YouTube Uploads for S7

Phillip Menzies

Phillip Menzies

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First Video is for the catchup session. I have finally done a theme for Nargothrond. Technically it belongs in S4, 5 and 6. At least I now have it for the Turin season.
I wanted to start with the idea of Nargothrond. It came to Finrod in a dream which I will do in another video. It became a reality when he spoke with Thingol and he found a location featuring reflective music. SilmFilm wrote a whole story about the dwarves of Belegost (with the Belegost theme) helping Finrod find the caves in the Narog ravine and finding it to be a haven for the petty dwarves who were then un-ceremonially evicted. The music then shows the potential before work begins on the construction. The theme is finally revealed in its fullness at its completion. It is grand with lots of brass (Finrod was fond of his bling). It moves into a military style with percussion and minor mode as Nargothrond often came to the rescue. I wanted a horn call so you knew they were on their way and that reinforcements were about to arrive.
 
Here is my second piece for this season, although it is another catchup one, this time from season 6. The Song of Parting. Thank you to the script team for including this idea in the script for episode 9. This is how I envisaged it and I hope it confuses the hell out of everyone. Thanks to @kanji_d (Dillon) who contributed the tune for Beren's version of the song. It feels strange to thank someone for the second best song. I felt like Peter Jackson talking to Annie Lennox when she came up with the song for the end of the trilogy and he had to break it to her that even though it was a nice song it was not this song, so I made it Beren's song. I also need to give credit to Megan Mosier who contributed as always lovely vocals for Luthien. I have one more older piece to publish after which I hope to have a catchup music session with Corey. After that I will get serious about season 7 material.
 
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Phillip Menzies said:
Here is my second piece for this season, although it is another catchup one, this time from season 6. The Song of Parting. Thank you to the script team for including this idea in the script for episode 9. This is how I envisaged it and I hope it confuses the hell out of everyone. Thanks to @kanji_d (Dillon) who contributed the tune for Beren's version of the song. It feels strange to thank someone for the second best song. I felt like Peter Jackson talking to Annie Lennox when she came up with the song for the end of the trilogy and he had to break it to her that even though it was a nice song it was not this song, so I made it Beren's song. I also need to give credit to Megan Mosier who contributed as always lovely vocals for Luthien. I have one more older piece to publish after which I hope to have a catchup music session with Corey. After that I will get serious about season 7 material.
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It was awesome collaborating with you Phillip!
 
It's a little bit late, but here is the link to Oromë that I published mere hours before the music session on Friday. Here are the YouTube notes to the piece:
This piece is very English and set in the happy key of G major, occasionally going into D minor. Orome’s main theme needed to sound like the hunting horn for a hunt with riders and a pack of hounds with the main instruments being French Horns and Trumpets. But Orome is not just about hunting. This is one seriously scary guy so the music had to portray him as dangerous. At times his theme becomes darker with instrumentation and rhythm. Orome’s main sidekick is the hound Huan. Huan is not mentioned until the story of Beren and Luthien when he is with Celegorm, but his origins are with Orome. It is likely that Huan is a maiar spirit as he does not have the lifespan of an animal and lives seemingly forever. Huan’s theme is related in form to Orome’s theme and is played with the cor anglais. Huan’s theme given his relationship with the princess of Doriath, Luthien is oddly reminiscent of another princess’s musical theme. As I slowly work through the Beren and Luthien story I have come to the song battle between Sauron and Luthien and as Huan has a major role to play in taking down Sauron he needed a theme so here it is.
 
Ok, now for the first real piece of music for season 7. It was a fun composition and uses many of my established themes in a similar way that Bear McCreary would in the Rings of Power. The scene is based on the script for S7 Episode 1 developed by the Silm Film script team and written by @Ilana Mushin . I always love to score the opening and closing scenes of seasons because so much thought goes into them.

The scene begins with one of Manwe’s giant eagles leaving their nest on the Crissaegrim and flying over Beleriand. The first music we hear is a clear statement of Manwe’s theme followed by the rising chords of Manwe’s theme rising higher and higher with the eagle. Attentive listeners may hear the glockenspiel playing Varda’s theme implying that Manwe and Varda are witnessing this scene unfold. As the eagle flies over Tol Sirion which is controlled by Sauron in his form of Thu the sorcerer the music become menacing, introduced with Sauron’s theme, the orc triple beat and finally with Morgoth’s triad as orcs and wargs marshal in the courtyard. As the eagle moves down stream, we hear the peace and tranquillity of Ulmo’s theme knowing that his influence is still strong in the River Sirion. The eagle flies over the forest of Brethil, witnessed by Hurin who along with his brother Huor is living in the forest with relatives.

