, is creative, captivating and magical. But even a wonderful story can flop when put onto the big screen. Cinematography, special effects, visual effects and the quality of acting all play an important part in making a story “live” for an audience. Music also plays a vital part in making a movie successful. Music can make us feel that we are in another place and time. It captures our emotions by creating an ambiance of happiness, sadness, tension, fear or excitement. Music helps suspend our disbelief about the fantasy of the story. It helps us identify with distinct characters, places and cultures. The music of The Lord of the Rings: The Fellowship of the Ring, does all of these things. Through music, composer Howard Shore successfully takes us to Middle Earth.

The Lord of the Rings: The Fellowship of the Ring takes us to another time and place. Howard Shore’s music tells us that we have left our world before we’ve seen even the first frame of the film. As the screen fades from black into the New Line Cinema icon, we hear music. The music has an Eastern sound, using woodwind instruments from Africa and East India. The sound is quaint and mysterious. It gives us the feeling of being in a far away land and contributes to the suspension of disbelief that helps the audience subconsciously consent to be taken to a place with which they are not familiar.

The mystical music that we hear during the first few moments of the film is soon joined by a voice – the voice of the Elf queen Galadriel, of Lothlorien. This music that we hear is the theme of Lothlorien. Every time that we see or hear of Lothlorien or Galadriel, we hear a version of this theme.

Peter Jackson, director of The Lord of the Rings: The Fellowship of the Ring, understood the importance of a musical score in a movie. He said, "The music score to any film, obviously, is very important because it guides your emotions when you're watching the film. The actors can do their job, the director can do (his) job in terms of creating a certain mood and emotion, but using music is so strong and evoking of what you should be feeling at any given time."

Jackson continued, "I wanted the music (of The Lord of the Rings: The Fellowship of the Ring) to reflect Tolkien. I wanted the music to also bring the world of Middle Earth to life."

Howard Shore the composer said, "Tolkien spent fourteen years writing The Lord of the Rings. And now you're writing a musical image, creating a musical mirror, if you will, to his writing. And I mention this so often - even in other discussions - and I feel like Frodo. I did feel like that. Like I have this amazing journey to take, and I had the ring in my vest pocket and 'You were chosen, now you're going to write the music to Lord of the Rings. And, you have to do it."

Peter Jackson added this regarding the huge task that Howard Shore had in composing the music for the The Lord of the Rings: The Fellowship of the Ring, "It's doing two jobs at once. It's underscoring the film. It's providing an emotional link - a bridge between the movie and the audience - and it's drawing the audience in. But it's doing it in such a way that it's also telling you a lot about the cultures of this world."

Therefore, every major place, race and character in this movie has a musical theme attached to it. This film has a large number of characters, cultures and races. The distinct races, geography, trees, nature, and the earth itself were a big part of Tolkein’s story. It would have been very easy for the audience to become confused trying to distinguish between the many peoples and places of Middle Earth. Giving each of these elements a musical theme makes them live as individual characters, all contributing to the essence of Middle Earth.

The Shire, for example, is the place where the Hobbits live. The Hobbits are a peaceful people and they live a quiet life. Any sort of adventure is a scandal. They are an agrarian society and live as part of the land. Even their homes are burrows in the ground. Howard Shore uses music to “describe” Hobbits and the Shire to the audience. Their theme is very light and cheerful. A slide flute accompanied by a full orchestra give a Celtic or Irish feel. This accomplishes the feeling of another time, but brings the audience a little closer to home and gives a feeling of comfort. A solo violin carries the melody for a while until the full string section finishes the theme, but whenever the Shire is mentioned or referred to in the movie the score refers us back to the slide flute.

The Fellowship, made up of people and creatures from different races, has its own distinct theme. “As the two Hobbits leave Hobbiton and set out on their own, you hear the first statement of the Fellowship theme in the corn field, because it's essentially the first time that the Fellowship is formed," said Mr. Shore.

When the four Hobbits are on their way to the village of Bree, they are running from the “Nasgul”, or Ring Wraiths. There is very little dialogue during this scene. Our emotions are heightened and we feel the tension of the moment through the musical score. This is accomplished largely through dissonance. Our ears like to hear nice chords. Notes that are close to each other in value sound terrible to us. In the theme of the Ring Wraiths, the chords that clash are used to make us to feel uncomfortable. The movie makers want us to squirm in our seats. They want us to feel fear. The French horns are playing staccato quarter and eighth notes in a building rhythm while the strings are on descending eighth notes that continually clash. Add a men’s choir chanting an Elvish poem and it makes for a very confusing and intense moment.

Then while in the village of Bree, the Hobbits think that they are finally safe. We see images of them sleeping in their beds smiling. The scene then cuts to the Ring Wraiths coming into the village. The dissonant music becomes louder. Cut to the inn keeper’s face in horror as the Wraiths enter his inn. Cut to the peaceful Hobbits in their beds. All the while, dissonant and ancient sounding music is playing loudly. Then silence. As the Wraiths approach the Hobbits in their beds there is silence. This adds to the tension. We hold our breaths. This is a stroke of genius. Knowing when to not have music, or score, is just as important as knowing when to include it.

