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{{Short description|2022 television score}} |
{{Short description|2022 television score}} |
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{{Italic title|string=The Lord of the Rings: The Rings of Power}} |
{{Italic title|string=The Lord of the Rings: The Rings of Power}} |
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{{Use American English|date= |
{{Use American English|date=February 2024}} |
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{{Use list-defined references|date=February 2024}} |
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{{Use mdy dates|date= |
{{Use mdy dates|date=March 2024}} |
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{{Infobox musical composition |
{{Infobox musical composition |
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| name = ''The Lord of the Rings:<br />The Rings of Power'' |
| name = ''The Lord of the Rings:<br />The Rings of Power'' |
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| scoring = {{hlist|Symphony orchestra|Choir|Featured instrument soloists}} |
| scoring = {{hlist|Symphony orchestra|Choir|Featured instrument soloists}} |
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The music of the American [[fantasy]] television series ''[[The Lord of the Rings: The Rings of Power]]'' is composed by [[Bear McCreary]], with additional music by [[Howard Shore]] and other artists. The [[Amazon Prime Video]] series is based on |
The music of the American [[fantasy]] television series ''[[The Lord of the Rings: The Rings of Power]]'' is composed by [[Bear McCreary]], with additional music by [[Howard Shore]] and other artists. The [[Amazon Prime Video]] series is based on [[J. R. R. Tolkien]]'s history of [[Middle-earth]], primarily material from the [[The Lord of the Rings appendices|appendices]] of the novel ''[[The Lord of the Rings]]'', and is set thousands of years before the novel in the [[Second Age]] of Middle-earth. It covers all the major events of the Second Age from Tolkien's writings. |
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McCreary was first approached about composing the series' original score in |
McCreary was first approached about composing the series' original score in 2019, and began writing themes or [[leitmotif]]s in July 2021. The series is not a continuation of [[Peter Jackson]]'s ''[[The Lord of the Rings (film series)|The Lord of the Rings]]'' and ''[[The Hobbit (film series)|The Hobbit]]'' film trilogies and McCreary was contractually prevented from quoting any of the themes that Shore composed for those films, but he hoped to create musical continuity between his score and Shore's. After six weeks composing new themes, McCreary began writing the score for each episode and ultimately composed nine hours of music over eight months. He eschewed the common industry approach of using other composers to write additional music to ensure a consistent musical approach for the whole series. Recording began in November 2021 while McCreary was still composing. The score was recorded with orchestras at [[Abbey Road Studios]] and [[AIR Studios]] in London and a choir at [[Synchron Stage Vienna|Synchron Stage]] in Vienna. The choral music was sung in Tolkien's fictional languages. Soloists were recorded around the world playing various specialty instruments. Recording for the [[The Lord of the Rings: The Rings of Power season 1|first season]] was completed in April 2022. Independent of McCreary's work, Shore composed the series' main title theme. |
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A soundtrack album for the first season was released on August 19, 2022, and was followed by additional albums featuring McCreary's full score for each episode. The score has received positive reviews from critics and several accolades. |
A soundtrack album for the first season was released on August 19, 2022, and was followed by additional albums featuring McCreary's full score for each episode. The score has received positive reviews from critics and several accolades, including a [[Primetime Creative Arts Emmy Award]] nomination for Shore's main title theme. |
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{{TOC limit|3}} |
{{TOC limit|3}} |
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== Background == |
== Background == |
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[[Amazon (company)|Amazon]] acquired the global television rights for [[J. R. R. Tolkien]]'s ''[[The Lord of the Rings]]'' in November 2017. The company's streaming service, [[Prime Video]], gave a multi-season commitment to a series based on the novel and its [[The Lord of the Rings |
[[Amazon (company)|Amazon]] acquired the global television rights for [[J. R. R. Tolkien]]'s ''[[The Lord of the Rings]]'' in November 2017. The company's streaming service, [[Prime Video]], gave a multi-season commitment to a series based on the novel and its [[The Lord of the Rings appendices|appendices]], to be produced by [[Amazon Studios]] in association with [[New Line Cinema]] and in consultation with the [[Tolkien Estate]].<ref name="Nov2017Deal" /> [[J. D. Payne and Patrick McKay]] were set as [[showrunner]]s of the series, titled ''[[The Lord of the Rings: The Rings of Power]]'',<ref name="CreativeTeamDeadline" /> which is set in the [[Second Age]] of [[Middle-earth]], thousands of years before Tolkien's ''[[The Hobbit]]'' and ''The Lord of the Rings''.<ref name="SecondAge" /> It follows a large cast of characters and covers all the major events of the Second Age from Tolkien's writings: the forging of the [[Rings of Power]], the rise of the Dark Lord [[Sauron]], the fall of the island kingdom of [[Númenor]], and the last alliance between [[Elves in Middle-earth|Elves]] and [[Men in Middle-earth|Men]].<ref name="Title" /> |
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The series was originally expected to be a continuation of [[Peter Jackson]]'s ''[[The Lord of the Rings (film series)|The Lord of the Rings]]'' and ''[[The Hobbit (film series)|The Hobbit]]'' film trilogies, but Amazon later clarified that their deal with the Tolkien Estate required them to keep the series distinct from Jackson's films.<ref name="NoJacksonTHR" /> Despite this, musicians Plan 9—Janet Roddick, [[David Donaldson (composer)|David Donaldson]], and [[Steve Roche]]—and [[David Long (New Zealand musician)|David Long]] returned from the films to provide music during filming for the first season,<ref name="Plan9" /> as did [[Howard Shore]], who composed the original scores for ''The Lord of the Rings'' and ''The Hobbit''. Shore was first reported to be in discussions about working on the series in September 2020. He was said to be interested in developing musical themes but not necessarily composing the entire score.<ref name="ShoreReports" /> Shore was confirmed to be in talks for the series a year later,<ref name="ShoreTalks" /> when composer [[Bear McCreary]] was reported to be involved as well.<ref name="ShoreReports" /> Their hiring was officially announced in July 2022, with McCreary composing the score and Shore writing the main title theme.<ref name="McCrearyShoreRS" /> McCreary later confirmed that he was contractually prohibited from quoting any themes that Shore wrote for the films.<ref name="McCrearyVultureOct2022" /> |
The series was originally expected to be a continuation of [[Peter Jackson]]'s ''[[The Lord of the Rings (film series)|The Lord of the Rings]]'' and ''[[The Hobbit (film series)|The Hobbit]]'' film trilogies, but Amazon later clarified that their deal with the Tolkien Estate required them to keep the series distinct from Jackson's films.<ref name="NoJacksonTHR" /> Despite this, musicians Plan 9—Janet Roddick, [[David Donaldson (composer)|David Donaldson]], and [[Steve Roche]]—and [[David Long (New Zealand musician)|David Long]] returned from the films to provide music during filming for the [[The Lord of the Rings: The Rings of Power season 1|first season]],<ref name="Plan9" /> as did [[Howard Shore]], who composed the original scores for ''The Lord of the Rings'' and ''The Hobbit''. Shore was first reported to be in discussions about working on the series in September 2020. He was said to be interested in developing musical themes but not necessarily composing the entire score.<ref name="ShoreReports" /> Shore was confirmed to be in talks for the series a year later,<ref name="ShoreTalks" /> when composer [[Bear McCreary]] was reported to be involved as well.<ref name="ShoreReports" /> Their hiring was officially announced in July 2022, with McCreary composing the score and Shore writing the main title theme.<ref name="McCrearyShoreRS" /> McCreary later confirmed that he was contractually prohibited from quoting any themes that Shore wrote for the films.<ref name="McCrearyVultureOct2022" /> |
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== Original score == |
== Original score == |
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Because he was full-time composing the score, McCreary was unable to [[Orchestration|orchestrate]] it himself and relied on his long-time orchestrators Edward Trybek, Henri Wilkinson, and [[Jonathan Beard]] to follow notes that he wrote for them.<ref name="McCrearyBlogAP3" /> In addition to writing for orchestra and specialist solo instruments, McCreary composed music for choir and solo singers.<ref name="McCrearySRSep2022" /> For these, he used words from Tolkien's fictional languages: the Elvish languages [[Quenya]] and [[Sindarin]], the Dwarvish language [[Khuzdul]], the dark language [[Black Speech]], and the Númenórean language [[Adûnaic]].<ref name="McCrearyAug2022Variety" /> McCreary noted that there is potential to invent new words in some of these languages based on the rules that Tolkien established, but he preferred to stick to words that Tolkien created himself. He started by referring to a dictionary of words and phrases for each language while he was composing, and then worked with Brian Claeys from his production company to make sure the text fit the music. Payne reviewed all of the text in the score to ensure each fictional language was being used correctly, something that McCreary was amazed by and grateful for considering Payne's busy schedule as showrunner. Finally, the series' dialect coach, Leith McPhearson, recorded herself pronouncing every line of text phonetically, syllable by syllable, so the choir and soloists could learn the correct pronunciation of each word ahead of recording. McCreary felt the amount of work put into getting the languages correct for the score was a testament to how much the crew cared about the source material.<ref name="McCrearySRSep2022" /> |
Because he was full-time composing the score, McCreary was unable to [[Orchestration|orchestrate]] it himself and relied on his long-time orchestrators Edward Trybek, Henri Wilkinson, and [[Jonathan Beard]] to follow notes that he wrote for them.<ref name="McCrearyBlogAP3" /> In addition to writing for orchestra and specialist solo instruments, McCreary composed music for choir and solo singers.<ref name="McCrearySRSep2022" /> For these, he used words from Tolkien's fictional languages: the Elvish languages [[Quenya]] and [[Sindarin]], the Dwarvish language [[Khuzdul]], the dark language [[Black Speech]], and the Númenórean language [[Adûnaic]].<ref name="McCrearyAug2022Variety" /> McCreary noted that there is potential to invent new words in some of these languages based on the rules that Tolkien established, but he preferred to stick to words that Tolkien created himself. He started by referring to a dictionary of words and phrases for each language while he was composing, and then worked with Brian Claeys from his production company to make sure the text fit the music. Payne reviewed all of the text in the score to ensure each fictional language was being used correctly, something that McCreary was amazed by and grateful for considering Payne's busy schedule as showrunner. Finally, the series' dialect coach, Leith McPhearson, recorded herself pronouncing every line of text phonetically, syllable by syllable, so the choir and soloists could learn the correct pronunciation of each word ahead of recording. McCreary felt the amount of work put into getting the languages correct for the score was a testament to how much the crew cared about the source material.<ref name="McCrearySRSep2022" /> |
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After McCreary finished composing the score for the first season, he spent six to eight weeks creating soundtrack albums, participated in marketing for the series, and then spent September 2022 writing [[blog]] entries that explain his score for each episode in-depth. The day after he finished writing the blogs, which he considered to be the end of his work on the first season, McCreary received scripts for the second season. He began composing new music by November, including music that was needed during filming, and expressed excitement at being involved in the season from the beginning and being able to pace out his work better than on the first season.<ref name="McCrearyIDGNov2022" />{{rp|47:20–52:37}} |
After McCreary finished composing the score for the first season, he spent six to eight weeks creating soundtrack albums, participated in marketing for the series, and then spent September 2022 writing [[blog]] entries that explain his score for each episode in-depth. The day after he finished writing the blogs, which he considered to be the end of his work on the first season, McCreary received scripts for the [[The Lord of the Rings: The Rings of Power season 2|second season]]. He began composing new music by November, including music that was needed during filming, and expressed excitement at being involved in the season from the beginning and being able to pace out his work better than on the first season.<ref name="McCrearyIDGNov2022" />{{rp|47:20–52:37}} |
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=== Leitmotifs === |
=== Leitmotifs === |
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==== Themes for Elves ==== |
==== Themes for Elves ==== |
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* "Valinor":<br />McCreary's theme for [[Valinor]], the Elves' "homeland" across the sea, represents Elven culture in the series.<ref name="McCrearyVultureOct2022" /> He wanted it to be the music that Elves sing as they sail into Valinor, but the scene where that happens in the first episode had already been filmed by the time he was hired. The actors were singing a song by Plan 9 that McCreary felt did not work as a theme for Valinor, and therefore the Valinor theme that he did write for the series needed to match the mouth movements in the scene. McCreary worked with the editing team for a month to perfect this.<ref name="McCrearyTONNov2022" />{{rp|45:18–49:02}} He retained Shore's approach to the Elves of focusing on "ethereal light vocals",<ref name="McCrearySFSep2022" /> and tried to create a sense of longing with techniques such as a chord that is "a [[tritone]] away from the tonic [meaning it] is as far away as the chord can possibly be... it feels like it's out of reach".<ref name="McCrearyTONNov2022" />{{rp|45:18–49:02}} |
* "Valinor":<br />McCreary's theme for [[Valinor]], the [[Elves in Middle-earth|Elves]]' "homeland" across the sea, represents Elven culture in the series.<ref name="McCrearyVultureOct2022" /> He wanted it to be the music that Elves sing as they sail into Valinor, but the scene where that happens in the first episode had already been filmed by the time he was hired. The actors were singing a song by Plan 9 that McCreary felt did not work as a theme for Valinor, and therefore the Valinor theme that he did write for the series needed to match the mouth movements in the scene. McCreary worked with the editing team for a month to perfect this.<ref name="McCrearyTONNov2022" />{{rp|45:18–49:02}} He retained Shore's approach to the Elves of focusing on "ethereal light vocals",<ref name="McCrearySFSep2022" /> and tried to create a sense of longing with techniques such as a chord that is "a [[tritone]] away from the tonic [meaning it] is as far away as the chord can possibly be... it feels like it's out of reach".<ref name="McCrearyTONNov2022" />{{rp|45:18–49:02}} |
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* "Galadriel":<br />McCreary said the series was primarily told from [[Galadriel]]'s perspective and he wanted to give her a memorable, powerful melody that could be used often.<ref name="McCrearyTONNov2022" />{{rp|57:39–58:10}} Like many of his heroic themes, Galadriel's begins with an upward motion (in this case a [[minor seventh]] interval).<ref name="McCrearyNerdistSep2022" /> It then descends and rises several times to create the feeling that she is searching, representing her hunt for Sauron.<ref name="McCrearyVultureOct2022" /> Her theme has an "aggressive propulsion" related to the hunt that makes it an outlier among the music for the Elves, and McCreary designed her theme to combine easily with Sauron's because she is often thinking about him and her desire for justice.<ref name="McCrearyNerdistSep2022" /> |
* "Galadriel":<br />McCreary said the series was primarily told from [[Galadriel]]'s perspective and he wanted to give her a memorable, powerful melody that could be used often.<ref name="McCrearyTONNov2022" />{{rp|57:39–58:10}} Like many of his heroic themes, Galadriel's begins with an upward motion (in this case a [[minor seventh]] interval).<ref name="McCrearyNerdistSep2022" /> It then descends and rises several times to create the feeling that she is searching, representing her hunt for [[Sauron]].<ref name="McCrearyVultureOct2022" /> Her theme has an "aggressive propulsion" related to the hunt that makes it an outlier among the music for the Elves, and McCreary designed her theme to combine easily with Sauron's because she is often thinking about him and her desire for justice.<ref name="McCrearyNerdistSep2022" /> |
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* "Elrond Half-elven":<br />The theme that McCreary had the most difficulty writing for the first season was [[Elrond]]'s.<ref name="McCrearyVultureOct2022" /> His initial theme was inspired by the authoritative character from the books and films, but the executive producers did not notice there was an Elrond theme at first and felt he "wasn't sure what to say" with it.<ref name="McCrearyTVISep2022" /> After discussing the character with them, McCreary saw an optimistic outsider struggling with the legacy of his family and wrote a woodwind and string melody that captured his "innocence, naïveté, and optimism".<ref name="McCrearyVultureOct2022" /><ref name="McCrearyNerdistSep2022" /> The theme moves between a [[major key]] and a [[minor key]] as if it "doesn't quite know whether it's happy or sad".<ref name="McCrearyNerdistSep2022" /> |
