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Topic: ROTK: Complete Cue List
franz_conrad
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Yes, a complete cue list of ROTK. This time last week I went and saw ROTK for the first time since the day it came out. I went with the intention of preparing getting a sense of the unreleased music from the film, and it is this that I detail below. Because of the awkward circumstances under which I prepared it, be kind. The times are not always going to be right, and sometimes I really can't remember what it was I heard in the cue that began 1 hour, 45 minutes and 32 seconds into the film.If anyone is interested, here's link to the most recent part of my more extensive TTT:EE analysis ( Part Seven).
More importantly, here's a link to Camillu's epic post on the various places in the film that the album music for ROTK comes from. I really couldn't have done the following nearly as quickly after a single viewing of the film without Camillu's work here. Thanks Camillu!
Thanks also to many others, including all my friends over at Shore's Music for Middle Earth. I hope this explains my strange behavior over the last week to some extent.
__________________________________________________ROTK: Theatrical Edition, Complete Cue List
__________________________________________________- A Storm is Coming** [3:07]
a. How we wish to catch a fish [1:35]
Start time: 00:00:01.
Film action: The opening cue of the film accompanies the ‘Lord of the Rings’ title and the establishing of the scene on Gladden River where Deagol and Smeagol fish.
Released material: ROTK, 1, 0:01-1:37.
Music featured: History of the Ring theme in waltz time, variants of hobbit themes and orchestration, pastoral writing.
b. The Ring Claims a Master** [1:37]
Start time: 00:01:44.
Film action: As Deagol discovers the Ring and brings it to the surface this cue begins. He then examines it closely (Seduction of the Ring poem heard) the cue takes a dark turn as Smeagol comes into the picture. The cue ends just as their scuffle begins.
Released material: ROTK, 1, 1:38-2:00. Partially unreleased.
Music featured: History of the Ring theme, Seduction of the Ring (choral), threatening strings and brass.
Speculated Unused Cue. “Smeagol Kills Deagol” [0:49] – Note: I don’t include these speculated unused cues in the score of the film.
Start time: Probably 00:03:21.
Film action: Deagol and Smeagol struggle for the Ring. This is a guess, though the music is about the right length, and musically it follows well from the previous cue and also of the position Shore put this piece on the album.
Released material: ROTK, 1, 2:01-2:50.
Music feature: Seduction of the Ring in the strings, Evil of the Ring / Sauron theme in the brass, Descending Third motif.
- Main Title* [4:24]
a. Insomniac of the Shire* [0:19]
Start time: 00:06:00.
Film action: As Frodo awakes in Ithilien (and it is interesting that it is suggested that Frodo had this dream, not Smeagol), we hear the History of the Ring for strings.
Released material: Unreleased cue.
Music featured: History of the Ring theme for high strings.
b. The Journey Continues* [4:05]
Start time: 00:06:24.
Film action: The first major cue of the film accompanies the action from Sam and Frodo’s discussion of the lembas bread in Ithilien, through shots of their continuing journey towards Mordor (an earthquake briefly takes place), through images of Aragorn and company riding through the renovated Isengard. As the cue comes to its close, the ‘Return of the King’ title appears over a flooded Isengard, and Merry and Pippin comments on their deserved home comforts. I believe the cue ends right before Gimli’s immortal question: ‘Salted pork, eh?’
Released material: Unreleased cue.
Music featured: Understated horn and oboe music as Frodo and Sam talk about the lembas they have left. The Journey theme (#1) from FOTR returns for low brass and strings as Frodo, Sam and Gollum continue their walk through Ithilien (emphasis on low strings, not English horn). The Fellowship theme prelude is stated as we see Aragorn at Isengard, and the Gondor theme is given a lovely statement as the film’s main title appears. The last section of the major unreleased cue shifts to more light-hearted strings for the two hobbits.Likely Extended Edition Cue: For the film’s extended edition, numerous references have been about a seven minute sequence involving Saruman’s fate. In that sequence we are likely to see the following events: (i) Saruman speak haughtily of Aragorn and Theoden, appealing to the weaknesses of both; (ii) Gandalf breaking the spell of the voice of Saruman over all present; (iii) Saruman and Gandalf engaged in one last duel, ending with the breaking of Saruman’s staff by Gandalf; (iv) Wormtongue throw the Palantir down to hit Gandalf, thus angering Saruman; (v) Saruman being pushed off the balcony by Wormtongue, and being impaled on a rather prominent spike; (vi) Wormtongue being killed by Legolas’ speedy arrows; (vii) Gandalf speak a word of regret over the fall of Saruman. The last particularly may present occasion for a more pathos-filled statement of the Isengard brass theme. In terms of the music, throughout the sequence the Isengard theme is likely to be given several statements, in addition to the White Rider theme for Gandalf.
- The End of Saruman’s Power* [1:04]
Start time: 00:11:40.
Film action: The cue begins as Pippin sees the Palantir orb glowing beneath the waters that now surround Isengard. Gandalf takes it, and the next thing we see is Theoden and company riding back across the plains of Rohan towards Edoras, where Eowyn stands on a balcony in a white dress. The cue ends on the transition to the feast where Theoden gives a brief speech.
Released material: Unreleased cue.
Music featured: Rohan theme (for fiddle or hardanger fiddle), strings.
- Westu Aragorn Hal* [0:58]
Start time: 00:13:03.
Film action: Eowyn makes a toast to Aragorn, a gesture which she views as something of a courting move, though he tries to take it more diplomatically. Theoden tells her afterwards that Aragorn is a good man, and that the feast is for her.
Released material: Unreleased cue.
Music featured: Eowyn’s theme from TTT for gentle strings. Some warm fiddle material as she talks to Theoden that may be another motif for her (see the cue ‘The Hobbit Armed’ below.)I’ve ignored the source music where Merry and Pippin dance before the Rohirrim.
Likely Extended Edition Cue: For the scene that didn’t make it into the theatrical edition where Legolas and Gimli participate in a drinking game with the Rohirrim, Shore may have an opportunity to exercise his witty comedy writing skills in a film that doesn’t otherwise draw on them much. It may be more likely that the film-makers will use source music from Plan 9 or leave the scene unscored.
- Gollum’s Plot* [0:54]
Start time: 00:16:00.
Film action: Smeagol and Gollum debate in a mere in Ithilien how to turn the suspicions of the hobbits to their advantage. The cue ends as Smeagol starts to prattle on, and is well and truly over by the time he sees Sam’s reflection.
Released material: Unreleased cue.
Music featured: Gollum’s cymbalom motif returns, playing off against tense high end strings which suggest the Smeagol/Slinker theme. On the distinction between these two themes, see Shore’s comments.
- Stupid Fat Hobbit* [1:17]
Start time: 00:17:54.
Film action: Sam beats Gollum up for plotting the hobbits’ murder, while Smeagol shrieks for help and Frodo takes the wretch’s side. Smeagol uses the occasion to his advantage, and now really begins to subvert Frodo and Sam’s relationship. As the cue ends, Sam sees the murderous glint in Gollum’s eyes – the foolish wretch can’t help but tell the loser that he cheated.
Released material: Unreleased cue.
Music featured: Full orchestra music not unlike the ‘Capture of Gollum’ cue from TTT:EE. Tense brass, string writing. Gollum’s theme appears to place emphasis on his pitiful state. Some low string writing here too.
- Watchful Sleeper* [0:34]
Start time: 00:20:00.
Film action: As Pippin, searching for the Palantir, finds Gandalf’s eyes open, the cue begins. It ends soon after, when Pippin has switched the Palantir with a jug.
Released material: Unreleased cue.
Music featured: High strings – no thematic material that I can remember.
- Fool of a Took* [0:37]
Start time: 00:21:06.
Film action: Begins while Pippin is looking into the Palantir, after the shot of Legolas saying, ‘He is here!’ Accompanies Pippin’s subsequent interrogation at Sauron’s hands, and continues as Gandalf awakes and Aragorn takes the Palantir, having a moment of contact with Sauron himself. It concludes before Gandalf leans over the inert Pippin to question him.
Released material: Unreleased cue.
Music featured: The Sauron/Mordor/Evil of the Ring theme is used to represent Sauron’s presence. The theme is stated for brass with rhaita soloist. There is some interesting string writing towards the end as Aragorn takes the Palantir himself.
- A Fool, but an Honest Fool* [0:29]
Start time: 00:22:40.
Film action: Begins as Gandalf interrogates Pippin, and comes to its brief climax as Gandalf asks whether Pippin told Sauron anything about Frodo.
Released material: Unreleased cue.
Music featured: Some more action in the high strings – nothing memorably thematic here.
- Hope and Memory** [2:05]
a. Another Road* [0:28]
Start time: 00:24:22.
Film action: Gandalf steps aside with Aragorn during the council in the Hall of Meduseld to tell him that he must come to Minas Tirith by ‘another road’, a road that will bring him to the River and the Black Ships.
Released material: Unreleased cue.
Music featured: Can’t really remember this cue very well. Low brass mostly I think.
b. The Most Inquisitive Hobbit** [0:25]
Start time: 00:24:53.
Film action: As Gandalf takes Pippin to the stables of Edoras, he rails about the confounded nuisances that an inquisitive hobbit can bring.
Released material: ROTK, 2, 0:01-0:21. My timing here probably was flawed, which accounts for that extra four seconds.
Music featured: Violins play a busy passage, while double basses keep a pacy rhythm below. Towards the end, the violins play a v-motif, and there is some horn writing as well.
c. Show us the meaning of haste ** [1:12]
Start time: 00:25:32.
Film action: Begins as Pippin and Merry wonder if they will see each other again, continues as Gandalf and Pippin ride away on Shadowfax, and then as Merry runs up to the watch-tower (followed by Aragorn) to watch the two riding away. It ends on a shot of Gandalf riding over the plains with Pippin.
Released material: ROTK, 2, 0:22-0:38, 0:39-1:24. The first few seconds of this cue are unreleased, I think. I’m not entirely sure 1:20-1:24 actually appeared in the film.
Music featured: White Rider theme (Urgent variation see 2b and 2c here – heard in TTT album track ‘The Riders of Rohan’) for strings with percussion playing ¾ time (waltz time) below, Shire A theme for oboe, Fellowship theme prelude for French horn.
Speculated unused piece: This scene originally ended with a longer set of images of Gandalf and Pippin riding through Rohan.
Start time: Immediately on the end of cue 10c.
Film action: Additional shots of Gandalf and Pippin journeying through Rohan.
Released material: ROTK, 2, 1:25-1:44.
Music features: String variation of the Defiant White Rider theme (see 2a here, which would mark the only appearance of this version of the theme in the ROTK score. (The Defiant version is heard in the TTT album tracks ‘The White Rider’ and ‘Forth Eorlingas’.)
Likely Extended Edition cue: Promotional material for ROTK shows a shot of Frodo and Sam at the cross-roads in Ithilien beneath the defaced statue of Isilduir (or is it Earnur II?) – it’s head made into the semblance of the Witch King that now rules in Minas Morgul. Why the film-makers would shoot this scene in the first place I’m not sure – unless it is related to (i) Frodo’s reaction to seeing his tormentor, the Witch King; (ii) the growing tension between Sam and Frodo over Gollum. It is an important scene to be sure – the Witch King was too marginalised a presence in the theatrical edition, and this is a good place to introduce his influence in the story ahead. If it is a scene of any length, Shore would probably use the Descending Third motif or some low brass hints of the Ringwraith Revelation to underscore the scene. Either that, or he could use his low string journey motif from TTT (what I called the Ithilien motif in my TTT:EE notes).
- Twilight and Shadow [3:07]
The times for ‘Twilight and Shadow’ don’t quite add up to what we have on the album track. Clearly the film must have been edited in some slight ways, but I’ve had difficulty remembering exactly what I heard in these scenes. This is my best guess.
Speculated Unused piece:
Start time: 00:27:00
Film action: Arwen hears Elrond’s voice saying ‘Let her take the ship to the West…’ through to the moment when the child runs past the Elves (who are moving as slowly as they can along the ‘fastest road’).
Released material: ROTK, 8, 0:01-0:15
Music featured: Choral lead-in to cue 11a.
a. A Vision of Eldarion [1:08]
Start time: 00:27:15.
Film action: Begins as a child crosses the path of the Elves escorting Arwen to the Grey Havens. Ends as Arwen stares into the eyes of her son Eldarion.
Released material: ROTK, 8, 0:16-1:25.
Music featured: Though the music here bears some relationship to the Evenstar motif, it is better to think of it as a standalone piece. The poem Twilight and Shadow as sung by Renee Fleming appears here. Beautiful solo vocal with backing choir and light strings. The peak of Shore’s vocal writing for the trilogy.
b. The Gift of Foresight [0:21?]
Start time: 00:28:32.
Film action: Arwen rides back to Rivendell. Figwit decides to let the snails chase her.
Released material: ROTK, 8, 1:25-1:46??? Possibly parts of 1:46 to 2:03 were also there.
Music featured: Variation of the Evenstar motif for strings as we hear the Rivendell arpeggios beneath.
c. There is Still Hope [0:11?]
