As promised, the madness continues. For the first part of my complete cue analysis of TTT:EE, see:
Part One

For the second part, see:
Part Two

Thanks to those who have taken an interest so far and have made observations. They are most heartily appreciated, and will continue to be.

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PART TWO: THE STORY TO DATE

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In the first half hour of The Two Towers: Extended Edition, Howard Shore reintroduced us to the principal themes of the trilogy, with old themes put through new orchestration as the action demanded. Among the new material for the film was the beginning of a musical portrait of the people of Rohan. And it was unremittingly bleak. An Old English choral elegy mourned the slaughter of innocent people by encroaching Wild Men and Uruk-Hai in the ‘Westfold Burns’. Wary strings and muted brass depicted the affairs of the court at Edoras, where the King’s heir lay dying (‘The Fords of Isen’) and the corrupt Grima Wormtongue ministered honeyed poisons to the ears of Rohan’s despondent King Theoden (‘Grima Wormtongue’). What hope for valour presented by Eomer’s perceptive loyalty and musically described by the heroic motif in ‘The Fords of Isen’ was browbeaten into exile by Grima’s quick-witted banishment (‘Grima Wormtongue’). Danger followed these renegade Riders of Rohan who, with lethal percussion and brass, came upon the Uruks near Fangorn and dispatched them in ‘Mordor Meat’.

The second half hour added depth to the musical portrait of Eomer’s desperation, as the Three Hunters were surrounded in ‘Riders of Rohan’ to music that seemed like a medieval spin on Shore’s Ringwraith music. Into this dreary landscape comes the Fellowship, who bring with them the now-slightly restrained heroism of the Fellowship theme (‘The Three Hunters’). With Gandalf restored to their ranks, the first genuinely defiant thematic statement appears in ‘Shadowfax / The White Rider’ as the new theme for Gandalf the White Rider is revealed. This heroic motif is sounded as the Fellowship of the King – since this western storyline is now properly the story of Aragorn’s journey to that position – heads south to Edoras to release its beleaguered people from Saruman’s hold.

It is this revival of the people of Rohan that dominates the third section of my analysis of the film, which goes up to the 93rd minute of the film (just before the action is transported to Ithilien*). After a brief (but lovely) passage devoted to Merry and Pippin’s ongoing antics in Fangorn, the music is wholly devoted to enriching our perception of the situation and character of Rohan’s people. With the death of Theodred, the despondency of Theoden and the banishment of Eomer, Eowyn is left as the audience’s emotional touchstone into the impact the Fellowship has on Edoras. Shore provides her with a lovely theme, largely performed for strings. It is shy, modest, and altogether lovely, a fine complement to Miranda Otto’s performance. Throughout the cues in this section, it is stated frequently and with a number of variations.

At the head of the forces standing against the Fellowship’s mission, we have Grima, whose slinky thematic material appears to be referenced frequently throughout this section. When his domination of the court is brushed aside with muscular musical fisticuffs in ‘The King of the Golden Hall’, the real power behind the ennui of Theoden is revealed. As Gandalf and Saruman duel in highlight cue, ‘The White Wizards’, the White Rider and Isengard themes are revealed to be thematic twins. With the battle for Theoden over, the Rohan theme, given its first full statement in this section of the film, is given its most impressive statement as Theoden reclaims his life. This theme and its orchestration are discussed more specifically below.

By the end of this period of the film, we’ve come to see the Rohirrim in a very different light. In addition to being forlorn and dangerous, they are noble and beautiful, with the Rohan and Eowyn themes depicting these facets respectively. Nevertheless, the war for Rohan is only beginning. The evacuation of Edoras is musically tinged with sadness as Saruman’s plots thicken. Of note is the superb continued use of Old English vocals as a motific device for the Rohirrim, used prominently here in the passage where the King’s son is mourned.

* I probably should have gone up to the end of the first disc, which is 8-9 minutes later, but I’m not quite ready yet to discuss a theme that is first suggested in the very next cue.

