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Howard Shore's The Desolation Of Smaug (Hobbit Part 2)


gkgyver

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I like the way Shore tortures the Gandalf theme in "A Spell of Concealment". Btw what do you guys think about the mix ... I think it's way better than AUJ, I didn't really appreciate the dry sound of Abbey Road.

Better than UAJ, still not as impressive as ROTK.

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I'm glad I grabbed the whole thing in time... 320 kbps too lol. I guess they realised it wasn't a smart move having the whole score in good quality up even before release.

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Better than UAJ,

Unexpected An Journey?

Is that like UJAM?

Don't play smartarse. You know what I mean. ;)

2.52 in the cue Smaug = awesome. What instrument is that again? I can't name it.

Flutes, clarinets and oboes in that order, trading off figures based around fingered tremolos ('shakes') between E and G, followed by a scalic descent of E-D-C#-B. All in different octaves.

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Well, Arwen Revealed is a theme in itself. This instance of music, and its appearance in FOTR, is derived from it (same opening gesture), but then goes in another direction, and can probably stand on its own as a general "healing" type of motif.

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Seeing as Arwen is almost definitely not going to be in the film, it seems a few themes are being applied in the Hobbit to the scenario in which they occurred in LOTR (less specific to the characters named in Doug's book).

Gondor Reborn for a union between races

Nazgul Theme for an Orc tied to mordor (possibly more links to be confirmed)

Arwen Revealed for a healing scene (unconfirmed)

It'll probably become a "Servents of Sauron" theme. That fits Ringwraiths and Orcs I guess.

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The music from 'The Hunters' recalling Legolas' battle with the Mumakil is a nice touch.

Time stamp?

About 4:14 onwards. Seems to intertwine with Tauriel's theme.

Now that is impressive! I do recognise some of it from ROTK, so I think you're right. I like the way they're handling the music from LOTR and themes generally so far. Instead of quoting the fellowship theme, a moment with Legolas in LOTR is used that wasn't really a theme sort of becomes one.

Exactly. It's a more intelligent way of recalling Legolas' heroics from LOTR without resorting to the Fellowship theme.

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You're kidding me:?!?

I decide to neglect this site for half the day because it's full of classes and the entire f**king score comes out!!!

Thank God someone put it up on youtube (wonder how long that'll last). I'll contribute to the discussion after I've tackled this beast.

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Seeing as Arwen is almost definitely not going to be in the film, it seems a few themes are being applied in the Hobbit to the scenario in which they occurred in LOTR (less specific to the characters named in Doug's book).

Gondor Reborn for a union between races

Nazgul Theme for an Orc tied to mordor (possibly more links to be confirmed)

Arwen Revealed for a healing scene (unconfirmed)

It'll probably become a "Servents of Sauron" theme. That fits Ringwraiths and Orcs I guess.

Explaining it's quotation in the FOTR Prologue.

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Seeing as Arwen is almost definitely not going to be in the film, it seems a few themes are being applied in the Hobbit to the scenario in which they occurred in LOTR (less specific to the characters named in Doug's book).

Gondor Reborn for a union between races

Nazgul Theme for an Orc tied to mordor (possibly more links to be confirmed)

Arwen Revealed for a healing scene (unconfirmed)

It'll probably become a "Servents of Sauron" theme. That fits Ringwraiths and Orcs I guess.

Explaining it's quotation in the FOTR Prologue.

It's always been a second age theme.

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I'm curious about the degree of Pope's involvement. If he worked on the bigger part of the orchestration, he really did a great job - it sounds very coherent (even the wild flutes fit perfectly ;) ). Or was he just engaged as Shore's delegate during the recording sessions to struggle with PJ's mad decisions?

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It sounds very much like a Howard Shore score to me. I would never have guessed there was a change if I had not none in advance.

The NZSO sound fantastic also.

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I'm curious about the degree of Pope's involvement. If he worked on the bigger part of the orchestration, he really did a great job - it sounds very coherent (even the wild flutes fit perfectly ;) ). Or was he just engaged as Shore's delegate during the recording sessions to struggle with PJ's mad decisions?

Err, well... you'll find there's quite a bit of discussion about that around these parts. ;)

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I'm curious about the degree of Pope's involvement. If he worked on the bigger part of the orchestration, he really did a great job - it sounds very coherent (even the wild flutes fit perfectly ;) ). Or was he just engaged as Shore's delegate during the recording sessions to struggle with PJ's mad decisions?

Err, well... you'll find there's quite a bit of discussion about that around these parts. ;)

Hm, I know. I hope someday someone will enlighten us.

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Precisely. Logic (as well as The Horse) dictates that Pope's contributions were equivalent to what they are on Williams' scores. Pope has talked about that being the case with composers who provide complete sketches, and we know that Shore in all likelihood provides complete sketches. So, there you have it.

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