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


Jay

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I don't even know if it is a theme for the trolls, I'm just using KK's name until i can see the film again. Is it even used in the film, actually?

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I didn't have the time to properly listen to this yet. Could anyone please tell me the major new themes/motifs that have been introduced in this score. I'm loving the new renditions of the existing material though.

Is anyone planning on writing one of those awesome theme / cue breakdowns. Those are invaluable :)

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Part 2 of the exclusive Dougie interview!

http://middleearthnews.com/2014/12/19/an-exclusive-interview-with-doug-adams-pt-2/


MM: Will there be complete recordings for The Hobbit? Because in the special edition soundtrack you don’t get to hear the entire Lake-town theme which disappoints me because I enjoy it a lot.

DA: The subject of the complete recordings has not really come up yet. That’s not me being dodgy, it’s just honestly we’re not at the stage where we can talk about it yet because there’s no decisions made. People have to remember that when the complete recordings for LOTR came out, it was the years following the films. Right now even though people feel like we’ve wrapped up and we’re done, everyone’s just finished putting the last touches on BOTFA. And now people need to just take a breath and spend some holiday time with their families and that sort of thing. And I’m sure the subject will come up when everybody has had time to regroup and talk about what’s coming next. It’s just not on the table yet.


That's really thye only relevant question when it comes to the scores. Part one was a lot more revealing.

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Is it even used in the film, actually?

Apparently not. I didn't notice it, but I wasn't particularly paying attention. MedigoScan confirmed that it didn't appear.

It never appeared in film.

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Yes, I know: I just said MedigoScan confirmed that.

But of course, you wanted your moment of glory, so you felt the need to repeat that...

I thought you'd like two people to confirm that for you! More the merrier, right?
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Sorry if this has already been answered, but I've avoided this thread until now and am holding off on listening to the album until I get it for Christmas, sort of to relive the old LOTR experience, but, is it just me, or is the music mixed in really low in this movie? At least where I watched it, the music was almost inaudible for the entire second half of the film.

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on my rewatch I did hear a lot more music that I assumed was dialed out at first

maybe it was the fact that I didnt go to th IMAX showing that time, maybe not

parts that i didnt hear were literally muted tho, which is criminal still (why remove that last loud statement of Smaugs theme, PJ? whyyyy)

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Because as a director his job is to balance the mix of the film in a way that he feels will best convey what he wants to achieve.

Its not his responsibility to accurately presents Shores musical intentions above anything else.

The score must be subservient to his film, not vice versa.

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Doug must have had some idea what was cut/saved for the EE beforehand, since he made that comment about there being some spectacular stuff yet to come, especially in the final act. So I don't think anything will come as a shock to him.

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"SHORE: I dont do orchestration until after Im satisfied and happy with the composition. Then I look at the orchestration. I think of orchestration as performance. What room will it be recorded in? I have to take into consideration the physics of the room, the microphone placement, the placement of one musician to another. If its a symphony orchestra, how are they placed in the room in context of the design of the room? So, whether its Wofford Town Hall in England or Wellington Town Hall in New Zealand, all of those things come into play with me with orchestration. And then, I look at the scene, whether its a dialogue scene, whether its an action scene, how will the music be interfacing with sound effects, with the dialogue. All of those things you have to take into consideration when using different colors of the orchestra or even the weight of different parts of the orchestra. Whats really required in that particular part of the film to tell that story clearly?"

Read more at http://collider.com/howard-shore-the-hobbit-rosewater-interview/#oV2qfKEqAI7JTWUW.99

This is probably a main reason why DoS and BOTFA sound different in some subtle or not so subtle ways.

Certainly BOTFA sounds more generic because of it.

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http://newboards.theonering.net/forum/gforum/perl/gforum.cgi?post=812502;sb=post_time;so=DESC;forum_view=forum_view_collapsed;guest=127025925

Armies, Dragons and Rings - Hobbit 3 campaign music

Hi guys!

I thought some of you might be interested in hearing a track that is currently being used in the Hobbit 3 campaign. It pays tribute to some of the memorable, amazing themes from Mr Howard Shore's score to the LotR saga. I hope you enjoy it!

>>>Armies, Dragons and Rings - Listen Here<<<

Thanks :)

I think people who liked the Nazgûl theme statement in AUJ should love this too.

