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The Music of Middle Earth – an analysis on the use of music in the movie: "The Lord of the Rings: The Fellowship of the Ring"

The Lord of the Rings: The Fellowship of the Ring was the first film in the trilogy The Lord of the Rings, based on the popular fantasy books written by JRR Tolkien. The film was a commercial success, both at the box office and Oscar. The story itself is creative, exciting and magical. But even a beautiful History may flop when put on the big screen. Cinematography, special effects, visual effects and the quality that we all play an important role in taking a history "live" for an audience. Music also plays a vital role in achieving a successful film. Music can make us feel we are in another place and time. It captures the emotions by creating an atmosphere of joy, sadness, tension, fear or excitement. Music can suspend our disbelief about the fantasy of the story. It helps us to identify with different characters, places and cultures. The music of The Lord of the Rings: The Fellowship of the Ring, does all these things. Through music, the composer Howard Shore has managed to get to Middle Earth.

Lord of the Rings: The Fellowship of the Ring leads us to another time and place. Howard Shore's music tells us that we have left our world, even before we saw the first frame of film. As the screen goes black icon in the New Line Cinema, we hear the music. The music sounds of the East using wind instruments from Africa and the East Indies. The sound is strange and mysterious. It gives us the feeling of being in a distant country contributes to the suspension of disbelief that helps the public unknowingly consent to be taken to a place they are unfamiliar.

The mystical music you hear during the first moments of the film is soon joined by a voice – the voice of the Elf Queen Galadriel of Lothlorien. The music we hear, is the theme of Lothlorien. Whenever we see or hear or Galadriel of Lothlorien, we hear a version of this theme.

Peter Jackson, director Lord of the Rings: The Fellowship of the Ring, has understood the importance of a musical score in a movie. He said: "The partition of any which movie, of course, is very important because it guides your emotions when you watch the movie. The actors can do their job, the manager can do (his) job in terms of creating a certain mood and emotion, but the music is so strong and help in referring to what you should you feel at any given time. "

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

Howard Shore The composer said: "Tolkien has spent fourteen years to write The Lord of the Rings. And now, you write a musical image, creating a mirror of music, if you want to write. And I mention so often – even in other debates – and I feel like Frodo. I felt like that. Because I have this amazing journey to take, and I had the ring in my vest pocket and "You've been selected, now you go write the music for The Lord of the Rings,. And you have to do. "

Peter Jackson has added this matter to the enormous task that Howard Shore had to compose the music of Lord of the Rings: The Fellowship Ring, "is doing two jobs at once. This underlines the film. By providing an emotional connection – a bridge between the film and the audience – and it is by drawing the audience in. But doing so it also tell you a lot about the cultures of the world. "

Therefore, all the main sites, race and character in this film has a musical theme associated with it. This film has many of characters, cultures and races. The different races, geography, trees, nature, and the earth itself have been a big part of history Tolkien. It was very easy for the public to be confused trying to distinguish between the many peoples and places of Middle Earth. Giving each these elements of a musical theme that sustains them as individual characters, which all contribute to the essence of Middle Earth.

The county for example, is where the hobbits live. The Hobbits are a peaceful people and they live a quiet life. Any kind of adventure is a scandal. They are a company land and live in the land. Even their homes are burrowing into the ground. Howard Shore uses music to "describe" and Hobbits of the Shire to the audience. Their theme is very light and gay. A slide flute accompanied by a full orchestra to give a sensation Celtic or Irish. This leads to the feeling another time, but gives the public a little closer to home and gives a feeling of comfort. A violin is the melody for a while until that the full string section ending theme, but each time the County is mentioned or referred to in the film score us back to the slide flute.

The fellowship, made up of people and creatures of different races, has its own distinct theme. "As the two Hobbits leave Hobbiton and start their own business, you hear the first statement of the theme of awards in the cornfield, because it is essentially the first Once the award is made, "said Mr. Shore.

When the four Hobbits are on their way to the village of Bree, they are running the "Nasgul" or Ring Wraiths. There is very little dialogue in this scene. Our emotions are strengthened and we feel the tension of the moment thanks the musical score. This is accomplished largely by dissonance. Our ears like to hear the Nice agreements. Notes that are close to each other in his tremendous value us. In the theme of the Ring Wraiths, the strings of this confrontation are used to make us uncomfortable. Filmmakers want to make us uncomfortable in our seats. They want us to feel fear. The French horns playing quarter and eighth notes in a staccato pace of construction while the strings are down quavers that continue to face. Add a chorus of men singing a poem Elven and he did a very confusing time and intense.