* "Elrond Half-elven":<br />The theme that McCreary had the most difficulty writing for the first season was [[Elrond]]'s.<ref name="McCrearyVultureOct2022" /> His initial theme was inspired by the authoritative character from the books and films, but the executive producers did not notice there was an Elrond theme at first and felt he "wasn't sure what to say" with it.<ref name="McCrearyTVISep2022" /> After discussing the character with them, McCreary saw an optimistic outsider struggling with the legacy of his family and wrote a woodwind and string melody that captured his "innocence, naïveté, and optimism".<ref name="McCrearyVultureOct2022" /><ref name="McCrearyNerdistSep2022" /> The theme moves between a [[major key]] and a [[minor key]] as if it "doesn't quite know whether it's happy or sad".<ref name="McCrearyNerdistSep2022" /> |
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For the introductions of the Elven capital [[Lindon (Middle-earth)|Lindon]] and High King [[Gil-galad]], McCreary chose to use Elrond's theme. He did not do this to suggest that Elrond represented Elves in |
For the introductions of the Elven capital [[Lindon (Middle-earth)|Lindon]] and High King [[Gil-galad]], McCreary chose to use Elrond's theme. He did not do this to suggest that Elrond represented Elves in general, but because he wanted the audience to focus on Elrond's character in those scenes.<ref name="McCrearyNerdistSep2022" /> He did have a specific theme for Gil-galad planned but did not use it during the first season.<ref name="McCrearyBlog101" /> |
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==== Themes for Dwarves ==== |
==== Themes for Dwarves ==== |
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* "Khazad-dûm":<br />McCreary retained Shore's approach of deep male vocals singing in the Dwarvish language Khuzdul,<ref name="McCrearySRSep2022" /><ref name="McCrearySFSep2022" /> but was able to differentiate his theme from Shore's work because the series explores the Dwarves at their peak compared to the "sad, noble, displaced people in diaspora" of the films.<ref name="McCrearyTVISep2022" /> McCreary wrote a patriotic anthem with a |
* "Khazad-dûm":<br />McCreary retained Shore's approach of deep male vocals singing in the [[Dwarves in Middle-earth|Dwarvish]] language Khuzdul,<ref name="McCrearySRSep2022" /><ref name="McCrearySFSep2022" /> but was able to differentiate his theme from Shore's work because the series explores the Dwarves at their peak compared to the "sad, noble, displaced people in diaspora" of the films.<ref name="McCrearyTVISep2022" /> McCreary wrote a patriotic anthem with a churning string pattern and anvils being hit with metal hammers.<ref name="McCrearyNerdistSep2022" /><ref name="McCrearySFSep2022" /> The introduction of Khazad-dûm was one of the first scenes McCreary scored, and the executive producers had no notes on it which led McCreary to say "the Dwarven music is very much in my DNA".<ref name="McCrearyTVISep2022" /> This theme is also associated with King [[Durin III]].<ref name="McCrearyNerdistSep2022" /> |
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* "Durin IV":<br />Prince Durin IV's theme shares traits with "Khazad-dûm", but McCreary said it had more "warmth, intimacy, [and] even a little comedy",<ref name="McCrearyTVISep2022" /> with "a layer of jovial, almost jaunty personality".<ref name="McCrearyNerdistSep2022" /> He did feel there was a nobility to the music that avoided becoming [[comedic relief]]. For example, he contrasted the introduction of Durin's wife Disa (using a cello and fiddle) with a noble [[French horn]] for the tree that Elrond gave to Durin.<ref name="McCrearyTONNov2022" />{{rp|27:02–28:10}} |
* "Durin IV":<br />Prince Durin IV's theme shares traits with "Khazad-dûm", but McCreary said it had more "warmth, intimacy, [and] even a little comedy",<ref name="McCrearyTVISep2022" /> with "a layer of jovial, almost jaunty personality".<ref name="McCrearyNerdistSep2022" /> He did feel there was a nobility to the music that avoided becoming [[comedic relief]]. For example, he contrasted the introduction of Durin's wife Disa (using a cello and fiddle) with a noble [[French horn]] for the tree that Elrond gave to Durin.<ref name="McCrearyTONNov2022" />{{rp|27:02–28:10}} |
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==== Themes for Low Men ==== |
==== Themes for Low Men ==== |
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* " |
* "Halbrand":<br />This theme represents the [[Men in Middle-earth|Men]] of the [[Geography of Middle-earth#Lands to the South|Southlands]] and their supposed king, Halbrand.<ref name="McCrearyNerdistSep2022" /> Because Halbrand is Sauron in disguise, McCreary wrote this theme so playing it backwards or inverting the musical notes would turn it into Sauron's theme. To make this connection less obvious before the reveal, he adjusted Halbrand's theme to be in a major key, added a B theme with larger intervals (Sauron's theme does not have big intervals between notes like McCrary's heroic themes do), and used different instruments:<ref name="McCrearyIDGNov2022" />{{rp|28:50–39:20}} McCreary said the Low Men of Middle-earth were represented in the films by the people of [[Rohan, Middle-earth|Rohan]], for whom Shore primarily used the [[hardanger fiddle]] from Norway, so McCreary used the same instrument for the Low Men of the Southlands but in a lower [[Register (music)|register]] and combined with another Nordic stringed instrument, the [[nyckelharpa]].<ref name="McCrearyNerdistSep2022" /> |
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* "Bronwyn and Arondir":<br />McCreary was unhappy with his initial version of the love theme for the human Bronwyn and Elf Arondir and re-wrote it after finishing the other themes. He wanted it to represent "yearning and attraction, but also sadness". Inspired by [[Nino Rota]]'s score for ''[[Romeo and Juliet (1968 film)|Romeo and Juliet]]'' (1968) and the music of [[Dmitri Shostakovich]], [[Samuel Barber]], and [[John Williams]], McCreary gave the theme repeated upward leaps to create a sense of longing.<ref name="McCrearyNerdistSep2022" /> |
* "Bronwyn and Arondir":<br />McCreary was unhappy with his initial version of the love theme for the human Bronwyn and Elf Arondir and re-wrote it after finishing the other themes. He wanted it to represent "yearning and attraction, but also sadness". Inspired by [[Nino Rota]]'s score for ''[[Romeo and Juliet (1968 film)|Romeo and Juliet]]'' (1968) and the music of [[Dmitri Shostakovich]], [[Samuel Barber]], and [[John Williams]], McCreary gave the theme repeated upward leaps to create a sense of longing.<ref name="McCrearyNerdistSep2022" /> |
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* "Halbrand":<br />To set-up the reveal that Halbrand is Sauron in disguise, McCreary wrote his theme so playing it backwards or inverting the musical notes would turn it into Sauron's theme. However, he felt this made the connection too obvious so he adjusted Halbrand's theme to be in a major key rather than a minor key. He also differentiated the two by using the instruments of the Southlands' theme for Halbrand,<ref name="McCrearyIDGNov2022" />{{rp|28:50–39:20}} and hoped the audience would immediately focus on the character's connection to the Southlands.<ref name="McCrearyNerdistSep2022" /> Because McCreary's theme for Sauron does not have any big intervals between notes, differentiating it from his heroic themes, Halbrand's theme was the only "heroic" theme in the score to also not have any big intervals, so McCreary wrote a B theme for the character that does have larger intervals as a way to further hide the connection.<ref name="McCrearyIDGNov2022" />{{rp|28:50–39:20}} |
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==== Themes for High Men ==== |
==== Themes for High Men ==== |
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* "Númenor":<br />Because the island kingdom of Númenor does not exist during the time of the films, McCreary wanted to represent it with music that is not found in Shore's scores. He compared the culture to past civilizations in the real world that no longer exist, such as [[Ancient Egypt]] and [[Babylon]], and decided to use Middle Eastern [[frame drum]]s, Indian [[dhol]] drums, Armenian [[duduk]] woodwinds, and a Turkish [[yaylı tambur]] string instrument. He also focused on the brass section in the traditional European orchestra as an allusion to [[Arthurian legends]].<ref name="McCrearyVultureOct2022" /> This theme also represents the character [[Ar-Pharazôn|Pharazôn]], and begins to be used in darker ways in the first season's second half.<ref name="McCrearyIWOct2022" /> |
* "Númenor":<br />Because the island kingdom of [[Númenor]] does not exist during the time of the films, McCreary wanted to represent it with music that is not found in Shore's scores. He compared the culture to past civilizations in the real world that no longer exist, such as [[Ancient Egypt]] and [[Babylon]], and decided to use Middle Eastern [[frame drum]]s, Indian [[dhol]] drums, Armenian [[duduk]] woodwinds, and a Turkish [[yaylı tambur]] string instrument. He also focused on the brass section in the traditional European orchestra as an allusion to [[Arthurian legends]].<ref name="McCrearyVultureOct2022" /> This theme also represents the character [[Ar-Pharazôn|Pharazôn]], and begins to be used in darker ways in the first season's second half.<ref name="McCrearyIWOct2022" /> |
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* "Elendil and Isildur":<br />This theme differentiates the characters [[Elendil]] and [[Isildur]] from the other Númenoreans,<ref name="McCrearyIWOct2022" /> and is also used for the White Tree of Númenor. McCreary intended this to become the theme for the Faithful Númenoreans when the society becomes divided between those who are still friends to Elves and the "King's Men" who are not (and continue to be represented by the main "Númenor" theme). Isildur is introduced with the theme played on a rustic fiddle while Elendil is represented by brass instruments.<ref name="McCrearyTONNov2022" />{{rp|45:18–49:02}} The second half of the theme is not used during the first season, because it was written in anticipation of later seasons when Elendil and Isildur are part of the last alliance between Elves and Men. McCreary wanted to make sure the "plaintive and wistful" theme would still work at that point, when it would need to be "tragic, operatic, [and] soaring".<ref name="McCrearyIWOct2022" /> |
* "Elendil and Isildur":<br />This theme differentiates the characters [[Elendil]] and [[Isildur]] from the other Númenoreans,<ref name="McCrearyIWOct2022" /> and is also used for the White Tree of Númenor. McCreary intended this to become the theme for the Faithful Númenoreans when the society becomes divided between those who are still friends to Elves and the "King's Men" who are not (and continue to be represented by the main "Númenor" theme). Isildur is introduced with the theme played on a rustic fiddle while Elendil is represented by brass instruments.<ref name="McCrearyTONNov2022" />{{rp|45:18–49:02}} The second half of the theme is not used during the first season, because it was written in anticipation of later seasons when Elendil and Isildur are part of the last alliance between Elves and Men. McCreary wanted to make sure the "plaintive and wistful" theme would still work at that point, when it would need to be "tragic, operatic, [and] soaring".<ref name="McCrearyIWOct2022" /> |
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==== Themes for Harfoots ==== |
==== Themes for Harfoots ==== |
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* "Harfoot Life":<br />Representing the nomadic lifestyle of the secretive [[Harfoots]], "Harfoot Life" is in the "off kilter" {{music|time|11|8}} time signature which McCreary compared to "a cart wheel that has a bump in it, and it's just rolling along".<ref name="McCrearyNerdistSep2022" /> Because the Harfoots are the predecessors of the [[Hobbits]] from the films, McCreary wanted his music to be able to evolve into the Celtic-inspired music that Shore wrote for the Hobbits.<ref name="McCrearyVultureOct2022" /> The Harfoot theme therefore uses Celtic instruments: Scottish [[bagpipes]], and Irish [[uilleann pipes]], [[bodhrán]] drums, and [[penny whistle]]s.<ref name="McCrearySFSep2022" /> McCreary added African [[balafon]] percussion that |
* "Harfoot Life":<br />Representing the nomadic lifestyle of the secretive [[Harfoots]], "Harfoot Life" is in the "off kilter" {{music|time|11|8}} time signature which McCreary compared to "a cart wheel that has a bump in it, and it's just rolling along".<ref name="McCrearyNerdistSep2022" /> Because the Harfoots are the predecessors of the [[Hobbits]] from the films, McCreary wanted his music to be able to evolve into the Celtic-inspired music that Shore wrote for the Hobbits.<ref name="McCrearyVultureOct2022" /> The Harfoot theme therefore uses Celtic instruments: Scottish [[bagpipes]], and Irish [[uilleann pipes]], [[bodhrán]] drums, and [[penny whistle]]s.<ref name="McCrearySFSep2022" /> McCreary added African [[balafon]] percussion that sounds like instruments the Harfoots could make out of logs picked up while traveling. He explained that these sounds would be abandoned in the future when the Harfoots settle down in [[the Shire]], at which point Shore's more orchestral Hobbit music would become more appropriate.<ref name="McCrearyVultureOct2022" /> |
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* "Nori Brandyfoot":<br />The theme for the hopeful and curious Harfoot Nori is more melodic than "Harfoot Life", puts more focus on the Celtic instruments, and also uses the smoother time signature of {{music|time|6|8}}. This means instead having repeated small intervals like "Harfoot Life", "Nori Brandyfoot" has bigger leaps that suggest she is not satisfied living a regular Harfoot life and is looking outward and upward.<ref name="McCrearyNerdistSep2022" /> McCreary actually wrote Nori's theme before he settled on the Harfoot approach and had to add elements of "Harfoot Life" into his Nori theme, including an opening [[ostinato]] on wooden percussion, to ensure she still had the "Harfoot color".<ref name="McCrearyTONNov2022" />{{rp|23:09–25:33}} |
* "Nori Brandyfoot":<br />The theme for the hopeful and curious Harfoot Nori is more melodic than "Harfoot Life", puts more focus on the Celtic instruments, and also uses the smoother time signature of {{music|time|6|8}}. This means instead of having repeated small intervals like "Harfoot Life", "Nori Brandyfoot" has bigger leaps that suggest she is not satisfied living a regular Harfoot life and is looking outward and upward.<ref name="McCrearyNerdistSep2022" /> McCreary actually wrote Nori's theme before he settled on the Harfoot approach and had to add elements of "Harfoot Life" into his Nori theme, including an opening [[ostinato]] on wooden percussion, to ensure she still had the "Harfoot color".<ref name="McCrearyTONNov2022" />{{rp|23:09–25:33}} |
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==== Themes for Orcs ==== |
==== Themes for Orcs ==== |
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* "Nampat":<br />This track combines McCreary's themes for the Orcs and their leader, Adar.<ref name="McCrearyAdarTheme" /> To represent the Orcs, McCreary created a "screaming, weird, otherworldly texture" using drums and woodwind instruments made from bones such as antlers and femurs. He also used conch shells and [[Aztec Death Whistle|Aztec death whistle]]s.<ref name="McCrearySRSep2022" /> He described this as more of a "musical cloud" than a theme, differentiating it from the rest of the series' themes, including Sauron's.<ref name="McCrearyIWOct2022" /> In contrast, Adar's theme has a melody. This is heard in "Nampat" on brass instruments but is often played in the series on a combination of Japanese [[shakuhachi]] and Chinese [[Dizi (instrument)|dizi]] flutes.<ref name="McCrearyAdarTheme" /> McCreary included several references to [[Garry Schyman]]'s score for the video game ''[[Middle-earth: Shadow of Mordor]]'' (2014) in his Orc theme, saying it was his favorite ''The Lord of the Rings'' music outside of the film and television adaptations.<ref name="McCrearyShadowOfMordor" /> |
* "Nampat":<br />This track combines McCreary's themes for the [[Orcs]] and their leader, Adar.<ref name="McCrearyAdarTheme" /> To represent the Orcs, McCreary created a "screaming, weird, otherworldly texture" using drums and woodwind instruments made from bones such as antlers and femurs. He also used conch shells and [[Aztec Death Whistle|Aztec death whistle]]s.<ref name="McCrearySRSep2022" /> He described this as more of a "musical cloud" than a theme, differentiating it from the rest of the series' themes, including Sauron's.<ref name="McCrearyIWOct2022" /> In contrast, Adar's theme has a melody. This is heard in "Nampat" on brass instruments but is often played in the series on a combination of Japanese [[shakuhachi]] and Chinese [[Dizi (instrument)|dizi]] flutes.<ref name="McCrearyAdarTheme" /> McCreary included several references to [[Garry Schyman]]'s score for the video game ''[[Middle-earth: Shadow of Mordor]]'' (2014) in his Orc theme, saying it was his favorite ''The Lord of the Rings'' music outside of the film and television adaptations.<ref name="McCrearyShadowOfMordor" /> |
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==== Themes for other characters ==== |
==== Themes for other characters ==== |
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* "Sauron":<br />Sauron's theme combines an ostinato in {{music|time|7|8}} time with a melody in {{music|time|4|4}} time to indicate the character's twisted and uneven nature.<ref name="McCrearyIDGSep2022" />{{rp|1:05:17–1:05:57}} It includes a choir chanting in Black Speech, using words from [[Black Speech#The One Ring inscription|the inscription]] on the [[One Ring]] because Tolkien did not provide many other Black Speech words in his writings. McCreary said the chanting sounded louder than he originally intended, and "so evil", and stated that Tolkien's books "implied that when you speak in Black |
