The string writing suddenly changes its tenor, rising weightlessly until it hangs mistily over the orchestra. Gimli and Legolas peer down the valley of Harrowdale as once again the Army of the Dead begins. But this time it is no far off twinge. Aragorn stares down the narrow mouth of the road. Men’s voices are audible, calling with the text of “The Dimholt Road”: “Come armed/or prepared to die./There is no other end/to this road.” The faintest hints of a glowing apparition can be seen, challenging Aragorn’s gaze. Bassoon and hanging Tibetan gongs twist and contort behind the broad choral lines as the aural equivalents of reanimated bone and battle-ravaged metal. The Army of the Dead awaits.
Within the nighttime encampment, Merry readies himself for battle—or at least does so to the limited extent of hobbit abilities. For all their resolve, the Shirefolk are not built for war. Woodwinds and pizzicato strings tickle the edges of the Hobbits’ Antics (and, by proxy, the End Cap) as Merry, bedecked in his new ill-fitting armor, practices his blade work before Éowyn. Out of the violas and celli flows a darker melodic shape, a line that seems at once informed by the B phrase of the Fellowship theme, the Rohan Fanfare’s minor mode and the canorous linearity of the Shire theme. This is Merry the warrior. Hobbits may lack a physical aptitude for battle but, perhaps better than most, they understand its responsibilities and sadness. Éomer chuckles at the sight of Merry, doubting his abilities. But Éowyn knows that her brother doubts her as well, and protests, creating her own tie to Merry’s warrior theme.
Beneath Dunharrow, upon the Stair of the Hold, a cloaked rider approaches, his coming infecting Aragorn’s sleeping mind with horrific visions. He sees himself thrust towards the Dimholt Road, he sees Arwen’s Evenstar pendant shattered, and he sees Arwen upon her death bed, alone, deprived of his presence. The Army of the Dead theme plays again, preponderantly developed. Aragorn has long grappled with his inheritance, but his concerns are now drawing to a head. He fears the Paths of the Dead as he fears his own weaknesses. But his love for Arwen has caused him to fear even more for another, to put her safety before his. Aragorn is beginning to adopt the mindset of a benevolent ruler. The Army of the Dead theme crescendos and suddenly cuts off. With a start, Aragorn wakes from his vision. The guard at his door informs him he has a visitor.
UNUSED CONCEPT:
The Army of the Dead theme playing under Aragorn’s nightmare was not used in the film. On disc, it ties Aragorn’s fears and his understanding of his responsibilities—a telling psychological portrait of a leader pushed to serve by his concern for others.
TEXTS
THE DIMHOLT ROAD
Text by Philippa Boyens
Sindarin Translation by David Salo
FIRST HEARD: DISC TWO | TRACK SIX
Go vegil tolo hí | Come armed,
Egor íriel firi | or prepared to die.
‘Ni men hen ú veth ‘war. | There is no other end to this road.
THE BLADE THAT WAS BROKEN
Text by Philippa Boyens
Sindarin Translation by David Salo
FIRST HEARD: DISC TWO | TRACK SIX
Achannen, andaminnen | Reforged, remade
Aeg a celair | Sharp and bright
Naur ‘wain | A new fire
An ardhon ‘wain | For a new world
Dan ma istach han maetho? | But you can still feel it, can’t you?
Nu lach? | Beneath the flame?
I ‘was dín | The stain of it.
Sereg in iorath | The blood of the old
I hautha den na daew | That seeped into the hilt.
Lungas e ndaged | The weight of killing,
I hardhant i chathol. | That tempered the blade.
Ortho i vegil Elessar | Yake up the sword, Elessar
Rango in gyrth | Embrace the dead,
An le rangatha gurth | For death shall yet embrace you.
INSTRUMENTS
ROHAN
J.R.R. Tolkien based Rohan’s society on the Northern European lands of the Nordic peoples. These cultures (both Middle- and real earth) were founded upon simple ideals: the relationship between men and the land, men and animals, pride, power, self-reliance. Reflecting these values, Shore set the music of Rohan in the same thickset brass style as the other music for the World of Men, but intermixed with solo strings that stress a rural type of sophistication.
Returning:
HARDANGER FIDDLE
Listening Example: Disc One | Track Five | 1:02
Although the composer was previously aware of many of the rare instruments in The Lord of the Rings’ collection, Shore had never come across the Hardanger fiddle before he began studying Nordic music as a basis for Rohan. “It was part of the research for The Two Towers, looking towards Northern European sounds and thinking about the Viking, Nordic culture.” Often referred to as the national instrument of Norway, the Hardanger fiddle was thought to have been invented in the mid 1600s. The tone is bracing and emphatic, but moderate at the same time. In Norwegian culture the instrument was used to relate history and lore, and it functions much the same in the music of Rohan. “The fiddle creates a nice counterpoint to the wooden flutes and the whistle in the other cultures.” When the Rohan culture is introduced, it is proud but sorrowful—a once great civilization beset by a failing king and unending assaults. Here the Hardanger underlines a brittleness within the culture.
