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The third episode is finally released and it came with an extended introduction to the final main area to be discovered yet, and its main characters, but also introduced us to who seems like the main antagonist at least for the season, and who gives the episode its title.
The Númenor storyline was my favorite this episode, as it developed greatly both Galadriel and Halbrand, plus we get to meet Elendil and his family. I also enjoyed the grittier side of the story with Arondir at the trenches, which gave us a couple of powerful moments both emotional and epic. And then the Harfoot storyline sees an interesting development with the Stranger being finally revealed to the tribe.
By the way, Bear is releasing weekly albums with complete score for each episode, so I definitely recommend to give it a listen while you read this, so you can better understand the narrative and the thematic development I analyze. And in case you need it, I'm working on a spreadsheet comparing the tracks on the complete releases to the tracks already released in the first soundtrack album.
SHORT DISCLAIMER: The transcriptions are not always in the same key as the pieces I put as example, and sometimes they are simplified to make it clearer and more concise
Withouth a doubt, the main highlight of the episode is the proper introduction of Númenor and its characters, being of special importance Elendil, and his son Isildur. For this storyline, McCreary plays with four different ideas, two of them already established, one of them, hinted at the end of the previous episode, and another completely new one.
Galadriel's Theme and Halbrand's Theme have been clearly established since the first episode, and have played under almost all of their scenes, so here McCreary develops them, with some interesting and emotional variations. Both themes have at least one spot to shine in the episode, and that is the sequence where she talks to an imprisoned Halbrand, revealing who he really is, not a peasant, but the true king of the Southlands, in "Both Our Bloodlines". That track starts with a soft variation on Halbrand's Theme and develops it in different sections of the orchestra (but mainly in the characteristic hardanger) Then, at 1:44 a gorgeous statement of Galadriel's Theme for winds and strings plays, later giving way to the Númenor Theme. This sequence makes clear why the theme played over the introduction to the Southlands in the first episode, since he is the true king of that kingdom, and so the theme is used to link the monarch and the Southlands, with its people
Galadriel's theme
Halbrand's Theme
The Númenor Theme is definitely the most important one in this episode, and the scene where it's really allowed to shine is during the arrival at the city. "Into Númenor" presents the theme first dubious, and quite sinister, playing on the yayli tambur, as the uncertainty of whether this people will be friendly to Galadriel and Halbrand it's still on the air. At 1:33 of that cue, the theme gets properly introduced, and starts to gain strength and vitality, as the city is slowly unveiled. McCreary unleashes the theme in all its power, with percussion, choir and strings, developing both sections of the theme, and including here and there some hints to Galadriel's Theme and Halbrand's Theme.
I just realized that these three themes have some elements in common with each other. If you look on the images above, Halbrand's theme has a very similar melodic figure to Galadriel's theme at measure three, and they have the same rythmic pattern. For clarification, down here I included a simplificaction of the similar sections of each theme. The connection between Galadriel's theme and the Númenor theme is that they share some similar chord progressions, not only how in one segment both move from Db to Db minor, but also in how sometimes they move between two chords Ab and C, which serve to close Galadriel's theme, and which are the opening chords of Númenor's theme.
This is the part of Galadriel's theme that sounds like Halbrand's theme
This is a short segment of Halbrand's Theme
If we transpose that section of Galadriel's theme to the same key as Halbrand's Theme, both are revealed to be strikingly similar
I think this is made so we can see how each of the storylines is connected, and especially how Galadriel being the main character spreads her theme (or at least different components of it) to other characters and places, and it's definitely a brilliant move on McCreary's side if intentional, since it helps to bring the whole narrative together.
The Númenor Theme has an exotic, Middle-Eastern vibe because of the instrumentation and its characteristic chord progression, which gives it a sort of ancient but royal quaility
The Númenor theme gets extended development in following sequences, being of special interest the grandiose statement of the theme when Elendil and Galadriel ride "To the Hall of Lore" (at 1:31 of that cue). The similarities with Galadriel's chord progression are quite apparent to me in there.
Before we move on to another storyline, I need to mention the introduction of one of the last important themes of the show, the Elendil and Isildur Theme. This noble, longing melody serves as a sort of family theme, mainly for the relationship between father and son.
"The Tests of Isildur and Eäire" starts with an epic, almost swashbuckling section that underscores Isildur's brave actions at sea, before the theme gets properly introduced at 1:47. That cue develops it greatly, even with some comedic variations later on.
