The first part of my review of TTT:EE can be found here: Part One: One Ring, But Three Stories

For the second part, see: Part Two

For part three: Part Three: Reviving Rohan

For part four: Part Four: Baggage for Everyone

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 FIVE: THE STORY TO DATE
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In the previous section of this review, the music covering the action of the film from Frodo and Sam’s journey through Ithilien to Galadriel’s ‘second prophecy’ was discussed. Initially much continued as it had before: (i) Frodo’s drawing closer to Gollum and growing conflict with Sam stripped the soundtrack around those hobbits of much of its pastoral optimism, and the Ithilien landscape was coloured with very dark string writing; (ii) audience empathy for Gollum’s imprisoned weaker half, Smeagol, was aided by Shore’s elegiac string writing for that character. Meanwhile in Rohan, the movement of the refugee column west towards Helm’s Deep focused on Eowyn’s experience. For her humorous character scenes with Aragorn and Gimli, we have lovely variations on Eowyn’s theme.

Musically this section of the narrative involved a number of innovations. Owing to the presence of two action sequences which had endings reasonably dire for the Fellowship – the minor Ithilien Ranger / Haradrim battle, and the more significant Rohirrim / Warg Rider battle – the music acquired a ‘darkest hour’ feel. This is most particularly felt in the mournful string writing of ‘Helm’s Deep’, the grief-stricken vocal piece ‘The Missing’, and the wary reprises of the Ring and Lorien themes in ‘The Leavetaking / Galadriel’s Prophecy’. As to the action music itself, only the Warg battle cues were of sufficient length to leave a strong impression. For the most part, they were an impressive combination of motifs for the Rohirrim and Isengard with other phrases from earlier in the film to suggest the conflict of the two forces.

Despite all this doom and gloom, this section of the film’s score features some of my favourite moments. I am a sucker for Eowyn’s theme, and that lovely melody is greatly enhanced by some additional variations on it composed for the extended edition. More significantly, this section marked the reintroduction of the Elves into the film’s storyline via Aragorn’s relationship with Arwen. With Arwen’s return came also her father Elrond and grandmother Galadriel, and a wealth of thematic material and solo vocalists. Isabel Bayrakdarian gave beautiful life to the haunting new ‘Evenstar’ motif. Aragorn’s theme was put through a beautiful oboe variation, revealing a hitherto unimagined tenderness in that melody. Hilary Summers vocalised variations on the Lothlorien theme, which appeared for both soloist and mixed chorus in this section of the film. Threaded beautifully throughout this section of the film as well – the subtle Rivendell string arpeggios appear frequently, building to an extraordinary climax in ‘The Leavetaking’. There are other vocalisations as well – Sheila Chandra on ‘Breath of Life’ and Elizabeth Frasier in ‘The Missing’ – that really add to the richness of this section of the film. Finally, the Ring theme returns with a vengeance as Galadriel prophesies that the Ring will find its way back into the hands of Men.

Having left the audience in its darkest hour, in this next half hour leading up to Helm’s Deep, things can only get worse. It appears that the Ring will go to Gondor (in a change that had readers of the book finding their own reasons for despair), that Gollum is yielding to his darker side, and that Saruman’s rather impressive army is heading for Helm’s Deep of all place – that castle acquiring all the safety of a lobster trap. Musically however, these reasons for despair must be contrasted with the joys offered by the score of this section. The Gollum and Rohan themes are put through some of their best performances, a theme from FOTR returns, and three other previously-heard themes from FOTR are given new life with strikingly different variations.

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PART FIVE: REASONS FOR DESPAIR
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NOTE: ALL TIMES BASED ON REGION 4 DVD TIMESTAMP.

TITLE LENGTH START

47. Henneth Annun [0:53] ** [00:28:56]
48. Brother of Boromir [0:21] * # [00:30:31]
49. Sons of Denethor [3:43] * # [00:31:15]
50. The Forbidden Pool [2:40] ** [00:35:09]
51. Smeagol Betrayed [0:44] * [00:38:23]
52. Faramir’s Test [0:49] ** [00:40:03]
53. Hope Returns [1:22] ** [00:42:00]
54. The Evenstar Restored [0:36] * [00:43:44]
55. Let them Come
[1:15] * [00:44:39]
56. Theoden’s Desperation [1:00] * [00:46:20]
57. Entmoot [0:50] [00:47:47]
58. Valour without Renown [2:16] * # [00:49:03]
59. The Horse and the Rider [1:05] ** [00:51:08]
60. Son of Hama [0:18] ** [00:54:08]
61. The Fellowship Arms [1:05] ** [00:54:59]
62. The Last Alliance – One Final Show! [0:59] * [00:56:22]

Total length [20:41]

Approximate total released music: 9:03.
Approximate total unreleased music: 11:38.
* Unreleased cue.
** Contains unreleased music.
# Composed for the extended edition.