* "Sauron":<br />Sauron's theme combines an ostinato in {{music|time|7|8}} time with a melody in {{music|time|4|4}} time to indicate the character's twisted and uneven nature.<ref name="McCrearyIDGSep2022" />{{rp|1:05:17–1:05:57}} It has a circular, repeating shape.<ref name="McCrearySauronS2" /> The theme includes a choir chanting in Black Speech, using words from [[Black Speech#The One Ring inscription|the inscription]] on the [[One Ring]] because Tolkien did not provide many other Black Speech words in his writings. McCreary said the chanting sounded louder than he originally intended, and "so evil", and stated that Tolkien's books "implied that when you speak in Black Speech, an evil cloud fills the room... and that happened!"<ref name="McCrearyVultureOct2022" /> McCreary created variations on Sauron's circular theme for when the character shapeshifts, including as Halbrand.<ref name="McCrearySauronS2" /> He also used this theme to represent Sauron's predecessor, the Dark Lord [[Morgoth]], who is only briefly shown in the series.<ref name="McCrearyBlog101" /> |
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* "The Stranger":<br />The theme for the mysterious stranger who crashes into Middle-earth does not share any music ideas with the series' cultural themes to reflect that his origin is unknown. The theme always starts with the sounds of an Indonesian [[gamelan]] percussion ensemble,<ref name="McCrearyNerdistSep2022" /> and a [[major seventh]] interval that McCreary said was rare for modern popular music. He stated that the theme is "both major and minor, both heroic and twisted" to add to the mystery of the character.<ref name="McCrearyVultureOct2022" /> McCreary did not ask who the character was specifically when he began writing the theme, but did ask if he would be a hero or villain. Because he knew the character would be heroic at the end of the first season, McCreary |
* "The Stranger":<br />The theme for the mysterious stranger who crashes into Middle-earth does not share any music ideas with the series' cultural themes to reflect that his origin is unknown. The theme always starts with the sounds of an Indonesian [[gamelan]] percussion ensemble,<ref name="McCrearyNerdistSep2022" /> and a [[major seventh]] interval that McCreary said was rare for modern popular music. He stated that the theme is "both major and minor, both heroic and twisted" to add to the mystery of the character.<ref name="McCrearyVultureOct2022" /> McCreary did not ask who the character was specifically when he began writing the theme, but did ask if he would be a hero or villain. Because he knew the character would be heroic at the end of the first season, McCreary made the theme more ominous at the beginning. This approach was inspired by the scores for ''[[E.T. the Extra-Terrestrial]]'' (1982) and ''[[The Iron Giant]]'' (1999).<ref name="McCrearyIDGNov2022" />{{rp|39:29–47:12}} |
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* "The Mystics":<br />The final character theme introduced in the first season is for these three mysterious women. McCreary said it was the simplest theme in the score, featuring whispered vocals and no melody. To represent the three characters he chose three repeating Quenya words and the time signature {{music|time|3|4}}. Two production techniques were used to give the choir an "otherworldly quality": they were recorded in different layers that were mixed together in irregular ways, creating an uncomfortable feeling inspired by [[ASMR]] videos; and a "reverse reverb" effect was added before the start of each word, so the first syllable reverberates before it is whispered.<ref name="McCrearyBlog105" /> |
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<!-- * "The Mystics":<br /> --> |
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==== Other themes ==== |
==== Other themes ==== |
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''In the Land of Mordor where the Shadows lie.'' |
''In the Land of Mordor where the Shadows lie.'' |
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</poem> |
</poem> |
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|source = The "Ring Verse" from J. R. R. Tolkien's ''The Lord of the Rings'' served as the basis for the song "Where the Shadows Lie" by composer Bear McCreary |
|source = The "Ring Verse" from J. R. R. Tolkien's ''The Lord of the Rings'' served as the basis for the song "Where the Shadows Lie" by composer Bear McCreary |
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}} |
}} |
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* "''The Lord of the Rings: The Rings of Power'' Main Title":<br />The series' main title theme, composed by Howard Shore, was created independently of McCreary's score.<ref name="McCrearyShoreDeadline" /> McCreary first heard it when he was around halfway through composing the music for the first season and he said it was a "wonderful fanfare for our show" that lived up to his expectations. He described it as "beautiful and noble" and said it made him nostalgic for Jackson's films,<ref name="McCrearyIWOct2022" /> while also fitting "so beautifully" with his own score for the series.<ref name="McCrearyShoreDeadline" /> |
* "''The Lord of the Rings: The Rings of Power'' Main Title":<br />The series' main title theme, composed by Howard Shore, was created independently of McCreary's score.<ref name="McCrearyShoreDeadline" /> McCreary first heard it when he was around halfway through composing the music for the first season and he said it was a "wonderful fanfare for our show" that lived up to his expectations. He described it as "beautiful and noble" and said it made him nostalgic for Jackson's films,<ref name="McCrearyIWOct2022" /> while also fitting "so beautifully" with his own score for the series.<ref name="McCrearyShoreDeadline" /> |
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=== Recording and mixing === |
=== Recording and mixing === |
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Because of the series' large budget, McCreary was given the resources he needed to record the score how he wanted without having to use common television cost-saving techniques such as alternating between bigger and smaller orchestras.<ref name="McCrearySRSep2022" /> Recording for the score began in November 2021, and each episode used a 90-piece orchestra at either [[Abbey Road Studios]] or [[AIR Studios]] in London over four days, a 40-person choir and children's choir at [[Synchron Stage Vienna|Synchron Stage]] in Vienna over three or fours days, and soloists on various specialty instruments in Los Angeles, New York, Norway, and Sweden over seven days.<ref name="McCrearyAug2022Variety" /><ref name="McCrearyBlogAP3" /> Because of limits on the number of performers allowed together during the COVID-19 pandemic, the orchestra was split into strings, woodwind and brass, and percussion for separate recording sessions. McCreary supervised the various recording sessions remotely while continuing to compose the score, with [[Gavin Greenaway]], [[Cliff Masterson]], and Anthony Weeden conducting the orchestra instead. Gottfried Rabl and Bernhard Melbye Voss conducted the choirs.<ref name="McCrearyBlogAP3" /> |
Because of the series' large budget, McCreary was given the resources he needed to record the score how he wanted without having to use common television cost-saving techniques such as alternating between bigger and smaller orchestras.<ref name="McCrearySRSep2022" /> Recording for the score began in November 2021, and each episode used a 90-piece orchestra at either [[Abbey Road Studios]] or [[AIR Studios]] in London over four days, as well as a 40-person choir and children's choir at [[Synchron Stage Vienna|Synchron Stage]] in Vienna over three or fours days, and soloists on various specialty instruments in Los Angeles, New York, Norway, and Sweden over seven days.<ref name="McCrearyAug2022Variety" /><ref name="McCrearyBlogAP3" /> Because of limits on the number of performers allowed together during the COVID-19 pandemic, the orchestra was split into strings, woodwind and brass, and percussion for separate recording sessions. McCreary supervised the various recording sessions remotely while continuing to compose the score, with [[Gavin Greenaway]], [[Cliff Masterson]], and Anthony Weeden conducting the orchestra instead. Gottfried Rabl and Bernhard Melbye Voss conducted the choirs.<ref name="McCrearyBlogAP3" /> |
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The different recordings were mixed together by Jason LaRocca to sound like they were all recorded together. By the end of 2021, the music was being added to the final sound mix for each episode. This was done on a schedule comparable to a feature film, giving time for McCreary to work with each episode's editors, sound designer Robby Stambler, and sound mixers [[Lindsey Alvarez]] and [[Beau Borders]] until they were all happy with the sound mix for each episode. McCreary said this was the first time in his career that he was able to give input on a sound mix before a showrunner's involvement. Working on the music mixes, supervising recordings, and still composing all of the music himself |
The different recordings were mixed together by Jason LaRocca to sound like they were all recorded together. By the end of 2021, the music was being added to the final sound mix for each episode. This was done on a schedule comparable to a feature film, giving time for McCreary to work with each episode's editors, sound designer Robby Stambler, and sound mixers [[Lindsey Alvarez]] and [[Beau Borders]] until they were all happy with the sound mix for each episode. McCreary said this was the first time in his career that he was able to give input on a sound mix before a showrunner's involvement. Working on the music mixes, supervising recordings, and still composing all of the music himself took a large toll on McCreary's physical and mental wellbeing, but he chose to continue composing the entire score himself because he wanted to realize the "full extent of [his] vision" and because writing music for ''The Lord of the Rings'' was a lifelong dream of his.<ref name="McCrearyBlogAP3" /> McCreary finished composing the score in April 2022, and was able to conduct the orchestra for the final episode himself at AIR Studios that month.<ref name="McCrearyAug2022Variety" /> |
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Soloists that were recorded on specialty instruments for the first season include Paul Jacob Cartwright playing fiddle, McCreary's longtime collaborator [[Eric Rigler]] playing bagpipes and Irish whistles, Bruce Carver playing bodhrán drums, Olav Luksengård Mjelva playing the hardanger fiddle, Erik Rydvall playing nyckelharpa, McCreary's close friend Malachai Bandy playing the yaylı tambur and [[viola da gamba]], Zac Zinger playing the shakuhachi flute, and William Roper creating the Orcs' music with horns of war, ceremonial shells, antlers, femur flutes, and Aztec death whistles. Violinist Sandy Cameron performed the solos for "Scherzo for Violin and Swords" and the instrumental version of "Where the Shadows Lie" while Eric Byers provided cello solos. Vocal soloists included Sladja Raicevic, child soprano Laura Maier, and McCreary's wife Raya Yarbrough.<ref name="McCrearyBlogAP3" /> |
Soloists that were recorded on specialty instruments for the first season include Paul Jacob Cartwright playing fiddle, McCreary's longtime collaborator [[Eric Rigler]] playing bagpipes and Irish whistles, Bruce Carver playing bodhrán drums, Olav Luksengård Mjelva playing the hardanger fiddle, Erik Rydvall playing nyckelharpa, McCreary's close friend Malachai Bandy playing the yaylı tambur and [[viola da gamba]], Zac Zinger playing the shakuhachi flute, and William Roper creating the Orcs' music with horns of war, ceremonial shells, antlers, femur flutes, and Aztec death whistles. Violinist Sandy Cameron performed the solos for the track "Scherzo for Violin and Swords" and the instrumental version of "Where the Shadows Lie" while Eric Byers provided cello solos. Vocal soloists included Sladja Raicevic, child soprano Laura Maier, and McCreary's wife Raya Yarbrough.<ref name="McCrearyBlogAP3" /> |
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== Songs and diegetic music == |
== Songs and diegetic music == |
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== Release == |
== Release == |
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=== Singles === |
=== Singles === |
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Two singles from the first season's score were released |
Two singles from the first season's score were released when McCreary was announced as composer for the series:<ref name="McCrearyShoreRS" /> |
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{| class="wikitable plainrowheaders" style="text-align:center;" |
{| class="wikitable plainrowheaders" style="text-align:center;" |
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| 3:44 |
| 3:44 |
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| rowspan="2" | {{Start date|2022|7|21}} |
| rowspan="2" | {{Start date|2022|7|21}} |
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| rowspan="2" | Amazon Music |
| rowspan="2" | [[Amazon Music]] |
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| rowspan="2" | <ref name="McCrearyShoreRS" /> |
| rowspan="2" | <ref name="McCrearyShoreRS" /> |
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=== Albums === |
=== Albums === |
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McCreary produced a first-season album featuring his main themes as well as highlights from each episode. He edited, re-wrote, and re-recorded most of the music to create "an emotional listening experience that captures the season's narrative arc in a symphonic format",<ref name="McCrearyEpSoundtracks" /> and to remove some spoilers because the album was released before the episodes were.<ref name="McCrearyIWOct2022" /> |
McCreary produced a first-season album featuring his main themes as well as highlights from each episode. He edited, re-wrote, and re-recorded most of the music to create "an emotional listening experience that captures the season's narrative arc in a symphonic format",<ref name="McCrearyEpSoundtracks" /> and to remove some spoilers because the album was released before the episodes were.<ref name="McCrearyIWOct2022" /> The version of "Where the Shadows Lie" featuring lyrics sung by Fiona Apple was added to the album after all the episodes were released.<ref name="McCrearyAppleRS" /> McCreary also released individual albums after each episode debuted, containing "virtually every second of score" from each episode.<ref name="McCrearyEpSoundtracks" /> |
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{| class="wikitable plainrowheaders" style="text-align:center;" |
{| class="wikitable plainrowheaders" style="text-align:center;" |
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! {{Abbr|Ref.|References}} |
! {{Abbr|Ref.|References}} |
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|- |
|- |
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! scope="row" rowspan="3" style="text-align:left" | ''[[The Lord of the Rings: The Rings of Power |
! scope="row" rowspan="3" style="text-align:left" | ''[[The Lord of the Rings: The Rings of Power season 1#Music|Season One]]'' |
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| Digital download |
| Digital download |
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| 2:40:54 |
| 2:40:54 |
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| {{Start date|2022|8|19}} |
| {{Start date|2022|8|19}} |
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| Amazon Music |
| [[Amazon Music]] |
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| rowspan="3" | <ref name="S1Soundtrack">{{Cite web |last=<!-- filmmusicreporter --> |date=August 18, 2022 |title='The Lord of the Rings: The Rings of Power' Soundtrack Album Details |url=http://filmmusicreporter.com/2022/08/18/the-lord-of-the-rings-the-rings-of-power-soundtrack-album-details/ |url-status=live |archive-url=https://web.archive.org/web/20220818161444/http://filmmusicreporter.com/2022/08/18/the-lord-of-the-rings-the-rings-of-power-soundtrack-album-details/ |archive-date=August 18, 2022 |access-date=August 20, 2022 |website=Film Music Reporter}}</ref> |
| rowspan="3" | <ref name="S1Soundtrack">{{Cite web |last=<!-- filmmusicreporter --> |date=August 18, 2022 |title='The Lord of the Rings: The Rings of Power' Soundtrack Album Details |url=http://filmmusicreporter.com/2022/08/18/the-lord-of-the-rings-the-rings-of-power-soundtrack-album-details/ |url-status=live |archive-url=https://web.archive.org/web/20220818161444/http://filmmusicreporter.com/2022/08/18/the-lord-of-the-rings-the-rings-of-power-soundtrack-album-details/ |archive-date=August 18, 2022 |access-date=August 20, 2022 |website=Film Music Reporter}}</ref> |
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|- |
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| 2:40:54 |
| 2:40:54 |
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| {{Start date|2022|10|14}} |
| {{Start date|2022|10|14}} |
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| rowspan="2" | Mondo |
| rowspan="2" | [[Mondo (American company)|Mondo]] |
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|- |
|- |
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| Vinyl |
| Vinyl |
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| <ref name="108Soundtrack">{{Cite web |last=<!-- filmmusicreporter --> |date=October 13, 2022 |title='The Lord of the Rings: The Rings of Power' Season 1, Episode 8 ('Alloyed') Soundtrack Album Released |url=https://filmmusicreporter.com/2022/10/13/the-lord-of-the-rings-the-rings-of-power-season-1-episode-8-alloyed-soundtrack-album-details/ |url-status=live |archive-url=https://web.archive.org/web/20221013172057/https://filmmusicreporter.com/2022/10/13/the-lord-of-the-rings-the-rings-of-power-season-1-episode-8-alloyed-soundtrack-album-details/ |archive-date=October 13, 2022 |access-date=October 14, 2022 |website=Film Music Reporter}}</ref> |
| <ref name="108Soundtrack">{{Cite web |last=<!-- filmmusicreporter --> |date=October 13, 2022 |title='The Lord of the Rings: The Rings of Power' Season 1, Episode 8 ('Alloyed') Soundtrack Album Released |url=https://filmmusicreporter.com/2022/10/13/the-lord-of-the-rings-the-rings-of-power-season-1-episode-8-alloyed-soundtrack-album-details/ |url-status=live |archive-url=https://web.archive.org/web/20221013172057/https://filmmusicreporter.com/2022/10/13/the-lord-of-the-rings-the-rings-of-power-season-1-episode-8-alloyed-soundtrack-album-details/ |archive-date=October 13, 2022 |access-date=October 14, 2022 |website=Film Music Reporter}}</ref> |
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|} |
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=== Box set === |
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A limited edition box set for the first season from Mondo, Amazon Music, and McCreary's label Sparks and Shadows is scheduled for release on April 26, 2024. The collection includes Mondo's two CD first-season album release, eight CDs featuring the music from each of the season's episodes, and a 136-page journal written by McCreary which details his episode-by-episode account and general thoughts on the creation of the season's score.<ref name="S1BoxSet" /> |