Start time: Unsure.
Film action: Arwen and Elrond talk about there still being hope.
Released material: ROTK, 8, 2:06-2:17.
Music featured: Brief clarinet solo over strings.
d. The Crownless Again Shall be King [0:17?]
Start time: Unsure.
Film action: Arwen goes to Elrond’s little war memorabilia museum to take up the shards of Narsil, and we briefly see a flashback to Isilduir cutting the Ring from Sauron’s hand. Arwen speaks the poem from Tolkien about ‘the crownless again shall be King’.
Released material: ROTK, 8, 2:18-2:35.
Music featured: The ‘Weakness of Men’ theme, a variation on the Rivendell theme, is heard. Nice horn resolution. On ‘Weakness of Men’, see also here.
e. The Grace of Undomiel Departs [0:49]
Start time: 00:29:08.
Film action: Arwen drops the book (presumably a copy of LOTR where she found the poem about Aragorn!), and Elrond picks it up. She tells him that there is now no ship for her, whether she wills it or not.
Released material: ROTK, 8, 2:36-3:25.
Music featured: Renee Fleming does a vocal reprise of the Evenstar motif, singing The Grace lyrics. The vocal ending is very nice indeed.
Likely Extended Edition cue: While it’s unlikely to occur here in the film, it is likely the extended edition will contain more scenes involving Arwen Evenstar and her choice to become a mortal. It’s hard to believe that the scriptwriters intended her to disappear for nearly 2.5 hours of the film, only to appear at Minas Tirith at the end.One scene known to be cut from the film depicts Arwen and Elrond clearly disagreeing in Rivendell. Arwen is standing on the bridge over the Bruinen where she and Aragorn met secretly in FOTR. Elrond is walking away from her in some state of distress saying, ‘You gave away your life’s grace. I cannot protect you.’ It is not known whether this scene was intended to take place before or after the forging of Anduril and Elrond’s delivery of the sword to Aragorn. If the scene is to be included in the extended edition, it is likely the shot from the ROTK trailer described above comes toward the end of the scene. It is possible that the scene begins with Arwen alone on the bridge – and perhaps we will see some flashback to her relationship with Aragorn.
The film may also depict something of her journey to Minas Tirith to be with Aragorn before the end, using footage from the unused sequences in The Two Towers where Arwen visited Lothlorien (including an unused scene where she looked in Galadriel’s mirror.)
In addition to this scene and the Rivendell, the TTT preview also included some shots of Aragorn and Arwen dancing in slow motion. Viggo Mortensen was clearly made to look more youthful for the scene, and it is likely that the footage was from a scene mentioned by Fran Walsh or Philippa Boyens in the TTT:EE commentary – a scene depicting Aragorn and Arwen’s meeting at Cerin Amroth in Lothlorien. If this footage is to be used at all, then it would have to appear somewhere in ROTK.
In addition to these scenes, there may be others still that appear in ROTK:EE that we’ve not yet heard of. Predicting what music is likely to appear for any scene involving Arwen is a hazardous bet. It is almost certain to involve vocalists – Arwen is continually associated with them. As for melodic material, the Evenstar motif is a possible candidate. In TTT:EE, Arwen was also associated with the Gilraen theme, a haunting vocal piece for alto vocal. There is also the melody of cue 11a – ‘A Vision of Eldarion’, a tune that Shore may choose to expand on. The ‘Breath of Life’ motif vocalised by Sheila Chandra in TTT:EE is yet another possible candidate for a return, though that piece was likely to be solely intended for that scene. And of course, there is ‘Arwen’s Theme’, which appears later in the ROTK score.
If I had my own wish about which Arwen theme we’d get to hear again, I might like to hear some development of the ‘Aniron – Theme for Arwen and Aragorn’ written by Enya and Shore for FOTR. The melody was very Enya-ish and non-Shore like, but it would give a nice sense of closure to hear it one last time – especially since Shore goes out of his way in this last score to bring in as many of his previous motifs (e.g. the Journey Theme #1, the Lothlorien theme, the Journey theme #2, etc.) as possible.
There is one piece of music that we are bound to hear, and that is ‘Arwen’s Song’, a song written by Shore and Walsh, and performed by Liv Tyler. Rumour had it that when it failed to appear in TTT:EE, Jackson might have saved it for use in ROTK. When it didn’t appear in ROTK, that left only one place where it might appear – ROTK:EE. I’m interested in hearing what this song sounds like, and what relationship it bears to existing thematic material.
- Gondor** [3:27]
I did not keep accurate time when part a segued into part b in this track, and the relative cue lengths are my best estimate.
a. Narsil Reforged ** [1:10?]
Start time: 00:30:27.
Film action: The cue begins as Elrond supervises the reforging of Narsil, continuing through the scenes of the reforging and ending as we cut to Gandalf riding into Gondor.
Released material: ROTK, 10, 0:20-1:20?, 1:43-1:55. I still have difficulty figuring which part of ‘Anduril’ came from this cue, and which part actually came from the later scene where Anduril is unsheathed by Elrond. It’s quite possible that the statement of the ‘History of Gondor’ theme is unreleased, but if it is from ROTK track 10, then it was heavily edited.
Music featured: Rivendell string arpeggios, the poem Anduril, the History of Gondor / Minas Tirith / Anduril theme. See also Minas Tirith theme.
b. Minas Tirith ** [1:39?]
Start time: 00:31:37?
Film action: Gandalf rides in the land of Gondor, comes within sight of the magnificent Sea King’s city, and rides up the seven levels of Minas Tirith, arriving in the Courtyard at the top as the cue ends.
Released material: ROTK, 3, 1:37-1:52 (definitely), 1:53-2:02 (possibly – though I think this comes from the later cue 21b), 2:35-3:33 (definitely). There is a lovely unreleased statement of the Gondor theme as this cue segues from the History of Gondor theme.
Music featured: Gondor theme, Aragorn’s theme, brass, brass and more brass.
c. The White Tree** [0:38]
Start time: 00:33:16.
Film action: As Gandalf and Pippin walk through the courtyard, and particularly past the shrivelled White Tree at it’s centre, we hear this cue. The cue ends before the two reach the steps to the Throne Room.
Released material: ROTK, 4, 0:01-0:19 (definitely), 0:20-0:29 (possibly). Some unreleased material here as well. ROTK, 4, 0:20-0:28 may also appear here, though I’m not sure I heard it.
Music featured: History of Gondor theme for solo horn, soft choral writing (what are the lyrics I wonder?), an ascending string motif (ROTK, 4, 0:20-0:28) that is repeated later in cues 13 and 18b.
- Boromir Remembered [0:31]
Start time: 00:34:44.
Film action: As Denethor reveals the cloven horn of Boromir, we hear this piece. Pippin remembers Boromir’s final moments.
Released material: ROTK, 4, 0:29-0:47 (definitely), 0:48-1:00 (possibly).
Music featured: Reprise of the music heard at Boromir’s Death in the FOTR album cue ‘Amon Hen’. It is likely the lyrics are the same as those recited in the cue for Boromir’s Death. The ascending string motif from cue 12 is heard here.
- Denethor, Steward of Gondor* [1:21]
Start time: 00:35:37.
Film action: Gandalf and Denethor engage in their first match of wills, and we get our first indication that this Denethor is more than a shade uglier than his novelistic counterpart. The cue climaxes with Gandalf’s remark about ‘The Return of the King’.
Released material: Unreleased cue.
Music featured: Busy brass and string writing, there may be the start of a Denethor theme here – will have to hear it in isolation before I can decide for sure.
- Minas Morgul* [0:54]
Start time: 00:39:48.
Film action: As Frodo, Sam and Gollum come to the Morgul vale, this brief cue begins, ending as Frodo starts walking out towards the gates of Minas Morgul.
Released material: Unreleased cue.
Music featured: Tense high strings, some woodwind work. No apparent themes here.
- The Morgul Host** [1:51]
Start time: 00:41:42.
Film action: After we have seen the reaction of Gandalf and Pippin to the lighting of the Morgul beacon, on the return shot to Frodo being pulled away from the gate by Sam and Gollum, this cue begins. It continues until after the Witch King has flown over the three.
Released material: ROTK, 6, 0:01-0:59, 1:00-1:04, 1:05-1:27. Partially unreleased – the build-up in the film version to the Morgul Host motif at ROTK, 6, 1:05 is a lot more deliberate, starting with a use of the 5/4 time in the strings that suggests the TTT:EE cue ‘The Union of the Two Towers’.
Music featured: Sauron/Evil of the Ring theme, Descending Thirds motif, 5/4 time in the deep strings as the Orc Army moves out of the gates, new variant of the Isengard brass melody that represents the Morgul Host is also heard for the first time here. The Morgul Host motif is later heard in cues 36b and 36d. The 5/4 time is also used later to represent the Morgul Host, even being played as source music.
- Pippin Ascends Mindoluin [0:23]
Start time: 00:43:57.
Film action: As Gandalf says he has a task that may suit a hobbit, this brief cue begins, and continues as we see Pippin beginning the climb up Mindoluin.
Released material: ROTK, 4, 1:08-1:31.
Music featured: Pizzicato strings, trilling flute, the ascending motif from cues 12c and 13 is given a lighter statement here, the cue climaxes with a brass statement that is faded out quickly. This piece was probably tracked over the scene from the later cue 18b.
Speculated unused piece [0:27] This brief piece would have originally accompanied the shots of Osgiliath at dawn, particularly the shot of the Anduin running through the centre of the city.
Start time: The cue likely started while Pippin climbed up Mindoluin, and was an alternative version of the latter part of cue 17. It was dispensed with probably because: (i) it was an early version of the music for the scene that no longer fit the final film edit; (ii) Jackson wanted silence for the shot of the river so that the rowing of the Orcs would be the first thing we heard.
Film action: Prelude to cue 18.
Released material: ROTK, 3, 0:01-0:27.
Music features: Sombre horn performance of the Gondor theme, tense high strings, some suggestion of the Weakness of Men motif in the low strings.
- Gondor’s Dire Need** [5:19]
a. The Orcs Cross Anduin** [2:11]
Start time: 00:44:27.
Film action: Covers the first skirmish between the Gondorians and the Morgul Host. The cue begins as
Released material: ROTK, 3, 0:28-0:53. This cue is mostly unreleased, and is the first of many battle pieces that were very inadequately represented on the original album release. There’s some great action writing using the Gondor theme here.
Music featured: Circling Melody theme (played upside down!), Gondor theme for brass, tense strings, brass.Note: Minas Tirith is west of Osgiliath, so it doesn’t entirely make sense why Minas Tirith would be in sunlight, while Osgiliath would still be in darkness.
b. The Lighting of the Beacons** [2:40]
Start time: 00:46:39.
Film action: Sort of the definitive musical moment of the film – it does for the Gondor theme what the cue for Theoden’s renewal did for the Rohan theme in TTT. The cue starts as Pippin arrives at the Beacon post. Pippin lights the fire, which leads to a domino effect of beacons being lit from Amon Din to … that mountain at the east edge of Rohan whose name I can’t remember, ending as Aragorn sees the beacon on the last mountain.
Released material: ROTK, 4, 1:08-3:22. The film version differs slightly from the album version (particularly in the big statement of the Gondor theme), and I suspect that there are a few unreleased seconds of material here as well.
Music featured: Gondor theme for brass, reprise of the light material from cue 17.
c. The Red Arrow* [0:26]
Start time: 00:49:24.
Film action: Aragorn runs into the Hall of Meduseld with news for Theoden that the beacons have been lit.
Released material: Unreleased cue.
Music featured: Brief brass flourish that doesn’t seem thematically related to the other music of the trilogy.
- Rohan Will Answer** [3:20]
I’m not sure of the relative length of parts a and b of this cue, so this is my best guess. My feeling is that the Rohan section was longer than the Osgiliath section.
a. The Muster of Rohan* [2:10?]
Start time: 00:49:54.
Film action: After a moment of silence in which Theoden says – ‘And Rohan will answer’, this vibrant cue begins. It continues as Theoden gives orders to Gamling, Eomer and the others. We see Aragorn preparing for the journey, he has a moment with Eowyn in which he notices the sword underneath her saddle. We then see Eomer utter the famous line, ‘oaths ye have taken, now fulfil them’, and the company rides in great splendour towards Dunharrow.
Released material: Unreleased cue. Unreleased highlight as well.
Music featured: The Rohan theme is taken through a vigorous militaristic rendition for brass as the preparations for battle go underway. Eowyn’s theme appears briefly in the scene between her and Aragorn, and there is a darker motif in this scene associated with her character as well – this dark string motif will appear again at Dunharrow. Most significant here is the brass rendition of the Nature theme as the Rohirrim ride to Dunharrow. It nicely complements the use of that theme at a critical moment in TTT.
Likely extended edition cue: There is a shot in the film of Theoden in his glistening armor standing on the ‘balcony’ in front of the Hall of Meduseld, watching the troops gather. In the trailer, he is seen standing in the same position with Merry kneeling before him, offering his sword. This is of course the moving subplot from the book that was pretty much removed from the film – where Merry, in search of adventure, offers his service to Theoden. In terms of scoring we are likely to hear a variation on the theme that Shore uses in this final film to depict the heroic actions of the hobbits – it appears later in this score in cues 38b, 59b and 59d. Since this scene would appear in the middle of cue 19a, that sequence would probably be rescored to suit the added scenes.
b. Osgiliath is Overrun** [1:10?]