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PART THREE: REVIVING ROHAN
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TITLE [LENGTH] [START]

27. The Ent Draught / Old Man Willow [2:43] * [01:05:47]
28. The Fellowship Comes to Rohan [4:31]**
28a. Edoras [1:06] ** [01:09:42]
28b. Bitter Watches of the Night [3:25] ** [01:10:37]
29. Rohan Revival [7:22]** #
29a. The King of the Golden Hall [2:00] ** [01:14:29]
29b. The White Wizards [1:01] ** [01:16:36]
29c. Theoden King / Theodred's Funeral [4:21] ** # [01:17:48]
30. Symbelmine [1:28] [01:22:30]
31. The King’s Decision [1:38] ** [01:25:26]
32. Rohan Retreat [5:41]*,#
32a. Brego [1:22] * # [01:27:21]
32b. The Ring of Barahir [1:26] * # [01:28:41]
32c. We Shall Return [0:28] * # [01:30:03]
32d. A Daughter of Kings [1:20] * [01:30:43]
32e. Exodus from Edoras [1:05] * [01:32:06]

Total length [23:23] [01:33:01]

START is the appearance of the cue in the film in hours:minutes:seconds.
* indicates the cue is unreleased in its entirety.
** indicates the cue contains material that is unreleased.
# indicates the cue was lengthed for the Extended Edition of the film.

Approximate total released material from the film’s third half hour: 6:51
Approximate total unreleased material from the film’s third half hour: 16:32

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CUE-BY-CUE ANALYSIS
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27. The Ent Draught / Old Man Willow 2:43 *

01:05:45 Celtic sounding woodwinds – pan pipes perhaps – lead us into this new cue composed for the extended edition. A buoyant motif for Merry and Pippen’s antics in the forest is introduced as Pippen describes his pipe weed dream to Pippen. This motif appears briefly in the DVD menu icon for chapter 19.
01:06:06 The music takes a dark turn, with the lumbering Ent motif for woodwind and percussion appearing here as Pippen communicates in ‘treeish’ with the surrounding Huorns.
01:06:32 A flute bobs playfully about strings as Merry notices a height discrepancy between the two hobbits that is no longer in his favour.
01:06:50 Pizzicato-like strings nicely suggest the growth in Pippen’s height in this passage.
01:07:12 The strings quicken as Merry grabs Pippen’s Ent Draught…
01:07:27 … taking on an altogether far more serious character as the hobbits find their way into the roots of Old Man Willow. The bad-tempered old tree is new to Fangorn, being only recently uprooted from the Old Forest in Buckland and replanted here. However, his manner suits his fellow Huorns, who doubtless cheer in treeish as he traps the hobbits that stole their Ent Draught. Brass builds as the hobbits are pinned down.
01:08:00 There is some nice horn writing here as Treebeard returns and, in Tom Bombadil style, commands the tree to give up the hobbits…
01:08:28 … leaving the cue to end on a warmer note.

Another great addition to the extended edition of the film, this cue adds something that was palpably missing from the music of the theatrical edition – a real sense of mischief and innocent fun. The motif at 01:05:45 is later reprised at the end of the film in the ‘Flotsam and Jetsam’ cue, and is a nice figure to associate with Merry and Pippen. In addition, as with earlier cue ‘Song of the Entwives’, this cue adds some lovely pastoral warmth to Fangorn, complementing the sense of a place that is both marvellous and magical as well as woodlike and strange.

28. The Fellowship Comes to Rohan [4:31]**

28a. Edoras 1:06 **

01:09:28 Though it is hard to pick exactly where this cue begins, due to the tendency of Treebeard’s voice to drown out all other audio frequencies in the scene, soft strings can definitely be heard from this point, where Treebeard says of the Entwives – ‘we lost them, and now we cannot find them.’
01:09:41 Gandalf and the Three Hunters ride up a grassy knoll as the prelude to the Fellowship theme is played by brass. This section of the cue forms the opening seconds of the album track ‘The King of the Golden Hall’.
01:09:47 The first section of the Rohan theme is played for brass as Edoras is seen over the knoll. While in the album this section of the cue is played by hardanger, here it is not.
01:09:57 A dark turn in the music.
01:10:07 As Gandalf describes the hold Saruman has over Theoden, we see Theoden’s Golden Hall from the roof looking down as Eowyn reports the death of Theodred. The music is sad (played by French horns) – no apparent motific links with other trilogy material.
01:10:34 The music ends abruptly as we cut back to the Fellowship.