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CUE-BY-CUE ANALYSIS
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47. Henneth Annun [0:53] **

00:28:56 Deep ascending string phrase as Faramir’s ears prick up at the mention of Boromir. This music can be heard by highlighting the chapter icon for DVD chapter 40.
00:29:09 Horns play an ascending phrase as Frodo answers Faramir’s question about being a friend of Boromir.
00:29:16 Deep strings at the mention of Boromir’s death.
00:29:34 Horn return briefly…
00:29:53 … and we segue to sound effects as Faramir remembers the dream in which he saw Boromir’s body…

Ah, Henneth Annun! Window of the West! What a missed opportunity in the films. Though I understand the script-writers choices with respect to Faramir and the Rangers of Ithilien, there must have been another way to give Frodo’s story an emotional climax than to mangle one of the most likable characters from the book. My favourite moment in the book of TTT has Frodo and Sam joining Faramir and his men for dinner in Henneth Annun. The hobbits are regarded with suspicion – their errand is unknown and they will answer no questions about Gollum – but they are treated hospitably. Faramir observes a custom that his father and brother appear to have allowed to fall by the wayside, facing west to ‘Numenor that was…’ and beyond Numenor to the Undying Lands to ‘that which is’, and beyond the Undying Lands to ‘that which will ever be’ (a reference to Illuvatar, Tolkien’s creator).

Anyway, this brief cue contains some partially unreleased material for Faramir’s interrogation of Frodo and Sam in Henneth Annun. Some of this music was included in the opening minute of the album track ‘The Forbidden Pool’, intercut with material from ‘The Rangers of Ithilien’ cue. No thematic material here. The dark textures used to depict Faramir and his Rangers continue here.

48. Brother of Boromir [0:21] * #

Updated notes on this cue can be found under cue 79j here .

00:30:30 Deep wandering strings as the shot of Faramir in the River Anduin dissolves to a shot of Faramir sitting and thinking about his brother, leading nicely into…
00:30:40 … a slow partial horn statement of the Gondor theme (below I call this the Gondor A phrase), previously heard in the cue ‘A Dunedain Ranger’… (this music can be heard by highlighting the menu icon for DVD chapter 41)
00:30:51 ... rounding out the cue as we dissolve to an aerial view of Osgiliath with Boromir looking out over the roofs a la the famous photos of the Soviet liberation of Berlin.

Brief snippet of an unreleased cue is interesting largely for its partial use of the Gondor theme, last heard as Eowyn discovered that Aragorn was a Dunedain Ranger. The theme here underscores Faramir’s memory of his brother, and the pathos of the statement of the motif is an indication of how much more depth there is to Faramir in the extended version of the film. (Faramir’s own motif does not appear until the ‘Return of the King’.) The sombre statement of the Gondor theme here recalls the use of that theme in the ‘Return of the King’ track ‘The Steward of Gondor’ (1:20-1:30). If the complete score of the extended edition is released, this cue would probably end with a cross-fade into the next, rather than stay as a stand-alone track.

49. Sons of Denethor [3:43] * #

00:31:15 As Boromir says the line ‘This city of Osgiliath is reclaimed for Gondor!’, a strident brass statement of the Gondor theme is heard, followed by a related brass phrase…
00:31:24 … and gentle non-thematic string/woodwind underscore as Boromir and Faramir meet and talk about the former’s speech.
00:31:39 A solo brass passage (trumpet?) suggests Faramir’s loneliness in the family.
00:31:51 Brief sharp phrase for horns as Faramir indicates Denethor’s approach.
00:31:55 Uneasy passage for strings underscores Denethor’s greeting to Boromir.
00:32:17 Horns, woodwinds and strings dominate in this wandering non-thematic passage as Denethor chides Faramir for ‘casting a poor reflection on me’ (indeed, Faramir is not a good mirror for Denethor to hold up to his face). Denethor then follows Boromir to turn his attention to more weighty matters.
00:32:58 The deeper strings play a phrase which conjures up mystery, as it dawns on Boromir that…
00:33:06 … the Ring has been found, at which point we hear a partial statement of the History of the Ring theme, last heard in ‘Galadriel’s Prophecy’.
00:33:13 String/horn writing as Denethor tries to persuade Boromir to go to Rivendell.
00:33:35 Building brass/percussive passage that recalls the music for Boromir’s attempt to take the Ring from Frodo by force in ‘Fellowship of the Ring’. Here Boromir refuses his father’s request and leaves the room. Non-thematic material follows as Faramir offers to go to Rivendell in his father’s stead, an offer that is meets with Denethor’s unconcealed derision.
00:34:13 Sad horn writing again underscores Faramir’s sympathetic position.
00:34:28 Partial horn statement of the Gondor theme (I’ll call this the Gondor A phrase, since it is the first half of that theme) as we see Boromir sitting atop his horse in the fading sunlight.
00:34:45 … followed by a string statement of the Gondor B phrase as Boromir admonishes his brother to ‘remember today’, and rides off.
00:34:54 A brief horn flourish…
00:34:58 … ends the cue.

If ‘Galadriel’s Gift Giving’ in Fellowship of the Ring was the major new scene in that film’s extended edition, then the ‘Sons of Denethor’ sequence is the major contribution of TTT:EE. (ROTK:EE has at least four major scenes/sequences worth waiting for.) It is a scene full of dramatic range, giving us insight into three characters who aren’t otherwise seen together.

