This is a breakdown of all the music found on the soundtrack CD - what we hear, and where we hear it on screen. I'm not musically trained, so my descriptions of what is being played are very amateur, but I'm just describing the piece. I'm not even sure I got all the themes right, but I got some help from Wikipedia and previous threads here. With regards to the new themes, it seems that Zimmer composed a big new theme divided into 3 parts, which isn't necessarily a love theme, but which at points works as such. Although it's a theme for the whole movie, I refer to it as the love theme to make things easier. The other new theme, the 'Hoist the Colours' theme, is more straightforward since it's a single melody, and it represents the pirate community.

Please feel free to suggest any alterations or add things I might have missed out.

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Track 1: Hoist the Colours (1:31)
A streamlined version of the musical bits from the prologue sequence.

0:00
Swelling of drums, made to sound like the tide, with a distant bell-chime heard after the drum beat. This music starts off the film, with an unfocused hangman's noose appearing on screen, during the first swell, and the second swell being heard as we see the feet of slaves walking in shackles. This then repeats a number of times in the film as the prisoners are hanged and the details of the martial law are read out.

0:19
A solo boy's voice sings the first lines of 'Hoist the Colours', accompanied by the repeating swells of drums and the following bell-chimes. On screen we see the boy standing on the gallows read to drop, as he starts to sing, not accompanied by music.

0:55
A full choir picks up where the boy left off, singing the remainder of 'hoist the colours', with the drum swells continuing in the background. On screen we see a few voices start initially before the full crowd picks it up. In the track we hear the full choir from the start. The track ends as the hangman pulls the lever for the last time. In the film we cut to the scene of the falling piece of eight, which is not accompanied my music, and during which the main titles are shown.

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Track 2: Singapore (3:40)
Music from the Singapore sequence, as well as a later rendition of the Singapore theme, and music from a totally different scene where we first hear Jack’s theme in full

0:00
A Gong starts of the track, which is heard over the opening aerial shot of Singapore. The track then continues with typical eastern instrumentation playing a theme which represents Singapore and Sao Feng the pirate. The theme isn't heard immediately after the gong in the scene, but only once Elizabeth Swan steers her boat to the side of the canal and disembarks, before meeting some of Sao Feng's men.

1:00
Action music as Beckett's soldiers burst out from behind a partition in Sao Feng's bathhouse. Mercer (Beckett's 2nd in command) enters the scene at 1:30. There a substantial amount of action music from this scene not found on the CD, including the first orchestral version of the Pirates theme (Hoist the Colours).

1:53
The track jumps to another action piece which is heard when Beckett's soldiers forms two lines and fire in unison.

2:00
The track quiets down as we see Tea Dalma hiding in the shadows and deploying her music-box bomb.

2:08
Another rendition of the Singapore theme, which is not heard during this opening Singapore sequence, but much later during the scene on Feng's ship, when he has Swan in his chambers all done up in oriental dress, and he thinks she is Calypso.

2:44
Another music cue from a much later scene - a full-blown statement of the Jack Sparrow theme as the Black Pearl comes 'sailing' over the sand dunes in Davy's Locker, with Jack standing triumphantly on the topmost sail, as his old crew look in amazement.

3:23
The string-based, playful part of the Jack Sparrow theme is heard as the crabs carry the Black Pearl into the sea.

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Track 3: At Wit's End (8:05)
A beautiful suite of music from the trip to World’s end, as the crew try to get to wherever Jack Sparrow is

0:00
Soft strings and twinkling chimes start off the track as we see beautiful aerial shots of Sao Feng's ship sailing through arctic waters, and then we see the crew freezing on board. This is the first statement of the main theme of the film, which many refer to as the love theme, but which seems to be a theme for the whole film.

0:40
Ominous low strings are heard as Tea Dalma explains to the crew what fate has befallen Jack and what awaits at Davy Jones' locker.

1:31
The main theme is heard again as Will tries to make sense of the navigational charts, and asks Barbossa to interpret. The cue ends with a rumbling male choir.

2:04
A beautiful motif is sung by wordless female choir as the crew explain what the 'Green Flash' is.

