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Paraphrase on themes from the Lord of the Rings (piano)

   
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Movement I: Each movement starts with the theme of the One Ring. In the first movement, it is played as the theme of the elves of Lothlorien, like a long forgotten song, as the Ring is lost and has become nothing more than a legend. The deep tremolos of the left hand resemble the seducing voice the ring. The theme quickly transforms into ‘Foundations of Stone’, maybe the most majestic opening of the three scores by Howard Shore. Another theme about the seduction of the ring can be heard. These themes function as an exhibition for Middle Earth, showing both the beautiful and the darker parts of the world. Next is the theme ‘Concerning Hobbits’. A delighful scherzo that will give a break from the previous darker themes. The Hobbits take the Ring to Rivendell and on their journey they are confronted by ‘The Nazgul’. The descending triades in D minor suggest the darkest parts of Mordor, which makes this theme one of the darkest themes of the entire score. With hands rapidly jumping all over the keyboard it may as well be toughest one to play. Movement II: The second time the theme of the One Ring is played, it is played in A minor, and this time as a canon. The stacked voices suggest both the growing power of Mordor and the seducing voice of the Ring. War breaks loose at Helm's Deep, so it is followed by ‘Forth Eorlingas!’, but not before the theme of 'Mithrandir' (Gandalf), who plays a crucial part in the war. Forth Eorlingas shows the retaliation against evil. It ends quite abrubtly, and is, like in Shore’s symphony, followed by ‘The Last March of the Ents’. Also known as the theme of the Eagles (only this time played as a march), this theme shows a world where all forces of good will join hands and conquer evil. Movement III: The last time the theme of the ring is played, it is played in the same, deep A minor, but with dissonant notes resembling the seduction of the ring on top. The same tremolos in the left hand will now be overpowered by these fading dissonants, resembling the fading yet desparately pressing power of the Ring. It is followed by 'End of all Things', which resembles the final battle, the destruction of the ring and the defeat of the enemy. All chaos is followed by the tranquil ‘The Grey Havens’. First, the theme of the hobbits is shown in a completely different form. Soothing arpeggios in both hands represent peace after all bad times. After hinting the theme of the Fellowship and playing the angelic chords of the hobbit-theme one last time, the theme of the Grey Havens, with amen-like chords in the left, and high tremolos in the right hand, will conclude this work. I used stills from the movie along with the sheet music to show how the music follows the story. There are some (sleight) differences to the sheet music and the recording, due to it being completed almost a year ago; some things changed along the way. End of All Things was written very shortly before recording began, since I felt there needed to be a more climacting piece showing the final battle and the destruction of the Ring. I hope I succeeded. :) Composed by: Howard Shore Transcribed and played by: Roel Westrik (2015) Instrument: Yamaha P-120 Recording: Zoom H4n

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