Hello again everyone. Here is part four of my ongoing TTT:EE review, and it speaks for itself: long, detailed, and lengthy.

For part one (if you missed it): Part One

For part two (if you missed that too): Part Two

For part three (for similar reasons): Part Three

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THE STORY TO NOW…
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The 90 minute mark of TTT:EE leaves us on a fairly positive note, musically that is. The previous 25 minutes of music has documented the ‘spiritual revival’ of Rohan and its King, and this sequence saw the emergence of two major themes for that people group – the Rohan and Eowyn themes. As we learn more of Eowyn in part four (Baggage for Everyone!), her thematic material is developed with variations that could even be described as playful. The coming threat of Saruman’s warg riders hangs like a shadow over the film however, and when they strike, the cost to Rohan’s strength is substantial. The Rohan theme as it is stated here is more stressed than majestic, similar to that heard in the cue ‘Exodus from Edoras’. In addition, we have new thematic material in ‘Helm’s Deep’ and ‘The Missing’ to underscore the depression that rests on the people of Rohan after Aragorn’s apparent death.

In addition to the Rohan story, we return to the Fellowship of the Ring, as Frodo, Sam and Gollum work their way through Ithilien. The beauty of the landscape is set in stark contrast to the shadow that dwells over it, largely as a result of the nearby enemy stronghold Minas Morgul. It is a land of war and subterfuge, and the emergence of a deep string motif which I (hesistantly) call the Ithilien motif underscores this well. The darker string textures also depict the growing stress between Frodo and Sam, and we have some haunting new material for Gollum.

The action material of the fourth part of the story is quite impressive. The battle between the Southrons and the Ithilien Rangers (led by Faramir) is brief but punctuates the dark underscore surrounding it well. The Warg Battle offers Shore a strong opportunity to develop the battle motifs of Isengard and Rohan, last heard together in ‘Mordor Meat’, and this he does superbly in the cues ‘The Wolves of Isengard’ and ‘Warg Battle’.

The principle musical highlights of the fourth part of the story come from the reintroduction of the Elves. With them come a new motif for Arwen (the Evenstar motif), a reinterpretation of Aragorn’s theme, and a multiplicity of vocalists. The familiar motifs for the Elves, the Lothlorien and Rivendell themes, return in strength and really give the music of this section a beautiful shot in the arm. From ‘Evenstar’ to ‘The Leave Taking / Galadriel’s Prophecy’, this material is certainly the highlight of this section and probably of the score as a whole.

Oh, and listen carefully for a brief snippet of the Gondor theme.

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PART FOUR: BAGGAGE FOR EVERYONE + ELVES FOR THE GIRLS + SKIRMISHES FOR THE BOYS = DRAMATIC COMPLICATIONS
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TITLE LENGTH START

33. Ithilien [0:56]* [01:33:43]
34. Gollum and Smeagol [1:00]* [01:35:41]
35. The Rangers of Ithilien [3:29]** # [01:38:43]
DISC TWO
36. Eowyn’s Smile [1:39]* # [00:00:29]
37. A Dunedain Ranger / Evenstar [3:57]** # [00:02:32]
38. A Gift [1:10]* [00:06:46]
39. The Wolves of Isengard [2:32]** [00:08:02]
40. Warg Battle [1:35]* [00:10:52]
41. Helm’s Deep [3:05]** # [00:12:46]
42. The Missing [0:23]** [00:16:13]
43. Isengard Unleashed [0:47]* [00:17:53]
44. Breath of Life [1:48] [00:19:10]
45. Arwen’s Fate [1:25]** [00:21:47]
46. The Leavetaking / Galadriel’s Prophecy [3:27] [00:23:20]

Total length [26:30] [00:26:47]

Approximate released material: 11:11
Approximate unreleased material: 15:19.

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CUE-BY-CUE ANALYSIS
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33. Ithilien 0:56 *

This cue begins about halfway through the scene of Frodo, Sam and Gollum travelling through the woods of Ithilien.

01:33:43 Beginning near Sam’s line ‘It’s the Ring…’, a Gollum-like (i.e. reminds me slightly of Gollum’s theme) delicate piece of music for strings begins.
01:33:53 Darker passage for strings as Frodo cuts back at Sam about his task. Sinister shimmering chords continue to underscore Frodo’s shifting attachment from Sam to Gollum.
01:34:33 Deep strings begin lead up to a suggestion of a motif that I’ll call the Ithilien motif, pausing just before stating that motif… (see the DVD chapter icon for chapter 28)…
01:34:39 … as the cue ends.

This brief cue attracts two remarks. The first is that the sombre underscore Shore has established for Frodo’s journey continues as Sam and Frodo’s relationship is further undercut (this time unintentionally) by Gollum’s presence. The second is that Ithilien, while undeniably beautiful, is a land full of hidden danger, and Shore indicates this with the solemn underscore. Note the last few seconds of the cue appear to build towards a motif that later appears in ‘The Rangers of Ithilien’.

34. Gollum and Smeagol 0:59 *

This music can be heard by selecting the chapter icon for menu 29 on the Extended Edition DVD.

01:35:41 We hear a sad string elegy for Smeagol as Gollum/Stinker calls him a ‘murderer’. The strings here are suggestive both of the Dead Marshes cue ‘Smeagol / Wraiths on Wings’ and the instrumental introduction to ‘Gollum’s Song’.
01:36:10 The strings gather strength with some low brass as Smeagol first realises he doesn’t need Gollum anymore.
01:36:41 The climax of the building string/brass material marks the end of the cue.

