document_title: Music of The Hobbit film series

question_text: who sings misty mountains cold in the hobbit

question_tokens: who sings misty mountains cold in the hobbit

text: Music of The Hobbit film series

text: Principal leitmotifs[edit]

text: Howard Shore continued his approach from the music of The Lord of the Rings films, and wrote 64-70 identified leitmotifs (not including ten or more newly reprised themes from the Lord of the Rings) that are used throughout the nine hours[note 1] of the three scores.[2] [3] [4] Combined with recurring themes from the Lord of the Rings, there are about sixty or more leitmotifs used through each of the three scores, which given their shorter length makes them somewhat more dense than even The Lord of the Rings scores. The main theme of the trilogy is The Shire theme. The main themes of the individual episodes are, in order, the Company theme, Smaug's theme and the Erebor theme. The opening of An Unexpected Journey also serves as an "overture" of the series, introducing many of the principal themes and the full orchestral forces and colors, while The Battle of the Five Armies serves as a bridge to the Lord of the Rings trilogy.

text: First appearance in An Unexpected Journey[edit]

text: Returning:

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from the Lord of the Rings: Gandalf's Farewells (film only), The Return Journey (film only), The Shire, Hobbiton, Frodo/Hymn (film only), Playful variant, Hobbit Outline, Two-Step, Skip-Beat, End-cap, Antics, A Hobbit's Understanding, The History of The One Ring, Sauron, Descending Thirds, Mordor Skip-beat, the Threat of Mordor, The Power of Mordor (film only), Servants of Sauron (chords only, full theme only in the film), Footsteps of Doom (film only), Rivendell, Rivendell Arpeggios, Galadriel, Saruman, Witch-King of Angmar, The Pity of Smeagol, Gollum's Menace, Orc five-beat pattern, Weakness motif, Dwarrowdelf, Nature's Reclamation, Gondor Reborn (film only), Evil Times, Fellowship theme.
Shore also revisited pieces of none recurring music from the Lord of the Rings, turning them into themes after the fact: Durin's Folk, Map of then Lonely Mountain, Bilbo's Birthday, Smoke Rings, Gandalf's Fireworks, Eagles, Flaming Red Hair.

text: Themes for Bilbo

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Bilbo's Adventure: based on the existing Shire material, this melody appears (on the album) as early as the opening credits, and serves as the de-facto main melodic representation of Bilbo, and one of the main themes of the first score. It appears less frequently in the two later entries, but remains the most persistent of Bilbo's themes.[5] The theme is presented formally in "A very respectable Hobbit" and, in a heroic variation that turns into a theme for the company, in "Erebor."
Bilbo's Theme: Another central theme for Bilbo. This theme was underplayed in the finished film and following soundtrack installments, where its only hinted subtly.[5][6]

Bilbo's Theme (Tookish Side): This theme starts as part of Bilbo's unabridged theme, but it is set in a different key and different orchestration (usually set for horn or recorder); and its style more closely recalls the Dwarvish music. It soon begins to appear separately, as Bilbo's more outgoing side gets the better of him. [5][6][7]

Fussy Bilbo: Appears as Bilbo struggles with the Dwarves' lifestyle and lives out of his comfort zone. The theme is written in a more classical vein, in waltz time, which puts it outside of the scores' largely late-romantic style.[5][6]

text: Themes for the Dwarves

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Erebor theme: A rising motif using three horn-calls, followed by a descending B-phrase.[6][7][8] There is also a longer variation on the Erebor theme which heralds the reclaiming of Erebor. It is ultimately played (diegetically) as a dirge on a blowing horn in the Battle of the Five Armies.[9][10]
Arkenstone theme:[6][7][8][10] the motif for the Arkenstone, begins with a choral cluster and follows with a viola figure. It is also applied to the map and the key that Thorin uses to reclaim it.
Thorin's theme: Thorin's theme is related to Erebor but more stepwise like the Shire theme, hinting at Thorin's connection to Bilbo.[6][7][8][10] There are several variations on Thorin's theme: one variation, which appears in the film when Thorin claims Azog died in combat;[11] and a hybrid of his theme and the Erebor theme.[12] The most distinct variation, however, is when the harmony of the theme is hummed by a chorus at the end of "Brass Buttons" after Thorin thinks Bilbo had run away. This variation was to return, sung by the full choir, as Thorin charges Azog in the end of the film, as it appears in "Out of the Frying Pan", perhaps as a theme for Thorin's Pride.[13]

