The first part of my review of TTT:EE can be found here: Part One

For part two, see: Part Two

For part three: Part Three

For part four: Part Four

And part five: Part Five

Finally there is Part Six

As always, what follows owes a great deal to everyone over at Shore's Music for Middle Earth , especially Jelle, Marilynn, Kurt, Danijel and Rene. As well I'd like to thank a composer who I know only as dalekmindprobe, a LOTR score fan I know only as Hirgon , and Peter Kelly for maintaining this excellent site where I've been able to post the various parts of the cue list. Thanks to the translators at Gwaith and their contributors. My thanks also go out to Doug Adams for his excellent articles on the music of the trilogy in FSM - I hope my list isn't too embarrassing a distortion of what Shore really wrote for that thanks to be worthless, Doug . As well I thank all the readers who've kindly made suggestions along the way and asked questions. NATURALLY ALL OMISSIONS, ERRONEOUS INSIGHTS, INSIGHTFUL ERRORS, MALEFACTION, PUSILLANIMY, MISNAMED THEMES, CACOPHONY, AND WARDROBE MALFUNCTIONS ARE NATURALLY MY OWN. The next cue list post (part eight) will answer some of the FAQs I've received over the last couple of months, so if you'd like to ask me anything in particular, by all means feel free to email me.

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PART SEVEN: FLOTSAM AND JETSAM
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TITLE LENGTH

77. Finale [11:29] ** #

a. The Tales that Really Mattered [2:49] **
b. Wrath of the Huorns / Final Count [1:18] #,*
c. Flotsam and Jetsam [2:11] #,*
d. The Good Will of All Men [2:23] #,*
e. The Battle for Middle Earth Begins [0:31] *
f. Samwise the Brave / Gollum Wins [2:17] **

78. End Credits [9:04]**

a. Gollum’s Song [3:44]
b. Eowyn’s Theme [0:19]*
c. Seduction of the Ring [0:29]
d. Olorin (incl. ‘The Fight’ and ‘The Call’)[0:58]
e. Gilraen Theme [0:27]*
f. Rivendell Theme (‘The Leavetaking’) [0:40]
g. Evenstar Theme (for cor anglais) [0:30]*
h. Aragorn’s Theme (flute variation) [0:32]
i. Rohan Theme / Finale [1:25]

79. Extended Edition End Credits [11:23]**

a. The Uruk-Hai [2:46]
b. Forth Eorlingas (without soprano solo) [1:59]**
c. Treebeard [1:44]
d. Grishnakh’s Timely End (part one) [0:39]*
e. A Balrog of Morgoth [0:24]*
f. Darkness Took Me [0:21]*
g. I Strayed out of Time and Thought [0:25]*
h. Gandalf the Grey [0:24]*
i. Gandalf the White (excerpt) [0:36]**
j. Faramir’s Dream [0:44]*
k. Hope Returns [1:22]

Total length [31:56]

Total Unreleased Music [13:25]
Total Released Music [18:31]

# = music composed for the Extended Edition
* = unreleased cue.
** = partially unreleased cue.

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PART SEVEN: COMPLETE CUE ANALYSIS
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77. Finale [11:29] ** # [01:31:14]

For relative ease of analysis, I’ve broken this lengthy cue (the longest in the trilogy to my knowledge) into six parts. That it is to date the longest cue of the trilogy is sort of a by-product of the insertion of so many additional scenes into the conclusion of TTT for the extended edition. In the original theatrical cut, this cue was about six minutes shorter. Though it is the longest cue, it doesn’t have the concluding power of some of the other lengthy powerhouse cues of the trilogy – ‘The Return of the King’, ‘The Breaking of the Fellowship’, ‘The Bridge of Khazadhum (film version)’, and ‘The Grey Havens (film version)’.

The ‘Finale’ definitely has its highlights throughout – during Samwise’s speech (surely one of the more emotional moments in the music of the whole trilogy), Merry and Pippin’s antics at Isengard, and in the final moments between Sam, Frodo and Gollum’s two halves in Ithilien. There’s also a very nice brief reference to Faramir’s theme here as well. On the whole though, the various parts of the story do feel a bit detached from eachother except for the first and final two and a half minutes of the cue when Shore begins to achieve something of the interconnectedness of various scenes and their music that he achieved in the extraordinary ‘Breaking of the Fellowship.’ It is by no means a reprise of all the thematic material of TTT by any means. While many themes are referenced – all the main Hobbit themes as well as Merry and Pippin’s play theme, the Gollum themes, Faramir’s theme, the Ent theme, the Ring theme and the Fellowship theme to name a few - many others, such as the Rohan, Isengard or White Rider themes – do not appear at all.

77a. The Tales that Really Mattered [2:49] ** # [01:31:14]

01:31:14 As Frodo half-sighs, half-says ‘I can’t do this Sam’, we hear a flute begin a soft descending melody over light strings. (TTT, 18, 0:01-0:27.)
01:31:41 An oboe begins a weary partial statement of the Shire A theme as Sam begins his speech ‘How could the end be so happy?’ (TTT, 18, 0:28-0:42.)
01:31:55 A light percussion roll leads into a stirring string and horns statement of the ‘Wisdom of Gandalf’ theme (making it’s first appearance in the trilogy since Frodo stood in indecision on the shore below Amon Hen in FOTR) as we see Uruks fleeing before the Riders of Rohan, and Theoden and gives a whoop of victory. The stress on the violins in the final note of the four-note theme is just gorgeous. (TTT, 18, 0:42-0:57.)
01:32:08 After we see Gandalf’s cheering face, Sam says ‘but in the end…’, and we are treated to a string and brass reprise of that variation of Shire B theme which appeared as Frodo set out on his own at the end of FOTR. For reasons I’ll discuss below, I call this theme ‘Frodo’s Decision’. (TTT, 18, 0:57-1:02.)
01:32:13 The ‘Frodo’s decision’ theme continues as we see the flooding of Isengard progress. (TTT, 18, 1:03-1:27.)
01:32:36 As Sam is seen speaking Osgiliath, strings perform a tearjerking variation of the Shire A phrase, and Frodo asks Sam what they are ‘holding onto.’ (TTT, 18, 1:28-1:47.)
01:32:55 There is a brief unreleased string phrase here that covers the shot of Gollum reacting to Frodo’s question. Smeagol would also like to find out what they’re holding onto, and dearly hopes that it is the promise of one day holding the Ring again.
01:33:00 Another string variation of the Shire A theme – one that sounds eerily like a passage out of Bernstein’s score for To Kill a Mockingbird – is played as Sam moves to pick Frodo up and tells him that ‘there’s some good in this world, and it’s worth fighting for.’ (Yay! Cheers!) (TTT, 18, 1:48-2:03.)
01:33:15 We have a brief sombre unreleased note here as Gollum reacts emotionally to Frodo and Sam’s reconciliation.
01:33:18 As the hobbits turn to Faramir who walks over to them and releases them, the Shire A theme is reprised for solo clarinet over a soft bed of strings (with emphasis on the celli). (TTT, 18, 2:03-2:29.)
01:33:43 After a brief couple of bridging seconds, Faramir’s theme is given its premiere in the trilogy with a statement for brass and strings as Faramir insists on the hobbits’ release. (TTT, 18, 2:30-2:43.)
01:33:55 Brief variation on Faramir’s theme as he comments on the likely forfeiture of his own life… (TTT, 18, 2:44-2:52.)
01:34:03 …and an unreleased brass connecting phrase marks the transition to the next cue…

‘The Tales that Really Mattered’ gets the finale cue off to a great start with some of the most emotional music composed for the trilogy. The absence of the Shire A theme from much of the film’s score (it appeared in the album cues 'Elven Rope', ‘Lembas’, ‘The Uruk-Hai’, ‘Part of this World’) is made up for with some lovely statements here, including two beautiful variations on the theme at 01:32:36 and 01:32:55.