This unreleased cue continues to develop the musical enrichment of Smeagol with perhaps the wretched creature’s most pathos-filled moment of underscore yet. The second half of the cue is underscore for Smeagol’s decision, and seems unrelated to other Gollum material. Shore admirably resists the temptation to ‘mickey mouse’ musically between the two halves of Gollum in their debate.

35. The Rangers of Ithilien 3:29 ** #

An excerpt from the opening of this cue can be heard as the menu chapter icon for chapter 30.

01:38:43 Sombre string writing enters as we see Frodo wandering through the woods of Ithilien.
01:39:01 The strings build in similar fashion to the writing heard at 01:34:33…
01:39:13 … to a statement of a motif I’ll call the Ithilien motif, since it only appears in the Ithilien sections of the film. It consists of deep strings performing 8 notes, which are then repeated with variations. Frodo, Sam and Gollum see the Southron army at this stage.
01:39:42 The Ithilien motif is reprised for strings as the Oliphaunt comes into view. (The audience cheers as Sam manages to avoid singing the Oliphaunt am I? song.) I believe this section of the cue alone made it to the TTT album, appearing somewhere in the first minute of the track ‘The Forbidden Pool’ in between material selected from the Henneth Annun scenes.
01:40:04 Sharp string and horn phrases as arrow begin to rain down on the Easterling army.
01:40:19 Blaring horns heard as the action gathers pace.
01:40:50 Tremulous strings followed by stabbing brass as Frodo is caught.
01:41:00 A combination of horns and strings cover this piece as the hobbits are interrogated. There is a brief moment of pathos for the fallen Southron soldier as Faramir gives him an unlikely eulogy.
01:42:00 Some horn writing here indicates what is becoming clear from the scene – Faramir is no ordinary captain of Gondor.
01:42:11 The horns and strings end abruptly as the first DVD of TTT:EE finishes. It is an unfortunate edit, as the last chord of the music for this scene continues…
00:00:01 … one second into the second DVD as the people of Rohan move around that extraordinary lake set against the backdrop of mountains.

The statement of the Ithilien theme here is probably the most interesting aspect of the cue. The motif had previously been suggested towards the end of the cue ‘Ithilien’, and now is given two full statements. I accept that the label ‘Ithilien motif’ will be contested by many, and maybe Doug Adams can shed some light on what this theme stands for. The association with Ithilien seems appropriate as it only appears in that landscape. The deep strings of that motif suit the violence of the land – beautiful while it may be, the servants of Sauron move freely in it, and the dark lumbering string chords of this motif do the scene well (as well as suiting the image of the elephant well). Another statement of the Ithilien motif, which can be heard amidst a choral passage in the album track ‘The Taming of Smeagol’ (0:27-1:09), was not used in the film, and will be discussed in the final section of my analysis on the missing music of the film.

As to the other features of the cue, the action material here is not overly interesting, nor is the string/brass meandering that opens and closes the cue. It is a credit to Shore that throughout the Frodo/Sam story he doesn’t attempt to bolster the music to match the far more melodic and bombastic music for the Rohan story. It would’ve been highly inappropriate for the scenes involved, but it does produce a score where the musical highlights are asymmetrically distributed over the action of the two stories.

36. Eowyn’s Smile 1:39 * #

00:00:29 As Gimli’s horse bolts we hear a quick string phrase, followed by warm string writing as Eowyn helps him up. Some of the music here can be sampled by selected the chapter 31 icon on the DVD chapter menu.
00:00:48 A more sombre passage of horn writing as Theoden expresses his regret that Eowyn has not had the father she needed.
00:01:06 Statement of Eowyn’s theme as Aragorn sees Eowyn’s smile.
00:01:17 String variation of Eowyn’s theme as we cut to the Rohirrim camp later that day.
00:01:28 Woodwind statement of Eowyn’s theme as she offers Aragorn some very uncertain looking broth.
00:01:40 Playful string variation on Eowyn’s theme as Aragorn’s tongue ventures beyond its comfort zone.
00:02:00 Non-thematic strings round out the cue as she turns back to Aragorn and asks him whether he rode to war with her grandfather.
00:02:08 End of cue.

A nice warm piece of writing covers this section of the journey to Helm’s Deep. It’s a lovely contrast to the dark textures of Ithilien, even if we know it can’t last because of the coming Warg Riders. The added scene involving Eowyn’s cooking offers some fresh variation on her theme – the character’s femininity and fragility is given even further emphasis.