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Dwarves in-Exile:[14] A weary and grim gradually rising and falling motif revolves around the exile and subsequent degradation of the fortunes of the Durin's folk of Erebor and more generally relates to the dwarvish suffering and fate. It incorporates "elvish" timbres, such as female chorus and arpeggiated figures, to denote the Dwarves' blaming of the Elves for their misfortunes. [7]
The House of Durin: This theme is usually set to male chorus and related both to Thorin and to the Dwarrowdelf theme from Lord of the Rings. It is one of the main themes of the trilogy, and relates to all of the Dwarf characters of the line of Durin, and to the heritage of the Dwarves. Its first full statements are reserved to the second film, where it first appears in a flashback to the battle of Moria, and goes on to be featured in tracks such as "Girion, Lord of Dale", "My Armour is Iron" and "The Hunters". In The Battle of the Five Armies soundtrack, it is played in "Beyond Sorrow and Grief" and "Mithril" and is featured prominently at the beginning of "Sons of Durin."[7][8][10]

An unnamed theme appears in the opening logos to the film, and again in the closing of the soundtrack and again in the Battle of the Five Armies. It is a major-key hybrid theme, created by combining the History of the One Ring theme, with the House of Durin theme.[15][16][17][18]

Another unnamed theme is used whenever the company of Dwarves coalesces: its returns with every couple of Dwarves that arrive at Bag End, and is used again when the Dwarves appear in couples before Beorn. The theme features the opening notes to the Dwarrowdelf theme looped into an ostinato.[19]
Ancient Enemies:[20] an aggressive variation on the Dwarvish parallel fifths male chorus. It represents the animosity of Dwarves and Orcs, especially between Thorin and Azog, and the war waged between the races. Its used to score the entire Moria flashback, and returns for Thorin's encounter with Azog in the Battle of the Five Armies. [7]
The Company theme:[21] Represents the Dwarven Company, their quest to reclaim Erebor, and their crossing of the iconic Misty Mountains and is the main theme of the first film, having appeared as early as the announcement trailer. It is Howard Shore's rendition of Plan 9's melody that is used in the film. Shore quotes different parts of the unabridged song, be they the introduction figure, either of the two verses or the refrain, and even provides it with an accompaniment figure that features prominently in the trailer and in "Overhill." however, it is curiously absent from The Desolation of Smaug and The Battle of the Five Armies. Shore and the filmmakers opted to reinforce the sequels' darker tone by removing the more heroic Company themes, creating a sense of absence in the listener.[7] The melody of the company theme has two variants, not written by Shore: Plan 9's original "Misty Mountains" composition (in which the melodic line is not informed by Thorin's theme like the Company theme proper) and "Song of the Lonely Mountain" by Neil Finn.[13]
A Secondary theme for the company[22] and the quest is used throughout the first score. It is a "dwarvish" variant on Bilbo's adventure theme, which was an early composition of Howard Shore. It appears in full in the Bonus Track, "Erebor", accompanied by Uilleann pipes.[7][17][23]
Moon runes theme:[24] a hybrid of the Erebor theme (in the high, "Elvish" registers) and the Rivendell Arpeggios (in the low, "Dwarvish" registers) is used for the reveal of the moon runes and again for the reveal of the hidden door itself.[8][25]
The Dwarf Lords:[26] This early thematic idea for the Dwarves was largely unused in the final film, but made appearances in all three films: the coda appears when Dwalin tells Gandalf that Thorin is delayed because of a meeting in the Blue Mountains; the A section appears when the Dwarves reach the site of the Hidden Door; and it returns as an elegy in "The Darkest Hour" in the third film.[7][27]

text: Themes for the Elves

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The Woodland Realm theme: the first half of this choral theme accompanies Thranduil and the elves as they greet Thror during the prologue. As the company reach the Woodland Realm, the unabridged tune is performed, and than used consistently with the Woodland Elves. [8][10][28]

White Gems of Lasgalen: a subtle slurred, truncated variant of the theme for the Woodland Realm. Its used for the introduction of the gems, and for Thranduil's allusion to them. Its tracked, aptly enough, to Gandalf's discovery of the vandalized statue of Thranduil's wife, who owned the gems. [28]

The Valley of Imladris:[29] Howard Shore wrote a serene diegetic piece of music for Rivendell, which he also utilizes in the underscore in a martial setting when Elrond's riders arrive.[30]

text: Themes for Smaug

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Dragon Breath chords: An accompaniment to Smaug's themes, echoing his breath.[6][8][10][28]
Smaug's theme: A menacing and discordant theme representing Smaug the Terrible. This is also the main theme of the second film.[6][8][10][28][31]