This cue forms the first half of a two-part cue covering the entrance of the Fellowship of the King (as opposed to the Fellowship of the Ring, now headed by Frodo) to Edoras. The Rohan and Fellowship theme are both briefly suggested, the former for the first time since 00:17:52. The latter section of this half of cue is more of the despondent material we’ve come to associate with the cheerless Horse Lords. This cue is largely unreleased, with some material appearing in the album cue ‘The King of the Golden Hall’.

28b. Bitter Watches of the Night 3:25 **

01:10:37 Solemn strings appear, followed by horns as we shift from the Fellowship to the mourning Eowyn.
01:10:55 Deep surging strings playing off against horns enter with Grima, and the dark string material associated with him – those three ascending chords – might be heard here. I’ve always found it difficult to pick out Grima’s theme, so I can’t say for certain, but the instrumentation and mood is definitely the same as the earlier cue ‘Grima’.
01:11:58 Woodwind – probably oboe – complements Grima’s alluring portrait deconstruction of Eowyn’s psyche. It gives a glimmer of light as Grima sees in Eowyn’s soul.
01:12:17 The thud of percussion and horns is heard suggesting Eowyn’s theme as she leaves the room.
01:12:24 We heard Eowyn’s beautiful theme for the first time as she paces up and down the platform in front of the Golden Hall. The first few bars of the theme is played, followed by an interesting variation that appears on both the album cues ‘Gollum’s Song’ and ‘The King of the Golden Hall’.
01:12:43 Hardanger fiddle performing the first half of the Rohan theme makes its first appearance in the film here as Eowyn sees the Fellowship approach and the flag is torn away by the wind.
01:13:03 Horns are heard playing a variant on the Rohan material.
01:13:12 As we pan around the hill on which Edoras is situated, hardanger and horns continue to state the Rohan theme.
01:13:23 Wary horns are heard as the Fellowship ride through the town, complementing the dour faces and bleached colours of the people of Rohan. More cheer in a graveyard indeed, and it’s worth noting here – how many people put a graveyard at their front gate? That communicates something…
01:13:50 The infamous gong sounds over solemn strings as Aragorn looks up towards the Golden Hall … Peter Jackson joins Clint Eastwood, Robert Rodriguez, John Carpenter and others in contributing to the music of his films.
01:13:56 The brass surge briefly as the Fellowship come to the doors of the Golden Hall and are accosted by Hama and others…
01:14:01 … as the cue ends.

This largely unreleased cue covers the second half of the Fellowship’s entry into Edoras. Some of the music from 01:12:24 to 01:13:23 can be heard on the album track ‘The King of the Golden Hall’. We see the development of three of the main themes associated with the Rohirrim in the film. Firstly, Grima’s motif appears as he attempts a rather chilling seduction of Eowyn. Her soft theme for lush strings appears as she repels his advances and accentuates a curious aspect of her – her vulnerability and warmth. Hitherto in the film, Eowyn’s theme has been at most suggested (as in ‘The Fords of Isen’), so its appearance here is its film premiere. (The curiosity arises because she is Tolkien’s most overtly feminist characters and something a bit more ambiguous might be expected.) Lastly, the Rohan theme, and one of Shore’s major instrumental innovations, the hardanger fiddle make their first appearance here. While the Rohan theme has appeared in part in previous cues – including ‘The Three Hunters’ and ‘Edoras’ – its first full statement is here. It is an awkwardly regal theme. There is majesty here, nobility, but there is a crudeness too, and in achieving this effect the rustic charm of the hardanger fiddle is used well.