37. The Dunedain Ranger / Evenstar 3:57 ** #

00:02:34 We hear a clarinet over strings as Aragorn’s heritage is revealed to Eowyn.
00:03:01 A fitting accompaniment to the talk about the Dunedain Rangers, the scene transition is covered by a brief horn statement of the Gondor theme, which makes its first appearance since the Council of Elrond here in the trilogy.
00:03:06 The Rivendell string arpeggios make their first appearance in the trilogy since the company departed Rivendell in the first film, covering the transition from Aragorn smoking in the grass to his bower in Rivendell…
00:03:23 … a female/boy choir intones the Evenstar theme over a bed of strings as Aragorn says he is having a dream. The theme is a delightful melody for Arwen that makes its first appearance here in the trilogy. Unlike the album version of this track (‘Evenstar’), Isabel Bayrakdarian’s solo is not emphasized in the mix.
00:03:53 An oboe statement of Aragorn’s theme, also making its first appearance in TTT:EE, nicely approximates the shift of the conversation to what he has to do. (See album track ‘Evenstar’, 0:31-0:47.)
00:04:08 Chorus joins in for a beautiful repetiion of Aragorn’s theme.
00:04:24 As Arwen talks about Aragorn’s path, we hear more serious string and French horn textures.
00:04:53 The oboe returns to state a variation on Aragorn’s theme.
00:05:16 Isabel Bayrakdarian’s solo vocal is heard as Arwen and Aragorn kiss with chorus and string backing. She reprises the Evenstar motif.
00:05:47 Hilary Summers with female choral backing intones a sombre version of the Lothlorien theme, here making its first appearance in the TTT:EE, as Elrond and Aragorn talk by Gilraen’s grave about Arwen’s choice. A similar performance is heard in the final 90 seconds of the TTT album track ‘Farewell to Lorien’.
00:06:01 Deep heavy string writing underscores the disagreement of Aragorn and Elrond.
00:06:24 These same strings cover the transition back to Aragorn and Eowyn talking, the last notes holding until…
00:06:29 … the end of the cue.

The cue that accompanies the reintroduction of Elves into the story covers an extraordinary amount of thematic ground. For the most part, this consists of reinterpretations of established themes. For the extended edition, Shore inserted a few bars of the Gondor theme to symbolise the Dunedain, marking the first of three appearances by that wonderful theme in the extended edition score for the film. As Aragorn’s thoughts travel back to his last moments in Rivendell with Arwen, the Rivendell motif returns for the first of two appearances in the film. Aragorn’s theme, an ascending brass motif heard in a number of fight scenes from the first film, receives a gorgeous working over, appearing as a soft woodwind motif here. Aragorn’s theme is one of the more subtle thematic ideas in the trilogy – heroic brass variations on it can be heard in both the Weathertop and Amon Hen sequences of the first film. The woodwind version here is a delight – it’s the subtlety of Shore’s reading of this theme that reminds me why I love the music for this trilogy so much: it takes a while to see it, but when you do the music makes perfect dramatic sense in addition to sounding great.

Lastly there is the version of the Lothlorien theme sung by Hilary Summers that appears as Aragorn and Elrond discuss Arwen’s fate. This last reprise meshes nicely with the use of that version of that theme for the scene by Gilraen’s grave in the first film. The Rivendell and Gondor reprisals do not appear on the TTT album, while Aragorn’s theme can be heard in ‘Evenstar’ and Hilary Summers’ performance of the Lothlorien theme appears on the Two Towers album bonus track ‘Farewell to Lorien’.

Lovely as these reinterpretations of old themes are, they are overshadowed by the Evenstar motif, which is introduced here. I regret to say I know nothing about the lyrics of the track, but perhaps there are others who can say a word here. The theme is stated for both choir and soloist. It is a highlight of the TTT score, and an argument in itself for the larger role given to Arwen in the films. Those interested in a lovely clarinet reading of the Evenstar motif would do well to look at the end credits of the documentary ‘The Battle for Helm’s Deep is Over’ on disc four of the TTT:EE DVD. In fact, watch the documentary first. It’s lovely.

38. A Gift 1:10 ** #

00:06:46 Passage for horns and celli/basses underscores Arwen’s amazement at the breakup.
00:07:00 Nice woodwind writing here.
00:07:20 The horn/string motif referenced at 00:04:24 is repeated here as Aragorn attempts to return the Evenstar to Arwen, saying, ‘It was a dream.’ This can be heard at the close of the album track ‘Evenstar’.
00:07:56 Cue’s end as we cut back to Aragorn and Eowyn.

Nice short addendum to the previous cue captures the poignancy of the scene well. There are roughly 35 seconds of unreleased material here, the unreleased material being largely non-thematic.

39. The Wolves of Isengard 2:32 **

00:08:02 Horns and building string textures as Legolas watches Gamling and Hama ride down towards the rocky outcrop where the warg scout is hidden. We hear a brief tuba statement of the Isengard theme brass melody.
00:08:20 A percussive section as the warg scout bears down on the two Rohirrim.
00:08:36 This percussion explosion leads us into a reprise of the martial brass/percussion motif last heard in the cue ‘Mordor Meat’ (00:29:41 of disc one specifically) as Eomer’s soldiers attacked Ugluk’s Uruks. Here it covers the warg’s dispatching of Hama and Legolas’ intervention.
00:08:52 As Legolas cries ‘A scout!’ and removes his dagger, Aragorn runs down toward the main Rohirrim party to a strident passage for pounding percussion, brass and driving strings. The percussive beat is suggestive of the Isengard meter.
00:09:16 Segue to a brass suggestion of the Fellowship theme (similar to the pained statements of that theme at Amon Hen) as Legolas sees the coming Warg riders with his elf eyes. Hints of the Isengard theme here.
00:09:23 Hardanger fiddle performs a pained statement of the Rohan theme as Theoden gathers his knights around him.
00:09:36 Hardanger fiddle states the strident motif heard at 00:08:52. On the TTT album, an Old English chorus is heard that is present in the film, but a lot lower in the mix.
00:09:52 The hardanger soloist and full orchestra with chorus build to a stunning crescendo as Aragorn rides up the hill, locking eyes with Eowyn in slow motion as he goes.
00:10:02 The Isengard percussive meter with brass variations is heard in the incredible shot where Legolas dispatches a warg and mounts a horse.
00:10:23 Old English chorus enters over the 5/4 percussive meter as the wargs and Rohirrim come closer to eachother. The menu icon for chapter 34 contains music from this section of the cue.
00:10:31 Crashing percussion similar to that heard at 00:08:20 (also slightly recalling some of the Balrog music, though that’s probably coincidental) sounds as the two sides…
00:10:34 … merge with eachother. The raw footage for this clash without the wargs must have looked hilarious as several riders are simultaneously thrown from their horses without any apparent reason.

