Thanks to everyone who has commended the list. The first part of my review of TTT:EE can be found here:
Part One

By way of revision, in the first half hour of TTT:EE, Shore helped us re-enter Middle Earth through variation on familiar motifs. In prologue, the Moria music and Ring theme from FOTR:EE was revisited and built upon. As Frodo and Sam continued on their journey, the familiar Hobbit theme underscored their longing for home, but with a hint of bleakness not heard in the first film. Depicting the desperate race across the land of Rohan to save Merry and Pippin was a reworking of both Isengard and Fellowship themes from the first film.

As old motifs are poured into new arrangements, incidental motifs from the first film reveal themselves as strong themes. The ‘Nature’ theme from the Moth scene in FOTR:EE was one such motif. Gollum’s motif from the first film emerges as the strongest of these in the first half hour of the film. In addition to this reprised theme, a cymbalom motif for Gollum’s schizophrenia is introduced.

Throughout Shore continually stresses the bleakness of the landscape the fragmented Fellowship finds itself in. Heroism has its moments, as in the cue ‘The Three Hunters’, and so does nobility, in ‘The Uruk-hai’ and ‘Lembas’. But the dark underscore, particularly in the depiction of the people of Rohan, dominates – see ‘The Fords of Isen’, ‘The Westfold Burns’, ‘Grima’ and ‘Mordor Meat’. (Note that the heroic Rohan theme has only been suggested as yet.) For the first half hour of this film at least, the hopelessness of the situation in which the forces of good find themselves seem altogether overwhelming.

In the analysis that follows it will be seen that in the second half hour of the film, as the Ringbearer’s story plunges even further into darkness as Frodo starts to see his spiritual kinship with Gollum, Shore explores some of his darkest musical textures in the trilogy. While the apparent death of Merry and Pippin and the state of Rohan motivate Shore to no blissful tunes early on in this Rohan section of the film, the introduction of a new character and the return of another feared dead leading to a turning of the tide, both dramatic and musical.

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A SIDENOTE ON MUSIC FOR THE RINGWRAITHS AND THE RING
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By Michael McLennan, with thanks to Marilynn Miller and Jelle Vanooteghem.

In response to Jelle's comments below I've reworked this section and improved the discussion of the appearance of some of the little danger motifs often associated with the appearance of the Black Riders. I make use of the following names for the motifs. See the links to magpie's website for description and uses of each:
1.Ringwraith Revelation
2. Descending Third motif , aka Dies Irae motive.
3. The Circling Melody
4. Skip-beat Ostinato

To identify what these themes are, particularly the last of the four, you may also wish to see:

(a discussion at the MSN group 'shore's music for middle earth' on the various danger motifs between Jelle, Magpie and myself)

(some other thoughts of mine on the Skip-beat ostinato that may help)
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>
Now the other motif that was also frequently associated with the Black Riders in the first film first appears just before the Riders of Rohan appear in TTT. Near as I can tell there four ascending notes played over and over again by strings, sometimes accompanied by brass emphasis of the last note (or by parallel statement for brass). This phrase also appears in The Dead Marshes just after Frodo experiences a brief flashback to his Weathertop stabbing in the world of the Black Riders. As Jelle has suggested in her critique, it is used in parts to represent the soldiers at the Black Gate, and perhaps can be considered a more generic danger motif.
<HR size=1></BLOCKQUOTE>

Anyway, all that is hopefully going to aid understanding of my discussion of the cues in the following section of TTT:EE, because they all appear here.

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PART TWO: AN AVALANCHE.
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Thanks a lot to Jelle, whose input on my first draft has improved the piece considerably.

TITLE [LENGTH]

13. The Riders of Rohan [0:53]
14. The Business of an Elf, a Man and a Dwarf [0:27]*
15. The Pile of Carcasses [1:48]*
16. Grishnakh’s Timely End [4:17]*
17. Treebeard [0:56]
18. The Dead Marshes [0:50]** #
19. Little Candles [2:04]** #
20. Smeagol / Wraiths on Wings [1:54]**
21. Talking Trees [0:22]*
22. Olorin [1:35]**
23. Gandalf the White [1:44]* #
24. Shadowfax / The White Rider [0:56]**
25. Song of the Entwives [1:48]* #
26. Sauron Searches [6:24]**,#
a. The Heir of Numenor [1:30]*,#
b. The Black Gate is Closed [1:49]** #
c. Another Way [2:07]**

Total length [24:14]

* indicates the cue is unreleased in its entirety.
** indicates the cue contains material that is unreleased.
# indicates the cue was lengthened for the Extended Edition of the film or created solely for the extended edition.

Approximate total released material from the film’s second half hour: 8:19
Approximate total unreleased material from the film’s second half hour: 15:55

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CUE-BY-CUE ANALYSIS
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13. The Riders of Rohan 0:53

00:30:25 In a passage suggestive of the Skip-beat ostinato (that plays often in the trilogy when the Ringwraiths appear, or when journeys on horseback are seen), the cue opens with a surging string phrase complemented by deep brass as Aragorn senses the Riders of Rohan draw near. The phrase here recalls the music for the Black Riders somewhat (see ‘Knife in the Dark’ from Fellowship for example) and there is a certain irony to that given the action onscreen (i.e. horses arriving). This brief passage is truncated with two loud percussive beats, which echo for a second or two after.
00:30:36 As the Rider of Rohan come over the rise, the three hunters scramble for cover. On realising the identity of the horsemen, Aragorn reveals himself and the three are promptly surrounded. A beautifully complex passage for strings, brass and percussion follows – accentuated by light woodwinds (possibly pipes, though flutes have been suggested). The passage builds as the riders draw and surround the Fellowship, the pipes/flutes adding a distinctly medieval feel. The piece builds and builds…
00:31:18 … until a spear is brought down on Aragorn and the cue ends abruptly.

One of the first pieces of music I heard from the film, this passage retains its charm a year later. Its oppressive drive to resolution adds to the sombre canon of music associated with the Rohirrim so far in the film – see the cues ‘The Westfold Burns’, ‘Grima’ and the latter half of ‘Mordor Meat’ (as the same Rohirrim kill the Uruks). A hint of light is suggested by the use of woodwinds in the cue, a slight suggestion that these riders are unlikely to prove a real danger to the Three Hunters. The passage is widely available as the first 55 seconds or so of the album track ‘The Riders of Rohan’, and is strictly speaking the only section of that track that pertains to the title. One aspect of the music here that I’ve only recently become aware of is the musical links with some of the music associated with the Black Riders in Shore’s Fellowship score (particularly at the beginning). Perhaps it has something to do with the musical rhythm created by stamping horse hooves in Howard Shore’s head…

14. The Business of an Elf, a Man and a Dwarf 0:27 *

00:31:46 A trombone blast is heard as Legolas draws an arrow and says ‘you would die…’ to Eomer. The note of tension (mind the pun) is held…
00:31:52 … until strings enter with Aragorn and calm the antagonists.
00:32:02 The horns return and play a sombre note as Eomer says that Theoden “no longer recognises friend from foe.”
00:32:13 The cue ends as briefly as it began.

