DESCRIPTION:
MORDER/SAURON aka THE EVIL OF THE RING THEME, has two names and is assigned to two categories: Mordor and The One Ring. The theme represents "the Ring's "character... (and its) effect on the world." (Doug Adams, CR--FOTR liner notes, page 29) and "the most villainous inclinations of the Ring and for Mordor itself." (Doug Adams, CR--FOTR liner notes, page 9)

Since this music has been identified as Sauron's Theme from the inception of the site, I will continue to use that as the primary name.

THE THREAT OF MORDOR , a theme for Mordor, is a danger motif used alone or as an ostinato under other music.

The Threat of Mordor is blending with the rhythm of the Isengard theme to produce the Witch King of Angmar / Orcs of Mordor theme. Additionally, if one overlooks that first low note, the rhythm structure is the same as the Mordor Skip Beat. In fact, one iteration is identified in the AS-ROTK as being 'somewhere between an inverted Threat of Mordor and the Mordor Skip Beat.'

The Descending Third Motif, a theme for Middle-earth in the subcategory of the Ring Quest, signals "impending doom." Like the Mordor Skip-beat and the Threat of Mordor, it is sometimes used as an ostinato, sometimes alone. It is a sequence of descending thirds that bears some resemblance to the Dies Irae.

The Skip Beat Ostinato, an accompaniment for Mordor, is a three note pattern that is "used for more kinetic moments". It has multiple variations:

each note pitched differently - ABC

each note pitched the same - AAA - used "during a number of chase scenes" (Doug Adams, CR-FOTR liner notes, page 30)

first note low, next two the same and higher - ABB

two pitches used - ABA - used in the "most intense and nerve-wracking moments" (Doug Adams, CR-FOTR liner notes, page 30)


The rhythm structure is very similar to the Threat of Mordor'. In fact, one iteration is identified in the AS-ROTK as being 'somewhere between an inverted Threat of Mordor and the Mordor Skip Beat.' (Doug Adams, AS-ROTK)

THE FIVE BEAT PATTERN is a clanking, clamoring motif that represents "the industrial might of Middle-earth." (Howard Shore per Doug Adams, CR-FOTR liner notes, page 20). In the FOTR and TTT, it was assigned to the category of Isengard and the Orcs and can be heard alone to represent Isengard, underlying the Isengard theme, or alone to represent forces of Mordor (other than Isengard). In the ROTK with the dimming of Isengard's power, the Five Beat Pattern was realigned to Mordor.

THE RINGWRAITHS' THEME, a theme for Mordor, is often defined by singing taken from the source text, The Revelation of the Ringwraiths. This theme uses a strong, staccato rhythm on the first and second beat of the measure. It is used exclusively with the Ringwraiths except once, in the prologue.

Three Mordor Accompaniments, the Descending Third Theme, Threat of Mordor, and the Mordor Skip-beat, are often used as ostinatos to the Ringwraiths' Theme.

MOUNT DOOM a theme for Mordor, is described in the liner notes of the CR-ROTK as a 'blistering pair of chords' drawn from the opening harmonies of the Pity of Gollum. (Doug Adams, CR--ROTK liner notes, page 32). But the musical notation shown as an example indicates that the theme is probably more than just those two chords. All iterations are sung by a pounding choir singing either up/down chords or driving triplets. (It's interesting to note that the opening three notes of the Pity of Gollum also are played as triplets.) All iterations are also paired with the Mordor Outline Figure.

The Mordor Outline Figure, , a theme for Middle-earth in the subcategory of the Ring Quest, is basically an up-down martial ostinato played on tympani. The rhythm changes with iterations. Sometimes it's just up-down-up-down with even beats. Sometimes is more up-down-down-up with the Morse Code rhythm of dash-dot-dot-dash.