Rings of Power Bear McCreary's The Lord Of The Rings: The Rings of Power (2022)

[blondheim 1,157]

3 minutes ago, Roll the Bones said:

Shore and Williams would probably agree with him.

About what?

[Faleel 5,340]

2 minutes ago, blondheim said:

About what?

About having creative control of almost all aspects of their score being a miracle.

 

Hell, Rozsa might even have agreed.

[jpmatlack 29]

12 minutes ago, Roll the Bones said:

About having creative control of almost all aspects of their score being a miracle.

 

Hell, Rozsa might even have agreed.

You’re such a fanboy for pointing out reality. 

[Faleel 5,340]

8 minutes ago, jpmatlack said:

You’re such a fanboy for pointing out reality. 

I don't even really care for much of the score, but I can recognize that thing.

[jpmatlack 29]

20 minutes ago, Roll the Bones said:

I don't even really care for much of the score, but I can recognize that thing.

Apparently if you aren’t willing to unblinkingly hate everything and everyone associated with the show, you’re just a fanboy…

[blondheim 1,157]

1 hour ago, Roll the Bones said:

About having creative control of almost all aspects of their score being a miracle.

 

Hell, Rozsa might even have agreed.

 

I should have clarified my comment because that wasn’t what I intended it to mean. I was joking that this score was being referred to as a miracle in any way but your comment is correct. As a creative person, I certainly enjoy having control.

 

That also means this is probably the best he can do. At least I know where I stand with his work.

[Faleel 5,340]

My personal feeling on the score is that it is more Chops than Groove, to borrow drumming vernacular.

 

And a lot of the textures and musical vocabulary used aren't really the stuff that gets me jazzed, i.e. string harmonics, aleatoric clusters, twisted dissonant/harmonious brass, arpeggios and ascending tetrachords.

[Bofur01 245]

6 hours ago, Monoverantus said:

I'm trying to unravel the lyrics for Sauron/Nampat. If Nampat isn't a verb, as one'd expect, this gets quite a bit weirder.

I don’t know if this helps at all, but when The Hobbit films were coming out, David Salo (linguist for LotR and Hobbit films) had a blog where he shared lots of info about the languages of LotR and how he’d expanded them into neo-orcish, neo-khuzdul etc. for the films.

 

it’s been taken down, but is still available here:

http://web.archive.org/web/20190126115532/https://midgardsmal.com/

[Monoverantus 363]

2 hours ago, Bofur01 said:

I don’t know if this helps at all, but when The Hobbit films were coming out, David Salo (linguist for LotR and Hobbit films) had a blog where he shared lots of info about the languages of LotR and how he’d expanded them into neo-orcish, neo-khuzdul etc. for the films.

 

it’s been taken down, but is still available here:

http://web.archive.org/web/20190126115532/https://midgardsmal.com/

I wish we had a similar resource for TROP, becuase the Neo-Black Speech crafted for this show is not the same as David Salo's.

[TolkienSS 405]

11 minutes ago, Monoverantus said:

I wish we had a similar resource for TROP, becuase the Neo-Black Speech crafted for this show is not the same as David Salo's.

 

Wouldn't that be - wait for it - "cultural appropriation"?

[Monoverantus 363]

32 minutes ago, TolkienSS said:

Wouldn't that be - wait for it - "cultural appropriation"?

... is this a reference to something?

[TolkienSS 405]

To quote Bill Burr: it's a joke.

[Monoverantus 363]

I get that, I just don't get the joke.

[DarthDementous 1,059]

On 3/10/2022 at 8:54 AM, Monoverantus said:

Does anyone here have Amazon Prime to confirm this?

That’s…quite lame actually. I far prefer the interpretation that it means ‘take back’ because that implies a lot more than just grrr we kill villagers

[Monoverantus 363]

8 hours ago, DarthDementous said:

That’s…quite lame actually. I far prefer the interpretation that it means ‘take back’ because that implies a lot more than just grrr we kill villagers

Agreed. The show obviously wants to humanise the Orcs, so "Freedom" would've been my guess (ignoring my initial confidence that any BS word ending on -at ought to be a verb). Having the mysterious word that's intentionally been left untranslated for so long just be something so generic feels like such an anti-climax.

[TolkienSS 405]

On 02/10/2022 at 7:03 PM, Richard Penna said:

A recent interview covering a lot of what was in his latest blog.