As well the cue offers statements of three motifs not previously heard in this score, one of which makes its premiere in the trilogy. On the latter, a while back Rene (Kianga) brought to my attention that at 01:33:43 he noted a subtle reference to Shore’s Gondor theme as Faramir lets the hobbits go. In fact it was a derivate of the Gondor theme associated with the steward’s son Faramir in a number of Return of the King cues. On the Return of the King album, it can be heard in the tracks ‘The Steward of Gondor’, ‘Ash and Smoke’ (in a variation) and ‘Hope Fails’. Here the theme makes a strong debut as Faramir shifts from being a threatening character to a heroic one.

The other two themes are often lumped together and described as a single theme – ‘Samwise’s theme’. I don't think there is such a theme as 'Sam's theme'. In fact I detect two different motifs being used between 01:31:55 and 01:32:36. These notes are based on a chat I had recently with Jelle and Marilynn over at SMME, and I thank them for their insights.

The Wisdom of Gandalf

The first of the two is a theme that I call ‘The Wisdom of Gandalf’, and that’s a name I got from Ryan Keaveney, who referred to it in his review of the ROTK score over at cinemusic.net. The 4-note theme, usually stated for low strings and horns, is associated with the wisdom of Gandalf and how that wisdom, when lost in Moria, lives on in the surviving members of the Fellowship. It is first heard after Gandalf lets go of the Bridge of Khazadhum in Moria – from 4:40 to 4:53 in FOTR album track ‘The Bridge of Khazadhum’. Those four sombre notes form the basis for the instrumental piece that follows as the Fellowship mourn Gandalf. We hear theme again as Frodo stands on the shore underneath Amon Hen in a state of horrible indecision and remembers the words of Gandalf in Moria – ‘all YOU have to decide is what to do with the time that is given to you’ (FOTR:EE, DVD2, 00:22:11-00:22:51). This slightly more optimistic statement of the theme can be heard at the opening of the FOTR album track ‘The Breaking of the Fellowship’ from 0:08 to 0:21 (wherein it is stated for horns and strings), and the image on screen while it plays is of Gandalf speaking the wise words that give Frodo the strength to continue. In yet another reference, a bittersweet statement of the theme for strings is heard in the penultimate cue from Return of the King as Gandalf bids farewell to the four hobbits at the ‘Grey Havens’ (listen to ‘The Grey Havens’, 2:19-3:23, in fact in the film the Wisdom of Gandalf theme continues in an unreleased statement as Frodo says goodbye to Merry and Pippin).

The reference to ‘The Wisdom of Gandalf’ in all three cues is easily justifiable – in the first, Gandalf’s wisdom is very tangibly lost; in the second, the wisdom of Gandalf provides the necessary strength for Frodo to move on; and in the last, the wisdom of Gandalf is about to depart Middle Earth forever. But it is not so clear why it is used here in ‘The Tales that Really Mattered’, which if anything is a testament to the Wisdom of Sam. I think the music is there partly because it is preparing us for the finale of the film, and Shore wanted to establish some continuity with the decision made by Frodo at the end of FOTR. I think also that the role that Sam is playing here in telling Frodo that ‘there’s good in the world, and it’s worth fighting for’ is not dissimilar from the role Gandalf’s words played in helping Frodo to move on at the end of FOTR. As with the ending of the earlier film, things have been done both to and by Frodo, and his confidence in his suitability for the task ahead is shattered. Sam, like Gandalf, will help Frodo make the decision to continue the quest despite the challenges that seem to have overwhelmed them. If you consider the words of Gandalf and Sam alone, they are very closely related: one very much implies the other.

Shore’s use of themes is at times much like the way an author might use an image in a novel. The image can appear to be associated with one thing alone – and then the author will turn it around and use it with something completely different. The use of the image connects the two things in a way we might not otherwise have done so effectively. In the case of the soft ‘Wisdom of Gandalf’ theme, Shore’s use of it here says something about how Sam has taken on the Gandalf role in relation to Frodo. He is both servant and mentor.

BTW: There is a beautiful reference to the Wisdom of Gandalf on the alternate ‘Breaking of the Fellowship’ cue in the FOTR:EE end credits from 3:40-3:50.

Frodo’s Decision / Variation of Shire B

The second of the two themes I detect here in ‘The Tales that Really Matter’ is a particular variation of the Shire B theme that appear in FOTR:EE more than once. The Shire B theme is the melody of the chorus of song Shore wrote for FOTR, ‘In Dreams’. If you can imagine the chorus of that song in your head – ‘but in dreams, I can heard your name, and in dreams, we will meet again’ – that’s the Shire B theme. This particular variation of the Shire B theme shares the first three notes in common with that theme, and has appeared in a couple of places in FOTR. Firstly, it can be heard as Gandalf says his famous line to Frodo in Moria about how 'all WE have to decide is…' etc. (That cue is unreleased.) Secondly, it is heard in the ‘Breaking of the Fellowship’ cue as Frodo runs to the shore and pushes his boat out into the lake (FOTR, 17, 0:21-0:51). Thirdly it is heard when Frodo’s hand pulls the drowning Sam out of the water (FOTR, 17, 1:58-2:15). Fourthly it is heard when Aragorn indicates to Legolas and Gimli that ‘Frodo’s fate is no longer in our hands’ (FOTR, 17, 3:05-3:24). Fifthly, it is referenced as the Three Hunters are seen running up Amon Hen and the film cuts to Frodo and Sam walking over Amon Lhaw (FOTR, 17, 4:19-4:38). Lastly, it is referenced here in TTT:EE as Sam describes to Frodo how he has always wondered how the great stories of old could have happy endings.

Note that I’m not saying this is an independent theme. I think of it as a derivate of the Shire B theme, but one that seems to be consistently used whenever Frodo makes an important decision that involves him learning something more about the greater moral universe in which he is a hero. For that reason I call it ‘Frodo’s decision’. Elsewhere (perhaps one of Doug Adam’s FSM articles?) I’ve seen the Shire B motif referred to as ‘A Hobbit’s Understanding’, and that also is an excellent and very appropriate name for this motif, which has much to do with a particular hobbit’s understanding of the part he must play in the battle against evil. Not because that’s the only occasion for its use – but because it’s shorter than always referring to it as ‘that variation on the Shire B theme that appeared etc…’ This marks the last use of the ‘Frodo’s decision’ theme in the trilogy. It’s a shame there wasn’t room found for it in ROTK, but in between the Shire A, Fragrance of Ithilien, Shire B, West, Secondary West and Wisdom of Gandalf themes, that film’s finale was thematically crowded enough as it was.

Just a last note on this cue – there are a couple of extra seconds inserted as several point in the film version of this cue. I suspect those inserts were put in so that we could see shots of Gollum’s reaction to Sam’s speech without giving those shots heroic underscore. I’m thinking specifically of 01:32:55 and 01:33:15. The listening experience is not greatly enhanced by including them. Oh… and on a narrative-choice axe to grind, the choice to divert the story to Osgiliath makes Sam’s line – ‘by rights we shouldn’t even be here’ rather humorous.

77b. Wrath of the Huorns / Final Count [1:18] #,* [01:34:03]

01:34:03 The brief brass connecting phrase to the mopping up of the battlefield at Helm’s Deep…
01:34:05 … mutates into more serious brass textures as Uruks flee before the Rohirrim.
01:34:14 Some brief phrases in the high strings as all watch in amazement at the Huorn Forest the Uruks run into.
01:34:19 Low brass plays an ascending figure as the Uruks run under the eaves of the Huorn Forest.
01:34:34 Sharp and violent brass phrases as we see the Huorns take their revenge from afar.
01:34:46 A short brass fanfare as the film cuts to celebrations at Helm’s Deep, including the shot where Eowyn embraces Aragorn briefly. (I think an extended moment between the two after the battle might not have been out-of-order.)
01:34:54 String writing as the celebrations continue and the film cuts to Gimli sitting on an Uruk corpse.
01:35:06 As Legolas enters the scene crowing about his 42 kills, the Fellowship theme prelude is stated, followed by a variation of the Fellowship theme prelude.
01:35:11 Woodwind writing as Gimli reveals his own count to Legolas.
01:35:21 Brief bit of activity in the strings as Legolas moves to kill a dead orc. (Anticipating Aragorn’s later attempt to challenge an entire Army of the Dead to a duel to the death.)
01:35:32 Light strings carry us over…

A fairly meandering cue that doesn’t add a great deal to the music of the film. The music is nice to be sure, especially from the celebrations at Helm’s Deep where the Fellowship theme is trotted out for one last spat between Gimli and Legolas. Note that the material heard for the revenge of the Huorns doesn’t appear to bear any relationship to existing music for the Ents.