Smaug's Malice: an ascending, inverted rendition of Smaug's theme. It is played when Bilbo hears Smaug's name and again throughout the following soundtracks, where it alternates with Smaug's main theme.[8][10][28]

text: Themes for Nature

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The Eagles: The eagle rescue at the end of the film passed through two different compositions, with three distinct melodic ideas associated with the Eagles throughout. The version used in the finished film was reused in the Battle of the Five Armies, creating a new theme for the eagles. there is also an alternate Eagle theme on the album.[25]
Stone Giants:[28] This theme doubles as a "monster piece" in the vein of Shore's work on the Watcher in the Water and the Cave Troll, but the chords themselves are also tied to the music of nature.

text: Themes for the Wizards

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Gandalf's theme: In The Lord of the Rings, Shore saw Gandalf the Grey as a mediator figure, and intentionally wrote no theme for him, since his demise was imminent. The Hobbit saw the character of Gandalf explored much more, providing Shore with reason to write a new, five-note theme for the wizard.[7]
The Istari: The order of the Wizards, the Istari, is also depicted by a theme of its own. The theme is mostly associated with Gandalf, who is featured much more prominently than the other wizards.[7]
Radagast theme: Radagast is represented by nervous table percussion and fiddle, complementing both his perpetual movement, his association with nature and his eastern-European inspired design.[6] This theme was left out of the finished film.[7] Adams mentions several themes being associated with the Wizard,[32] which perhaps includes a longer melodic line for fiddle and boy choir which appears on the album. In the film, the theme appears in the orchestra, without the solo fiddle or voices.[15]
Shadow Over Greenwood: an eerie call sung by the boy choir as Radagast discovers the sickness of Mirkwood forest. The theme is reprised when Gandalf reveals the Morgul blade to the White Council.[7]

text: Themes for the Necromancer

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The Necromancer: for the Necromancer, Shore takes the existing theme for Sauron (and the Evil of the Ring) and changes the ending coda, and uses the oboe to mimic the signature rhaita. It develops gradually into Sauron's theme from after Gandalf shows the council the dagger and until Sauron is revealed in the next film.[6][28]
Dol Guldur: A Descending Thirds figure based on a similar figure used as an accompaniment motif in the Lord of the Rings.[6][28]
The Threat of Dol Guldur: A more frenetic, "danger" motif for Dol Guldur, based on the Mordor Skip-Beat and the Threat of Mordor motifs.[28]
Azog's theme: Another, more aggressive, variation on the "Descending Thirds", hinting at the connection of Azog and Sauron. Here, the pattern ends with a musical "barb".[6] By the battle of the Five Armies, the barb evolves into a long trumpet call, and comes to represent the army marshaled by Azog.[28]
Goblin-town theme: When the Dwarves get captured by the Goblins, Shore introduces a theme on percussion and shrill brass that contains hint of his 5/4-time Orc theme. As the Goblin King is revealed, the theme appears more melodically on brass, and as the Dwarves make their escape, it is echoed by a deep male choir.[6][28]
Warg Scouts' Theme: In the Lord of the Rings, the Warg's brief appearance was scored with "the cruelty of the Orcs" motif. For the Gundabad Wargs of the Hobbit, Shore created a new theme, related to the cruelty of the Orcs, that represents the beasts.[6][28]

text: Themes for the Monsters of Middle Earth

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Trolls motif:[33] A loud, Waltz-time[6] theme that plays in the track "Roast Mutton".[28] The Troll theme mingles with the Weakness motif to represent the Trolls' dull wits and this hybrid figure goes on to score the sequence in the Trolls' hoard. The music is first hinted as Bilbo stalls the Trolls and later during the Troll-hoard sequence.[9]
Spiders of Mirkwood: An eight-note figure that stands for the spiders that attack Radagast's house. Their musical palette is expanded in the Desolation of Smaug, with the return of the motif as well as various stingers, rhythmic patterns and two-chord figures that evoke their terror.[28][8]

text: Themes for the Quest of Erebor

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Pine Glades of the Misty Mountains: Used in the finale of the first film.[34]
Elvish Blades motif: When Thorin picks up Orcrist, a short lyrical line appears in the celli, violins and oboe. That line is perhaps recalled both as Bilbo draws out Sting in Gollum's cave,[note 2] and again in the film when Orcrist is revealed to the Goblins.

text: First appearance in The Desolation of Smaug[edit]

text: Returning:

