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RIDERS of ROHAN Original Music Soundtrack

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THEME FOR ROHAN

I'll never forget my first hearing of the Rohan refrain composed by Howard Shore for 2002's The Two Towers. As the Hardanger melody rang out across the theater, I was completely mesmerized. This was the Rohan of my dreams, suddenly given voice in melody! It was stunningly, intuitively perfect. Of all the themes to be found running through Peter Jackson's trilogy, this one really resonated with me.

Fast forward 10 years. LOTRO has tasked me with creating a theme for their Rohan, a new and different theme than Shore's. What? How is this possible??? Shore's theme was so perfect in the film. The only way I could approach such a task was to think about Rohan in broader terms than the movie presented.

How does one broadly define Rohan? A storied nation in decline? A land simmering on the verge of all-out war? Anglo-Saxon reference with Medieval overtones?  Hardy people, individual and family tenderness, triumph and tragedy, crops and kinships, determined men and women, though wary and weary? Nobility, hope, sadness and uncertainty?  Yes, yes, yes, yes and yes! All of these intangibles somehow had to thread themselves through a new theme for Rohan.

And so it begins. The theme is introduced on classical violin played in a Celtic fiddle style. The initial modality is minor, setting up the somber tone.  The melody moves on hooks of appoggiatura, so prevalent in Old English music.  This places the theme squarely in the Northwestern European tradition, tying it tightly to Tolkien's Anglo-Saxon source material.  Other instruments join the theme, including European Whistle, Bass Recorder and Uillean Pipes.

All of these colors come from Northwestern Europe of centuries past, clueing us again that the theme is contemporary to the rise of Anglo-Saxon culture.  The progressing harmonies alternate between minor and major tonalities, suggesting the ongoing struggle of the Rohirrim.  Triplet melodies against a 6/4 meter further reinforce the cultural resonance.  As the theme approaches its apex, there is a triumphant modulation toward ultimate victory.  And yet the resolve, though major, is a weak resolve (adding even a suspension to the chord) leaving a fragile uncertainty hanging in the air.

SHADOW OF THE ARGONATH

The music begins with a slow and slightly unfocused version of the Gondor theme played on French Horns and Uilleann Pipes, representing an erosion of Gondor's vision and leadership among the men of the West.

The theme wants to rise in nobility, power, might and strength. We can hear it reaching, stretching, striving, even striking a stout cadence for a moment. But it cannot sustain! Stewards alone can never muster the stateliness necessary to bear off the theme (nor the world of men) in full splendor. Uilleann Pipes echo off into the distance, suggesting the long gone majesty that once was the throne of Gondor.

And then, about 1:05 into the track, there is an injection of hope. We get a second rendition of Gondor's theme that's a little more focused, a little more pure, played on Penny Whistle and Uillean Pipes. The Penny Whistle represents Frodo. Frodo brings hope!  The Pipes represent the past glories of Gondor's kings, embodied by Aragorn. The two instruments interlace and support one another, symbolic of how the fates of the two men are now unavoidably intertwined.

There is a gently climactic rise toward hope, but then doubt as the Pipes and Penny Whistle echo off into an unknown future. And lest we forget that there's peril in the East Wall, we have the Bass Recorder, low drum and slightly dissonant strings to bring us back to present dangers.

Nevertheless, the Horn and Whistle rise together one last time in unity and understanding, then ultimately continue apart as the Whistle (Frodo) quietly disappears and the Horn (Gondor) carries on resolutely toward Rohan.

LEARNING TO RIDE

This track accompanies the player's first attempt at horseback riding in the game.  It's basically a tutorial tune.  Thus the gentle beginning, the gradually climbing harmonies, the simple arrangement, and the gradual tapering off at the end. 

It also marks our first introduction to Rohan's riding motif.

The riding motif is typically played on the strings in the lower registers.  It is a signature rhythmic riff that repeats at various points in the song. 

The idea is to convey a lively sense of galloping motion. The choice of low strings is due to the organic nature of the instruments.  Their hollow wooden bodies resonate with a rich, natural energy in the lower registers.  Not to mention the drawing of actual horse hair bows across the strings!

To complement the strings, two differing sizes of Bohdran are added to the percussion ensemble - one with a 12" diameter and a tightly drawn head.  The other is much larger, approx. 22" in diameter with a more loosely drawn head. 

Also unique to our equine percussion ensemble are a horse whip and leather strapping sounds.

The fiddle takes on a prominent melodic role.  The percussion and strings are loose and rustic.  The brass adds girth to steady the arrangement.  And when the song transitions from the timidity of learning to the joy of roaming freely,  we bring in baritone guitar and mandolin too.

All of these elements work together to help us perceive an ongoing sense of forward momentum -- mentally pulling us off the couch and into the saddle of our own fiery Rohirric steed.

BOROMIR'S LAST STAND

This track was composed to underscore the Boromir game instance, with players taking on the role of Boromir as he battles hordes of Uruk Hai in a desperate attempt to save Merry and Pippin.

Boromir has his fatal flaw, as we all know.

But this piece is not about that. This music is about Boromir at his most noble, determined and powerful.

Big drums, epic choir, robust cadences and powerful statements in the brass all contribute to the feeling of strength and unwavering.

After the choir sings, the Gondor theme makes its final appearance in this expansion.

It is a resigned and somewhat naked version (meaning the arrangement thins out considerably) to underscore the utter aloneness of this great warrior-steward in his final mêlée.

It repeats with a bit of forlorn (trumpets and high strings) before giving out to the brutal force of ragged low brass as the battle rages to its infamous conclusion.

You may be interested to know what the choir is singing.

The lyrics are in Old English, translated for me by Turbine's lore master Chris Pierson and his muse for all things Anglo-Saxon, professor Michael Drout of Wheaton College.

The choir sings: Arë! Thrymnes! Fréot! Maegen!

The translation is: Glory! Honor! Freedom! Power!

These are virtues upon which Gondor was built and to which Boromir clings until his last breath