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When I first hear the music that Howard Shore composes for our Tolkien
movies, it is in somewhat different circumstances to yourself.
The last 4 months of post-production are increasingly stressful, days filled with
editing, reviewing VFX shots, creating sound design, color grading, mixing the
movie ... there is no end to it. Days start at 8am, and finish at 9pm or 10pm if
were lucky. Rushing from one urgent meeting to the next.
It is right in the midst of this tiring whirlwind that I first listen to this music.
It was recorded in the Wellington Town Hall, New Zealand - not a studio, but
a concert chamber built exactly 100 years ago. This was an era that pre-dates
recorded music, but sound engineers back then knew how to use space,
surfaces and volume to create the perfect live acoustic experience for the
those people sitting in the concert chamber. A skill that is largely forgotten,
or ignored, by todays architects. By the 1920s, modernist design was already
taking precedent over the listening experience. As far as acoustics go, this large
auditorium at the bottom of the world is about as good as it gets.
Pete Cobbin, Abbey Roads wonderfully inventive sound engineer, came to New
Zealand armed with a formidable collection of his companys microphones 60-year-old valve mics that capture a resonance that no modern equivalents
have been able to match. Pete has strategically positioned these to record not
just the instruments, but the sound of this beautiful space. He has microphones
aimed into corners, under balconies, to accurately capture the way these
century old timbers carry, reflect and embrace music.
No matter where in the world you are right now, when you listen to this score,
you will be sitting in the Wellington Town Hall.
And sitting in the Town Hall with you, is the New Zealand Symphony
Orchestra - one of our countrys great treasures. We recorded 17 mins of
Fellowship of the Ring with them back in 2001 for a very early reel that had
to be screened months before the movie was finished - the entire Mines of
Moria sequence. With virtually no film score experience back in those days,
it was assumed that we would quietly replace their music when the real
soundtrack was recorded much later. But we never did - it was that good.
Im so thrilled that we have finally been able to unleash them on the entire
score. The passion and joy of every member of this amazing Orchestra can
be heard - this is a score that wears its heart on its sleeve. Conrad Pope, our
conductor and senior orchestrator, has guided them with
consummate skill and great humour.

We take our traditional closing credit song very seriously. It has to speak
to the world of these movies, whilst having its own unique qualities. Its
always a tricky thing. Ed Sheeran is as big a fan of our movies as I have ever
met - he also happens to be a brilliant singer/song writer. When I contacted
Ed in London, asking if hed consider doing the song for this movie, he was
on a plane the next day. No contract, no business talk - it felt like he was
here within seconds. We showed him the film, and this song is his immediate
emotional response. Its perfect.
Howard Shore - what can I say? His music soars and enriches way beyond its
connection to our images. He truly has created an epic musical world of his
own. A unique sound like no other. A year from now, we will be able to listen
to well over 20 hours of musical story telling, that starts with An Unexpected
Journey, and concludes with The Return of the King. That is Howards genius - he is
carefully shaping this 6 part epic score as a fully unified narrative.
This is the second chapter.
Now their Unexpected Journey is underway, and our company of 13 Dwarves, a
Wizard and a Hobbit move deeper into the world on their journey toward
Erebor (the Lonely Mountain) and The Desolation of Smaug. Along the way, they
encounter strange lands, frightening creatures and a number of mysterious
characters. In a similar way the score of this movie takes its own musical
journey beyond the early familiar themes, into exciting, uncharted territory.
Howard Shore is the 16th member of this company. Whilst his fictional
colleagues are fully occupied escaping from spiders, dealing with the perils of
Laketown, or bracing themselves for their inevitable encounter with Smaug,
Howard is somehow able to slip away and find a quiet corner to work his own
brand of magic. Here he composes music that charts their adventures, dangers
and fears, like a musical diary. He is at their side every step of the way and we
are the lucky recipients of his musical legacy.
For all the pressures that post-production brings, I myself have managed to
slip away, and over these last few weeks Ive spent 90 hours in Wellington Town
Hall, listening to the NZSO record Howards rich, glorious music. What a great
escape it has been. I would wake up and breeze through the work, fuelled by
excitement at the impending 2pm recording time. Howard Shore at the top of
his game - an experience like no other.
I am thrilled that you too have found time to slip away and join us.
Thank you.

