The Old Walking Song, the very first song to be encountered by the reader in The Lord of the Rings, is without doubt the most well-known song from the book, primarily because of it being the first one and thus the most likely to still get read. After purchase, you can download your MP3 from your Sheet Music Plus Digital Library - no software installation is necessary! After purchase, you can download your Smart Music from your Sheet Music Plus Digital Library - no software installation is necessary!
Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician! The notes of the lines and spaces on the Treble and Bass Clefs are associated with the white keys on the piano in the above image by means of the lines drawn from the clef notes to the matching piano key. I've taken all the songs from the Voice of an Angle EP plus 6 from Songs for Modern Loving, and turned them into a songbook!
When looking at the instrumentation of the introduction, the use of a guitar poses some questions.
In terms of adherence to the musical style of Hobbits, the song from the musical of all the renditions listed fits best, even though it uses different lyrics.
It has all the words, chords and tips you need to play them on ukulele, guitar, piano, musical saw or indeed any instrument of your choice. It imagines a dialogue between the Earth and the world's children, focussing on the idea you're in our hands, we're in your care. The origin of the song is not completely clear: One might argue that it is derived from a similar poem spoken by Bilbo at the end of The Hobbit. There is no mention of guitars in the book, nor is it likely that any Hobbits played them, as a standard concert guitar would be very large indeed for a Hobbit. Suitable for children aged 5-13.The kids are in love with your song, and being a composer myself, have to hand it to you for writing such a brilliant universal song. They could have used smaller versions, but this surely would have merited a mention by Tolkien. We do not use or store email addresses from this form for any other purpose than sending your share email. It is also doubtful that - if there indeed were guitars in Middle-earth - Hobbits would have kept using smaller versions without the chance of ever moving up to the full-size instruments.
The inclusion of this word surely is no coincidence, and suggests that the creative team of the show studied the poems very carefully.


After all he had sixty years of time until the events of The Lord of the Rings to find a suitable melody.It is therefore likely that Bilbo wrote the song present in The Lord of the Rings based on his idea from when he returned in The Hobbit.
As with all musical instruments, the size of the guitar has developed over time and is chosen for best sound. While text is only very loosely based on Tolkien’s poem, nevertheless the connection between the songs is obvious. It also shows one of the ways in which the musical tries to stay as close to the book as possible despite being forced to cut large parts of the storyline: Quotes and events are transferred to other characters, allowing them to be present in the stage version, albeit under sometimes different circumstances. The song is then again spoken by Frodo when crossing the border of the Shire and a final time by Bilbo as an old Hobbit in Rivendell. So for a people that could never play the full-size version, it is unlikely that they would even begin using the instrument at all. If we think about which instrument the Hobbits could have used instead of the guitar, the best alternative would be an octavo mandolin, which is tuned an octave lower than the regular mandolin. The latter, though not mentioned by Tolkien, would be small enough to have been used by Hobbits. Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn't. The instrument is much smaller than a guitar, while still having a tonal range allowing for chordal accompaniment as well as playing melodies. This is important for an impromptu group performance at the campfire and of course in the stage show in order for the actor to know his entry. The inclusion of a guitar in the recordings is probably due to Caspar Reiff, the composer, being a guitarist.
The melody (see excerpt for the first few bars) is as catchy as the version from the films and harmonically easy, so as to facilitate singing and playing along.
Avoid disclosing contact information (email addresses, phone numbers, etc.), or including URLs, time-sensitive material or alternative ordering information. The new text only uses the first three lines of the original poem, but by this (and presumably by using the same melody) Bilbo clearly draws upon the knowledge of the original song on the part of the reader.
The musical also makes use of harmony singing, as suggested as a possible element of Hobbit music before: In the theatrical performance, there is a short two-part harmony section after the first chorus.
We may describe this new version as a musical summing-up of his part in the story to Frodo: He, as the Ring-bearer and the one who was responsible for the task of destroying it, has successfully taken over from Bilbo, who was originally responsible for the ring since the time he found it in The Hobbit.


Indeed, a harp could take the place of the guitar in hobbit songs by providing chordal accompaniment as well as playing melodic fills.The violin coming in during the introduction fits into the instrumentation, but we may question its playing style. The Tolkien Ensemble in its version has a violin, played with little vibrato, but still played in a classical style, not the folk style that is suggested by Tolkien.
All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. Indeed with him giving his old Mithril shirt to Frodo before he goes out to destroy the ring without anyone knowing, this act is pronounced even more clearly (LotR, 278). If you believe that any review contained on our site infringes upon your copyright, please email us. Frodo knows Sindarin, something only very few Hobbits do and he obviously is well educated. It may even be possible that the ring itself had some part in making Bilbo help Frodo to become ready for his task: Just as the ring has kept Bilbo from ageing, he may have influenced his dealings with his nephew to ultimately make Frodo the one to bring the ring back to Sauron. The Old Walking Song, as the name implies, is sung either while walking or before departing on a journey.
This string section only makes sense in the situation of an after-the-war performance, because there is no reason to assume that at any performance of Hobbit music there was a string section present; maybe single instruments, but not a full (orchestral) section. After the poem has been sung once through, an interlude is played with violins con sordino (2:25), while the guitar and string accompaniment stays present. Apart from the instrumentation, which does not completely follow what we could gather of Hobbit music, the slow tempo makes this song not ideal as a walking song.
The melody itself is sufficiently catchy as to be memorable on the first pass – again, one of the requirements we have detailed of Hobbit music.
In the book, the song appears to be a happy, encouraging song, which should come across in any rendition even with the artistic license of adding an accompaniment. The tempo is roughly the same, which still gives the song a slightly sad feel, but with the string pad missing, the song feels more like a reminiscence of the warm fire and the amenities of Bag End, not to speak of Frodo remembering Bilbo, which is exactly what the book suggests. The sad feel complies with a sense of regret in Bilbo not to have seen all these wonders himself, while at the same time being relieved to not have been forced to go to Mordor or to war.



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