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== Reception == |
== Reception == |
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=== Critical response === |
=== Critical response === |
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Jonathan Broxton of ''Movie Music UK'', who rarely reviews television scores, wrote a review of the first season's score and said the time and effort was worth it. He praised the score as the best of McCreary's career, calling it an astonishing achievement that lived up to the high bar set by Shore with the films. Broxton discussed the various themes and techniques used by McCreary and concluded that "the conceptual design, intellectual creativity, and musical world-building in this score is something that you just don't see in modern film scoring... the fact that so many of the themes are clearly identifiable and memorable, with actual hummable melodies, is something that should be celebrated everywhere". Broxton felt it was the best score for any film or series of 2022,<ref name="MovieMusicUKReview" /> and in his annual ''Movie Music UK'' Awards he named it the score of the year as well as the best original score for television.<ref name="MovieMusicUKAwards" /> |
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''Zanobard Reviews'' wrote "while many of McCreary’s new themes are indeed amazing and very memorable, some are sadly a bit less so, with a few blending into each other to the point where they are rather difficult to identify and separate at times, which does dampen the whole “orchestral tapestry” thing a tad. Howard Shore’s brief contribution to ''The Rings Of Power'' is also a bit of a disappointment, as a singular and rather forgettable ninety second cue just isn’t enough to make any meaningful impact on the score, no matter how ''LOTR''-y it may sound. Bear McCreary does channel a little bit of Shore in his compositional style (particularly in the more Elven moments) but the music here is certainly and identifiably McCreary’s, which will please some, and heavily displease others [...] the composer does seem to just give it his enthusiastic all here, to some seriously impressive musical results overall which honestly is all we can really ask for. In essence then; if you’re coming here expecting the second coming of Howard Shore’s ''Lord Of The Rings'' and all the iconic music that would entail, you are going to be disappointed. If you’re here with just the expectations of a solid fantasy score, a couple of decent themes and a good orchestral time though; you’ll be utterly blown away by how good this is."<ref>{{Cite web |last=Zanobard |date=August 22, 2022 |title=The Lord Of The Rings: The Rings Of Power – Soundtrack Review |url=https://zanobardreviews.com/2022/08/22/the-lord-of-the-rings-the-rings-of-power-soundtrack-review/ |access-date=September 6, 2022 |website=Zanobard Reviews |language=en}}</ref> |
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Reviewing the score for ''Movie Wave'', James Southall said McCreary's hiring was a masterstroke and the composer had managed to write music that fit alongside Shore's without trying to imitate the latter. None of McCreary's themes gave Southall the "instant gratification" of some key Shore themes from the films, but he still found some to be memorable—a rarity for modern television, in his opinion—and particularly praised "Galadriel". Southall felt the score was a career-defining moment for McCreary.<ref name="MovieWaveReview" /> ''Sci-Fi Bulletin''{{'s}} David A. McIntee said McCreary's score was a true [[wikt:pastiche|pastiche]] of Shore's style and the best of television composing, rating the first season album a superlative 11 out of 10.<ref name="SciFiBulletinReview" /> Sarah Shachat of ''[[IndieWire]]'' called the score a "force of nature" and highlighted McCreary's ability to convey story and character information while also "reverse engineering" sounds that would feasibly evolve into Shore's material.<ref name="IWBestScore2022" /> Kyle Kruske echoed those thoughts in an "ode to Bear McCreary's excellent score" that he wrote for ''[[MovieWeb]]'', in which he said the score was a worthy successor to Shore's "musical crown".<ref name="MovieWebReview" /> |
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Thomas Bacon of ''[[Screen Rant]]'' wrote "''The Lord of the Rings: The Rings of Power'' soundtrack to date is absolutely stunning, perfectly complementing the lavish cinematography and remarkable special effects. Shore's theme is stylistically evocative of Peter Jackson's classic ''The Lord of the Rings'' movies (likely the reason he was hired in the first place). McCreary, meanwhile, is a skilled composer whose own personal style has been heavily influenced by Shore's work, making him a perfect thematic match. At the same time, though, his music is subtly different - in keeping with the Second Age setting of ''The Rings of Power'', which deals with a very different version of Middle-earth."<ref name=":0">{{Cite web |last=Bacon |first=Thomas |date=September 3, 2022 |title=The Rings Of Power's Soundtrack Is Just Incredible |url=https://screenrant.com/lotr-rings-of-power-soundtrack-great/ |access-date=September 6, 2022 |website=ScreenRant |language=en-US}}</ref> Writing on the "Khazad-dûm" theme, Bacon said "it is one of the most striking themes, with thunderous drums and deep chants to present the Mines of Moria before the Dwarven kingdom's downfall",<ref name=":0" /> and "Nori Brandyfoot" called that the theme "is evocative of the Hobbits, but with (appropriately enough) a far more adventurous feel."<ref name=":0" /> He concluded "McCreary's score doesn't quite live up to Shore's, but frankly it was never going to. Still, it is remarkably impressive and serves as a testimony to the composer's real skill and talent."<ref name=":0" /> |
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Patrick Lyon at ''[[Collider (website)|Collider]]'' said the score had taken him "right back to Middle-earth" and discussed how McCreary had honored Shore's approach to leitmotifs for the films. Lyon highlighted the track "Khazad-dûm" and how it was consistent with Shore's own material for the Dwarves while also representing a different era for those characters.<ref name="ColliderReview" /> Alice Rose Dodds of ''[[Game Rant]]'' also discussed how McCreary had honored Shore's work while creating a score that matched the needs of ''The Rings of Power''{{'s}} setting and characters. She had similar thoughts to Lyon on "Khazad-dûm" and also highlighted the approach taken for "Galadriel" compared to Shore's music for that character. Dodds concluded that "McCreary takes everything that Shore has done, and transforms it into something that works with the new context of the show... it brings hope to those who listen, that ''Rings of Power'' will burn with Tolkien's heart at its center".<ref name="GRReview" /> Writing for ''[[/Film]]'', Jeremy Mathai said the score was a testament to the power of musical motifs which many modern films and series, such as the [[Marvel Cinematic Universe]], did not take advantage of.<ref name="/FilmReview" /> |
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Sophia Alexandra Hall of ''[[Classic FM (UK)|Classic FM]]'', called the score as "a mystical musical return to middle earth".<ref>{{Cite web |title=The Rings of Power soundtrack is a mystical musical return to middle earth |url=https://www.classicfm.com/discover-music/periods-genres/film-tv/rings-of-power-soundtrack/ |access-date=September 6, 2022 |website=Classic FM |language=en}}</ref> Juliette Harrisson of ''[[Den of Geek]]'' had reviewed the score "McCreary’s Celtic-flavored composition is the perfect continuation of Shore’s work".<ref>{{Cite web |last=Saavedra |first=John |date=September 3, 2022 |title=Lord of the Rings: The Rings of Power Soundtrack - What Do The Song Titles Mean? |url=https://www.denofgeek.com/tv/lord-of-the-rings-the-rings-of-power-soundtrack-what-do-the-song-titles-mean/ |access-date=September 6, 2022 |website=Den of Geek |language=en-US}}</ref> Ben Sledge of ''[[The Gamer (web comic)|The Gamer]]'' "Composer Bear McCreary has created a soundtrack with shades of the Ainulindalë".<ref>{{Cite web |last=Sledge |first=Ben |date=August 22, 2022 |title=The Rings Of Power Soundtrack Is The Best Reveal So Far |url=https://www.thegamer.com/rings-of-power-soundtrack-best-reveal-so-far/ |access-date=September 6, 2022 |website=TheGamer |language=en-US}}</ref> Alicie Rose Dodds of ''Game Rant'' said "If Shore’s Middle Earth was one of melancholy and the wistful crumbling of one great race, then McCreary’s Middle Earth is one that speaks loudly of the might of these cultures at the pinnacle of their power. His music plays like the predecessor to Shore’s, like the music of mighty people before they fell to sickness, greed, and ruin. The best comparison is that Shore’s music is like the faded and often crumbling frescos of a church, still mighty, beautiful, and powerful, but lacking the color and vibrancy of when it was first created."<ref>{{Cite web |last=Dodds |first=Alice Rose |date=August 22, 2022 |title=Does The Rings Of Power Music Score Live Up To The Howard Shore Expectations Of The Originals? |url=https://gamerant.com/lotr-rings-of-power-score-bear-mccreary-howard-shore/ |access-date=September 6, 2022 |website=Game Rant |language=en-US}}</ref> |
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Writing for ''[[Screen Rant]]'', Thomas Bacon described McCreary's score as "absolutely stunning" and said it evoked Shore's music while bringing a new feeling for the series. Bacon felt the score did not quite live up to the films, but said it was "remarkably impressive and serves as a testimony to [McCreary]'s real skill and talent".<ref name="SRReview" /> ''Zanobard Reviews'' also felt the score did not match Shore's and was disappointed in Shore's own contribution, feeling the main theme was not memorable and was only added so Shore would be associated with the series. However, they said McCreary's work was "pretty damned amazing" and graded the first season album 9 out of 10.<ref name="ZanobardReviews" /> |
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The main theme to ''Rings of the Power'', written by [[Howard Shore]], was nearly streamed over 117,000 times in [[Spotify]], while the themes "Galadriel" and "Khazad-dûm" streamed over 100,000 times.<ref name=":0" /> |
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===Commercial performance=== |
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Within two weeks of the first season album being available for download, Shore's main theme had been streamed over 117,000 times on [[Spotify]] while the tracks "Galadriel" and "Khazad-dûm" had been streamed over 100,000 times.<ref name="SRReview" /> The album reached a peak position of 15 on the UK Soundtrack Albums Chart and 28 on the [[UK Album Downloads Chart]] during the week of October 27, 2023.<ref name="UKChartsS1" /> |
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=== Accolades === |
=== Accolades === |
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The first season's score was ranked seventh on ''IndieWire''{{'s}} list of the best television scores of 2022.<ref name="IWBestScore2022" /> |
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{| class="wikitable sortable" |
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{| class="wikitable sortable plainrowheaders" |
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|- |
|- |
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! scope="col" | Award |
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! Year |
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! scope="col" | Date of ceremony |
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! Award |
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! Category |
! scope="col" | Category |
||
! scope="col" | Recipient(s) |
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! Nominee(s) |
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! Result |
! scope="col" | Result |
||
! scope="col" class="unsortable" | {{Ref heading}} |
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! {{Abbr|Ref.|References}} |
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|- |
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| 2022 |
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| [[13th Hollywood Music in Media Awards|Hollywood Music in Media Awards]] |
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| Original Score — TV Show/Limited Series |
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| [[Bear McCreary]] |
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| {{nom}} |
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| style="text-align:center" | <ref>{{Cite web |last=Anderson |first=Erik |date=November 3, 2022 |title='Black Panther,' 'Bros,' 'Everything Everywhere All at Once,' 'Guillermo del Toro's Pinocchio' lead Hollywood Music in Media Awards (HMMA) nominations |url=https://awardswatch.com/black-panther-bros-everything-everywhere-all-at-once-guillermo-del-toros-pinocchio-lead-hollywood-music-in-media-awards-hmma-nominations/ |url-status=live |archive-url=https://web.archive.org/web/20221103234407/https://awardswatch.com/black-panther-bros-everything-everywhere-all-at-once-guillermo-del-toros-pinocchio-lead-hollywood-music-in-media-awards-hmma-nominations/ |archive-date=November 3, 2022 |access-date=January 18, 2023 |website=AwardsWatch}}</ref> |
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|- |
|- |
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! scope="row" style="text-align:center;" | [[American Society of Composers, Authors and Publishers|ASCAP Composers' Choice Awards]] |
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| rowspan="8" | 2023 |
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| {{dts|May 16, 2023}} |
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| [[American Society of Composers, Authors and Publishers|ASCAP Composers' Choice Awards]] |
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| Television score of the year |
| Television score of the year |
||
| [[Bear McCreary]] |
| [[Bear McCreary]] |
||
| {{ |
| {{nom}} |
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| style="text-align:center" | <ref>{{Cite magazine |last=Grein |first=Paul |date=February 27, 2023 |title=Volker Bertelmann, Carter Burwell Among Nominees for 2023 ASCAP Composers' Choice Awards (Full List) |url=https://www.billboard.com/music/awards/ascap-composers-choice-awards-2023-nominations-full-list-1235261293/ |url-status=live |archive-url=https://web.archive.org/web/20230227201124/https://www.billboard.com/music/awards/ascap-composers-choice-awards-2023-nominations-full-list-1235261293/ |archive-date=February 27, 2023 |access-date=February 27, 2023 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> |
| style="text-align:center" | <ref>{{Cite magazine |last=Grein |first=Paul |date=February 27, 2023 |title=Volker Bertelmann, Carter Burwell Among Nominees for 2023 ASCAP Composers' Choice Awards (Full List) |url=https://www.billboard.com/music/awards/ascap-composers-choice-awards-2023-nominations-full-list-1235261293/ |url-status=live |archive-url=https://web.archive.org/web/20230227201124/https://www.billboard.com/music/awards/ascap-composers-choice-awards-2023-nominations-full-list-1235261293/ |archive-date=February 27, 2023 |access-date=February 27, 2023 |magazine=[[Billboard (magazine)|Billboard]]}}</ref> |
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|- |
|- |
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! scope="row" style="text-align:center;" | [[Hollywood Music in Media Awards]] |
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| [[13th Hollywood Music in Media Awards|{{dts|November 16, 2022}}]] |
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| Original Score — TV Show/Limited Series |
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| [[Bear McCreary]] |
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| {{nom}} |
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| style="text-align:center" | <ref>{{Cite web |last=Anderson |first=Erik |date=November 3, 2022 |title='Black Panther,' 'Bros,' 'Everything Everywhere All at Once,' 'Guillermo del Toro's Pinocchio' lead Hollywood Music in Media Awards (HMMA) nominations |url=https://awardswatch.com/black-panther-bros-everything-everywhere-all-at-once-guillermo-del-toros-pinocchio-lead-hollywood-music-in-media-awards-hmma-nominations/ |url-status=live |archive-url=https://web.archive.org/web/20221103234407/https://awardswatch.com/black-panther-bros-everything-everywhere-all-at-once-guillermo-del-toros-pinocchio-lead-hollywood-music-in-media-awards-hmma-nominations/ |archive-date=November 3, 2022 |access-date=January 18, 2023 |website=AwardsWatch}}</ref> |
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|- |
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! scope="row" rowspan="6" style="text-align:center;" | [[International Film Music Critics Association Awards]] |
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| rowspan="6" | {{dts|July 18, 2023}} |
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| Score of the Year |
| Score of the Year |
||
| '' |
| ''The Lord of the Rings: The Rings of Power'' (music by [[Bear McCreary]], theme by [[Howard Shore]]) |
||
| {{won}} |
| {{won}} |
||
| rowspan="6" style="text-align:center" | <ref>{{Cite web |last=Anderson |first=Erik |date=February 9, 2023 |title=Bear McCreary, Michael Giacchino and Daniel Pemberton lead 2022 International Film Music Critics Association (IFMCA) nominations |url=https://awardswatch.com/bear-mccreary-michael-giacchino-and-daniel-pemberton-lead-2022-international-film-music-critics-association-ifmca-nominations/ |url-status=live |archive-url=https://web.archive.org/web/20230209195239/https://awardswatch.com/bear-mccreary-michael-giacchino-and-daniel-pemberton-lead-2022-international-film-music-critics-association-ifmca-nominations/ |archive-date=February 9, 2023 |access-date=February 9, 2023 |website=AwardsWatch}}</ref><ref>{{Cite web |author=Jon |date=February 23, 2023 |title=IFMCA Award Winners 2022 |url=http://filmmusiccritics.org/2023/02/ifmca-award-winners-2022/ |url-status=live |archive-url=https://web.archive.org/web/20230223171552/http://filmmusiccritics.org/2023/02/ifmca-award-winners-2022/ |archive-date=February 23, 2023 |access-date=February 25, 2023 |website=[[International Film Music Critics Association]]}}</ref> |