A vibrant action cue that throws in everything but the kitchen sink. There’s pounding percussion that could’ve come from a Robert Elhai-orchestrated score (see ‘Final Fantasy’, ‘Children of Dune’) pulsing martial motifs for the Rohirrim in battle, muscular choral writing, impassioned hardanger performances that emphasize the danger to the refugees posed by the wargs, and finally that driving Isengard theme which really adds to the pace. It’s impossible not to like ‘The Wolves of Isengard’, even if a couple of its shifts in action (at 00:09:16 and again at 00:10:02) seem a little awkward.

As for recurring motifs, there is a battle motif at 00:08:36 that was initially heard in the cue ‘Mordor Meat’. The opening and closing percussion phrases complement eachother. The device of Old English chorus for the Rohirrim, while toned down in the film edit of the score, represents the heroism of the Rohirrim, where formerly it emphasized their weary nobility and tragic character. The impassioned hardanger performances are well in keeping with Shore’s use of that instrument. Its prominence here in the lead-up to battle is a bid, I suspect, to remind the audience of the desperate group of refugees whose life hangs in the balance of this conflict. Sections of the cue can be heard in the album track ‘Helm’s Deep’ (0:01-1:45), however notable sections (the sections at 00:09:16, 00:09:23, and 00:09:52 onwards) are excluded from the released material.

40. Warg Battle 1:35 *

00:10:52 A trombone motif opens this cue as Gimli beckons the warg to ‘bring (it’s) pretty face to my axe.’ A general battle motif for the second film, this passage is quoted later in the film at Helm’s Deep, specifically when the ladders are raised up in final assault on the Hornburg, and can be heard in that context on the album track ‘Isengard Unleashed’.
00:11:24 Brass/percussive textures build here as Gimli finds himself in a rather awkward position buried between two wargs and one rider.
00:11:37 Heroic material for Aragorn as he rides to Gimli’s rescue, building up to a hurried statement of the Fellowship theme.
00:11:48 Urgent brass textures drown out the moment of heroism as Aragorn is swept off his horse and taken up by the leader of the warg riders.
00:11:57 The constant deep string underscore to the battle gathers pace as Aragorn struggles with the leader of the warg riders. A descending brass phrase of three notes combined with percussion and urgent strings builds furiously towards the moment when…
00:12:27 … Aragorn and the warg rush over the cliff. (It’s worth asking why the warg decided to jump off the nearest cliff at this point… It looks good and gives the story a good jolt, but really… Are wargs super-evolved lemmings or something?)

After the first section of the warg battle, which is accompanied by silence, this taut action cue does what it needs to. It isn’t the most exciting bit of writing, but part of that may be that it accompanies the trilogies’ weakest action sequence to date. Anyone who has watched the documentaries on the fourth disc of the extended edition will know the difficulties encountered in shooting this scene, and turning it into a viable action sequence later. (It’s not a special effects question – the wargs look as real as they need to – it’s more one of pace and placement in the film.) There are some points of interest – the motif that appears early on in the fight as Gimli is approached by a warg is a strong addition to the Isengard material. The Fellowship theme (and, though I wasn’t listening for it, probably Aragorn’s theme as well) gives the cue its peak. And the last 30 seconds of the cue build to a satisfying peak.

41. Helm’s Deep 3:05 ** #

00:12:46 As realisation dawns that Aragorn is not among the survivors, we hear a hint of a mournful string motif that is heard later in connection with Helm’s Deep.
00:13:06 Deep string statement of mournful material that is similar to the later cue, ‘The Missing’.
00:13:25 Sad woodwind passage over deep strings as Legolas converses with the warg leader. Followed by more solemn strings and some low brass.
00:13:31 (Brief sound effect note: the ‘ring’ often heard when the Evenstar appears is heard here as the warg leader shows it to Legolas.)
00:13:45 Strings/brass passage as Theoden gives orders in the battle aftermath.
00:14:00 Solemn string/brass variation on the Fellowship theme as Theoden tells Legolas that they must leave the dead.
00:14:08 The mournful Helm’s Deep motif that opened the cue returns for woodwind and strings as Theoden shares Legolas’ grief for a moment. At about this point, we move into the album track ‘Helm’s Deep’ (1:46-end)
00:14:18 The transition to the Rohan refugees arriving at Helm’s Deep is accompanied by the building Helm’s Deep motif which is joined by brass. The movement of the music is ascending as we approach the Hornburg…
00:14:37 … peaking as we enter the Hornburg doors from Eowyn’s perspective. The full orchestra crescendo is majestic, and points the Fellowship theme in part, which is appropriate, given the apparent sacrifice of Aragorn to enable the refugees to arrive here safely.
00:14:47 But the grim reality of the inadequacy of this refuge sets in and horns/strings descend slowly as we track back from Eowyn to reveal the many destitute refugees already within the keep.
00:14:58 We hear the hardanger fiddle with deep percussion underneath state the Rohan theme as we move over the top of the Hornburg from an aerial position.
00:15:17 An impassioned string completion of the Rohan theme accompanies the reunion of the children with their mother, last scene laying the table for Dunlending in the Westfold.
00:15:23 Brief unreleased woodwind material composed for the extended edition as we turn to Eowyn’s concerns. The serious shortage of food at Helm’s Deep is established.
00:15:37 A string/horn statement of the Rohan theme as King Theoden returns, the last notes sounding as they dismount…
00:15:51 … leaving Eowyn to count the returning numbers.