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From An Unexpected Journey: Bilbo; Bilbo's adventure; Fussy Bilbo; Erebor, Thorin, Arkenstone, Dwarf Lords, Moon Runes, The House of Durin, An Unexpected Party; Woodland Realm, White Gems, Gandalf, Spiders, Smaug, Smaug's Malice, Dragon breath, Wargs, Azog, Dol Guldur, Threat of Dol Guldur, Necromancer.
From the Lord of the Rings: The Shire, Hobbit end-cap, Hobbit Skip-beat, Rivendell Arpeggio, Weakness Motif, Sauron, The History of The One Ring, Mordor Descending Thirds, Mordor Skip-Beat, Threat of Mordor.
Returning from the Lord of the Rings (new themes): Gandalf's Fireworks, Legolas' Heroic feats, Elvish Medicine, The Forces of The Enemy, Bree, Minas Morgul.

text: Themes for Bilbo

text: Bilbo Suspense Music (Bilbo the Burglar): This motif is a sneaky driving ostinato figure that follows Bilbo when he takes charge of the situation at a pivotal moment. It goes on to replace his fussy theme.[7][10][35]

text: Themes for the Dwarves

text: Thrain's Theme: In the Extended Edition of the Desolation of Smaug, Thrain is introduced with a theme. His is a slow variation of the Erebor theme with a string arpeggio, referencing the Weakness motif.[7]

text: Themes for the Elves

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Thranduil's theme: Thranduil's theme bears the mark of the Weakness motif, hinting at the Elvenking's Weaknesses.[28]
The Elvish Host: The Woodland Realm is associated with a martial idea, related to the Elves tense relationship with the Dwarves. It is used when the Dwarves are thrown into the dungeons, and again when they are besieged by the Elves in the third installment.[36]
Legolas' theme: A fast-paced, flamenco-like theme based on the first line of The Woodland Realm theme played in major mode.[28][8][37]
Tauriel's theme: Tauriel is represented mostly by a rapid, if graceful, five-note figure derived from the B-phrase of the Woodland Realm. The B-phrase of her own theme, however, is more closely connected to the Elvish Host idea but unlike that motif, Tauriel's secondary phrase also receives lyrical settings for Oboe or choir.[8][28]
Tauriel and Kili: A love theme that represents the relationship between the two characters. It starts with a duet for flute and oboe, followed by a chorus section for voices, and ends with a lyrical oboe phrase. It appears in "Feast of Starlight", "Kingsfoil", and "Beyond the Forest". In "Feast of Starlight" and formally presented in "Beyond the Forest". In The Battle of the Five Armies soundtrack, it is played at the beginning of "Shores of the Long Lake" and is played near the end of "Ravenhill."[8][28]

text: Themes for Smaug

text: Smaug's Fate: A choral combination of Smaug's various themes was used for when he is toppled by the statue of molten gold. It was then reprised for his eventual demise in the following installment.[28]

text: Themes for Nature

text: Beorn's theme: A deep and brassy theme played several times in the opening tracks. The harmony, based on the Nature theme, appears by itself as well and recalls Beorn's hefty footfalls.[25][8]

text: Themes for Laketown

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Bard's theme: The theme reflects his ambiguity as a character, starting quite moody with the ambivalent introduction to the character. It becomes more heroic as Bard defies Smaug.[8][25]
Esgaroth Theme: A 10-note, baroque-styled theme that represents Lake-Town. It appears prominently in the tracks "Protector of the Common Folk" and "Thrice Welcome".[8][25]
The Master of Lake-Town's Theme: The theme, played by woodwinds, strings and a clavichord, reflects his high position and his greedy nature. It is played in retrogrades when associated with his guards. A figure hinting at the opening pitches is used in the Forest River sequence.[8][25]
Alfrid's theme: The end-cap of the Master's theme is used as a motif for Alfird, his councilor. It appears briefly in "Protector of the Common Folk" and several times in the film version of "The Battle of the Five Armies."[25]
Girion's theme (The Black Arrow): A motif to represent the Last Lord of Dale who injured Smaug. It goes on to represent the Black Arrow and the heroism of both Bard and Bain, Girion's descendents.[8][25]

text: Themes for the Necromancer

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Bolg's Theme: Bolg is represented by another variation on the descending thirds, which Doug Adams seems to identify as a distinct motif, in spite of the similarity to Azog's theme.[38] It appears at the end of the extended version of "The Forest River" and appears in "The Hunters."[28]
The Nine: A solo piece, related to the Istari theme, marks Gandalf's discovery of the resurrection of the Ringwraiths.[8][28]