| rowspan="6" style="text-align:center" | <ref>{{Cite web |last=Anderson |first=Erik |date=February 9, 2023 |title=Bear McCreary, Michael Giacchino and Daniel Pemberton lead 2022 International Film Music Critics Association (IFMCA) nominations |url=https://awardswatch.com/bear-mccreary-michael-giacchino-and-daniel-pemberton-lead-2022-international-film-music-critics-association-ifmca-nominations/ |url-status=live |archive-url=https://web.archive.org/web/20230209195239/https://awardswatch.com/bear-mccreary-michael-giacchino-and-daniel-pemberton-lead-2022-international-film-music-critics-association-ifmca-nominations/ |archive-date=February 9, 2023 |access-date=February 9, 2023 |website=AwardsWatch}}</ref><ref>{{Cite web |author=Jon |date=February 23, 2023 |title=IFMCA Award Winners 2022 |url=http://filmmusiccritics.org/2023/02/ifmca-award-winners-2022/ |url-status=live |archive-url=https://web.archive.org/web/20230223171552/http://filmmusiccritics.org/2023/02/ifmca-award-winners-2022/ |archive-date=February 23, 2023 |access-date=February 25, 2023 |website=[[International Film Music Critics Association]]}}</ref> |
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|- |
|- |
||
| Best Original Score for Television |
| Best Original Score for Television |
||
| '' |
| ''The Lord of the Rings: The Rings of Power'' (music by [[Bear McCreary]], theme by [[Howard Shore]]) |
||
| {{won}} |
| {{won}} |
||
|- |
|- |
||
! scope="row" style="text-align:center;" | [[Creative Arts Emmy Awards|Primetime Creative Arts Emmy Awards]] |
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| [[Society of Composers & Lyricists Awards]] |
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| [[75th Primetime Creative Arts Emmy Awards|{{dts|January 7, 2024}}]] |
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| [[Primetime Emmy Award for Outstanding Original Main Title Theme Music|Original Main Title Theme Music]] |
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| [[Howard Shore]] |
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| {{nom}} |
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| style="text-align:center" | <ref>{{Cite web |last1=Rice |first1=Lynette |last2=Hipes |first2=Patrick |date=July 12, 2023 |title=Emmy Nominations: The Complete List |url=https://deadline.com/2023/07/2023-emmy-nominations-list-1235434253/ |url-status=live |archive-url=https://web.archive.org/web/20230712194950/https://deadline.com/2023/07/2023-emmy-nominations-list-1235434253/ |archive-date=July 12, 2023 |access-date=July 12, 2023 |website=[[Deadline Hollywood]]}}</ref> |
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|- |
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! scope="row" style="text-align:center;" | [[Society of Composers & Lyricists Awards]] |
|||
| {{dts|February 15, 2023}} |
|||
| Outstanding Score For Television |
| Outstanding Score For Television |
||
| [[Bear McCreary]] |
| [[Bear McCreary]] |
||
| {{nom}} |
| {{nom}} |
||
| style="text-align:center" | <ref>{{Cite web |last=Haring |first=Bruce |date=February 16, 2023 |title=Michael Abels, Diane Warren, Alexandre Desplat, Guillermo Del Toro Among Winners At Society Of Composers And Lyricists Awards |url=https://deadline.com/2023/02/michael-abels-diane-warren-alexandre-desplat-guillermo-del-toro-among-winners-society-of-composers-lyricists-awards-1235261256/ |url-status=live |archive-url=https://web.archive.org/web/20230216065545/https://deadline.com/2023/02/michael-abels-diane-warren-alexandre-desplat-guillermo-del-toro-among-winners-society-of-composers-lyricists-awards-1235261256/ |archive-date=February 16, 2023 |access-date=February 18, 2023 |website=[[Deadline Hollywood]]}}</ref> |
| style="text-align:center" | <ref>{{Cite web |last=Haring |first=Bruce |date=February 16, 2023 |title=Michael Abels, Diane Warren, Alexandre Desplat, Guillermo Del Toro Among Winners At Society Of Composers And Lyricists Awards |url=https://deadline.com/2023/02/michael-abels-diane-warren-alexandre-desplat-guillermo-del-toro-among-winners-society-of-composers-lyricists-awards-1235261256/ |url-status=live |archive-url=https://web.archive.org/web/20230216065545/https://deadline.com/2023/02/michael-abels-diane-warren-alexandre-desplat-guillermo-del-toro-among-winners-society-of-composers-lyricists-awards-1235261256/ |archive-date=February 16, 2023 |access-date=February 18, 2023 |website=[[Deadline Hollywood]]}}</ref> |
||
|- |
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! scope="row" style="text-align:center;" | [[World Soundtrack Awards]] |
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| {{dts|October 21, 2023}} |
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| Television Composer of the Year |
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| [[Bear McCreary]] |
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| {{nom}} |
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| style="text-align:center" | <ref>{{Cite web |last=Calnan |first=Ellie |date=August 4, 2023 |title=''Indiana Jones'', ''Spider-Man'', ''Succession'' among 2023 World Soundtrack Awards nominees |url=https://www.screendaily.com/news/indiana-jones-spider-man-succession-among-2023-world-soundtrack-awards-nominees/5184680.article |url-status=live |archive-url=https://web.archive.org/web/20230806175055/https://www.screendaily.com/news/indiana-jones-spider-man-succession-among-2023-world-soundtrack-awards-nominees/5184680.article |archive-date=August 6, 2023 |access-date=October 5, 2023 |website=[[Screen Daily]]}}</ref> |
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|} |
|} |
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== Additional music == |
== Additional music == |
||
McCreary was asked to compose original music for the series' [[The Lord of the Rings: The Rings of Power# |
McCreary was asked to compose original music for the series' [[The Lord of the Rings: The Rings of Power#Title announcement video|title announcement video]] that was released in January 2022, for which he used his "The Stranger" theme. Later in 2022, Amazon asked McCreary to perform live with an orchestra at [[San Diego Comic-Con]]. He combined the tracks "Nolwa Mahtar", "Galadriel", "Sauron", and "The Stranger" into an overture for choir, orchestra, percussion, and solo violinist Sandy Cameron.<ref name="McCrearyBlogAP4" /> |
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== See also == |
== See also == |
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<ref name="NoJacksonTHR">{{Cite web |last=Hibberd |first=James |date=August 5, 2022 |title=Peter Jackson Says Amazon's 'Lord of the Rings' TV Series Ghosted Him |url=https://www.hollywoodreporter.com/tv/tv-news/peter-jackson-amazon-lord-of-the-rings-tv-series-1235193692/ |url-status=live |archive-url=https://web.archive.org/web/20220806034606/https://www.hollywoodreporter.com/tv/tv-news/peter-jackson-amazon-lord-of-the-rings-tv-series-1235193692/ |archive-date=August 6, 2022 |access-date=August 6, 2022 |website=[[The Hollywood Reporter]]}}</ref> |
<ref name="NoJacksonTHR">{{Cite web |last=Hibberd |first=James |date=August 5, 2022 |title=Peter Jackson Says Amazon's 'Lord of the Rings' TV Series Ghosted Him |url=https://www.hollywoodreporter.com/tv/tv-news/peter-jackson-amazon-lord-of-the-rings-tv-series-1235193692/ |url-status=live |archive-url=https://web.archive.org/web/20220806034606/https://www.hollywoodreporter.com/tv/tv-news/peter-jackson-amazon-lord-of-the-rings-tv-series-1235193692/ |archive-date=August 6, 2022 |access-date=August 6, 2022 |website=[[The Hollywood Reporter]]}}</ref> |
||
<ref name="ShoreTalks">{{Cite web |last=Fleming |first=Mike Jr. |date=September 19, 2021 |title=Oscar-Winning 'The Lord Of The Rings' Howard Shore In Talks To Compose Music For Amazon Studios' Middle Earth-Set TV Series |url=https://deadline.com/2021/09/the-lord-of-the-rings-composer-howard-shore-score-amazon-tv-series-middle-earth-jrr-tolkien-1234839274/ |url-status=live |archive-url=https://archive.today/ |
<ref name="ShoreTalks">{{Cite web |last=Fleming |first=Mike Jr. |date=September 19, 2021 |title=Oscar-Winning 'The Lord Of The Rings' Howard Shore In Talks To Compose Music For Amazon Studios' Middle Earth-Set TV Series |url=https://deadline.com/2021/09/the-lord-of-the-rings-composer-howard-shore-score-amazon-tv-series-middle-earth-jrr-tolkien-1234839274/ |url-status=live |archive-url=https://archive.today/20210919203458/https://deadline.com/2021/09/the-lord-of-the-rings-composer-howard-shore-score-amazon-tv-series-middle-earth-jrr-tolkien-1234839274/ |archive-date=September 19, 2021 |access-date=September 19, 2021 |website=[[Deadline Hollywood]]}}</ref> |
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<ref name="ShoreReports">{{Cite web |date=September 19, 2021 |title=Howard Shore and Bear McCreary to soundtrack LOTR on Prime series |url=https://www.theonering.net/torwp/2021/09/19/111495-howard-shore-and-bear-mccreary-to-soundtrack-lotr-on-prime-series/ |url-status=live |archive-url=https://web.archive.org/web/20210921000238/https://www.theonering.net/torwp/2021/09/19/111495-howard-shore-and-bear-mccreary-to-soundtrack-lotr-on-prime-series/ |archive-date=September 21, 2021 |access-date=July 28, 2022 |website=[[TheOneRing.net]]}}</ref> |
<ref name="ShoreReports">{{Cite web |date=September 19, 2021 |title=Howard Shore and Bear McCreary to soundtrack LOTR on Prime series |url=https://www.theonering.net/torwp/2021/09/19/111495-howard-shore-and-bear-mccreary-to-soundtrack-lotr-on-prime-series/ |url-status=live |archive-url=https://web.archive.org/web/20210921000238/https://www.theonering.net/torwp/2021/09/19/111495-howard-shore-and-bear-mccreary-to-soundtrack-lotr-on-prime-series/ |archive-date=September 21, 2021 |access-date=July 28, 2022 |website=[[TheOneRing.net]]}}</ref> |
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<ref name="McCrearyShoreRS">{{Cite web |last=Reilly |first=Nick |date=July 21, 2022 |title=Bear McCreary confirmed as composer of 'The Lord of the Rings: The Rings of Power' |url=https://www.rollingstone.co.uk/tv/news/bear-mccreary-confirmed-as-composer-of-the-lord-of-the-rings-the-rings-of-power-20549/ |url-status=live |archive-url=https://web.archive.org/web/20220721140133/https://www.rollingstone.co.uk/tv/news/bear-mccreary-confirmed-as-composer-of-the-lord-of-the-rings-the-rings-of-power-20549/ |archive-date=July 21, 2022 |access-date=July 28, 2022 |website=[[Rolling Stone UK]]}}</ref> |
<ref name="McCrearyShoreRS">{{Cite web |last=Reilly |first=Nick |date=July 21, 2022 |title=Bear McCreary confirmed as composer of 'The Lord of the Rings: The Rings of Power' |url=https://www.rollingstone.co.uk/tv/news/bear-mccreary-confirmed-as-composer-of-the-lord-of-the-rings-the-rings-of-power-20549/ |url-status=live |archive-url=https://web.archive.org/web/20220721140133/https://www.rollingstone.co.uk/tv/news/bear-mccreary-confirmed-as-composer-of-the-lord-of-the-rings-the-rings-of-power-20549/ |archive-date=July 21, 2022 |access-date=July 28, 2022 |website=[[Rolling Stone UK]]}}</ref> |
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<ref name="Plan9">{{Cite web |last1=Roddick |first1=Janet |last2=Donaldson |first2=David |author-link2=David Donaldson (composer) |last3=Roche |first3=Stephen |author-link3=Steve Roche |title=Screen Composers {{!}} Plan 9 {{!}} New Zealand |url=https://www.plan9.co.nz/ |url-status=live |archive-url=https://web.archive.org/web/20230119075745/https://www.plan9.co.nz/ |archive-date=January 19, |
<ref name="Plan9">{{Cite web |last1=Roddick |first1=Janet |last2=Donaldson |first2=David |author-link2=David Donaldson (composer) |last3=Roche |first3=Stephen |author-link3=Steve Roche |title=Screen Composers {{!}} Plan 9 {{!}} New Zealand |url=https://www.plan9.co.nz/ |url-status=live |archive-url=https://web.archive.org/web/20230119075745/https://www.plan9.co.nz/ |archive-date=January 19, 2023 |access-date=January 21, 2023 |website=Plan 9}}</ref> |
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<!-- COMPOSITION --> |
<!-- COMPOSITION --> |
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<ref name="McCrearyNerdistSep2022">{{Cite web |last=Ratcliffe |first=Amy |date=September 16, 2022 |title=The Rings of Power Composer Bear McCreary Breaks Down the Show's Character Themes |url=https://nerdist.com/article/rings-of-power-composer-bear-mcreary-interview-character-themes-galadriel-elrond-the-stranger/ |url-status=live |archive-url=https://web.archive.org/web/20220916153553/https://nerdist.com/article/rings-of-power-composer-bear-mcreary-interview-character-themes-galadriel-elrond-the-stranger/ |archive-date=September 16, 2022 |access-date=January 23, 2023 |website=[[Nerdist]]}}</ref> |
<ref name="McCrearyNerdistSep2022">{{Cite web |last=Ratcliffe |first=Amy |date=September 16, 2022 |title=The Rings of Power Composer Bear McCreary Breaks Down the Show's Character Themes |url=https://nerdist.com/article/rings-of-power-composer-bear-mcreary-interview-character-themes-galadriel-elrond-the-stranger/ |url-status=live |archive-url=https://web.archive.org/web/20220916153553/https://nerdist.com/article/rings-of-power-composer-bear-mcreary-interview-character-themes-galadriel-elrond-the-stranger/ |archive-date=September 16, 2022 |access-date=January 23, 2023 |website=[[Nerdist]]}}</ref> |
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<ref name="McCrearyVultureOct2022">{{Cite web |last=McHenry |first=Jackson |date=October 4, 2022 |title=A Tour of the Tolkien Lore in the Rings of Power Score |url=https://www.vulture.com/article/rings-of-power-how-bear-mccreary-wrote-musical-themes.html |url-status=live |archive-url=https://archive. |
<ref name="McCrearyVultureOct2022">{{Cite web |last=McHenry |first=Jackson |date=October 4, 2022 |title=A Tour of the Tolkien Lore in the Rings of Power Score |url=https://www.vulture.com/article/rings-of-power-how-bear-mccreary-wrote-musical-themes.html |url-status=live |archive-url=https://archive.today/20221024113902/https://www.vulture.com/article/rings-of-power-how-bear-mccreary-wrote-musical-themes.html |archive-date=October 24, 2022 |access-date=January 23, 2023 |website=[[Vulture (website)|Vulture]]}}</ref> |
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<ref name="McCrearyIWOct2022">{{Cite web |last=Shachat |first=Sarah |date=October 2, 2022 |title=How Bear McCreary's Music Fills Middle Earth and Still Leaves More to Discover |url=https://www.indiewire.com/2022/10/rings-of-power-music-bear-mccreary-interview-1234767359/ |url-status=live |archive-url=https://web.archive.org/web/20221206172001/https://www.indiewire.com/2022/10/rings-of-power-music-bear-mccreary-interview-1234767359/ |archive-date=December 6, 2022 |access-date=January 23, 2023 |website=[[IndieWire]]}}</ref> |
<ref name="McCrearyIWOct2022">{{Cite web |last=Shachat |first=Sarah |date=October 2, 2022 |title=How Bear McCreary's Music Fills Middle Earth and Still Leaves More to Discover |url=https://www.indiewire.com/2022/10/rings-of-power-music-bear-mccreary-interview-1234767359/ |url-status=live |archive-url=https://web.archive.org/web/20221206172001/https://www.indiewire.com/2022/10/rings-of-power-music-bear-mccreary-interview-1234767359/ |archive-date=December 6, 2022 |access-date=January 23, 2023 |website=[[IndieWire]]}}</ref> |
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<ref name="McCrearyAdarTheme">{{Cite tweet |number=1583542104084488193 |user=bearmccreary |title=Adar's Theme is all over the place! Check out "Nampat," on the album. The percussion and ambient War Horns belong to Orcs, but the huge brass melody is all his. This same melody also underscores much of his quiet dialog scenes, in a Shakuhachi / Chinese Membrane Flute combo. |author-link=Bear McCreary |date=October 21, 2022 |access-date=January 23, 2023 |archive-url=https://web.archive.org/web/20230123040831/https://twitter.com/bearmccreary/status/1583542104084488193 |archive-date=January 23, 2023 |url-status=live |
<ref name="McCrearyAdarTheme">{{Cite tweet |number=1583542104084488193 |user=bearmccreary |title=Adar's Theme is all over the place! Check out "Nampat," on the album. The percussion and ambient War Horns belong to Orcs, but the huge brass melody is all his. This same melody also underscores much of his quiet dialog scenes, in a Shakuhachi / Chinese Membrane Flute combo. |first=Bear |last=McCreary |author-link=Bear McCreary |date=October 21, 2022 |access-date=January 23, 2023 |archive-url=https://web.archive.org/web/20230123040831/https://twitter.com/bearmccreary/status/1583542104084488193 |archive-date=January 23, 2023 |url-status=live}}</ref> |
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<ref name="McCrearyShadowOfMordor">{{Cite tweet |number=1566950011778109440 |user=bearmccreary |title=Not sure I'll address this in my blogs, but by far my favorite [''The Lord of the Rings''] music outside of film/television adaptations are Garry Schyman's brooding, brutal scores for the [''Middle-earth: Shadow of Mordor''] videogames. I definitely have a nod or two to his work in my theme for the Orcs. |author-link=Bear McCreary |date=September 5, 2022 |access-date=January 23, 2023 |archive-url=https://web.archive.org/web/20230123041222/https://twitter.com/bearmccreary/status/1566950011778109440 |archive-date=January 23, 2023 |url-status=live |
<ref name="McCrearyShadowOfMordor">{{Cite tweet |number=1566950011778109440 |user=bearmccreary |title=Not sure I'll address this in my blogs, but by far my favorite [''The Lord of the Rings''] music outside of film/television adaptations are Garry Schyman's brooding, brutal scores for the [''Middle-earth: Shadow of Mordor''] videogames. I definitely have a nod or two to his work in my theme for the Orcs. |first=Bear |last=McCreary |author-link=Bear McCreary |date=September 5, 2022 |access-date=January 23, 2023 |archive-url=https://web.archive.org/web/20230123041222/https://twitter.com/bearmccreary/status/1566950011778109440 |archive-date=January 23, 2023 |url-status=live}}</ref> |
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<ref name="McCrearySFSep2022">{{Cite web |last=Motamayor |first=Rafael |date=September 15, 2022 |title=The Lord Of The Rings: The Rings Of Power's Bear McCreary On The Power Of Black Speech, Crafting A New Sound For Middle-Earth [Exclusive Interview] |url=https://www.slashfilm.com/1008741/the-lord-of-the-rings-the-rings-of-powers-bear-mccreary-on-the-power-of-black-speech-crafting-a-new-sound-for-middle-earth-exclusive-interview/ |url-status=live |archive-url=https://web.archive.org/web/20220915113703/https://www.slashfilm.com/1008741/the-lord-of-the-rings-the-rings-of-powers-bear-mccreary-on-the-power-of-black-speech-crafting-a-new-sound-for-middle-earth-exclusive-interview/ |archive-date=September 15, 2022 |access-date=January 23, 2023 |website=[[/Film]]}}</ref> |