 

Interestingly:

 

- Elrond's theme was revised several times after they watched his scenes and weren't sure if Elrond had a theme.

- After episode 2 they didn't do spotting sessions. He just scored the episode and they gave some notes in return. Apparently they realised that they were in sync in terms of what the music needed to do and really didn't put any creative restrictions at all on Bear, so that pretty much all choices were down to him.

 

Detractors, check out around 44 mins in for a couple of minutes, and then I dare you to send Bear hate mail telling him how much you hated his score - he's pretty much asking you to! (although if anyone still accuses him of treating it as 'just a job', you're beyond hope)

 

 

 

Literally nobody said he was taking it as "just a job". You're making stuff up in order to keep this wagon fort mentality up, that this show is seemingly intentionally building.

 

This idea, that a grown up man, in his professional environment, executing the most expensive job of his profession's history, would feel insecure enough to take time out of his day in order to stick his tongue out at critics of his music, is just juvenile.

 

This is a perfect example for why professionals should use social media for their business, and for their business only.

 

What a snowflake.

[Disco Stu 15,495]

Every time I scroll through these Rings of Power threads, my first thought is always John Cusack shaking the drunk friend in Say Anything screaming "YOU MUST CHILL!  YOU MUST CHILL!"

 

 

[TolkienSS 405]

On 02/10/2022 at 10:12 PM, Roll the Bones said:

 

Hmmmm...

 

On 02/10/2022 at 11:25 PM, A. A. Ron said:

I highly doubt Bear thinks he’s on Wagner’s level.

 

How is it possible to misread to such an extent so quickly? I said I wouldn't use Richard Wagner as an example to talk about Bear McCreary's music. 

Not anywhere did anyone say Bear compares himself to Wagner.

 

However, it's clear from the way he talks about himself that he thinks very highly of himself.

 

Can you imagine Howard Shore or any other composer of dignified stature going on an online colloquial about how miraculous his music is and how people who don't like it should come at him because f them?

[jpmatlack 29]

46 minutes ago, TolkienSS said:

 

 

How is it possible to misread to such an extent so quickly? I said I wouldn't use Richard Wagner as an example to talk about Bear McCreary's music. 

Not anywhere did anyone say Bear compares himself to Wagner.

 

However, it's clear from the way he talks about himself that he thinks very highly of himself.

 

Can you imagine Howard Shore or any other composer of dignified stature going on an online colloquial about how miraculous his music is and how people who don't like it should come at him because f them?

Do you English at all?  Because saying it’s a miracle to not have a bunch of meddling by executives and others is no where near saying that the music itself is miraculous…

[Score 770]

1 hour ago, TolkienSS said:

However, it's clear from the way he talks about himself that he thinks very highly of himself.

 

The only thing that's clear is that he's very excited about the project and he considers it as a life dream come true. I would be excited as well if I were in his place. The rest is only in your imagination.

 

1 hour ago, TolkienSS said:

Can you imagine Howard Shore or any other composer of dignified stature going on an online colloquial about how miraculous his music is and how people who don't like it should come at him because f them?

 

He obviously said very clearly that 1) the miracle is that he had a complete control over the presentation of the music, and therefore 2) if anyone doesn't like his music in the show, they should consider him responsible, and not blame anyone else or production choices. It's simply a complete assumption of responsibility. The rest is only in your imagination.  

 

[jpmatlack 29]

36 minutes ago, Score said:

 

The only thing that's clear is that he's very excited about the project and he considers it as a life dream come true. I would be excited as well if I were in his place. The rest is only in your imagination.

 

 

He obviously said very clearly that 1) the miracle is that he had a complete control over the presentation of the music, and therefore 2) if anyone doesn't like his music in the show, they should consider him responsible, and not blame anyone else or production choices. It's simply a complete assumption of responsibility. The rest is only in your imagination.  

 

Cue “you’re pretending that…” or “you conveniently left out…”  or some other variant…

[Richard Penna 3,671]

3 hours ago, TolkienSS said:

you imagine Howard Shore or any other composer of dignified stature going on an online colloquial about how miraculous his music is and how people who don't like it should come at him because f them?

 

Clearly you didn't listen properly because it said it was a miracle that he was allowed almost total creative freedom - a comment against how composers are often over-directed by producers.

 

4 hours ago, TolkienSS said:

 

Literally nobody said he was taking it as "just a job". You're making stuff up in order to keep this wagon fort mentality up, that this show is seemingly intentionally building.

