by Fran Walsh, and the film version is sung by the boy soprano Edward Ross of the London Oratory School Schola. Adams comments that "Like all Shore's music for the hobbits, this song is designed to feel as if it could be both about the Shire and from it—as if it were some sweetly nostalgic song sung at the closing of the Green Dragon [Inn] each night." Orchestration "The Shire" was soon followed by the Fellowship, Moria, and Dwarrowdelf themes. The Fellowship theme first appears when the Fellowship of the Ring is created in Rivendell; it is often played on the orchestra's horns. The Ring theme has a Middle-eastern sound, unfamiliar to a Western audience, helping to convey the Ring's ability to corrupt its bearers; it uses a wind instrument the double-reed rhaita from Morocco. The Rohan theme makes use of the Norwegian hardanger fiddle, reflecting Jackson's depiction of the Rohirrim as from Northern Europe. Shore worked from research into Western, African, and Middle-eastern music, from storyboards of the films; and sometimes straight from Tolkien's story. For example, he used the Arabic maqam Hijaz scale for the Elvish Lothlórien/Galadriel theme, to create a sense of antiquity. The number of themes multiplied, but Shore took care to keep the orchestration to a limited "menu", so as to maintain a vision of "sturdy musical textures with orchestral color and detail coursing under the surface." Shore divided the orchestra to provide high, middle, and low sound degrees "regardless of instrument type"; Adams cites Shore's remark that "Orchestration is, in essence, about range. People think it's color, but it actually is range." The themes meanwhile evolved into "an interconnected network of dozens of leitmotifs", becoming not as Shore had anticipated in the style of Italian opera, but rather in the manner of Wagner and German opera. Adams describes the final bars of the score of The Return of the King as Wagnerian. Judith Bernanke similarly analyses Shore's "operatic" approach. Annotated score Adams describes the score for the three films of the trilogy in turn, scene by scene. He names the musical themes as they appear in each scene: the themes often recur. When a scene is accompanied by choral music, the lyrics are provided; when these are in one of Tolkien's constructed languages, an English translation is given alongside, line for line, and the source of the text (often Tolkien or the screenwriter/producer Philippa