Elysse Ostlund Film Score Review In 2001 Peter Jacksons film trilogy began.

Based on the books written by J.R.R Tolkien, the series is the story of a young Hobbit, Frodo, who must destroy an evil Ring of Power by returning it to the fires in which it was forged. The small, innocuous, creature must endure a perilous journey and resist the evil power and temptation of The Ring. The first of the series, The Lord of the Rings: The Fellowship of the Ring, is the beginning of Frodos journey. of a group of adventurers to guide and protect Frodo as makes the journey to destroy the Ring. Howard Shore composed, directed, and produced the music for all of the films. His innovative musical production won numerous awards including a Grammy for Best Score Soundtrack Album. The music throughout the films is made up of a wide variety of leitmotifs. He draws from these established leitmotifs for each scene, sentence, and situation of the film. Through this technique, Shore creates a palette of emotions and memories that are cued by each motif and therefore allows these emotions to build throughout the development of the plot. One of the most recurring leitmotifs is one associated with the home of the Hobbits, the Shire. It is first established in the beginning of the film with the introduction of the protagonist and the life style of the Hobbits. The theme is repeated when there is a reminiscence of The Shire either implied or spoken. The theme comes to represent the characters longing for things to be the way they were before the task fell to them. The Shire is the motivation, hope, and comfort for the Hobbits. Those emotions also become associated with the theme, as it is sounded whenever the characters overcome hopelessness or fatigue. The motif flows genially into another, often referred to as The Fellowship Theme. Triumphant, heroic, and full of motion, the theme implies the brave effort being put forth by

the characters to complete an impossible task. It begins to evoke feelings of moving forward despite uncertainty and pain. Shore uses the combination of these two motifs to majorly enforce the meaning of the story. The Shire motif emotes that there is longing for the past but hope is drawn from it. The Fellowship Themes motion and energy show that with hope the hero has what is needed to overcome and continue. Its introductory work of The Shire motif is Concerning Hobbits which is made up entirely of the theme with little variation of it. The most prominent instrument in the introduction of The Shire motif is a pennywhistle, or Irish tin whistle. The melody is carried alternately between the pennywhistle and a solo violin. There are strong string parts which play the melody in response to the solos and provide consistent broken chordal support. The melody begins with a quick rising half step sequence preceded by a slow decent with larger intervals. The next phrase reverses the previous with the rising progression made up of larger, slower, intervals and the decent consisting of half steps. The harmonic support from the strings is closely related to the melody being played by the pennywhistle. It plays every major note along with the soloist but holds them longer while the pennywhistle plays the details and embellishments of the melody. This focusses the attention to the pennywhistles melody while strengthening its influence. The violin melody contrasts with the flowing, docile pennywhistle. It shares a peaceful quality but features a quicker more playful tune with heavy staccato. The melody is smoothly taken from the solo violin by the entire strings section. It has a rushing upward motion and as the melody reaches its peak, the notes become longer and louder. The whole piece has a folk setting which alternates between a comfortable, complacent melody and a rushing, moving, quickened melody. This illustrates Frodos conflict between his desire for adventure and his longing for home.

The first appearance of the Fellowship Theme is short, quiet, and undeveloped. A repetition of the The Shire flows instantly and smoothly into it. Frodos loyal companion, Sam, stops walking to question his courage. The Shire motif sounds as the character tenderly relates If I take one more step, it will be the farthest from home Ive ever been. The theme is now directly tied to home. As Frodo offers encouragement and thoughts of adventure, the Fellowship Theme begins and the first two members of the Fellowship cross the line of familiarity. This introduction of a courageous melody is subdued but no less potent. It pushes the plot from the Shire and into the unknown because the viewer is no more familiar with this melody as the Hobbits are with their path. The Fellowship melody is led by strong brass with another strings accompaniment. The melody takes long bursting strides at its opening and continues up and down in symmetrical triplets. Using only two notes, Shore descends perfectly back into the beginning of the tune. Throughout the film, as tensions rise, the motif is given heavier orchestration and busier accompaniment. As the characters are fleeing from their enemies, the main brass instrument is louder and larger. The violin accompanists are in frenzy moving up and down an atonal arpeggio. Unrest, fear, and haste are felt but the heroism never fades. One of the most powerful organizations of motifs is used while the Fellowship is traveling the mines of Moria. As they battle and flee an army of Orcs the developed Fellowship theme sounds. There is silence as the Orcs suddenly dissipate and, as the Fellowship begins to understand why, there is a deep, pounding, drone containing the words of Tolkiens Song of Durin in Tolkiens invented Dwarven language. Orchestration joins the menacing chant and the words are grunted without a melody, a setting based in the Samoan Hakka. The grunts are the words to Tolkiens written Dwarven song about the

Balrog, the fiery giant the Fellowship are about to face. As the Fellowship race through the mines and the Balrog approaches, the brass section gives a growing atonal chromatic progression. Frodos lifetime friend, mentor, and protector, Gandalf sends the Fellowship on and turns to face the Balrog. Gandalf ultimately fells the Balrog, but falls into the depths of Moria himself. At this moment Shores musical skill and responsibility are at their greatest. There is little sound aside from the music itself. There is a high female voice sounding clear, long vocables. This consistent ringing high notes imitate a number of human reactions to shock and death. The incessant high sounds leave the ears ringing as ears would be after being subject to the immense roars of a giant flaming beast and witnessing the death of one as important as Gandalf. The reality of the quest now hits the Fellowship and their shock is expressed when the all that can be heard is this incessant ringing. The sounds also resemble anguished cries, especially as the film shows members of the Fellowship weeping as they mourn their leader. This short moment, taking all of maybe three minutes, as the emotional high point of the film, is expressed entirely through music. Howard Shore has received major acclaim and notoriety for his work on The Lord of the Rings Series, and rightfully so. He builds his own set of musical characters and uses them like a pallet to paint the emotions that need to be expressed. Each scene builds on the next as the viewer becomes familiar with each leitmotif. The music can be listened to and understood on its own, but holds more emotional power when presented with the story. Shore and Jackson together established perfect balance of focus. The music never distracts from the plot or dialogue but is definitely featured as a major mode of expression.