 

I'm afraid you're incorrect. I misremembered the exact wording, but I consider it to mean the same thing:

 

Quote

I agree completely with these comments about style. I think what he did wrong was assume he could treat Middle Earth as just another one of his projects

 

[Disco Stu 15,495]

Yes TolkienSS is willfully twisting himself to misinterpret everything Bear says in as negative a light as possible

[Richard Penna 3,671]

That whole interview is a composer thrilled at the assignment they got and the freedom they had to compose. If someone is going to criticise them for being enthusiastic, excited and proud of their work, merely because you don't like what they did, then you're the child in this conversation.

 

I interpreted his 'that's on me' comments not as 'my score's perfect' but rather as the conditions under which he composed and mixed were so unusually good that if people don't like something he did, then it's not a producer or director's fault - it would be a decision he made.

[Disco Stu 15,495]

There really is no other way to interpret it, he couldn't have been more clear.

[TolkienSS 405]

59 minutes ago, Disco Stu said:

Yes TolkienSS is willfully twisting himself to misinterpret everything Bear says in as negative a light as possible

 

Not really.

If you're an artist of any kind, I'm a fan of the wise saying "let the work speak for itself."

 

Talking about your own work in spades - even without having been asked to do so, in a blog - presents the danger of appearing narcissistic.

 

As a general rule of thumb, which not only applies to art but any work, if you talk so much about your own work, there is a good chance it's compensation for the work not being able to speak for itself as loudly as you wish it did.

 

Even today after 20 years, you'd be hard pressed to find Howard Shore talk publically about all six of his Middle-Earth films as elaborately as Bear did these past few weeks about a few episodes.

And when he does - and this is key - he doesn't proceed to flip out over his own music like "I did this brand new theme!" or "look at this long battle cue I did!"

 

In short, there is barely any humility in Bear McCreary.

In my experience, the composers who talk about having created something special, create nothing special, and the ones who simply STFU and keep their head in the work are the ones producing lasting music.

[Richard Penna 3,671]

2 minutes ago, TolkienSS said:

As a general rule of thumb, which not only applies to art but any work, if you talk so much about your own work, there is a good chance it's compensation for the work not being able to speak for itself as loudly as you wish it did.

 

That's an odd perspective. Surely if people really enjoy the work and its themes, they're more likely to want to interview the composer and talk to them about it. Bear's just saying yes to lots of interview requests where some other composers might be less talkative by their nature.

[Score 770]

1 hour ago, TolkienSS said:

 

Not really.

If you're an artist of any kind, I'm a fan of the wise saying "let the work speak for itself."

 

Talking about your own work in spades - even without having been asked to do so, in a blog - presents the danger of appearing narcissistic.

 

As a general rule of thumb, which not only applies to art but any work, if you talk so much about your own work, there is a good chance it's compensation for the work not being able to speak for itself as loudly as you wish it did.

 

Even today after 20 years, you'd be hard pressed to find Howard Shore talk publically about all six of his Middle-Earth films as elaborately as Bear did these past few weeks about a few episodes.

And when he does - and this is key - he doesn't proceed to flip out over his own music like "I did this brand new theme!" or "look at this long battle cue I did!"

 

In short, there is barely any humility in Bear McCreary.

In my experience, the composers who talk about having created something special, create nothing special, and the ones who simply STFU and keep their head in the work are the ones producing lasting music.

 

In a post above, you just put completely wrong words and intentions in McCreary's mouth. Probably you didn't even watch the video that was linked. That's independent of what you wrote here.

 

What you wrote in the post that I'm quoting now, is just your opinion, and it is not based on anything objective, nor on what actually happened in the history of music. The point of writing music, for any medium, is to let people listen to it. Every composer who has ever lived has always tried to promote his works and let them be known / played / recorded / listened to, with the means that were available to them - from playing a new cantata in a church every week in Bach's case, to writing a film score for a movie that is seen by billions of people in some extreme cases happening in today's world. McCreary is of my same generation, he grew up with internet, so it is very natural for him to use the internet to talk about his work. He has described himself as a "film music nerd", so he knows that there are people of our generation who like to talk about film music online, he identifies himself as one of them, and that's what he's doing. I don't see any lack of humility on his side, just a rightful use of the means that he has to promote his work.  