29. Rohan Revival [7:22]**,#

29a. The King of the Golden Hall 2:00 **

01:14:28 Familiar strings build the suspense as the Fellowship enters the Golden Hall. There may be some suggestion of Grima’s motif here. (Jelle, what do you think?)
01:14:57 The strings hold a note temporarily and brass begins building up as the doors are locked behind the Fellowship.
01:15:17 The strings build again as Grima stands (having previously knelt beside Theoden).
01:15:31 Thumping percussion with some stabs of brass add to the building tension as Gandalf stares down Grima who complains that Gandalf was left with his staff...
01:15:53 … at which point the pounding action commences. The fisticuffs of Aragorn, Legolas and Gimli are well suggested by the thrilling brass, percussion writing. The action builds to a stressed string phrase…
01:16:12 … that sounds like a serpent’s hiss. The higher strings – violas, violins – scrape the last few chords as Gandalf offers Saruman the easy way out…
01:16:28 … but things will not transpire so easily.

The first part of a three part cue covering the revival of Theoden is a thrilling piece of suspense music with a dash of action, in some respects not unlike ‘The Capture of Smeagol’. The use of strings towards the end of the cue is a delight. The best parts, from 01:15:17 onwards, are released, while the opening of the cue is as yet unreleased.

29b. The White Wizards 1:01 **

01:16:35 A long deep string chord sounds as Gandalf throws off his cloak to reveal his new white garb. Part of this chord can be heard at the opening of the album cue, ‘The White Rider’, although it is partially unreleased.
01:16:46 Chorus begins one of the most thematically complicated pieces of the trilogy with swirling string arpeggios. I believe the song performed here is an Old English passage called ‘The Fight’. Although the underscore is different, it sounds similar to the choral passage for Gandalf’s reappearance in ‘Olorin’.
01:16:54 Brass enters here with the 5 note Isengard percussion phrase.
01:17:00 Brass states the first half of the 6 note Isengard melody. The similarity between the first half of the melody and the new White Rider theme is apparent here, musically achieving the same confusion as the visual distortion of Gandalf’s face when he returns to the Fellowship at Fangorn.
01:17:08 A section of the cue is looped here I believe. I think it is at this point that Gandalf says: ‘You could not kill me, you will not kill him!’
01:17:30 The last blast of choir and brass occurs here as Saruman is thrown back…
01:17:36 … across the floor of his palantir-playpen.

This partially unreleased cue is a battle cue for Saruman and Gandalf that reveals new depth every time I listen to it. There is not a great deal of similarity with the Fellowship cue for the Saruman the White-Gandalf the Grey battle. Bound up in this brief cue are an (i) Old English choral work exhorting Theoden to rise; and (ii) a new reading of the Isengard theme that highlights its similarity to the White Rider theme. The former is appropriate given the association of Old English choral pieces with the Rohirrim – see ‘The Westfold Burns’ previously. The latter particularly interests me – in the extended edition we hear Gandalf the White describe himself as ‘Saruman… as he should have been.’ It becomes clear in this cue that the music for Gandalf the White, the ascending White Rider motif, is an interpolation of the Isengard theme, specifically the three first notes of the White Rider motif are the first three notes of the six-note brass melody of the Isengard theme. (Or at least I think so.) Musically then, Gandalf has become what Saruman should have been. Rather than the oppressive Isengard theme, we have the gloriously defiant White Rider theme. A definite highlight of the film score.