77c. Flotsam and Jetsam [2:11] #,* [01:35:32]

01:35:32 … to the renovated Isengard, where Merry and Pippin comment of Saruman’s new living arrangements. Some non-thematic string and brass activity as Saruman and Grima are seen in a state of distress.
01:35:52 As Merry compares the height of the two hobbits to his own favour, there is some nice clarinet writing.
01:36:10 As Pippin discovers the apple floating past him, the light strings and flute of the Merry and Pippin Play theme starts up, having previously been heard during the Entdraught scene.
01:36:24 The pizzicato strings of the play theme gather pace as the two hobbits discover the Isengard store room.
01:36:30 The Shire pipes come in here, appropriately enough, as the hobbits discover the South Farthing leaf.
01:36:40 Nice flute (or is it something smaller like a picollo?) as the hobbits fuss over the leaf and Pippin wonders if they should share with Treebeard.
01:36:58 The Play theme starts up again as Merry talks Pippin out of bringing the weed to Treebeard’s attention.
01:37:22 The Ent Grandeur theme followed by a variation of the theme is performed in the low strings as Treebeard walks over to the store room and takes a look at two hobbits doped to the gills.
01:37:32 Brass takes us back into Gondor…

A nice little cue added for the extended edition gives us another rendition of the Merry and Pippin at Play theme that Shore composed specifically for TTT:EE. The light pizzicato strings here actually foreshadow Shore’s playful opening to Return of the King, when two other hobbits (Stoors, actually) who are not on such friendly terms go fishing in the Gladden River. (See ‘A Storm is Coming’ from the ROTK album.) The Ent Grandeur theme is given one last reprise, and it marks the first appearance of the theme since the Entmoot cue. This cue very much acts as a companion cue to ‘The Ent Draught / Old Man Willow’ cue.

77d. The Good Will of All Men [2:23] #,* [01:37:32]

01:37:32 Brass phrase takes us back into Gondor as we see images of Osgiliath under siege and Faramir leading the Fellowship of the Ring to the hidden passages under Osgiliath. We hear some brassy material reminiscent of the opening of the cue ‘Ash and Smoke’ from the ROTK album, followed by unsettling brass/string writing.
01:37:56 Clarinet performs a nice melody as Sam commends Faramir’s change of heart and the two exchange kind words. (One hopes the two will meet again in ROTK:EE.) This melody sounds strangely familiar, though I can’t pick its origin – perhaps it’s related to the hobbit journey motif from TTT:EE?
01:38:12 High strings and low short threatening brass phrases as Faramir grabs Gollum by the throat and asks whether he intends to take the hobbits to Cirith Ungol.
01:38:52 Warm strings again as Faramir wishes that Frodo goes with the goodwill of all men.
01:39:01 Briefly the Stinker/Cymbalom theme is hinted at in the strings as Gollum tries to slink after Frodo and Sam. More string brass material as Faramir issues Gollum with his final threat.
01:39:15 As Gollum goes into the tunnel after Frodo and Sam, cor anglais over strings pitifully states the Smeagol/Slinker theme.
01:39:22 String variations of the Slinker/Smeagol theme as Sam seeks Gollum’s forgiveness in his own way. Dark strings suggest something of the manipulative Gollum underneath Smeagol’s apparent forgiveness. Towards the end…
01:39:55 … sombre horns seem to suggest the opening of ‘Gollum’s Song’ as we cut to Helm’s Deep…

Like cue 78b, this track doesn’t add a great deal to the score at first listen. There is some further development of the Gollum thematic material as he and Sam share a moment. The opening suggests the opening seconds of the ROTK album track ‘Ash and Smoke’. The ROTK piece accompanied Faramir being dragged by his horse back within the city gates, and it’s appearance here in another scene with Faramir makes me wonder if it might bear some relationship to Faramir’s theme. (I had often thought that ROTK was a Faramir theme reference…) Another interesting bit of writing here is the clarinet melody heard as Faramir talks with Sam and Frodo about their plans on leaving Osgiliath. I can’t quite pick it, but it isn’t the first time I’ve heard that piece.

77e. The Battle for Middle Earth Begins [0:31] * [01:39:55]

01:39:55 … where Gandalf, Aragorn, Legolas, Eomer, Theoden, Gamling and Gimli ride over a hill towards the camera to find the sun on their faces does not quite match the sun in the background (sorry Andrew Lesnie, your cinematography was otherwise great for this film!). Sombre brass and low string writing as Gandalf reminds all that the battle is only beginning…
01:40:22 … and that all hope lies with two young hobbits as the Fellowship theme prelude is stated one last time for the film…
01:40:26 … the statement of the Fellowship theme prelude carrying over as the film cuts to Ithilien and two hobbits are seen walking through the woods led by Gollum…

Perhaps this one shouldn’t be listed as a cue on its own, but it was a distinctly different scene in the film, so I thought I might as well. The dark textures at the beginning remind us of the coming macro-battle for Middle Earth that will dominate ROTK. The final rendition of the Fellowship theme prelude for this film (I’ve lost count of how many times it has been referenced) nicely shifts the action dramatically to the Fellowship’s true hope – the micro-battle for Middle Earth being waged by Frodo and Sam.

77f. Samwise the Brave / Gollum Wins [2:17] ** [01:40:26]

01:40:29 … as we hear a variation on the Fellowship theme prelude that Shore used in his original version of the ‘Breaking of the Fellowship’ cue. I believe this marks the first appearance of this subtle variation on the theme in the films.
01:40:36 Frodo says ‘what?’ in some amazement after Sam says he was wondering about their role in the great tales. The Shire A theme is given its last statement in the film (for solo clarinet over strings here) as Frodo tells Sam that his version of the story leaves out one of the chief characters.
01:41:04 We hear a gorgeous string reprise of the Shire B theme (often used for emotional moments between Frodo and Sam) as Frodo says ‘Frodo couldn’t have got far without Sam’. The Shire B theme makes its premiere in this film in this final couple of minutes of music.
01:41:36 High strings follow from the Shire B theme as we move from the solidarity of Frodo and Sam’s relationship to the sad schizophrenia of Smeagol and Gollum’s relationship. Suggestions of the Smeagol/Slinker theme in the violins here… (TTT, 18, 2:56-3:03.)
01:41:42 … the Stinker/Cymbalom motif is stated by double bass (augmented with some brass perhaps? A tuba maybe) underneath the edgy violins as Gollum insists on killing the two hobbits. (TTT, 18, 3:04-3:22. The times don’t quite match, so maybe there is an unreleased phrase here.)
01:42:03 As Smeagol comes around to Gollum’s plan (except for the risky bits), the Smeagol/Slinker theme is given a partial string reprise… (TTT, 18, 3:23-3:27.)
01:42:08 … leading nicely into a final string reprise of the core theme of the three films – the History of the Ring theme – as Gollum says that he will take the Ring for himself and ‘be the master’. (TTT, 18, 3:28-3:39.)
01:42:19 Unreleased ascending passage for strings here as Smeagol loses courage and says that it is ‘too risky’. The violins here capture the whining quality of Smeagol quite nicely.
01:42:39 Last string phrase ends on a dangerously uncertain note as Smeagol smiles on hearing Frodo and Sam’s voices in the background… (TTT, 18, 3:39-3:43.)
01:42:43 … at which point the score ends.