A brief cue to be sure – you have to be a completist to really hanker after this one, but I suppose we’re all friends here. While the orchestration is wholly consistent with the rest of the score, this cue appears to be purely incidental and doesn’t add much to an understanding of the overall score.

15. Do Not Trust to Hope 1:48 *

00:33:06 The prelude to the Fellowship theme plays in particularly sombre fashion as Eomer reveals that the hobbits being pursued by the three hunters are likely to be dead. French horns and strings follow as Gimli and Legolas express their disbelief.
00:33:15 More horns as Eomer summons horses for the hunters.
00:33:40 A new two note (or is it three notes?) motif – not unlike Davis’ rotating brass chord theme for the Matrix interestingly enough – starts for brass and strings (the latter a moment later) as Eomer mounts his horse and tells the hunters not to ‘trust to hope’. The horns build in strenght, giving dramatic weight to the motif, which climaxes as the hunters are left alone and we cut to…
00:34:09 … footage of Aragorn, Legolas and Gimli riding to the pile of carcasses as a quicker passage for strings plays. There are hints of the material heard in ‘The Riders of Rohan’ cue…
00:34:16 The music takes a sombre turn again as the camera tracks past the head on a spike to a view of the hunters beside the pile of carcasses. Deep strings and horn material return.
00:34:39 Some of the strings here recall the ‘Death of Boromir’ cue from the FOTR:EE score.
00:34:54 Cue ends.

Another cue I look forward to hearing outside of the film. The sadness of Rohan now overtakes the Fellowship as it become apparent that two of its members are likely to be victims of the carnage. Most of the music, from the sad opening reprise of the Fellowship theme to the deep strings at the pile of carcasses, is of slow-building and sombre character. The two-note motif introduced at 00:33:40 is quite interesting, and the climax it builds to very effective in the scene.

16. Grishnakh’s Timely End 4:17 *

00:35:49 As Aragorn awakens to the possibility that the hobbits may have escaped the Uruks, specifically, on the line “their bonds were cut!”, brass and shimmering strings enter with a sense of urgency. This material, which is particularly hard to make out under the sound effects, is sampled on the chapter 11 menu option.
00:36:18 The passage builds to a peak as the hobbits steal away from the battlefield, Grishnakh not far behind. While this would have made for the start of a great chase cue…
00:36:25 … it all calms down fairly quickly as the Hunters realise the hobbits fled into Fangorn forest. Mysterioso strings dominate as the camera follows Merry and Pippin into the forest. They breathe a sigh of relief and the music is calm.
00:36:59 However, they have been pursued by a furious Grishnakh, and here a racing string motif – a frenetic dance of sorts based on a triplet motif starts. It has been suggested that trombones play a variation on the 6-note Isengard brass melody here. Trumpets work into the action, which builds until the hobbits have climbed a tree when…
00:37:28 … thinking themselves safe, Merry says – ‘he's gone’, and the strings hold a note…
00:37:32 … until Grishnakh pulls Merry down from the tree and the frenetic dance motif returns with stronger brass and percussion.
00:37:45 The strings pause again as Pippin screams for help, only this time the strings shimmer as Treebeard’s eyes open and he comes alive.
00:37:52 As Treebeard stirs into action, a motif that sounds note-for-note like the Ring Descending Third motif appears below blaring brass – effectively represent the lumbering Ent coming to life. There is a striking similarity to the music for the Black Riders here – the lumbering brass and ostinato resemble the Ringwraith Revelation played over the Ring descending third motif, a familiar combination from the first film.
00:38:05 The ostinato crashes with Treebeard’s foot (coming down on Grishnakh), leaving dissonant brass and nervous strings to round out the cue.
00:38:16 The cue ends.

A terrific action cue. This lengthy unreleased cue offers some interesting material not heard elsewhere in the score. As with the earlier Dinner Debate, there is some strong suspense material here. Of particular note is the frenetic dance motif that accompanies most of the Fangorn-set action in the second half of the cue. Note that here we have the first musical portrayal of the Ents in the film, though the thematic material for the Ents turns out to be quite different from that established here. The musical similarity between Treebeard’s awakening and established themes for the Black Riders is curious.

17. Treebeard 0:56

00:39:04 The lumbering percussion and woodwinds that come to be associated with the Ents make their first appearance in the film here. This material comes from the second half of the album cue ‘Treebeard’.
00:39:43 Suspense is built by strings and percussion as the hobbits are placed before Saruman, the cue climaxing…
00:40:00 …as the last percussive note is struck.

This brief cue, included as part of an Ent suite on the album release, introduces two of the thematic devices that come to be associated with the Ents and Fangorn later in the score. The first is a passage with awkward woodwind rhythms suggesting the gradual movements of the Ents. The second is a passage of nervous strings and percussion that slowly builds to a resounding resolution. This second appears shortly after in the score in the cue ‘Olorin’, and its purpose will be discussed there. Both are strong additions to the musical material for the trilogy and represent their respective subjects well.

18. The Dead Marshes 0:50 ** #

00:40:15 As the Ringbearer and two halves of his conscience – Sam and Gollum – emerge from Emyn Muil, we hear more optimistic music – french horns and strings. No apparent connection of the motif here to other material in the trilogy.
00:40:28 After a pause, dark cold music, which can be heard as the opening seconds of the album track ‘The Passage of the Marshes’, begins as Sam steps into the marshes. Dissonant brass here.
00:40:48 Shimmering strings build the tension as the camera pans over a wide view of the Dead Marshes. Another favourite little musical moment of mine is this Dead Marshes motif, reprised later at 00:44:06.
00:41:05 … which ends with a wide shot that cuts to the ‘Famished’ scene in the Extended Edition.

As the remaining members of the Fellowship devoted to the destruction of the Ring draw nearer to Mordor, the hopeful material is gradually drained from the music. Profound ambiguity underscores this entrance to the Dead Marshes, and there is a nice location motif for the Marshes referenced at 00:40:48. Most of this cue is available on the album track ‘The Passage of the Marshes.’

19. Little Candles 2:04 ** #

00:42:24 Wary music similar to the Ring and Gollum themes played for harp and strings appears as Gollum begins to play on Frodo’s identification with a former Ringbearer. It has been suggested that the first few notes of this piece reprise the oboe motif that commences the cue 'Lost in Emyn Muil', and that after that the Gollum theme appears.
00:42:44 Hints of Gollum’s theme are worked into the cue here as he says ‘Once it takes a hold of us, it never lets go’, with sadder (if it’s possible) variations playing as Frodo rejects the poor pathetic creature and Gollum turns aside, clearly shaken by what has just happened. It’s one of the best Gollum moments in the film, and the pathos-filled score at this point is a highlight of the extended material.
00:43:11 The transition back to the theatrical addition continues the variations on Gollum’s theme for brass and strings for a moment…
00:43:20 … before we return to the darker tones of the album cue ‘The Passage of the Marshes’. There is a bit of unreleased material here, dark surging strings that Shore does best as Gollum recalls the great battles that brought the bodies into the Marshes.
00:43:49 Stabs of brass and percussion and shimmering strings are heard as Frodo is drawn off towards the lights.
00:44:06 The strings build in a passage identical to that in the earlier cue ‘The Dead Marshes’, except here is accentuated by hideous vocals that make the skin crawl, recalling passages in Lygeti. The thumping lure of the Marshes draws Frodo on until the strings reach their apex…
00:44:28 … and abruptly cease as Frodo falls in, a choral ‘ah’ (not on the album track), commenting on the hero’s plunge.