<ref name="McCrearySFSep2022">{{Cite web |last=Motamayor |first=Rafael |date=September 15, 2022 |title=The Lord Of The Rings: The Rings Of Power's Bear McCreary On The Power Of Black Speech, Crafting A New Sound For Middle-Earth [Exclusive Interview] |url=https://www.slashfilm.com/1008741/the-lord-of-the-rings-the-rings-of-powers-bear-mccreary-on-the-power-of-black-speech-crafting-a-new-sound-for-middle-earth-exclusive-interview/ |url-status=live |archive-url=https://web.archive.org/web/20220915113703/https://www.slashfilm.com/1008741/the-lord-of-the-rings-the-rings-of-powers-bear-mccreary-on-the-power-of-black-speech-crafting-a-new-sound-for-middle-earth-exclusive-interview/ |archive-date=September 15, 2022 |access-date=January 23, 2023 |website=[[/Film]]}}</ref> |
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<ref name="McCrearyBlog101">{{Cite web |last=McCreary |first=Bear |author-link=Bear McCreary |date=January 18, 2023 |title=The Lord of the Rings: Episode 101 |url=https://bearmccreary.com/the-lord-of-the-rings-episode-101/ |url-status=live |archive-url=https://web.archive.org/web/20230118193210/https://bearmccreary.com/the-lord-of-the-rings-episode-101/ |archive-date=January 18, 2023 |access-date=January 24, 2023 |website=[[Bear McCreary]]}}</ref> |
<ref name="McCrearyBlog101">{{Cite web |last=McCreary |first=Bear |author-link=Bear McCreary |date=January 18, 2023 |title=The Lord of the Rings: Episode 101 |url=https://bearmccreary.com/the-lord-of-the-rings-episode-101/ |url-status=live |archive-url=https://web.archive.org/web/20230118193210/https://bearmccreary.com/the-lord-of-the-rings-episode-101/ |archive-date=January 18, 2023 |access-date=January 24, 2023 |website=[[Bear McCreary]]}}</ref> |
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<ref name="McCrearySauronS2">{{Cite web |last=Crowley |first=Liam |date=May 15, 2023 |title=Rings of Power's Bear McCreary Teases Sauron's Theme in Season 2 (Exclusive) |url=https://comicbook.com/tv-shows/news/rings-of-powers-bear-mccreary-sauron-season-2-exclusive/ |url-status=live |archive-url=https://web.archive.org/web/20230515192340/https://comicbook.com/tv-shows/news/rings-of-powers-bear-mccreary-sauron-season-2-exclusive/ |archive-date=May 15, 2023 |access-date=July 3, 2023 |website=[[ComicBook.com]]}}</ref> |
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<ref name="McCrearyBlog105">{{Cite web |last=McCreary |first=Bear |author-link=Bear McCreary |date=March 8, 2023 |title=The Lord of the Rings: Episode 105 |url=https://bearmccreary.com/the-lord-of-the-rings-episode-105/ |url-status=live |archive-url=https://web.archive.org/web/20230311104730/https://bearmccreary.com/the-lord-of-the-rings-episode-105/ |archive-date=March 11, 2023 |access-date=July 3, 2023 |website=[[Bear McCreary]]}}</ref> |
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<ref name="McCrearyAppleRS">{{Cite magazine |last=Kreps |first=Daniel |date=October 7, 2022 |title=Fiona Apple Gets Her Tolkien on With New Rings of Power Song 'Where the Shadows Lie' |url=https://www.rollingstone.com/music/music-news/fiona-apple-new-song-where-the-shadows-lie-rings-of-power-1234606998/ |url-status=live |archive-url=https://archive. |
<ref name="McCrearyAppleRS">{{Cite magazine |last=Kreps |first=Daniel |date=October 7, 2022 |title=Fiona Apple Gets Her Tolkien on With New Rings of Power Song 'Where the Shadows Lie' |url=https://www.rollingstone.com/music/music-news/fiona-apple-new-song-where-the-shadows-lie-rings-of-power-1234606998/ |url-status=live |archive-url=https://archive.today/20221010175901/https://www.rollingstone.com/music/music-news/fiona-apple-new-song-where-the-shadows-lie-rings-of-power-1234606998/ |archive-date=October 10, 2022 |access-date=January 23, 2023 |magazine=[[Rolling Stone]]}}</ref> |
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<ref name="McCrearyEpSoundtracks">[[Twitter]] thread by composer [[Bear McCreary]] explaining the episodic soundtrack albums for the series: |
<ref name="McCrearyEpSoundtracks">[[Twitter]] thread by composer [[Bear McCreary]] explaining the episodic soundtrack albums for the series: |
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* {{Cite tweet |number=1565792574580801537 |user=bearmccreary |title=We just dropped TWO new #TheLordOfTheRings #TheRingsOfPower albums, for Episode One and Two. Listen now on [Amazon Music]! These weekly episodic [''The Lord of the Rings: The Rings of Power''] albums will contain almost entirely new music and suites, different from the Season One soundtrack album. |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055133/https://twitter.com/bearmccreary/status/1565792574580801537 |archive-date=September 3, 2022 |url-status=live |
* {{Cite tweet |number=1565792574580801537 |user=bearmccreary |title=We just dropped TWO new #TheLordOfTheRings #TheRingsOfPower albums, for Episode One and Two. Listen now on [Amazon Music]! These weekly episodic [''The Lord of the Rings: The Rings of Power''] albums will contain almost entirely new music and suites, different from the Season One soundtrack album. |first=Bear |last=McCreary |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055133/https://twitter.com/bearmccreary/status/1565792574580801537 |archive-date=September 3, 2022 |url-status=live}} |
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* {{Cite tweet |number=1565792584265371648 |user=bearmccreary |title=For the main "Season One" album, I recut, and even rewrote & re-recorded, much of the music to create an emotional listening experience that captures the season's narrative arc in a symphonic format. |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055255/https://twitter.com/bearmccreary/status/1565792584265371648 |archive-date=September 3, 2022 |url-status=live |last=McCreary |first=Bear}} |
* {{Cite tweet |number=1565792584265371648 |user=bearmccreary |title=For the main "Season One" album, I recut, and even rewrote & re-recorded, much of the music to create an emotional listening experience that captures the season's narrative arc in a symphonic format. |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055255/https://twitter.com/bearmccreary/status/1565792584265371648 |archive-date=September 3, 2022 |url-status=live |last=McCreary |first=Bear}} |
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* {{Cite tweet |number=1565792585997623297 |user=bearmccreary |title=For the episodic albums, you get a playlist much closer to the narrative arc of each episode. Virtually every second of score is here. Some cues have been combined into suites to create continuous musical tracks (keeping Harfoot cues together, Elven cues together, and so on). |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055348/https://twitter.com/bearmccreary/status/1565792585997623297 |archive-date=September 3, 2022 |url-status=live |last=McCreary |first=Bear}} |
* {{Cite tweet |number=1565792585997623297 |user=bearmccreary |title=For the episodic albums, you get a playlist much closer to the narrative arc of each episode. Virtually every second of score is here. Some cues have been combined into suites to create continuous musical tracks (keeping Harfoot cues together, Elven cues together, and so on). |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055348/https://twitter.com/bearmccreary/status/1565792585997623297 |archive-date=September 3, 2022 |url-status=live |last=McCreary |first=Bear}} |
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* {{Cite tweet |number=1565792593958490112 |user=bearmccreary |title=Episodic albums for #TheLordOfTheRings #TheRingsOfPower will be available exclusively on [Amazon Music] as each episode streams on [Prime Video]. Once all episodes stream, these albums will be available on ALL DIGITAL PLATFORMS. |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055521/https://twitter.com/bearmccreary/status/1565792593958490112 |archive-date=September 3, 2022 |url-status=live |last=McCreary |first=Bear}} |
* {{Cite tweet |number=1565792593958490112 |user=bearmccreary |title=Episodic albums for #TheLordOfTheRings #TheRingsOfPower will be available exclusively on [Amazon Music] as each episode streams on [Prime Video]. Once all episodes stream, these albums will be available on ALL DIGITAL PLATFORMS. |author-link=Bear McCreary |date=September 2, 2022 |access-date=September 3, 2022 |archive-url=https://web.archive.org/web/20220903055521/https://twitter.com/bearmccreary/status/1565792593958490112 |archive-date=September 3, 2022 |url-status=live |last=McCreary |first=Bear}} |
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</ref> |
</ref> |
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<ref name="S1BoxSet">{{Cite web |last=Rusak |first=Rotem |date=March 25, 2024 |title=The Rings of Power Soundtrack Box Set Offers 10 CDs of Limited-Edition Orchestral Magic |url=https://nerdist.com/article/limited-edition-the-rings-of-power-soundtrack-10-cd-box-set-offers-orchestral-magic/ |url-status=live |archive-url=https://web.archive.org/web/20240325160622/https://nerdist.com/article/limited-edition-the-rings-of-power-soundtrack-10-cd-box-set-offers-orchestral-magic/ |archive-date=March 25, 2024 |access-date=March 25, 2024 |website=[[Nerdist]]}}</ref> |
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<!-- CRITCAL RESPONSE --> |
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<ref name="MovieMusicUKReview">{{Cite web |last=Broxton |first=Jonathan |date=November 8, 2022 |title=The Lord of the Rings: The Rings of Power – Bear McCreary |url=https://moviemusicuk.us/2022/11/08/the-lord-of-the-rings-the-rings-of-power-bear-mccreary/ |url-status=live |archive-url=https://web.archive.org/web/20221108170216/https://moviemusicuk.us/2022/11/08/the-lord-of-the-rings-the-rings-of-power-bear-mccreary/ |archive-date=November 8, 2022 |access-date=February 10, 2024 |website=Movie Music UK}}</ref> |
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<ref name="MovieMusicUKAwards">{{Cite web |last=Broxton |first=Jonathan |date=January 28, 2023 |title=Movie Music UK Awards 2022 |url=https://moviemusicuk.us/2023/01/28/movie-music-uk-awards-2022/ |url-status=live |archive-url=https://web.archive.org/web/20230128191856/https://moviemusicuk.us/2023/01/28/movie-music-uk-awards-2022/ |archive-date=January 28, 2023 |access-date=February 10, 2024 |website=Movie Music UK}}</ref> |
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<ref name="IWBestScore2022">{{Cite web |last1=Shachat |first1=Sarah |last2=Greene |first2=Steve |date=December 17, 2022 |title=The Best TV Scores of 2022 |url=https://www.indiewire.com/features/general/best-tv-scores-1234793182/ |url-status=live |archive-url=https://web.archive.org/web/20230508010229/https://www.indiewire.com/features/general/best-tv-scores-1234793182/ |archive-date=May 8, 2023 |access-date=February 10, 2024 |website=[[IndieWire]]}}</ref> |
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<ref name="SRReview">{{Cite web |last=Bacon |first=Thomas |date=September 3, 2022 |title=The Rings Of Power's Soundtrack Is Just Incredible |url=https://screenrant.com/lotr-rings-of-power-soundtrack-great/ |url-status=live |archive-url=https://web.archive.org/web/20220903232934/https://screenrant.com/lotr-rings-of-power-soundtrack-great/ |archive-date=September 3, 2022 |access-date=September 6, 2022 |website=[[Screen Rant]]}}</ref> |
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<ref name="GRReview">{{Cite web |last=Dodds |first=Alice Rose |date=August 22, 2022 |title=Does The Rings Of Power Music Score Live Up To The Howard Shore Expectations Of The Originals? |url=https://gamerant.com/lotr-rings-of-power-score-bear-mccreary-howard-shore/ |url-status=live |archive-url=https://web.archive.org/web/20220822180543/https://gamerant.com/lotr-rings-of-power-score-bear-mccreary-howard-shore/ |archive-date=August 22, 2022 |access-date=September 6, 2022 |website=[[Game Rant]]}}</ref> |
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<ref name="ZanobardReviews">{{Cite web |last=Zanobard |date=August 22, 2022 |title=The Lord Of The Rings: The Rings Of Power – Soundtrack Review |url=https://zanobardreviews.com/2022/08/22/the-lord-of-the-rings-the-rings-of-power-soundtrack-review/ |url-status=live |archive-url=https://web.archive.org/web/20220822173350/https://zanobardreviews.com/2022/08/22/the-lord-of-the-rings-the-rings-of-power-soundtrack-review/ |archive-date=August 22, 2022 |access-date=September 6, 2022 |website=Zanobard Reviews}}</ref> |
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<ref name="ColliderReview">{{Cite web |last=Lyon |first=Patrick |date=August 23, 2022 |title=The 'Rings of Power' Score Alone Will Bring You Right Back to Middle-earth |url=https://collider.com/rings-of-power-score-bear-mccreary-lord-of-the-rings/ |url-status=live |archive-url=https://web.archive.org/web/20220824010606/https://collider.com/rings-of-power-score-bear-mccreary-lord-of-the-rings/ |archive-date=August 24, 2022 |access-date=February 10, 2024 |website=[[Collider (website)|Collider]]}}</ref> |
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<ref name="MovieWaveReview">{{Cite web |last=Southall |first=James |date=September 3, 2022 |title=The Lord of the Rings: The Rings of Power |url=http://www.movie-wave.net/the-lord-of-the-rings-the-rings-of-power/ |url-status=live |archive-url=https://web.archive.org/web/20220903161418/http://www.movie-wave.net/the-lord-of-the-rings-the-rings-of-power/ |archive-date=September 3, 2022 |access-date=February 10, 2024 |website=Movie Wave}}</ref> |
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<ref name="SciFiBulletinReview">{{Cite web |last=McIntee |first=David A. |date=August 25, 2022 |title=The Lord Of The Rings: Review: The Rings Of Power Soundtrack |url=https://scifibulletin.com/us-tv/the-lord-of-the-rings-review-the-rings-of-power-soundtrack/ |url-status=live |archive-url=https://web.archive.org/web/20220825104004/https://scifibulletin.com/us-tv/the-lord-of-the-rings-review-the-rings-of-power-soundtrack/ |archive-date=August 25, 2022 |access-date=February 10, 2024 |website=Sci-Fi Bulletin}}</ref> |
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<ref name="/FilmReview">{{Cite web |last=Mathai |first=Jeremy |date=September 9, 2022 |title=The Rings Of Power's Score Is A Testament To The Power Of Music Motifs |url=https://www.slashfilm.com/1000891/the-rings-of-powers-score-is-a-testament-to-the-power-of-music-motifs/ |url-status=live |archive-url=https://web.archive.org/web/20220909181744/https://www.slashfilm.com/1000891/the-rings-of-powers-score-is-a-testament-to-the-power-of-music-motifs/ |archive-date=September 9, 2022 |access-date=February 10, 2024 |website=[[/Film]]}}</ref> |
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<ref name="MovieWebReview">{{Cite web |last=Kruske |first=Kyle |date=October 6, 2022 |title=The Rings of Power: An Ode to Bear McCreary's Excellent Score |url=https://movieweb.com/rings-of-power-ode-to-bear-mccrearys-score/ |url-status=live |archive-url=https://web.archive.org/web/20221006175503/https://movieweb.com/rings-of-power-ode-to-bear-mccrearys-score/ |archive-date=October 6, 2022 |access-date=February 10, 2024 |website=[[MovieWeb]]}}</ref> |
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<!-- COMMERCIAL PERFORMANCE --> |
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<ref name="UKChartsS1">{{Cite web |title=The Rings of Power - S1 - OST |url=https://www.officialcharts.com/albums/bear-mccreary-the-rings-of-power-s1-ost/ |url-status=live |archive-url=https://web.archive.org/web/20240209000449/https://www.officialcharts.com/albums/bear-mccreary-the-rings-of-power-s1-ost/ |archive-date=February 9, 2024 |access-date=February 9, 2024 |website=[[Official Charts Company]]}}</ref> |
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== External links == |
== External links == |
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* Bear McCreary's blogs about the creation of the first season's score: [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-1/ ''The Lord of the Rings'': Appendices Part 1], [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-2/ Appendices Part 2], [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-3/ Appendices Part 3], and [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-4/ Appendices Part 4] |
* Bear McCreary's blogs about the creation of the first season's score: [https://bearmccreary.com/project/the-lord-of-the-rings-the-rings-of-power/ all blogs], [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-1/ ''The Lord of the Rings'': Appendices Part 1], [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-2/ Appendices Part 2], [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-3/ Appendices Part 3], and [https://bearmccreary.com/the-lord-of-the-rings-appendices-part-4/ Appendices Part 4] |
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{{The Lord of the Rings: The Rings of Power}} |
{{The Lord of the Rings: The Rings of Power}} |
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{{Middle-earth}} |
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[[Category:The Lord of the Rings: The Rings of Power|Soundtrack]] |
Revision as of 18:08, 30 March 2024
The Lord of the Rings: The Rings of Power | |
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Television score by Bear McCreary | |
Text | J. R. R. Tolkien |
Language | Fictional languages (Quenya, Sindarin, Khuzdul, Adûnaic, Black Speech) and English |
Composed | July 2021 – present |
Recorded | |
Duration | 9 hours (season 1) |
Scoring |
|
The music of the American fantasy television series The Lord of the Rings: The Rings of Power is composed by Bear McCreary, with additional music by Howard Shore and other artists. The Amazon Prime Video series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings, and is set thousands of years before the novel in the Second Age of Middle-earth. It covers all the major events of the Second Age from Tolkien's writings.
McCreary was first approached about composing the series' original score in 2019, and began writing themes or leitmotifs in July 2021. The series is not a continuation of Peter Jackson's The Lord of the Rings and The Hobbit film trilogies and McCreary was contractually prevented from quoting any of the themes that Shore composed for those films, but he hoped to create musical continuity between his score and Shore's. After six weeks composing new themes, McCreary began writing the score for each episode and ultimately composed nine hours of music over eight months. He eschewed the common industry approach of using other composers to write additional music to ensure a consistent musical approach for the whole series. Recording began in November 2021 while McCreary was still composing. The score was recorded with orchestras at Abbey Road Studios and AIR Studios in London and a choir at Synchron Stage in Vienna. The choral music was sung in Tolkien's fictional languages. Soloists were recorded around the world playing various specialty instruments. Recording for the first season was completed in April 2022. Independent of McCreary's work, Shore composed the series' main title theme.