Start time: 00:52:04?
Film action: Faramir and his captains fight to save Osgiliath, though it dawns on them that it is a battle already lost. Faramir’s life is saved by a volley of arrows. The Nazgul appear and wreak havoc on the Gondorian’s courage. Faramir calls a retreat.
Released material: ROTK, 3, 0:54-1:14, 1:15-1:37. This cue is partially unreleased.
Music featured: Bold statements of the Gondor theme, which is given a reprise for brass and later choir. The poem Osgiliath is sung here by the choir.
- The Siege Begins** [1:54]
This is another cue where I’m not sure how long each part of the cue is. Again, the times for the individual parts (though not for the whole cues
a. The Age of the Orc* [1:00?]
Start time: 00:53:22.
Film action: As Gothmog is introduced, driving his spear/club into the belly of Faramir’s lieutentant, this cue begins. It continues as he gives his speech about the beginning of the ‘age of the orc’.
Released material: Unreleased cue.
Music featured: The Circling Melody from cue 18a returns here for a more extended performance as the orcs pour into Osgiliath. It’s a lovely inversion of an old motif.
b. The Weary White Rider** [0:54?]
Start time: 00:54:22.
Film action: As the Nazgul assault Faramir’s troops on their return to Minas Tirith, this cue carries on from 20a, carrying over to Gandalf’s rescue of the riders and their entry into Minas Tirith.
Released material: ROTK, 3, 2:03-2:34. Partially unreleased.
Music featured: Ben Del Maestro’s performance of the Sindarin poem Mithrandir’s Song, a variation of the Urgent White Rider theme as Gandalf is seen riding out towards the Gondorians, some harsh brass/string textures as the Nazgul pick off the riders.
- Faramir meets Pippin / The Straight Stair * [1:43]
Start time: 00:55:39.
Film action: The cue begins as Faramir sees Pippin and talks with Gandalf about Frodo’s route through Cirith Ungol. As we see the scene of Frodo, Sam and Gollum ascending the Straight Stair above Minas Morgul, the cue continues. It ends after
Released material: Unreleased cue.
Music featured: Non-thematic music for the Faramir scene, History of the Ring theme is heard as Gollum sees the Ring around Frodo’s neck, as well as some suspenseful music as Gollum appears to be about to take the Ring for himself, only to offer the hand of friendship at the last second.
Suspected Unused Cue: [0:28] This brief piece would have originally accompanied the shot of Frodo, Sam and Gollum ascending the Straight Stair, also underscoring Frodo’s momentary slip.
Start time: See above.
Film action: Alternate to parts of cue 21.
Released material: ROTK, 6, 1:28-1:56.
Music features: The so-called Caradhras theme (aka Journey Theme #2) would have suited the image of the sheer slopes of the Mountains of Shadow around the climbers, the tension in the strings toward the end would have similarly suited Frodo’s slip from the ledge. The music definitely has a different feel from what was ultimately used.
- He will try to take it [0:30]
Start time: 00:57:41.
Film action: Gollum whispers into Frodo’s ear various belittlements of Sam’s character.
Released material: ROTK, 9, 0:01-0:30.
Music featured: History of the Ring theme for cor anglais (or possibly oboe), edgy strings underneath.
- I Will Break Him * [0:14]
Start time: 00:58:32.
Film action: Brief cue that is heard as the Witch King says of Gandalf – ‘I will break him’ to Gothmog. The cue carries over to the first couple of seconds of the next scene in the Throne Room of Minas Tirith.
Released material: Unreleased cue.
Music featured: I can’t remember the contents of this cue. More ominous music one imagines.
- Think Better of Me * [1:41]
Start time: 00:59:29.
Film action: The music begins some way into Faramir and Denethor’s conversation, possibly beginning on the line – ‘Would you rather I had died in Boromir’s stead.’ A heartbreaking scene – played to perfection by both Noble and Wenham. The cue continues until after Faramir has walked out saying, ‘Should I return, think better of me…’
Released material: Unreleased cue. An unreleased emotional highlight.
Music featured: First association in the trilogy of the pan flute with Faramir – it appears in this wrenching cue. This is also the first appearance of Faramir’s theme in ROTK.
- The Winding Stair * [0:48]
Start time: 01:01:52.
Film action: The cue begins as Gollum is seen crawling down the rockface from above towards Frodo and Sam in a shot that mimics his introduction in TTT. The cue ends once he has laid the crumbs that will implicate poor Sam of gluttony.
Released material: Unreleased cue.
Music featured: Gollum’s cymbalom theme makes its last appearance here in the trilogy and its second in ROTK. More edgy strings here as well.
- Sam, the Lembas Thief** [1:38]
Start time: 01:03:36.
Film action: As the tension builds over the stolen cookies… sorry, lembas, the cue begins. It continues through the scene as Sam attempts to beat up Gollum for calling him a thief, and Frodo’s attempt to separate the two. It is over by the time Sam comes over to Frodo and says that he is not alright.
Released material: ROTK, 9, 0:30-0:51. The cue is mostly unreleased.
Music featured: Some high-end strings such as we often hear in connection with Gollum. Some cor anglais writing (performing the elusive oboe theme possibly) as the accusations about who stole the lembas accumulate. Edgy material for the brief scuffle. I seem to recall hearing Gollum’s theme (not the cymbalom theme, the other one) here.
- Suffering in Silence** [3:33]
a. Go Home, Sam** [1:13]
Start time: 01:05:20.
Film action: Cue begins as Frodo says – ‘No Sam, it’s you.’ The cue continues as Sam is expelled from the Fellowship and Frodo and Gollum leave him there weaping on the Winding Stair. Though the cue was clearly not written to go straight into the next, there is actually no real pause between the two cues, so I list them as parts a and b of cue 27.
Released material: ROTK, 9, 0:51-1:19. This cue is partially unreleased.
Music featured: Solemn horn statement of the Shire A theme, sad string elegy mourns the parting of ways of the two hobbits, the ascending oboe/cor anglais theme from the previous cue continues here.
b. The Last Son [2:25]
Start time: 01:06:33.
Film action: Begins as Faramir and his soldiers ride out to certain death, ending as their meagre forces are seen arrayed in a single line formation riding towards Osgiliath.
Released material: ROTK, 5, 0:01-2:34. I must have mistimed this cue, as I didn’t notice any music from this album cue missing from the film.
Music featured: Solemn statement of the Gondor theme, pan flute again associated with Faramir, Faramir’s theme appears also in this cue several times. Choir appears at both the beginning and end of the cue, and towards the end there is some excellent percussion which adds to the solemnity of the charge. The choir here is singing the lyrics to The Last Son.
- Mist and Shadow** [1:30]
Start time: 01:09:33.
Film action: Pippin begins singing for Denethor, and we see a montage of the grieving father’s detached gluttony, Pippin singing (and nearly weeping), and the impending slaughter on the Pelennor Fields. In a little coda to the cue, Gandalf is seen alone in a courtyard of Minas Tirith mourning the senselessness of it all.
Released material: ROTK, 5, 2:34-3:51. There are about 15 unreleased seconds here in which Shore reprises the melody of ‘Mist and Shadow’ for solo viola.
Music featured: The lyrics for Tolkien’s poem ‘Mist and Shadow’ are sung here by Billy Boyd. Shore’s orchestration of the song is brilliant – all is quiet at first – then tense strings creep in, supplemented by brass, woodwind and percussion all building towards a climax that never comes. There are instrumental reprisals of the ‘Mist and Shadow’ melody for oboe and solo viola (unreleased) afterwards.
- Dunharrow** [2:38]
a. Forth Rode the King** [2:19]
Start time: 01:11:10.
Film action: As the King’s retinue enters Dunharrow, this lively piece begins. It continues as Theoden assesses the ranks, and then later when he converses with Aragorn about the strength of their numbers and the need to go to Gondor soon. As Aragorn walks towards the Dimholt road, the cue ends.
Released material: ROTK, 7, 0:01-0:44. The majority of the cue is unreleased.
Music featured: The warlike variation of the Rohan theme performed for solo fiddle (possibly hardanger), driving strings, French horns and a lively percussion beat. Nice horn statement of the Rohan theme as Theoden and Aragorn talk up at Dunharrow. The unreleased sections include a longer version of the released piece, some more Rohan thematic material, and some ominous music for both the impending battle and the Dimholt Road.
b. The Dimholt Road* [0:19]
Start time: 01:13:33.
Film action: Aragorn listens to Eomer’s words about the cursed mountain (the Dwimmorberg), and senses something in there. The cue ends as Gimli interrupts suggesting they get some food.
Released material: Unreleased cue.
Music featured: Ominous brass / string textures. There may be some hint of the thematic material later associated with the Paths of the Dead. The cue is too brief to be of great interest.
- The Hobbit Armed* [0:53]
Start time: 01:14:01.
Film action: The cue begins as Merry waves his blunt blade about. Eowyn sends him off to the grindstone, and proceeds to argue with her brother about whether Merry should go to war.
Released material: Unreleased cue.
Music featured: Some sprightly Shire-like strings as Merry waves his blade about, followed by a warm fiddle performance of Eowyn’s theme. Some other material for Eowyn here which may be a third motif for her character (referenced before in the cue ‘Westu, Aragorn Hal!’).
- Anduril, Flame of the West** [1:33]
Start time: 01:16:03.
Film action: The hooded figure in Theoden’s tent steps forward, and is revealed to be … CAPTAIN SPOCK!!!!! (I wondered if it was for a moment there – it reminded me of Star Trek III.) So anyway, it turns out to be Elrond, who reveals to Aragorn the blade Anduril and comes very close to beheading the man who stole his daughter’s immortality. Aragorn accepts the blade. I can’t quite remember the sequence of events here – whether Elrond says there is no hope (due to the Corsair army) before he shows Aragorn the blade, or after.
Released material: ROTK, 10, 0:01-0:45 (roughly), 1:15-2:03. There are a few unreleased seconds here.
Music featured: The Sindarin poem Anduril is repeated, having previously been heard in cue 12a. The melody of the song ‘Elbereth Gilthoniel’ (the choral section of the Rivendell theme) is reprised for French horn soloist as Elrond comes forward saying: ‘I come on behalf of one whom I love.’
- I Give Hope to Men** [1:34]
Start time: 01:17:46.
Film action: As Aragorn and Elrond exchange words about hope and whether there is any, for Aragorn, for Arwen, or for anyone really, this cue plays.
Released material: ROTK, 10, 2:04-2:16, 2:17-end. This cue is mostly unreleased.
Music featured: Timpani rhythm – could be a 4/4 beat underneath growling brass, some hint of the Gilraen theme as Aragorn and Elrond recite Gilraen’s words about hope. Tense strings as the two discuss the Men of the Mountain. Since I have difficulty remembering the order in which words were exchanged in this scene, I can’t be sure some of this music didn’t end up in the previous cue.
- Dark Dunharrow in the Dim Morning* [3:52]
a. A Shadow and a Thought* [???]
Start time: 01:19:24.
Film action: Eowyn confronts Aragorn about his deserting of the Rohirrim. He senses more to her frustration than the morale of the men, and tells her what she hopes for ‘is but a shadow and a thought.’ One of the most moving scenes from the book feels like a bit of missed opportunity from a script-writing point of view.
Released material: Unreleased cue.
Music featured: Eowyn’s theme is performed here as first for woodwind and light strings, then the darker motif for Eowyn (previously heard in cue 19a) returns underscoring her depression at being rejected by Aragorn. A great cue.
b. Need Shall Drive Him* [???]
Start time: 01:20:??.
Film action: As Aragorn moves from Eowyn to the somewhat less emotionally challenging Dimholt Road, he is joined by Legolas and Gimli. The three together take the road, while the Rohirrim mutter amongst themselves. When Gamling suggests that they have no hope, Theoden tells all that they will ride anyway to aid their Gondorian allies.
Released material: Unreleased cue.
Music featured: The Fellowship theme is given both warm and dark renditions here as the Fellowship renews its solidarity and rides together in their darkest hour (get it, it’s the middle of the night!) yet. Sombre writing infuses this cue, especially in the moments among the remaining Rohirrim. We may hear the Rohan theme again here – I can’t remember.
c. I Would Have You Smile Again* [???]
Start time: 01:21:??.
Film action: A heartbroken Eowyn says her own farewell to Theoden. The two talk about her future, and how she must ‘get over’ his influence. All through the film, Bernard Hill plays his role with a sense of impending mortality. It’s a great shame his character didn’t have a greater role.
Released material: Unreleased cue.
Music featured: Two of the three Eowyn themes are heard here – the darker theme is heard at first, and the lighter theme from ‘Westu Aragorn Hal’ appears here also as Theoden begins his speech – ‘I would have you smile again.’ Another unreleased highlight.