29c. Theoden King 4:21 ** #

01:17:47 Strings nervously build as Theoden is transformed to his former self. There is a similarity to the building of strings at 01:16:12, though it is probably coincidental.
01:18:00 A soft string performance of Eowyn’s theme, familiar from the album track ‘The Riders of Rohan’, is heard here as Theoden looks at her and says: “I know your face.”
01:18:18 Woodwind – probably oboe – restates part of Eowyn’s theme.
01:18:28 As Theoden rises and Gandalf exhorts Theoden to “breathe the free air again”, we hear a full orchestra performance of the Rohan theme.
01:18:58 A solo hardanger fiddle performance of the Rohan theme is heard as Theoden draws his sword, onlookers barely holding back the tears.
01:19:16 The orchestra rejoins the hardanger to state the Rohan theme with even greater grandeur.
01:19:28 The music turns sour in the brass as Theoden turns to see his poisoner, and the wretch is shown the door.
01:19:37 Suspenseful string and horn passage as Grima pleads for his life. There may be a suggestion of Grima’s theme caught up here.
01:19:52 We hear a blast of brass as Theoden lifts his sword to strike down Grima.
01:19:57 Unreleased material is heard here. Followed by a semi-heroic passage for horns as Aragorn saves Grima’s life only to receive a saliva sample as payment. (Grima absorbed the details of that ring on Aragorn’s finger fairly well for a male!)
01:20:37 Music turns for the sadder as Theoden wonders where his son is…
01:20:49 … and percussive thuds lead us into the funeral for Theodred. A sadder version of Eowyn’s theme is played for French horn, which is suitable as she has so far provided the audience’s emotional touchpoint for Theodred’s death.
01:21:10 A chorus over a bed of strings is heard. The lyrics are likely Old English, and could be a translation of the ‘Lament for the Fallen’ poem that Tolkien placed in Return of the King. The trumpet plays a glorious note here.
01:21:24 Chorus is heard alone, in a phrase that suggests the choral song used in the following cue, ‘Symbelmine’.
01:21:35 More properly to be considered a piece of source music, Eowyn sings a powerful lament for her cousin, which is in keeping with the film-maker’s use of her as the audience’s touchpoint with the significance of Theodred’s loss. The solemn underscore here recalls passages from Chris Gordon’s ‘Elegy’ from On the Beach.
01:22:08 The cue ends abruptly with the sound of the stones sealing Theodred’s tomb.

A highlight of the score, this heroic cue musically personifies the reviving effect the Fellowship has on the Rohirrim. While the cue from 01:18:00 to 01:19:57 is released and well known from the album track ‘The Riders of Rohan’, there is a significant amount of unreleased material here, some of it, particularly the funeral of Theodred, quite affecting. Eowyn’s theme is put through a number of variations, with a woodwind statement, and a more solemn appearance towards the end. The Rohan theme receives its definitive statement with hardanger as Theoden draws his sword again. A musical liberation to be sure, though not without sadness. It’s amazing to look back on the last 10 minutes of music and to see how much it has transformed the character of the people of Rohan – they have gone from a desperate and forlorn people to a rusticly noble one. Shore has done a wonder here. The use of Old English choir is in keeping with the use of that device for the Rohirrim.

30. Symbelmine ** 1:28

01:22:29 As the scene of Theoden mourning his son cuts to a long shot of him and Gandalf standing on the mounds, a sad horn piece begins that can be heard from 2:33 on the album track ‘The King of the Golden Hall’. The horns here recall the funeral music in the preceding track, and there may be a direct quotation of the music here in the earlier cue.
01:22:40 Strings softly join the piece. There is a moment of unreleased material here…
01:22:55 … before we return to the released material.
01:23:02 A lovely woodwind solo is introduced as Gandalf comforts Theoden.
01:23:15 A choir joins the ascending woodwind motif, suggesting the choral material at 01:21:24.
01:23:38 A trumpet suggests a particularly sad version of the Fellowship theme as the choral piece reaches its apex. Sombre strings…
01:23:57 … round out the passage as Gandalf sees the gratuitous children arriving on a horse to tell Edoras that Saruman is bad news. Mmmm… no news there. There for the kids, I suppose.

Cynicism aside, this partially unreleased cue (which can be mostly heard in ‘The King of the Golden Hall’) is a wholly beautiful elegy for the lost heir of Rohan. Bernard Hill’s performance combined with Shore’s music make this powerhouse moment in the film – you need strong acting and better music to get over lines like: ‘No parent should have to bury their child.’ (Confession: the combined writing of Walsh, Jackson and Boyens leaves too little to the imagination at times. Wait till we get to Sam’s speech at the end of the film!)

31. The King’s Decision 1:38 **

01:25:25 Following the unscored scene where Theoden decides his response to Saruman’s aggression, sombre strings lead into a suggestion of the Rohan theme as the camera tracks out to reveal the town of Edoras…
01:25:31 … followed by a quick horn variation on the Rohan theme.
01:25:47 Ambiguous passage for strings and brass as Gandalf and the Fellowship head towards the stables where Shadowfax is.
01:25:12 More of the above as Aragorn promises Gandalf that defences as Helm’s Deep will hold. The music gathers urgency here.
01:26:31 Horns are heard as Gandalf recalls his many years on Middle Earth.
01:26:52 As Gandalf rides out of the stable, a variation on the White Rider theme is performed for full orchestra as he is seen riding over the plains of Rohan…
01:27:03 … and the cue abruptly ends.