The last reference to the Fellowship theme is completed with a variation on the prelude that has not appeared previously in the trilogy, though was referenced in the original version of the ‘Breaking of the Fellowship’ cue (4:22-4:29 of the unreleased cue). The Shire A theme is given its last statement in the film as we leave on a warm moment between Sam and Frodo. It marks only the sixth appearance of that theme in this film, a striking contrast with FOTR where it is referenced on about 30 occasions. The disparity owes in no small part to the substantially darker subtext of much of TTT, and the fact that the hobbit lands are no longer the backdrop for the great adventure.

This cue also offers us the only statement of the classic Shire B theme in the entirety of TTT:EE. (That is, if you don’t count the ‘Frodo’s Decision’ variation.) This theme is the chorus melody from the ‘In Dreams’ hymn written for the FOTR, and is often referenced for the key emotional moments between hobbits in the films. Like the ‘Frodo’s decision’ variation, it often accompanies occasions where hobbits learn more about their role in the greater moral universe. So in FOTR, when Frodo tells Bilbo how he’s begun to understand the value of a home like the Shire, we hear it. In ROTK, when Frodo tells Sam that he must go on in life in Middle Earth without Frodo, we hear it. And here in TTT, when Frodo indicates to Sam just how critical he is to the success of the quest, we hear it again. It’s a beautiful theme, and the last of the unreleased highlights.

The final section of the ‘Finale’ cue offers a reprise of the principal Gollum motifs and the ubiquitous Ring theme. As the two sides of Gollum’s personality clash over how to get the Ring, Shore reprises the ‘musical schizophrenia’ approach heard in the early cue ‘The Taming of Smeagol’. As in that cue, the two main Gollum themes – the Stinker/Cymbalom and the Smeagol/Slinker themes are intertwined to portray the battle within. It is an obvious tactic, and Shore is to be commended for having avoided it for most of the scenes depicting Gollum’s inner turmoil – ‘Smeagol / Wraiths on Wings’, ‘Smeagol and Gollum’, and ‘Smeagol Betrayed’. Note that while the Smeagol/Slinker theme has been referenced frequently throughout the score, Shore’s cymbalom motif (actually performed for double basses here) has not appeared since ‘The Taming of Smeagol’ cue, and if I’m not mistaken, it is only it’s third appearance in the film. (The theme is referenced at least twice in ROTK though.)

Lastly, there is the brief but telling reference to the History of the Ring theme. Every major decision in the trilogy bar a few is based around this object, and at the end of a film where it has come close to falling into the hands of unworthy bearers more than once, its voice will drive Gollum here to be the only prospective bearer who actually succeeds in taking it. The following violin resolution leaves the film on a wary concluding note, far from the optimism of FOTR or the relaxed euphoria of ROTK. This film is definitely a middle child, and Shore’s music tells us that nicely in the concluding notes.

78. End Credits [9:04]** [01:43:16]

Of course the work doesn’t end as the end credits come up on screen. From now on, provided you aren’t involved in the industrial relations of entertainment professions, it’s all about the music. The end credits pieces from the films are a slight disappointment really. One usually hopes for a lengthy suite containing short but memorable reprisals of the main themes from the film. The Empire Strikes Back and Dances With Wolves end credits are definitely cases in point of how good this kind of thing can be. More often than not these day the end credits proves to be something of a dumping ground for concert arrangements of main themes – both Star Wars prequels (though Attack of the Clones had a nice twist at the end of the album) come to mind. Sadly with the Lord of the Rings movies we don’t really have either.

Whether it was due to the sheer time demands composing nearly three hours of music proved too much (a very likely case), or the film-makers simply thought it unimportant, what we have with the Lord of the Rings films are usually end credits made up of four sources: (i) original songs written for the films (‘Gollum’s Song’ in this case); (ii) concert arrangements of the themes of the film composed specifically for the end credits (in the case of TTT:EE, such an arrangement combining the Eowyn and Rohan themes was composed, though somewhat mangled in its editing for the film); (iii) versions of cues that have been edited for release on the associated score albums; and (iv) cues written for the film that were not ultimately used, and in some cases, were not heard in any other form.

78a. Gollum’s Song [3:44] [01:43:16]

01:43:16 Strings with choral accompaniment begin an instrumental statement of the verse melody of ‘Gollum’s Song’ as Frodo and Sam follow the murderous Gollum through the woods of Ithilien. The verse is a four note ascending phrase followed by two descending notes, followed by a four note ascending phrase, followed by four descending notes. A six-note arpeggio that is derived from the Smeagol/Slinker theme is played repeatedly by harp during all this, coming in at about 01:43:29. Meanwhile the camera pans up…
01:43:37 … to reveal the Mountains of Shadow and the Winged Nazgul over the Plain of Gorgoroth as we hear an ominous rumble from the double basses. All this time the verse melody is performed over and over, gathering in intensity. The image fades…
01:43:50 … as violins and violas perform an instrumental of the chorus melody from Gollum’s Song. The chorus is based on the ascending phrase of the Slinker/Smeagol theme from the first film, a motif often repeated in this film. Underneath the violins, harps, cellos and basses play the 6-note arpeggio, followed by another 7-note similar identical in all but the last three notes, which turn upwards. There is some lovely harp writing here too. (Jackson’s name comes up first with the end credits.)
01:44:26 Emiliana Torrini eerily vocalises Fran Walsh’s lyrics to the first verse of Gollum’s Song. A bed of strings plays the melody of the verse of ‘Gollum’s Song’ with low horns and a clarinet, while a harp plays the 6-note arpeggio played in the deep strings in the chorus.
01:45:00 The high strings return to play the chorus melody as Torrini reaches for some particularly anguished notes. Underneath the deep strings reprise the 6-note arpeggio followed by the 7-note phrase.
01:45:38 The second verse of ‘Gollum’s Song’ is accompanied by a solo oboe performing the 6-note arpeggio, in addition to the verse melody.
01:46:13 The second chorus of ‘Gollum’s Song’ reprises the chorus melody and orchestration, with a nice resolution as Torrini intones again … (edit: some piano can be heard in this chorus I think, the only use of that instrument in the scores that I know of)
01:47:00 …‘You are lost, you can never go home.’

By far the most complex of the songs composed for the trilogy, I’ve really only begun to try and see the level of detail involved here. The basic motifs that make up the song – a 6 note arpeggio played repeatedly throughout, and the verse melody of 4 ascending notes followed by 2 descending, 4 ascending and 4 descending notes, both seem to come from the complex theme for Smeagol/Slinker. It’s a theme that has yielded many variations throughout this theme, and it probably wouldn’t be too much to say that Shore pushed this theme further than any of the others he used in this film in terms of varying the basic melody. Suffice to say it is a great song, and while I would have loved to have heard Bjork’s take on the song, Emiliani Torrini comes as closer to Bjork than any other singer might while retaining some individuality. The lyrics of the song were used well for Gollum’s voice over in the prologue scene of Return of the King. It goes without saying that this cue can be heard as the opening 3 minutes and 50 seconds of the album track ‘Gollum’s Song’, and the English lyrics are included with the album. Go thee therefore and buy the album.

78b. Eowyn’s Theme [0:19]* [01:47:00]

An unreleased variation of Eowyn’s theme that, to my ears, is not the same as the brief concert arrangement heard at the end of ‘Gollum’s Song’ on the TTT soundtrack album from 3:54 to 4:16, but it’s about the same length as the released piece, and has the same feel coming right after ‘Gollum’s Song’. The section from 4:04-4:16 on the album, which leads into a statement of the Rohan theme, is replaced in the end credits by a longer statement of the Eowyn melody, with a prominent woodwind. Given that most of the pieces that follow are alternate versions of existing cues in the film, this could also be such a piece. My own suspicion is that it’s original source was the unreleased cue 33d, ‘A Daughter of Kings’. Anyone who knows the album well expects a full orchestra performance of the Rohan theme to come here, but what we have is…

78c. Seduction of the Ring [0:29] [01:47:19]

… a segue to a choral statement of the Seduction of the Ring for strings. This statement of the theme is actually from the original version of the cue ‘Faramir’s Test’, where the Ring called to Faramir in Henneth Annun. In the film version of that cue, the Seduction of the Ring cross-faded into synthetic sound effects for the voice of the Ring, and the statement of the theme was truncated. Here in the end credits, the theme makes its only full appearance in the film, and this full statement of the theme can be found on the album track ‘The Forbidden Pool’, from 4:38 to 5:07. (Note: The album version of the cue continues for another 15 seconds with a string resolution that does not appear in any form in the film.)