Firstly, we see Boromir as a glorious war captain, and a victory for Gondor against the forces of Mordor unaided by others. For this aspect of the scene, Shore imbues his Gondor theme with marching band exuberance.(Interestingly, this is also the first scene where the Gondor theme is unambiguously associated with Gondor, and not with that land’s finer sons, Aragorn, Boromir and Faramir.) We later hear a sad variation on the Gondor theme as Boromir and Faramir part. For the viewer, and for Faramir, the scene has the added emotional heft from knowing that one of Gondor’s finest sons is riding to his doom. (Note the use of the word Marilynn! .)

Perhaps a word or two on the Gondor theme would not go astray here. Like all of Shore’s themes, it is well suited to the people represented. It is the most brash and heroic of all the culture themes. Compare for example with the Shire theme – wholesome, verdant, optimistic – much like the people of that land. Or take the Rohan theme – rustic and noble, speaking of an ancient strength that has long gone untapped. Proud as the Rohirrim are, they are not a military culture. They will fight to the end to defend their way of life, but it is a simple life, and they will resume it when the fighting is over.

In contrast the Gondor theme is at once aggressive and presumptive. It is the theme for a culture that has institutionalised heroism – there are no tailors or butchers or bakers seen in the White City. That city is not called Minas Tirith, Tower of the Guard, for nothing. For the Gondorians, life is the fight. To a certain extent, this military state is a consequence of living on the doorsteps of Mordor. Nevertheless, it is a culture in which the heroes are warriors who do great deeds (e.g. Thorongil and Boromir), and this kind of culture is well captured in the brashness of the theme, particularly the statement at 00:31:15. One cannot however consider Gondor without considering the ends to which this hero culture brings its people. And the inevitable grief of Gondor’s perpetual war is well captured in the sombre rendition of the Gondor theme (particularly the B phrase, which lends itself well to more sombre performance). We hear this sadder interpretation at the end of this scene, as Boromir rides to his eventual death. (We hear it again as Faramir leads the men of Gondor out to recapture Osgiliath in ROTK.)

Secondly, we see Boromir and Faramir’s warm relationship, something the theatrical editions of the films give us no insight into, due to the cutting of some of Faramir’s best lines from the book. Musically this facet of the scene isn’t given any thematic treatment, just warm string and horn writing.

Thirdly, this scene musically introduces Denethor as a villain - that phrase at 00:31:51 is classic music for a villain’s entry if ever I heard it. He is a man is emotionally-negligent with respect to his sons, and conspires to bring the Ring to Gondor.

Fourthly, we see Faramir’s weariness at being unable to please his father, though Faramir’s theme, heard in the Return of the King album tracks ‘The Steward of Gondor’, ‘Ash and Smoke’, and ‘Hope Fails’, does not appear here. (Shore probably hadn’t written it yet, or didn’t want the scene to be any more crowded with motifs than it already is.) [NOTE: I may revise my opinion on that fairly soon! See the parallel discussion on Faramir's theme.]

Finally, we see that Boromir’s relationship with his father is no less troublesome. He may be more successful than Faramir at winning his father’s approval, but he is no less burdened by Denethor’s needs. As Denethor puts the idea of taking the Ring into Boromir’s mind, we hear the History of the Ring theme, paralleling its earlier use in the ‘Fellowship of the Ring’ scene where Boromir tries to persuade Frodo to take the Ring to Gondor. (The use of that theme in association with Boromir here reminds me that the last use of the theme in this film was associated with the danger posed by Faramir, in ‘Galadriel’s Prophecy’.) The inner turmoil of Boromir is musically represented by the passage at 00:33:45, a passage remarkably similar to the music heard in FOTR when Boromir tries to forcibly take the Ring from Frodo. It is a revelation of what is really in the mind of Boromir in that earlier – he is about to fail the quest his father laid before him.

Overall, this is a major piece of unreleased music, and would be a welcome accompaniment to any expanded release of the music from the film. As I mentioned before, editing it together with the previous cue would probably enhance its effect as an album track.

50. The Forbidden Pool [2:40] **

00:35:09 Deep strings open the cue as Faramir awakes Frodo…
00:35:20 … shimmering strings and harp play an ascending phrase over and over as they walk out of the cave to the view of the Forbidden Pool. Some low brass can also be heard.
00:35:40 The high strings stress a note as the camera pans over the ledge…
00:35:44 … to reveal Gollum finding food among the fine fulsome fish of the frigid Forbidden Pool. The harp and shimmering strings resume with more of the low brass heard before.
00:36:05 As the brass builds the tension (as it appears Frodo must either allow Gollum to die or face the risk that the creature will give away their desperate errand), we hear a progression here that sounds little like the Sauron/Mordor theme, although that resemblance is probably coincidental.
00:36:26 As Faramir is about to give the signal, Frodo confesses that he knows the creature. The high strings again stress a note as the tension settles briefly. The low brass returns as Frodo asks to go down to see Gollum.
00:36:52 Here as Gollum gluts on his quarry we have the definitive statement of the Smeagol/Slinker theme, performed here by woodwinds, strings and muted brass.
00:37:16 The final notes of the Smeagol/Slinker theme as stressed in the violins as Frodo draws Gollum towards Faramir’s men – ‘You must trust master.’
00:37:33 In a brief piece of unreleased score, a sudden deep string / brass phrase breaks the tension as Faramir’s men seize Gollum and sack him.
00:37:43 An unreleased ascending string motif covers the transition from Gollum’s capture…
00:37:49 … to his very brutal interrogation at the hands of a very non-Tolkienesque Faramir.