3:10
Quick, ascending strings bring us to a wonderful, full-bodied statement of the second part of the main theme, which is personally my favourite theme from the whole trilogy. This is heard over more shots of the ship sailing between icebergs, as it enters a dark crevice.

3:54
After the climax of the theme, we heard muted percussion and chimes as the film cuts to a scene aboard Beckett's ship where he observes the wreckage of Jones' exploits through his spyglass.

4:07
The music-box theme is heard as Davy Jones sits at his organ below deck and wipes a tear away as he listens to his heart-shaped box (although no organ is heard on the CD). The music segues into a slightly later scene of Sao Feng's ship sailing across a starry ocean.

4:48
The first part of the love/main theme is heard accompanying the music-box music as Will and Elizabeth talk above deck.

5:18
Action music, based on Davy Jones' theme, from an earlier scene in the movie - the scene right after the Singapore sequence, where the Flying Dutchman surfaces and destroys two ships.

6:06
Action music as Will realises there's something dangerous up ahead, and he arouses the crew to prepare to steer the ship.

6:47
The camera zooms out to show us that the ship is fast approaching a waterfall. The action music then resumes as they try to steer the ship clear but it is eventually drawn over the edge, and the track ends as it falls into the foaming waters below.

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Track 4: Multiple Jacks (3:51)
Two pieces of quirky music from the Davy’s Locker sequence where we are introduced to a rather disturbed Jack

0:00
A springy, twangy motif, apparently played by a mouth harp, as we see a close-up of Jack's nose sniffing for a peanut, which he then tries to make a meal of.

0:38
Jack's theme, played in a very laid-back and weird fashion, as another Jack shoots the one who was about to eat the peanut, and we then see all the multiple Jacks scurrying around on deck performing different duties. At 1:41, Jack kills another Jack for tying a knot wrongly.

2:01
The cue ends with a fuller statement of Jack Sparrow's theme as he stands on the edge of the ship and swings down onto the sand below.

2:12
An electronic ambience piece which builds slowly and gains momentum. It starts when we see all the 'pebbles' lying on the ground, which then come to life as crabs. Then, realises that his ship is moving, as it is being carried along by the crabs. he sets off running after it at 3:37.

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Track 5: Up is Down (2:42)
A brilliant and fun track, which scores the scene where Jack realises what needs to be done in order to get out of Davy Jones' locker, and proceeds to get everyone to rock the ship. This track is heard in the film exactly as it is on the CD.

0:00
Jack realises what has to be done and starts running from side to side and getting others to follow suit.

0:59
A pounding, lively statement of the first part of the mian theme, as Barbossa realises what Jack is up to, and helps.

1:31
Pintel and Ragetti are seen tied upside-down to a mast as they await the capsizing of the ship

2:26
The ship turns upside down.

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Track 6: I See Dead People in Boats (7:09)
Chronologically, this track comes before track 5. It’s a suite of the music during Will and Elizabeth’s private moment below deck, and then the music from the scene where the dead bodies float or sail past the ship, as well as the scene (much later) when Elizabeth and co. escape from the Flying Dutchman.

0:00
A sombre statement of the first part of the love/main theme, heard once the crew is back on the Black Pearl, when Will goes below deck to confront Elizabeth about what she had done to Jack.

1:26
The love themes blends into this short ethereal piece which ends with a brief statement of the first few notes of the 'He's a Pirate' theme. I don't believe this is heard in the film – this segment only has eerie sound effects as Pintel and Ragetti first see the dead bodies floating by underwater.

1:45
Ominous, pounding cue as Tea Dalma explains how the dead bodies are a result of Davy Jones shirking his duties. The strings soar briefly at the 2:10 mark as she tells how he could come ashore every 10 years.

2:50
The boats carrying dead people come into view. Female wordless choir comes in as the crew all watch the boats go by. At 3:44 it dawns on Elizabeth that her father has kicked the bucket, and the music then builds to a heart-wrenching climax as she frantically tries to somehow help him aboard before realising it's all futile, and the crew restrain her from leaving the ship.

5:00
The cue mixes into a later piece of action music, which scores the scene where Norrington releases the prisoners from the hold and helps them escape from the Dutchman.