This cue is an extension of a shorter cue from the theatrical edition of the film, which followed on directly from the earlier ‘Dead Marshes’ cue. In the first section, the Gollum theme is given further variations as Frodo begins to see something of himself in Gollum. Gradually Shore is working more pathos into this theme as we begin to see a ruined life rather than a walking ghecko with a sore throat. (I tip my hat to the Tolkien Sarcasm page.) In the second half, the Dead Marshes material receives more extensive development. As the dead bodies are discovered and their origin revealed, darker tones swell and the Marshes motif is reprised. It is likely that following the end of the cue at 00:44:28, the material from 1:04 to 1:45 on the album cue ‘The Passage of the Marshes’ was intended as underscore, but replaced with sound effects in the film. This section will be discussed later in my section on the missing cues of the extended edition.

For those who have listened closely to the prologue material from Fellowship (I haven’t looked too carefully myself), I wouldn’t be surprised if some of the material from the second half of this cue referenced the music for the battle fought by the Last Alliance, since many of the bodies here are leftover from that war. Just a thought.

20. Smeagol / Wraiths on Wings 1:54 **

00:46:37 The last of the Dead Marshes cues begins with a violin-led reprise of Gollum’s theme as Frodo names him ‘Smeagol’. The performance is delicate and lovely, appearing on the album track ‘The Passage of the Marshes’ at about 1:50.
00:46:58 Serious chords are played in anticipation of the imminent breaking of the moment.
00:47:06 The stabs of brass and percussion heard at 00:43:49 return as the shriek of a donkey – sorry, a winged wraith is heard.
00:47:20 Racing strings and brass join in, reprising the Skip-beat ostinato as Frodo recalls his encounter with the Witch King of Angmar.
00:47:37 The ostinato calms, we hear a choral ‘ah’, and the ostinato builds again as the three travellers rush for cover.
00:47:51 The Ringwraith Revelation makes its first confirmed appearance (not forgetting that strange music for Treebeard before) in the film, with a reprise for choir as the Nazgul is revealed on his winged steed. (I wonder if he tells all the other birds of prey – ‘I’m a steed!’) Underneath the Ringwraith Revelation, a descending motif is heard. This is either the Circling Melody, or the Ring Descending Third motif - the last couple of notes that usually give away the difference can't be clearly heard under the sound effects for the flapping wings.
00:48:09 The Circling Melody returns again as Frodo clutches the Ring.
00:48:19 A choral ‘ah’ is heard again as we track out from the circling wraith, who flies away…
00:48:31 … as the cue disappears beneath the sound of the winged steed’s flapping wings.

One common dramatic element of the Dead Marshes scenes is the connection Frodo has with things that pass beyond life. So in ‘Little Candles’, he is drawn to the dead warriors and to Gollum. Here, the full extent of the wound given him by the Nazgul in Fellowship is revealed. One of the messages of the section to me is that to bear the Ring of Power is to pass beyond any semblance of normal life. (Another interesting incident that informs on this aspect of Frodo’s character in the novels is the encounter with the Barrow Wights.)

The motific device of a choral ‘ah’ reappears in the cue – where previously it emphasized Frodo’s slipping into the waters of the Dead, here it communicates his being drawn in the world of Shadow. As for Gollum’s theme, it becomes apparent here that there are two sides to this theme. There is a mysterious version, with hints of the dark, evil and pathetic nature of the creature. Then there is this more pathos-imbued version that Shore develops particularly well in the Dead Marshes sequence. (See also ‘Little Candles’.) Probably the aspect of the cue that is of greatest interest to many is the reappearance of the Ringwraith Revelation, the Circling Melody and the Skip-beat ostinato for the appearance of the reincarnated Nazgul. The choral statement of the Ringwraith Revelation makes its only appearance in the film here.

21. Talking Trees 0:22 *

00:48:54 Mysterioso strings begin as Gimli remarks on the closeness of the air in Fangorn. It is suggested that variations on the woodwind Ent motif are heard at this stage.
00:49:16 The cue ends as abruptly as it began.

Another one for the completists, and difficult to make out clearly beneath the heavy-layered sound effects for the groaning trees.

22. Olorin 1:35 **

00:50:01 Building strings commence this cue, very similar to those heard at 00:39:43 when Treebeard placed Merry and Pippin before the White Wizard. Here, Legolas senses the presence of ‘the White Wizard’. The closing passage of the album track ‘Treebeard’ contains either this material, or a very close variation on it.
00:50:12 Wood-sounding percussion heard in ‘Treebeard’ comes in at this point as the Three Hunters prepare to dispatch Saruman. The closing passage of the album track ‘Treebeard’ contains either this material, or a very close variation on it. Though I would have to line the earlier cue ‘Treebeard’ up with this to be sure, I have a feeling the music here is tracked in from that earlier cue.
00:50:26 As the Hunters turn towards the White Wizard, we hear fast-paced action material, percussion punctuating the deflection of each of the weapons of the Hunters. This section of the cue is unreleased.
00:50:41 Horns build and we have suggestions of the layered chords of ‘The Prophecy’ from the album for the Fellowship of the Ring as Aragorn communicates with the White Wizard and commands him to reveal himself. This section of the cue is unreleased.
00:51:08 The character of the cue abruptly changes as Ian McKellan’s face shines through, and we hear a rapidly-building choral piece based on triplets. It is an utterly majestic piece of writing, which is why it is a shame that it…
00:51:36 …ends all too abruptly.

An interesting cue here. I have a suspicion that with the exception of the middle section (which has an interesting connection to established thematic material in the trilogy as it is), the music here is tracked from elsewhere. (This is not to say, by the way, that I wouldn’t insist on the inclusion of the cue on an extended release.) The opening repeats verbatim some material from the earlier cue ‘Treebeard’. This suggests that the percussive roll heard in the earlier cue was not actually a cue for the Ents, but rather for the appearance of the White Wizard, who appears on both occasions.

As for the triplet-based choral piece heard as Gandalf reveals himself, many will recognise this as the same theme from the opening of the album cue ‘Forth Eorlingas’. Many suspected this piece represented the White Rider in some way, perhaps suggesting Tolkien’s creation myth the Ainulindale. As it turns out it has nothing to do with that fascinating idea, being an Old English translation of the lyrics Theoden cites later in the film – ‘Where are the horse and the rider…’. It meshes well with the choral material for the Rohirrim heard earlier in ‘The Burning of Westfold’ and later in ‘Theoden King’, ‘Symbelmine’ and ‘The Horse and the Rider’ (my titles). I suspect the material was written for the scene later in the film where Aragorn persuades Theoden to ride out against the Uruk-Hai. It was replaced with a variation on the Nature theme, and an except was quoted here. Thematically it does not quite match the action on screen – it would have done well for the appearance of Shadowfax. Having said that, it sounds fantastic, and I’m glad Shore’s best piece of choral writing was not cut from the film completely. The track name here is Gandalf’s Noldorin name. One of my favourite moments in the book is where he gives his many names. He is “Mithrandir to the Elves”, “Incanus in the South”, “Olorin in the West, that is forgotten.” He was one of the ancient servants of the Master of Dreams, Lorien, in the Undying Lands.