A very dramatic cue to be sure. I remember when I got the album of The Two Towers, this was one track in which I could imagine the dynamics of the scene nearly perfectly. The tension is built well without the use of Shore’s trademark stabbing brass. Instead the harp and strings together construct a suspenseful atmosphere, leading very naturally to that superb statement of the Smeagol/Slinker motif. It is the first time the motif has been heard so clearly since the Dead Marshes sequence, and very much contributes to the sense of Smeagol as a victim in this scene. There is not a great deal of unreleased material here, only about 16 seconds at the end, which serve to break the tension.

51. Smeagol Betrayed [0:44] *

00:38:23 As Gollum/Stinker says ‘Smeeeeeeaaaagol, why does it cry, Smeagol?’ this soft cue begins with a mournful non-thematic passage for woodwinds, strings and a harpist. It is a repetition of the variation on the Smeagol/Slinker theme heard in the cues ‘Smeagol / Wraiths on Wings’ and ‘Smeagol and Gollum’.
00:38:45 The same instruments play a phrase that seems related to the first couple of notes of the Smeagol/Slinker theme, the performance building with each iteration. The cue builds to a pitch as Faramir asks…
00:39:07 … ‘What did they steal?’

This piece of music is really the last but one of the cues that depict Smeagol’s emotional journey in TTT:EE. His arc as a character, as in Tolkien, finds him drawing close to the kindred spirit in Frodo. At the same time, by the end of the film, he must be ready to kill Frodo, and the decision to do that, while only seen at the very end of the film, begins here, as the weaker Smeagol personality gives way to the cruel protective Gollum. Musically, Shore has to, in a very short space of time, capture the sense of a final betrayal on Smeagol’s part. The particular motif he uses is a variation on the Smeagol/Slinker theme that we have heard twice in the film so far – in the Dead Marshes in ‘Smeagol/Wraiths on Wings’, and during the famous inner debate ‘Smeagol and Gollum’. The way the passage builds in intensity recalls the latter cue particularly, where a similar repeated phrase builds with Gollum’s inner turmoil. The last true sympathetic cue for Gollum, who hereafter, in this film and in the one that follows, is more often associated with the edgy Stinker/Cymbalom motif.

52. Faramir’s Test [0:49] **

00:40:01 Strings open this cue with a suggestion of the History of the Ring theme as Frodo describes his growing dependence on the Ring.
00:40:17 Surging strings communicate the danger as Faramir enters in very ‘aha! So you have it!’ mode.
00:40:37 As Faramir says, ‘…and the Ring of Power within my grasp’, we hear the Ring Seduction for the first time since Aragorn’s temptation in FOTR, the statement of the motif cut short…
00:40:52 … as we segue to the Ring sound effects which covers up all else.

This partially-unreleased cue is largely of interest for it containing the only statement of the Ring Seduction theme in TTT:EE. Its appearance here for the temptation of Faramir nicely links the moment to the temptations of Aragorn and Boromir in the first film. The final film version of this cue is truncated due to the increasingly-used sound effect for the Ring, a synthesized eerie female vocal, so that the longer album representation of the cue (on ‘The Forbidden Pool’) is actually more interesting. The resolution of the album cue, doubtless intended to accompany the moment when Frodo desperately tears himself away from Faramir, would have been a particularly effective ending in the film.

53. Hope Returns [1:22] **

00:42:00 As Aragorn travels wearily on Brego, we hear an ascending solo horn phrase that is remarkably similar to the pre-title introduction music (in the cue ‘Foundations of Stone’) for this film. As Aragorn’s riding acquires direction, other sections of the orchestra join in, with a particularly serious note sounded as Aragorn sees the Uruk army.
00:42:21 As Aragorn turns back to ride towards Helm’s Deep, we hear strident brass statement of Aragorn’s theme, the first such statement since Aragorn’s confrontation with the Uruks at Amon Hen in FOTR.
00:42:34 As the statement of Aragorn’s theme gathers strength with building brass, we see Aragorn riding up a hill as we see a helicopter shot of the hill.
00:42:48 The brass resolves the climax as Aragorn sees Helm’s Deep further up the valley. There may be a hint of the Rohan theme here.
00:43:03 Brass activity as Aragorn rides up to the gates of the Hornburg. This section of the cue onwards is unreleased.
00:43:13 Warm statement of the Fellowship theme prelude as Gimli competes with the knees of onlooking Rohirrim for Aragorn’s eyeline…
00:43:22 … and on that note the cue ends.

This partially-unreleased cue is a nice piece of heroic music after a fairly dour detour in Henneth Annun. Aragorn’s return to Helm’s Deep is nicely scored with a strident reprise of Aragorn’s theme rather than the usual use of the Fellowship theme, hitherto one of the more subtle themes of the trilogy. I’m not certain if there’s any intentional similarity between the opening of this cue and the opening of ‘Foundations of Stone’, but as pointed out by Curt over at SMME, there is a definite similiarity.

