Éomer discovers the King's son wounded, and returns him to Edoras. He
pleads with Théoden, suggesting that Rohan must be protected properly from
Saruman's advances. But the King remains mute. Save for an early version
of Éowyn's theme, Shore avoids leitmotivic writing during this entire Rohan
sequence and deals, instead, purely with Rohan's musical style—open harmonies,
alternating major and minor modes, low voiced brass and strings. The
plight of the One Ring has not yet reached Edoras—at least, not explicitly—
and so the Rohirrim remain on the story's edges for the time being. "This is
written as opera," Shore says. "Little gestures, moments and pauses—intimate,
dark, Gothic scenes made to feel like Nineteenth Century opera."

Gríma Wormtongue issues forth from Meduseld's dank corners, forming the
King's words for him. Shuddering F-minor chords build in the strings, stacking
higher and higher over low brass, while a tantrum of repeating French
horns outrages the ensemble.
Elsewhere, the Fellowship of the Ring makes its way across the Horselords' lands, close on the heels of the Uruk-hai. But the Isengard
material, like the Orcs themselves, is now more driven, more aggressive. As the forces of evil advance their campaign to overtake
Middle-earth, the Isengard music adopts a parasitic stance, writhing its way inside any music it encounters in an attempt to
corrupt its host. Here Isengard's Five Beat Pattern forces itself upon the Fellowship theme, deforming the melody with its tilting
mechanical might. Over this charge, mixed chorus sings ominous fractures of "Namárië," offering a farewell...but to which troop?

IN THE MAKING :
Listeners will note that "The Three Hunters"
and "The Banishment of Éomer"
share a few identical measures.
The end of "The Three Hunters" contains
a prefigured reference to Éowyn's
principle theme, Éowyn Shieldmaiden of
Rohan. The Two Towers' Theatrical edit
cuts directly from the Uruk's assault on
the Westfold to Edoras, where Éowyn,
accompanied by this early version of her
theme, rushes up a staircase to encounter
Théodred's injured form.
In the DVD edit of the film, Éowyn's
climb is preceded by a scene in which
Éomer discovers Théodred's body on a
riverbank. In this instance, "The Three
Hunters" is faded out of the film before its
conclusion. The Éowyn theme still exists
at the end of the composition, however,
because of the editing, it goes unheard.
Because The Two Towers: The Complete
Recordings does not fade the piece out before
its end, this Éowyn theme still plays
at 5:58 in "The Three Hunters"

On DVD, Éomer carries Théodred back
to Edoras, and Shore begins "The Banishment
of Éomer." Éowyn's staircase scene
comes shortly thereafter, so at 0:31 the
same Éowyn theme originally meant to
conclude the Theatrical edit of "The Three
Hunters" plays.
The Two Towers: The Complete Recordings
contains the unaltered versions of both
"The Three Hunters" and "The Banishment
of Éomer," so the early Éowyn
theme plays in both compositions

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