Syncing the Unused music to film:
Until such time as I have access to the techology neccessary to make my own isolated score + subtitles version of the film, I'm stuck trying to manually line up the unused cues with the visuals. It may not be exact to the smallest fractions of a second, but I can get close enough.
My setup for this is a computer with a DVD drive and iTunes...it should be possible to do this with less than that, but it'd be trickier...
Unless otherwise noted, all DVD timestamps are from the Region1 EE.
Disc One:
Glamdring/Foundations of Stone (Disc One, Track One; OST Track One)
Timings:
2:32_2:35, for both film and CD.
In the film, the first choral outburst of "Mettana!" ("To the Death!") is dialed out. It would have gone between "Fly you fools!" and Gandalf's fall. Cut, almost certainly, so as not to overpower Frodo yelling "No!"
Elven Rope (Disc One, Track Two)
The timings:
CR: 1:10_1:26
EE: 6:05_6:21
In the film, the scene following the Elven Rope sequence where Sam and Frodo come up a rise and into sight of Mordor is scored with a tracked rendition of the Evil Times motif (FOTR:CR:"The Nazgul", 5:10_5:26). Shore's original composition used a weary statement of the Shire theme.
Note: The unused section has to start a couple seconds before the tracked piece does in order to sync with the film...right after Frodo says "Real Elven rope."
Lost in Emyn Muil/The Taming of Smeagol (Disc One, Track Three; OST Track Two)
CR/OST: 1:26_2:07/0:26_1:07
The unused choral piece is an excerpt from a cue written for an earlier cut of the scene. It's included here because Shore likes it a lot; the full piece will probably be included on the forthcoming "rarities disc".
Ugluk's Warriors (Disc One, Track Five)
CR: 1:26-1:41
EE: 16:50_17:05
In the film, a choral passage intended to underscore the Uruks resuming their march was cut, though the instrumentals remain.
The Three Hunters (Disc One, Track Six)
CR: 2:06_2:22
EE: 19:12_19:28
In the film, the establishing shots of Isengard are unscored, the music written for that section uses the Isengard Five-Beat.
Night Camp (Disc One, Track Eight)
CR: 2:14_2:50
EE: 30:54_31:26
In the film, the attack on the Orc camp uses music tracked from a couple other different places in the film, on the CR Shore's original cacophony of percussion, trumpets, and aleatory French Horns is restored.
Fangorn (Disc One, Track Ten)
CR: 0:00_5:13
EE: 36:32_41:45
In this case, what was written as a single piece was edited quite a bit in the film, but in its original form can be played uninterrupted in conjunction with the visuals and still fit.
In the film, the opening 45 seconds that build as Aragorn begins to track the hobbits are cut. The short action piece as they run to the edge of Fangorn is intact. The marimba rendition of the Ent theme as the scene moves into the forest is cut, although the strings underneath remain in the film, as does the music for the subsequent chase sequence. Treebeard's awakening, underscored by a reiteration of the same figure heard as they reached the edge of the forest, is replaced by music tracked in from Weathertop. The bassoon solo as Treebeard carries the hobbits is not present; the final tense percussive phrases as he places them before the White Wizard are used in the film.
The Dead Marshes (Disc One, Track Eleven
CR: 3:11_5:08
EE: 46:22_48:19
In the film, the music leading up to the unused section has a different mix than the CR, but is still present. The unused music, starts at 3:11 with a blast of deep brass -- familiar from the OST -- as Frodo falls into the water. The half spoken, half sung choral passage is heard as he is surrounded by the ghosts....another jolting explosion of brass is heard as Gollum pulls him out. The History of the Ring is partially stated as Frodo strokes the Ring later that night. More of the aleatory device related to the Dead Marshes and partial brass hints at Gollum's Pity are heard as Frodo hears Gollum lamenting the loss of his precious.
Wraiths on Wings (Disc One, Track Twelve)
CR: 0:31_2:07
EE: 49:04_50:39
The film version is the same length as the original composition, but is edited a bit; the Wraith theme isn't developed as fully, and some of the choir is toned down. I have no idea why it was edited, as the cue, as written and recorded, is scary as hell...or Mordor, rather.
Gandalf the White (Disc One, Track Thirteen)
CR: 0:00_4:26
TE: 41:15_45:40
Due to the additions to this scene for the EE, the original composition can only be synced to the TE.
Most, but not all of the first 34 seconds -- which utilizes the Ent/Fangorn motif as the Three Hunters make their way through the trees -- is ued in the film. Note: to sync it you have to start the CD track as soon as the scene shifts to Fangorn, not the point where the music fades in during the film.