 

Whether a composer is talkative or not about his works, is just a matter of personality, and has nothing to do with quality (whether you see it or not in their works). In the past, several great composers wrote extensively about their compositions; e.g., Wagner wrote plenty of essays on his aesthetical views and on analyses of his works (and also on other unrelated stuff, as it is sadly known); Messian wrote the treatise "Technique de mon langage musical"; Boulez wrote essays bashing all those who did not adhere to his own aesthetical principles (among other things); and the list could continue. Of course, I'm not comparing any of these to McCreary, but it is obvious that being talkative does not imply being unable of doing something special. Your "rule of thumb" has absolutely no generality.

 

Do you have anything personal against McCreary? It surely looks like that.

 

 

 

 

 

[Knight of Ren 785]

McCreary uploaded the fourth part of his blog posts about the score, this time talking about the recording and conducting, and the assembly of the soundtrack albums. And he mentions that he's planning on doing more posts, one per episode, so I cannot wait for that to get more insight on all the craft behind this stunning work!

[Richard Penna 3,671]

He answers one question I had, which is who had the idea of episode albums - turns out he pitched the idea to the producers. So much for the theory of Amazon pushing for more saleable product!

 

Also the bit we already knew but worth highlighting:

 

Quote

Once all episodes stream, these albums will be available on all digital platforms. Collectors of physical media, stay tuned for news in the near future!

 

Either he's talking about the CD/Vinyl release of the season album that we already know about, or we're looking at a box set of all eight albums.

 

He's taking a few literary liberties with this though - there are at least two full cues missing.

 

Quote

Virtually every second of score is here. I still made subtle edits to preserve continuous musical ideas.

 

[Jay 37,287]

Interesting part of that:

 

Quote

The Rings of Power soundtrack albums are the result of the combined work of Amazon Music, Sparks & Shadows, and Mondo Music. I pitched to the team an ambitious plan to release multiple editions of the score: one tailored for casual listeners, and eight additional albums, one for each episode, tailored for a more dedicated fan base.

THE SEASON ONE ALBUM

I had been planning for the main “Season One Soundtrack Album” from day one. As I scored the episodes, I also composed separate symphonic tracks for each of my primary themes, crafting tracks that stand on their own. These pieces drew components from my original theme sketches, as well as significant theme quotations from various moments in the dramatic score. On occasion, I even combined these elements with new musical material I intend to use in later seasons.

I created fifteen of these symphonic theme tracks, totaling approximately fifty minutes. Each is designed to give the listener a complete emotional image of the subject the theme represents. Tracks named after a character, location, or concept are a good indicator that they were composed this way (for example, “Galadriel,” “Nori Brandyfoot,” “Khazad-dûm,” “Sauron,” and “Nampat.”) For the Season One Soundtrack Album, I combined these symphonic theme tracks with an hour and forty minutes of score from across the season. I edited the cues together in roughly chronological order, keeping an emphasis on musical flow.

 

 

So I guess "The Mystics" [0:00-3:11] and "Nolwa Mahtar" are the two of the 17 he doesn't consider the 15 "symphonic theme tracks"?  Or maybe "Where The Shadows Lie" is not, if that was written to be episode 1's end credits music?  I dunno...

 

Quote

THE EPISODIC ALBUMS

For the eight individual episodic albums, I crafted playlists much closer to the narrative arc of each episode. Virtually every second of score is here. I still made subtle edits to preserve continuous musical ideas.

 

I have to say the edits are definitely subtle, in the sense that I never notice that anything seems off
 

Quote

 

The Season One Soundtrack Album for The Lord of the Rings: The Rings of Power was released digitally across all platforms on August 19th. The individual episodic albums are being released exclusively on Amazon Music, as each episode streams on Prime Video. Once all episodes stream, these albums will be available on all digital platforms. Collectors of physical media, stay tuned for news in the near future!

 

 

So I guess the episodic albums will be released on compact disc too then, unless he means vinyl only

[Richard Penna 3,671]

The edits on album are certainly subtle and extremely well done. They're only more evident when you compare them to the show as closely as I do.

 

Although again, we're looking at less than 5 minutes of unreleased music in 7 1/2 (ish) hours of score. Very first world problem.

[Monoverantus 363]

15 minutes ago, Jay said:

So I guess "The Mystics" [0:00-3:11] and "Nolwa Mahtar" are the two of the 17 he doesn't consider the 15 "symphonic theme tracks"?  Or maybe "Where The Shadows Lie" is not, if that was written to be episode 1's end credits music?  I dunno...