But it's mainly a noble, emotional theme, and most of its statements are played either on strings or horns, usually featuring an ondulating guitar motif underneath. It's a theme that is used in scenes where both characters appear, but can also be used with only one of them, especially when characters talk about their relationship and their inner conflicts. It's featured in extended variations in that cue, with also some allusions to the Númenor Theme, but it also appears at 0:59 of "The Successor", after a lush strings and winds statement of Galadriel's Theme
Elendil and Isildur's Theme
The Harfoot storyline is only featured in the latter half of the episode, but it's one of the most emotional sections of the series so far, and McCreary takes advantage of this to develop a great deal his themes for this storyline. Both The Stranger's Theme and Nori's Theme feature gorgeous variations, , sometimes playing in counterpoint with each other, as the Stranger is revealed to the tribe, and finally decides to help the Brandyfoot family to travel and be able to follow the rest of the caravan. The Stranger's theme has a magical appearance at 1:37 of "We Wait for You" (which is actually the same as 1:21 of "Nobody Goes Off Trail" from the original release), and I'm a big fan of the soaring statement of Nori's theme at 4:49 of "Both Our Bloodlines" (which again, it's the same as 3:34 of "Nobody Goes Off Trail" from the original release).
The Stranger's Theme
Nori's Theme
Both themes have some great variations on these sequences, but surely the one that gets the most interesting an emotional variation it's the Harfoot Theme. The start of "Nobody Walks Alone" (or "Nobody Goes Off Trail") features some ominous humming which then develop into a sort of dance with the theme on top, this time with a much more steady rythmic section. After that the theme becomes more emotional and longing, as Nori's parents talk about Largo's injure, and whether he will be able to travel with the rest of the tribe or not. Then, as the Harfoots remember all their friends who weren't able to make it in previous migrations (at the start of "We Wait For You"), McCreary introduces a soft, gentle lament, which has hints of the Harfoot Theme on strings, making this moment quite emotional in context.
This is the theme that represents the Harfoot culture and its people
And last, but not least, it's the storyline that follows Arondir after being captured by the orcs, and being taken to the trenches, where he discovers all his comrades have been captured too, and are being forced to work as slaves for the orc and their mysterious leader, Adar. Okay, this storyline features 3 themes, two of them already establsihed, while the other one has only being briefly hinted, but which manages to establish itself, earning its meaning with a couple of bold statements.
First of all we have Sauron's theme (which as I previously mentioned, serves as an overarching theme for Evil). The theme and the ostinato are not featured a lot in the episode, but even so, they manage to make quite an impact during the second half of "The Successor" (starting at around 2:11). A theme which has some cool variations it's the Bronwyn and Arondir Theme, which in this episode is featured only for Arondir.
At 3:10 of "In the Trenches" features an emotional choral passage (similar idea at 3:00 of "Breaking Chains"), as one of Arondir's friends is brutally killed, which leads into an emotional statement of his theme at 3:54, on horns. The theme then gets a couple of heroic statements as they face the orcs, at 1:04 and 2:32 of "Breaking Chains". This cue also features some crazy action passages, in pure McCreary's action scoring style, which a great fan of.
But what really caught me by surprise and made me appreciate even more the thought behind these scores it's the establishment of a new theme, which so far I think serves as a theme for both the Orc Army and their leader, Adar. This Orc Theme had already been hinted in previous episodes, but never fully stated until now, and it's the theme that forms the suite called "Nampat", on the original release. This theme is a menacing three-note fanfare, which gets repeated a couple of times, and which really represents the brute force of this evil creatures. It's almost the very first thing we hear in the episode, "In the Trenches", with some aggressive statements on horns at 0:17, 1:16 and 1:58. The theme has some appearances during the action sequence of "Breaking Chains". and finally makes its connection with Adar at the very end of the episode, with menacing horns and haunting choir at 3:35 of that cue, as Adar is revealed.
The Orc Army / Adar / Nampat Theme
What's really great about this theme is how McCreary had already hinted at its presence right from the get go during the prologue of the first episode, in "Forodwaith". In that cue, at 2:31 and 3:11 you can hear a shortened variation on those first three notes, and then even an action variant at 6:44. And I'm sure that if we go back and check again all of the cues, some more brief references to this idea will be laying around, which really shows how clever the composer is with his thematic constructions.
So this is it for the episode! I had fun watching and I really enjoyed the introduction to the Realm of Númenor, and the discovery of that new leitmotif for Adar and his Orc Army made me appreciate even more this wonderful score. I hope you enjoyed!
For the following two or three of weeks I won't be able to post my analysis of The Rings of Power, since I will be out of home, so when I return I will try to update them as quick as I can. But I will be able to post my analysis for the next episode of House of the Dragon before I leave, so definitely stay tuned for that one, and you can also check my analysis on previous episodes. Feel free to share it with anyone you think might enjoy it. Cheers!
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