A fantastic dramatic cue that really establishes the Fellowship’s, and Rohan’s darkest hours well. With Gandalf far away, Aragorn presumed dead and the forces of Isengard bearing down on a weakened Rohirrim, things look good for neither party. The motif that appears at 00:12:46 and later is developed more extensively at 00:14:08 has been supposed to be a Helm’s Deep motif, but the presence of that location here seems purely incidental. Though I refer to the mournful piece as the Helm’s Deep motif, it is probably more correctly a motif of forboding intended to underline the grimness of the present circumstances. Other important thematic material in this partly-unreleased cue include solemn statements of the Rohan and Fellowship themes, with the hardanger fiddle continuing to represent the oppressed nobility of the peasant warriors of Rohan.

42. The Missing 0:23

00:16:13 Solemn strings lead into the cue.
00:16:17 Elizabeth Frasier intones Old English lyrics as Eowyn openly reacts to Aragorn’s passing. We see her uncle’s sadness that her smile, only recently restored, has been stolen again.
00:16:35 The brief cue fades quickly.

‘The Missing’ can be heard at the end of the album track ‘Helm’s Deep’ in all its solemn brevity. This brief cue establishes Eowyn’s grief at Aragorn’s passing. Elizabeth Frasier lends her extraordinary voice to this Old English poem which speaks to a woman in a position very similar to Eowyn’s. Sadly, the length of the cue doesn’t allow the music to go anywhere really interesting, but having said that, it is probably the most interesting track of this length in the film. I would like to hear the whole song with lyrics performed by Frasier, perhaps on a bonus disc of outtakes when the trilogy scores are released as a boxset.

43. Isengard Unleashed 0:47 *

Note: Some source horns and percussion are heard as we see establishing shots of the army. As these are more sound effects than score, I have not included them in the cue.

00:17:53 Momentous brass statement of the Isengard theme six-note brass melody as Saruman addresses his minions. (Camera: Leni Riefenstahl.)
00:17:59 The Isengard percussive meter comes in here.
00:18:02 Brass variations on the Isengard theme as we track over the army and see Grima’s reactions.
00:18:25 Aggressive reprise of the Isengard theme as the Uruk army sets out.
00:18:40 … ending on a roll of percussion.

A sort of companion piece to the cue in FOTR:EE where the Uruks set out in pursuit of the Fellowship, here we have the most epic statement of the Isengard theme we could hope for (00:17:53). While the length of the cue is not great, the further variations on the Isengard theme (one of the most frequently-stated motifs of the trilogy) are certainly impressive.

44. Breath of Life 1:48

00:19:10 In the distance, horns from Saruman’s army are heard, and thankfully they play a different horn-call to that monotonous two-note horn-call from Rosenman’s otherwise excellent Lord of the Ring’s score.
00:19:17 Strings and sarangi (also used in the Lothlorien theme) creep in a couple of seconds after the horns. The feeling is one of mysticism, as in Lothlorien.
00:19:33 Sheila Chandra sings ‘Breath of Life’, and I’m not sure what language it is in, but given the association with Arwen, Sindarin would be my guess. Chandra has a beautifully mystical voice, and complements the deep vocals of Hilary Summers and Elizabeth Frasier well. The thematic material for the song is hard to discern – it seems related to Aragorn’s theme somehow (as in the earlier ‘Evenstar’) – but that may be clutching at straws. We see Arwen awaken Aragorn from ‘death’ with a kiss.
00:20:14 Arwen fades with Chandra’s voice as horns enter, underscoring the ‘horse kiss’.
00:20:38 Chandra’s voice returns, intoning a few more lyrics as Aragorn mounts Brego and both limp off screen.
00:20:58 …and the cue fades as we see Arwen reclining in Rivendell.

A lovely piece of music that is more ambient than most music of the trilogy. Chandra’s voice and the string/brass textures underneath sound slightly New Age on first listen, but in fact the material fits in very well with the eastern textures of the Lothlorien underscore. And a connection between two characters is made at the same time – Arwen, like her grandmother Galadriel and her great-great-grandmother Luthien, is a powerful sorceress in her own right, awakening the near-dead Aragorn to fell deeds and… stranger still… a curious level of comfort with equine intimacy.

45. Arwen’s Fate 1:25 *

00:21:47 As Elrond speaks the speech every father should give about the dangers of accepting the affections of men, the lush bed of strings from ‘Evenstar’ returns.
00:21:56 Isabel Bayrakdarian reprises the Evenstar motif as we track out from a weeping Arwen to reveal the stone memorial to King Elessar. This is a solo vocal with no instrumental underscore as I recall but a backing chorus as heard in earlier in the ‘Evenstar’ cue.
00:22:25 The Evenstar motif is reprised with strings, chorus and Isabel as we continue to track back and cross-fade to the films’ finest image – Arwen in black (rather like the Minas Tirith tower guards) watching over her husbands’ memorial in a wintering world. The Evenstar material continues as Arwen walked beneath the faded mallorn trees of a forgotten Lothlorien.
00:22:58 A solemn chord takes us back to the morose Arwen as Hilary Summers’ voice is heard intoning the Gilraen theme...
00:23:19 …ending the cue.