- Ride of the Rohirrim** [3:17]
a. The Dead Keep It* [1:53]
Start time: 01:23:22.
Film action: As Aragorn, Legolas and Gimli work their way to the Dwimmorberg in the early morning light, Legolas describes to Gimli the origin of the mountain’s curse. The cue continues as the inscription over the gate is read out, the horses disappear (not for the last time in this film!), and Aragorn says he doesn’t fear death and heads in, followed by Legolas and Gimli. Based on a joke by a star wars fan about why fearing the dead seems a bit overcautious, the following scene in the Paths of the Dead might have just easily have gone this way:
Gimli: Why are we here?
Legolas: Aragorn intends to recruit an army of dead men to help us save Minas Tirith.
Gimli: You mean they’re ghosts?
Legolas: Yes.
Gimli: What good will that do us? An army of the dead cannot hurt anyone!
Aragorn: Don’t over intellectualise things Master Dwarf. At least this was in the book.
Gimli: Ok.
(King of the Dead appears.)
King: Ho! I am the King of the Dead! Stop, or I will cut you through with my ectoplasmic sword!
Aragorn: I do not fear death.
Gimli: I wouldn’t either.
Aragorn: I challenge this army of the dead to a duel to the death!
(Silence. The Dead Army thinks about this. Then everyone fights because it hasn’t happened for a few minutes, and no-one’s sword touches anyone, as the living cannot come in contact with the dead, nor the dead the living.)
King: Well this is boring. This is what it means to be Dead.
Aragorn: I summon you to fulfill your oaths and help me get the girl, the crown and the Ring too!
King: You ask an army of the dead to risk death helping you save Gondor? And what will happen then? Will you reward us with Death?
(More silence. Then everyone fights again because it hasn’t happened for a few minutes.)
Released material: Unreleased cue.
Music featured: Creepy music for deep strings and low brass here as I recall. The music for the Paths of the Dead makes an appearance here I think.
b. Six Thousand Spears to Sunlending**[1:24]
Start time: 01:25:15.
Film action: The Rohirrim set out from not-so-dark Dunharrow in the dim morning with thane and captain, but not hobbits, as Merry and his fat little pony are ordered to stay. Just as it appears Merry will have no hope of seeing battle, out of nowhere comes Eowyn, who picks him up and takes him on the ride to the Pelennor Fields. Cue epic vista of the Rohirrim riding out.
Released material: ROTK, 7, 0:52-1:29, 1:30-1:40, 1:41-2:00. The unreleased section opens the cue and helps build up to the epic orchestral surge at 1:41-2:00 a little better.
Music featured: New heroic theme for the hobbits here (panflute I think), Eowyn’s theme given a martial rendition as she picks up Merry, and the warlike Rohan theme is given a strident reprise (recalling the opening of ‘Forth Eorlingas’) as the Rohirrim ride out.
Source Music: In a brief cutaway to the Siege of Gondor, an Olog-hai is seen beating an enormous drum in 5/4 time, a meter associated with the dark forces of Middle Earth, and particularly Isengard. Since it is source music, and not a music cue, I haven’t done any notes on it.
Possible Extended Edition Scene/ Speculated Unused Cue: Frodo and Gollum work their way up the Winding Stair towards Torech Ungol, all the way the sense of dread growing that something awaits them up there.
Film action: Apart from perhaps a cut scene involving Frodo and Gollum moving up the Winding Stair, I can’t think of where else this statement of the Caradhras theme might have gone…
Released Music: ROTK, 9, 1:20-1:40.
Music featured: Caradhras theme / Journey theme #2, first few notes of the History of the Ring / Evil of the Ring motif.
- The Passing of the Grey Company** [2:45]
a. The Paths of the Dead** [1:57]
Start time: 01:27:07.
Film action: Aragorn, Legolas and Gimli, running through the paths of the dead, come to the hidden City of the Dead. They are confronted by the King of this city, who reminds them of the anti-trespass notice which warned of a big black dog and slow digestion over a thousand years. The Pirates of the Caribbean appear, apparently having all bathed in lime green jello. Sadly Jack Sparrow doesn’t join them, which is just as well as he probably would have found a way to knock off Aragorn despite the latter having ‘that sword’.
Released material: ROTK, 14, 0:01-0:41. Mostly unreleased, with some unreleased choral work as the Army of the Dead gathers around.
Music featured: Badelt brings in grungy guitars to represent the good times had by all in the City of the Dead -- wait, wrong score. Shore represents the Paths well with sombre low strings suggesting the Gondor theme (here used for Aragorn), a high string phrase highly reminiscent of the Caradhras theme. More creepy music, including some choral work (probably this poem The Way is Shut).
Possible extended edition cue: I suspect the Paths sequence was a little longer than that brief shot of the Three Hunters running through the passage. Surely they must have found a lot of skeletons along the way. If nothing was done to actually depict the paths, then that was something of a loss from a storytelling point of view.
b. The Oathbreakers Summoned [0:45]
Start time: 01:29:10.
Film action: The King of the Dead moves to cut Aragorn down, but Aragorn fends off the blow with Anduril (Flame of the West!). He then summons the Oathbreakers to fulfil their long tarrying word to come to aid Isilduir in the fight against Sauron.
Released material: ROTK, 14, 1:43-2:20. I think this one is completely released.
Music featured: The high strings heard in 34a return as Aragorn challenges the Oathbreakers to fulfil their word. Serious brass burst here as well.
Source Cue: Again there was an appearance by the 5/4 time in a scene from the Siege of Gondor. See above.
- The Siege of Gondor** [6:49]
a. Hope Fails** [2:33]
Start time: 01:30:17.
Film action: The first major cue of the Siege sequence begins as Faramir’s body is brought back inside the gates. We see the Morgul war machine advance across the Pelennor. Denethor despairs over his son’s state and the state of affairs down in the Rammas Echor, which has never looked for hostile. He calls all men to abandon their posts, but both he and the cue are stopped in their tracks by Gandalf’s trusty staff.
Released material: ROTK, 12, 0:01-1:10, 1:55-2:56. As suspected by Camillu, this cue is a bit longer in the film, and the unreleased section is probably from Denethor’s nervous breakdown.
Music featured: Descending thirds theme as the heads go over the walls and later as Denethor sees the Morgul host, Faramir’s theme (heard in the opening seconds), variation on the Gondor and Faramir themes for cello and oboe as Denethor runs from the body of his son to the wall. The ‘Denethor theme’ I mentioned earlier would probably also appear here if it existed, but I haven’t got a fix on what it is yet – it was just an impression I got while watching the film again.
b. Hope He Rekindled** [1:20]
Start time: 01:32:56.
Film action: Gandalf calls all Gondorian knights back to their posts, riding through the city and up onto the walls with great vigor. The trading of caterpault arsenals begins, as the Gondorians respond to the Morgul catapaults with an unlikely innovation – a defensive trebulchet (sorry about the spelling). Large rocks are traded both sides, and one missile barely misses the orc chieftain Gothmog.
Released material: ROTK, 12, 2:57-3:19; ROTK, 13, 1:20-1:47. The bridging piece between the two cues is unreleased, and makes for an excellent battle piece.
Music featured: First the Urgent White Rider theme is heard as Gandalf leads the Gondorian back to their posts, followed by a brass fanfare that might be related to other Gondorian thematic material. Steady timpani beat in 4/4 time underneath the theme for the Morgul host (last heard in cue 16 as the host poured out of Minas Morgul) as the rocks are traded by both sides.
c. The Nazgul Descend** [2:33]
Start time: 01:34:23.
Film action: After Gothmog dodges the rock hurled at him in the last cue, the Nazgul shriek signals the beginning of this cue as the nine riders of Mordor swoop down from above. They wreak havoc on the Gondorian defences. The Morgul host siege towers lay their hooks into the walls of Minas Tirith and Orc legions are dispatched over the city walls. Gandalf rescues Pippin with a bit of handy staff work that resembles kendo more than wizardy. Pippin saves Gandalf as well, as is commended on his way back up the tower as the cue ends.
Released material: ROTK, 13, 0:01-1:37. The larger portion of this cue, mostly for the second half of it, is unreleased.
Music featured: Dark choral passage a la the Ringwraith Revelation theme, which it seems this cue was intended to sound like. The Descending Third theme is utilised a bit here. It would have been nice to hear that theme again, but what we have here is pretty good. The lyrics heard as the Nazgul tear the place to pieces are a bit confusing, coming from a Sindarin poem which doesn’t seem to suggest that sort of action at all: The Argument. Part of me suspects this might have been an early candidate for the music that ended up being used for the film’s finale. For the unreleased music involving Gandalf and Pippin, the Morgul host theme is heard again as the siege towers unleash their barbarian hordes on the city. The Fellowship theme prelude is heard as Gandalf does his staff tricks, and there are no obvious references to the White Rider theme. Some statements of the Gondor theme caught up in here too. Another action highlight.
Hopefully an extended edition scene: We never see Denethor again until the scene where he heads for the Rath Dinen with the torches and plans for self-immolation. I hope we’re missing at least two scenes here for this character, who is not the best example of good adaptation by the scriptwriters.The first scene would show us more of Faramir and Denethor’s interaction, and might have come earlier in the film – before the cue ‘Think Better of Me’. There is an excellent scene in the books where Faramir must relate his choice to let the Ringbearer go – he tells his reasons to Gandalf and Denethor, each vying with the other for influence over the young Faramir’s decisions. Perhaps this scene will make it into the extended edition, for if it doesn’t, then there will be no consequences for Faramir’s seemingly-momentous choice to let Frodo and Sam go in spite of ‘the laws of (Faramir’s) father’ at the end of TTT.
A second scene we need to see, and one which is likely to appear in this part of the film, is where we find out how Denethor sees things as well as he does. In the book, after Faramir’s wounded body was brought to him, Denethor went up to the Tower of Ecthelion and consulted the Palantir to see what chance there was of escape here. His vision of the Corsair fleet that was coming ruined all hope for the Men of the West, and he then resolved to self-immolate. I think this is a necessary scene for ROTK:EE, and not in the least because without such a scene: (i) Denethor’s decision to commit suicide lacks any depth or sense of tragedy; (ii) the remarks heard in two scenes of ROTK about the ‘eyes of the White Tower’ are not explained at all. Who knows whether the scene was shot at all – the palantiri were all but purged from ROTK theatrical edition, despite the fact that these mysterious objects propelled the plot along in the book.
In any case, regardless of whether either of these scenes end up in the film, this piece of music had to come from somewhere:
Speculated Unused Cue
Released material: ROTK, 14, 0:41-1:43.
Music Features: In this passage, which may be two or even three different cue excerpts edited together, we hear two performances of Faramir’s theme as well as a mournful passage for descending strings that recalls part of the earlier cue 27b ‘The Last Son’. I imagined when I first heard it in a cue called ‘Hope Fails’ that it had to come from the doubtless wrenching scene where Faramir saw his father commit suicide. Little did I know that in that scene Gandalf’s kendo work would be put on greater display and that the music would be more action oriented. But the question remains – where on earth did this wonderfully moving piece of music come from?
d. The Last Defence* [0:23]
Start time: 01:36:58.
Film action: I honestly can’t remember what happened here – I imagine the trolls started to bring forth Grond at this point, and Gandalf said his memorable line about courage (or was it hope?) being the greatest defence.
Released material: Unreleased cue.
Music featured: Again, I can’t remember. Possibly more of the themes for the Morgul Host – the Descending Third theme and the Morgul host theme.
- Shelob’s Lair** [5:15]
Note: A mistake in my note taking might mean that this cue is only 4:14 long, not 5:14.
Start time: 01:37:29.
Film action: The cue begins as Frodo and Smeagol come to the entrance of Torech Ungol, continuing through Frodo’s subsequent ensnarement and escape. The cue also covers Sam’s discovery of the broken lembas bread, and decision to turn back.
Released material: ROTK, 11, 0:01-2:34. Even the lengthy album suite of Shelob music doesn’t give a great idea of where this cue goes. (See Camillu’s post here for a good breakdown of the various pieces of the partially unreleased puzzle.
Music featured: A masterpiece of tension and how to build it. Apart from the horn passage and reprise of Shire thematic material (mostly unreleased) when Sam finds the lembas, the cue is dominated by harsh writing that depicts yet another culture of Middle Earth – the Spiders. There are two main thematic devices. The first is the awkward low string chords that open the cue, a kind of ‘Spider Dread’ theme. The second is the incredible violin runs suggesting the furtive movements of spiders – ‘Spider Hunting’ might be a good name for it. Basically there’s a lot here. The music from the ‘Elbereth’ portion of the scene is also missing, as is a lengthy section of the introduction as Frodo works his way through the tunnels.
- Pity and Mercy* [1:58]
Start time: 01:43:02.
Film action: Cue begins as Gollum leaps upon Frodo and tries to take the Ring by force, but Frodo with remarkable stamina beats him, showing pity as the timid Smeagol cries out for mercy. Frodo then says he must destroy the Ring, and when Gollum tries to stop him, he goes flying over the edge of a cliff, at which point the cue ends.
Released material: Unreleased cue.