I thought he referred to The Mystics and Nampat, since they're the only two of the themes that don't have a track solely dedicated to them. Or he's screwed up the counting again.

[Jay 37,287]

Wait, what?  Isn't the track called "Nampat" a concert arrangement of that theme?

[JohnTheBaptist 57]

He could be a little more specific about which are concert arrangements. It's not clear why he needed to mix score into the soundtrack album if it's all going to show up on individual episode albums.

[Monoverantus 363]

7 hours ago, Jay said:

Wait, what?  Isn't the track called "Nampat" a concert arrangement of that theme?

I mean, it only appears twice in it, most of the track isn't the theme. Compare that to Nolwa Mahtar, where most of the track is the NW choral line. I guess it could be up to discussion, the only true outlier is The Mystics, since only the start is a theme suite.

[Richard Penna 3,671]

5 hours ago, JohnTheBaptist said:

He could be a little more specific about which are concert arrangements. It's not clear why he needed to mix score into the soundtrack album if it's all going to show up on individual episode albums.

 

I'd assume for the same reason that some of the score in earlier episodes were presented as the concert pieces on the season album - a lot of people will only keep the season album and won't bother with the episode albums.

[Jay 37,287]

OK.

 

Bear wrote 17 themes to use in the underscore.  Definitely the case.

 

He came up with concert arrangements for 15 of the 17 themes.  14 of the 15 concert arrangements are obvious:

1. 8        Valinor    2:40
2. 2        Galadriel    3:44
3. 7        Sauron    2:46
4. 12        Harfoot Life    2:22
5. 4        Nori Brandyfoot    2:50
6. 14        Halbrand    2:56
7. 13        Bronwyn and Arondir    2:48
8. 10        Elrond Half-Elven    3:24
9. 5        The Stranger    5:04
10. 37        Where The Shadows Lie    3:05
11. 3        Khazad-dûm    3:21
12. 11        Durin IV    3:05
13. 6        Númenor    4:32
14. 18        Elendil and Isildur    4:17

But which is the 15th concert arrangement?

1. 22        Nampat
2. 32    0:00-3:11    The Mystics
3. 21     Nolwa Mahtar

Nampat sure sounds like a a concert arrangement.  However, it isn't an arrangement of one of the 17 themes, though the Adar/Orc theme appears in it.  Unless the Nampat chant is considered an element of the Adar/Orc theme, and he just chose not to include a long development of the main part of the theme in the concert arrangement?  Alternatively, maybe this is actually a cue from an episode?

 

The first 3:11 of The Mystics sure sounds like a concert arrangement, and is clearly the theme for The Mystics.  So, maybe this is not a concert arrangement at all, just a long-form statement of their theme, that will be heard in episode 7 or 8?

 

Nolwa Mahtar sure sounds like a concert arrangement, as only contains the Nolwa Mahtar "theme" throughout.  However, it seems to be identical to part of of "The Siege In The Southlands" from the episode album.  So, is it actually a cue from episode 6, just with an album opening/ending appended to it?

[JNHFan2000 2,944]

McCreary mentiomed Nampat in his latest blog as one of the theme suites. So that's definitely one

[Jay 37,287]

So maybe 0:00-0:39 of "Nolwa Mahtar" is actually from episode 7 or 8, then, since the rest of the track is identical to the end of "The Siege in the Southlands" from Episode 6.

 

And while Bear considers this a "theme", he wrote no concert arrangement for it.

 

EDIT: Oh!  He probably wrote 0:00-0:39 to be in the end credits of episode 6!  That explains everything.

 

The first 3 minutes of The Mystics track will probably show up in episode 7

[TheUlyssesian 2,473]

5 hours ago, Jay said:

OK.

 

Bear wrote 17 themes to use in the underscore.  Definitely the case.

 

He came up with concert arrangements for 15 of the 17 themes.  14 of the 15 concert arrangements are obvious:

1. 8        Valinor    2:40
2. 2        Galadriel    3:44
3. 7        Sauron    2:46
4. 12        Harfoot Life    2:22
5. 4        Nori Brandyfoot    2:50
6. 14        Halbrand    2:56
7. 13        Bronwyn and Arondir    2:48
8. 10        Elrond Half-Elven    3:24
9. 5        The Stranger    5:04
10. 37        Where The Shadows Lie    3:05
11. 3        Khazad-dûm    3:21
12. 11        Durin IV    3:05
13. 6        Númenor    4:32
14. 18        Elendil and Isildur    4:17

But which is the 15th concert arrangement?