23. Gandalf the White 1:44 ** #

00:52:50 Strings build as Gandalf the White awakens naked on Zirak-Zigil and Gimli and Aragorn say his name. We hear horns as he says ‘I come back to you now, at the turn of the tide’. This material can be heard in the album cue ‘The White Rider’ (0:40-0:50 if memory serves). There are a few seconds of unreleased material here. While I can't quite hear it myself, Jelle has suggested the first three notes of the Fellowship theme are heard in the deep strings as Gandalf says his name.
00:53:17 Material composed for the extended edition appears here – a bobbing string motif as we see Gandalf and the three hunters walk through Fangorn and Gandalf utters the lines “One stage of your journey is over, another begins.”
00:53:41 As Gimli offends the trees with his dwarf manners, the lumbering woodwinds and percussion associated with Treebeard return.
00:53:53 Lighter strings follow as the anger of the Huorns is assuaged and Gandalf rebukes Gimli.
00:54:08 A stunning choral excerpt is heard as Gandalf describes the forces that are about to wake in Fangorn. This choral piece recalls the choral effects in the album cue ‘Treebeard’, which could not be heard (probably a mixing choice) in the earlier film cue of the same name.
00:54:27 The strength of the forest is suggested again as the Ent motif returns…
00:54:37 … rounding out the cue.

This cue offers interesting developments of the thematic materials for both Gandalf and the Ents. The business of the strings early on suggest the energy and purpose that drives Gandalf the White. The choral statement at 00:54:08, bookended by reprisals of the Ent motif, is the first vocal piece associated with the Ents. The phrases spoken here are probably in Sindarin, as in the later Ent-associated choral cues ‘Entmoot’ and the choral piece ‘The Ents’. We begin to get a sense of majesty of the Ents in addition to their unwieldy size and actions (suggested by the woodwind-percussion motif for the shepherds of the forest).

24. Shadowfax / The White Rider 0:56 **

00:55:00 As Shadowfax crests the rise in the background, a stunning piece for choir and horns commences. This passage is probably the most sought after of the unreleased music from the trilogy – it is an altogether beguiling depiction of the beauty of the horse (descended from one of the Mearas) and its evident bond with Gandalf. The piece builds with conviction until Gandalf touches the creature’s forehead…
00:55:42 … and the music segues seamlessly into a grand statement of a new theme for the trilogy, the White Rider theme. It is beautifully constructed – four ascending notes repeated, the fourth note becoming the first of the next repetition, while three descending chords are playing in harmony. The music climaxes as Gandalf and the hunters ride along a hilltop and we cut to Fangorn Forest where the last note fades…
00:55:57 …as Treebeard recites his poetry for the two hobbits.

The last of three cues accompanying the reintroduction of Gandalf, and surely one of the best of the film. There are two parts, the first being the motif for Shadowfax, which hopefully will be reprised in the final film as Gandalf and Pippin ride east along the Ered Nimrais. (There is a suggestion of it in the Return of the King track ‘The Black Gate is Open.’) The second is the White Rider theme, a heroic anthem for Gandalf the White which is suggested at Edoras and later on at Helm’s Deep. (And those who’ve been listening to the Return of the King clips will recognise the theme in the excerpt from track two of that album, ‘Hope and Memory’.) What’s interesting about the three cues leading up to and including this one is that musically they do mark ‘the turning of the tide’ that Gandalf promises to usher in, at least for the Rohan/Fangorn section of the story. Shore has kept heroic phrases to a minimum so far, and here at nearly an hour into the film we get the first new fanfare (not counting the brief fanfare in ‘The Fords of Isen’).

25. Song of the Entwives 1:48 * #

00:56:28 Pastoral strings open this cue as Treebeard talks of the distance from his home. The music can be sampled in menu chapter 16.
00:56:53 A flute plays a beguiling melody for Treebeard’s song in counterpoint to the bed of strings. We see many treetops in a brief montage of the journey to Treebeard’s home in the foothills of the Hithaeglir.
00:57:20 The strings resolve the song beautifully, and Treebeard notices the hobbits are asleep. There is more than a hint of recent John Barry scores here.
00:57:37 The cue turns softer still as Treebeard lays down the hobbits and utters one of Tom Bombadil’s lines – “Heed no nightly noises.” As Treebeard turns to go about his business, sombre strings underscore his lines about the ‘Shadow’ that threatens to bring all that he knows and loves about the forest to an end.
00:58:11 The last chord of the cue holds as we transition to a scene of Gandalf looking east to Mordor…
00:58:16 … before the cue fades out.

An excellent additional scene with excellent music to go with it. We see a different side to Treebeard, one that a lot of audiences might have benefited from if it had survived to the theatrical cut. Shore’s music here adds warmth to our perceptions of the Ents – both what causes them joy and fear. The flute solo is particularly delightful. A gem to be sure.

26. Sauron Searches (6:24)**,#

26a. The Heir of Numenor / 26b. The Black Gate is Closed 4:19 ** #

00:58:41 As Gandalf tells Aragorn that Sauron fears the heir of Numenor, sombre strings creep in.
00:59:23 As Gandalf describes the advantage that they have in the knowledge of Frodo’s quest, we hear a new motif that could be titled ‘The Urgency of the Quest’. For muted brass and strings, it is at the same time haunting, mournful and urgent. The opening of the theme can be sampled as the audio for the chapter 17 menu icon. The motif is resolved with warmer strings as Gandalf learns that Sam went with Frodo. [i] I've come to think there is a hint of a dark version of the theme heard at the end of the ROTK track 'The Black Gate is Open' and in the chorus of Annie Lennox's song 'Into the West' here. It bears some relationship to the material heard towards the end of the ROTK track 'The End of All Things'.
01:00:11 The strings build as we cut to Sam climbing up the slag hills of the Dagorlad.
01:00:19 The music segues from the extended edition music for the ‘Heir of Numenor’ to the building strings from album track ‘The Black Gate is Closed’. The strings and brass build to a partial statement of the Mordor theme for raita as the Black Gate comes into view, followed by flowing strings as Smeagol tries to control himself.
01:00:33 Pounding percussion and string/brass reprises of elements of the Danger Arpeggio.
01:00:51 The raita returns to state the Mordor theme as we view the Black Gate from above. In the film, percussion for the Haradrim army is heard.
01:01:30 The Gate opens, pulled Olog-hai whose movements are underscored with urgent strings, brass and percussion.
01:01:51 Percussion and brass build as Sam leans out on the precipice.
01:02:05 Sam falls (about 1:23 on the album track ‘The Black Gate is Open’). Frodo runs down after him, and two Haradrim come over to investigate. As shots of Frodo and Sam and the two guards are interchanged, the score alternates between (i) violin/viola suggestions of the Ring theme that suggest the delicacy of Frodo and Sam’s position; and (ii) a bass-driven percussive phrase that emphasizes the danger posed by the Haradrim soldiers. The score moves back and forth as the soldiers close in…
01:03:00 …fading out on the light string motif (i) as the soldiers turn away.