text: Themes for the Quest of Erebor

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Mirkwood: The theme is built around slow succession. Different variations are played when the Company wanders in the forest.[8] As the company becomes lost in the forest, the motif is swallowed by the dissonant musical texture of Mirkwood.[25]
The Death Theme: the Death theme (based on the Evil Times motif) becomes a prominent musical motif in the third film and it appears frequently throughout the final part of the story to signal loss and sorrow.[25] It skirts the Woodland Realm theme as it actively revolves around Thranduil and the elves, the concept of mortality strongly present both in the war that rages in the last film of the trilogy and in the relationship between Kili and Tauriel (this short motif is embedded in their love music as a reminder of its tragic nature) and informs the theme of Dwarvish Suffering as well.

text: First appearance in The Battle of the Five Armies[edit]

text: Returning:

text:
From the Lord of the Rings: The Shire, Hobbit Outline, Hobbit Skip-Beat, Bilbo's Song; Battlefield Heroism, the Fellowship, The History of The One Ring, Sauron, Mordor Descending Thirds, Mordor Skip-Beat, Threat of Mordor, Servants of Sauron, Evil Times, Weakness Motif, Galadriel, Rivendell, Rivendell Arpeggios, Nature's Reclamation, Orcs.
From the Hobbit: Bilbo's theme; Bilbo's Adventure, Sneaky Bilbo; Erebor, Thorin, The House of Durin, Dwarf Lords, Arkenstone; Dragon Breath, Smaug, Smaug's Malice, Dragon Sickness, Smaug's Fate; Laketown, Bard, Bard's Family, Bard and the People of Laketown, Politicians of Laketown, Alfrid, Girion; Woodland Realm, Thranduil, Legolas, Tauriel, Elvish Host, Tauriel a End Kili; Death Motif, Dol Guldur, Threat of Dol Guldur, The Nine, Azog, Bolg, Wargs, Ancient Enemy, unnamed title theme.
Returning from the Lord of the Rings (new themes): Mithril, The Forces of the Enemy.

text: Themes for Smaug

text: Dragon Sickness: The dragon-breath motif and Smaug's Malice theme are shifted from the dragon to Thorin and play in tandem during scenes that illustrate his dragon sickness. The dragon breath motif is inlaid with a rhythmic, dissonant string pattern.[note 3]

text: Themes for the Dwarves

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Dain II "Ironfoot"'s theme: A heroic theme played by woodwinds, trumpets, and highland bagpipes. It appears in "Ironfoot" and "Battle for the Mountain", and it is played in the movie during Dain's arrival to the Lonely Mountain and the beginning of the battle. It is backed up by a rhythmic march figure which appears in conjunction with the Dwarvish army.[7][10]
Thorin's Fate: Thorin has yet another thematic idea, sung by a solo Soprano (one of the only instances of female voices incorporated into Shore's Dwarvish music) that speaks of his ultimate fate. It is played after he breaks out of the Dragon Sickness and opts to assault the Orc Armies, and again before his demise.[28]
War Preparations (Dwarven Warriors): A harsh motif that is played with drums and horns in the tracks "The Ruins of Dale" and "Mithril", representing the militarization of Thorin's company.[7][10]

text: Themes for Laketown

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Bard's family's theme: A gently rising and falling theme which, after being hinted at in the second movie, is first played in full during "Fire and Water". It is based on a combination of phrases from Bilbo's theme and the Master's. A heroic rendition of the theme appears during the end of "Battle for the Mountain". It also appears in the extended version of "Ironfoot".[10][25]
Bard's Leadership Theme: A short motif that appears in "Shores of the Long Lakes", "Ironfoot", and "Dragon-Sickness". In the film, it is played when Percy recounts Bard's shooting the dragon.[10][25]
Bard and the People of Laketown: A combination of the Laketown theme and the ending of Bard's theme, which is played either as action music or as an elegy.[10]

text: Themes for Dol Guldur

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Gundabad theme: A driving, offbeat theme for Mount Gundabad and its forces. It is first played out in "Bred for War", and features prominently in "Ravenhill".[10][28] It is underlined by a version of the 5/4 rhythm that comes to represent the Orcs in the scores.
Ogres theme.[28]

text: Returning from The Lord of the Rings[edit]

text: New themes

text: While revisiting the themes from the Lord of the Rings, Howard Shore also made a unique choice to return to hitherto singular musical expressions, such as the music heard when Bilbo gives Frodo the Mithril vest, thereby turning them into themes, after the fact. This technique allowed him to use The Hobbit scores in order to inform the music of the Lord of the Rings without rescoring and keeping both trilogies similarly dense with themes by using The Hobbit to "add" themes into The Lord of the Rings.