This brief cue, while a bit disjointed, takes us very nicely back to the Evenstar motif. Elrond puts a very hard word on his daughter, but then again it’s not every father who can guarantee a man will rob his daughter of her immortality. The multiplicity of vocalists associated with Arwen is striking – in the space of the last five minutes Sheila Chandra, Hilary Summers and Isabel Bayrakdarian have all depicted her plight.

46. The Leavetaking / Galadriel’s Prophecy 3:27

00:23:20 As Arwen looks up to her father, strings play an ascending passage that underscores their emotional reconciliation.
00:23:49 Choral/string reprise of the Rivendell arpeggios as we cut to Arwen’s departure to the Grey Havens.
00:24:07 The melody that takes the Rivendell material to its resolution sounds like an instrumental variation on the Evenstar motif. Anyone who has seen the sheet music for this cue may be able to say more exactly what the relationship of this phrase to existing trilogy material is. For the moment, I’ll be content with the fact that it’s a beautiful development of the Rivendell motif that I didn’t expect to hear in this film.
00:24:30 As Elrond turns away from the Leave Takers, we hear a choral reprise of the Lorien theme, here making its instrumental debut in this score. Galadriel’s voice is heard.
00:25:19 At the end of the statement of the Lorien theme, rising voices hold for a few extra seconds, leading into a brief vocal passage that sounds similar to the Ring Seduction theme (which is suitable, given the onscreen discussion of Frodo and his quest).
00:25:33 ‘The quest will claim his life’ returns us to a passage of string writing similar to that heard in the FOTR:EE prologue when Galadriel speaks of the Ring slipping out of memory.
00:25:40 Suggestion of the Ring theme here as the string passage continues.
00:26:07 A woodwind (clarinet or oboe?) statement of the Ring theme here as Galadriel speaks of ‘the young captain of Gondor’.
00:26:25 Serious brass here. As I recall, this is where we see Barad-dur briefly.
00:26:33 String as we track back from the Dark Tower and cut to Galadriel’s eyes, as she says…
00:26:47 ‘Do we let them stand alone?’

This was an especially nice cue to have on the album of TTT, serving as it did to provide a better summary of the prologue of FOTR than the prologue cue on that film’s album, ‘Prophecy’. The Lothlorien theme receives a full instrumental statement as Galadriel returns to the centre of events in Middle Earth (however briefly), and the Ring theme returns here (not having been heard since the Black Gate sequence) as well. Most interesting though is the development of the Rivendell theme, now transformed into a beautiful farewell to the elves departing for the Grey Havens. Of course, as it turns out in the ROTK track, ‘Anduril’, we have not heard the last of this theme.

Initially I was going to make some remarks here on what Shore might have provided musically for the cut sequence of the film where Elrond and Arwen go to Lothlorien and a second Council of Elrond takes place between the various Elf lords as to how they will respond to the Shadow which glowers in the East. ‘The Leavetaking’ was a post-production condensation of this material, some of which can be seen in the various Two Towers previews. It seems more appropriate to save these thoughts for my last section on the ‘missing music of TTT:EE’.

COMING SOON (BETTER NOT PUT A DATE ON THIS)!!!! PART FIVE: REASONS FOR DESPAIR!!!!

SURPRISINGLY DEVELOPMENT!!!! FRANZ’s ALTER-EGO WINS THE UNIVERSITY MEDAL OF SYDNEY UNIVERSITY

[Message edited by franz_conrad on 12-04-2003]

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Originally posted by franz_conrad:

01.33.43 Beginning near Sam’s line ‘It’s the Ring…’, a Gollum-like (i.e. reminds me slightly of Gollum’s theme) delicate piece of music for strings begins.

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I believe this is a varying setting of the Gollum Theme indeed. You wrote this on your mistake about the strings: I think I say the cue starts with string writing, but it's actually an oboe phrase that appeared in the 'Famished' scene in the Dead Marshes. Well, I think it's a clarinet rather than an oboe. In the background we hear soft strings and brass.

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Originally posted by franz_conrad:

01.33.53 Darker passage for strings as Frodo cuts back at Sam about his task. Sinister shimmering chords continue to underscore Frodo’s shifting attachment from Sam to Gollum.

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At the end brass comes in.

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Originally posted by franz_conrad:

01.35.41 We hear a sad string elegy for Smeagol as Gollum/Stinker calls him a ‘murderer’. The strings here are suggestive both of the Dead Marshes cue ‘Smeagol / Wraiths on Wings’ and the instrumental introduction to ‘Gollum’s Song’.

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I would just say, suggesting the Gollum Theme, LOL.

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Originally posted by franz_conrad:

01.40.19 Blaring horns heard as the action gathers pace.

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Maybe it's better to say that the whole orchestra starts to gather strength here, because we here brass (with trumpets at some point) and I presume the strings are always present…

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Originally posted by franz_conrad:

01.41.00 A combination of horns and strings cover this piece as the hobbits are interrogated. There is a brief moment of pathos for the fallen Southron soldier as Faramir gives him an unlikely eulogy.

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at 01.41.30-something a horn starts to lead the orchestra through this brief moment of pathos, with a very nice melody.

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Originally posted by franz_conrad:

01.42.00 Some horn writing here indicates what is becoming clear from the scene – Faramir is no ordinary captain of Gondor.

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And then this would be the logical following of that horn leading passage as we indeed learn that Faramir is Faramir, and that he is deciding to keep the Hobbits prisoners.