A soundtrack album for the first season was released on August 19, 2022, and was followed by additional albums featuring McCreary's full score for each episode. The score has received positive reviews from critics and several accolades, including a Primetime Creative Arts Emmy Award nomination for Shore's main title theme.
Background
Amazon acquired the global television rights for J. R. R. Tolkien's The Lord of the Rings in November 2017. The company's streaming service, Prime Video, gave a multi-season commitment to a series based on the novel and its appendices, to be produced by Amazon Studios in association with New Line Cinema and in consultation with the Tolkien Estate.[1] J. D. Payne and Patrick McKay were set as showrunners of the series, titled The Lord of the Rings: The Rings of Power,[2] which is set in the Second Age of Middle-earth, thousands of years before Tolkien's The Hobbit and The Lord of the Rings.[3] It follows a large cast of characters and covers all the major events of the Second Age from Tolkien's writings: the forging of the Rings of Power, the rise of the Dark Lord Sauron, the fall of the island kingdom of Númenor, and the last alliance between Elves and Men.[4]
The series was originally expected to be a continuation of Peter Jackson's The Lord of the Rings and The Hobbit film trilogies, but Amazon later clarified that their deal with the Tolkien Estate required them to keep the series distinct from Jackson's films.[5] Despite this, musicians Plan 9—Janet Roddick, David Donaldson, and Steve Roche—and David Long returned from the films to provide music during filming for the first season,[6] as did Howard Shore, who composed the original scores for The Lord of the Rings and The Hobbit. Shore was first reported to be in discussions about working on the series in September 2020. He was said to be interested in developing musical themes but not necessarily composing the entire score.[7] Shore was confirmed to be in talks for the series a year later,[8] when composer Bear McCreary was reported to be involved as well.[7] Their hiring was officially announced in July 2022, with McCreary composing the score and Shore writing the main title theme.[9] McCreary later confirmed that he was contractually prohibited from quoting any themes that Shore wrote for the films.[10]
Original score
Composition
A long-time fan of Tolkien's writings and Jackson's films, McCreary was first approached about working on the series by executive producer Lindsey Weber, who he worked with on the films 10 Cloverfield Lane (2016) and The Cloverfield Paradox (2018),[11] in 2019. He was not hired until mid-2021[12]: 3:03–3:35 after the COVID-19 pandemic impacted the first season's production and delayed the executive producers' decision on who the composer would be. This meant McCreary had less time than he would have liked to compose the season's score.[13]: 47:20–52:37
Despite not being able to quote any of Shore's material from the films,[10] McCreary wanted to stay true to Shore's approach by preserving the core sounds and styles of music for each culture that Shore had developed.[14] In this way, he hoped to create a "continuity of concept" between Shore's music and his own, with his new themes being added to the "pantheon of memorable melodies" that Shore had written. McCreary said his music for these societies at their peak would naturally progress into Shore's music for the Third Age of Middle-earth, which he called wistful and melancholy.[15] When starting work on the series, McCreary met Shore and they discussed their approaches to writing music.[16] McCreary felt there was an expectation, based on Shore's scores, that the music in the series be a character in and of itself and he wanted to match that by writing music that was less in the background than other modern scores are.[14]
McCreary prefers to see completed footage from a project before composing music for it, but for The Rings of Power he had to begin work based only on the scripts for the first season, conversations with the showrunners, and seeing a rough version of the first two episodes. He felt this worked for the series because, as a fan, he was able to compose themes based on his personal expectations. This meant he was also able to compose themes that would work across the whole series, rather than just the first season, because he already knew the major character arcs.[14] McCreary typically composes three or four themes or leitmotifs for a project, but needed more than 15 for The Rings of Power.[16] He began working on the music in July 2021,[15] starting with "an absolutely brutal six weeks" just composing the themes.[17] He compared this to writing a symphony.[15] McCreary next applied his themes to several key scenes from the first two episodes. He presented these to the showrunners and other executive producers before they heard the individual themes because he wanted their first experience of the music to be in context.[16]
After his themes had been approved by the executive producers, McCreary dedicated most of his time for the next eight months to composing the full nine-hour score for the first season. He only took five days off in that time,[15] and eschewed the common industry practice of using other composers to write additional music. This was to ensure a consistent musical approach for the whole series.[18] Also uncommonly, McCreary did not have spotting sessions with the showrunners after the first two episodes because they all felt that they were already on the same page. He would instead compose and mock-up the full score for each episode and send it to the showrunners, who generally had only a few specific notes for each one. McCreary said it was surreal to have that much freedom and trust on such a big series,[19]: 37:24–43:44 which he called "the most ambitious thing that I've ever been attached to. It's a once-in-a-lifetime opportunity, to be able to pour myself into something so profoundly, and be given the space and the creative freedom to do the score I want to hear."[15]
Because he was full-time composing the score, McCreary was unable to orchestrate it himself and relied on his long-time orchestrators Edward Trybek, Henri Wilkinson, and Jonathan Beard to follow notes that he wrote for them.[18] In addition to writing for orchestra and specialist solo instruments, McCreary composed music for choir and solo singers.[14] For these, he used words from Tolkien's fictional languages: the Elvish languages Quenya and Sindarin, the Dwarvish language Khuzdul, the dark language Black Speech, and the Númenórean language Adûnaic.[15] McCreary noted that there is potential to invent new words in some of these languages based on the rules that Tolkien established, but he preferred to stick to words that Tolkien created himself. He started by referring to a dictionary of words and phrases for each language while he was composing, and then worked with Brian Claeys from his production company to make sure the text fit the music. Payne reviewed all of the text in the score to ensure each fictional language was being used correctly, something that McCreary was amazed by and grateful for considering Payne's busy schedule as showrunner. Finally, the series' dialect coach, Leith McPhearson, recorded herself pronouncing every line of text phonetically, syllable by syllable, so the choir and soloists could learn the correct pronunciation of each word ahead of recording. McCreary felt the amount of work put into getting the languages correct for the score was a testament to how much the crew cared about the source material.[14]
After McCreary finished composing the score for the first season, he spent six to eight weeks creating soundtrack albums, participated in marketing for the series, and then spent September 2022 writing blog entries that explain his score for each episode in-depth. The day after he finished writing the blogs, which he considered to be the end of his work on the first season, McCreary received scripts for the second season. He began composing new music by November, including music that was needed during filming, and expressed excitement at being involved in the season from the beginning and being able to pace out his work better than on the first season.[13]: 47:20–52:37
Leitmotifs
Writing all of the themes or leitmotifs for the series and ensuring they were distinct and memorable required "every skill [McCreary] had ever learned" throughout his career.[11] His approach was to use a unique set of specialty instruments for each theme on top of the orchestra and choir, and he chose a different starting interval so they would all be identifiable by their first two notes.[20] He wrote an "anthem" for each culture that the character themes could either align with or not, depending on the characterization,[20] to "clearly express each theme's narrative intention".[11] McCreary wrote an A section, a B section, and an introduction for each theme.[15]
Themes for Elves
- "Valinor":
McCreary's theme for Valinor, the Elves' "homeland" across the sea, represents Elven culture in the series.[10] He wanted it to be the music that Elves sing as they sail into Valinor, but the scene where that happens in the first episode had already been filmed by the time he was hired. The actors were singing a song by Plan 9 that McCreary felt did not work as a theme for Valinor, and therefore the Valinor theme that he did write for the series needed to match the mouth movements in the scene. McCreary worked with the editing team for a month to perfect this.[12]: 45:18–49:02 He retained Shore's approach to the Elves of focusing on "ethereal light vocals",[21] and tried to create a sense of longing with techniques such as a chord that is "a tritone away from the tonic [meaning it] is as far away as the chord can possibly be... it feels like it's out of reach".[12]: 45:18–49:02 - "Galadriel":
McCreary said the series was primarily told from Galadriel's perspective and he wanted to give her a memorable, powerful melody that could be used often.[12]: 57:39–58:10 Like many of his heroic themes, Galadriel's begins with an upward motion (in this case a minor seventh interval).[20] It then descends and rises several times to create the feeling that she is searching, representing her hunt for Sauron.[10] Her theme has an "aggressive propulsion" related to the hunt that makes it an outlier among the music for the Elves, and McCreary designed her theme to combine easily with Sauron's because she is often thinking about him and her desire for justice.[20] - "Elrond Half-elven":
The theme that McCreary had the most difficulty writing for the first season was Elrond's.[10] His initial theme was inspired by the authoritative character from the books and films, but the executive producers did not notice there was an Elrond theme at first and felt he "wasn't sure what to say" with it.[16] After discussing the character with them, McCreary saw an optimistic outsider struggling with the legacy of his family and wrote a woodwind and string melody that captured his "innocence, naïveté, and optimism".[10][20] The theme moves between a major key and a minor key as if it "doesn't quite know whether it's happy or sad".[20]
For the introductions of the Elven capital Lindon and High King Gil-galad, McCreary chose to use Elrond's theme. He did not do this to suggest that Elrond represented Elves in general, but because he wanted the audience to focus on Elrond's character in those scenes.[20] He did have a specific theme for Gil-galad planned but did not use it during the first season.[22]
Themes for Dwarves
- "Khazad-dûm":
McCreary retained Shore's approach of deep male vocals singing in the Dwarvish language Khuzdul,[14][21] but was able to differentiate his theme from Shore's work because the series explores the Dwarves at their peak compared to the "sad, noble, displaced people in diaspora" of the films.[16] McCreary wrote a patriotic anthem with a churning string pattern and anvils being hit with metal hammers.[20][21] The introduction of Khazad-dûm was one of the first scenes McCreary scored, and the executive producers had no notes on it which led McCreary to say "the Dwarven music is very much in my DNA".[16] This theme is also associated with King Durin III.[20] - "Durin IV":
Prince Durin IV's theme shares traits with "Khazad-dûm", but McCreary said it had more "warmth, intimacy, [and] even a little comedy",[16] with "a layer of jovial, almost jaunty personality".[20] He did feel there was a nobility to the music that avoided becoming comedic relief. For example, he contrasted the introduction of Durin's wife Disa (using a cello and fiddle) with a noble French horn for the tree that Elrond gave to Durin.[12]: 27:02–28:10
Themes for Low Men
- "Halbrand":
This theme represents the Men of the Southlands and their supposed king, Halbrand.[20] Because Halbrand is Sauron in disguise, McCreary wrote this theme so playing it backwards or inverting the musical notes would turn it into Sauron's theme. To make this connection less obvious before the reveal, he adjusted Halbrand's theme to be in a major key, added a B theme with larger intervals (Sauron's theme does not have big intervals between notes like McCrary's heroic themes do), and used different instruments:[13]: 28:50–39:20 McCreary said the Low Men of Middle-earth were represented in the films by the people of Rohan, for whom Shore primarily used the hardanger fiddle from Norway, so McCreary used the same instrument for the Low Men of the Southlands but in a lower register and combined with another Nordic stringed instrument, the nyckelharpa.[20] - "Bronwyn and Arondir":
McCreary was unhappy with his initial version of the love theme for the human Bronwyn and Elf Arondir and re-wrote it after finishing the other themes. He wanted it to represent "yearning and attraction, but also sadness". Inspired by Nino Rota's score for Romeo and Juliet (1968) and the music of Dmitri Shostakovich, Samuel Barber, and John Williams, McCreary gave the theme repeated upward leaps to create a sense of longing.[20]
Themes for High Men
- "Númenor":
Because the island kingdom of Númenor does not exist during the time of the films, McCreary wanted to represent it with music that is not found in Shore's scores. He compared the culture to past civilizations in the real world that no longer exist, such as Ancient Egypt and Babylon, and decided to use Middle Eastern frame drums, Indian dhol drums, Armenian duduk woodwinds, and a Turkish yaylı tambur string instrument. He also focused on the brass section in the traditional European orchestra as an allusion to Arthurian legends.[10] This theme also represents the character Pharazôn, and begins to be used in darker ways in the first season's second half.[17] - "Elendil and Isildur":
This theme differentiates the characters Elendil and Isildur from the other Númenoreans,[17] and is also used for the White Tree of Númenor. McCreary intended this to become the theme for the Faithful Númenoreans when the society becomes divided between those who are still friends to Elves and the "King's Men" who are not (and continue to be represented by the main "Númenor" theme). Isildur is introduced with the theme played on a rustic fiddle while Elendil is represented by brass instruments.[12]: 45:18–49:02 The second half of the theme is not used during the first season, because it was written in anticipation of later seasons when Elendil and Isildur are part of the last alliance between Elves and Men. McCreary wanted to make sure the "plaintive and wistful" theme would still work at that point, when it would need to be "tragic, operatic, [and] soaring".[17]
Themes for Harfoots
- "Harfoot Life":
Representing the nomadic lifestyle of the secretive Harfoots, "Harfoot Life" is in the "off kilter" 11
8 time signature which McCreary compared to "a cart wheel that has a bump in it, and it's just rolling along".[20] Because the Harfoots are the predecessors of the Hobbits from the films, McCreary wanted his music to be able to evolve into the Celtic-inspired music that Shore wrote for the Hobbits.[10] The Harfoot theme therefore uses Celtic instruments: Scottish bagpipes, and Irish uilleann pipes, bodhrán drums, and penny whistles.[21] McCreary added African balafon percussion that sounds like instruments the Harfoots could make out of logs picked up while traveling. He explained that these sounds would be abandoned in the future when the Harfoots settle down in the Shire, at which point Shore's more orchestral Hobbit music would become more appropriate.[10] - "Nori Brandyfoot":
The theme for the hopeful and curious Harfoot Nori is more melodic than "Harfoot Life", puts more focus on the Celtic instruments, and also uses the smoother time signature of 6
8. This means instead of having repeated small intervals like "Harfoot Life", "Nori Brandyfoot" has bigger leaps that suggest she is not satisfied living a regular Harfoot life and is looking outward and upward.[20] McCreary actually wrote Nori's theme before he settled on the Harfoot approach and had to add elements of "Harfoot Life" into his Nori theme, including an opening ostinato on wooden percussion, to ensure she still had the "Harfoot color".[12]: 23:09–25:33
Themes for Orcs
- "Nampat":
This track combines McCreary's themes for the Orcs and their leader, Adar.[23] To represent the Orcs, McCreary created a "screaming, weird, otherworldly texture" using drums and woodwind instruments made from bones such as antlers and femurs. He also used conch shells and Aztec death whistles.[14] He described this as more of a "musical cloud" than a theme, differentiating it from the rest of the series' themes, including Sauron's.[17] In contrast, Adar's theme has a melody. This is heard in "Nampat" on brass instruments but is often played in the series on a combination of Japanese shakuhachi and Chinese dizi flutes.[23] McCreary included several references to Garry Schyman's score for the video game Middle-earth: Shadow of Mordor (2014) in his Orc theme, saying it was his favorite The Lord of the Rings music outside of the film and television adaptations.[24]
Themes for other characters
- "Sauron":
Sauron's theme combines an ostinato in 7
8 time with a melody in 4
4 time to indicate the character's twisted and uneven nature.[19]: 1:05:17–1:05:57 It has a circular, repeating shape.[25] The theme includes a choir chanting in Black Speech, using words from the inscription on the One Ring because Tolkien did not provide many other Black Speech words in his writings. McCreary said the chanting sounded louder than he originally intended, and "so evil", and stated that Tolkien's books "implied that when you speak in Black Speech, an evil cloud fills the room... and that happened!"[10] McCreary created variations on Sauron's circular theme for when the character shapeshifts, including as Halbrand.[25] He also used this theme to represent Sauron's predecessor, the Dark Lord Morgoth, who is only briefly shown in the series.[22] - "The Stranger":
The theme for the mysterious stranger who crashes into Middle-earth does not share any music ideas with the series' cultural themes to reflect that his origin is unknown. The theme always starts with the sounds of an Indonesian gamelan percussion ensemble,[20] and a major seventh interval that McCreary said was rare for modern popular music. He stated that the theme is "both major and minor, both heroic and twisted" to add to the mystery of the character.[10] McCreary did not ask who the character was specifically when he began writing the theme, but did ask if he would be a hero or villain. Because he knew the character would be heroic at the end of the first season, McCreary made the theme more ominous at the beginning. This approach was inspired by the scores for E.T. the Extra-Terrestrial (1982) and The Iron Giant (1999).[13]: 39:29–47:12 - "The Mystics":
The final character theme introduced in the first season is for these three mysterious women. McCreary said it was the simplest theme in the score, featuring whispered vocals and no melody. To represent the three characters he chose three repeating Quenya words and the time signature 3
4. Two production techniques were used to give the choir an "otherworldly quality": they were recorded in different layers that were mixed together in irregular ways, creating an uncomfortable feeling inspired by ASMR videos; and a "reverse reverb" effect was added before the start of each word, so the first syllable reverberates before it is whispered.[26]
Other themes
Three Rings for the Elven-kings under the sky,
Seven for the Dwarf-lords in their halls of stone,
Nine for Mortal Men doomed to die,
One for the Dark Lord on his dark throne;
In the Land of Mordor where the Shadows lie.
One Ring to rule them all, one Ring to find them,
One Ring to bring them all, and in the darkness bind them;
In the Land of Mordor where the Shadows lie.