As soon as the Wraiths discover that they were tricked, however, the angry dissonant Wraith theme returns with a fury to remind us how serious the situation is. Even though the Hobbits are safe for the moment, they will never really be secure or free until they have accomplished their goal. The music reinforces this to the audience, as a version of the Wraith theme plays softer while Frodo watches the Wraiths from across the street from the Inn.

The Ring itself has an interesting theme. The Ring, though an inanimate object, is a character of its own. Its essence is evil and its intent is to deceive and enslave. The theme of the Ring portrays all of that through instrumentation and dissonance. It is appropriate that the main instrument used for the theme of the Ring is the oboe. The oboe is the instrument used to charm a snake out of a basket. It is also often associated with seduction, or allure. The ring certainly personifies that. Frodo, Bilbo, Gollum and many others were seduced, even addicted, to the Ring.

The wizard, Gandalf, goes to visit his superior and mentor, Sauraman, at the tower of Isengard. We believe at first that Sauraman is still a friend to Gandalf.

Once the story reveals that Sauraman has turned to the side of darkness, the musical theme, as well, “tells” us that the tower of Isengard is a place of evil. Howard Shore uses several methods to give that feeling. Dissonance is used to portray a feeling of uneasiness or apprehension.

Also, during the musical theme for the Tower of Isengard, Howard Shore uses an odd way of timing so that we feel off balance. Anytime that we see the tower of Isengard and the forging of weapons, Mr. Shore adds a beat to throw us off and make us feel uncomfortable. We are used to hearing music in common time (or four-four time), with four beats to each measure, and that feels right to us. The industrial sounding theme uses a five-four time which makes us uncomfortable by adding an extra beat to each measure. Also, French horns are used for the main melody, but Howard Shore also relies on the bass drum, tympani and a chime or bell to give the effect of a hammer pounding away down in the depths of the caverns underneath the tower.

Rivendell, a city of the Elves, has a theme of its own. This is a western haven for the Elves. We feel the peace and the beauty of the city, as well as its antiquity, through the music. This is quite different from the theme of Lothlorien. We are made to feel comfortable here at this place.

When the Fellowship leaves Rivendell and sets out on its journey, the theme of the Fellowship is fully revealed. The theme is naturally lyrical, aimed at the brass, but is restrained by a fully mixed and realized string section. The music is heroic and we feel the importance of their quest. We are excited and proud of them for making the decision to destroy the Ring and save Middle Earth.

Later, the Fellowship takes refuge in the Mines of Moria, only to discover that they are trapped inside a Dwarf “tomb”. The theme music of the Mines of Moria features a men’s chorus made up of Polynesian men. Peter Jackson had this to say about the music for the mines of Moria. "We sat around our kitchen table at home talking about the choral arrangement ideas for Moria and I thought it would be really great to weight it fairly heavily toward Polynesian singers. Maury or Pacific Islanders who have again, another worldly quality to their voice."

"Mines being a Dwarven kingdom would really suit having those male voices. A bit like a Welch mining choir. So, Howard found himself in the town hall with an all-Polynesian male choir."

At the bridge of Khaza-Dhum, the Fellowship is chased by the Moria Orcs. The Polynesian men’s choir and the tympani drums heighten the tension and excitement of the scene. The members of the Fellowship cross the bridge, but Gandalf stays behind to fight the Balrog. The music crescendos to an all-time forte until Gandalf falls from the bridge. Then very suddenly, the music goes into a very soft and melodic hum with just a single boy singing, lamenting for Gandalf. Under this beautiful theme, the camera shows a montage of the members of the Fellowship reacting to the loss of Gandalf. We see the characters faces and expressions of grief, but it is the music that makes us feel with them. The music “guides” our emotions and we feel as they do.

Later, when the Fellowship enters the forest of Lothlorien, we again hear the theme that was introduced at the beginning of the movie. There is also a twist of tension and mystery to this theme. As the Fellowship creeps through the forest, we sense through the music that they are wary of being in this land of the Elves. We sense that they fear that they will not be welcome.

In Lothlorien, when Boromir speaks of his home in Gondor, we hear a very brief part of the theme of Gondor, offered by a solo French horn, foreshadowing a people that we have not yet seen. The full theme of Gondor, however, is not revealed until the third part of the trilogy.

Critics of the music in The Lord of the Rings: The Fellowship of the Ring say that there is just too much music. This simply is not true. This film was successful largely because of the comprehensive score. The extensive music in this film augments what is happening on the screen and enhances the experience for the audience. At every important moment in this film, the music is there to “guide” the audience emotionally. The music also helpes suspend our disbelief in a world that might otherwise seem ridiculous and surreal.

This film has an extensive number of characters, places, cultures and races. It would have been very easy for the audience to become confused. Howard Shore uses music to help the audience distinguish between the different groups and places by giving them their own distinctive themes.

Through the musical score, we know what to feel. We feel fear when the Hobbits are on their way to Bree. We feel sadness when Gandalf falls. We feel tension when Arwen is trying to get Frodo to Rivendell. We celebrate when the Fellowship sets out on their incredible journey. We understand the emotions of the characters and we feel with them. We become part of Middle Earth. And the musical score of The Lord of the Rings: The Fellowship of the Ring helps take us there.

About the Author

Stuart Heimdal is an inspiring movie director and producer. Over the last few years he has also been a movie editor.
Stuart composes and orchestrates most of his own music. To view Stuart's works, please log onto: http://www.stuartheimdal.com

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