The lute plays with familiar plucking the ostinato of Haleth’s theme which has now become the musical theme of the Haladin in their peaceful home the Forest of Brethil. A bright recorder plays the main Haleth theme as we see the people living their ordinary lives. The strings play pizzicato and add to the brightness. As the challenge of the race over the goat track is given, the music becomes playful with the bassoon and oboe supporting the plucked strings to a playful ending.

The race is more serious with the boys of the village lining up with trombone, tuba and bass drum heralding the start. As Huor easily takes the lead we hear the House of Hador theme played by French horns. The pace quickens and we hear the House of Haleth theme played by recorder and flute as Hurin and Huor’s cousin Handir begins to gain and Hurin is caught behind the herd of goats. The two themes war against each other as Handir and Huor battle out the second half of the race. The Haleth theme cuts out suddenly as Handir trips and the brass and percussion play a syncopated rhythm to match Handir’s stumbling over the finish line and colliding with Hurin the winner. If the scene were to play out, the wrestle would be done to musical silence.
 
Now for the second video for E1. At this rate it is going to be another S6.
Enter the Perilous Realm is the scenes leading up to and include Hurin, Huor and Handir entering Gondolin.

The piece starts with heroic House of Haleth as they know what they are doing compared to the days of Haleth when they were learning. Harp, violins and Cello play an introspective version on the night after the battle. This is interrupted by Sauron’s opening and orc triplets followed up by Morgoth’s triad with out of sync timing adding to the confusing nature of the battle. The princes rally their men with a statement of the House of Hador theme and then as they are scattered the House of Haleth theme plays. Loud short notes and then silence implies a collision of some kind. With the introduction of the rising chords of Manwe’s theme we discover it is Manwe’s eagles that are attacking the orcs and wargs. Cascading woodwind indicate the enemies falling to their deaths.

The chords continue to rise and we begin to hear random notes which we usually hear when a mortal is entering faery. Horn and harp also play a fragment of a theme. There is a transition in the music and we begin to hear an ostinato which is associated with Valinor accompanied by brass announcing something (more fragments of themes) as the princes pass through the clouds. The music rises and with a flash they leave the clouds and finally Gondolin is revealed. The Gondolin theme plays in its fullness as the camera takes in the aerial view of Gondolin as we have never seen it before.

 
My third piece for S7 is Lalaith with a scene from Episode 8. It features some existing themes all intertwined such as Evanescent Lightsomeness, the House of Hador and even the Good Life from my Gift of Ilúvatar piece. I have a feeling that the tears may begin to flow for this one.
 
Another short, this time the climax of Enter the Perilous Realm, for those people who can't get past the first 30 seconds.
I should probably get on and write some more music for S7.
 
Now for my musical theme for the City and People of Sudh Beredin. Nick requested something Hans Zimmerish. I think there is a Zimmerish sound at the beginning with no real theme, just a hint of one with repeating leitmotifs. The second part I seem to have channelled Ennio Morricone for the exciting chariot bits. Here are my Youtube notes with a bit ore detaul of the musical aspects of the piece.
This music is a one off piece describing in musical terms the land, the city and the people who come as allies to fight against Morgoth. The music of Howard Shore that describes Breeland in the Fellowship of the Ring was my starting point identifying an upward run of five notes and closing chords as if this was the remains of a much more impressive musical theme when Bree was the centre of an impressive empire with enough people to turn the tide of the battle against the Sons of Fëanor in the battle of Unnumbered Tears. This upward run of notes, sometimes four and sometimes five, can be heard throughout, sometimes as an ostinato and sometimes taking over the main melody. I limited its use mostly because it will remind people of the main theme of another fantasy TV serial adaptation.

In line with my other human themes it begins with a I-V note leap. At the beginning it is just a leit motif repeated and following a similar chord structure that the full theme will later inhabit. My hope is that the first sections exhibit a likeness to Hans Zimmer’s work.

Once Galadriel and Galathil enter the city, the full theme is finally stated and gains in intensity, being led by the brass, strings supporting, bass drum rolls and hits adding emphasis and the woodwinds taking the upward run of notes as a counterpoint to the melody.

The introduction of rapid percussion with Taiko drums sees a marked change to the theme which represents the people of Bor. They share the same theme in a variation to demonstrate their prowess on chariots (for SilmFilm). The melody is taken up by trumpets and violins and the French horns taking up the upward run of notes. This section is reminiscent of the work of Ennio Morricone in his scores for “A Fist Full of Dollars” and “The Good the Bad and The Ugly” and has high energy to represent the chariots racing over the plains of Anfauglith.