Music featured: The action music here is stronger in the brass than the previous cue, reminding me of Frodo’s first struggle with Gollum in TTT. The History of the Ring theme appears for strings as Gollum says ‘the Precious made (him) do it.’
- This is Your Task* [1:14]
Start time: 01:45:06.
Film action: Cue begins as Frodo realises he is in Lothlorien, though his confusion should be forgiven as the trees around him hardly look like Mallorns. Galadriel strengthens him for the journey, and the cue ends on the return to the real world.
Released material: Unreleased cue.
Music featured: Light woodwind melody as Frodo takes in the fragrance of the woods around him, the Lothlorien theme is given a reprise for light chorus and strings as Galadriel leans down to him, and he hears her voice in his head. That theme makes its only appearance in the third fim’s score here.Probably not an extended edition scene, but if only… More Cate Blanchett as Galadriel please! And bring the Lothlorien theme with her!
- Grond* [0:15]
Start time: 01:46:50.
Film action: I think this is the cue where Grond is unwrapped by the trolls (as opposed to cue 36d) as brought up towards the gates. The chanting of the Morgul host almost overpowers this brief cue.
Released material: Unreleased cue.
Music featured: I remember this cue mostly for being very brassy… possibly the Morgul Host theme appears.
- The Gate is Broken* [1:09]
Start time: 01:47:41.
Film action: Brief cue begins as the trolls burst through the broken gates of Minas Tirith and smash the Gondorian ranks. They are followed by orcs, and the clash between them and the Gondorians is also covered in this cue.
Released material: Unreleased cue.
Music featured: I do remember a statement of the Gondor theme here as the Gondorians repel the first layer of orcs.
- Shelob’s Timely End** [3:55]
Start time: 01:49:59.
Film action: As Sam challenges Shelob (who drops Frodo), the cue begins. It continues through their fight and Shelob’s demise, and also covers ‘Frodo’s death’. The cue ends as the orcs of Cirith Ungol make their appearance.
Released material: ROTK, 11, 2:34-4:04. The first section of the fight is unreleased, as is all of the music from Sam’s mourning of Frodo and the appearance of the Cirith Ungol guards.
Music featured: Apart from the action music and spider music associated with Shelob, this cue also features some lovely horn and string writing for Sam’s memorable speech – ‘Don’t go where I can’t follow…’ No obvious relation to the Shire theme, but it might be related to some of the music we hear as Sam and Frodo are left alone on the slopes of Mount Doom at the end of the film.
Likely extended edition cue: Legend tells of an extended edition scene that has Peter Jackson, playing a corsair captain (MORE PIRATES!), fighting a member of the Fellowship in extended combat. Given it is the Three Hunters who seize the corsair fleet with the help of the Dead Army, that scene must be from an unseen sequence where the Black Fleet is captured. Goodness knows where it is meant to go in the film – this moment would be a good guess, as in the book that battle did occur in the night. I hope it does eventuate as a scene in ROTK:EE, as it would be nice to see the incident depicted, and see what else WETA could do with its Army of the Dead special effects. As for music… well, anyone’s best guess really!
- Foe Beleaguered, Fire Encircled** [2:55]
Start time: 01:54:09.
Film action: The siege of Minas Tirith goes on into the night. Pippin sees Denethor taking Faramir to the tombs and tries to intervene. The cue begins as Denethor drags Pippin out by the scruff of his neck. Gandalf declares a retreat from the first ring of the city, which is taken. Flames are seen spilling down on the city from the Morgul artillery. Orcs are seen running through the city – pillaging and burning as they go. Pippin collects Gandalf and persuades him to help stop Denethor from burning Faramir.
Released material: ROTK, 12, 1:10-1:55. A lot of unreleased material from this cue, and I haven’t kept track of all of it too well.
Music featured: Music takes on a more desperate character as the siege progresses even further. There is a haunting choral passage here that works remarkably well for the scenes of the pillaging of the lower level of Minas Tirith – despite the fact that the lyrics (from a poem called The Dimholt Road seem far more appropriate to a scene involving… The Dimholt Road. Oh well… it’s probably called poetic license.
Likely Extended Edition Cue: One of the scenes I was most looking forward to after the ROTK preview (featured on the TTT DVD) was Gandalf’s confrontation with the Witch King. Geographically, this scene was moved from the main gates to the upper levels of Minas Tirith where the upwardly mobile Witch King would have no problem intercepting Gandalf on his way to Denethor. The scene would involve Gandalf and Pippin, on their way to meet Denethor, being intercepted by the Witch King. The Witch King would demand the halfling – remember that Sauron thinks Pippin has the Ring. Gandalf would resist him and try to sweep the Nazgul lord aside with his staff. The Witch King would laugh, remind Gandalf of the prophecy of Malbeth the Seer, and break Gandalf’s staff – thus making good on his word to Gothmog that he would ‘break’ Gandalf, and also suggesting a certain parallel between Saruman’s broken staff and Gandalf’s. Gandalf would be unable to defend Pippin here, though fortunately the Witch King would be distracted by the arrival of the Rohirrim… leading into the next scene.It’s obvious the film ROTK:EE needs this scene. The Witch King is a character whose promise is never really cashed in on for the theatrical edition. The film prepares us for the clash of Gandalf and the Witch King in not one but two scenes, and then delivers no such confrontation. Suffice to say I’ll be glad to see and hear this scene. It’s my hope that Shore returns to his Ringwraith Revelation theme for one last reprise here in the ROTK:EE score, though it is more likely that he will use the Descending Third motif to represent the Lord of Morgul as he does later in the cue 47a.
- Out of Doubt, Out of Dark, to the Day’s Rising** [0:35]
Start time: 01:57:04.
Film action: The cue begins as the Gondorians sense the presence of the Rohirrim with the rising of the sun. The Rohirrim are seen arrayed on the north Rammas Echor.
Released material: ROTK, 13, 0:01-0:35. The first five seconds of the cue are unreleased I think.
Music featured: Rohan theme for horns over pounding timpanis.
- The Battle of the Pelennor Fields, I** [7:00]
a. Doom Drove Them On** [3:28]
Start time: 01:58:02.
Film action: Theoden assesses the superior strength of the orcs, gives his men a rousing speech that threatens to put the Army of the Dead out of a job, and leads them on a charge that tears the Morgul host to pieces.
Released material: ROTK, 13, 0:36-1:19, 2:52-3:19. Nearly completely unreleased – this is one of the best cues of the film.
Music featured: Rohan theme for horns, lengthy build-up of the Nature theme from a restrained passage, grand fanfare as the whole host is seen, superb performance of the Nature theme as Theoden gives his speech and the host starts the charge. The Rohan theme is given its only full statement in the score here for hardanger as the Rohirrim ride down towards the orcs, the Rohan theme transforming into a cavalry charge as they smash through the Orc ranks.
IF EVER I FIGURE OUT HOW TO RIP TRACKS FROM THE DVD, CUE 45A WILL BE THE FIRST ONE I GET. ABSOLUTELY ESSENTIAL LISTENING.b. No Pyre for Denethor* [2:00]
Start time: 02:01:30.
Film action: Cue begins as the film cuts from the Pelennor field to the Rath Dinen where Denethor is about to recreate one of the ceremonial dances from Eyes Wide Shut and The Ninth Gate. Gandalf on Shadowfax knocks down the doors, and being staffless (because of the Witch King incident), takes the spear off a Gondorian (who like a true soldier FLEES) so that he might work his Kendo over on Denethor. Pippin saves Faramir, nobody says anything about Palantiri, the failing of the West, or talking people out of things. Oh, and Gandalf pushes Denethor into the fire… thereby turning suicide into fracticide. Denethor then decides that the whole pyre idea isn’t for him, and he’d rather fall like a blazing star. Gandalf mourns him, and I’m confused how the scene could be executed so wrongly. I don’t have many quibbles with this film, but this is definitely one of them.
Released material: Unreleased cue.
Music featured: More action music – no obvious choral work, thematic work here. Will have to hear the unreleased cue again in isolation to sort it out.
c. March of the Haradrim* [1:32]
Start time: 02:03:30.
Film action: As the film cuts from Denethor’s death to the battlefield, Theoden and his captains are triumphant about the decimation of the orcs, and move to push the Morgul host back to the Anduin. The appearance of the Haradrim on their Oliphaunts causes a reconsideration, and the Rohirrim charge again, this time to almost certain doom. The cue ends as the camera tracks in towards the clash between the first oliphaunt and the Rohirrim.
Released material: Unreleased cue.
Music featured: Jubilant battle material for the Rohirrim, pounding drums (mixture of source music and underscore) for the Haradrim, the Morgul battle motifs may also be given a last reprise here.
- Ornary Oliphaunticide* [1:06]
Start time: 02:06:18.
Film action: The cue begins as Eowyn rides beneath one Oliphaunt, and continues as she manages topple one. Merry is unhorsed in the process. Theoden and his men similarly manage to take one down before the Witch King swoops in to say farewell to the king.
Released material: Unreleased cue.
Music featured: Difficulty remembering again – though I’m certain I heard another warlike variation of Eowyn’s principal theme here. The music takes on a dissonant edge towards the end as Theoden is unhorsed.
- The Journey Doesn’t End* [1:37]
Start time: 02:07:27.
Film action: As Gandalf describes the journey that is death to Pippin while both of them wait behind the last level of the Minas Tirith defences, this soft cue begins. It ends as Pippin says, ‘That doesn’t sound so bad after all.’
Released material: Unreleased cue.
Music featured: A magical cue that acts as superb relief to all that has gone on in the preceding cues. Here for soft cello and viola we have the first statement of the Primary West theme, often called the Grey Havens theme. It is the chorus of ‘Into the West.’
- The Battle of the Pelennor Fields, II* [5:30]
a. The Witch King and His Prey* [1:30]
Start time: 02:09:24.
Film action: As the Witch King says to his steed – ‘Feed on his flesh’ – the cue begins. Eowyn intervenes, leading to a headless dinosaur, an angry Nazgul Lord, and an impressive chain and mace. The Witch King batters Eowyn around a bit, leaving her shield arm useless.
Released material: Unreleased cue.
Music featured: Descending Thirds theme used for the Witch King as at Weathertop in FOTR, some fairly typical combat music for the beheading of the Winged Steed.
b. Corsair Calumny* [0:30]
Start time: 02:10:54.
Film action: As the Corsair ships pull up to the docks south of the Pelennor, the Three Hunters jump out, look threateningly at the Orc guards, and get to work killing them all with the help of the Army of the Dead. It’s this scene that convinces me there must have been more scenes involving Aragorn in the script between the Paths of the Dead and here. I find it hard to believe that someone with as excellent a dramatic sense as Peter Jackson actually wanted Aragorn out of the film for the critical 45 minutes.
Released material: Unreleased cue.
Music featured: Statements of the Fellowship theme prelude and then the full theme as the Army of the Dead take over the docks.
c. ‘I am no Man!’* [0:53]
Start time: 02:11:24.
Film action: As the Witch King grabs Eowyn and recites the prophecy (not a good move for an Evil Overlord) the music continues from the previous cue. Merry stabs the Witch King in the back, and you have to wonder what kind of time he might have saved if he’d pulled the same move back at Weathertop! Merry crumbles from the Black Breath, and the Witch King is paralysed. Eowyn reminds the Witch King that his prophecy is gender-specific, cleaves his to from his fro, and watches him crumble.
Released material: Unreleased cue.
Music featured: Descending Thirds theme, martial statement of Eowyn’s primary theme as she drives her sword into the Witch King’s head. I can’t remember if there’s any Shire material for Merry’s heroic moment.
d. The Dead do not Suffer the Living* [1:37]
Start time: 02:12:17.
Film action: The Army of the Dead pour onto the battlefield, tearing down Oliphaunts and spreading through the city like … Green Detergent. Aragorn heroically fights alongside the dead. Legolas and Gimli continue the count, with the former taking down an Oliphaunt on his own.
Released material: Unreleased cue.
Music featured: Gondor theme and Aragorn theme both get substantial workouts here as we see Aragorn sharing his love around. Legolas’ oliphaunt stunt actually features a reprise of some of the fine brass/string interactions of cue 18b – ‘The Lighting of the Beacons’.
- Out of Loss, Out of Life, Unto Long Glory* [2:09]
Start time: 02:14:10.
Film action: Theoden’s death scene. It’s a beautiful scene, so well written, so well acted. The first of three scenes in the film that brought me to tears when I saw it for the first time.
Released material: Unreleased cue.
Music featured: There is some string work here that recalls the theme for Eowyn and Theoden heard in cues 4 and 33c. (I think I’m trying pretty hard to piece this all together from memory remember!) As Theoden speaks of his fathers, we hear some light choral work. It’s possibly a reprise of the Old English poem The Fallen, heard in the ‘Symbelmine’ cue from TTT:EE. Personally, I hope it is a quotation of Tolkien’s ‘Lament for the Fallen’, translated into Old English:
‘Out of doubt, out of dark, to the day’s rising,
He rode singing in the sunlight, sword unsheathed,
Hope he rekindled, and in hope he ended,
Over death, over dread, over doom lifted,
Out of loss, out of life, out of long glory.’
