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


gkgyver

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:whistle:

Awesome, thanks for making that!

I'd really love to get this cue in full w/ no sound effects!

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:whistle:

Awesome, thanks for making that!

Your welcome.

(Though truth be told, I made this and posted it here a while ago.)

Neat!

... Does this mean they're working on CRs?

Looks like he's saying bars 74-77 are dropped from the final cut of the EE.

I would assume somewhere around either 2:40 or 3:54 of this video?

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Nice

BTW did you make a video for the EE Queer Lodgings cue? I didn't come across it in the thread yet

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Nice

BTW did you make a video for the EE Queer Lodgings cue? I didn't come across it in the thread yet

I did, but only using the DVD, I have pretty much 90 percent of it clean via the EE features, but I am "missing" that french horn bit when Beorn is cutting wood.

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So the version you made isn't available for me to stream in this thread then?

What about a video for the EE Weapons Raid cue (with the Prophecy scene insert)?

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Only the DVD version:

https://drive.google.com/file/d/0BxQSwI5aPja9Y2R2eWtVaVFTMk0/view?usp=sharing

For Weapon's Raid I have two versions, one with the insert, using the Blu-ray rip, and one without the insert, using the EE docs:




 

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Finally found what I was looking for

Has anyone pointed out that 2:37-2:52 of your Strange Lodgings video sounds more like the AUJ opening logos than the straightforward House of Durin theme?

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I like how the Beorn scene lets Shore return to some of the lighter string passages common in AUJ. gives some more continuity with the AUJ score.

Yup.

Alas it does not last very long in DoS. Man that score is dark.

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The Two Towers was quite bleak and determined too, save for some female vocal bits here and there.

Karol

Overall I think it has still more warmth with Rohan, Fellowship and Shire themes than DoS. The music conveys an uncharted territory for the most part so it is a good musical choice and it is not like there is no colour or vibrancy but DoS feels on the whole very aggressive and dark with few glimpses of lighter material (namely Tauriel's music and some jaunty music for the Lake-town). Then it of course has the jauntiest action set piece, The Forest River, of the whole Hobbit series in it.

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Yeah, most people would actually say The Desolation of Smaug is the weakest of the six scores for that very reason. Not on here (this forum) but in the wide world it seems to be a very popular opinion.

That's where I disagree. One of the thing Howard Shore does is that he creates the sort of soundscape that feels very "real" and "used". It's not the sort of fluffy and clean fantasy music that most people would expect and it makes it unique. There is a sense of verisimilitude in a way he approaches the genre. Besides, DOS is the only score in this trilogy that feels almost exclusively submerged in its own unique original material (or material developed from the first score) and, as such, a worthy extension of the Tolkien world. Which is what I wanted in the first place.

Karol

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Yeah, most people would actually say The Desolation of Smaug is the weakest of the six scores for that very reason. Not on here (this forum) but in the wide world it seems to be a very popular opinion.

That's where I disagree. One of the thing Howard Shore does is that he creates the sort of soundscape that feels very "real" and "used". It's not the sort of fluffy and clean fantasy music that most people would expect and it makes it unique. There is a sense of verisimilitude in a way he approaches the genre. Besides, DOS is the only score in this trilogy that feels almost exclusively submerged in its own unique original material (or material developed from the first score) and, as such, a worthy extension of the Tolkien world. Which is what I wanted in the first place.

Karol

Oh I am not implying that by being dark the score is a weak one. On the contrary. But I can certainly understand if the style and mood of DoS might not appeal to the wider audience as much as the hummability of the Misty Mountains.

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Yeah, most people would actually say The Desolation of Smaug is the weakest of the six scores for that very reason. Not on here (this forum) but in the wide world it seems to be a very popular opinion.

That's where I disagree. One of the thing Howard Shore does is that he creates the sort of soundscape that feels very "real" and "used". It's not the sort of fluffy and clean fantasy music that most people would expect and it makes it unique. There is a sense of verisimilitude in a way he approaches the genre. Besides, DOS is the only score in this trilogy that feels almost exclusively submerged in its own unique original material (or material developed from the first score) and, as such, a worthy extension of the Tolkien world. Which is what I wanted in the first place.

Karol

Indeed.

