Broken Blade .by Eterman. 9:44 30.1.2001
It was an ordinary sunday evening at my home when I found this new
musical idea. I had been released from military service the last friday
and I felt light, relieved and free. I had somewhat been thinking of this
lotr-compo and a new project (which thought had actually been lingering
in my mind for months actually), but this was the first time that I
really decided to start it, to create something. Various aspects of the
Tolkien-created world lay in my mind, and of course, the prolong battle
against the might of Sauron was on top of everything. (Although reading
Silmarillion at the time occasionally draw my thoughts somewhat towards
the more ancient events.)
I found the earlier phases of the war especially fascinating:
the mission of the Istari, the destruction of many kingdoms, the fall
of many great cities. So many grievous stories of failures and despair -
and still this hope survived.
Eras, battles, central happenings descended into oblivion due to despair,
but hope remained amoungst some. There were souls that wouldn't forget.
The might of Sauron grew ever stronger, but at the same time the
opposition united its forces and prepared to what was afore.
Although the situation, at every angle, appeared desperate, the alliance
of elves and men succeeded in raising a great army into battle against
the might of Sauron.
The battle seemed to be faring well, until in the heart of it, Sauron
appeared. Sauron's might had no opposition, and the situation appeared
yet again desperate. Then Isildur, the son of fallen King, took his blade
and stroke against Sauron. Sauron's might was crushed for centuries, but
this blade was broken, as well as were many kingdoms before it.
This broken blade was cherished and kept as a sign. One day the blade
would be mended, and the long, deep wounds that were made during those
elder days, could be healed again.
This broken blade was the symbol of all Sauron's fell acts. It was the
symbol of the losses and sorrows that once had occured. And there lied
it's great weight and meaning.
What I want to portray through this music is the opposition that finally
succeeded in bringing down Sauron's might. I've tried to picture the
different races and phases of the prolong struggle instead of certain
battle-scenes or such (which would have turned out rather trite, as it
always does). Presented are the moods and feelings cirling this heritage
- this legacy symbolized by the broken blade.
I recently discovered that this song bears a lot of resemblance to
Shelter. The processes have been quite similar, although Shelter's took
much longer. Harmonies have similarities and the way different themes got
blended together is particularly distinctive to these two songs. The
similarities are interesting regarding that the ideas behind these songs
were totally different.
Shelter was mostly free experimentation on folk\fantasy including
some jazz-influences, but this song was written particularly to a music
compo. I think the purpose has been well carried out.
I mean, hey: just listen to that beginning! Is this winning
material or what? Really, isn't it? I mean, you must recognize ART when
you hear it!
True, it's mostly basic chording, although I've recently tried more
expanded progressions. But those chords just came to my head without any
pains and I didn't want to stall that flow of inspiration. Especially the
orders 21-22 were inevitable. I just don't know where from that
progressions emerged, but I'm glad I got it.
And no, my music is still not supposed to be popular. I simply don't have
that much respect for the concept of popularity, believe it or not.
I wonder why it always gets to those arpeggios. It's like I just couldn't
compose without them. Bad habit - I really should quit. And what about
that structure? I mean, I thought I was supposed to developing and here
I am presenting you with exactly the kind of solutions I've used to work
with. And with little coherency this time. Perhaps I'm too critical, I
don't know. After all, my problem used to be the lack of self-criticism,
so it might be only good for me to constantly remaind myself of
everything that might be out of place. It's not exactly the kind of
positive thinking that makes the mind work more efficiently, but if
possible, I'm usually being too positive about my musical production,
so I guess a slight amount of negative thinking won't do any bad.
Inspiration credits apart from J.R.R Tolkien's literary production must
go to Zbigniew Preisner - whose music is simply outstanding, something so
much more than just "movie music", deep and yet relatively easy to get
into - and to late Toru Takemitsu, whose ability for intense expression
is beyond compare.
-Harri Kivisto
eterman@writeme.com
