Through the boy’s choir singing the tune, this enchanted-ness is portrayed as something innocent and pure (as a child) and therefore serves to provide the ring with a sense of not being as dangerous as it is made out to be. This scary responsibility of the ring bearer, as well as how easy it is to get enchanted by the ring, is an ongoing theme throughout the movies. Throughout the movies, several characters refer to their desires and temptations to take the ring but are scared to be corrupted by it. In closing, this theme very much translates all the temptation and evil that the ring stands for. Towards the end of the story when the ring is destroyed, the Orcs are swallowed by the Middle-earth, Sauron’s eye is extinguished, the fourth age of the middle earth has begun, and Gondor is reborn, all the material from: “The History of the Ring,” “Evil Times” and “Seductions”, combine to create a harmonic plate to release the suffering and horror that has been brought upon everyone by the ring. In terms of harmony, whilst this theme at first appears to have all the characteristics of a D minor harmonic line, it truly begins on the fourth degree of an A minor scale with the B natural concluding this (so it is a Bb against a suggested A minor harmony).
![the lord of the rings ring sketch the lord of the rings ring sketch](https://assets.dragoart.com/images/10985_500/l-o_5e4c994da9edf9.49847169_48028_3_3.jpg)
This indicates that the ring with all its alluring dangers is connected to the people in the Fellowship, putting their collaboration in jeopardy. Additionally, when taking the second phrase of The Fellowship theme, it quotes the first three notes of The Seduction theme. This theme stays more or less consistent throughout the story and seldom remodels orchestration or notation (as, contrastingly, most other themes do). The chosen instrumentation of using boys to sing the theme brings a form of purity to the theme-something bewitching and raw-to lure people into the rings trap. This version is presented by a chanting boys choir, punctuated by bass drum strokes (Adams, 2011) resulting in an alluring atmosphere, portraying the victim’s (possibly) fatal attraction to the ring. Variation 3: “The Seduction of the Ring” (Adams, 2011) It suggests that now instead of the ring being something that may jeopardize everyone, it is definitely something that will put everyone in danger. This application of darker instrumentation serves to amplify the rings growing cryptic powers. Later on in the story, this theme is also blended with “The Story of the Ring,” played in horns, trombones, and tuba. Besides, what provides this variation with an Eastern feel is the utilization of the North African double reed rhaita, “ A kind of oboe, a double reed horn with a flared bell” (Katz, Aykroyd and Landis, 2016). This can be shown by the augmented second (moving from bar three to bar four). This adaptation of The Ring theme is limited to four pitches and is employed in an Eastern-tinted harmonic way (Adams, 2011). Variation 2: “The Evil of the Ring” (Adams, 2011) This is because, in the film, Gollum’s past is very much interweaved with the Ring. Another fact deserving mentioning is that this variation of the Ring’s theme intertwines with Gollum’s theme (Adams, 2011).
The lord of the rings ring sketch movie#
This tune stays consistent in the first movie and starts to display notable moulding in The Two Towers, as the storyline intensifies. Nevertheless, “The History of the Ring” is merely the commencement of the journey of the ring and is only the revival of it. First, we are presented with a murky chord, which then settles into a nice consonant chord and therefore, the music exactly translates what the ring is supposed to represent maliciousness and lies. Moreover, when merging together the first nine notes of the melody, an A minor triad with augmented ninth results (Adams, 2011). With the continuation of this melodic line, we face an area of harmony where two harmonic areas overlap A minor and F minor. Harmonically, this theme is in minor mode, with the melody occurring on a raised fourth atop a minor triad. Because this human-like nature is given to the ring-a small object-it indicates that it possesses powers as deep as influencing humans around it by its mere presence. The way the music for this tiny gadget is written, speaks a lot about the bigger meaning of the ring. Shore remarks that he “writes in a breathing sort of rhythm so it feels natural. This theme is extremely crucial to this movie as the entire plot-line orbits around it. Variation 1: “The History of the Ring” (Adams, 2011)