54. The Evenstar Restored [0:36] *

00:43:44 Ascending string phrase as Aragorn walks under an archway in the Hornburg to find Orlando Bloom waiting up for him with jewellery. (Now how many ladies would like to find themselves in that situation?) There is some similarity to the strings in the cue ‘Breath of Life’, which is appropriate given that Eowyn is looking on and the Evenstar is being returned to Aragorn. (This music can be heard by highlighting the menu icon for DVD chapter 43.)
00:43:58 Not really a musical reference, more a sound effect, we again hear the ‘ring’ associated with the Evenstar as Legolas returns that jewel to Aragorn.
00:44:12 A serious brass statement as Aragorn very dramatically pushes the doors into Theoden’s chamber…
0:44:20 … and the cue ends on a deep string note.

A brief cue that doesn’t contain much of interest, except perhaps the apparent similarity of the opening to ‘Breath of Life’.

55. ‘Let them Come’ [1:15] *

00:44:39 A deep brass opening to this cue (tuba?) plays an ascending phrase over a timpani beat as Theoden realises the magnitude of the forces marching against his people.
00:45:01 A 3 note string-based phrase builds as Theoden and the Three Hunters go out the front gate of the Hornburg. This could be another permutation of the ubiquitous three-note combination that appears in so many places in the scores of the trilogy.
00:45:31 After Theoden rebukes Gimli for correcting him, a sombre partial statement of the Fellowship theme prelude is stated as the Three Hunters exchange looks.
00:45:40 Somewhere down in the sound mix, a solo brass instrument can be heard.
00:45:54 … the last note of the cue is heard as Aragorn and Theoden are walking over the battlements and Theoden puts on the show in front of his men about how they will last the attack as they have in the past.

Ah, the tension builds. This is the first of seven brief cues that together build an airtight atmosphere of tension in the cinema in the lead-up to the battle we’ve all been waiting for. Throughout these cues, I like the way Shore uses little ascending phrase to add to the oppressive atmosphere (particularly here at 00:45:01). Other than that, this cue offers no motif to remark on save a brief hint at the Fellowship theme. That by no means makes it uninteresting, and I look as forward to hearing this little snippet of the 11-12 hour trilogy of scores as I do for any other bit.

56. Theoden’s Desperation [1:00] *

00:46:20 Serious horn/string phrase over a drum roll opens this cue after Aragorn implores Theoden to ‘call for aid’.
00:46:58 Celli/basses and drums work away as Theoden emphasizes that they are alone.
00:47:05 Over the string underscore, the brass section seems to build to a statement of the Rohan theme, but doesn’t quite get there, as Theoden orders Gamling to take the women and children inside the caves…
00:47:20 … ending as the Crow Flight is seen swirling over the Hornburg.

This brief unreleased cue adds to the sense of desperation begun effectively in the previous cue. (This is the second of seven.) As Jackson remarks in his commentary many times, he relishes in the Zulu-like build-up to the start of hostilities, and Shore’s score moves well with that intention. I can’t quite put my finger on it, but this cue reminds me of Barry’s score to Zulu in some way.

57. Entmoot [0:50]

00:47:47 A bassoon statement of the Ent motif over the usual woodblock percussion is heard as Treebeard says that an Entmoot is about to happen.
00:48:00 A chorus reprises the Ent theme as we see the first of the other Ents drawing in to the grassy clearing.
00:48:12 Woodblock percussion rolls grow in volume as Treebeard greets the various shepherds of the forests and states the agenda of the (eventual) meeting.
00:48:30 The chorus returns over the percussive textures on Treebeard’s remark that they must decide if the Ents will go to war and we see Merry’s face light up at the prospect of being part of something important…
00:48:37 … ending on the transition back to Helm’s Deep.

This music is interesting for two reasons. Firstly, it is probably the grandest statement of the Ent thematic material in the film, which is fitting given the power of the moment when the audience realises that Ents do not all look alike by any means, but are as unique (and even more so) than the various trees they shepherd. The chorus adds greatly to the power of the music – even more when you know the lyrical content, which can be considered here. The song is a Sindarin poem about the way war has ravaged the world. Various lines from Tolkien and from the films make up the lyrics which articulate the choice before the Ents at this particular Entmoot.

The second point of interest is that this is really the last but one cue intended to accompany the role of the Ents in the trilogy. To my knowledge, the Ent motif is not heard again in the trilogy, either in this film, or during the brief moment in Return of the King when Aragorn and company ride through an extended Fangorn Forest to the Gates of Isengard. Note that here the rolling wood percussion is definitely associated with the Ents here and not, as I remarked in my notes on cue 25 (‘Olorin’), with Gandalf.