This cue of more than four minutes cannot be considered in isolation, but as part of a double-cue with the following track. The new scene with Gandalf and Aragorn offers interesting new thematic material that hopefully more will be heard of in the third film. The transition from the new scene to the Black Gate sequence is well handled, using Sam as the thematic link between the end of the first scene and the start of the second. In what follows we get a fascinating development of the Mordor thematic material as the Gate is revealed and opened. The last minute or so of the cue is missing from the album track ‘The Black Gate is Open’, which is a shame as it builds the suspense of Frodo and Sam’s dilemma well by alternating phrases.

26c. Another Way 2:07 **

01:03:08 The urgent string/ percussive material heard as the Gate opened returns as Frodo and Sam prepare to enter the Gate.
01:03:32 Just as the hobbits prepare to run forward and enter the Gate, Gollum grabs them from behind and pulls them back. This passage and the following ones appear in the album track ‘The Black Gate is Open’. High strings play as he begs them not to go, leading to a lush variation on the Ring theme as Gollum describes Sauron’s desire to find the Ring. String underscore plays for most of the following minute.
01:04:13 Strings quickly play a descending motif as the Gate begins to close. Gollum speaks of ‘another way’ into Mordor and is interrogated about it.
01:04:48 Horns rise in affirmation as Frodo says that Gollum has been true to his word.
01:05:08 More sombre material as Frodo and Sam openly disagree about trusting Gollum, the last notes hanging as the Gate closes…
01:05:15 …and the cue ends.

The second half of a nearly seven-minute cue, this cue is largely released in the album cue ‘The Black Gate is Open’. The only unreleased portion of the cue is the opening 24 second piece. Notable in this piece is the dramatic statement for strings of the Ring theme as Gollum begs the hobbits to consider another way into Mordor. Also worth noting is the way Shore continues to underscore the shifting loyalty dynamics among the three travellers. Smeagol’s pleading is scored sympathetically, and a noble horn phrase complement’s Frodo’s affirmation of him, while more ominous horn textures underscore Frodo and Sam’s disagreement. Against this character-motivated musical backdrop, the action of the closing Gate (taking with it the hobbits’ opportunity to enter Mordor by this route) is depicted by a descending string motif that runs from 01:04:13 to 01:04:48.

END OF PART TWO: AN AVALANCHE.

NEXT WEDNESDAY!!!! PART THREE: REVIVING ROHAN!!!!

And I still haven't figured out how to do tabs yet.

Again, thanks to Jelle's input, and, in most cases, insightful corrections.

[Message edited by franz_conrad on 11-30-2003]

quote:

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Originally posted by franz_conrad:
[b]
25. Olorin 1:35 **

00:51:08 The character of the cue abruptly changes as Ian McKellan’s face shines through, and we hear a rapidly-building choral piece based on triplets. It is an utterly majestic piece of writing, which is why it is a shame that it…
00:51:36 …ends all too abruptly.

As for the triplet-based choral piece heard as Gandalf reveals himself, many will recognise this as the same theme from the opening of the album cue ‘Forth Eorlingas’. Many suspected this piece represented the White Rider in some way, perhaps suggesting Tolkien’s creation myth the Ainulindale. As it turns out it has nothing to do with that fascinating idea, being an Old English translation of the lyrics Theoden cites later in the film – ‘Where are the horse and the rider…’. It meshes well with the choral material for the Rohirrim heard earlier in ‘The Burning of Westfold’ and later in ‘Theoden King’, ‘Symbelmine’ and ‘The Horse and the Rider’ (my titles). I suspect the material was written for the scene later in the film where Aragorn persuades Theoden to ride out against the Uruk-Hai. It was replaced with a variation on the Nature theme, and an except was quoted here. Thematically it does not quite match the action on screen – it would have done well for the appearance of Shadowfax. Having said that, it sounds fantastic, and I’m glad Shore’s best piece of choral writing was not cut from the film completely. The track name here is Gandalf’s Noldorin name. One of my favourite moments in the book is where he gives his many names. He is “Mithrandir to the Elves”, “Incanus in the South”, “Olorin in the West, that is forgotten.” He was one of the ancient servants of the Master of Dreams, Lorien, in the Undying Lands.

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As I've since learned from the LOTR music group over at Yahoo (in particular magpie930), the lyrics for this passage of music are very likely to be those of The Fight by Philippa Boyens with music by Howard Shore, translated in Quenya by David Salo. The lyrics are:

Awake Olorin
Servant of fire
Face your foe
Summon forth your strength
For you must fight
Through endless dark
Through chasms of stone
To the end!
To the death!

If this is the case, then the music is dramatically far more appropriate than I gave it credit for. The use of Quenya and the specific references to Olorin and his duel with the fellow Maia spirit, the Balrog, are very suitable. I retract my earlier remarks about the music being likely to be tracked into this scene.

I'm here with the second part! ^_^
Once again, no html enabled (ROOOAAARR)

00.30.25 In passage suggestive of the Ring ostinato (that plays often in the trilogy when the Ring appears), the cue opens with a surging string phrase complemented by muted brass as Aragorn senses the Riders of Rohan draw near. The phrase here recalls the music for the Black Riders somewhat (see ‘Knife in the Dark’ from Fellowship for example) and there is a certain irony to that given the action onscreen. This brief passage is truncated with two loud percussive beats, which echo for a second or two after.

The Ring Ostinato… There are so many people who refer to the same things with other names or to other things with the same name. What exactly do you mean with 'your' Ring Ostinato? Also, I believe the music is here especially, recalling indeed some Ringwraith music as to make the audience think it is actually the Ringwraiths or more something very dangerous that is approaching the three hunters. Especially after you hear the sound of that horse just before the music starts...

00.30.36 As the Rider of Rohan come over the rise, the three hunters scramble for cover. On realising the identity of the horsemen, Aragorn reveals himself and the three are promptly surrounded. A beautifully complex passage for strings, brass and percussion follows – accentuated by light woodwinds (possibly pipes). The passage builds as the riders draw and surround the Fellowship, the pipes in counterpoint adding a distinctly medieval feel. The piece builds and builds…

I kind of hear flutes instead of pipes. But what I'd like to know is what you also exactly mean with counterpoint… I'm a little embarrassed admitting that I don't really know what that is… Especially for a person who is supposed to be studying musicology :S. Sorry 'bout that... And indeed the woodwinds suggest that the possible danger from 00.30.36 is not really a danger since we now see the Rohirrim on screen.

One aspect of the music here that I’ve only recently become aware of is the musical links with some of the music associated with the Black Riders in Shore’s Fellowship score. Perhaps it has something to do with the musical rhythm created by stamping horse hooves in Howard Shore’s head…

Could be… But do you mean in 00.30.36 or 00.31.18 or both? Maybe it's just like I mentioned before, we don't actually know it's the Rohirrim until we see them, so the sound of the horse in 00.30.36 and the following music might suggest some Ringwraiths.

