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


gkgyver

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Who is a member of Plan 9 (or at least a common collaborator)

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  • 1 month later...

Well the Beyond the Forest is a concert suite-like development of the Woodland Realm materials (Tauriel, Tauril/Kili, Legolas and Woodland Realm) and does contain some really wonderful things that never crop up again in such a guise. The additional elaboration to the main theme you mention is one such example. Also the furious martial staccato march that appears at 3:52 would have been nice to hear in BotFA for the elven army. And wasn't that beautiful melody that opens the piece Shore's original take on the Tauriel/Kili love theme?

Shore treats the dwarves' entry to the halls of the elvenking with less awe than say when Fellowship arrives at Caras Galadhon for example. The score is much more alien, dangerous and orchestral for the Woodland Realm. The pure choral sounds heard for the Woodland Realm theme in the AUJ prologue do not sadly appear ever again.

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Well, the entrance to Caras Galadhon was also more elaborate.

The real Woodland Realm concert suite is IMO the "Woodland Realm" piece in the piano book.

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  • 2 weeks later...

I vote for 'A Very Respectable Hobbit' over the added Marketplace sequence in the AUJ: EE. I've always thought this worked rather well.

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I vote for 'A Very Respectable Hobbit' over the added Marketplace sequence in the AUJ: EE. I've always thought this worked rather well.

Yes it actually lines up pretty nicely with the scene. Although using Bilbo's Adventure on his way to the market seems thematically inappropriate to say the least. Unless Bilbo thinks his everyday trip to the Bywater is an adventure in itself. ;)

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I think 3 things go in syncing 'A Very Respectable Hobbit' to this scene's favour:

1) It's pretty much exactly the right length

2) The fussy theme at the end goes nicely with the Gandalf paranoia

3) It's always good to hear more of Bilbo's themes

Yes some of the earlier parts don't really sync that well, but I think going to the Marketplace is something of an adventure, given that Gandalf could be lurking. It's very brave on Bilbo's part!

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I think 3 things go in syncing 'A Very Respectable Hobbit' to this scene's favour:

1) It's pretty much exactly the right length

2) The fussy theme at the end goes nicely with the Gandalf paranoia

3) It's always good to hear more of Bilbo's themes

Yes some of the earlier parts don't really sync that well, but I think going to the Marketplace is something of an adventure, given that Gandalf could be lurking. It's very brave on Bilbo's part!

Agreed agreed! Verily! Thrice agreed!

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Maybe I'm dense but I don't see a link or embed of the marketplace scene with A Very Respectable Hobbit?

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That's because there is none.

Was I suppose to read this in Saruman's voice? Because I did

:lol:

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  • 1 month later...

What's the timestamp in the DOS track?

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What's the timestamp in the DOS track?

I assume that SUH means the string passage opening the piece 0:00-0:36. I hear it being closer to the Hobbit Skip-Beat which is soon reprised on this same track in the form it is heard when Frodo and company arrive to Bree in FotR, which is just a jauntier more compact reading on the same accompaniment.

Listening to 'Farewell Dear Bilbo' and I just noticed a similarity between the figure for the dragon firework (at 1:23) and the opening titles of DOS!

We've all been trying to figure out possible thematic connections between the DOS opening and its score - it seems to play on the opening Erebor interval and also the Bard figure. I think it's neat to note the connection to the dragon FOTR material, even if its pure coincidence. In FOTR the interval is a perfect fifth for the vibrant firework show and in DOS it's a minor third depicting the ominous tale involving an encounter with a real dragon - but that repeated back and forth figure is common to both.

The opening music for DOS has a brilliant foreboding quality to it and I think sets to the tone perfectly for the film. While the BOTFA opening title is the build up to immediate threat, DOS sets the atmosphere for the dark and grim remainder of the quest remaining. And this little connection I've got in my mind to FOTR now makes it all the more appealing!

Hmmm there is a good amount analysis here, perhaps some overanalysis but only time and Doug's book will probably tell if there is a kernel of truth in this. If your interpretation coincides with the composer's then I doff my cap to you. :)

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  • 3 months later...

So here is a bit of a surprise for you guys from me and Gkgyver, mockups of some unused versions of cues from DOS!*

Feast of Starlight:

https://drive.google.com/file/d/0BxQSwI5aPja9N2RfYlZyNDdaeE0/view?usp=sharing

A Trap:

https://drive.google.com/file/d/0BxQSwI5aPja9Nlk5dDlxcm9GeTQ/view?usp=sharing

The Lonely Mountain:

https://drive.google.com/file/d/0BxQSwI5aPja9a2Jwbzh6eENqdWs/view?usp=sharing

On The Doorstep:

https://drive.google.com/file/d/0BxQSwI5aPja9TXMtcUhpNlpCdVE/view?usp=sharing

On The Doorstep (Excerpt 1, Discouraged):

https://drive.google.com/file/d/0BxQSwI5aPja9RUFDWUxjVkxTWnM/view?usp=sharing

On The Doorstep (Excerpt 2, Dropping the Key):

https://drive.google.com/file/d/0BxQSwI5aPja9ZlRzSVhzaUdCdk0/view?usp=sharing

*I made these videos a long time ago, they may be a little outdated in terms of missing footage cards

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SUH, if you haven't seen all of BB's Score Restore videos for The Hobbit yet, I recommend you check them all out now!

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The original order of scenes makes way more sense than the way they do in the final EE cut!

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