PETER JACKSON
Wellington, NZ. 16th October, 2013

Album Produced by HOWARD SHORE

Executive Album Producers: PETER JACKSON, FRAN WALSH and PHILIPPA BOYENS
Music Composed by HOWARD SHORE
Music Conducted by CONRAD POPE
Orchestrations by CONRAD POPE and JAMES SIZEMORE
Supervising Music Editor: MARK WILLSHER
Music Editors: STEPHEN GALLAGHER and NIGEL SCOTT
Music Recorded at: WELLINGTON TOWN HALL
Music Mixed at: PARK ROAD POST
Music Performed by: NEW ZEALAND SYMPHONY ORCHESTRA
Concertmaster: VESA-MATTI LEPPANEN
Music Recorded by: PETER COBBIN
Music Mixed by: PETER COBBIN and KIRSTY WHALLEY
Park Road Post Head of Sound: JOHN NEILL
Scoring Technical Engineer: GRAHAM KENNEDY
Assistant Engineers: SIMON GOODING, BRIAN MAHONEY and BRETT STANTON
Score Editors: KIRSTY WHALLEY and JONATHAN SCHULTZ
Music Supervisor: KAREN ELLIOTT
Supervising Score Coordinator: AMY BAER
NZSO Chief Executive Officer: CHRISTOPHER BLAKE
NZSO Chief Financial Officer: JAMES HENRY
New Zealand Scoring Coordinator: KATE MULLIGAN
Head of NZSO Management: CRAIG THORNE
Concerts Master: GARRY SMITH
Production and Transport Manager: MICHAEL PATTISON
Head of Artistic Planning for the NZSO: MELISSA KING
Artistic Schedule Manager for the NZSO: USHA BHANA
Orchestra Management Coordinator: MICHELLE LEWIS
Music Preparation: MARK GRAHAM, JOANN KANE MUSIC SERVICE
Copyist: VICTOR PESAVENTO
Principal Librarian: MABLE WONG
Assistant Librarian: TJASA DYKES
Choir: LONDON VOICES
Choir Recorded at: ABBEY ROAD STUDIOS
London Recording Engineer: LEWIS JONES
London Score Editor: ROB HOUSTON
London Copyist: JILL STREETER
Choir Masters: TERRY EDWARDS and BEN PARRY
Choir: TIFFIN BOYS CHOIR
Choir Master: SIMON TOYNE
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Album Mastered by SIMON GIBSON at ABBEY ROAD STUDIOS

Album Edited by JAMES SIZEMORE
Album Coordinator: ALAN FREY
Executives in charge of Music for New Line Cinema: PAUL BROUCEK and ERIN SCULLY
Executive in charge of WaterTower Music: JASON LINN
Music Business Affairs Executive: LISA MARGOLIS
Art Direction: SANDEEP SRIRAM
Liner Notes by DOUG ADAMS
Howard Shore Photo by BENJAMIN EALOVEGA
Score published by NEW LINE TUNES (ASCAP) and U/A MUSIC INC (ASCAP)
All compositions by HOWARD SHORE (ASCAP) except
I SEE FIRE
Written, produced and performed by ED SHEERAN
Published by NEW LINE MUSIC CO. (BMI) and UNITED LION MUSIC INC. (BMI)
Ed Sheeran appears courtesy of ASYLUM RECORDS UK
2013 Warner Bros. Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc.
Choral Text by PHILIPPA BOYENS
Choral Text Translations by DAVID SALO