58. Valour without Renown [2:16] ** #

00:49:03 Serious string variation of Eowyn’s theme as she runs up to Aragorn and complains about her seat for the upcoming battle show.
00:49:15 More string variations on Eowyn’s theme as Eowyn pleads more desperately to fight alongside… those… she … loves. Uh-oh! Cat out of the bag! Throw it in the Extended Edition!
00:49:49 After the last statement of Eowyn’s theme, a string bridge carries us back into the theatrical edition as we see a long steadicam shot of the woman and children heading into the Glittering Caves of Aglarond, Elijah Wood’s very attractive sister quite prominent among them…
00:49:55 … and the Rohan theme is given its first full statement for string and horns in some time, as we witness numerous farewells to those who must go and fight. This statement of the theme is contained in the album track ‘The Hornburg’.
00:50:37 A martial ascending phrase is repeated twice as we see soldiers outfitted in the armouries…
00:50:49 … followed by the cue’s ending.

The third of seven cues in the lead-up to the Battle of Helm’s Deep, this is a more character-oriented cue that complements the scenes depicting what this Battle is over: the survival of the people of Rohan. The released statement of the Rohan cue (see the album cue ‘Helm’s Deep’) at 00:49:55 as we see the women torn from their young boys and old men is one of the best in the film.

The extended edition also offers us a scene where Eowyn’s character is expanded upon. I was very glad to see it when I watched the DVD, as I thought the theatrical edition spent a great deal of time on Eowyn’s character in the middle hour of the film only to drop her without any reference to her desire to fight in the third act. Musically the scene is a welcome opportunity for Shore to expand on Eowyn’s theme. There may be some connection between the variations on that theme here and those heard in the ROTK (which sadly we must wait a while to hear in detail).
Note there is some more of the tense ascending phrase material heard at the end of the cue.

59. The Horse and the Rider [1:05] **

00:51:08 Serious passage for horns as Aragorn and Legolas come to some serious disagreement about the appropriateness of the glass-half-full and glass-half-empty perspectives on 10,000 orcs coming down the canyon.
00:51:40 An ascending string/brass phrase is heard as we shift to a room full of smoke (i.e. exaggerated light shafts) where Theoden awaits a pep talk from Gamling. (This music can be heard by highlighting the menu icon for DVD chapter 46.)
00:51:55 Some deep string variations on that ascending phrase are heard.
00:52:16 In a released portion of the music, a mixed chorus intones in Old English the ‘Horse and the Rider’ poem, last heard briefly in the cues ‘The Wolves of Isengard’ and ‘Olorin’, as we see a montage of the battle preparations to Theoden’s recitation of the poem.
00:53:12 Some deep string chords as Theoden says ‘How did it come to this?’
00:53:24 … and we cut to an aerial shot of Fangorn Forest over the Entmoot clearing. (And incidentally, did the Ents clear the trees to make that clearing? Which would be somewhat ironic…) (This music can be heard by highlighting the menu icon for DVD chapter 47.)

This partially released cue (the fourth of seven) reprises the second of the two major motific devices for the Rohirrim – though this is less motific than a orchestration decision – the Old English choral accompaniment, which here acts as a kind of backing choir to Theoden’s recitation of the memorable lyrics Tolkien wrote to evoke the proud equine warrior tradition of Rohan. The lyrics can be found here. Bookending the statement of the poem is more ascending phrase material that beautifully complements the tense atmosphere of the film at this point. (I’m really looking forward to hearing these cues in sequence on the full expanded release.)

60. Son of Hama [0:18]

00:54:08 Ascending brass motif with trumpet melody as we track up over the walls of the Hornburg where preparations are in earnest…
00:54:26 … the music ending before we shift to a close-up of Aragorn on the steps.

A brief released snippet of a cue (the fifth of seven) introduces a strident brass motif for battle preparation that is reprised in the followed cue. The addition of the unscored scene in the extended edition where Merry and Pippin fret further over the longwinded Entmoot unfortunately separates this brief cue from the previous cue. Where previously the musical progression was natural, the new edit makes the change abrupt. Hopefully the original edit will be presented on the expanded release.

61. The Fellowship Arms [1:05] **

00:54:57 As a Aragorn stands and wields Haleth’s sword, we hear some brass/string writing which seems to build towards a statement of the Rohan theme but doesn’t quite make it…
00:55:20 … As Aragorn suits up (reminding me unfortunately of a similar scene in Joel Schumaker’s Batman films), the ascending brass motif from the previous cue is heard in a more strident arrangement.
00:55:37 The music shifts to a lighter mode as horn/strings accompany Legolas’ gesture of reconciliation with Aragorn…
00:55:47 … followed by a reprise of the Fellowship theme prelude as the two embrace, the music ending as…
00:56:04 … Gimli reminds the others once more that his height is an endless barrel of laughs.

There is a great send-up of this scene to be found here here. And if you don’t understand the send-up, it’s because you haven’t seen this. And if you don’t understand that… you’re surprisingly sane for someone who has read this far.

Anyway, this partially-unreleased cue is the sixth of seven leading up to the Battle of Helm’s Deep. It juxtaposes emotional resonance with tension. The statement of the Fellowship theme prelude at 00:55:47 is contained in the album track ‘The Hornburg’. The strident reprise of the preparation motif from the previous cue at 00:55:20 continues to build the tension leading up to the Battle.