78d. Olorin (incl. ‘The Fight’ and ‘The Call’) [0:58] [01:47:48]

Certainly a highlight of the TTT album (‘Forth Eorlingas’, 0:01-0:59), I was probably not the only person who was disappointed that this full piece ‘Olorin’ never made it into the film in one piece. Musically, it is primarily a choral piece built on overlapping lyrics sung in ascending triplets. The lyrics come from the Quenya poem ‘The Fight’ (a kind of battle motif for the resurrected Gandalf) and the Old English poem ‘The Call’ (a kind of battle motif for the revived Rohirrim). While I have my suspicions that it might have been intended to take the place of the unreleased cue ‘Ride out the with me’, I probably won’t ever find out what scene it was written for. Note that the first 21 seconds or so appeared in the unreleased cue ‘Olorin’. The segue from the Seduction of the Ring is not particularly elegant, but then again they’re not two pieces of music that are natural candidates to sit alongside each other anyway.

78e. Gilraen Theme [0:27]* [01:48:46]

The theme for Aragorn’s mother Gilraen, sung by an alto female vocalist with mixed backing choir appears next in the end credits montage of cues. I can’t tell exactly where this comes from. If it is released, it would be one of the two statements of Gilraen’s theme that were edited together as the last minute of the bonus cue ‘Farewell to Lorien’ on the TTT album. I’d always assumed that bit of material came entirely from the FOTR:EE scene by Gilraen’s memorial in Rivendell where Aragorn and Elrond talk, however I don’t have the FOTR:EE DVD in my possession that I might check it on a whim. If it does come from TTT, it could come from one of two cues – (i) ‘The Dunedain Ranger / Evenstar’ (DVD2, 00:05:47-00:06:00), which isn’t long enough; or (ii) it could be from ‘Arwen’s Fate’ (DVD2, 00:22:58-00:23:19), which as I recall only feature a solo alto vocal, not a backing choir. A third possibility is that it was an alternative version of either of these scenes, which like cues 79c and 79d, didn’t make the final film edit.

EDIT: From Rene, who has a copy of the FOTR:EE DVD, I can confirm that the music we hear in this scene comes from FOTR:EE. It is heard in the scene where Aragorn and Elrond talk by the side of Gilraen’s grave (DVD2, 00:00:47-00:01:14), which can be heard on the bonus track ‘Farewell to Lorien’ from 4:05 to 4:32. The00:22:11-00:22:51 piece is of the right length, and sounds right to me, so this is actually a piece of music from the first film of the trilogy, not the second.

In any case, the last note very nicely segues to…

78f. Rivendell Theme (‘The Leavetaking’) [0:40] [01:49:13]

… the statement of the Rivendell theme from cue 47a, ‘The Leavetaking’ (heard in the album track ‘The Leavetaking’ from 0:30 to 1:11). Check my notes under the original cue for my thoughts on this piece and what is taking place musically. The piece differs in no substantive way from the film version, and unlike the film version segues beautifully to…

78g. Evenstar Theme (for cor anglais) [0:30]* [01:49:53]

… this interesting piece of unused music that can also be heard in several of the documentaries on the Appendix DVDs for TTT:EE. It is the only instrumental solo performance of the Evenstar theme in the trilogy, and was likely an alternative version for the music in the film that appears in cue 38 ‘A Dunedain Ranger / Evenstar’ at 00:03:23 on disc two of TTT:EE. The solo instrument performing the theme here is definitely a double reed woodwind – possibly oboe, though the sound definitely has the duck-like feel of the cor anglais. It is an extremely brief piece of music to be getting excited about, but it is a personal favourite, and for a moment I thought the man who composed Agnes of God might still have walked the Earth. It does not appear in the album or the film itself at any point, and is for that reason probably the most interesting piece of music in the end credits. The piece continues without a break…

78h. Aragorn’s Theme (flute variation) [0:32] [01:50:23]

… into the flute variation of Aragorn’s theme that listeners to the album will recognise from ‘Evenstar’. In the film, this delightful reworking of the subtle theme for Aragorn appears as he and Arwen talk about what the destiny that lies before him at 00:03:53. Sadly a very inelegant segue follows…

78i. Rohan Theme / Finale [1:25] [01:50:55]

… to Shore’s otherwise excellent concert arrangement of the Rohan theme for the film’s finale. With this concert arrangement, we segue into the excerpt heard in ‘Gollum’s Song’ on the TTT album at about 4:19, which unfortunately does away with Shore’s quite lovely lead-in the theme from his statement of Eowyn’s theme. The final statement of the definitive theme of The Two Towers as a film includes a restatement of all the principal components of the Rohan theme, including the beautiful crescendo of the theme referenced in the cues ‘Theoden King’ and (in a softer rendition) ‘Valour without Renown’. The final solos for horn (heard at 5:20 in ‘Gollum’s Song’) and trumpet (heard at 5:27 in ‘Gollum’s Song’) leads nicely into the stately signoff that recalls some of John William’s finales from the early Star Wars films.

79. Extended Edition End Credits [11:23]** [01:52:25]

The Lord of the Rings trilogy is something of a groundbreaking phenomenon in many respects. Naturally, such a groundbreaking film need not content itself with one end credit sequence! Here are some notes on the Extended Edition end credits. Essentially it is a series of piece drawn from the TTT album, unreleased cues from the film, early versions of pieces that featured in the final film, and some music that that never appeared in any form in the album or in the film.

79a. The Uruk-Hai [2:46] [01:52:25]

Accompanying the memorable letters A-D in the fan club credits, this piece is the album track ‘The Uruk-Hai’, which was a suite made up of the two cues ‘The Three Hunters’ and the theatrical film version of the ‘The Union of the Two Towers’. It serves as a nice musical reintroduction to the action of the second, reprising as it does a number of important themes – the Rohan theme, the Fellowship theme (the most memorable statement of this theme in the film), the Sauron/Mordor/Evil of the Ring theme, and a lengthy reprise of the Isengard theme.

79b. Forth Eorlingas (without soprano solo) [1:59]** [01:55:11]

Here we have the familiar album cue ‘Forth Eorlingas’, from 0:59 to 3:15, with one unusual twist. This is not the film version of the cue, which featured an added choral excerpt and an unintended awkward edit. Many people regard Ben Del Maestro’s solo performance of ‘The Mearas’ poem in the second half of this cue as their favourite bit of music in second film. Well now you get to hear how good the cue is without the solo from Del Maestro. It sounds great – the intricacy of the writing for orchestra and choir is much clearer in the absence of the emphasis on the soprano solo in the mix. The lead-up to the White Rider theme statement with the three-note descending trumpet motif sounds particularly nice. Well worth taking the time to listen to if you like ‘Forth Eorlingas’, and if you’ve read this far, there’s a good chance you fit that description.

79c. Treebeard [1:44] [01:57:10]

This cue contains the full cue ‘Treebeard’, the first half of which was replaced in the film by rather Entish sound effects. This piece is actually released in full in the album cue ‘Treebeard’, from 0:54 to 2:38. It contains three of the basic motifs of the world of Ents: Firstly, for the first 48 seconds of the cue we hear a bassoon playing a meandering melody over a rhythm of light woodblock hits and double basses. This music was intended to accompany Treebeard’s introduction to the two hobbits, though the filmmakers wisely concluded that you couldn’t hear the music under the Entish sound effects, so that all but the last 6 seconds or so were cut.

Secondly, the familiar Ent Grandeur theme is heard for about 39 seconds. This is most frequently referenced of all Ent motifs, and consists of a series of disjointed chords played by bassoon over a double bass rhythm. In this film, this particular piece was heard when Treebeard started to put pressure on Merry and Pippin to reveal their orcish intent.