5:23
A brief interlude of strings as Bootstrap discovers the empty hold, before the scene cuts back to the action on deck.

5:51
The action piece features a low, rumbling version of the 2nd part of the love theme, heard in the background as Bootstrap startles Norrington and Elizabeth. The strings come to the fore at 6:06 as Norrington kisses Elizabeth goodbye before she leaves the ship.

6:20
The music builds as the escape is compromised and Norrington has to sever the escape rope, before he is killed by bootstrap. The track then ends with a brief organ note which fades out. This coincides with Jones arriving on the scene, however the scene continues in the film with some unremarkable underscore.

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Track 7: The Brethren Court (2:21)
A mix of two sequences of music, in reverse order, from the brethren court scene.

0:00
An eerie soundscape opens the track as Captain Teague (Keith Richards!) arrives on the scene with a bang (literally). We then hear the 'He's a Pirate' theme as he walks over to the discussion table.

0:32
A choral, sombre rendition of the Pirates theme as the pirate code is carried over and set down, and Teague summons the dog with the keys to open it up.

1:14
A playful, plucked-string version of the Pirate theme, from a slightly earlier scene when all the pirate lords put their 'pieces of eight' on the table for the brethren court to begin. The cue ends as Elizabeth appears and announces that Sao Feng is dead.

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Track 8: Parlay (2:10)
A brilliant track. Zimmer makes yet another of his nods to the great Morricone, with a track that pays homage to 'Man with a Harmonica' from Morricone's ‘Once Upon a Time in the West’. The music perfectly complements the scene, which is even staged and shot as an homage to those Sergio Leone spaghetti westerns, full of stand-offs in the sand with close-ups and mean looks.

0:00
The tension starts to build as the Pirate armada is assembled and emerges from the fog.

0:25
The enemy is seen in the distance, and the pirates raise their weapons in defiance. A male choir then joins as the pirates slowly start to realise the enormity of their opposition, and lower their weapons. They then all turn to Jack for advice, who sheepishly suggests 'Parlay?'

1:02
The electric guitar kicks in, as the camera cuts to a great shot travelling over the water as we zoom in to the tiny sand-dune island on which the pirates and enemy have decided to meet. The electric guitar plays the first part of the love theme, accompanied by the wailing in the background, just like in Morricone's track. The music scores the close-ups of all the characters as they slowly walk across the tiny island to meet their adversaries for the parlay. The way the scene works is hard to describe - it has to be seen. The music ends as they meet and start talking.

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Track 9: Calypso (3:03)
A short, chronologically consistent track which scores the attempt at releasing Calypso.

0:00
Another eerie start to a track, as pieces of eight are all placed in a dish so that Calypso may be released. The track then jumps forward to string piece which scores a scene a few seconds later as Ragetti points out that the words weren't spoken correctly, and proceeds to whisper them to Tea Dalma.

0:24
Ethereal voices and rising strings are heard as the dish catches fire and levitates, and Calypso inhales the fumes.

0:47
A short, sad string piece with male choir which scores Calypso being told by Will that Davy Jones had betrayed her. The track then slowly swells to epic proportions, as does Calypso.

1:37
Choral chanting joins the fray as the ropes holding her down start to snap free and she continues to grow.

2:03
As she stops growing, the track quietens down as Barbossa calls out to her, and we hear a solo female vocal as he begs for her favour, and she then replies, before having a breakdown (which is mostly scored with sound effects). The wordless vocal returns shortly after as the crew realise that a storm is brewing, courtesy of the late Calypso.

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Track 10: What Shall We Die For? (2:03)
A brief track, heard in its entirety during Elizabeth’s rousing speech, and the flag-raising that follows.

0:00
Pounding percussion gives way to a slow, solemn statement of the Pirate theme, with low wordless choir, as Elizabeth discusses options on deck with Barbossa, and asks what shall they die for. The theme slowly builds in intensity and speed as Elizabeth gets all worked up, and climbs onto the railing to give an impromptu speech to the crew. The crew then all join in her shout of 'Hoist the Colours' (1:13), and the other pirate ships take up the call and raise their individual flags. The lyrics (as in Track 1) are then sung by a full choir, however, if I'm not mistaken only the last line is heard clearly in the film.