This cue, covering the section of the film from Theoden’s declared retreat to Helm’s Deep to Gandalf’s departure, contains an unreleased variation of the Rohan theme performed at 01:25:25. The solemnity of the performance remind us of the desperation of the Rohirrim at this time. It also contains a variation, or at least something that sounds like a variation, on the White Rider theme at the cue’s end. The latter section of the cue, from 01:26:52 on, can be found on the album track ‘The Riders of Rohan’.

The cue that follows runs about six minutes that can be fairly easily divided into five sections. For the most part, the underscore offers further variation on the Rohan material, particularly the Rohan and Eowyn themes. There are also a couple of new figures representing Saruman’s scheming.

[b]
32. Rohan Retreat [5:41]*,#

32a. Brego 1:28 * #

01:27:19 The warm strings that open this cue and last for most of its length are reminiscent of John Barry at his most lush. There is a hint of similarity with the underscore from the album cue ‘Evenstar’ here, though it seems mostly non-thematic. This part of the cue, I think, is heard as the underscore for the DVD menu item for chapter 24.
01:27:50 A woodwind solo is heard, reflecting Eowyn’s wonderment as Aragorn shows Robert Redford how to the real horse whisperers do it.
01:28:22 Sombre strings are heard as Aragorn mentions his Rivendell upbringing.
01:28:41 The cue does not end but makes an abrupt transition to…

Soft underscore here that, while not essential thematic material, adds to the established body of music associated with Aragorn and the still-latent music for Eowyn. I’m not sure about the ‘Evenstar’ connection I suggest above. It needs a pair of objective ears I think.

32b. The Ring of Barahir 1:38 * #

01:28:42 … an evil brassy motif that could come out of Star Wars as Grima Wormtongue is seen riding into Isengard, doubtless noting the change in scenery since his last visit.
01:28:51 Evil string underscore plays as Saruman scoffs at Gandalf’s recent promotion to “Gandalf the White? Gandalf the Fool.” It’s a nice nod to those who miss the scene in Fellowship where Radagast the Brown unwittingly plays a part in Gandalf’s capture. (‘Radagast the Brown? Radagast the Fool. Yet he had just the wit to play the part I set him.’)
01:29:01 Swelling deep strings as Grima speaks about Gandalf’s companions. Grima’s theme can be heard briefly here, along with other elements of the underscore for his Edoras scenes. This phrase can be heard as the underscore for menu item 25.
01:29:40 The mysterious underscore builds as Saruman considers the lore of the Ring of Barahir, which Grima saw on Aragorn’s finger.
01:29:59 Percussive beats sound… and Saruman finds further evidence of Gandalf’s foolishness.
01:30:03 String and brass figure builds to…
01:30:08 … the transition to…

The second part of the five part cue is notable for the inclusion of a strident martial figure that underscores Grima’s ride to Isengard. One connection I haven’t pursued yet is the link with these scenes of Saruman scheming in Orthanc with similar scenes in the first film.

32c. We Shall Return 0:28 * #

01:30:08 … Edoras, where preparations for evacuation are going ahead full steam to a string and brass figure that has a very serious feel.
01:30:11 In a scene that parallels the later scene where Gamling helps Theoden arm, string underscore emphasizes the weightiness of the times.
01:30:23 Wistful strings as Theoden insists that ‘we shall return!’
01:30:36 The string underscore segues nicely…

A very short cue, in fact it’s probably a mistake to highlight it as an individual cue. Nothing particularly revelatory about the score here.