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Originally posted by franz_conrad:

00.00.48 A more sombre passage of horn writing as Theoden expresses his regret that Eowyn has not had the father she needed.

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I wonder if this could be related to Eowyn's Theme, or to another motif associated with Eowyn. I believe Doug Adams mentioned somewhere that Shore used about three phrases for the character of Eowyn, and we call only one theme hers…

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Originally posted by franz_conrad:

00.01.28 Woodwind statement of Eowyn’s theme as she offers Aragorn some very uncertain looking broth.

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That's possibly an oboe, or maybe an English horn?

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Originally posted by franz_conrad:

00.02.34 We hear a clarinet over strings as Aragorn’s heritage is revealed to Eowyn.

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At 00.02.38 you hear the clarinet making this familiar one-two-three step. You can hear it in the hobbit music, but you can also hear it in the Fellowship Theme. It's also, at least that's what I think, a part of the music related to Aragorn. And this would make sense since we find out more about the handsome 87 year old ranger. And at 00.02.5 we hear a hesitating oboe taking over the role of the clarinet as prominent instrument in this scene, just before we go to the Gondor Theme. I think maybe that oboe is just there shortly to remind us of the horrible food Éowyn is serving! Any thoughts?

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Originally posted by franz_conrad:

00.03.01 A fitting accompaniment to the talk about the Dunedain Rangers, the scene transition is covered by a brief horn statement of the Gondor theme, which makes its first appearance since the Council of Elrond here in the trilogy.

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Yeah and also a subtle reference to Aragorn as the heir of the throne of Gondor, and what we can expect later in the movie. As a matter of fact, wouldn't he just symbolise Aragorn as the heir of Gondor with it's theme instead of using it for all the Dunedain?

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Originally posted by franz_conrad:

00.03.06 The Rivendell string arpeggios make their first appearance in the trilogy since the company departed Rivendell in the first film, covering the transition from Aragorn smoking in the grass to his bower in Rivendell…

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Which is why I'm not about Kurt's Weakness of Man Theme… This is all clearly referring to Rivendell. Arwen is from Rivendell, Aragorn was raised there… The shard of Narsil are at Rivendell, only Elrond carries the vivid memories of what happened in the last alliance… I would even say there is no Weakness of Man Theme at all…

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Originally posted by franz_conrad:

00.03.53 An oboe statement of Aragorn’s theme, also making its first appearance in TTT:EE, nicely approximates the shift of the conversation to what he has to do. (See album track ‘Evenstar’, 0:31-0:47.)

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It's a flute, but the question is… What sort of flute? I'm not entirely sure if this is material related to Aragorn because I'm not really sure what exactly his theme is, but indeed, I think this is a soft, and also more decorated version of what appears when he rides to Edoras on Brego, later in the movie.

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Originally posted by franz_conrad:

00.04.08 Chorus joins in for a beautiful repetition of Aragorn’s theme.

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It's definately a different setting, for the second half of the flute motif from 00.03.53.

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Originally posted by franz_conrad:

00.04.24 As Arwen talks about Aragorn’s path, we hear more serious string and French horn textures.

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And a prominent role for the oboe.

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Originally posted by franz_conrad:

00.04.53 The oboe returns to state a variation on Aragorn’s theme.

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Flute

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Originally posted by franz_conrad:

00.05.16 Isabel Bayrakdarian’s solo vocal is heard as Arwen and Aragorn kiss with chorus and string backing. She reprises the Evenstar motif.

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So, it's the same as the music from 00.03.23 but this time with the main melody on it.

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Originally posted by franz_conrad:

00.05.47 Hilary Summers with female choral backing intones a sombre version of the Lothlorien theme, here making its first appearance in the TTT:EE, as Elrond and Aragorn talk by Gilraen’s grave about Arwen’s choice. A similar performance is heard in the final 90 seconds of the TTT album track ‘Farewell to Lorien’.

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Hmmm, I'm not sure if I would connect this to Lothlórien material. We are at Rivendell. Rivendell clearly has other music than Lothlorien. There is nothing that connects the two if you think of it purely musical. Aragorn has nothing to do with Lothlorien as well, except for passing through it on the quest. I think this is maybe material you can refer to with the EE:FOTR of Gilraen's Memorial. I'm almost sure it's this, because I remember jotting down it also had this eastern feel to it... I should look back and make sure it's something similar though. But I wouldn't call it a version of the Lothlorien Theme, only because it also sounds eastern. And I'm not entirely sure, but Gilraen doesn't have anything to do with Lothlorien herself, does she?

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Originally posted by franz_conrad:

00.06.01 Deep heavy string writing underscores the disagreement of Aragorn and Elrond.

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To me this sounds like a variation on that 00.05.47 choral motif.

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Originally posted by franz_conrad:

00.07.00 Nice woodwind writing here.

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Building further on the passage from 00.06.46.

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Originally posted by franz_conrad:

00.07.20 The horn/string motif referenced at 00:04:24 is repeated here as Aragorn attempts to return the Evenstar to Arwen, saying, ‘It was a dream.’ This can be heard at the close of the album track ‘Evenstar’.

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I think I also hear a French horn playing a nice version of Evenstar too… Very subdued though…

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Originally posted by franz_conrad:

00.08.02 Horns and building string textures as Legolas watches Gamling and Hama ride down towards the rocky outcrop where the warg scout is hidden. We hear a brief tuba statement of the Isengard theme brass melody.