Special Thanks from Howard Shore to: Peter Jackson, Fran Walsh, Philippa Boyens, Paul Broucek, Erin Scully, Zane Weiner, Josh Levinson, Matt
Dravitzki, Robert Messinger, Jeffrey Light, Jean-Jacques Cesbron, Elizabeth Cotnoir, Conrad Pope, James Sizemore, Peter Cobbin, Jonathan
Schultz, Simon Gibson,Alan Frey,Amy Baer, Doug Adams, Karen Elliott, New Zealand Symphony Orchestra, LondonVoices,Tiffin Boys Choir
Special Thanks from WaterTower Music to: Peter Jackson, Fran Walsh, Philippa Boyens, Carolynne Cunningham, Zane Weiner, Eileen Moran,
Toby Emmerich, Carolyn Blackwood, Ken Kamins, Barry Meyer, Greg Silverman, Ed Romano, Kevin Tsujihara, Dan Fellman, Sue Kroll, Steve
Papazian, Craig Alexander, Kate Beyda, David Blaikley, Roy Button, Robyn Martin, Blair Rich, Susannah Scott, Marc Solomon, Will Ashurst,
Colette Barber, Gary Barber,Al Bendich, Roger Birnbaum,William Booth, Chad Cannon, Stu Camp, Peter Cobbin, Elizabeth Cotnoir, Glenys
Coughlan, Jonathan Cross, Brian Crowe, Chrissy Cummings, Jo Darby, Nour Dardari, Matt Dravitzki, Fredrica Drotos, Jay Duerr, Karen
Elliott, Matthew Finn, Alan Frey, Stephen Gallagher, Helen Glengarry, Pamela Harvey-White, Amanda Heatley, Tim Hope, Anna Houghton,
Katie Jackson, Melissa King, Carlos Laloli, Josh Levinson, Jeffrey Light, Sebastian Meek, Robert Messinger, Jennifer De Montalk, Bill Newlin,
Amos Newman, Jack Nicol, Frank Noonan, Michael Pellerin, Kylie Plunkett, Rachel Richards, Patrick Sabatini, Charlotte Saxe, Jonathan
Schultz, Tom Stone, Clifford J. Tasner, Amanda Walker, Dean Watkins, Sara White, Christiaan Winchester, Mark Willsher, Emma Worley, Paul
Zaentz, Keith Zajic, New Zealand Symphony Orchestra, Radio New Zealand, Park Road Post, Sony / ATV Music Publishing (UK) Limited
WaterTower Music Thanks to: Peter Axelrad, Kim Baum, Jill Benscoter, Rocco Carrozza, Melissa Crow, Deborah Fox, Michael Hafitz, Joe
Kara, Kevin Kertes, Lucy Kolodynska, Ny Lee, Kris Little, Genevieve Morris, Jaimie Roberts, Lori Silfen, John F.X. Walsh, Robert Zick
& 2013 WaterTower Music, 4000 Warner Blvd., Burbank, CA 91522. Motion Picture Artwork 2013 Warner Bros. Entertainment
Inc. All Rights Reserved. Motion Picture Photography 2013 Warner Bros. Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc.
(US, Canada & New Line Foreign Territories) 2013 Metro-Goldwyn-Mayer Pictures Inc. and Warner Bros. Entertainment Inc. (All
Other Territories). The Hobbit: The Desolation of Smaug and The Hobbit, names of the characters, events, items and places therein, are
trademarks of The Saul Zaentz Company d/b/a Middle-earth Enterprises under license to New Line Productions, Inc. All Rights Reserved.

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maug the Magnificent. Smaug the Stupendous. Smaug the Golden. Middle-earths last great dragon
took many titles, but to the Dwarves of Erebor he was principally known as the wicked worm who,
ages ago, stole their treasure and robbed them of their home. Thorin Oakenshield never forgot his
once-great kingdom, and he never forgave those who denied him his royal heritage. With a company of
Dwarvesand a Hobbit burglarat his side, Oakenshield sought to retake Erebor. But it would be no
simple task. The first leg of the journey pitted the Company against brutish Trolls intent on cooking them
on a spit, bloodthirsty Orcs seeking revenge, and a repulsive Goblin King whose lust for torture knew no
limits. The deadliest foe, however, was yet to come, for the same road that leads Bilbo and the Dwarves
to Erebor also leads them to The Desolation of Smaug. Now, Howard Shorealong with the New Zealand
Symphony Orchestrapushes deeper into the darker and more mysterious realms of J.R.R. Tolkiens
Middle-earth with new character themes, new exotic instruments, and a newly elevated sense of danger.
The road goes ever on, and the nearer the Dwarves draw to their home, the further Bilbo is torn from his.