00.31.46 A horn blast is heard as Legolas draws an arrow and says ‘you would die…’ to Eomer. The note of tension (mind the pun) is held…

Don't know for sure, but I think I hear a trombone. It's a little more of a real 'blast' than a French horn would give you.

00.32.02 The horns return and play a sombre note as Eomer says that Theoden “no longer recognises friend from foe.”

Before this the horn is playing a little motif that reminds me of something… But the question is… Of what? I'm sure I heard it somewhere else… It has the same beginning of that little motif here, which are also three notes from the Fellowship Theme -the three ascending ones- and it reprises only this three notes after it played the motif like it's played here. Boy, this is confusing!

Having said that, it might be noted that some of the dark textures apparent in the first half of ‘Grima’ make some appearance here at 00:32:02.

I wouldn't say those textures are related to those from Grima, simply because of what I wrote for 00.32.02, which actually is a little later than 00.32.02 on my DVD.

00.33.15 More of the horns from 00:32:02 return as Eomer summons horses for the hunters.

More horns for me too, but not those from 00.32.02, although it does has the same atmosphere.

00.33.40 A new two note motif – not unlike Davis’ rotating brass chord theme for the Matrix interestingly enough – starts for strings as Eomer mounts his horse and tells the hunters not to ‘trust to hope’. Horns enter and give dramatic weight to the motif, which climaxes as the hunters are left alone and we cut to…

I first hear it in the brass section just before the strings enter, but it's kind of a three note motif more, when you count the longer first one with it. And then after the second one that motif is played -in the strings- you hear variations on that motif, namely only the first notes of the three. I expect these first sustained notes (alternately played by strings and brass) will be playing around the tonal centre of the cue's key. I'd need the sheet music to know for sure...

00.34.09 …footage of Aragorn, Legolas and Gimli riding to the pile of carcasses as a quicker passage for strings plays. There are hints of the medieval material heard in ‘The Riders of Rohan’ cue…

Are they? Nice. Need to check this…

00.34.39 Some of the strings here recall the ‘Death of Boromir’ cue from the FOTR:EE score.

Goodness! Never noticed this, but just to be sure for myself, I'll need to once again check this after TTT.

00.36.59 However, they have been pursued by a furious Grishnakh, and here a racing string motif – a frenetic dance of sorts based on a triplet motif starts. Trombones work into the action, which builds until the hobbits have climbed a tree when…

If I'm right, than I hear a variation on the Isengard Theme hear in the trombones, when we see Grishnakh appearing from the bushes. Then trumpets take over the action music.

00.37.28 …thinking themselves safe, Merry says – ‘we lost him’, and the strings hold a note…

Merry says 'he's gone' on my DVD, LOL

00.37.52 As Treebeard stirs into action, a motif that sounds note-for-note like the Ring ostinato appears below blaring brass – effectively represent the lumbering Ent coming to life. There is a striking similarity to the music for the Black Riders here – the lumbering brass and ostinato resemble the Ring Spell played over the Ring ostinato, a familiar combination from the first film.

I believe what you mean with the Ring ostinato is what Magpie calls the Circling Melody, and this music strangely does resemble it quite a lot. And I didn't notice it before, but there's the Ring Spell too! This only makes me more aware of the fact that the two danger motifs I associated only with the Ringwraiths and Mordor/Sauron, aren't used by Shore only for these fouls creatures or land, but for a more 'general danger' effect. I think... I suppose...

00.42.44 Hints of Gollum’s theme are worked into the cue here as he says ‘Once it takes a hold of us, it never lets go’, with sadder (if it’s possible) variations playing as Frodo rejects the poor pathetic creature and Gollum turns aside, clearly shaken by what has just happened. It’s one of the best Gollum moments in the film, and the pathos-filled score at this point is a highlight of the extended material.

Remember how Wickenstein said that the oboe in '4. Lost in Emyn Muil' sounded for him like it was the beginning of the Sauron Theme? Well, I can hear the oboe playing the same notes here! Right on 'Once it takes a hold…' Does that mean anything? I must say that's it in a different rhythm though. And it's only after that that I hear the 'real' Gollem Theme hints.

00.43.11 The transition back to the theatrical addition continues the variations on Gollum’s theme for strings for a moment…

Are you sure it's only strings? I hear brass too continuing the variations.

00.43.49 Stabs of brass and percussion and shimmering strings are heard as Frodo is drawn off towards the lights.

00.47.06 The stabs of brass and percussion heard at 00:43:49 return as the shriek of a donkey – sorry, a winged wraith is heard.

I call them the 'Danger' stabs, LOL. The danger of the lights, the danger of the Black Wings...

00.47.20 Racing strings join in, reprising the Ring ostinato as Frodo recalls his encounter with the Witch King of Angmar.

Okay, the Ring Ostinato you mean here, isn't Magpie's Circling Melody…

00.47.51 The Ringspell makes its first confirmed appearance (not forgetting that strange music for Treebeard before) in the film, with a reprise for choir as the Nazgul is revealed on his winged steed.

So what I hear here is… Magpie's Circling Melody (three time three descending notes and then once three ascending notes) and the Ringwraiths Theme is played over it.

00.48.09 The Ring ostinato returns again as Frodo clutches the Ring.

I'm confused Franz…You say the Ring Ostinato is played at 00.47.20, while the one you say is played here is a different ostinato. This one is the Circling Melody I'm referring to, and the one from 00.47.20… I heard it a couple of times through the movie, but I haven't really named it or paid too much attention to it. It's definately another ostinato, but how to call it? And I'll have to go back to FotR to see where exactly we hear it.

00.48.54 Mysterioso strings begin as Gimli remarks on the closeness of the air in Fangorn.

With variations of the woodwind Ent motif.

00.51.08 The character of the cue abruptly changes as Ian McKellan’s face shines through, and we hear a rapidly-building choral piece based on triplets. It is an utterly majestic piece of writing, which is why it is a shame that it…

I really, really, really love this piece!! And because of the lyrics, I would call this the Olorin Theme. I don't know it'll show up anywhere else, or maybe even in RotK, but it's kind of an incidental music, like the Loss of Gandalf Music was in FotR. So, it's Olorin to me!

00.52.50 Strings build as Gandalf the White awakens naked on Zirak-Zigil and Gimli and Aragorn say his name. We hear horns as he says ‘I come back to you now, at the turn of the tide’. This material can be heard in the album cue ‘The White Rider’ (0:40-0:50 if memory serves). There are a few seconds of unreleased material here.

I just noticed something when I went over this cue… Something really fascinating, yet almost 'normal'! After Gandalf says his own name you hear the first three notes of the Fellowship Theme in the strings, possibly the celli! So Gandalf returns, and we hear this very little hint to the Fellowship Theme! Remarkable! This is why I love this score so much!

00.59.23 As Gandalf describes the advantage that they have in the knowledge of Frodo’s quest, we hear a new motif that could be titled ‘The Urgency of the Quest’. For muted brass and strings, it is at the same time haunting, mournful and urgent. The opening of the theme can be sampled as the audio for the chapter 17 menu icon. The motif is resolved with warmer strings as Gandalf learns that Sam went with Frodo.

