Film score – A brief analysis.
For clarification this article refers to the first film in the Lord of the Rings Trilogy – The Fellowship of the Ring, directed by Peter Jackson.
The Fellowship of the Ring is scored by Howard Shore, a Canadian composer who has scored a number of Hollywood movies. The score for The Fellowship of the Ring is almost entirely orchestral-based but also uses voices and choir. There are a number of recurring motifs throughout the film. The overall sound of the movie could be described as big and epic though there are at times welcome contrasts. I am going to assume the reader is familiar with the plot.
Even as the logo of the film production company appears and the film begins, there is a synth like sound dropping in pitch inside a cavernous reverberant space. It sounds like wind blowing. Female voices then quietly chant over a low drone note. This eventually morphs into an orchestra which starts playing what will become the familiar theme associated with the Ring. This is played by the strings. As the music plays there is a voice-over explaining the origins of the Rings. There is a sense of foreboding and ancient dark mystery that is enhanced by the music.[00:00:00-00:01:20]
As the film recounts the history of the Rings, the scene shifts to an ancient battle, and the music changes to reflect the new scene. There is use of fortissimo choir and repeated beating of a bass or Taiko drum during battle scenes [00:02:20-00:03:40]. The music reflects the important and brutal nature of the battle. The theme of the Ring eventually returns, played on violins over slow brooding chords whilst its history is told.
The music then shifts mood entirely as the scene changes to the Shire and a new theme starts, played on clarinet [00:06:48-00:07:20]. This will become a theme associated with the Shire, Hobbits, and the quiet countryside. The orchestration becomes sparser and there is the sound of the fiddle and flute which helps to convey the cheerful atmosphere as the Hobbits prepare for a party. This is another theme that will return many times.
At the party itself there is use of Diegetic music. Use of flute and fiddle and some plucked instruments as musical accompaniment for the Hobbits dances. There is also a scene earlier in the film when Gandalf appears for the first time and he is humming a tune to himself.
There is a discussion between Gandalf and Bilbo with regards to the ring. Frequent changes of music accompany the dialogue but quite often slow dark sounding chords are heard when the Ring is mentioned. This helps to convey the dark power of the Ring.
Gandalf departs suddenly to confirm the nature of the Ring, and there are some dissonant chords played as he leaves. In related scenes there is a quickening of the music with rising sequences played by the string section. This quickening technique is used at times to create a sense of anticipation and urgency.
The Scene shifts to a dark place – Mordor. There is cacophonous and dissonant use of horns, brass, and choir as the black horse riders (Nazgul) ride out. The cacophony enhances the sense of chaos and evil.[00:26:30-00:27:03]
As the hobbits leave the Shire, there is the hint of a new theme starting which will eventually develop into something we could call the Fellowship theme. [36:30-37:10]. This is made more obvious later on [1:26:35-1:28:20] and reoccurs several times and is associated with the Fellowship and a sense of heroism.
A new theme is played, predominantly by the brass section, that will become associated with Saruman and his armies [1:01:49-1:02:10].
I have tried to cover the principal themes above. The themes are not so much associated with individual characters, but rather places and concepts and are repeated throughout the film often with different orchestration to convey mood changes.
The film ends and the credits are displayed: the music is quiet, slow and peaceful: string chords with a vocal melody provided by Enya [2:45:00]. Very calming after the epic adventure we have just had for near enough 3 hours!
Jim Mennell Music 