Then, while in the village of Bree, the Hobbits think they are finally safe. We see images of people sleeping in their bed, smiling. The scene then cuts the Ring Wraith the village entrance. The dissonant music becomes stronger. Cut to deal with the landlord, the Wraith horror into his inn. Cut Hobbits peacefully in their beds. During this time, dissonant music and plays very old probe. Then silence. As the Wraith approach the hobbits in their beds, is silence. This adds to the tension. We hold our breaths. It is a stroke of genius. Knowing when not to have music or the score is equally important that to know when to include it.

When the Wraith discover that they were deceived, however, anger dissonant theme Wraith returns with a fury to remind us how the situation is serious. While the hobbits are safe for the moment, they will never really be secure or free until they reach their goal. The music reinforces the public, as a version of the theme Wraith plays softer look while Frodo the Wraith from across the street from the hostel.

The ring itself has an interesting theme. The Ring, if an inanimate object, is a character full. Its essence is evil and his intention is to deceive and enslave. The theme of the ring is all thanks to the 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 a basket. It is also often associated with seduction, or charm. The ring certainly personifies. Frodo, Bilbo, Gollum and many other have been seduced, even addiction, to the ring.

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

Once the story has revealed that Sauraman turned to the side of darkness, the musical theme, as well, "says that" the tower of Isengard is a place of evil. Howard Shore uses several methods to give this feeling. Dissonance is used to describe a feeling of unease or apprehension.

Also, during the theme song of the Tower of Isengard Howard Shore uses a curious way of timing when we feel off balance. Whenever we see the tower of Isengard and the forging of weapons, says a beat Shore shake us and make us uncomfortable. We are accustomed to hearing music in ordinary times (or four time), with four beats in each measure, and that feels right to us. The industrial sounds theme uses a five-four that makes us uncomfortable in adding an extra beat in each measure. In addition, French horns are used for the main melody, but Howard Shore is also the bass drum, timpani and a chime or a bell to give the effect of a hammer pounding away in the depths of caverns beneath the tower.

Rivendell, a city of the Elves, has a theme of its own. It is a haven for Western Elves. We believe that peace and beauty of the city, and its antiquity, through music. It's very different from the theme of Lothlorien. It makes us feel at home here in this place.

When the fellowship leaves Rivendell and sets on his journey, the theme of the scholarship is fully revealed. The theme is naturally lyrical, to the brass, but is held by a wholly mixed and produced a string section. The music is heroic, and we feel the importance of their quest. We are pleased and proud to take them the decision to destroy the Ring and save Middle Earth.

Later, the stock market took refuge in the Mines of Moria, only to discover they are trapped inside a dwarf "grave". The theme music of the Mines of Moria has a male choir consists of men Polynesians. Peter Jackson had this to say about the music for the mines of Moria. "We sat around our kitchen table at home talking about ideas choral arrangement of Moria and I thought it would be really good for weight rather strongly to Polynesian singers. Maury or Pacific Islanders who Again, another world of quality to their voices. "

"Mines are a dwarf kingdom would really have the voice of men. Just like Welch a chorus of mines. Thus, Howard was in the hall with a chorus all-Polynesian men. "

At the bridge of Khaz-DHUM, the scholarship is expelled by the Orcs of Moria. The Polynesian men's choir and tympani drums heighten tension and excitement of the scene. The members of the exchange cross the bridge, but Gandalf stays behind to fight against the Balrog. The crescendo of music on a high all the time until Gandalf falls from bridge. Then Suddenly, the music goes in a very soft and melodic singing with just a buzz single boy, lamenting Gandalf. Under this beautiful theme, the camera shows a montage of exchange members to respond to the loss of Gandalf. We see the characters' faces and expressions of pain, but it's the music that makes us feel with them. The music of "guides" of our emotions and we feel like they do.

Later, when the stock enters the forest of Lothlorien, we have again heard the theme that was introduced at the beginning of the film. There is also a touch of tension and mystery to this topic. As creepy Fellowship through the forest, you feel through the music they are wary of being in this country of the Elves. We feel that it is feared that will not be welcome.

In Lothlorien, where Boromir speaks of his house of Gondor, we hear a very brief Gondor theme, hosted by a solo French horn, heralding a people we have not yet seen. The theme full of Gondor, however, is not revealed until that the third part of the trilogy.

Critics of the music in The Lord of the Rings: The Fellowship of the Ring say that there just too much music. This is simply not true. This film has succeeded in large part because of the full score. The music in this film depth increases, which is happening on the screen and improves the experience for the audience. At every important moment in this film, the music is there to "guide" the audience emotionally. The music helper also suspend our disbelief in a world that might otherwise seem ridiculous and surreal.

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

Through the music, we know what to feel. We feel fear when the Hobbits are in their way of Bree. We feel sad when Gandalf falls. We feel the tension when trying to get Arwen Frodo to Rivendell. We celebrate when the stock market exhibits on their incredible journey. We understand the emotions of the characters and we think with them. We become part of Middle Earth. And the musical score of The Lord of the Rings: The Fellowship of the Ring helps us make here.

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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