62. The Last Alliance – One Final Show! [0:59] *

00:56:22 Strident statement of the Lothlorien theme (making its first appearance since ‘Galadriel’s Prophecy’) for full orchestra and mixed chorus as the Lorien Elves enter Helm’s Deep to the wonderment of all. I’m not certain what lyrics are sung here. (This music can be heard by highlighting the menu icon for DVD chapter 48.)
00:57:01 After the chorus fades and Haldir steps forth to present his greetings to Theoden, brass plays a bridge into…
00:57:13 … a warm reprise of the Fellowship theme prelude as Aragorn greets Haldir earnestly…
00:57:21 … bringing the scene to an end.

This great unreleased cue (00:56:22-00:57:01) can be found here at Hirgon’s music clips, under the title ‘The Elves Arrive At Helm’s Deep’ (read the warning at the top of Hirgon’s page).

This last build-up cue to the Battle accompanies the scene where Jackson does his own version of the classic war movie subplot of a small roaming band of warriors join forces with the desperate defenders… Why Elrond would happily send troops to Rohan in this film and despair of Gondor’s chances in the next one mystifies me somewhat, especially considering his ties to Gondor are much stronger than those to Rohan. But then the Elrond of the films is a far cry from the Elrond of the books.

Anyway, whatever you think of this change to Tolkien’s plot (and I for one really like the memorable visuals of the Elven warriors on the Deeping Wall), the musical opportunity this afforded to Shore was well worth the change. The battle version of the Lothlorien motif (last heard in ‘Galadriel’s Prophecy’ in this film) for full orchestra and choir is a revelation – one of the most satisfying reinterpretations of a theme from the first film so far in this film (though there are plenty more to come in this film). I’m not sure of the lyrical content of the choral accompaniment here. If it the same as the choral accompaniment of that theme when the Fellowship arrives at Caras Galadhon in FOTR, then it should be noted that the lyrics are not – as is commonly thought – about Elbereth Gilthoniel, but about the resolve of the Lorien Elves to keep their world as it is, a lyrical choice that would be quite appropriate for this march. See here for a translation of the lyrics:

NEXT TIME: PART SIX, THE BATTLE WE’VE ALL BEEN WAITING FOR…

[Message edited by franz_conrad on 01-18-2004]

[Message edited by franz_conrad on 01-21-2004]

I think I am going to have to go back and look at the first two parts again... I've definitely found in writing parts three through five that I have a lot to say about the music... to the point where part five is about twice as long as part one, despite having less music!

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Originally posted by franz_conrad:

00.29.16 Deep strings at the mention of Boromir’s death.

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A reprise of the ascending phrase at 00.28.56.

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Originally posted by franz_conrad:

00.29.34 Horn return briefly…

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In a nice passage with oboe.

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Originally posted by franz_conrad:

00.31.39 A solo brass passage (trumpet?) suggests Faramir’s loneliness in the family.

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Yes, I believe it's a trumpet.

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Originally posted by franz_conrad:

00.33.35 Building brass/percussive passage that recalls the music for Boromir’s attempt to take the Ring from Frodo by force in ‘Fellowship of the Ring’. Here Boromir refuses his father’s request and leaves the room. Non-thematic material follows as Faramir offers to go to Rivendell in his father’s stead, an offer that is meets with Denethor’s unconcealed derision.

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You hear at the end here this passage for strings with a skip beat. You can hear it also in the prologue, just when we follow the route to Mordor on the map of Middle-Earth. I'm not sure as to think what this motif means… But clearly Denethor talks about Sauron and how he will return, so I'm guessing that this is some Sauron/Mordor material that reveals the hidden and potential danger in that creature/country. Like: 'hey this is Mordor we're talking about. You can't go lightly over that part of Middle-Earth, it has a HISTORY! LOL

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Originally posted by franz_conrad:

00.34.28 Partial horn statement of the Gondor theme (I’ll call this the Gondor A phrase, since it is the first half of that theme) as we see Boromir sitting atop his horse in the fading sunlight.

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So, just asking… Is this an English horn next to the French horn (or is it a trombone)? It sounds much lower than an oboe.

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Originally posted by franz_conrad:

00.34.54 A brief horn flourish…

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I heard this prominent shimmering of the horn also at the end of 00.33.35 and I also think I heard something similar at 00.26.25 but then for English horn I think.

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Originally posted by franz_conrad:

00.35.09 Deep strings open the cue as Faramir awakes Frodo…

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This kind of seems to me the continuation and the extension with one note of the phrase at 00.28.56. There are five notes here… while at the 00.28.56 there are only four. I always thought Grima had his own appearance motif, which magically also consist of five ascending notes, very similar to these. Now my question is... Should I review the Grima Motif and not call it specifically for Grima considering this reprise of it? Or is this so not Grima and just like I said an extension of the phrase at 00.28.56?

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Originally posted by franz_conrad:

00.35.20 … shimmering strings and harp play an ascending phrase over and over as they walk out of the cave to the view of the Forbidden Pool. Some low brass can also be heard.

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So what does the harp here? I think a harp, in classical music, has been associated a few times with water, or the wrinkling of the water. Am I correct about this? And if so, then that would mean Shore made the same association? Also, the Forbidden Pool is quite mystical and sacred... Can we associate a harp with that too?