1. 22        Nampat
2. 32    0:00-3:11    The Mystics
3. 21     Nolwa Mahtar

Nampat sure sounds like a a concert arrangement.  However, it isn't an arrangement of one of the 17 themes, though the Adar/Orc theme appears in it.  Unless the Nampat chant is considered an element of the Adar/Orc theme, and he just chose not to include a long development of the main part of the theme in the concert arrangement?  Alternatively, maybe this is actually a cue from an episode?

 

The first 3:11 of The Mystics sure sounds like a concert arrangement, and is clearly the theme for The Mystics.  So, maybe this is not a concert arrangement at all, just a long-form statement of their theme, that will be heard in episode 7 or 8?

 

Nolwa Mahtar sure sounds like a concert arrangement, as only contains the Nolwa Mahtar "theme" throughout.  However, it seems to be identical to part of of "The Siege In The Southlands" from the episode album.  So, is it actually a cue from episode 6, just with an album opening/ending appended to it?

there are 17 concert presentations. Bear mixes up numbers a whole lot. So don’t take his word as very deliberate or accurate. He often misremembers. 
 

it’s not malice or anything or any special meaning. Just human behavior.

[Jay 37,287]

Nah.  There's 15 concert arrangements.

"Nolwa Mahtar" and "The Mystics" are cues from episodes

[Chen G. 3,943]

3 minutes ago, TheUlyssesian said:

He often misremembers. 
 

it’s not malice or anything or any special meaning. Just human behavior.

 

We all know that from Williams! 

[TheUlyssesian 2,473]

32 minutes ago, Jay said:

Nah.  There's 15 concert arrangements.

"Nolwa Mahtar" and "The Mystics" are cues from episodes

I would consider them concert arrangements.

 

A cue being used verbatim in a show/film doesn’t preclude it from being a concert arrangement. 
 

Cues can be played in concerts. Concert arrangements can be used as cues. 
 

it’s not a strictly disjointed universe. 

[MedigoScan 324]

The latest episode sounded like it used parts from "The Mystics" yes, but just bits and pieces that arent enough for me to say the album track is an episode cue.

[Richard Penna 3,671]

I've watched 2/3 of today's episode and I think we've only heard In The Mines and some of The Mystics, although there's a big Stranger statement that may be from the season album too.

 

Annoyingly the opening sequence is very different in the show to the album - probably a combination of microediting/mixing and an alternate section. I only mention it as I love the subtle scoring in the first few minutes. However, I've noticed a lot particularly in later episodes that Bear's full composition is often quite heavy, and they strip back some instruments/layers for the show.

 

In my idealistic kingdom, the opening and closing music would be mandatory on album, exactly in the form it's head in the media  

[MedigoScan 324]

Smoke and Flame was also in there I think.

And it looks like post session editing rears its divisive head again.

[Richard Penna 3,671]

It's to be expected on a show like this, and particuarly as Covid forced them to stripe the recording and gave them too much opportunity to change the mix.

 

There's very little of it so far - it's only one or two instances where the character of a cue has changed either due to revisions (where Bear wanted to release his initial version) or post-fiddling.

[Knight of Ren 785]

The episode plays In the Mines and The Veil of Smoke in full, altough they correspond to a couple of different cues. And The Mystics appears in the episode, in The Extinguished Torch, altough it's greatly edited (listen to 0:31-1:31 of The Mystics). This made me think that perhaps it's actually proper underscore, but for the album McCreary decided to assemble some sort of concert suite based off different cues containing the theme.

 

I have a spreadsheet where I breakdown all this info, in case you want to check it out.

[Richard Penna 3,671]

Interesting to see the weighting between episodes for the season album. Hardly anything from eps 1 and 2 is on the album whereas episode 6 only has the first two cues not on the album.

 

I don't put much stock in what Bear's said about the number of theme suites and which are just made up of either direct or reworked score cues, as it all comes down to what Bear thought worked best for the album, his memory, and also depends on post-production music tinkering. An entire theory can be based on some bit of music being tracked into the right scene, for example.

 

I'm a fan of the 'I intended this to be a theme for ABC, but it also ended up in this cue because it sounded right/cool'  approach.

 

At least this album doesn't appear to be missing any actual cues