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Is it possible that I heard at 00.08.13 a very short hint to the Isengard Theme played by horn, just to warn us already a little. Or is this too far-fetched?

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Originally posted by franz_conrad:

00.08.52 As Legolas cries ‘A scout!’ and removes his dagger, Aragorn runs down toward the main Rohirrim party to a strident passage for pounding percussion, brass and driving strings. The percussive beat is suggestive of the Isengard meter.

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This brass passage reminds me of hunting horns in a way. Or horns played when they have the function of announcing something. Here they announce the arrival of enemies… What do you think?

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Originally posted by franz_conrad:

00.09.16 Segue to a brass suggestion of the Fellowship theme (similar to the pained statements of that theme at Amon Hen) as Legolas sees the coming Warg riders with his elf eyes. Hints of the Isengard theme here.

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Yes, exactly! I didn't know what this reminded me of. But now, as you said it, this is like the run-up to the Fellowship Theme on Amon Hen (or maybe even just before the Fellowship Theme is played in Moria, when the stairs where Aragorn and Frodo are standing on, fall against the still stable ones the rest of the Fellowship is already one). And when we expect to hear the Fellowship Theme after that, it all drowns… LOL I'd rather had a heroic piece of music after this, as the Rohan Riders should've thrown themselves into the fight, but we shift scenes to the Rohan people, who of course have to be rescued... I'm not sure though if I hear specific Isengard theme hints right here.

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Originally posted by franz_conrad:

00.09.36 Hardanger fiddle states the strident motif heard at 00:08:52. On the TTT album, an Old English chorus is heard that is present in the film, but a lot lower in the mix.

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I don't hear anything similar to 00.08.52 here. It's something totally different. It's almost some kind of heroic Rohan motif, as their Riders separate from the unarmed people and ride towards the group of Wargs. 00.09.23 is already working up to this nice motif...

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Originally posted by franz_conrad:

00.11.57 The constant deep string underscore to the battle gathers pace as Aragorn struggles with the leader of the warg riders. A descending brass phrase of three notes combined with percussion and urgent strings builds furiously towards the moment when…

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Maybe I don't know… But just maybe this descending brass phrase is the constant repeating of the second part of the Isengard Theme, because after all it's an Orc from Saruman that is making this a hard time for Aragorn. Or else, it's just a nervous, nail-biting phrase...

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Originally posted by franz_conrad:

00.13.06 Deep string statement of mournful material that is similar to the later cue, ‘The Missing’.

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Hmmm, I don't know, I'd make it a bass setting of what appears in 00.12.46. I don't really hear musical references to 'The Missing'.

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Originally posted by franz_conrad:

00.14.18 The transition to the Rohan refugees arriving at Helm’s Deep is accompanied by the building Helm’s Deep motif which is joined by brass. The movement of the music is ascending as we approach the Hornburg…

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As a lady thanks Eowyn for bringing them safe to Helm's Deep I swear I could hear a short hint to Eowyn's Theme.

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Originally posted by franz_conrad:

00.15.51 … leaving Eowyn to count the returning numbers.
A fantastic dramatic cue that really establishes the Fellowship’s, and Rohan’s darkest hours well. With Gandalf far away, Aragorn presumed dead and the forces of Isengard bearing down on a weakened Rohirrim, things look good for neither party. The motif that appears at 00:12:46 and later is developed more extensively at 00:14:08 has been supposed to be a Helm’s Deep motif, but the presence of that location here seems purely incidental. Though I refer to the mournful piece as the Helm’s Deep motif, it is probably more correctly a motif of forboding intended to underline the grimness of the present circumstances. Other important thematic material in this partly-unreleased cue include solemn statements of the Rohan and Fellowship themes, with the hardanger fiddle continuing to represent the oppressed nobility of the peasant warriors of Rohan.

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I think that the motif from 00.12.46 and 00.14.08 is just a little think underscoring the loss of Aragorn. Nothing with Helm's Deep or anything else, but really to Aragorn. Of course at this point I'm not awre of the detailed music analysis that follows, so I better shut up first and go through the rest, LOL

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Originally posted by franz_conrad:

00.20.38 Chandra’s voice returns, intoning a few more lyrics as Aragorn mounts Brego and both limp off screen.

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Errr… I didn't hear her voice! LOL. Is it really there? But I did hear a nice last note from the sarangi. Don't we love eastern instruments… *sigh*

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Originally posted by franz_conrad:

00.22.58 A solemn chord takes us back to the morose Arwen as Hilary Summers’ voice is heard intoning the Lothlorien theme…

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The Gilraen Motif maybe if you consider what I wrote about the connection with Lothlorien earlier?

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Originally posted by franz_conrad:

00.24.07 The melody that takes the Rivendell material to its resolution sounds like an instrumental variation on the Evenstar motif. Anyone who has seen the sheet music for this cue may be able to say more exactly what the relationship of this phrase to existing trilogy material is. For the moment, I’ll be content with the fact that it’s a beautiful development of the Rivendell motif that I didn’t expect to hear in this film.

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I agree for now that it's a beautiful development of the Rivendell Theme…

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Originally posted by franz_conrad:

00.25.40 Suggestion of the Ring theme here as the string passage continues.

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This is exactly the same passage as when Gollum looses the Ring in the prologue, which fell down the rocks, leaving itself for Bilbo to pick it up.

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Originally posted by franz_conrad:

00.26.07 A woodwind (clarinet or oboe?) statement of the Ring theme here as Galadriel speaks of ‘the young captain of Gondor’.

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I think oboe…