Thirdly, we have a Danger motif for the Ents for the last 17 seconds of the cue. The motif consists of a tense high string phrase (violins playing toward the top of their range) played over a pounding woodblock phrase that builds to a percussive roll before concluding. It represents the dangers of Fangorn above all, and is heard in the film as Treebeard places Merry and Pippin before the White Wizards.

79d. Grishnakh’s Timely End (part one) [0:39]* [01:58:54]

The only case in these end credits of an unreleased cue from the final film, or part of an unreleased cue in this case, being put on the end credits. This is the first 38 seconds or so of the cue ‘Grishnakh’s Timely End’, and accompanies the scene where Aragorn pieces together Merry and Pippin’s escape from the Rohirrim/Uruk battlefield. It is a memorable, pacy piece of music whose only problem is that it calms down far too quickly! In the film it can’t be heard very well underneath the sound effects, so having it on the end credits is some consolation until an expanded release of the score arrives.

For the following cues, I owe a large amount of thanks to Rene Puls, who helped me with isolated soundclips of the music I’d classified as unused (in addition to other parts of the film). We both looked at the unused music in some detail, but I could not with any confidence state the origin of this music without his help.

79e. A Balrog of Morgoth [0:23]* [01:59:33]

This is a brief piece of choral music with deep string and brass accompaniment. Here’s where the extended edition end credits really start to get interesting. This brief cue never appeared in the film or the album, nor is it recognisable as a theme from the film at all. The same goes for the following three pieces of music and also cue 80j. The first thing I noticed about this piece of music was that it featured lyrics from a poem called ‘The Fight’:
'Tulta tuolya an mauya'
The language is Quenya, and these are lyrics from 'The Fight', the poem that Shore uses as a motif for Gandalf's reawakening to the fight against Sauron. From Gwaith , these lyrics literally read:
'Summon strength-your, for [you] compel...'
Or, more readably - the poem is addressed to Olorin:
"Summon forth your strength, For you must..." (the line ends with 'fight')
Generally, the lyrics of ‘The Fight’ are used in TTT:EE to indicate when Gandalf is using something of his divine power as the Maia Olorin in the battle against Sauron or the more abstract residual malice of Morgoth. We hear lyrics from the fight as Gandalf and the Balrog plunge from the Bridge of Khazadhum, as they reach the sunless ocean beneath Moria (for both, see here ), as Gandalf reveals himself to the Three Hunters in Fangorn (see here under: 3b ), and when Gandalf moves to exorcise Saruman from Theoden (see here under 3c ).

There were very few places in the film that this music could come from. It had to be a scene that survived to a fairly late edit of the film to have been scored and recorded. That ruled out the rumoured sequence involving Gandalf and the ‘Slime Balrog’ climbing the Endless Stair, since that scene never went further than conceptual art (which can be viewed on the Extended Edition DVD). Neither was the choral music the brief choral passages we hear (i) when Gandalf talks about Merry and Pippin starting an avalanche in Fangorn; (ii) when Gandalf is seen on the morning of the fifth day looking down on Helm’s Deep. The lyrics for those scenes, while not clear, certainly weren’t the same as the ones heard here.

That left only one sequence – Gandalf’s battle with the Balrog on Zirak-Zigil. The piece seemed to be about the right length, and certainly the triumphal statement of 'MAUYA' nicely captured the victorious moment of Gandalf plunging his sword into the Balrog. Then I ran into a fellow from LA in a chatroom who happened to know for a fact through friends at Film Score Monthly that the extended edition end credits contained music from Gandalf’s battle with the balrog and subsequent journey ‘out of time and thought’. He remarked that the choral music from this clip was definitely intended for the shots where Gandalf is seen fighting at the top of Zirak-Zigil.

I was going to report this to my friend Rene, when Rene provided me with an mp3 where he’d tracked the unused music from this clip and also cues 80f through 80j onto the unscored sequence where Gandalf recollects his battle and resurrection. It was a perfect match of score to scene, and I was convinced that this was a case where a substantial piece of music had been cut from the film’s score. The cue would have covered the action between Gandalf’s remark “I fell… through fire… and water” (starting at ‘fire’) and the moment the Balrog falls from the precipice. Perhaps the scene ultimately needed to be unscored – but it sure sounded good hearing the film with the score.

79f. Darkness Took Me [0:21]* [01:59:56]

Continuing on immediately from the previous cue, this unused cue was intended to accompany the film in between the Balrog’s fall and Gandalf’s remark that he ‘stayed out of time and thought’. The action here is one continuous camera movement over the Zirak-zigil miniature, from the wide shot of the Balrog falling to a close-up of Gandalf the Grey lying inert on the snow. The music itself is some serious brass writing with resonant timpani hits that suit the scene quite well.

79g. I Strayed Out of Time and Thought [0:25]* [02:00:17]

Continuing on from ‘Darkness Took Me’, this cue accompanies Gandalf’s journey through the boundaries of time and thought and subsequent resurrection by Illuvatar as Gandalf the White. (The cue would end after Gandalf finishes saying: ‘… until my task was done.’) As the camera tracks into his eyes and through a Kubrickian stargate, deep strings and muscular brass surge, playing an ascending phrase followed by a v-motif while flutes, woodwinds and chimes play cycling arpeggios. The musical connotation of this sort of minimalist writing is of the natural processes and cycles of birth and rebirth. It is no coincidence that Philip Glass used the same chiming arpeggios to accompany scenes in the film Kundun where the Dalai Lama’s reincarnation is affirmed (see tracks 4, 6 and 18 of that sound track). To say the least, it’s an unreleased highlight. In this case, it’s also an unused highlight.

79h. Gandalf the Grey [0:24]* [02:00:42]

Continuing on from the previous cue, the first 13 seconds of this piece of music would have accompanied Gandalf’s remark: ‘Gandalf? Yes, that was what they used to call me.’ The music here is serious brass writing, with some the violins picking up towards the end as though building to Gandalf’s next line. The next 9 seconds of music, featuring a repeated ascending brass phrase over busy strings would have likely continued from Gandalf’s line ‘Gandalf the Grey… I am Gandalf the White, and I come back to you now, at the turn of the tide’, a section of the film which was rescored (see cue 80i below).

79i. Gandalf the White (fragment) [0:36]** [02:01:06]

After deciding that Gandalf’s story was best left unscored, Jackson appears to have indicated that Shore should start his cue from Gandalf’s line: ‘Gandalf the Grey… I am Gandalf the White.’ And so we have this piece of music, which featured in the theatrical version of the film from that very line. For the better part, the music can be heard in the album track ‘The White Rider’ from 0:40 to 1:14, with the first few seconds being unreleased. Note that unlike the preceding and following cues from the film, this cue was partially used in the film. I’ll make some more comments on this piece in my notes on the missing music from the film (in the next part).

79j. Faramir’s Dream [0:44]* [02:01:42]

The last unused cue is one of the most interesting and also the longest. A brief cue analysis may be insightful:

0:01 High end strings state a 5-note motif that ascends and descends, and sounds rather like the verse melody from Gollum’s Song. Meanwhile a choir intones wordlessly underneath.
0:09 The strings play a variation on the 5 note motif that ends on an ascending note.
0:25 Violas play a 5-note descending motif while the choir disappear momentarily.
0:30 Mixed choir enters more actively while the low end strings play a 6 note descending figure twice.

It’s obvious from listening to this piece that it cannot come from either the Merry and Pippin or the Aragorn/Legolas/Gimli sections of the film. The high end strings sound suspiciously like something that would have been used for a scene involving Gollum, and for a while I wondered if the piece was an early version of the ‘Gollum’s Song’ melody. The tragic viola statement at 0:25 is definitely the kind of thing we are used to hearing for a scene involving Smeagol succumbing to Gollum/Stinker – see for example cues 21 (‘Smeagol/Wraiths on Wings’), 35 (‘Gollum and Smeagol’) and 52 (‘Smeagol Betrayed’). The choir is very like a similar unreleased passage in the album track ‘The Taming of Smeagol’ (from 0:27 to 1:08), and also the instrumental/choral lead-in to ‘Gollum’s Song’. Lastly the deep string activity heard towards the end is the kind of dark writing Shore used particularly to good effect in the Ithilien section of the story – see for example cues 34 (‘Ithilien’), 36 (‘Rangers of Ithilien’) and 48 (‘Henneth Annun’).