THE ARMY OF THE DEAD
Debuting:
HANGING TIBETAN GONGS
Listening Example: Disc Two| Track Eleven | 1:11
A large assortment of these hanging metal plates represents the muted clang of long-ago war behind the ghostly men’s chorus of the Army of the dead. Though the gong is now a common member of the percussion family, it was first introduced to the orchestra by composer, François Joseph Gossec, who used it, appropriately enough, in a funeral march.
(c) The Annotated Score (The Music of The Lord of the Rings Films)
Marshalling at Dunharrow
Howard Shore Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
text by PHILIPPA BOYENS, translation by DAVID SALO
( SINDARIN )
Go vegil tolo hí
Egor íriel firi
'Ni men hen ú veth 'war.
or prepared to die.
There is no other end to this road. ))
- - -
THE BLADE THAT WAS BROKEN
text by PHILIPPA BOYENS, translation by DAVID SALO
( SINDARIN )
Achannen, andaminnen
Aeg a celair
Naur'wain
An ardhon 'wain
(( Reforged, remade
Sharp and bright
A new fire
For a new world ))
Dan ma istach han maetho?
Nu lach?
I'was dín
Sereg in iorath
I hautha den na daew
Lungas e ndaged
I hardhant i chathol.
(( But you can still feel it, can't you?
Beneath the flame?
The stain of it
The blood of the old
That seeped into the hilt.
The weight of killing
That tempered the blade ))
Ortho i vegil Elessar.
Rango in gyrth
An el rangatha gurth.
(( Take up the sword, Elessar
Embrace the dead,
For death shall yet embrace you. ))
The song "Marshalling at Dunharrow" is an instrumental piece that features in the movie "The Lord of the Rings: The Return of the King," composed by Howard Shore. The song's name refers to the location where the Rohirrim warriors are gathering to make their final stand against Mordor's army. The composition's primary purpose is to create an atmosphere that reflects the Rohirrim's determination and bravery.
The lyrics included in this song are in Sindarin, an Elvish language created by J. R. R. Tolkien. The first verse, "Go vegil tolo hi, Egor iriel firi, 'Ni men hen u veth 'war" translates to "Come armed, or prepared to die. There is no other end to this road." This verse is a warning to the Rohirrim warriors who are making their way to Dunharrow. It is a reminder that they are up against a formidable foe, and their only option is to fight to the death. The second verse, "Ortho i vegil Elessar. Rango in gyrth an el rangatha gurth," translates to "Take up the sword, Elessar. Embrace the dead, for death shall yet embrace you." This verse refers to Aragorn, also known as Elessar, who is destined to be the king of Gondor. The lyrics are a reminder to Aragorn that he must be ready to take up the sword and fight alongside his people, even if it means embracing death.
Line by Line Meaning
Come armed, or prepared to die.
This is a dangerous path, and if you do not come prepared to fight, your fate will be grim.
Reforged, remade
The broken sword has been fixed, and it is now a new weapon.
Sharp and bright
The sword is now keen and shiny - ready for battle.
A new fire
This new sword is imbued with a renewed spirit, signalled by the ‘new fire’
For a new world
This freshly made sword is intended to be used to create a new world and its order.
But you can still feel it, can't you?
Although the sword has been reforged, it still carries a great burden of its past.
Beneath the flame?
If you look closer, you can sense the blood that was spilled on the sword.
The stain of it
The memories of those who died to make the sword have stained its surface.
The blood of the old
The blood of past battles is still on this weapon, having shaped its identity.
That seeped into the hilt.
Blood from a long and brutal history has found its way into the handle of this sword.
The weight of killing
The overwhelming responsibility of ending lives in combat has been added to this sword's nature.
That tempered the blade
All of the pain and sacrifice leading up to the creation of this blade is what ultimately gave it its strength.
Take up the sword, Elessar
Elessar should pick up this weapon and use it to establish a new, better order in the world.
Embrace the dead,
Elessar should remember that this sword has a history of causing death and should be honoured accordingly.
For death shall yet embrace you.
You will ultimately meet a similar fate as those who succumbed to this sword -- a reminder of the cost of leading with any kind of violence.
Contributed by Eli P. Suggest a correction in the comments below.