Likely Extended Edition Scene: One scene glimpsed in the ROTK trailer, but not seen in the film has Eomer weeping profusely while holding someone with reddish hair. I believe that person is Eowyn, who I believe will probably collapse from the spiritual heaviness left upon her by her encounter with the Witch King. Expect Eowyn’s themes to be used powerfully in this scene, as it will appear that she is dead (and we know how Jackson loves to pretend people are dead!) to all around. In this scene it must also be communicated somehow that Eomer is now King of Rohan, and that Merry is in very deep grief following Theoden’s death.
- Merry is Found* [0:37]
Start time: 02:17:31.
Film action: After Aragorn allows the Dead Army to die, this brief cue begins as Merry is found by Pippin, who promises he will not leave Merry.
Released material: Unreleased cue.
Music featured: Truth to tell, I don’t know – I remember it was moving, and that it wasn’t the Shire theme. Beyond that, I’m not sure – it did involve a flute I think.
Possible Extended Edition Scene: It is probable that we’ll see Pippin taking Merry to the Houses of Healing, and lain down on a bed in a room next to the one where Faramir is. Pippin will see Faramir there, and also see the room where Eowyn is. He will notice that she isn’t dead (Pippin has a skill with these things), and inform Gandalf. Aragorn will be sent for.
- The Tower of Cirith Ungol* [0:24]
Start time: 02:19:00.
Film action: Brief cue begins as Frodo hears the orcs talking about his mithril shirt. He realises he doesn’t have the Ring, which could hide his naked body from all unfriendly eyes. Shagrat and Gorbag lay into eachother – leading to the death of one of them, I’m not sure which.
Released material: Unreleased cue.
Music featured: Ominous string and brass music. Very brief indeed.
Likely Extended Edition cue: Sam’s entry into Mordor and subsequent entry into the tower of Cirith Ungol feels a bit truncated in the film. I really don’t know if there’s much more to it, but I’d be surprised if there wasn’t a scene filmed where Sam – who we would know had the Ring himself – had to decide to go to save Frodo or to destroy the Ring. The book has such a scene, where Sam has an image of the world that could be were he to take the Ring for himself. Possibly there are more scenes here, and if so, cue 52 would probably have been rescored for the extended edition. (As would cue 51 for that matter – as the orcs of Cirith Ungol seem to kill eachother all in the space of 10 seconds.)
- The Great Elven Warrior* [2:20]
Start time: 02:19:54.
Film action: As Sam enters the gates of the tower of Cirith Ungol (unimpeded by the Watchers!), this cue begins. The cue continues as Sam works his way up the tower, kills three orcs, and chases a fourth to the top of the tower where he dispatches it. He helps Frodo up, and the cue ends only when Sam indicates that he has the Ring.
Released material: Unreleased cue.
Music featured: While there is more of the type of suspense music we have come to expect from Shore, and some nice Shire-related material for Frodo and Sam’s reunion, this cue is a must-get for a wholly different reason – as Sam dispatches the three orcs, we hear a brassy warlike variation of the Shire A theme. It is the only such variation of that theme in the trilogy, and a definite unreleased highlight.
- The Land of Mordor* [1:37]
Start time: 02:22:59.
Film action: After Sam has given the Ring back, this cue begins. The hobbits work about getting some clothes, and Frodo and Sam head out for Mordor. They find the Plains of Gorgoroth before them, covered with orc armies.
Released material: Unreleased cue.
Music featured: I can’t remember the beginning of this cue well, though I recall that as the hobbits come within sight of Mount Doom in their orc armour, there is an epic piece that sounds a little like Wickenstein’s oboe motif.
Likely Extended Edition Sequence: One major sequence completely cut from the film was the Houses of Healing section, where Aragorn’s healing hands lift the dread of the Nazgul lord from Merry, Eowyn and Faramir. I’m not sure of the way the scenes will turn out, but doubtless Merry’s renewal will be played for comic value. As he awakes, he will be hungry as in the book. Eowyn will fall even harder in love with Aragorn as he awakes her, and hopefully her themes will be developed even more. I have great hope for Faramir’s theme in this section as well – hopefully when the young Steward awakes he will undo his father’s recalcitrance and recognise Aragorn as his King as he does in the book. Faramir will probably see Eowyn for the first time and marvel at her beauty.
Likely Extended Edition Sequence: After his doctor stint in the Houses of Healing, Aragorn will enter the throne room of Minas Tirith, which has been glimpsed in a scene from one of the ROTK trailers. It is an important scene – Aragorn’s assumption of the kingship is a bit glossed over in the theatrical version of the film. The History of Gondor theme is likely to make an appearance here, and maybe we might see some development of it from the form we hear at the reforging of Narsil to the more developed version heard at Aragorn’s coronation.
- Frodo’s Chance* [1:05]
Start time: 02:25:34.
Film action: Cue begins as the Captains of the West debate whether to draw Sauron’s armies out of Mordor. It underscores Gimli’s summary of the minutes of the meeting, and the subsequent ride of the Rohirrim and Gondorians across the Pelennor, led by Aragorn.
Released material: Unreleased cue.
Music featured: Developments of the Fellowship theme, also the Gondor theme and Aragorn themes as the Host of the West sets out for the Black Gate.
Possible extended edition scene: The scene where Aragorn uses a palantir to reveal himself to Sauron was shot, and it was one of the last scenes shot in principal photography from the film. I think it is a necessary scene to have in this last film, as it better communicates the challenge that Aragorn presents to Sauron. As well, it would provide a good moment for the scene where Aragorn and Gandalf talk about whether it is time for the rightful King to be revealing himself to Sauron. (And also follow-up on the brief moment early in ROTK where Aragorn held the palantir himself.) Unlike the scene in the book where Aragorn reveals himself to Sauron while at Helm’s Deep, in ROTK the scene was shot to be set in Minas Tirith. Perhaps musically this will offer Shore some opportunities to develop the Sauron/Evil of the Ring and Aragorn themes a bit more. This scene would occur somewhere in the middle of cue 54.
Possible extended edition scene: As Aragorn and the others ride out to war, Eowyn, still committed in her heart to Aragorn, will watch mournfully. Faramir will meet her in the Houses of Healing, and something of their beautiful courtship scenes from the book might be given a basis on film.- Across Gorgoroth * [0:25]
Start time: 02:26:59.
Film action: Frodo and Sam move across Gorgoroth in their orc armor as the the orc armies turn towards the north.
Released material: Unreleased cue.
Music featured: I can’t remember.
Possible Extended Edition sequence: Sam and Frodo somehow lose their orc armour between cues 55 and 57, where they are seen in their Shire clothes again. It’s possible that in the scene that explains how they changed clothes (unless continuity is out of fashion these days!), we will see the great sequence in the book where Frodo and Sam are coopted into an orc army marching north to the Black Gate. That’s wishful thinking on my part, and it’s reading a lot into a single change of wardrobe, but it does feel like more time needs to pass before we get to the finale.
- The Gamble of the Captains* [0:10]
Start time: 02:27:29.
Film action: The Host of the West arrives before the Morannon and sees no army awaiting them there.
Released material: Unreleased cue.
Music featured: Brief strings here.
- No Return* [0:22]
Start time: 02:28:22.
Film action: As Frodo and Sam resolve that there will be no return journey, this brief cue plays.
Released material: Unreleased cue.
Music featured: Shire A (I think) theme makes a brief appearance here.
- The Black Gate is Still Closed* [0:39]
Start time: 02:29:24.
Film action: Aragorn and co. ride up to the Black Gate to investigate things a little more closely. There is still no sign of activity.
Released material: Unreleased cue.
Music featured: Nervous strings and wary woodwind/brass writing. No themes.
Likely Extended Edition Scene: The final personification of evil appears at the Black Gate in the form of the Mouth of Sauron. While this character did not appear at all in the film’s theatrical edition, the scene where tries to blackmail Aragorn and Gandalf with Frodo’s mithril coat was shot. The Mouth was played by Bruce Spence, the ‘trainman’ from Matrix: Revolutions. This sequence would be a great addition to ROTK, as it would put ‘For Frodo’ (who Aragorn believes to be in enemy hands) in a completely different light. Musically I don’t know what to expected from Shore, but I’m eager to hear it.
- The Black Gate is Open** [5:48]
There is about 2 mins unreleased music from the film version of this cue.
a. The Horses Disappear** [????]
Start time: 02:30:31.
Film action: Cue starts up as the Black Gate opens (presumably after the Mouth of Sauron went back in) to reveal an army of Orcs. Meanwhile, Aragorn and co. ride back towards the Host of the West.
Released material: ROTK, 15, 0:01-0:51. This is an edited version of the film cue, which builds up more slowly to the statement of the Fellowship theme. The opening section is more protracted, as the threatening nature of the armies pouring
Music featured: Nice brass/string interaction leading up to the Fellowship theme, which is much more drawn out in the film.
b. The Slopes of Orodruin** [????]
Start time: 02:31:??.
Film action: Frodo and Sam climb Mount Doom. While Sam lies exhausted, Frodo tries to crawl a few extra feet before he collapses himself.
Released material: ROTK, 15, 0:52-1:40. This piece is a little longer in the film.
Music featured: The theme for the hobbits heard in cue 34b is reprised for soft pennywhistle by James Galway.
c. Men of the West** [????]
Start time: 02:32:??.
Film action: As we see the Mordor armies surround the Men of the West, we are privy to moments between Pippin and Merry, Gimli and Legolas, and then Aragorn’s speech to the ‘Men of the West’.
Released material: ROTK, 15, 1:40-2:28. There are substantial unreleased sections here.
Music featured: More development of Fellowship theme, as well as the choral piece The Argument, which carries over to the next part of the cue.
d. Alone, with the Wheel of Fire [1:31]
Start time: 02:33:??.
Film action: Sam cradles Frodo and talks with him about what they fight for. Frodo reminds him who he’s talking to with a great speech about being alone with the Great Eye. Sam picks up Frodo and carries him up the mountain. (Side story – I had a dream that I was working on the set of LOTR, and Elijah needed a body double to stand in for him, so I, who had no acting training and looked nothing like Elijah Wood, took his place and acted out the scene myself with Ian McKellan in a Magneto costume. I really don’t know why I mention it, but it seemed like a funny dream at the time.)
Released material: ROTK, 15, 2:28-3:59. I don’t remember any unreleased music from this section.
Music featured: Suggestions of the Shire B theme here for flute, choral reprise of the ‘The Argument’ from the previous cue, hint of the theme for the hobbits used in 34b and 59b, reprise of the theme of the West – which was last heard in cue 47. Some light timpani percussion here.
- For Frodo* [2:44]
Start time: 02:36:58.
Film action: After Aragorn says ‘For Frodo!’, he runs out to meet the legions of Sauron, and the cue begins. He is joined by Merry and Pippin, and then everyone else. The two sides of the battle clash. Meanwhile, Gollum appears at Mount Doom, fighting Frodo and Sam simultaneously. The film cuts back and forth between the slopes of Orodruin and the Morannon very rapidly now. The Nazgul show up at the Black Gate. Gandalf, still staffless, is about to be taken out when a moth heralds the arrival of the Eagle dogfighters, who take the battle to the skies. Meanwhile Gollum is pinned down by Sam, and Frodo runs into Mount Doom.
Released material: Unreleased cue. Better, THE UNRELEASED CUE.
Music featured: Lovely choral statement of the Fellowship theme at the start of the cue, and also a reprise of the Fellowship battle choral motif heard in FOTR:EE and TTT:EE. Sharp choral writing here as the battle progresses on both sides, and I think Gollum’s string theme is reprised as he appears. The choral writing here is quite close I recall to cue 62, though the music hasn’t quite reached that level of intensity yet. Also of note in this cue is a reprise of the Nature theme for solo boy soprano and choir as the moth, and then the Eagles, save the day.
- The Sammath Naur* [0:48]
Start time: 02:39:52.
Film action: Sam enters the Sammath Naur to find Frodo standing at the edge with the Ring ready to drop. Sam orders Frodo to drop the Ring, and the cue fades to the ‘Ring siren’ sound effect.
Released material: Unreleased cue.
Music featured: Some suggestion of the History of the Ring theme here as I recall. For the most part it is the calm before the storm, though I wonder if the section covered with sound effects (as the Ring calls to Frodo to keep it) was originally scored with the Seduction of the Ring theme by Shore.
- The Ring is Mine** [2:41]
Start time: 02:41:12.
Film action: Frodo claims the Ring for himself and puts it on. Sam cries NO. Sauron instantly knows where the Ring is, as do the Nazgul, who leave the Black Gate to fly south. Gandalf sees this and knows that Frodo has taken the Ring for himself. Aragorn gets into a fight with a big troll and is properly knocked about for it. Sam is knocked out by Gollum, who then struggles to take the Ring from the invisible Frodo. Frodo loses a finger, and Gollum takes the Ring for himself. Aragorn is about to have the killer blow landed into him by the troll. Frodo and Gollum struggle again, and both go over the side of the platform.