text: Existing themes

text: The first film is the most reliant on existing themes, and that reliance was expanded upon in the final film, including multiple cases of tracked music. Nevertheless, most themes are introduced in more devolved expression and evolve to their starting point from The Lord of the Rings. There are, nevertheless some puzzling thematic connections:

text:
The final framework story opening the first film showcases the themes for Gandalf's Farewells and the Journey Back. Both are meant to be used as book-ends with the ending of Return of the King, and the Journey Back even shares similarities to Bilbo's Adventure which was used on the album version. Gandalf's Farewells is used in Lord of the Rings in scenes that do not involve the departure of the wizard, much like this scene, the explanation being that it is most likely being used in an opposite meaning, of expecting to meet again with the wizard, be it Bilbo in the framework story, or Frodo on Mount Doom, who (believing Gandalf to be dead) is about to die.
Two of the variations of the Shire theme, the Hymn and Playful variation, which are mostly associated in The Lord of the Rings with Frodo and with Merry and Pippin, respectively, are applied to Bilbo in the first score: The Hymn variation in the finished film when Gandalf explains his choice of Bilbo to Galadriel, and the playful variation when Bilbo runs out of his door. However, the themes do have a broader association and the former in particular prefigures Frodo's choices more so than scoring Bilbo's.
Galadriel's theme, in a martial setting, is used for Elrond's Riders assaulting the Warg riders. More so than scoring the moment, the music seems to connect it to the arrival of the Host of the Eldar in The Lord of the Lords, or perhaps to prefigure the encounter with Galadriel in the White Council.
The "Ringwraith" theme is used for the final confrontation of Azog and Thorin in the first film. While the theme is most strongly associated with the Wraiths, it is first and foremost an "offspring" of the broader theme for "The Power of Mordor", which the composition also alludes to. In fact, this use of theme comes shortly before the revelation (in the following film) that Azog is a servant of the Necromancer, which later in that film turns out to be Sauron and using the theme in the broader sense of "The Servants of Sauron" is consistent with several of its applications in The Lord of the Rings trilogy, including two statements in the Prologue and one unused statement in 'Amon Hen." In fact, the signature chords of theme underline much of the music for the Goblins and Wargs which dominates the parts of the composition leading up to the statement. Azog's own theme is also derived from one of the Mordor accompaniments which is often used in conjunction with the Ringwraith theme.
"Gondor Reborn" was briefly quoted in the finale of the film. This is the closest that any of the scores come to using themes "romantically", as a pure suggestion of mood (which in and of itself is a valid technique, utilized by Wagner and Strauss, as well). However, based on dialogue from the third film, a tenuous connection can be made between the success of the quest and ultimate victory of Gondor in the War of the Ring.[39] The most likely explanation is that Shore utilized this theme, which has a strong connotation of "good winning over evil" and extrapolated it from its narrow association with Gondor into a broader sense, applying it (once) in this scene.[40]

text: Unconfired and incidental themes[edit]

text: There are various unconfirmed themes and none-thematic recurring figures that are nevertheless important to the storytelling in the score:

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The Forest River sequence features repeated string ostinatos that represent the churning river.
There is similar music used when the Dwarves first fall into Goblintown and again when the bridge they cross collapses. Whether it is a leitmotif or not is unclear, as it might be tracked.[41]
Since the High-Fells were originally supposed to appear in An Unexpected Journey, one of the bonus tracks, "Edge of the Wild", has the same musical idea that would later be used in conjunction with them in the following film, making the music of the High Fells technically recurring.[15]

text: Soloists[edit]

text: As with The Lord of the Rings, many soloists performed music for the three films. To support the more Dwarf-centric story, the singers of the end-credit songs were all men, compared to the female ensemble on The Lord of the Rings.[42] This includes Neil Finn, who performed "Song of the Lonely Mountain" in An Unexpected Journey,[43][44] and Ed Sheeran and Billy Boyd for following installments. Richard Armitage appears as a cast performer in the film itself. James Nesbitt also performs a song (of his own composition) in the extended edition of An Unexpected Journey and Barry Humphries performs two songs (one only in the Extended Edition).

