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Howard Shore's The Battle of the Five Armies (Hobbit Part 3)


Jay

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It's pushing it for me too!

I can hear something that maybe sounds like Dwarven chanting, but nothing that identifies it as being for BOTFA if it is Dwarven chanting

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There's dwarven chanting in there briefly...

Many people like dwarven chanting...

Suggests we could hear a whole piece with it in the EE...

It's OK to like dwarven chanting and wanting to hear more of it in the EE, I'm not denying that.

But going crazy over something that lasts less than a second and is barely identifiable as dwarven chanting is pushing it a bit for me. 'Tis all!

It's from the BOTFA behind the scenes.

Actually its from a video discussing the connections of TH to LOTR, that uses more FOTR music than BOTFA music (or at least half), and only 10% unreleased at the most.

I am more interested in finding out where the music at 0:17 is from.

BTW I think this BFME3 thing is an early April fools.

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Too lazy to scroll up a bit before posting?

Battle of Middle-earth III has been announced:

http://www.bfme3.net/

I mention this here because didn't the previous BFME games have a fair amount of (at the time) unreleased LOTR music? I might be wrong about that, but if not it could be our first chance to get some good quality unreleased Hobbit music.

BTW I think this BFME3 thing is an early April fools.

It is.

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Fucking bullshit. I hate shit like that. And doing it a day early as well, plain cheating.

Does anyone actually find such things funny?

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http://www.alfred.com/Products/The-Hobbit-The-Battle-of-the-Five-Armies--00-44395.aspx

Don't know if this was discussed, does not have anything like the DOS sheet music, but the sample page shows lyrics for Shores of the Long Lake.

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http://www.alfred.com/Products/The-Hobbit-The-Battle-of-the-Five-Armies--00-44395.aspx

Don't know if this was discussed, does not have anything like the DOS sheet music, but the sample page shows lyrics for Shores of the Long Lake.

It's the same as in the DoS sheet music.

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I dont think those alternate beginnings are right

also feels like the first take is the most right, but it seems to be ahead of the footage at times, so maybe there was supposed to be a silence or a microedit before Bilbo takes out the arkenstone

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"That round thing"?

Yes. That round thing on the cover. Not his glass of booze.

the bottom of the glass

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I swear to god, that book better have some rarities, or I'll riot.

We might have people for a 10 person riot! Which would be sad and small. Should be go on a hunger strike as well?

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It's nothing radically new. He talks how Howard Shore has a very methodical way of writing, and that the film is basically one big blur of green when Shore writes the music. And that Shore wrote music for every second of the film.

When the orchestra starts to play the score, Peter Jackson already has a clear idea of what the random green screens will look like finished, so he would communicate to Pope how the music should sound in the scene, and he would sometimes hum to make himself clear. He basically says they had to conform Shore's music to Jackson's vision of what the music should sound like.

The translation says that Jackson also picked/assembled the orchestra. But I don't think that's a proper translation. I doubt Jackson would actually assemble the players.

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It is and it isn't.

The score isn't as exciting as DOS for me but then there is no chance in this film to develop its own identity. It's literally resolving the previous one, rather than being its own thing. Other than that, he did a really good job. As Shore said it himself, it's a "thriller and war score" and those tend not to be very wondrous.

Speaking of BOTFA, the US CD album is still out of print. Shame, wanted to pick it up at some point.

Karol

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Oh I agree. Shore had an obligation to score the movie he was presented with and did a fine job.

But still long segment of it feel like a patchwork of themes, slavishly following whatever happens on screen rather then a more flowing narrative.

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It's a shame that two most distinctive new themes get only two statements each (not counting the suite). It's such a pity since they could be among the most distinctive in this series.

But then, again, the film can't really put any focus on... well... anything.

Karol

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It's a shame that two most distinctive new themes get only two statements each (not counting the suite). It's such a pity since they could be among the most distinctive in this series.

Bard The Hero and Dain? Yea. I didn't even realize at first that they are barely featured in the underscore, since they are so prominent in the end credits pieces. But then you listen to the OST more, and you're like... why aren't those themes used?

I still feel like Shore wrote that track for Dain's introduction to feature the full theme and not just the backing material, but PJ dialed it out of the film, so Shore took it out of the OST too... if thats true, its a damn shame

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It's a shame that two most distinctive new themes get only two statements each (not counting the suite). It's such a pity since they could be among the most distinctive in this series.

Bard The Hero and Dain? Yea. I didn't even realize at first that they are barely featured in the underscore, since they are so prominent in the end credits pieces. But then you listen to the OST more, and you're like... why aren't those themes used?

I still feel like Shore wrote that track for Dain's introduction to feature the full theme and not just the backing material, but PJ dialed it out of the film, so Shore took it out of the OST too... if thats true, its a damn shame

Considering how small Dain's role is in the film it is lucky we get even those 2 statements on the album (not counting the suite).

And I really dig BOFA score. It is a great continuation of the DoS sound but it goes to a more heroic and energetic direction. The constant flow of themes is really what these scores are build upon so I was never too much bothered with the way Shore follows the narrative. The music has despite the arduous modern post production hassles many moments to shine on the album.

Bard The Dragonslayer (I prefer that name for the theme ;)) is barely featured because most of the scenes with Bard during the battle have to do with his family (thus Shore uses the Family theme instead). It is weird that he used his DOS theme instead of his new one for when he kills the ogre, though.

Bard the Hero is the more sombre theme for Bard's leadership of the people of Lake-Town? Or the more heroic version of the Lake-Town theme? Just making sure I am on the same page of what your are talking about.

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It's a shame that two most distinctive new themes get only two statements each (not counting the suite). It's such a pity since they could be among the most distinctive in this series.

Bard The Hero and Dain? Yea. I didn't even realize at first that they are barely featured in the underscore, since they are so prominent in the end credits pieces. But then you listen to the OST more, and you're like... why aren't those themes used?

I still feel like Shore wrote that track for Dain's introduction to feature the full theme and not just the backing material, but PJ dialed it out of the film, so Shore took it out of the OST too... if thats true, its a damn shame

Considering how small Dain's role is in the film it is lucky we get even those 2 statements on the album (not counting the suite).

And I really dig BOFA score. It is a great continuation of the DoS sound but it goes to a more heroic and energetic direction. The constant flow of themes is really what these scores are build upon so I was never too much bothered with the way Shore follows the narrative. The music has despite the arduous modern post production hassles many moments to shine on the album.

I think you're touching on something that is key to enjoying Howard Shore's music in general. It's not themes that make his work so good. Lot of films have good themes and they "sell" the score. But what he does is far more interesting. I find it fascinating how all these small ideas intersect, develop and morph. It's almost more about the process than ideas themselves. And yeah, while The Lord of the Rings had a few more recognisable tunes at its disposal (no one is going to argue that), they were also dealt with in such a way. That's why The Hobbit is still great. It's so cool to know all that and then go back to An Unexpected Journey prologue to see many of those in their embryonic form. I mean, what he does with Smaug's material alone is just amazing (and that's just one of them).

Karol

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