32d. A Daughter of Kings 1:20 *

01:30:36 … to the familiar scene where Eowyn practices her swordcraft as she prepares to leave for Helm’s Deep.
01:30:43 The deep strings here have a slightly ambiguous feel, but seem to be suggesting Eowyn’s theme. Possibly this darker reading of the theme may be used for the character Dernhelm in the final film when the seriousness of the occasion warrants it. This passage can be heard when the menu icon for chapter 26 is selected.
01:31:09 Cello/bass passage as Eowyn sheaves her sword and talks with Aragorn about the scant chance for valour in the life of a woman in the culture of the Horse Lords.
01:31:31 A gentle performance of Eowyn’s theme for strings here underscores Aragorn’s exhortation to consider her life as more than what it seems.
01:31:53 An oboe states part of Eowyn’s theme as Aragorn says: “I do not think that will be your fate”…
01:31:56 … and the last transition of the cue is heard as we move to…

An unreleased highlight offers variations on Eowyn’s theme, including a woodwind snippet towards the end of the cue that is quite lovely. I’d love to hear a Williams-style concert suite devoted to this theme, although it might lose some of its impact if it didn’t travel in the company of its sister theme, the Rohan theme.

32e. Exodus from Edoras 1:05 *

01:31:56 …an exterior view of Edoras. In a nice little homage to westerns, Jackson throws in this wagon train of refugees following the windy road into the foothills of the White Mountains. Horns are heard playing a solemn phrase.
01:32:05 A hardanger performance of the Rohan theme is heard as the camera tracks out, underscoring the fragility of the people of Rohan on their journey… (this can be heard by highlighting menu icon 27)
01:32:25 … a fragility that Grima and Saruman attempt to exploit. Dark strings play as Grima describes the vulnerability of the women and children…
01:32:37 … who we see travelling next to a lake (an evil string figure is played) …
01:32:49 As Saruman moves through the bowls of Isengard, brass and percussion build to a blast as he commands the warg riders to be sent out.
01:33:01 The cue ends on a transition to the woods of Ithilien.

Shore takes us out of a period of relative musical warmth here with the darker Grima/Saruman scheming music. Before he does we get one last unreleased statement of the Rohirrim theme for hardanger.

END OF PART THREE

COMING SUNDAY, PART FOUR: BAGGAGE FOR EVERYONE !!!

COMING TOMORROW, FOR ME: ANOTHER BIRTHDAY PUNCTUATES MY MORTAL COIL!!!

[Message edited by franz_conrad on 11-26-2003]

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Originally posted by Franz:

COMING TOMORROW, FOR ME: ANOTHER BIRTHDAY PUNCTUATES MY MORTAL COIL!!!

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:S!! You're weird Franz!

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Originally posted by Franz:

01.06.32 A flute bobs playfully about strings as Merry notices a height discrepancy between the two hobbits that is no longer in his favour.

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I sometimes think it's a clarinet.

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01.07.27 …taking on an altogether far more serious character as the hobbits find their way into the roots of Old Man Willow. The bad-tempered old tree is new to Fangorn, being only recently uprooted from the Old Forest in Buckland and replanted here. However, his manner suits his fellow Huorns, who doubtless cheer in treeish as he traps the hobbits that stole their Ent Draught. Brass builds as the hobbits are pinned down.

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And some variants on the Ent Motif at the end…

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01.08.00 There is some nice horn writing here as Treebeard returns and, in Tom Bombadil style, commands the tree to give up the hobbits…

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At 01.08.09. I could swear I heard some hints to the Nature Theme in the horn, but it's immediately followed by other material, so I don't really know if I'm right.

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01.10.07 As Gandalf describes the hold Saruman has over Theoden, we see Theoden’s Golden Hall from the roof looking down as Eowyn reports the death of Theodred. The music is sad (played by French horns) – no apparent motific links with other trilogy material.

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Just before Eowyn reports the death of Theodred, we hear again a fragment of the Rohan Theme.

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01.10.55 Deep surging strings playing off against horns enter with Grima, and the dark string material associated with him – those three ascending chords – might be heard here. I’ve always found it difficult to pick out Grima’s theme, so I can’t say for certain, but the instrumentation and mood is definitely the same as the earlier cue ‘Grima’.

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After hearing this, I'd say Grima's Theme consists of five ascending chords. And I can hear it three times here.

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01.11.58 Woodwind – probably oboe – complements Grima’s alluring portrait deconstruction of Eowyn’s psyche. It gives a glimmer of light as Grima sees in Eowyn’s soul.

