The final track, "Catatonie" is quieter and slower, but maintains the music-box style of the melody. As the cue progresses, the brass kicks in for some of its limited presence in this score as the main theme takes an underlying, rhythmic role. 6 Months" is an epic 18-minute track featuring a range from solo accordion to pounding bass strings. A slower cue at the end of "My Mind Rebels at Stagnation" features this more restrained pace and solo cello. Some of the slower parts to the score are reminiscent of the Angels & Demons style, yet maintain the Sherlock Holmes feeling. The versatility of this tune is such that it is able to be utilized as both a main melody and a rhythmic component of other cues. The Holmes theme is a cousin to the style of the Jack Sparrow theme from the Pirates sequels, but has its own identity through the further variation in orchestrations. Zimmer intentionally wanted a lack of melodic presence for scenes when Watson was alone without Holmes. There is no theme for Watson, just one for Holmes. The main theme from Sherlock Holmes is quirky and is performed by an odd arrangement of instruments, usually an assortment of plucked and bowed strings, but also including the cimbalom, banjo and accordion, such as in "Discombobulate" and "My Mind Rebels at Stagnation". Yet while there may be a number of similarities, the score as a whole is a step sideways from many of the projects Zimmer has undertaken in recent years and is a very interesting score to listen to. Fans will also note a common use of the trilled acoustic guitar often heard in the North African scenes from Gladiator. For example, "I Never Woke Up In Handcuffs Before" features racing strings, both acoustic and electric, over a light percussion rhythm, and backed by tubas. Rather, we get somewhat of an amalgam of the Jack Sparrow themes from Pirates of the Caribbean and An Everlasting Piece, Zimmer's Irish score from 2000. Granted, it is not at all what one expects when he scores an action film. However, there is plenty of familiar territory here for Hans Zimmer fans. The score matches the humorous, quirky style of the film and employs Irish and gypsy-influenced instrumentation, including banjos, fiddles, accordions, and North African percussion, all performed by soloists. The composer also says that it doesn't sound like anything else. According to Zimmer, this score is experimental and, like the movie, a little out there. In a recent interview on .uk, Hans Zimmer admitted to intentionally moving as far from the sound of The Dark Knight as he could for Sherlock Holmes, partially on director Guy Ritchie's request.
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