Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt

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Shadow and Flame

The track listing for The Fellowship of the Ring has been revealed:

Disc One

  1. Prologue: One Ring To Rule Them All

  2. The Shire

  3. Bag End

  4. Very Old Friends

  5. Flaming Red Hair

  6. Farewell Dear Bilbo

  7. Keep It Secret, Keep It Safe

  8. A Conspiracy Unmasked

  9. Three Is Company

  10. The Passing Of The Elves

  11. Saruman The White

  12. A Shortcut To Mushrooms

  13. Strider

  14. The Nazgûl

Disc Two

  1. Weathertop

  2. The Caverns Of Isengard

  3. Give Up The Halfling

  4. Orthanc

  5. Rivendell

  6. The Sword That Was Broken

  7. The Council Assembles

  8. The Great Eye

  9. Gilraen's Memorial

  10. The Pass Of Caradhras

  11. The Doors Of Durin

  12. Moria

  13. Gollum

  14. Balin's Tomb

Disc Three

  1. Khazad-dûm

  2. Caras Galadhon

  3. The Mirror Of Galadriel

  4. The Fighting Uruk-hai

  5. Parth Galen

  6. The Departure Of Boromir

  7. The Road Goes Ever On…

This set will be complementary with the 2001 soundtrack album release, so things like the theatrical film version of "The Great River" will only be on that disc, along with minor changes like additional trumpet or French horn lines that don't appear in the film versions. The original version of the "Prologue" will not appear on the new disc either.

Tracks will be the length of the cues as they appear in the film. While this sounds like they might end up being the voluminous monstrosities that populated the RCA Victor (now Sony) Return of the Jedi release, according to Jeff Bond they are quite reasonable, the longest being eleven minutes and change. That and you won't get that annoying hiccup between cross-faded tracks on your portable mp3 player.

Jeff Bond on EE material versus theatrical material:
Let’s say an EE scene added 1:15 of new material right in the middle of a scene. (This is generally how the EE scenes were added, if you look. It’s very rare that it would be 0:15 here, 0:15 there.) Anyway, the scoring team would take the theatrical composition and figure out where in the music the added footage would occur. For example, in a 200 measure composition, that new 1:15 might occur between measure 50 and measure 51. So now you’ve got 25 new measures to write between 50 and 51. So Shore’s team would take the score and look at 50 and 51 in the original theatrical score. If they found that, say there’s a rhythmic brass figure that begins in measure 45 and ends in 51, then they would make the note that you can’t cut directly into the score at50, even if that’s really where the new footage begins. No matter how carefully and how expertly this cut would be made, the audience would still hear an unnatural clip in the music and a rather stilted performance. The team would note, ok, we can cut it at bar 44, as there’s just a sustained string chord here. That we can fade in to. So Shore would write a new composition, beginning on measure 44’s string chord. He would include the original brass line beginning in measure 45 and ending one measure after the old bar 50, then write 25 measures of new music to match the EE scene. But at the end of this 25, when he returns to the old measure 51, he’s left with the final three notes of a brass figure. It makes no musical sense to leave this on its own, so the EE piece may have to include a new version of the original measure 51, this time written to dovetail into a sustained woodwind chord in measure 52 (original).

So, essentially what you’ve ended up with as an EE composition is a 32 bar composition that works perfectly as a bridge inserted into the theatrical music, but is not a complete musical statement on it own. As you can see, obviously you don’t want to include this insert on its own, as recorded.

Likewise, it doesn’t really make sense to include the 200 bar theatrical composition AND the 225 bar EE composition, because 200 bars of that EE composition would be a literal repeat of the theatrical piece – the exact same recording, in fact.
Tags: film music, howard shore, lord of the rings

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