The slow musical build from 0:35_1:35 is not in the film, and is replaced by sound effects and the tracked statement of the Ent motif.
1:35_2:31 is in the film, as Gandalf is revealed to the Three Hunters.
The brass and timpani of 2:31_2:52 accompany the end of Gandalf's fight with the balrog, the choral excerpt from "The Fight" is heard as Gandalf plunges his sword into it and vanquishes it.
2:53_3:50 is also unused in the film. Deep brass, accompanied by a busy texture of violins and woodwind arpeggios underscores the balrog's fall and Gandalf's death. A flutter of woodwinds at 3:15 moves the scene to his journey through time and space, and 3:30 he returns to life. The scene shifts back to Fangorn...the CD track will be in sync till they reach the edge of the forest and Gandalf calls for Shadowfax.
The White Rider (OST)
CD: 0:40_2:28
TE: 45:19_47:06
The OST has an alternate version of the music for Shadowfax's appearance. This earlier draft opens with a horn passage when Gandalf whistles for his steed (in the final version, this brief section is left unscored), and the choral piece begins with a greater emphasis on the female voices, and has string arpeggios (that are reprised in "Forth Eorlingas") instead of horns.
Again, it syncs better with the TE, the cue starts at 0:40 on the track, and lines up with Gimli saying "Gandalf." The unused section of the track is 1:01_2:00.
Olorin Revealed (Fan Credits)
EE2: 2:04:33_4:55
0:00_0:24
TE: 43:24_43:48
The unused cue for the balrog fight is in the fan credits, and it has yet another alternate; the begining of it is Shore's original concept for Gandalf stepping out of the light and revealing himself to the Three Hunters. It opens with a short horn call, then moves into a setting of
"The Fight". It's a bit on the heavy side, and was replaced after someone in the editing room experimented with using the choral triplets -- that utilize both "The Fight" and
"The Call" -- Shore had already written for Gandalf's appearance at Helm's Deep. The more mystical feel of it apparently fit the scene, so Shore rewrote it, and incorporated the triplets, and by using the motive twice, created the White Rider (in Nature) theme.
"The Fight" is another motif relating to Gandalf's spiritual presence in Middle-earth, though. As I noted before, it is the slow choir underneath the rapid triplets in the WR(iN) theme, and it appears by itself several times when Gandalf is battling with his foes:
Foundations of Stone/Glamdring: 2:32 (unused section, see above), 3:32 (The Falling Star)
The White Rider/The Court of Meduseld: (0:00_0:07; 2:15_2:22) When he is revealed to Saruman as Gandalf the White.
Gandalf the White: (2:45_3:54) The end of the balrog fight. Incidentally, the fan credits version of this piece does not have choir. Whether that's because Shore didn't, at that point, intend to have choir there, or because it just hadn't been recorded yet, I don't know. My guess would be the latter though.
Forth Eorlingas (OST)
CD: 0:00_0:58
Yet another alternate for Gandalf being revealed to the Three Hunters...this one is essentially a longer version of what appears in the film, recorded for a lengthier cut of the scene, where, according to Doug Adams, "Gandalf simply took a bit longer to say hello."
Disc Two:
The Forests of Ithilen (Disc Two, Track Six)
CR: 2:14_2:54
EE: 1:41:07_41:47
This short cue was intended to underscore Gollum bringing Frodo the rabbits. Contrabass clarinet and bassoon play pathetic variations on the Hobbit Outline figure as Smeagol tries very hard to please nice Master. It ends as Sam informs him that there's only one way to eat a brace of coneys. Cut from the film because it's a bit too much on the comedic side....
CR: 3:26_3:44
EE: 1:43:21_43:39
In the film, this brief militaristic piece for Frodo's first view of the Haradrim is replaced by the Mumakil music, which makes it's intended entrance a short time later, therefore appearing twice, when it was only meant to accompany the.sight of the Oliphaunts.
Also of note, the entire sequence that ends Disc One can by synced with the CD by using these timestamps:
CR: 2:54_
EE: 1:42:50_
One of the Dunedain/Evenstar (Disc Two, Track Seven; OST, Track Eight)
CR: 2:35_3:05
OST: 0:00_0:30
EE: 3:34_4:04
Elizabeth Fraser's beautiful solo, familar from the OST track, is not in the film mix for the scene where Aragorn recalls his conversation with Arwen; instead just the female choir and strings are heard. The CR uses it, as does the OST.