Thorins quest is fueled not only by pride, but also by a sense of history and heritage. As ruled by the
House of Durin, the beauty and scope of Erebor was unrivaled in Middle-earth and it is this grandeur
that he would reclaim. Shores theme for the Dwarves noble lineage begins over the same parallel harmonies

14

as Thorins theme (A minorG major), but it carries with it the memory of all that has come beforeand of all that
has been lost. The first half of the melodic line climbs to an A one octave above its starting point. But it is
battered down and the second half must begin anew, this time rising more humbly before settling on a G
one step lower than where the line first began. Humming male chorus roots the theme in the profoundly
masculine tones of Dwarvish culture, but drained of its virility and power.

Thorins Dwarves are hardly inclined toward self-pity, of course, and the hardships theyve endured only serve to
steel their resolve. Never has Shores Erebor theme rung out truer or clearer, for the Lonely Mountain is now in
sight.

The Company is almost home, and they know that somewhere within Erebors vast halls, the Arkenstone awaits
them. The cherished Arkenstone, the glowing gem that once sat above the Kings throne, was lost when Smaug
took the Lonely Mountain, but its luminous theme can still be heard amidst the kingdoms ruins and memories.
With uncharacteristic delicacy, chorus sings in Khuzdul: Tn sanki zasairadihu / Ata Raklaban (You will know
it when you see it / It is the Arkenstone).

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Bilbo Baggins is not the same Hobbit he was when Thorin and the Dwarves first arrived at Bag End. Time and
experience have granted him a new appreciation for the Dwarves culture, and for their love of home. Bilbo
is now a long way from his own home, though not so far that the music of Hobbiton cannot occasionally
find him. The Shires sweet green melody appears when Bilbo reveals his innocent natureand the waltzing
D-minor motif associated with his fussiness appears when, perhaps, he remembers a bit of his old hidebound
ways. However, it is an entirely different theme that most often accompanies Bilbo in The Desolation of Smaug.
In a deep, cold cave in the Misty Mountains, Bilbo found a golden ring that he now keeps tucked away in
his pocket. Each time he dons it, he is rendered invisible. Yet, the rings sad theme, which looms in circular
patterns above sighing minor chords, suggests that there might be more to this trinket than Bilbo first
imagined.

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Of course, Middle-earth is brimming with sights beyond imagination. Having evaded Azog and his Wargs, Bilbo
and the Dwarves meet Beorn, a furtive stranger who lives among the flora and fauna in a large wooden house
the near the Carrock. Beorns theme sets a steady, deliberate melodic rise above a clawfooted tread of persistent
accented chords in bristling low strings (A minorF major). The two ideas appear both in contrapuntal overlaps
and in isolation, in order to depict Beorns complicated relationship with a world to which he no longer belongs.

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With no other reasonable options before them, Thorin and Company must venture into Mirkwood, the
dense forest that was known as Greenwood the Great until it grew twisted and corrupted. Mirkwood
exerts a strong hallucinogenic influence over those who traverse ita mind-bending confusion that throws
bewildered travelers off their paths. The orchestra introduces the amorphous moans of bowed Tibetan
Singing Bowls and the ghostly squeal of a waterphone as a six-note theme often blurs its first two notes
into each other and then staggers back to its feet with a four-note tail.

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This dilating haze makes Mirkwood the perfect environment in which to conceal evil; for under the cloak of its
numbing effect, many predators hide their intents. Thus, a familiar figure returns to the scorean arachnoid
eight-pitch tone row that was last heard in Rhosgobel. The Spiders of Mirkwood have returned! This time, their
tone row leads to a series of clusters in scratching strings, which are spun into horrible interlocking webs.
Another four-note stingerthis one based on an ever-changing set of descending pitchessounds repeatedly in
low voices, as the spawn of Ungoliant attempt to make a meal of the Dwarves.

There is more than ugliness in Mirkwood, however. Within the ruined forest lies the beautiful Woodland
Realm, where Thranduil rules over the Wood-elves. The Wood-elves culture is quite different from those of
Middle-earths other Elves. Though they appreciate nature and beauty, the Wood-elves are a wilder breed.
First heard in An Unexpected Journey
Journeys prologue, Shores theme for the Woodland Realm is often colored by
exotic instruments (including tabla and frame drum), but its lean melodic contour speaks of a warrior
culture given to suspicion and isolationism.