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Track 11: I Don't Think Now is the Best Time (10:46)
A mammoth of an action piece that is a suite of cues scoring segments of the final battle.

0:00
The first part of the track is actually from the last part of the battle. The tense music that starts it off, which is similar to what was heard as Elizabeth was escaping from the Flying Dutchman, is heard as Jack returns to the Black Pearl, and him and Barbossa argue over what course of action is needed. Meanwhile, aboard the Endeavour, Beckett watches through his spyglass.

0:47
The Endeavour's cannons are put into position.

1:00
More frantic strings as the Endeavour heads towards the Black Pearl, ready to attack.

1:12
A heroic burst of the Flying Dutchman theme is heard as it emerges from underwater.

1:30
Aerial shot as the 3 ships approach each other in a 'Mercedes sign' formation

1:37
The track quiets down slightly, although the hurried baseline continues, as the Dutchman crew walk across the deck, realising they have regained their human form.

1:57
Bootstrap looks up to see Will has taken command as captain of the ship, sporting a lovely scar on his chest. We hear a bold, heroic theme with full choir as he yells out his first orders, and the crew of the Black Pearl see him and take heart.

2:13
The 2 pirate ships turn to head for the Endeavour.

2:24
Punctuated brass (is it?) as the ships close in to sandwich the Endeavour, and Beckett suddenly realises he's been screwed. Jack Sparrow gives the order to fire, which is echoed around the 2 ships by all the main cast.

2:53
Pause for effect, as the cannons let rip, and then great piece scores the destruction of the Endeavour as the cannons rip it apart. Full orchestra and choir add great pathos to the scene as Beckett is dumbfounded, and the crew eventually tries to abandon ship.

4:06
One of my favourite scenes - Beckett slowly walks down the steps onto the deck, still unable to believe what is happening, and all around the ship is being blown apart and debris is flying everywhere in slow-motion.

4:34
Beckett, and his ship, go up in smoke. The action music stops, and a solemn choir remains, as the ship blows up, and we see a great shot of a member of the crew fall into the sea, onto a flag of the East India Trading company, as seen from underwater.

4:57
The cue ends, and another one starts. This one is from an earlier part of the battle. It starts as Davy Jones has just killed Mercer, and got his key back, and we then hear an urgent-sounding statement of Sparrow's theme, which builds into an action piece as he emerges onto the deck of the Dutchman, and bumps into Jones (5:10). Confronted by Jones and his crew, he still manages to swing up onto a sail.

5:39
Jack lands on the sail, and we hear the great action piece that was used during the 'Wheel of Fortune' sequence in the previous film, as Jack bumps into Jones again on the sail, and is challenged to a duel.

5:56
A great, muscular choral statement of the pirate theme as Jack and Jones duel on the sail, and the Black Pearl engages the Dutchman in cannon combat as they circle in the maelstrom.

6:17
The crews swing across to each other’s ships, and engage each other in hand-to-hand combat.

6:44
Another highlight of the film and score starts here. This is brilliant stuff. A subtle change in tone is noted in the action music just as, amidst all the fighting on deck, Will calls out to Elizabeth. The first part of the love theme is then interwoven into the action music as Will asks her to marry him (hence the title of the track, which is her understandable response). What follows is a very cleverly executed scene where the swordplay is punctuated with snippets of dialogue between the two as he proposes, explains why, and they are eventually wed by Captain Barbossa (who is also busy fighting).

7:21
Barbossa enters the picture as Elizabeth asks him to marry them, so the 'He's a Pirate' theme (used here for Barbossa) is added to the mix.

7:47
Despite his busy schedule, Barbossa finds time to place his hand on his chest and perform the wedding ceremony, and then it's back to the love theme as they start to recite their vows.

8:11
One of the highlights of the CD - Elizabeth grabs Will's hand and finds a moment to recite her part of the wedding vows, but before he has time to answer they are called back into action and he twirls her round for them to fight, and Zimmer gives us a great arpeggio (is it?), probably as a nod to all the swashbuckling pirate scores of previous decades.

8:34
Back from the love theme to Barbossa's theme, as he pronounces them man and wife.