My bet was that it was a Gollum piece. Rene thought it was likely to be associated with Henneth Annun. And here my LA acquaintance (a composer actually) turned out to be a helpful source again – the music he said came from the scene where Faramir recalled his vision of Boromir’s boat floating down the Anduin. That extended edition sequence was ultimately unscored – replaced by atmospheric sound effects that probably communicated the dreamlike quality of the vision slightly better than the music. Then to my surprise I discovered that part of the cue actually remained in the film. The final section of the cue, where the low strings play a 6-note descending figure twice, is faded in over the image of Faramir holding his brother’s horn, and marks the beginning of the brief 21 second cue ‘Brother of Boromir’. Suddenly the brevity of that cue makes sense – it is only the last third of a longer cue of about57 seconds length. This is what we might have heard had Faramir’s dream not been replaced with sound effects:

00:29:57 As we dissolve from Faramir sitting alone at Amon Hen to the medium shot of him standing by the side of the River Anduin, high end strings state a 5-note motif that ascends and descends, and sounds rather like the verse melody from Gollum’s Song. Meanwhile a choir intones wordlessly underneath.
00:30:06 The strings play a variation on the 5 note motif that ends on an ascending note as we see Faramir moving out in the water, and the body lying within the boat comes into full view.
00:30:22 Violas play a sorrowful 5-note descending motif while the choir disappear momentarily as we see Faramir’s shocked reaction to finding his brother’s body.
00:30:27 Mixed choir enters more actively while the low end strings play a 6 note descending figure as the image of Faramir standing beside the boat dissolves to white…
00:30:30 Halfway through the 6 note descending figure (on the fourth note), we see a shot of Faramir sitting and thinking about his brother. At this exact moment the music is faded in to the extended edition. The six-note descending figure is then heard again in the low strings, followed by…
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’…
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.

Hopefully when the film’s score receives a more extended release we will hear this cue in full. When you hear music like this, you start to wonder what other cues were replaced with sound effects, especially in the scenes involving the synthesized Ring siren, which appears frequently when the Ring is revealed in this film.

79k. Hope Returns [1:22] [02:02:26]

Lastly, to end the extended edition end credits on a triumphant note, we have the cue ‘Hope Returns’ stated in full. This cue was heard in the film as Aragorn rode to Helm’s Deep with news of the coming Uruk army. It is nice reworking of Aragorn’s theme as a fanfare. It can be heard on the album in the cue ‘Breath of Life’ from 3:58 to 5:07.

And that, dear readers, is nearly it.

_____________________________________________________

THE COMPLETE CUE LIST
_____________________________________________________

DISC ONE

1. Foundations of Stone [3:34]
2. Main Title [0:34]* #
3. Elven Rope [0:28]* #
4. Lost in Emyn Muil [1:01]*
5. Lembas [1:21]** #
6. Capturing Gollum [1:55] **
7. The Taming of Smeagol [2:46] * #
8. TTT Overture [7:02]#,**
a. The Uruk-Hai [1:32] * #
b. The Three Hunters [2:02] **
c. Union of the Two Towers [2:30] ** #
d. The Westfold Burns [0:58] *
9. The Fords of Isen [0:38] * #
10. Grima Wormtongue [2:05] * #
11. On the Trail of the Uruks [0:55] *
12. In the Company of Uruks [2:39] *#
a. Dinner Debate [1:41] * #
b. Mordor Meat [0:58] * #
13. The Riders of Rohan [0:53]
14. The Business of an Elf, a Man and a Dwarf [0:27]*
15. The Pile of Carcasses [1:48]*
16. Grishnakh’s Timely End [4:17]*
17. Treebeard [0:56]
18. The Dead Marshes [0:50]** #
19. Little Candles [2:04]** #
20. Smeagol / Wraiths on Wings [1:54]**
21. Talking Trees [0:22]*
22. Olorin [1:35]**
23. Gandalf the White [1:44]* #
24. Shadowfax / The White Rider [0:56]**
25. Song of the Entwives [1:48]* #
26. Sauron Searches [6:24] **,#
a. The Heir of Numenor [1:30] *,#
b. The Black Gate is Closed [1:49]** #
c. Another Way [2:07]**
27. The Ent Draught / Old Man Willow [2:43] *
28. The Fellowship comes to Rohan [4:31] **
a. Edoras [1:06] **
b. Bitter Watches of the Night [3:25] **
29. Rohan Revival [7:22] **,#
a. King of the Golden Hall [2:00] *
b. The White Wizards [1:01] **
c. Theoden King / Theodred’s Funeral [4:21] ** #
30. Symbelmine [1:28]
31. The King’s Decision [1:38] **
32. Rohan Retreat [5:41] * #
a. Brego [1:22] * #
b. The Ring of Barahir [1:26] * #
c. We Shall Return [0:28] * #
d. A Daughter of Kings [1:20] *
e. Exodus from Edoras [1:05] *
33. Ithilien [0:56]*
34. Gollum and Smeagol [1:00]*
35. The Rangers of Ithilien [3:29]** #

DISC TWO (cue 36 actually continues for 3 seconds into disc 2)

36. Eowyn’s Smile [1:39]* #
37. A Dunedain Ranger / Evenstar [3:57]** #
38. A Gift [1:10]*
39. The Wolves of Isengard [2:32]**
40. Warg Battle [1:35]*
41. Helm’s Deep [3:05]** #
42. The Missing [0:23]**
43. Isengard Unleashed [0:47]*
44. Breath of Life [1:48]
45. Arwen’s Fate [1:25]**
46. Second Prophecy [3:27]
a. The Leavetaking [1:10]
b. Galadriel’s Prophecy [2:17]
47. Henneth Annun [0:53] **
48. Brother of Boromir (aka Faramir’s Dream) [0:21] * #
49. Sons of Denethor [3:43] * #
50. The Forbidden Pool [2:40] **
51. Smeagol Betrayed [0:44]
52. Faramir’s Test [0:49] **
53. Hope Returns [1:22] **
54. The Evenstar Restored [0:36] *
55. Preparations for Battle [1:15] *
56. Theoden’s Desperation [1:00] *
57. Entmoot [0:50]
58. Valour without Renown [2:16] * #
59. The Horse and the Rider [1:05] **
60. Son of Hama [0:18] **
61. The Fellowship Arms [1:05] **
62. The Last Alliance – One Final Show! [0:59] *
63. Hornburg Haka [1:30] ** #
64. The Whites of Their Eyes [2:52] **
65. Fire Undoes Stone [1:10] *
66. The Deeping Wall Breaks [1:41] *
67. Part of this World / The Eldar Retreat [1:54] *
68. Lament for the Eldar [1:13] **
69. Defending the Keep [1:42] **
70. The Hornburg Breached [1:17] **
71. Travelling South / Osgiliath Burns [2:01] *
72. A Wizard Should Know Better [0:07] *
73. Last March of the Ents [1:30] **
74. The Nazgul Cometh [0:53] *
75. Ride out with Me [1:53] *
76. The Turning of the Tide [4:24] **
a. Forth Eorlingas [1:57] **
b. Stone Breaks, Ground Shakes [2:20] **
c. The Nazgul Goeth [1:07] *
77. Finale [11:29] ** #
a. The Tales that Really Mattered [2:49] **
b. Wrath of the Huorns / Final Count [1:18] #,*
c. Flotsam and Jetsam [2:11] #,*
d. The Good Will of All Men [2:23] #,*
e. The Battle for Middle Earth Begins [0:31] *
f. Samwise the Brave / Gollum Wins [2:17] **
78. End Credits [9:04]**
a. Gollum’s Song [3:44]
b. Eowyn’s Theme [0:19]*
c. Seduction of the Ring [0:29]
d. Olorin (incl. ‘The Fight’ and ‘The Call’)[0:58]
e. Gilraen Theme [0:27]*
f. Rivendell Theme (‘The Leavetaking’) [0:40]
g. Evenstar Theme (for cor anglais) [0:30]*
h. Aragorn’s Theme (flute variation) [0:32]
i. Rohan Theme / Finale [1:25]
79. Extended Edition End Credits [11:23]**
a. The Uruk-Hai [2:46]
b. Forth Eorlingas (without soprano solo) [1:59]**
c. Treebeard [1:44]
d. Grishnakh’s Timely End (part one) [0:39]*
e. A Balrog of Morgoth [0:24]*
f. Darkness Took Me [0:21]*
g. I Strayed out of Time and Thought [0:25]*
h. Gandalf the Grey [0:24]*
i. Gandalf the White (excerpt) [0:36]**
j. Faramir’s Dream [0:44]*
k. Hope Returns [1:22]