Released material: ROTK, 16, 0:01-1:08 (This choral piece runs for another 31 seconds in the film version of the cue), 1:09-2:13. Partially unreleased.
Music featured: Reprise of the choral material from cue 60 with heavier choir and a ripping timpani beat. The lyrics sung here are from the poem The Destruction of the Ring, including the absolutely stunning solo vocalisation in the middle of the cue by Renee Fleming. Wonderful piece of music.
- Don’t Let Go* [0:52]
Start time: 02:44:25.
Film action: Sam reaches down to grab Frodo, who reaches up and is pulled up by Sam. It’s a bit more dramatic than that single sentence, but that describes it well.
Released material: Unreleased cue.
Music featured: The weary version of the Shire B theme heard in cue 59d is reprised here for pennywhistle. The choral piece is either ‘The Argument’ or, probably, Don’t Let Go. There is some choir here as the Ring melts as well.
Unused Cue: Sauron Defeated, I [1:30]
Start time: Probably about the time the Ring melted
Unused piece: An early version of the music for the downfall of Sauron.
Released Material: ROTK, 16, 2:17-3:47.
Music Featured: The poem The Mountain of Fire is sung by mixed choir, we have a choral reprise of the Fellowship theme (which would have originally been heard as the Fellowship cheered Frodo’s victory at the Black Gate), a seesawing string motif that very much suggests the melody of the instrumental to ‘The Eagles’ in cue 66. Its absence from the final film is sorely felt.
- Sauron Defeated, II ** [2:33]
Start time: 02:45:40.
Film action: Cue begins as the Dark Tower begins to crumble in slow motion, and all the men at the Black Gate cheer for the end of Sauron’s reign. The Great Eye explodes as the Tower falls, sending an earthquake through the land that undoes all the might that Sauron built using the Ring. The mood darkens as all realise that Frodo is probably dead, Gandalf is sad, Pippin cries. We see Frodo and Sam escape from the Sammath Naur as it crumbles and Mount Doom erupts, enveloping the Nazgul and their steeds in its flames. Frodo and Sam run down the slope of Orodruin as lava swallows up everything.
Released material: ROTK, 16, 3:48-4:07. Possibly a piece was tracked in from ROTK, 17, 2:15-2:38 for the statement of the History of Gondor theme heard here as the Fellowship cheers Frodo’s victory.
Music featured: History of Gondor theme as everyone cheers the fall of the Dark Tower, a reprise of Wickenstein’s oboe motif as Sauron explodes, sad string elegy as Frodo and Sam are mourned at the Morannon. As the two run out the door to the Sammath Naur, the string imitate the vocalist who intoned over the Fellowship’s mourning for Gandalf at Moria in FOTR. It’s a lovely touch. There may also be some choral work here, and if so, there’s only one poem left it could be really - Not once, not ever, which suits the mood.
- The End of All Things* [1:16]
Start time: 02:48:34.
Film action: Frodo and Sam seek temporary shelter from the lava flows on the slopes of Orodruin. Frodo takes joy in his release from the Ring’s power, while Sam voices his wish to marry Rosie. Frodo tells Sam he is glad to be with him at ‘the end of all things’.
Released material: Unreleased cue.
Music featured: Hints of the sombre Shire B theme as Sam thinks of the life that might have been. The deep strings play a new wistful motif (actually this is anticipated in ‘Sauron Defeated, I’ above) as Sam and Frodo spend what they imagine to be their final moments together. This motif becomes the melody of the vocal piece ‘The Eagles’ in the next cue.
- The Eagles [1:00]
Start time: 02:49:53.
Film action: The Eagles rescue Frodo and Sam from the slopes of Mount Doom.
Released material: ROTK, 16, 4:09-5:10.
Music featured: The wistful motif from the previous cue is reprised while Renee Fleming intones the lyrics of the poem The Eagles.
- The Fourth Age of the Sun** [7:55]
a. The Fragrance of Ithilien [2:15]
Start time: 02:51:05.
Film action: Frodo awakes in the Houses of Healing and is reunited with the Fellowship of the Ring.
Released material: ROTK, 17, 0:01-2:15.
Music featured: New theme for flute/strings called The Fragrance of Ithilien as Frodo awakes and sees Gandalf. Also contains the full Fellowship theme for full orchestra and the Shire A theme for flute.
b. The Return of the King** [4:28]
Start time: 02:53:20.
Film action: We see Aragorn’s coronation, his recitation of Elendil’s claim on the lands of Middle Earth, his reunification with Arwen, and the exaltation of the hobbits.
Released material: ROTK, 17, 2:15-6:43. There is a slightly different edit in the film, where the lead-up to the statement of the Shire theme as all bow to the four hobbits is slightly different to the album version – only about 4 seconds or so.
Music featured: Full orchestra statements of the Shire A and History of Gondor themes. Horn and string statements of the Gondor and Aragorn themes. Renee Fleming solo vocal performance of Arwen’s theme with lyrics from The Song of Tinuviel. Also contains Aragorn’s vocal performance of Elendil’s Invocation.
c. A Familiar Sight [1:16]
Start time: 02:57:48.
Film action: Covers Frodo’s narration of the beginning of the Fourth Age and the hobbits’ arriving back in the Shire to see a familiar grumpy sight.
Released material: ROTK, 17, 6:44-7:20 (edited down very inelegantly for the film by about 11 seconds – the cut is obvious when you watch it), 7:21-8:11.
Music featured: Secondary West motif makes its first appearance in this film, having previously appeared at Shadowfax’s introduction in TTT. The hobbit orchestration appears again as the heroes move around the Shire – Shire A theme referenced for flute.
Suspected Unused Cue [0:10]
Start time: 02:58:56.
Film action: Would have continued the cue from the return to the Shire for the transition over to the Green Dragon scene.
Released material: ROTK, 17, 8:12-8:22.
Music featured: Light pizzicato strings leading up to the next cue… Probably clipped just to give the feeling of time passing between the two scenes.
d. The Souring of the Shire [1:17]
Start time: 02:59:05.
Film action: The hobbits find consolation in alcohol, as do many returning war veterans when they find the world they fought to protect has remained completely oblivious to the danger they were in. Sam summons his courage and, having survived near death and all the legions of Mordor, decides he’s ready for marriage. Talk about a death wish. Notice that Frodo has all his fingers here when he holds his flagon of ale.
Released material: ROTK, 17, 8:22-9:39.
Music featured: Fragrance of Ithilien played for fiddle over pizzicato strings, Shire A theme with the hobbit orchestration – light pizzicato strings, fiddle, hammered dulcimer, pipes, flutes, jew’s harp, etc.
e. Sam and Rosie’s Wedding [0:32]
Start time: 03:00:21.
Film action: Sam and Rosie are married, and Pippin’s doomed bachelor state is prophesied.
Released material: ROTK, 17, 9:40-10:12.
Music featured: Shire B theme with the hobbit orchestration, brief Shire A reference.
f. The Threads of an Old Life* [1:48]
Start time: 03:00:53.
Film action: Frodo narrates his difficulty adapting to his old life as he puts the finishing touches on ‘The Lord of the Rings’. He feels the pain of his Weathertop wound as he and Sam celebrate the anniversary of the stabbing.
Released material: Unreleased cue.
Music featured: Sombre string music that suggests the Shire B theme among other themes.
- Bilbo’s Last Journey [0:49]
Start time: 03:02:48.
Film action: Frodo sets out with Bilbo, Gandalf and the other three hobbits for the Grey Havens.
Released material: ROTK, 18, 0:01-0:51.
Music featured: Flute plays a variation on the Shire A theme, with orchestra joining for the rest of the cue in a mix of the Shire A and Secondary west motifs.
- The Grey Havens ** [6:36]
a. Bilbo Departs [1:26]
Start time: 03:03:58.
Film action: The hobbits see the White ship before them, with Cirdan, Elrond, Galadriel and Celeborn awaiting. Bilbo chooses to go on one last adventure and steps out to join Elrond.
Released material: ROTK, 18, 0:52-2:18.
Music featured: Fellowship theme prelude, suggestions of the Shire B and secondary West motifs here.
b. The Wisdom of Gandalf [1:04]
Start time: 03:05:24.
Film action: Gandalf farewells the hobbits, telling them that not all tears are evil.
Released material: ROTK, 18, 2:18-3:22.
Music featured: The four note motif in the harp, horns and low strings is the Wisdom of Gandalf theme (which appeared after Gandalf’s death in FOTR and at the conclusion of FOTR and TTT), while the high strings nicely mimic the vocal part from the scene of Gandalf’s death in FOTR.
c. Frodo’s Farewell** [2:04]
Start time: 03:06:28.
Film action: Frodo gives Sam the Red Book, farewells Merry and Pippin, and gives Sam a final embrace.
Released material: ROTK, 18, 3:23-3:52 (Frodo gives Sam Red Book), 3:53-4:39 (Frodo embraces Sam one last time). Partially Unreleased – Between Frodo giving Sam the Red Book and his final embrace with Sam, there is 48 seconds of music as Frodo embraces Pippin and Merry. We hear a reprise of the Wisdom of Gandalf theme in the unreleased section, with a woodwind melody.
Music featured: Wisdom of Gandalf theme, Shire B theme.
d. The Grey Raincurtain of This World is Drawn Back** [2:08]
Start time: 03:08:32.
Film action: Frodo moves towards his ship, and departs from life in Middle Earth.
Released material: ROTK, 18, 4:40-5:53. Partially Unreleased. The statement of the West theme as Frodo’s ship sets sail into the west is truncated on the album. The film edit goes on for another 47 seconds or so, building the West theme as the ship sets out, and the theme is given resolution only in the final seconds of the cue.
Music featured: West theme, Secondary West theme, also the lyrics The Grey Havens.
- ‘I’m Back’* [1:19]
Start time: 03:10:42.
Film action: Hearing Frodo’s voice-over about not forever being torn in two, Sam walks up the road to Bagshot Row, greets his family, and says ‘I’m back’. The film fades to black on the closing of the front door behind them.
Released material: Unreleased cue.
Music featured: Shire orchestration (pennywhistle, flute), a nice spritely new hobbit motif to close the film - this motif is possibly related to the one heard in cues 34b, 59b and 59d.
Suspected extended edition sequence: The end of the film may be extended to reveal the fates of the members of the Fellowship and the friends they acquired along the way. Hopefully in this scene, Sam’s mayorship, Gimli’s founding of the mines, Aragorn’s kingship, Faramir and Eowyn’s marriage and the final journeys west by Sam, Legolas and Gimli will be depicted. As well, it’d be nice to see some indication of the end of the story for Aragorn and Arwen, though in a way we’ve already seen it in TTT. Musically such a montage would offer Shore great opportunities to revisit the themes one last time.
- End Credits** [8:33]
a. End Title [0:42]
Start time: 03:12:07.
Film action: End credits (title-cards).
Released material: ROTK, 17, 6:43-7:21?
Music featured: Secondary West theme.
b. Into the West [4:31]
Start time: 03:12:49.
Film action: End credits (title-cards and scrolling).
Released material: ROTK, 19, 0:01-4:34.
Music featured: West theme, secondary West theme, lyrics of ‘Into the West’.
c. The Return of the King (excerpt) [0:59]
Start time: 03:17:21.
Film action: End credits (scrolling).
Released material: ROTK, 17, 1:47-2:44.
Music featured: Shire A theme, History of Gondor theme. This piece was tracked in from cue 67b where it accompanied Frodo and Sam’s reunion in Minas Tirith and the lead-in to Aragorn’s coronation.
d. A Vision of Eldarion [1:09]
Start time: 03:18:20.
Film action: End credits (scrolling).
Released material: ROTK, 8, 0:16-1:25.
Music featured: This piece was tracked in from cue 11a. The poem Twilight and Shadow as sung by Renee Fleming appears here.
e. Coda – Wagner Pastiche** [1:09]
Start time: 03:19:31.
Film action: End Credits (scrolling).
Released material: ROTK, 19, 4:35-5:37. Partially Unreleased. Builds up to an homage to the Ring Cycle. The last 7 seconds where the music truly swells to a powerful conclusion are left of the CD, which fades out on a more dreamlike note. Both film and album versions are lovely.
Music featured: Secondary West theme, Wagner’s Ring Cycle – can anyone name a specific part of the Ring Cycle that is being referenced here?
And that’s it for another instalment.
- Main Title* [4:24]
COMING SOON!!!! FOTR:EE COMPELTE CUE LIST, FROM LOTHLORIEN TO THE BREAKING OF THE FELLOWSHIP!!!!COMING SOONER!!!! TTT:EE COMPLETE CUE LIST FAQ!!!!
And Part Eight of my TTT:EE cue list can't be too far away either.