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Originally posted by franz_conrad:

00.36.05 As the brass builds the tension (as it appears Frodo must either allow Gollum to die or face the risk that the creature will give away their desperate errand), we hear a progression here that sounds little like the Sauron/Mordor theme, although that resemblance is probably coincidental.

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Oooh… Yes! This could be some sort of hidden reference to the Sauron Theme, however… it's not that hidden of course. I just mean that like Stravinsky, maybe Shore tries to cover up his different approaches of the same material. It would be interesting to see the sheet music of this little passage and then Sauron's Theme. And of course, linking it with the scenes, the big dilemma involves the risk of Gollum revealing they are on their way to Mordor...

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Originally posted by franz_conrad:

00.42.48 The brass resolves the climax as Aragorn sees Helm’s Deep further up the valley. There may be a hint of the Rohan theme here.

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Yeah, I believe that the latter part here is indeed a hint to some Rohan material. Maybe a certain setting of the beginning of the Rohan Theme. It's certainly the orchestration that gives it away it should be something concerning Rohan, plus also, we see Helm's Deep on screen.

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Originally posted by franz_conrad:

00.43.03 Brass activity as Aragorn rides up to the gates of the Hornburg. This section of the cue onwards is unreleased.

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Maybe it's a bassoon that plays that nice fast circling passage…

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Originally posted by franz_conrad:

00.43.44 Ascending string phrase as Aragorn walks under an archway in the Hornburg to find Orlando Bloom waiting up for him with jewellery. (Now how many ladies would like to find themselves in that situation?) There is some similarity to the strings in the cue ‘Breath of Life’, which is appropriate given that Eowyn is looking on and the Evenstar is being returned to Aragorn. (This music can be heard by highlighting the menu icon for DVD chapter 43.)

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The four first chords are indeed similar to the opening of 'Breath Of Life', so I'll go with the fact that this is a reference ^^

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Originally posted by franz_conrad:

00.44.39 A deep brass opening to this cue (tuba?) plays an ascending phrase over a timpani beat as Theoden realises the magnitude of the forces marching against his people.

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Yeah, maybe tuba or trombones… But what is the brass playing? This little phrase sounds too familiar to deny it to me… I think… I just need to find the place where this also appears; I can sing the fragment in my head, and it ends really nicely and concluding there.

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Originally posted by franz_conrad:

00.45.01 A 3 note string-based phrase builds as Theoden and the Three Hunters go out the front gate of the Hornburg. This could be another permutation of the ubiquitous three-note combination that appears in so many places in the scores of the trilogy.

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I got the same feeling with that three-note phrase… Where did I hear it also? Maybe at the very beginning of TTT? When we get pan shots of the Misty Mountains… I'm not sure.

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Originally posted by franz_conrad:

00.45.31 After Theoden rebukes Gimli for correcting him, a sombre partial statement of the Fellowship theme prelude is stated as the Three Hunters exchange looks.

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Isn't this the same brass phrase from 00.44.39. If so, than yes, maybe this is some setting of the Fellowship Theme. And then that also counts for 00.44.39.

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Originally posted by franz_conrad:

00.45.40 Somewhere down in the sound mix, a solo brass instrument can be heard.

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Think it's a trumpet…

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Originally posted by franz_conrad:

00.46.20 Serious horn/string phrase over a drum roll opens this cue after Aragorn implores Theoden to ‘call for aid’.

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These are the timpani, right? I like the way how this passage keeps ascending in pitch all the way through. First starting with deep strings, then brass that gets the upperhand and finally high strings…

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Originally posted by franz_conrad:

00.47.05 Over the string underscore, the brass section seems to build to a statement of the Rohan theme, but doesn’t quite get there, as Theoden orders Gamling to take the women and children inside the caves…

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Rather than saying it is the Rohan Theme it tries to build to, I'd say it's the Aragorn Theme. Comparing it with 'Hope Returns' it seems very similar, if not the same. It starts when we see a close shot of Aragorn looking thoughtful at Theoden's words, but then it changes and kind of evaporates as the camera starts to follow Theoden.

quote:

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Originally posted by franz_conrad:

00.56.22 Strident statement of the Lothlorien theme (making its first appearance since ‘Galadriel’s Prophecy’) for full orchestra and mixed chorus as the Lorien Elves enter Helm’s Deep to the wonderment of all. I’m not certain what lyrics are sung here. (This music can be heard by highlighting the menu icon for DVD chapter 48.)

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Me neither, the lyrics of the Lothlorien Theme are a mystery to me :S!

quote:

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Originally posted by franz_conrad:

00.57.01 After the chorus fades and Haldir steps forth to present his greetings to Theoden, brass plays a bridge into…

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Excuse me Michael, but it's not the brass that plays a bridge. LOL! It's strings and woodwinds (oboe?).

Your work here is amazing! I have been fascinated by the music for the films since Fellowship first came out, and love trying to identify and categorize all the motifs. Your notes are great and they are much appreciated.

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Originally posted by LordKuruku:
Hi Franz and Jaav,
Just wanted to let you both know that your posts are being read and enjoyed!

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Why thankyou... m'Lord. And can I ask what your name refers to? (Lord Kuruku)

You may, if you like the music of the trilogy, find something worth looking at over here:
http://groups.msn.com/SMME/_whatsnew.msnw