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Thranduils son Legolas dutifully follows his fathers orders and defends their home from intruders, but
privately he questions whether they are following the wisest course. For Legolas, Shore constructs a bolder
variant on the Woodland Realm theme, which creates a conflict between Phrygian melodic lines and majormoded supporting harmonies that is reminiscent of the choreographic dash of Flamenco music. Though
Legolas is doing his fathers will, there is a conflict within himhe knows that Middle-earth might one day
need the Elves help.
Tauriel, the head of Thranduils Elven guard, also obeys her king, but she is young and impetuous, and
more inclined to follow her heart than her people. Her principal themea rapid five-note slashis even
more dance-like than Legolas, but its elegance and avidity is balanced by a razor-sharp fierceness. Tauriel
is headstrong, yet there are few warriors more cunning than she.

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Tauriel also yearns to understand more of the outside world, for there is also softness and kindness outside
the seclusion of Mirkwoodand its light can shine in the least-suspected places. Philippa Boyens text
The White Light of Forever acknowledges this openness in Tauriels character by combining Khuzdul and
Sindarin lyrics with probing harmonic progressions: Hae ephadron / theri thaur / am na dh / ias fr i
ambar / A trehil i alad ln uir tri wilith (I go walking / Beyond the forest / Where the world falls away
/ And the white light / Of forever fills the air).

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Near th e o uter ed g e o f Mirkwo o d , alo n g th e s to ny s h o re s o f th e L o n g L a ke s t ri bu t a ri e s , B i l b o a n d

t he Dwarves meet a g rim -fac e d s tran g e r n am e d Bard wh o ag re e s to ta ke t h e m t o L a ke - t o w n . B a rd
keep s h is d istance fro m th e Dwarve s , th o u g h it is ap p are n t h e n e e d s t h e i r m o n ey. A s t ru m m i n g
c h o rd al d ev ice th at altern ate s b e twe e n B m in o r an d G m in o r s u gg e st s a re s e r ve d i n n e r s t re n g t h .
M o re imp o rtantly, h is ath le tic , b ras s y th e m e re p e ate d ly s tre s s e s th e o p e n i n g i n t e r va l o f t h e
E reb o r th eme, s ugg estin g th at h e m ay b e s o m e wh at s y m p ath e tic to t h e D wa r ve s q u e s t . H o we ve r,
t h e fig ure s to p s s h o rt an d c o n tinu e s to c irc le th e s e in te rvals b e fo re b ri s k ly h e a d i n g o ff t o o t h e r
h armo nic re g io nsp erhap s Bard h as m is g iv in g s as we ll.

I n exch ang e fo r th e D wa rve s m o n ey, Bard ag re e s to take th e m to Es g a ro t h , a v i l l a g e o f fi s h e rm e n ,

m erch ants , and trad ers, kn o w n in th e Co m m o n S p e e c h as L ake -to w n . B u i l t u p o n wo o d e n p i l l a rs
t hat ex tend to th e b o tto m o f th e lake b e d , L ake -to w n was o n c e a th rivi n g c o m mu n i t y t h a t c a t e re d
t o th e D warves o f E rebo r, th e Elve s o f th e Wo o d lan d R e alm , an d t h e M e n o f D a l e . B u t a f t e r
S maug d es troyed E reb o r an d Dale an d af te r th e Elve s b e c am e s u s p i c i o u s o f a l l bu t t h e i r o w n
kind Lake-to wn fell upo n h ard tim e s . It is n o w a c o ld , th re ad b are c o m mu n i t y wh e re p ro p e r
n o uris h ment is a rare lu x u ry. S h o re s L ake -to w n th e m e is a c are wo rn s h a n t y a wo rk s o n g t h a t s a s
c o ld and raw-k nuckled as th e c o m mu n ity it re p re s e n ts . O ve r a s lo w ly t re a d i n g a c c o m p a n i m e n t , i t
grind s and h eaves with r hy th m ic re g u larity, p au s in g at e ac h p h ras e -e n d t o re fl e c t , a n d t o s u m m o n
t he streng th to carry o n .

