This can be shown by the augmented second (moving from bar three to bar four). This adaptation of The Ring theme is limited to four pitches and is employed in an Eastern-tinted harmonic way (Adams, 2011). Variation 2: “The Evil of the Ring” (Adams, 2011) This is because, in the film, Gollum’s past is very much interweaved with the Ring. Another fact deserving mentioning is that this variation of the Ring’s theme intertwines with Gollum’s theme (Adams, 2011). This tune stays consistent in the first movie and starts to display notable moulding in The Two Towers, as the storyline intensifies. Nevertheless, “The History of the Ring” is merely the commencement of the journey of the ring and is only the revival of it.
First, we are presented with a murky chord, which then settles into a nice consonant chord and therefore, the music exactly translates what the ring is supposed to represent maliciousness and lies. Moreover, when merging together the first nine notes of the melody, an A minor triad with augmented ninth results (Adams, 2011). With the continuation of this melodic line, we face an area of harmony where two harmonic areas overlap A minor and F minor. Harmonically, this theme is in minor mode, with the melody occurring on a raised fourth atop a minor triad. Because this human-like nature is given to the ring-a small object-it indicates that it possesses powers as deep as influencing humans around it by its mere presence. The way the music for this tiny gadget is written, speaks a lot about the bigger meaning of the ring.
Shore remarks that he “writes in a breathing sort of rhythm so it feels natural. This theme is extremely crucial to this movie as the entire plot-line orbits around it.
Variation 1: “The History of the Ring” (Adams, 2011)
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