I must agree that I heard this motif before and again the first three notes seem to be the ones the oboe has played before. I know this motif is somewhere else too, I just need to find it…

01.02.05 Sam falls (about 1:23 on the album track ‘The Black Gate is Open’). Frodo runs down after him, and two Haradrim come over to investigate. As shots of Frodo and Sam and the two guards are interchanged, the score alternates between (i) violin/viola suggestions of the Ring theme that suggest the delicacy of Frodo and Sam’s position; and (ii) a bass-driven percussive phrase that emphasizes the danger posed by the Haradrim soldiers. The score moves back and forth as the soldiers close in…

More about the Ring Ostinato, the one that confused me, the one that I referred to as not having named it before and paid little attention to it: it seems to be here in fragments as one of the alternating phrases, the danger posed by the soldiers

01.03.32 Just as the hobbits prepare to run forward and enter the Gate, Gollum grabs them from behind and pulls them back. This passage and the following ones appear in the album track ‘The Black Gate is Open’. High strings play as he begs them not to go, leading to a lush variation on the Ring theme as Gollum describes Sauron’s desire to find the Ring. There is a hint of Gollum’s theme here as well. String underscore plays for most of the following minute.

I didn't hear the hint on the Gollem Theme. Can you specify more where you exactly hear it?

That's it! ^_^

NP: Children Of Dune - Brian Tyler

quote:

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Originally posted by J.A.A.V :
00.30.25 In passage suggestive of the Ring ostinato (that plays often in the trilogy when the Ring appears), the cue opens with a surging string phrase complemented by muted brass as Aragorn senses the Riders of Rohan draw near. The phrase here recalls the music for the Black Riders somewhat (see ‘Knife in the Dark’ from Fellowship for example) and there is a certain irony to that given the action onscreen. This brief passage is truncated with two loud percussive beats, which echo for a second or two after.

The Ring Ostinato… There are so many people who refer to the same things with other names or to other things with the same name. What exactly do you mean with 'your' Ring Ostinato? Also, I believe the music is here especially, recalling indeed some Ringwraith music as to make the audience think it is actually the Ringwraiths or more something very dangerous that is approaching the three hunters. Especially after you hear the sound of that horse just before the music starts...

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Ah yes, we've talked a bit about this since then, and discovered that what I meant was not the Ring Ostinato but the (awkwardly-named) Danger Arpeggio.

quote:

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Originally posted by J.A.A.V :
00.30.36 As the Rider of Rohan come over the rise, the three hunters scramble for cover. On realising the identity of the horsemen, Aragorn reveals himself and the three are promptly surrounded. A beautifully complex passage for strings, brass and percussion follows – accentuated by light woodwinds (possibly pipes). The passage builds as the riders draw and surround the Fellowship, the pipes in counterpoint adding a distinctly medieval feel. The piece builds and builds…

I kind of hear flutes instead of pipes. But what I'd like to know is what you also exactly mean with counterpoint… I'm a little embarrassed admitting that I don't really know what that is… Especially for a person who is supposed to be studying musicology :S. Sorry 'bout that... And indeed the woodwinds suggest that the possible danger from 00.30.36 is not really a danger since we now see the Rohirrim on screen.

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Mmmm... could be flutes. They're a bit low in the final mix to make out exactly. As for counterpoint, I don't use that term in its musical sense, which has something to do with the way the harmonic phrase of a music comments of the melodic content of the phrase. What I meant was simply the use of this device (of flute/pipe phrases) places the more aggressive building strings/brass/percussive phrase in a less-threatening light - dramatic counterpoint if you will.

quote:

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Originally posted by J.A.A.V :
One aspect of the music here that I’ve only recently become aware of is the musical links with some of the music associated with the Black Riders in Shore’s Fellowship score. Perhaps it has something to do with the musical rhythm created by stamping horse hooves in Howard Shore’s head…

Could be… But do you mean in 00.30.36 or 00.31.18 or both? Maybe it's just like I mentioned before, we don't actually know it's the Rohirrim until we see them, so the sound of the horse in 00.30.36 and the following music might suggest some Ringwraiths.

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I meant the use of the Danger Arpeggio in 00.30.36. This motif is used throughout the trilogy on a number of occasions where horse-riding occurs. For example, when Gandalf rides to Gondor and Isengard in FOTR, it is heard.

quote:

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Originally posted by J.A.A.V :
00.31.46 A horn blast is heard as Legolas draws an arrow and says ‘you would die…’ to Eomer. The note of tension (mind the pun) is held…

Don't know for sure, but I think I hear a trombone. It's a little more of a real 'blast' than a French horn would give you.

---

Agreed. I've ammended my notes above.

quote:

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Originally posted by J.A.A.V :
00.32.02 The horns return and play a sombre note as Eomer says that Theoden “no longer recognises friend from foe.”

Before this the horn is playing a little motif that reminds me of something… But the question is… Of what? I'm sure I heard it somewhere else… It has the same beginning of that little motif here, which are also three notes from the Fellowship Theme -the three ascending ones- and it reprises only this three notes after it played the motif like it's played here. Boy, this is confusing!

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There are times in Shore's music when I find it just a bit too deep to discern what's happening under the weight of sound effects. There is something familiar about some of the notes I hear here, but I can't make out the whole phrase.

quote:

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Originally posted by J.A.A.V :
Having said that, it might be noted that some of the dark textures apparent in the first half of ‘Grima’ make some appearance here at 00:32:02.

I wouldn't say those textures are related to those from Grima, simply because of what I wrote for 00.32.02, which actually is a little later than 00.32.02 on my DVD.

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On second thoughts I withdraw the remark. It's nothing like Grima's music.

quote:

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Originally posted by J.A.A.V :
00.33.15 More of the horns from 00:32:02 return as Eomer summons horses for the hunters.

More horns for me too, but not those from 00.32.02, although it does has the same atmosphere.

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Should have said 'similar sounding horns', and I think I corrected this above.

quote:

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Originally posted by J.A.A.V :
00.33.40 A new two note motif – not unlike Davis’ rotating brass chord theme for the Matrix interestingly enough – starts for strings as Eomer mounts his horse and tells the hunters not to ‘trust to hope’. Horns enter and give dramatic weight to the motif, which climaxes as the hunters are left alone and we cut to…

I first hear it in the brass section just before the strings enter, but it's kind of a three note motif more, when you count the longer first one with it. And then after the second one that motif is played -in the strings- you hear variations on that motif, namely only the first notes of the three. I expect these first sustained notes (alternately played by strings and brass) will be playing around the tonal centre of the cue's key. I'd need the sheet music to know for sure...

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I can only distinctly hear two notes in this phrase, but there is probably a third between them as the brass rotates from the beginning of the phrase to the end. I agree about the order of appearance of the instruments. My initial review got them round the wrong way.

quote:

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Originally posted by J.A.A.V :
00.36.59 However, they have been pursued by a furious Grishnakh, and here a racing string motif – a frenetic dance of sorts based on a triplet motif starts. Trombones work into the action, which builds until the hobbits have climbed a tree when…

If I'm right, than I hear a variation on the Isengard Theme hear in the trombones, when we see Grishnakh appearing from the bushes. Then trumpets take over the action music.

