The Lord of the Rings Score Analysis Project
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The Return of the King, disc 1, track 1:

Roots and Beginnings

[00:32-00:47] The History of the Ring
From the Annotated Score: "As it has twice before, the History of the Ring theme accompanies the on-screen title, and the final third of The Lord of the Rings begins."
[01:14-01:35] The Hobbits' Antics accompaniment

[02:14-02:30] The History of the Ring
From the Annotated Score: "(Déagol falls in the water, the music darkens for the first time,) only to be parted by another of the hobbits' signature sounds, the solo fiddle. Once again the History of the Ring sounds — the One Ring has lured another hand."
[02:53-03:24] The Seduction of the Ring
From the Annotated Score: "The Seduction of the Ring sounds in the boys chorus as Déagol peels his fingers back, exposing the powerful ornament. Close behind, Sméagol, Déagol's fishing companion, spots the glinting Ring. If Déagol is intrigued, Sméagol is bewitched. The transfixing Seduction theme continues as Sméagol leans in close and demands, 'Give us that, Déagol, my love.'"
[03:44-04:13] The Seduction of the Ring *
Magpie notes: "This repeating line sounds similar to the Seduction theme, as if the orchestra is trying to get it out and it can't quite form or find it."
[04:13-04:36] The Evil of the Ring (Sauron/Mordor) *

[04:13-04:36] The Seduction of the Ring *
From the Annotated Score: "Unrelenting, Sméagol's attack is met with a chilling musical counterpart—an intersection of the Seduction and Evil themes for the One Ring. This is to be an overriding trend in Howard Shore's score to The Return of the King. The Fellowship of the Ring and The Two Towers illustrated, through the hobbits' eyes, the ever-expanding scope of Middle-earth, and the limitless extent to which the One Ring had affected it. But here, as the story draws towards its conclusion, that scope, the breadth of storytelling, has come to singularly focus upon the plight of the One Ring. Shore's diverse thematic catalogue begins to fold inwards, combining material as it reaches a common terminus."
[04:24-04:40] Mordor Descending Third *
From the Annotated Score: "Behind Sméagol and Déagol's conjoined Seduction and Evil themes another line forms, crawling and scratching along the orchestra's bottom. The Descending Third figure is but one of many ancillary lines associated with Mordor, yet to hear it here, so far from its home, associated with two simple characters who were, only moments ago, fishing upon a cool blue river, is cruelly upsetting."
[04:44-04:59] The History of the Ring *
From the Annotated Score: "But the angular music of Mordor is appropriate to this setting. Under the Ring's overwhelming influence, Sméagol murders Déagol. Pinched settings of the History theme mark a new hand bearing the Ring. (A spindly oboe line descends, trickling down through the orchestra as Sméagol flees for the Misty Mountains and begins to change.)"
[05:25-05:55] The History of the Ring *
From the Annotated Score: "Time passes as the History theme reemerges, encountering a new rising and falling line outlining minor harmonies upon its return."
[06:17-06:32] The Pity of Gollum (Sméagol's Theme) *
From the Annotated Score: "As Sméagol twists and withers we hear the earliest incarnations of The Pity of Gollum."

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