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The people of Esgaroth live with the failure of Girion, Lord of Dale, who long ago attempted to defend the
region against Smaugs attack. But his Black Arrows missed their mark, and the dragon ravaged the city to
such a degree that even now, Girions failure is keenly felt.

Today, Esgaroth is governed by the Master of Lake-town, an oily, self-obsessed politician who regards his
constituents as little more than ugly inconveniences. Shores courtly pavanecomplete with clavichord, an
ancient keyboard instrumentlends the Master a sense of stuffy pomposity, but it does not ignore his venal

23

inclinations. The theme constantly modulates and remains evasivetwo bars in F minor, two bars in A
minor, two bars in C minoreven as the Master conveniently positions himself as a friend to the Dwarves.
Whats more, cawing dissonances in high strings constantly interrupt the themes measured gentility, a dead
giveaway that the Master ultimately values no interests but his own.

Far from Lake-town, Gandalf sets out to investigate the questions that the White Council left unanswered.
Who is the mysterious Necromancer lurking in Mirkwood? Why was a Morgul-blade discovered at Dol
Guldur? Is there a new evil in the worldor has an ancient one returned? Gandalfs theme still accompanies
his journeys across Middle-earth, but its now more rhythmically direct and given to dramatic expansion.

24

It has also exposed itself to a new darkness in Shores score, which assaults the line with contrapuntal
intrusions. As The Hobbit progresses, this dark compositional vein becomes sturdier and more pronounced.
Chromatic instabilities become locked into oppressive minor modes. Short, brusque statements are replaced
with longer, more ambitious lines. Most unsettlingly, the score comes to favor thick, clotted minor chords
that add the ninth in closed spacing. Beneath these smoldering telltale harmonies, voices sing a slow
chanting line in Quenya that warns of Ye i hna tanna cole (the bearer of a cursed sign).

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As th e Co mp any ap p roac h e s th e d o o r to th e L o n e ly Mo u n tain , Sh o re m o m e n t a ri ly l i f t s t h e

sturdy Ereb o r th eme o u t o f its g lo o m by c arry in g it f ro m G m in o r t o A m a j o r, t h e n f ro m F
m ino r to B mino r to a glo w in g C Ly d ian . F lo w in g b e n e ath , th e R ive n d e l l a rp e gg i o s h o n o r E l ro n d s
contributio n to th e q ues t fo r it was h e wh o re ad th e m o o n ru n e s a n d l e d Th o ri n s c o m p a ny t o
t he d o o r. Step p ing ins ide , th e Dwarve s are o ve rwh e lm e d by a s e n s e o f awe . Th o ri n s t h e m e s i n g s
pro ud ly, but a ris ing cli p o f th e firs t n o te s o f th e S h ire th e m e an n o u n c e t h a t i t i s t i m e fo r t h e
Ho bb it burg lar to d o h is jo b.
Th e D warves treasure is h e ld c ap tive by a fire -d rake wh o s e m ig h t re m a i n s u n m a t c h e d : t h e
m ag nificentth e s tup en d o u s th e go ld e n S m au g th e De s troye r. S m a u g s p o we r i s n e a rly b eyo n d
recko ning . Th e o rch estra is c o n s is te n tly p late d w ith u n iq u e in s tru m e n t a l t o n e s . C h i n e s e d i z i fl u t e ,
Jap anese s h ak uh ach i, an d b as s o b o e wh in e an d g ro an like h is c o m bus t i bl e b re a t h . Ta m b o u ra a n d
so lo h arp twang and reso u n d like th e h alls o f h is vas t, p ilfe re d h o m e . C e n g c e n g c y m b a l s , ke t t l e
go ng s, and fing er cymb als c lin k an d c latte r like th e ro llin g m o u n d o f go l d t h a t m a ke s h i s b e d .
And co mp lex interlo ckin g fig u re s o n g e n d rs keye d m e tallo p h o n e s u s e d i n B a l i n e s e a n d Java n e s e
gamelan musiccreate t h ic k s o n ic p atte rn s th at are e ve ry b it as im p e n e t ra bl e a s t h e s c a l e s t h a t
cover h is vile h id e.
With th ese ano malo us to n e s s e t th ro u g h o u t th e o rc h e s tra, S h o re s mu s i c fo r S m a u g b e g i n s o ve r a
lo w h eav ing s eries o f ch ord s in lo w b ras s an d d i v i s i s trin g s th at alte rn a t e b e t we e n m a j o r a n d m i n o r
setting s o f th e s ame ton ality. A b o ve th is , two in te rs e c tin g lin e s tw i s t a n d w ri t h e i n s e rp e n t i n e
m o tio n, creating , in th e p ro c e s s , an e n ig m atic p u zzle : th e two lin e s o pe n i n g s a re m i rro r i m a g e s o f
one ano th er. Th ey are the s am e p laye d b ac k-to -f ro n t, f ro n t-to -b ac k, or i nve r t e d . B u t t h e re i n l i e s
t he p arad ox, fo r alth o ug h th e lin e s are s o th o ro u g h ly s im ilar, th ey m o ve a t c o n t ra ry ra t e s . A n d
wh ere o ne d escend s wit h v ic io u s rap id ity, th e o th e r p o n d e ro u s ly ri s e s w i t h a n u n h u rri e d g a i t .
Perh ap s th e ind o mitab il ity o f S m au g is its e lf a c o n trad ic tio n .