NP Veronica Guerin (Gregson Williams) and The Dancer Upstair (Iglesias)
[Message edited by franz_conrad on 03-31-2004][Message edited by franz_conrad on 04-01-2004]
posted 03-31-2004 07:48 PM PT (US) Wickenstein
Standard Userer
In reference to the ending being from Wagner's Ring: The string background is taken from the Finale of Die Walkure (the second part of the cycle), though I'm not sure the scenes relate directly. Die Walkure ends with Brunnhilde being put to sleep by a kiss, surrounded by magic fire. Wotan walks off into the distance, knowing that the end is near. The same exact string passage plays and closes the opera.
posted 03-31-2004 08:23 PM PT (US) franz_conrad
Standard Userer
quote:
Originally posted by Wickenstein:
In reference to the ending being from Wagner's Ring: The string background is taken from the Finale of Die Walkure (the second part of the cycle), though I'm not sure the scenes relate directly. Die Walkure ends with Brunnhilde being put to sleep by a kiss, surrounded by magic fire. Wotan walks off into the distance, knowing that the end is near. The same exact string passage plays and closes the opera.Thanks Wickenstein, you're a quick reader!
posted 03-31-2004 08:26 PM PT (US) John Zimmer
Standard Userer
That's a very long list.Jz
posted 04-01-2004 05:27 AM PT (US) franz_conrad
Standard Userer
Why didn't anyone tell me I was crazy at the time?
posted 09-18-2005 05:33 PM PT (US) Marian Schedenig
Standard Userer
quote:
Originally posted by franz_conrad:
Why didn't anyone tell me I was crazy at the time?quote:
Originally posted by John Zimmer:
That's a very long list.posted 09-18-2005 06:27 PM PT (US) nuts_score
Standard Userer
This is a real dig. Wow Franz, you had a lot of time on your hand back in the day. By the way, you are a crazy f--ker.
posted 09-18-2005 07:23 PM PT (US) TheTennisBallKid
Non-Standard Userer
Cue lists for the EEs, anyone?The Fellowship Of The Ring:
Disc One:
#1. "The Prophecy" (2:12)*
#2: Prologue (7:10)**
#3: The Shire, Middle Earth(:58)
#4: Concerning Hobbits(1:31)
#5: The Road Goes Ever On....(:39)
#6: A Wizard is Never Late(4:05)**
#7: Very Old Friends(1:39)
#8: A Night To Remember(1:26)
#9 Party#1(:45)
#10 Party#2(:57)
#11: The Sackville-Bagginses!(1:43)
#12: Goodbye(1:00)
#13: It's In My Pocket(1:43)
#14: The End of My Book(1:09)
#15: Riddles in The Dark(1:18)
#16: "Neither Secret, or Safe..."(3:14)**
#17: "The Green Dragon" (:20)
#18: "Rosie" (:17)
#19: "It Is The One Ring" (1:48)
#20: "Bilbo Found It" (:23)
#21: "Sauron Endured" (:44)
#22: "Remarkable Hobbits" (3:53)**
#23: "The Journey Begins" (1:47)**
#24: "Wood Elves" (:49)
#25: "To Isengard!" (:40)**
#26: "Reason Exchanged for Madness" (2:27)**
#27: "The Treason of Isengard" (:55)**
#28: "Shortcut To Mushrooms" (:49)**
#29: "Brandybucks and Tooks" (:14)
#30: "Get off the road!" (:13)*
#31: "The Black Rider" (2:36)**
#32: "At The Sign of The Prancing Pony" (:27)**
#33: "No Gandalf" (:21)
#34: "Strider" (:38)**
#35 "Frodo Baggins" (:23)
#36 "Nazgul In The Night" (1:12)**
#37 "Journey To Rivendell" (2:07)
#38: "Second Breakfast" (1:08)
#39: "Desecration of Isengard" (:39)
#40: "A Knife In The Dark" (1:40)**
#41: "Even the Smallest Creature..." (4:02)**
#42: "Weed" (:48)
#423: "AATF" (5:23)**
64.10 Of music, 30.38 releasedDisc Two:
#1: "Short Cuts Make For Long Delays" (1:01)
#2: "Many Meetings" (3:18)**
#3: "Aniron" (2:02)*
#4: "Men? Bah!" (2:23)
#5: Broken Heirloom (1:06)
#6: Isildur's Bane (1:12)
#7: Gondor Needs The Ring, Not A King (2:08)
#8: The Fellowship is Formed (3:10)**
#9: "Gilraen" (:57)*
#10: "The Ring goes South" (3:46)**
#11: "Rabbi! From Dublin!"(4:20)
#12: "Moria" (3:56)
#13: "Open Sesame!" (:40)
#14: "The Watcher" (1:34)
#15: "Journey In The Dark" (2:15)**
#16: "Pity/The Darrowdelf" (5:26)**
#17: "Here They Come!" (1:05)
#18: "Frodo Lives!" (4:15)**
#19: "The Bridge Of Khazad-Dum" (7:53)**
55.24 of music, 13.53 releasedDisc Three:
#1: "Lothlorien" (7:25)**
#2: "Lament For Gandalf" (1:58)**
#3: "Silver Trumpets" (1:05)
#4: "The Mirror Of Galadriel (2:50)
#5: "Test Of Galadriel (2:28)**
#6: "The Fighting Uruk-hai" (1:57)
#7: "Gifts Of Galadriel" (5:21)**
#8: "The Great River/The Argonath" (5:09))**
#9: "Boromir Succumbs" (2:40)
#10: "Temptation Of Aragorn" (:48)**
#11: "That Which It Defends" (7:22)**
#12: "The Passing Of Boromir" (1:55)**
#13: "The Breaking Of The Fellowship/In Dreams/May It Be" (11:39)*
#14: "The Breaking of the Fellowship(Alternate)"(6:20)
58.03 music, 27.24 released
[*=released, **=partially released]The Two Towers: (taken, of course, ]from here )
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. A Balrog of Morgoth [1.34]*
24. Gandalf the White [1:44]* # 41
25. Shadowfax / The White Rider [0:56]**
26. Song of the Entwives [1:48]* #
27. Sauron Searches [6:24] **,#
a. The Heir of Numenor [1:30] *,#
b. The Black Gate is Closed [1:49]** #
c. Another Way [2:07]**
28. The Ent Draught / Old Man Willow [2:43] *
54.22Disc Two:
1. The Fellowship comes to Rohan [4:31] **
a. Edoras [1:06] **
b. Bitter Watches of the Night [3:25] **
2. 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] ** #
3. Symbelmine [1:28]
4. The King’s Decision [1:38] **
. 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] *
5. Ithilien [0:56]*
6. Gollum and Smeagol [1:00]*
7. The Rangers of Ithilien [3:29]** #
8. Eowyn’s Smile [1:39]* # 27.44
9. A Dunedain Ranger / Evenstar [3:57]** #
10. A Gift [1:10]*
11. The Wolves of Isengard [2:32]**
12. Warg Battle [1:35]*
13. Helm’s Deep [3:05]** #
14. The Missing [0:23]**
15. Isengard Unleashed [0:47]*
16. Breath of Life [1:48]
17. Arwen’s Fate [1:25]**
18. Second Prophecy [3:27]
a. The Leavetaking [1:10]
b. Galadriel’s Prophecy [2:17]
19. Henneth Annun [0:53] **
20. Faramir’s Dream [0:44]*
21. Sons of Denethor [3:43] * #
22. The Forbidden Pool [2:40] **
23. Smeagol Betrayed [0:44]
24. Faramir’s Test [0:49] **
25. Hope Returns [1:22] **
58.48Disc Three:
1. The Evenstar Restored [0:36] *
2. Preparations for Battle [1:15] *
3. Theoden’s Desperation [1:00] *
4. Entmoot [0:50]
5. Valour without Renown [2:16] * #
6. The Horse and the Rider [1:05] **
7. Son of Hama [0:18] **
8. The Fellowship Arms [1:05] **
9. The Last Alliance – One Final Show! [0:59] *
10. Hornburg Haka [1:30] ** #
11. The Whites of Their Eyes [2:52] **
12. Fire Undoes Stone [1:10] *
13. The Deeping Wall Breaks [1:41] *
14. Part of this World / The Eldar Retreat [1:54] *
15. Lament for the Eldar [1:13] **
16. Defending the Keep [1:42] **
17. The Hornburg Breached [1:17] **
18. Travelling South / Osgiliath Burns [2:01] *
19. A Wizard Should Know Better [0:07] *
20. Last March of the Ents [1:30] **
21. The Nazgul Cometh [0:53] *
22. Ride out with Me [1:53] *
23. 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] *
24. 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] **
25. Gollum’s Song [3:44]
26. Eowyn’s Theme [0:19]*
27. Rohan Theme / Finale [1:25]
28. Forth Eorlingas (without soprano solo) [1:59]**
50.27The Return Of The King:
Disc One:
#1: "The Finding Of The Ring" (1:27)**
#2: "Birthday Gone Bad" (2:18)**
#3: "Sleepless In The Sewer" (:24)
#4: "Return Of The King" (3:48)
#5"The Voice Of Sauruman" (5:09)
#6: "Westu, Aragorn, Ha" (1:51)
#7: "The Winding Stair" (1:49)
#8: "Eowyn's Dream" (1:22)
#9: "Asleep With Open Eyes" (:32)
#10: "Eye Sees You" (:34)
#11: "What Pippin Saw" (:24)
#12: "Another Road" (:20)
#13: "Always Looking" (:21)*
#14: "Hope And Memory" (1:44)**
#15: "Eldarion" (1:11)**
#16: "The Crownless Again Shall Be King"(3:16)**
#17: "City Of Kings" (1:29)**
#18: "City Of Stewards" (4:02)**
#19: "There And Back Again" (:34)
#20: "The King Has A Crown" (1:00)
#21: "The Morgul Host" (2:55)**
#22: "Sam's Warning" (:35)
#23: "The Worth Of The Shire Folk" (:26)*
#24: "Osgiliath Invaded" (3:38)**
#25: "Hope Is Kindled" (2:46)**
#26: "Gondor Calls For Aid..." (:28)
#27: "...And Rohan Will Answer" (2:45)
#28: "Osgiliath Taken" (3:21)**
#29: "Everything You Know" (:30)
#30: "A Wizard's Pupil" (1:28)
#31: "Tricksy, False Gollum" (1:12)
#32: "Fat One" (:35)*
#33: "Courage Is The Best Defense" (:17)
#34: "Slaying Dragons" (:51)
#35: "Disloyalty With Vengeance" (1:47)
#36: "Crumbs On Jacketses" (:33)
#37: "Food Fight" (1:38)
#38: "PJ's Unpardonable Sin" (1:24)*
#39: "The Steward Of Gondor" (3:58)**
63:51Disc Two:
1. "Dunharrow, Haunted" (1:18)**
2. "Sure Gimli, just a sec..." (:17)
3. "True Esquire Of Rohan" (1:26)
4. "Anduril" (2:57)**
5. "No More Despair" (4:08)
6. "The Haunted Mountain" (2:17)
7. "Ride To Gondor!" (1:24)**
8. "Boom pah, boom pah..." (:11) (source music)
9. "In The Hall Of The Mountain King" (7:18)**
10."Hope Fails" (:46)
11."Horns Of Mordor" (:07)
12."Denethor's Despair" (2:40)**
13."Trebuchets" (1:10)**
14."Grond" (4:23)**
15."This Army" (:25)
16."Shelob's Lair" (7:29)**
17."Appointed Task" (1:12)
18."Merry's Simple Courage" (1:51)
19."To The Gate" (:17)
20."The Gate Is Opened" (1:07)
21."The Choices Of Master Samwise" (4:33)**
22."Gondor Falls" (3:28)**
23."The Ride Of The Rohhirm" (4:17)**
24."The Pyre Of Denethor" (2:05)
25."They Sang As They Slew" (1:35)
26."The Mumak!" (1:15)*
27."The Battle Continues" (1:02)
28."A Far Green Country" (1:30)
29."The Battle Of Pellenor Fields" (4:53)
67.11
Disc Three:
1."Counts As One" (1:13)
2."Theoden's Death" (2:11)
3."Houses Of Healing" (2:07)
4."Are You Going To Bury Me?" (:39)
5."Shiny Shirt" (:19)
6."For My Old Gaffer!" (4:09)
7."Setting Out" (1:41)
8."The Last Debate" (:47)
9."Damp Of The First Spring Rain" (1:07
10."Marching, Marching, Marching..." (1:37)
11."In The Land Of Shadow" (1:44)
12."Light And Beauty" (1:03)
13."No Return?" (:31) 21.48
14."Approaching The Gate" (:35)
15."The Black Gate Opens" (7:51)**
16."For Frodo" (4:03)
17"The Crack Of Doom" (:57)
18."The Ring Is Mine" (2:36)**
19."Don't Let Go" (:43)
20."The Defeat Of Sauron" (2:28)**
21."The End Of All Things" (2:17)**
22."The Return Of The King" (11:09)**
23."The Road To The Havens" (:52)**
24."The Grey Havens" (6:39)**
25."Well, I'm Back" (1:23)
26."Into The West" (5:12)*
27."Use Well The Days" (3:10)*
28."Sissel" (1:39)
29."Bilbo's Song" (2:47)*
30."End Of The Ring Cycle" (1:08)**
74.37
[*=released, **=partially released]ttbk
[Message edited by TheTennisBallKid on 09-19-2005]
posted 09-19-2005 08:21 PM PT (US) Old Infopop Software by UBB
- A Storm is Coming** [3:07]