text: Within the underscore, Howard Shore utilized soprano voices, featuring Clara Sanabras and Grace Davidson (who often serve as featured soloists in the live performances of his Lord of the Rings scores), often in conjunction with the music of nature or the Elves. Unlike The Lord of the Rings, no boy soprano or young girls were used in the score.

text: Songs[edit]

text: As with The Lord of the Rings, the scores from The Hobbit were also largely vocal works, including choirs and soloists, as well as diegetic music and songs for the end-credits of each film.

text: Source Songs[edit]

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"Blunt the Knives": composed by Stephen Gallaghar. Performed by the Dwarf cast and Plan 9.
"Misty Mountains": composed by Plan 9 and David Longe. It is transformed into a theme that appears in Shore's underscore.
"The man in the Moon": Composed and performed by James Nesbitt.
"Down in Goblin Town": Composed by Stephen Gallaghar, Plan 9 and David Longe.
"The Torture Song": Composed by Stephen Gallaghar, Plan 9, David Longe and Fran Walsh.

text: End-credits songs[edit]

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Song of the Lonely Mountain: Composed by Stephen Gallaghar and Neil Finn. Orchestrated and arranged by Victoria Kelly under the supervision of Howard Shore and performed by Neil Finn and sons and the London Metropolitan Orchestra. It is another setting of the "Misty Mountains" melody.
"I See Fire": Composed and performed by Ed Sheeran.
"The Last Goodbye": Composed by Billy Boyd. Orchestrated and arranged by Victoria Kelly under Shore's supervision. Performed by Billy Boyd and the London Metropolitan Orchestra.

text: Diegetic Music[edit]

text: Howard Shore composed "The Valley of Imladris" - a digetic piece for lute, lyre, wood flute and harp that is performed in Rivendell, a recapitulation of a piece of music introduced in the underscore previously as Elrond rides into Rivendell to meet the Dwarves. Shore also composed the horn-call at the end of Battle of the Five Armies, which is in fact a statement of the Erebor theme. Other sound effects used in Mirkwood and the Treasure Hoard scene, while none-diegetic, were performed by the orchestra and feature on the album.[note 4]

text: Other diegetic music was composed by The Elvish Impersonators, Stephen Gallaghar and members of the cast, including the aforementioned source songs and a "trumpet fanfare" that sends the Dwarves off to the Mountain. The melody of the "Misty Mountains" song goes on to feature in the underscore.

text: Instrumentation[edit]

text: As with The Lord of the Rings, Shore used an immense ensemble, including a large symphony orchestra of 94 to 96-piece; SATBB and boy choirs and featured vocal soloists; additional instruments to augment the orchestra in select passages, and onstage instrumental "bands" - overall over 300-pieces are used.

text: The scores call for:

text: Woodwind: 3 flutes (doubling on alto flutes, piccolos and recorders), 3 oboes (2nd doubling on English horn, third doubling on English horn), 3 clarinets in B-flat and E-flat (doubling on a bass and contrabass clarinet in B-flat), 3 bassoons (2nd and 3rd doubling on contrabassoons)

text:
Brass: 5 horns in F, 4 trumpets, two tenor trombones, bass trombone, tuba, doubling on euphonium.
Timpani: 7 timpani.
Percussion: at least three percussionsts on bass drum, snare and side (or field) drums, taiko drums (large, medium and small), tamtams (medium and large), gong drum; doubling on thunder sheet, drum kit (including a floor tom, hanging tom, snare and crash, ride, hi-hit and sizzle cymbals), second floor tom, jingles, a bowed saw, shakers, clappers, slit drum, cymbals (suspended, antique, crash, clash, china, splash and trash[45]), anvil, clapsticks, tambourines, frame drums, shekeres, cabasas, caxixi, egg shakers and sistrums[46] dunun drum, two waterphones, small gong, tingsha, kouxian;[note 5] Bodhrain, tubular bells, triangle, xylophone, glockenspiel, wood blocks, five Tibetan and/or Thai hanging gongs and transceleste,[note 6] five singing bowls,[47] tuned artillery shells.
Keyboards: piano (doubles upright piano), celesta.
Voices: 60-piece STABB choir,[48][49] 30 boys; soprano soloist, tenor soloist, baritone soloist.
Strings: 2 harps, 16 first and 14 second violins, 12 violas, 10 violoncellos, 8 double basses with low-C strings.