9:00
The newlyweds finally find a moment to kiss, and their world stops for a few moments as the camera circles around them, and all hell continues to break loose in the background, as Pintel, Ragetti and Jack the monkey watch. The action music makes way for a lush statement of the 3rd part of the love theme.

9:23
Elsewhere, the battle continues.

9:42
The action cuts back to the duel between Jack and Jones up on the sail.

9:53
After a lengthy missing chunk of action music, the track here cuts to a later cue, heard when Jones and Jack are running after each other on deck, and Jones tries to 'frighten' Jack by shouting in his face and making all his tentacles splay out. The 2 soldiers who are abandoning Beckett's army are then seen swinging across into the Black Pearl.

10:13
Elizabeth contemplates swinging across to the Dutchman, and Jones and Jack resume their duel on deck, this time using wooden beams instead of swords. The track then quiets down and ends as Will manages to win his duel with Bootstrap and hold him at sword point, and Jones approaches a knocked-out Elizabeth as she lies on the deck.

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Track 12: One Day (4:02)
The first half of this track is the music from the celebration after the defeat of the East India Trading Company, whilst the 2nd half scores the brief island encounter between Will and Elizabeth.

0:00
Slowly building strings as new layers of instrumentation are added, as the crew slowly realise that their enemies are turning back after the sinking of their leading ship.

0:38
A triumphant statement of the 'He's a Pirate' theme as all the pirate ships are seen rejoicing together, and all the pirates throw their hats into the air, including Teague, and Sparrow (by proxy).

1:25
The cue comes to a thunderous close as a satisfied Jack Sparrow looks down on his celebrating crew, and the scene ends with an aerial view of the two main ships sailing side by side.

1:31
The track then cuts to a later cue. The first part of the love theme is played on horns, accompanied by deep male choir, as Will and Elizabeth get dressed after their island tryst.

2:13
Warm strings come in, still playing the love theme, and accompanied by choir, as he realises that it's nearly sunset.

2:36
The great 2nd part of the love theme joins the mix, played on high strings, as the cue continues to build, as he hands over the chest and heart to her.

3:10
The 3rd part of the love theme (if you could call it that) is heard as she runs down to kiss him goodbye, and he then sails off into the 'green light'.

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Track 13: Drink Up Me Hearties (4:32)
The final scenes, and the beginning of the end credits. This track is heard in the film as it is on CD.

0:00
A laid-back, playful statement of the 'He's a Pirate' theme, as Barbossa finds a hole in his charts and realises that Sparrow has stolen the centre. We the cut to Sparrow is his tiny boat, as he sets sail, and sits down to have a look at the charts.

0:19
The charts fall into place and Jack sees where to find the fountain of youth (Cuba apparently).

0:49
A quiet statement of Jack Sparrow's theme as his compass points to his rum, and then to where he's heading.

1:02
A full-blown statement of Jack's theme as he says 'Drink up me hearties, yo-ho!', and we cut to an aerial scene of Jack's boat sailing into the sunset.

1:16
'He's a Pirate', as the end credits start, just as in the other 2 films. The end credits suite then continues with a great statement of the love theme (Part 1 at 2:18, Part 2 at 3:02, Part 3 at 3:24, Part 2 again at 3:51)

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Some missing cues:

The action music from the bathhouse, as detailed above.
The bold statement of the Pirate theme which is heard as the crew first set eyes on shipwreck cove.
The ethnic, gladiator-like music as Sparrow and Teague discuss life, and mum, after the Brethren court disbands.
The action music from the part of the final battle between the wedding and the 'fright' scene, plus all the action music during the final confrontation with Jones, and death scene. The music as the new captain is 'inaugurated', and the Dutchman goes underwater is great choral stuff.
The low-key music as Will and his father discuss Will's future and his duty to the ship, after the celebrations, and Elizabeth says her goodbyes.
The version of 'He's a pirate' that plays during the slapping sequence with Jack and the 2 women on the pier.

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Some of you might be asking – why this score? Well I know there are loads of recent releases to choose from, but I found this to be definitely the most entertaining score of the year so far, and since it’s the climax of a trilogy there’s loads of themes and motifs to cover, and I think Zimmer did an excellent job of piecing it all together. I enjoyed the film too, and after watching it a few times, and hearing the CD constantly for a couple of weeks, I thought I’d put this together.