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Yeah, its an oboe ^_^

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01.14.28 Familiar strings build the suspense as the Fellowship enters the Golden Hall. There may be some suggestion of Grima’s motif here. (Jelle, what do you think?)

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I like this cue very very much, but I don't really hear suggestions of Grima's Theme here, Franz.

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01.16.46 Chorus begins one of the most thematically complicated pieces of the trilogy with swirling string arpeggios. I believe the song performed here is an Old English passage called ‘The Fight’. Although the underscore is different, it sounds similar to the choral passage for Gandalf’s reappearance in ‘Olorin’.

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I love the little motif when Gandalf actually reveals him as Gandalf the White. I'm still thinking where else I could find this, or at least variations of it… maybe it could be related to the scenes with Gandalf in Fangorn Forest…I didn't really listen to the lyrics already, but I'm sure it should be something related to Gandalf in 'Olorin'.

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01.16.54 Brass enters here with the 5 note Isengard percussion phrase.

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Err… I don't find this… It's not clear enough for me to distinctively hear the 5/4 beat. That's what you mean with that 5 note Isengard percussion phrase, right?

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01.17.47 Strings nervously build as Theoden is transformed to his former self. There is a similarity to the building of strings at 01:16:12, though it is probably coincidental.

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I don't think there's a real similarity here.

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01.19.37 Suspenseful string and horn passage as Grima pleads for his life. There may be a suggestion of Grima’s theme caught up here.

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I don't hear any suggestion to Grima's Theme ^_^

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01.19.57 Unreleased material is heard here. Followed by a semi-heroic passage for horns as Aragorn saves Grima’s life only to receive a saliva sample as payment. (Grima absorbed the details of that ring on Aragorn’s finger fairly well for a male!)

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Maybe Grima is a real misunderstood fashion victim stuck in a black cloak to fit his wretchy imago.

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01.21.10 A chorus over a bed of strings is heard. The lyrics are likely Old English, and could be a translation of the ‘Lament for the Fallen’ poem that Tolkien placed in Return of the King. The trumpet plays a glorious note here.

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It's probably the trumpet together with some French horns, I love it!

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01.22.08 The cue ends abruptly with the sound of the stones sealing Theodred’s tomb.

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It is indeed very abruptly. It's a pity Eowyn's song got cut off like this.

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01.23.02 A lovely woodwind solo is introduced as Gandalf comforts Theoden.

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Oboe! ^_^

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01.25.12 More of the above as Aragorn promises Gandalf that defences as Helm’s Deep will hold. The music gathers urgency here.

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As Gandalf says to Aragorn 'he will need you', you can hear the horn playing a motif, but which one… I don't know. Any clue? It almost sounds like the beginning of the Grey Haven's Theme…

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01.27.19 The warm strings that open this cue and last for most of its length are reminiscent of John Barry at his most lush. There is a hint of similarity with the underscore from the album cue ‘Evenstar’ here, though it seems mostly non-thematic. This part of the cue, I think, is heard as the underscore for the DVD menu item for chapter 24.

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I think I can also hear the hint to 'Evenstar' but I wouldn't really know why Shore brings it in here. This is a cue that should be a Brego-Aragorn scene, or maybe even an Aragorn-Eowyn one, so why would he hint 'Evenstar', except for maybe the mentioning of Rivendel at 01.28.22... Maybe we're looking too hard, Franz. I would to have another opinion on this.

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01.29.01 Swelling deep strings as Grima speaks about Gandalf’s companions. Grima’s theme can be heard briefly here, along with other elements of the underscore for his Edoras scenes. This phrase can be heard as the underscore for menu item 25.

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Hmmm… I'm not sure about the Grima Theme here, but what I do think is interesting is the two-note motif you can here in the lower strings. They seem to show up with 'evil' in general. Look at the prologue from FotR… You can hear it the best when Sauron comes on screen, just before he smashes a few men and elves.

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01.30.23 Wistful strings as Theoden insists that ‘we shall return!’

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At the end of this you hear the strings play this 5-note motif that resembles a lot of the motif for oboe at 00.05.54 and at other places like 00.59.23… I think…