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Howard Shores leitmotifs in The Desolation of Smaug are never still. The themes constantly grow and change
as they move through Middle-earths dramatic landscape and collide with one another, often in spectacular
fashion. And while many of the scores developments and juxtapositions depict conflicts and tribulations,
they are sometimes used to remind us that simplicity and decency are often right around the cornerfor
where there is a Hobbit, there is always hope.

DOUG ADAMS

Author, The Music of the Lord of the Rings Films

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This is one of the first pieces I wrote for

The Desolation of Smaug . The Barrels Out of Bond
chapter in the book is such an iconic moment for
the reader that it was a wonderful place to delve
back into the score and the sounds of Middle-earth.
The score excerpt here is heard on
the track The Forest River.

HOWARD SHORE

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29

INTERACTIVE SHEET MUSIC

Follow the steps below to unlock interactive content
embedded in this sheet music.
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2. Open the app and point your device
at the sheet music.
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The Sheet Music Folio for The Hobbit: The Desolation of Smaug is available from
Alfred Music everywhere books are sold. Visit Alfred.com for more information.

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Music Composed by HOWARD SHORE

DISC 1
1. The Quest for Erebor 2. Wilderland 3. A Necromancer (Bonus Track)
4. The House of Beorn (Extended Version) 5. Mirkwood (Extended Version) 6. Flies and Spiders (Extended Version)
7. The Woodland Realm (Extended Version) 8. Feast of Starlight 9. Barrels Out of Bond
10. The Forest River (Extended Version) 11. Bard, a Man of Lake-town (Extended Version)
12. The High Fells (Extended Version) 13. The Nature of Evil
14. Protector of the Common Folk
DISC 2
1. Thrice Welcome 2. Girion, Lord of Dale (Extended Version) 3. Durins Folk (Extended Version)
4. In the Shadow of the Mountain 5. A Spell of Concealment (Extended Version)
6. On the Doorstep 7. The Courage of Hobbits 8. Inside Information 9. Kingsfoil
10. A Liar and a Thief 11. The Hunters (Extended Version) 12. Smaug (Extended Version) 13. My Armor Is Iron
14. I See Fire performed by Ed Sheeran 15. Beyond the Forest
Album Produced by: HOWARD SHORE *
Executive Album Producers: PETER JACKSON, FRAN WALSH and PHILIPPA BOYENS
Executives in charge of Music for New Line Cinema: PAUL BROUCEK and ERIN SCULLY
Executive in charge of WaterTower Music: JASON LINN
* except Disc 2: track 14 Produced by ED SHEERAN

& 2013 WaterTower Music, 4000 Warner Blvd., Burbank, CA 91522. Motion Picture Artwork 2013 Warner Bros. Entertainment Inc. All Rights Reserved. Motion Picture Photography 2013 Warner Bros.
Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc. (US, Canada & New Line Foreign Territories) 2013 Metro-Goldwyn-Mayer Pictures Inc. and Warner Bros. Entertainment Inc. (All Other Territories).
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