The Wolves of Isengard/Helm's Deep (Disc Two, Track Eight; OST, Track Twelve)
CR: 0:00_2:41
EE: 8:24_11:05
The CR version is much the same as the film, but with a few significant edits. The first is when Legolas spots the approaching Warg riders; the original composition uses a brass phrase to lead into a crescendo as the camera narrows in on his face (1:22 on the CR), then cuts to percussion as the shot goes back to the Wargs, then introduces the fiddle as it moves to the refugees. In the film, a short section of Khazad-Dum is tracked in, leading to a similar crescendo, but not until just before it cuts to the Rohhirim.
The other major edit is at 2:09, as we again cut to the Wargs, this time charging straight for the Theoden and the Rohhirim. The film abruptly cuts off the choir and uses a tracked rendition of the Isengard theme, with the chains on piano percussion, a brief reprise of the choir, then some tracked in harsh brass chords as the armies are about to clash. The original composition intertwines the Isengard theme -- with heavy drums and the low horns -- with an extended rendition of
"The Call".
It's thrilling, all out action piece...one of the best in the score. And there's such a greater sense of desperation to it, Shore's glorious setting of the "Where is the Horse and the Rider?" poem for Old English choir, calling back and forth with the primal horns, and contending with the relentless pounding of the drums. I love it. The edited piece in the film really doesn't match up.
CR: 1:22_2:08
OST: 0:53_1:41
EE: 9:47_10:33
The OST has an alternate passage for the part of the sequence where Theoden tells Eowyn to lead the people to Helm's Deep. The film (and CR) use different mix that has a prominent fiddle instead of choir. Changed, I'm guessing, to reflect more of the vulnerable and emotional side of the Rohhirrim and to be more specific to Eowyn. And, so as to not drown out the dialogue. I do love the choir on the OST though.
The Voice of Saruman (Disc Two, Track Ten)
CR: 0:00_0:14
EE: 18:26_18:40
The first fourteen seconds, some rising brass chords, are unused in the film; they wouldn't have mixed well with the Orc chants, and there's more dramatic power when the Isengard theme comes in at that point of Saruman's speech.
Arwen's Fate/Breath of Life (Disc Two, Track Eleven; OST, Track Fourteen)
CR/OST: 0:00_1:53
EE: 20:06_21:58
CR/OST: 1:54_3:58
EE: 22:12_24:16
In the film, the first half of this track has some juggling around, some vocal lines are cut, and the alto flute solo meant for later is used as Aragorn mounts Brego. To sync the original cue to the film, note that you have to start it when Merry and Pippin see Saruman's army, a few seconds before the DVD chapter "Breath of Life" begins.
The solo woodwind passage already partially used, Elrond's conversation with Arwen is left unscored. Sheila Chandra's vocals are then tracked, and looped several times, as Arwen sees her vision of the future, and death, and then a section of "Gilraen's Song" from FOTR (performed by Hilary Summers) is tracked in as she weeps. The original composition for this scene, the aforementioned flute solo over a bed of strings, is one of the score's dramatic highlights...the film edit suffers both from the looping, and from the way it suddenly jumps from one vocalist to another.
Sons of the Steward (Disc Two, Track Thirteen)
CR: 0:59_1:36
EE: 31:09_31:46
The music written for Faramir's dream, a setting of
"The Death of Boromir", was mostly replaced by high pitched sound effects. To sync the whole cue up, start at 30:10 on the DVD, it plays till 32:12....
Faramir's Good Council/The Forbidden Pool (Disc Two, Track Fifteen; OST, Track Thirteen)
CR/OST: 1:31_2:20/4:40_5:27
EE: 42:21_43:11
Only about the first ten seconds of this cue was used in the film; The Seduction of the Ring theme as Faramir comes looking for the Ring is cut off by the "Ring sound", and the subdued strings that would have ended the cue as Frodo pulls away go unheard, as well.
The Tales That Really Matter/Samwise The Brave(Disc Three, Track 13; OST, Track 18)
EE: 1:36:47_54
EE: 1:37:07_14
There are two edits for the album version of Sam's speech, both removing material used over reaction shots of Gollum: the first a held note, the other an extra downbeat chord. Both are necessary dramatically, but the music flows better in their absence.
Samwise The Brave(OST, Track 18)
OST: 2:45_2:54
The OST has the music for the TE transition from Osgiliath to Helm's Deep. This section was rescored for the EE, since the scene now moves to the Huorns, and that is what is heard on the CR.
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