The final section after a triumphant climax takes us forward about 6,500 years to the Bree that we know from the third age and plays Howard Shore’s theme so we can hear the similarity, and trace how the once great empire of Sudh Beredin and its theme have decayed to the small remnant we now know as Bree.

 
Another short to highlight the City and People of Sudh Beredin. I am still experimenting with this YouTube feature so I have yet to see how successful it will be. So far it seems to have pushed my view down, not up.
 
I'm breaking up my last video in half, this first one A Start Shall Rise. Here are the YouTube notes.

The fifth battle is well under way and not going well. The High King Fingon is dead. The Eaterlings have betrayed the Feanorians and the survivors are retreating. This is the farewell of Turgon and brothers Hurin and Huor as they ensure the safe passage of the Goldolindhrim.

Based in a minor mode, the music plays the Goldolin theme in a way bever heard before with great sadness, the theme played by French horns and trombones, the counterpoint by flute and oboe. As Huor becomes prophetic the Valinor ostinato plays and an ethereal piccolo plays the theme Wingelot which has only been heard once before.

As Hurin gives the order to young Otar to save the horses and take word back to Hithlum and Dor Lomin, the House of Hador theme rises in a minor key, stated with noble English horn, French horns and then trumpets stating it with nobility.

When Huor says that they are fulfilling their purpose, the theme from season 2, Purpose plays, all the while gaining in intensity and grim determination with the relentless beat bringing on the final confrontation between the Men of Dor Lomin and the forces of Morgoth.

 
Phillip Menzies said:
I'm breaking up my last video in half, this first one A Start Shall Rise. Here are the YouTube notes.

The fifth battle is well under way and not going well. The High King Fingon is dead. The Eaterlings have betrayed the Feanorians and the survivors are retreating. This is the farewell of Turgon and brothers Hurin and Huor as they ensure the safe passage of the Goldolindhrim.

Based in a minor mode, the music plays the Goldolin theme in a way bever heard before with great sadness, the theme played by French horns and trombones, the counterpoint by flute and oboe. As Huor becomes prophetic the Valinor ostinato plays and an ethereal piccolo plays the theme Wingelot which has only been heard once before.

As Hurin gives the order to young Otar to save the horses and take word back to Hithlum and Dor Lomin, the House of Hador theme rises in a minor key, stated with noble English horn, French horns and then trumpets stating it with nobility.

When Huor says that they are fulfilling their purpose, the theme from season 2, Purpose plays, all the while gaining in intensity and grim determination with the relentless beat bringing on the final confrontation between the Men of Dor Lomin and the forces of Morgoth.

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Tears from me.
 
This one has been a while coming as it is the only song in season 7 and needed recording of vocals. I'm sorry I didn't get vocals from @Nicholas Palazzo I know what a deep voice you have. Perfect for the Lament for Azaghâl.
Youtube notes follow:
This was a direct request from showrunner Nick Palazzo as probably the only “song” in season 7 compared to season 6 which was practically a musical. While I credit myself for the words and music, I need to be honest and state that two lines in Khuzdul are mostly taken from the Rings of Power and sourced from Bear McCreary (Bear’s Blog). The lines are “Shadow upon the great halls” and “Great fortress sealed away.” The rest of the translation is from a translation tool created by The Dwarrow Scholar at thedwarrowscholar.com

Khuzdul Lyrics

Azbad u Gabilgathol khathzâ maimril
Sakadi zû aya gabil dûm
Kû basân zanê birâbsun
Gabil gathol maizhik nidlugul.

Azaghâl khathzâ maimril
Azaghâl khathzâ maimril



English Translation

King of Belegost eternal loved
Shadow now upon the great halls
Whose feet will never walk through
Great fortress sealed away.

Azaghâl eternal loved
Azaghâl eternal loved

In this piece I have tried to fit the description in the script for S7 E10 as “The dirge they sing is deep, ancient, and terrifying.” The song is diegetic, the actual song that the dwarves sing as they leave the field of battle, therefore, the only instruments are percussion and sounds like beating on shield, metal and whatever they have to hand. The song has many staccato notes, which bring out the anger and rage that the dwarves are feeling at the death of their king in his prime. I have used the word “eternal” in the song which feel strange for a person who has just died. The dwarves at this time are very secretive. In SilmFilm, the elves Noldor elves have only just discovered that dwarves are not immortal, but are more like humans and they have been able to continue the belief among the elves that they are immortal by using the same name of Azaghâl for every king. A variation of the Longbeards having the dwarf king During being reborn every few generations.

 
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