[Message edited by Camillu on 09-22-2007]

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Originally posted by nuts_score:
I still have a fond affection for this film; certainly not the best of the year (*cough, cough Eastern Promises*) but I had an absolute blast seeing this one a few times at the cinema. I still listen to the entire score regularly (great on the drive to work).

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Originally posted by sean:

You saw At World's End several times!? That's crazy! The movie sucks like all the rest of the Pirates films. Didn't you recant on that insane stance that Dead Man's Chest is as good a film as The Empire Strikes Back? Dude, Transformers sucks too, but it was better than this.

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Whoa, you're misquoting me on my Empire vs. DMC, Sean-o! I never said that Pirates 2 was better than Empire and I'll never say anything as drunken as that; I simply stated that the Pirates franchise is a nice substitute for the absense of the SW series and DMC draws many parallel's to Empire.

Get a hold o f yourself man!

That's absurd. The Pirates film are not a good "substitute" for the original Star Wars trilogy and I don't see any good connection between Dead Man's Chest and Empire: Where's the action scene that's comparable to the "Battle In The Snow," to the "Asteroid Field," to the "Clash Of Lightsabres / Losing A Hand / Rescue From Cloud City"? Where are the memorable scenes like "Yoda And The Force"? Where is the memorable bad guy, like Boba Fett, who hardly says a word the entire film yet casts a large shadow over much of the picture? Anyway, my point is that none of these wicked aspects/parallels that are GREAT about The Empire Strikes Back exist within Dead Man's Chest or any of the Pirates films. "The Kraken" music in DMC is the ONLY good thing to come out of that one and Zimmer's album for At World's End is the only good thing to come out of that film, other than that there's nothing worth writing home about.

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Originally posted by Camillu:
Maybe he's referring to the 3 main characters and their pseudo love triangle

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Originally posted by sean:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Camillu:
[b]Maybe he's referring to the 3 main characters and their pseudo love triangle<HR size=1></BLOCKQUOTE>

If that's the case, and I doubt it is, than compare it to stupid Brokeback Mountain where The Joker and Princess Diaries both want Donnie Darko. [/B]

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How dare you mention Brokeback Mountain when we're talkin Pirates and Star Wars!!! Brokeback Mountain wishes it could be as good as those films!!! And wishes it could be as good Transformers too I might add! I am so glad I didn't see that in theaters, I would've just sat there like "... this? this is what is so great? ... I can only imagine that if this took place between a man and a woman how many people wouldn't like this movie." And don't even get me started on the random guitar pluck score! I hope John Williams crushes that "composers" face!

In short I didn't like Brokeback Mountain or its score. I didn't understand what was unique about it at all or why everyone thought it was so great. But I did like Pirates of the Caribbean and Star Wars!

The Love Triangle
Weird Magic-like character in the swamp
Old Nemesis that turns up to help as a good guy (Lando v Barbossa)
And the movie ends on a cliffhanger with said old-nemesis getting ready to lead the search for Han...err Jack Sparrow

Let's be fair, beyond story "structure" similarities the only thing these movies share are being light-hearted popcorn affairs. Sorry, as much as I love Star Wars I will never regard them as more than they are...silly escapist romps.

Quill: That all sounds really ridiculous; it sounds more like people want to bridge "similarities" between the two movies without doing their homework where impact is concerned. It's stupidly thrown out there for comparison, but is not "well documented," that's just outrageous. I'm already calmed down and eased up, no need for work there, and just ask nuts, I don't take movies seriously.

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Originally posted by nuts_score:
The only thing that Sean takes seriously is BSG, Star Trek, Aussie women, and the occasional killer crocodile movie.

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nuts is serious as a heart attack here, and he's absolutely right. nuts, are you excited for a possible Dino Croc 2?

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Originally posted by sean:

nuts is serious as a heart attack here, and he's absolutely right. nuts, are you excited for a possible Dino Croc 2?

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Originally posted by nuts_score:
I'm actually more excited for a Dino Croc 3; when that happens, we'll finally have a trilogy worth praising.

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Amen, brother.