Is this your subtle way of telling us that the nazgul AUJ music was terribly generic

because this sounded (while awesome in a way) like simple trailer music

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Is this your subtle way of telling us that the nazgul AUJ music was terribly generic

because this sounded (while awesome in a way) like simple trailer music

If you noticed that this is what I meant, then it wasn't so subtle, was it? ;)

Bah to you

I still want that music to be on a future release

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"SHORE: I dont do orchestration until after Im satisfied and happy with the composition. Then I look at the orchestration. I think of orchestration as performance. What room will it be recorded in? I have to take into consideration the physics of the room, the microphone placement, the placement of one musician to another. If its a symphony orchestra, how are they placed in the room in context of the design of the room? So, whether its Wofford Town Hall in England or Wellington Town Hall in New Zealand, all of those things come into play with me with orchestration. And then, I look at the scene, whether its a dialogue scene, whether its an action scene, how will the music be interfacing with sound effects, with the dialogue. All of those things you have to take into consideration when using different colors of the orchestra or even the weight of different parts of the orchestra. Whats really required in that particular part of the film to tell that story clearly?"

Read more at http://collider.com/howard-shore-the-hobbit-rosewater-interview/#oV2qfKEqAI7JTWUW.99

This is probably a main reason why DoS and BOTFA sound different in some subtle or not so subtle ways.

Certainly BOTFA sounds more generic because of it.

Lol at the transcriber. Should say Watford.

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Listened to all three in chronological order, Shore is a genious the way he treated the Mordor accompaniments in the scores.


This is the most generic Middle-Earth music ever got!

It sounds just l like every other statement in the scores....

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Instead here we get two concert arrangements of music on CD

Dragon-Sickness is not a concert arrangement, its a film cue, you can hear it in the film.

Nope.

Only in your fantasyland.

If you want a shorter version of the scores, then its a valid option. The CR's are great, but really really long

I still need to buy it. It's the only album I haven't got.

Karol

Why would you want it? It's just a piss poor performance of the music we already have on the CRs!

Nope! there is music in the symphony not on the CR.

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Instead here we get two concert arrangements of music on CD

Dragon-Sickness is not a concert arrangement, its a film cue, you can hear it in the film.

Where?

Right after Beyond Sorrow and Grief I believe, it has the music for Legolas talking about Gundabad etc.

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yeah thats definitely the dragon sickness cue now that I listen to it closer

it even has the arkenstone rendition that we previously assumed was microedited of the album

so I guess I stand corrected

the silent scene where Bilbo remembers how he got the arkenstone was meant to use the first 70 seconds of 'Dragon Sickness' (explains the name of the theme too)

That together with the Legolas scenes adds up to 4 minutes

The 2nd half of 'Beyond Sorrow and Grief' must have played for something else than, that was cut from the TE

and yeah Dragon Sickness has some missing music, for the scene between Bolg and Azog

also it had some tracked music

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actually Bilbo talking to Balin is a scene that comes later in the movie

I cant remember what music played there, but that could be tracked or a microedit from 'Ruins of Dale'

as I said the start probably played for Bilbo walking out of Erebor to be alone and reflect on Smaugs words, the music sounds more fitting there

also like I said, I think the Bolg and Azog scene's music was omitted from the album, it definitely played Azogs theme in the movie

for the end of 'Beyond Sorrow and Grief' maybe the scene where the dwarves search for the Arkenstone was originally longer?

Oh and I think the last part does belong to the middle parts of the cue, and that maybe the Azog scene was inserted in there to cut it up

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Jon Broxton has reviewed this one. I only read the last paragraph (excerpted below), as I won't be seeing the film until Tuesday.

"In my review of The Desolation of Smaug last year I ruminated on Howard Shore’s legacy in terms of the Lord of the Rings and Hobbit scores, and how he has created a truly immersive world of music which follows its design parameters, but is fluid enough to introduce themes for new characters, places and concepts as each new film requires, without compromising the integrity of the work as a whole. Looking back at it all now, with the perspective of having listened to 13 years worth of music for these films, I honestly believe that, with these six scores, Shore has written one of the most important collective works in the entire history of film music. This will be his lasting testament to the art.

With the conclusion of the Hobbit trilogy it is quite likely that we will never visit Middle Earth again, at least in the company of Jackson or Shore. This is it. We will never again have the anticipation of a new Tolkien-inspired work from the unassuming Canadian, and while I’m more than thankful for the 18 hours or so we do have, I can’t help but consider this to be a bittersweet moment, the end of an era. Looking at the direction film music is going, especially in mainstream films, I doubt we will ever hear a score like this again, and so my advice to you all is to savor this. Drink it in. Go there, and go back again, and again, and again."

http://moviemusicuk.us/2014/12/20/the-hobbit-the-battle-of-the-five-armies-howard-shore/

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Anyways, I like the explanation of why The Hobbit has more character themes and LOTR has more cultural and world aware themes.

I actually made this observation when DoS came out :(

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