The "Ring Verse" from J. R. R. Tolkien's The Lord of the Rings served as the basis for the song "Where the Shadows Lie" by composer Bear McCreary
- "The Lord of the Rings: The Rings of Power Main Title":
The series' main title theme, composed by Howard Shore, was created independently of McCreary's score.[27] McCreary first heard it when he was around halfway through composing the music for the first season and he said it was a "wonderful fanfare for our show" that lived up to his expectations. He described it as "beautiful and noble" and said it made him nostalgic for Jackson's films,[17] while also fitting "so beautifully" with his own score for the series.[27] - "Where the Shadows Lie":
This song was composed by McCreary using the text of the "Ring Verse" from Tolkien's The Lord of the Rings, and he used it as a theme for the Rings of Power, the magic of mithril, Sauron's machinations, and the dark land of Mordor. McCreary said it combined a "haunting melody" with Tolkien's ominous text.[28] It is first heard over the opening title card of the first episode, is played in full without lyrics over that episode's end credits, and is used multiple times in the score for each episode.[12]: 1:17:41–1:18:55 It is first heard with lyrics during the first-season finale's end credits. The lyrics were withheld until then to not spoil the theme's meaning during the earlier episodes,[28] though McCreary did reveal that there was a theme for the Rings of Power in his score before the song was released.[10]
Additionally, McCreary used the "overblown woodwind effect" of a Japanese shakuhachi flute as a recurring sound in the score to signify the presence of wolves.[22]
Recording and mixing
Because of the series' large budget, McCreary was given the resources he needed to record the score how he wanted without having to use common television cost-saving techniques such as alternating between bigger and smaller orchestras.[14] Recording for the score began in November 2021, and each episode used a 90-piece orchestra at either Abbey Road Studios or AIR Studios in London over four days, as well as a 40-person choir and children's choir at Synchron Stage in Vienna over three or fours days, and soloists on various specialty instruments in Los Angeles, New York, Norway, and Sweden over seven days.[15][18] Because of limits on the number of performers allowed together during the COVID-19 pandemic, the orchestra was split into strings, woodwind and brass, and percussion for separate recording sessions. McCreary supervised the various recording sessions remotely while continuing to compose the score, with Gavin Greenaway, Cliff Masterson, and Anthony Weeden conducting the orchestra instead. Gottfried Rabl and Bernhard Melbye Voss conducted the choirs.[18]
The different recordings were mixed together by Jason LaRocca to sound like they were all recorded together. By the end of 2021, the music was being added to the final sound mix for each episode. This was done on a schedule comparable to a feature film, giving time for McCreary to work with each episode's editors, sound designer Robby Stambler, and sound mixers Lindsey Alvarez and Beau Borders until they were all happy with the sound mix for each episode. McCreary said this was the first time in his career that he was able to give input on a sound mix before a showrunner's involvement. Working on the music mixes, supervising recordings, and still composing all of the music himself took a large toll on McCreary's physical and mental wellbeing, but he chose to continue composing the entire score himself because he wanted to realize the "full extent of [his] vision" and because writing music for The Lord of the Rings was a lifelong dream of his.[18] McCreary finished composing the score in April 2022, and was able to conduct the orchestra for the final episode himself at AIR Studios that month.[15]
Soloists that were recorded on specialty instruments for the first season include Paul Jacob Cartwright playing fiddle, McCreary's longtime collaborator Eric Rigler playing bagpipes and Irish whistles, Bruce Carver playing bodhrán drums, Olav Luksengård Mjelva playing the hardanger fiddle, Erik Rydvall playing nyckelharpa, McCreary's close friend Malachai Bandy playing the yaylı tambur and viola da gamba, Zac Zinger playing the shakuhachi flute, and William Roper creating the Orcs' music with horns of war, ceremonial shells, antlers, femur flutes, and Aztec death whistles. Violinist Sandy Cameron performed the solos for the track "Scherzo for Violin and Swords" and the instrumental version of "Where the Shadows Lie" while Eric Byers provided cello solos. Vocal soloists included Sladja Raicevic, child soprano Laura Maier, and McCreary's wife Raya Yarbrough.[18]
Songs and diegetic music
Plan 9 and David Long wrote eight pieces of music for use on the first season's set,[6] including diegetic music for the streets of Númenor.[22] The series includes several on-screen songs which McCreary was happy to see, believing that it was a key part of Tolkien's writings and helped show the different cultures of Middle-earth.[12]: 11:10–11:42 Plan 9 wrote the melody for the song "This Wandering Day", with lyrics by showrunner J. D. Payne. McCreary arranged and orchestrated the song, which is sung by actress Megan Richards in-character as the Harfoot Poppy Proudfoot during the episode "Partings". Plan 9's Janet Roddick also sung a version of the song that is heard during the episode's end credits.[6] A version of the song "Where the Shadows Lie", which McCreary wrote as a theme for the score, is heard during the end credits of the first-season finale featuring singer Fiona Apple.[28]
For the second season, McCreary was able to contribute to the music needed during filming because he was already involved in the production from the start.[13]: 47:20–52:37
Release
Singles
Two singles from the first season's score were released when McCreary was announced as composer for the series:[9]
Title | Format | Length | U.S. release date | Label | Ref. |
---|---|---|---|---|---|
"Galadriel" | Digital download | 3:44 | July 21, 2022 | Amazon Music | [9] |
"Sauron" | 2:46 |
Albums
McCreary produced a first-season album featuring his main themes as well as highlights from each episode. He edited, re-wrote, and re-recorded most of the music to create "an emotional listening experience that captures the season's narrative arc in a symphonic format",[29] and to remove some spoilers because the album was released before the episodes were.[17] The version of "Where the Shadows Lie" featuring lyrics sung by Fiona Apple was added to the album after all the episodes were released.[28] McCreary also released individual albums after each episode debuted, containing "virtually every second of score" from each episode.[29]
Title | Format | Length | U.S. release date | Label | Ref. |
---|---|---|---|---|---|
Season One | Digital download | 2:40:54 | August 19, 2022 | Amazon Music | [30] |
CD | 2:40:54 | October 14, 2022 | Mondo | ||
Vinyl | 2:40:54 | January 13, 2023 | |||
Season One, Episode One: A Shadow of the Past | Digital download | 55:49 | September 1, 2022 | Amazon Music | [31] |
Season One, Episode Two: Adrift | 49:17 | September 2, 2022 | [32] | ||
Season One, Episode Three: Adar | 51:29 | September 9, 2022 | [33] | ||
Season One, Episode Four: The Great Wave | 54:53 | September 15, 2022 | [34] | ||
Season One, Episode Five: Partings | 55:08 | September 22, 2022 | [35] | ||
Season One, Episode Six: Udûn | 48:56 | September 29, 2022 | [36] | ||
Season One, Episode Seven: The Eye | 54:57 | October 6, 2022 | [37] | ||
Season One, Episode Eight: Alloyed | 59:46 | October 14, 2022 | [38] |
Box set
A limited edition box set for the first season from Mondo, Amazon Music, and McCreary's label Sparks and Shadows is scheduled for release on April 26, 2024. The collection includes Mondo's two CD first-season album release, eight CDs featuring the music from each of the season's episodes, and a 136-page journal written by McCreary which details his episode-by-episode account and general thoughts on the creation of the season's score.[39]
Reception
Critical response
Jonathan Broxton of Movie Music UK, who rarely reviews television scores, wrote a review of the first season's score and said the time and effort was worth it. He praised the score as the best of McCreary's career, calling it an astonishing achievement that lived up to the high bar set by Shore with the films. Broxton discussed the various themes and techniques used by McCreary and concluded that "the conceptual design, intellectual creativity, and musical world-building in this score is something that you just don't see in modern film scoring... the fact that so many of the themes are clearly identifiable and memorable, with actual hummable melodies, is something that should be celebrated everywhere". Broxton felt it was the best score for any film or series of 2022,[40] and in his annual Movie Music UK Awards he named it the score of the year as well as the best original score for television.[41]
Reviewing the score for Movie Wave, James Southall said McCreary's hiring was a masterstroke and the composer had managed to write music that fit alongside Shore's without trying to imitate the latter. None of McCreary's themes gave Southall the "instant gratification" of some key Shore themes from the films, but he still found some to be memorable—a rarity for modern television, in his opinion—and particularly praised "Galadriel". Southall felt the score was a career-defining moment for McCreary.[42] Sci-Fi Bulletin's David A. McIntee said McCreary's score was a true pastiche of Shore's style and the best of television composing, rating the first season album a superlative 11 out of 10.[43] Sarah Shachat of IndieWire called the score a "force of nature" and highlighted McCreary's ability to convey story and character information while also "reverse engineering" sounds that would feasibly evolve into Shore's material.[44] Kyle Kruske echoed those thoughts in an "ode to Bear McCreary's excellent score" that he wrote for MovieWeb, in which he said the score was a worthy successor to Shore's "musical crown".[45]
Patrick Lyon at Collider said the score had taken him "right back to Middle-earth" and discussed how McCreary had honored Shore's approach to leitmotifs for the films. Lyon highlighted the track "Khazad-dûm" and how it was consistent with Shore's own material for the Dwarves while also representing a different era for those characters.[46] Alice Rose Dodds of Game Rant also discussed how McCreary had honored Shore's work while creating a score that matched the needs of The Rings of Power's setting and characters. She had similar thoughts to Lyon on "Khazad-dûm" and also highlighted the approach taken for "Galadriel" compared to Shore's music for that character. Dodds concluded that "McCreary takes everything that Shore has done, and transforms it into something that works with the new context of the show... it brings hope to those who listen, that Rings of Power will burn with Tolkien's heart at its center".[47] Writing for /Film, Jeremy Mathai said the score was a testament to the power of musical motifs which many modern films and series, such as the Marvel Cinematic Universe, did not take advantage of.[48]
Writing for Screen Rant, Thomas Bacon described McCreary's score as "absolutely stunning" and said it evoked Shore's music while bringing a new feeling for the series. Bacon felt the score did not quite live up to the films, but said it was "remarkably impressive and serves as a testimony to [McCreary]'s real skill and talent".[49] Zanobard Reviews also felt the score did not match Shore's and was disappointed in Shore's own contribution, feeling the main theme was not memorable and was only added so Shore would be associated with the series. However, they said McCreary's work was "pretty damned amazing" and graded the first season album 9 out of 10.[50]
Commercial performance
Within two weeks of the first season album being available for download, Shore's main theme had been streamed over 117,000 times on Spotify while the tracks "Galadriel" and "Khazad-dûm" had been streamed over 100,000 times.[49] The album reached a peak position of 15 on the UK Soundtrack Albums Chart and 28 on the UK Album Downloads Chart during the week of October 27, 2023.[51]
Accolades
The first season's score was ranked seventh on IndieWire's list of the best television scores of 2022.[44]
Award | Date of ceremony | Category | Recipient(s) | Result | Ref. |
---|---|---|---|---|---|
ASCAP Composers' Choice Awards | May 16, 2023 | Television score of the year | Bear McCreary | Nominated | [52] |
Hollywood Music in Media Awards | November 16, 2022 | Original Score — TV Show/Limited Series | Bear McCreary | Nominated | [53] |
International Film Music Critics Association Awards | July 18, 2023 | Score of the Year | The Lord of the Rings: The Rings of Power (music by Bear McCreary, theme by Howard Shore) | Won | [54][55] |
Composer of the Year | Bear McCreary | Won | |||
Composition of the Year | "Galadriel" (music by Bear McCreary) | Nominated | |||
"Númenor" (music by Bear McCreary) | Nominated | ||||
"Sailing Into the Dawn" (music by Bear McCreary) | Nominated | ||||
Best Original Score for Television | The Lord of the Rings: The Rings of Power (music by Bear McCreary, theme by Howard Shore) | Won | |||
Primetime Creative Arts Emmy Awards | January 7, 2024 | Original Main Title Theme Music | Howard Shore | Nominated | [56] |
Society of Composers & Lyricists Awards | February 15, 2023 | Outstanding Score For Television | Bear McCreary | Nominated | [57] |
World Soundtrack Awards | October 21, 2023 | Television Composer of the Year | Bear McCreary | Nominated | [58] |
Additional music
McCreary was asked to compose original music for the series' title announcement video that was released in January 2022, for which he used his "The Stranger" theme. Later in 2022, Amazon asked McCreary to perform live with an orchestra at San Diego Comic-Con. He combined the tracks "Nolwa Mahtar", "Galadriel", "Sauron", and "The Stranger" into an overture for choir, orchestra, percussion, and solo violinist Sandy Cameron.[59]
See also
References
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- ^ Oller, Jacob (March 7, 2019). "Amazon Confirms Lord of the Rings Show is Second Age Prequel to Films". Syfy Wire. Archived from the original on March 7, 2019. Retrieved April 26, 2020.
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- ^ a b c McCreary, Bear (September 22, 2022). "The Lord of the Rings: Appendices Part 2". Bear McCreary. Archived from the original on September 25, 2022. Retrieved January 24, 2023.
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- ^ a b c d Motamayor, Rafael (September 15, 2022). "The Lord Of The Rings: The Rings Of Power's Bear McCreary On The Power Of Black Speech, Crafting A New Sound For Middle-Earth [Exclusive Interview]". /Film. Archived from the original on September 15, 2022. Retrieved January 23, 2023.
- ^ a b c d McCreary, Bear (January 18, 2023). "The Lord of the Rings: Episode 101". Bear McCreary. Archived from the original on January 18, 2023. Retrieved January 24, 2023.
- ^ a b McCreary, Bear [@bearmccreary] (October 21, 2022). "Adar's Theme is all over the place! Check out "Nampat," on the album. The percussion and ambient War Horns belong to Orcs, but the huge brass melody is all his. This same melody also underscores much of his quiet dialog scenes, in a Shakuhachi / Chinese Membrane Flute combo" (Tweet). Archived from the original on January 23, 2023. Retrieved January 23, 2023 – via Twitter.
- ^ McCreary, Bear [@bearmccreary] (September 5, 2022). "Not sure I'll address this in my blogs, but by far my favorite [The Lord of the Rings] music outside of film/television adaptations are Garry Schyman's brooding, brutal scores for the [Middle-earth: Shadow of Mordor] videogames. I definitely have a nod or two to his work in my theme for the Orcs" (Tweet). Archived from the original on January 23, 2023. Retrieved January 23, 2023 – via Twitter.
- ^ a b Crowley, Liam (May 15, 2023). "Rings of Power's Bear McCreary Teases Sauron's Theme in Season 2 (Exclusive)". ComicBook.com. Archived from the original on May 15, 2023. Retrieved July 3, 2023.
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- ^ a b Fleming, Mike Jr. (July 21, 2022). "Howard Shore Returns & Bear McCreary Scores Amazon's 'The Lord Of The Rings: The Rings Of Power'". Deadline Hollywood. Archived from the original on July 21, 2022. Retrieved July 28, 2022.
- ^ a b c d Kreps, Daniel (October 7, 2022). "Fiona Apple Gets Her Tolkien on With New Rings of Power Song 'Where the Shadows Lie'". Rolling Stone. Archived from the original on October 10, 2022. Retrieved January 23, 2023.
- ^ a b Twitter thread by composer Bear McCreary explaining the episodic soundtrack albums for the series:
- McCreary, Bear [@bearmccreary] (September 2, 2022). "We just dropped TWO new #TheLordOfTheRings #TheRingsOfPower albums, for Episode One and Two. Listen now on [Amazon Music]! These weekly episodic [The Lord of the Rings: The Rings of Power] albums will contain almost entirely new music and suites, different from the Season One soundtrack album" (Tweet). Archived from the original on September 3, 2022. Retrieved September 3, 2022 – via Twitter.
- McCreary, Bear [@bearmccreary] (September 2, 2022). "For the main "Season One" album, I recut, and even rewrote & re-recorded, much of the music to create an emotional listening experience that captures the season's narrative arc in a symphonic format" (Tweet). Archived from the original on September 3, 2022. Retrieved September 3, 2022 – via Twitter.
- McCreary, Bear [@bearmccreary] (September 2, 2022). "For the episodic albums, you get a playlist much closer to the narrative arc of each episode. Virtually every second of score is here. Some cues have been combined into suites to create continuous musical tracks (keeping Harfoot cues together, Elven cues together, and so on)" (Tweet). Archived from the original on September 3, 2022. Retrieved September 3, 2022 – via Twitter.
- McCreary, Bear [@bearmccreary] (September 2, 2022). "Episodic albums for #TheLordOfTheRings #TheRingsOfPower will be available exclusively on [Amazon Music] as each episode streams on [Prime Video]. Once all episodes stream, these albums will be available on ALL DIGITAL PLATFORMS" (Tweet). Archived from the original on September 3, 2022. Retrieved September 3, 2022 – via Twitter.
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- ^ Anderson, Erik (February 9, 2023). "Bear McCreary, Michael Giacchino and Daniel Pemberton lead 2022 International Film Music Critics Association (IFMCA) nominations". AwardsWatch. Archived from the original on February 9, 2023. Retrieved February 9, 2023.
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External links
- Bear McCreary's blogs about the creation of the first season's score: all blogs, The Lord of the Rings: Appendices Part 1, Appendices Part 2, Appendices Part 3, and Appendices Part 4