Total length of score as heard in the film [02:57:34]
Total Unreleased Music [01:44:57]
Total Released Music [01:12:37]

In other words, those of you who are hankering for expanded score releases from these films have a great deal of music to be looking forward to. Nearly three hours of music! And one-and-three-quarter hours of that is previously unreleased! Let me tell you, the unreleased stuff is great.

Well, that’s just about it dear readers for the film. The cue list has a bit more to say for itself, but the main endeavour is over. Hope you’ve enjoyed it… I certainly have. As always, I can be contacted here at:
m.mclennan@econ.usyd.edu.au

I leave you with more…

____________________________________________________________

SPURIOUS PROMISES!!!!!
____________________________________________________________

COMING SOON!!!! PART EIGHT: THE END OF THE AFFAIR!!! FRANZ DISCUSSES UNUSED MUSIC FROM TTT ALBUM AND WHERE IT FITS!!!! FRANZ OFFERS HIS OWN LIST OF THEMES IN THIS FILM!!!! FRANZ TESTS THE BOUNDS OF SPECULATION BY DESCRIBING THE UNWRITTEN MUSIC FOR SCENES OF THE FILM THAT DID NOT EVEN MAKE IT INTO THE EXTENDED EDITION AND (IN SOME CASES) WEREN’T EVEN FILMED!!!!

COMING SOONER!!!! FRANZ ANALYSES THE FINAL SECTION OF FOTR:EE, FROM LORIEN TO AMON HEN AND BEYOND!!!!

COMING SOONER STILL!!!! FRANZ ANSWERS THE FAQ OF THE WHOLE CUE LIST DEBACLE!!!! (What? Feel free to email me any questions you might have.)

[Message edited by franz_conrad on 03-21-2004]

Added some corrections.

[Message edited by franz_conrad on 03-22-2004]

quote:

---

Originally posted by dante:
Jeez, that must have been a LOOOOOOT of work (how many times can you sit through Return of the King?)

---

This cuelist should give you an indication of the Extended Edition add-ons for TTT - referencing the two DVD discs:

# = music composed for the Extended Edition
* = unreleased cue.
** = partially unreleased cue.

DISC ONE

1. Foundations of Stone [3:34]

2. Main Title [0:34]* #

3. Elven Rope [0:28]* #

4. Lost in Emyn Muil [1:01]*

5. Lembas [1:21]** #

6. Capturing Gollum [1:55] **

7. The Taming of Smeagol [2:46] * #

8. TTT Overture [7:02]#,**
a. The Uruk-Hai [1:32] * #
b. The Three Hunters [2:02] **
c. Union of the Two Towers [2:30] ** #
d. The Westfold Burns [0:58] *

9. The Fords of Isen [0:38] * #

10. Grima Wormtongue [2:05] * #

11. On the Trail of the Uruks [0:55] *

12. In the Company of Uruks [2:39] *#
a. Dinner Debate [1:41] * #
b. Mordor Meat [0:58] * #

13. The Riders of Rohan [0:53]

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

15. The Pile of Carcasses [1:48]*

16. Grishnakh’s Timely End [4:17]*

17. Treebeard [0:56]

18. The Dead Marshes [0:50]** #

19. Little Candles [2:04]** #

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

21. Talking Trees [0:22]*

22. Olorin [1:35]**

23. Gandalf the White [1:44]* #

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

25. Song of the Entwives [1:48]* #

26. Sauron Searches [6:24] **,#
a. The Heir of Numenor [1:30] *,#
b. The Black Gate is Closed [1:49]** #
c. Another Way [2:07]**

27. The Ent Draught / Old Man Willow [2:43] *

28. The Fellowship comes to Rohan [4:31] **
a. Edoras [1:06] **
b. Bitter Watches of the Night [3:25] **

29. Rohan Revival [7:22] **,#
a. King of the Golden Hall [2:00] *
b. The White Wizards [1:01] **
c. Theoden King / Theodred’s Funeral [4:21] ** #

30. Symbelmine [1:28]

31. The King’s Decision [1:38] **

32. Rohan Retreat [5:41] * #
a. Brego [1:22] * #
b. The Ring of Barahir [1:26] * #
c. We Shall Return [0:28] * #
d. A Daughter of Kings [1:20] *
e. Exodus from Edoras [1:05] *

33. Ithilien [0:56]*

34. Gollum and Smeagol [1:00]*

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

DISC TWO (cue 36 actually continues for 3 seconds into disc 2)

36. Eowyn’s Smile [1:39]* #

37. A Dunedain Ranger / Evenstar [3:57]** #

38. A Gift [1:10]*

39. The Wolves of Isengard [2:32]**

40. Warg Battle [1:35]*

41. Helm’s Deep [3:05]** #

42. The Missing [0:23]**

43. Isengard Unleashed [0:47]*

44. Breath of Life [1:48]

45. Arwen’s Fate [1:25]**

46. Second Prophecy [3:27]
a. The Leavetaking [1:10]
b. Galadriel’s Prophecy [2:17]

47. Henneth Annun [0:53] **

48. Brother of Boromir (aka Faramir’s Dream) [0:21] * #

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

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

51. Smeagol Betrayed [0:44]

52. Faramir’s Test [0:49] **

53. Hope Returns [1:22] **

54. The Evenstar Restored [0:36] *

55. Preparations for Battle [1:15] *

56. Theoden’s Desperation [1:00] *

57. Entmoot [0:50]

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

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

60. Son of Hama [0:18] **

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

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

63. Hornburg Haka [1:30] ** #

64. The Whites of Their Eyes [2:52] **

65. Fire Undoes Stone [1:10] *

66. The Deeping Wall Breaks [1:41] *

67. Part of this World / The Eldar Retreat [1:54] *

68. Lament for the Eldar [1:13] **

69. Defending the Keep [1:42] **

70. The Hornburg Breached [1:17] **

71. Travelling South / Osgiliath Burns [2:01] *

72. A Wizard Should Know Better [0:07] *

73. Last March of the Ents [1:30] **

74. The Nazgul Cometh [0:53] *

75. Ride out with Me [1:53] *

76. The Turning of the Tide [4:24] **
a. Forth Eorlingas [1:57] **
b. Stone Breaks, Ground Shakes [2:20] **
c. The Nazgul Goeth [1:07] *

77. Finale [11:29] ** #
a. The Tales that Really Mattered [2:49] **
b. Wrath of the Huorns / Final Count [1:18] #,*
c. Flotsam and Jetsam [2:11] #,*
d. The Good Will of All Men [2:23] #,*
e. The Battle for Middle Earth Begins [0:31] *
f. Samwise the Brave / Gollum Wins [2:17] **

78. End Credits [9:04]**
a. Gollum’s Song [3:44]
b. Eowyn’s Theme [0:19]*
c. Seduction of the Ring [0:29]
d. Olorin (incl. ‘The Fight’ and ‘The Call’)[0:58]
e. Gilraen Theme [0:27]*
f. Rivendell Theme (‘The Leavetaking’) [0:40]
g. Evenstar Theme (for cor anglais) [0:30]*
h. Aragorn’s Theme (flute variation) [0:32]
i. Rohan Theme / Finale [1:25]