I happen to think DoS is the strongest of the trilogy, and also the most colourful. Sure its dark, but it's most diverse in writing. In comparison, AUJ is too familiar and almost monochromatic in tone, and BoFA is more disjointed. But DoS allows for Shore to explore multiple avenues in the avenue, from Hermannesque slashin in "Flies and Spiders" to ethereal choirs and wind solos for Tauriel and the elves, to the swashbuckling action in "the Forest River" and ending off with the deliciously evil Smaug material. It's a score that is based off familiar Middle-Earth constructs, but a beast entirely of its own. Something that cannot be applied so much to the other scores.

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The Two Towers was quite bleak and determined too, save for some female vocal bits here and there.

Karol

Overall I think it has still more warmth with Rohan, Fellowship and Shire themes than DoS.

I know you pretty much covered it by mentioning Rohan, but Eowyn's material as well, especially the introduction (?) of Eowyn and Aragorn in Exodus from Edoras.

On thing I like about DOS is that it has the transition from the Proto-Mordor material into the settings we know and love from FOTR.

Starting with the hints at in the first beginnings of the "Uninterrupted" setting of the Descending Thirds underneath the Mordor/Nine material in "The House of Beorn". and continuing with the introduction of the Threat of Mordor in "The High Fells" and "Thrain", and culminating in the full blast of Descending Thirds, Skip-Beat, and the LOTR setting of Sauron/Evil of the Ring in "Thrain"/"A Spell of Concealment"

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The Two Towers was quite bleak and determined too, save for some female vocal bits here and there.

Karol

Overall I think it has still more warmth with Rohan, Fellowship and Shire themes than DoS.

I know you pretty much covered it by mentioning Rohan, but Eowyn's material as well, especially the introduction (?) of Eowyn and Aragorn in Exodus from Edoras.

On thing I like about DOS is that it has the transition from the Proto-Mordor material into the settings we know and love from FOTR.

Starting with the hints at in the first beginnings of the "Uninterrupted" setting of the Descending Thirds underneath the Mordor/Nine material in "The House of Beorn". and continuing with the introduction of the Threat of Mordor in "The High Fells" and "Thrain", and culminating in the full blast of Descending Thirds, Skip-Beat, and the LOTR setting of Sauron/Evil of the Ring in "Thrain"/"A Spell of Concealment"

Yes the gradual development of the Mordor material is indeed very well done by Shore is DoS as he slowly brings everything to the final forms for Sauron's reveal. Interestingly he then sends this ancillary motifs on a different developmental path for Bolg and Azog in BOFA. Somehow these lesser servants do not warrant a new theme as such (apart from the Gundabad army motif later) but Shore treats them just as extensions of Sauron's collection of minor supporting motifs but he does get a lot of mileage out of all these little themes by doing a varied array of variations on them throughout. Shame that Bolg's angular treatment of the Descending Thirds motif from the Forest River chase (which I guess was a later addition) didn't make it to BOFA.

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Shame that Bolg's angular treatment of the Descending Thirds motif from the Forest River chase (which I guess was a later addition) didn't make it to BOFA.

I know, right? I bloody love that variant!

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Hmmm, looks like notes on where to integrate the Thrain chase music into the middle of the On The Doorstep track.

I guess CRs are coming, then?

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I would guess that it is more of the book research.

Fingers crossed for CRs though.

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Seems very early to me to be thinking about CRs. I'd agree it's probably book research.

I haven't even seen BoFA yet (I wait for rentals nowadays), so haven't fully digested the score. Certainly, the only unreleased bit I know I want from any of the Hobbits is the film version of the AUJ finale. (I guess the same as everyone else)

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well thats the bit from AUJ I want the most certainly

DOS its motsly short snippets that I am missing (Bolgs theme, Smaugs material in the Forges/Mines)

and BOTFA is the complete Fire&Water theme of course

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I think that's certainly the most desired piece among people in general. But the more I hear Faleel's good work the more I realize how much great stuff there is we don't have. Sometimes it's hard to hear it in the film amidst all the sound effects.

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I really want the original composition for the Azanulbizar flashback in the DoS EE. Jay's comments about their being elements reminiscent of An Ancient Enemy in there had me intrigued.

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