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Well spotted! You're right. My thoughts are that the frenetic string/brass motif here is a variation on the Danger Arpeggio.

quote:

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Originally posted by J.A.A.V :
00.37.28 …thinking themselves safe, Merry says – ‘we lost him’, and the strings hold a note…

Merry says 'he's gone' on my DVD, LOL

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Caught again! Yes, it's Pippen who says 'i think we lost him' a few lines before.

quote:

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Originally posted by J.A.A.V :
00.37.52 As Treebeard stirs into action, a motif that sounds note-for-note like the Ring ostinato appears below blaring brass – effectively represent the lumbering Ent coming to life. There is a striking similarity to the music for the Black Riders here – the lumbering brass and ostinato resemble the Ring Spell played over the Ring ostinato, a familiar combination from the first film.

I believe what you mean with the Ring ostinato is what Magpie calls the Circling Melody, and this music strangely does resemble it quite a lot. And I didn't notice it before, but there's the Ring Spell too! This only makes me more aware of the fact that the two danger motifs I associated only with the Ringwraiths and Mordor/Sauron, aren't used by Shore only for these fouls creatures or land, but for a more 'general danger' effect. I think... I suppose...

---

To clarify my thoughts on this, what we hear is the brass from the Ringwraith theme over the Descending Third motif. I don't hear the Circling Melody here.

quote:

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Originally posted by J.A.A.V :
00.42.44 Hints of Gollum’s theme are worked into the cue here as he says ‘Once it takes a hold of us, it never lets go’, with sadder (if it’s possible) variations playing as Frodo rejects the poor pathetic creature and Gollum turns aside, clearly shaken by what has just happened. It’s one of the best Gollum moments in the film, and the pathos-filled score at this point is a highlight of the extended material.

Remember how Wickenstein said that the oboe in '4. Lost in Emyn Muil' sounded for him like it was the beginning of the Sauron Theme? Well, I can hear the oboe playing the same notes here! Right on 'Once it takes a hold…' Does that mean anything? I must say that's it in a different rhythm though. And it's only after that that I hear the 'real' Gollem Theme hints.

---

I hear it. Not sure of what to make of it. I think Wickenstein was right about those notes being the first few notes of Sauron's theme. It might be interesting to listen to the first track of the ROTK album, where Smeagol becomes Gollum, to see if this phrase recurs there too.

quote:

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Originally posted by J.A.A.V :
00.43.11 The transition back to the theatrical addition continues the variations on Gollum’s theme for strings for a moment…

Are you sure it's only strings? I hear brass too continuing the variations.

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Right again. And boy does that 'theatrical addition' typo look awful!

quote:

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Originally posted by J.A.A.V :
00.47.20 Racing strings join in, reprising the Ring ostinato as Frodo recalls his encounter with the Witch King of Angmar.

Okay, the Ring Ostinato you mean here, isn't Magpie's Circling Melody…

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Ah yes, it was the Danger Arpeggio.

quote:

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Originally posted by J.A.A.V :
00.47.51 The Ringspell makes its first confirmed appearance (not forgetting that strange music for Treebeard before) in the film, with a reprise for choir as the Nazgul is revealed on his winged steed.

So what I hear here is… Magpie's Circling Melody (three time three descending notes and then once three ascending notes) and the Ringwraiths Theme is played over it.

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What I initially called the Ringspell is the Ringwraith Revelation. The passage underneath is either the Circling Melody or the Ring Descending Third motif.

quote:

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Originally posted by J.A.A.V :
00.48.09 The Ring ostinato returns again as Frodo clutches the Ring.

I'm confused Franz…You say the Ring Ostinato is played at 00.47.20, while the one you say is played here is a different ostinato. This one is the Circling Melody I'm referring to, and the one from 00.47.20… I heard it a couple of times through the movie, but I haven't really named it or paid too much attention to it. It's definately another ostinato, but how to call it? And I'll have to go back to FotR to see where exactly we hear it.

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Your confusion is justified, this one is the Circling Melody.

quote:

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Originally posted by J.A.A.V :
00.48.54 Mysterioso strings begin as Gimli remarks on the closeness of the air in Fangorn.

With variations of the woodwind Ent motif.

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Really? I find it hard to hear under all the Ent talk!

quote:

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Originally posted by J.A.A.V :
00.52.50 Strings build as Gandalf the White awakens naked on Zirak-Zigil and Gimli and Aragorn say his name. We hear horns as he says ‘I come back to you now, at the turn of the tide’. This material can be heard in the album cue ‘The White Rider’ (0:40-0:50 if memory serves). There are a few seconds of unreleased material here.

I just noticed something when I went over this cue… Something really fascinating, yet almost 'normal'! After Gandalf says his own name you hear the first three notes of the Fellowship Theme in the strings, possibly the celli! So Gandalf returns, and we hear this very little hint to the Fellowship Theme! Remarkable! This is why I love this score so much!

---

I think I hear it. Have to listen again to be sure.

quote:

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Originally posted by J.A.A.V :
00.59.23 As Gandalf describes the advantage that they have in the knowledge of Frodo’s quest, we hear a new motif that could be titled ‘The Urgency of the Quest’. For muted brass and strings, it is at the same time haunting, mournful and urgent. The opening of the theme can be sampled as the audio for the chapter 17 menu icon. The motif is resolved with warmer strings as Gandalf learns that Sam went with Frodo.

I must agree that I heard this motif before and again the first three notes seem to be the ones the oboe has played before. I know this motif is somewhere else too, I just need to find it… [b]

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I have this feeling that this phrase is related somehow to the much more optimistic 'Into the West' theme from ROTK (which also appears in 'The Black Gate Opens' - another Black Gate-linked scene). I think it can be heard in part in the second half of 'The End of All Things' on that album.

quote:

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Originally posted by J.A.A.V :
01.02.05 Sam falls (about 1:23 on the album track ‘The Black Gate is Open’). Frodo runs down after him, and two Haradrim come over to investigate. As shots of Frodo and Sam and the two guards are interchanged, the score alternates between (i) violin/viola suggestions of the Ring theme that suggest the delicacy of Frodo and Sam’s position; and (ii) a bass-driven percussive phrase that emphasizes the danger posed by the Haradrim soldiers. The score moves back and forth as the soldiers close in…
[b]
More about the Ring Ostinato, the one that confused me, the one that I referred to as not having named it before and paid little attention to it: it seems to be here in fragments as one of the alternating phrases, the danger posed by the soldiers

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Agreed, the Danger Arpeggio is put through some variations at the Black Gate.

quote:

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Originally posted by J.A.A.V :
01.03.32 Just as the hobbits prepare to run forward and enter the Gate, Gollum grabs them from behind and pulls them back. This passage and the following ones appear in the album track ‘The Black Gate is Open’. High strings play as he begs them not to go, leading to a lush variation on the Ring theme as Gollum describes Sauron’s desire to find the Ring. There is a hint of Gollum’s theme here as well. String underscore plays for most of the following minute.

I didn't hear the hint on the Gollem Theme. Can you specify more where you exactly hear it?

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On second listen I couldn't hear it. Maybe I read a bit too much into that specific performance of the Ring theme which sounds like Gollum's theme for a moment.

Thanks again Jelle!