text:
Additional parts: bass oboe or heckelphone,[50] clarinet, at least one horn, trombone, tuba, second timpanist, three added percussionists, pipe organ, at least 20 SATBB parts (overall, sixty male singers are required[51]), ten male "grunters" and several Tibetan throat singers, twenty boys, mezzo-soprano soloist, violin.
"Hobbit band": tin whistle (doubling flute, piccolo and recorder), musette, concertina, hammered dulcimer (doubling on cimbalom), 3 classical guitars (doubling on two acoustic guitar, and an acoustic bass guitar[52]), mandolin (doubling on a lute and banjo), Celtic harp, Uilleann pipes, two highland bagpipes.
Baroque band: clavichord[note 7] and diegetic brass instruments.
Eastern band: sarangi, monochord (doubling on celempung or guzheng[53]), offstage rhaita, wood flute and shakuhachi, lyre, a "chorus"[54] of yadiki, one blowing horn, dizi (doubling on suling), spike fiddle (rebab and/or erhu[55]), liuqin and yangqin[53] (doubled by the Dulcimer and mandolin players), tanpuras, tabla drums.
Gamelan orchestra:[56] at least 13 players, of which five parts for saron and pekin (ten instruments) and three on slenthem (doubling on gendèr and gangsa) and two players on bonang (six instruments). Also in the orchestra are three kendhang drums, 10 kempul gongs, two large gong ageng, three medium kempur and one klentong; ceng-ceng and anklung, kajar, gambangs, kenong, kempyang and kethuk, as well as finger cymbals.
Plan 9's diegetic music utilized a serpent, alphorn and straight bugle (for the Laketown trumpet fanfare), a bowed banjo and spoons and handclapping (Blunt the Knives). A variation of the Laketown theme used for the behind-the-scenes material might have utilized cornetts.[57]

text: Shore composed the music for the announcment trailer to the first film, but further trailer music written for the film and the following two - which was written by Audiomachine in the vein of Shore's music - utilized a doubled brass section and added cello parts, as well as various percussion and string instruments (such as sitars and mountain dulcimers).

text: An Unexpected Journey was recorded at Abbey Road Studios with the London Philharmonic Orchestra, with Howard Shore orchestrating and conducting. The Desolation of Smaug and The Battle of the Five Armies, however, were recorded by the New Zealand Symphony Orchestra in the Wellington Town Hall, as was the case of the early parts of The Fellowship of the Ring. The orchestra was conducted by Conrad Pope who, along with James Sizemore, did the orchestrations based on mock-ups and detailed sketches handed over from Shore. The London Voices and London Tiffin' Boys choir provided the choral and soloist parts for all films. Several of the end credits songs were orchestrated by Victoria Kelly (under Shore's supervision) and performed by the London Metropolitan Orchestra, conducted by Robert Ziegler. The London Voices, boy choir and Metropolitan Orchestra were recorded at Abbey Road and AIR Lyndhurst.

text: Concert Suites[edit]

text: In The Lord of the Rings original soundtrack releases, several pieces of music have been edited out of their film order so as to create a concert-like program, with concert suites of various themes. With The Hobbit, the original release has been expanded and features most of the music from the film in its chronological order. However, several pieces of music were edited or even conceived as concert suites:

text:
"Dreaming of Bag End" (Bilbo's Baggins/Took themes)
"A Very Respectable Hobbit" (Bilbo's Adventure, Baggins and Fussy themes)
"Erebor" (The secondary company theme)
"The Dwarf Lords"
"Beyond the Forest" (The various Woodland Realm themes)
"Ironfoot" (Dain's theme and the new Laketown material)

text: "The Hobbit in Four Movements" is a symphony program constructed from "A Very Respectable Hobbit", "Beyond the Forest", "Smaug" and "Ironfoot".

text: An Unexpected Journey[edit]

text:
The Hobbit:
An Unexpected Journey

Soundtrack album by Howard Shore

Released
11 December 2012

Recorded
2012

Length
1:48:49 (Standard Edition)
2:07:03 (Special Edition)

Label
WaterTower Music, Decca Records

Producer
Howard Shore, Peter Jackson, Fran Walsh, Philippa Boyens

Special Edition cover

Singles from The Hobbit: An Unexpected Journey

"Song of the Lonely Mountain"
Released: 2012

text: Soundtracks for The Hobbit have been released in an extended, two-disc form, offering over two hours of music each and liner notes by Doug Adams. The music is, for the most part, presented as it is in the film and by the film order, but some pieces were re-edited to augment the listening experience into something more akin of a concert program. The recording is nevertheless incomplete, especially given alternate music used in some of the film scenes,[note 8] although fans have since unearthed much of it and a rarities CD is attached to the upcoming book. The music for the trailer of An Unexpected Journey was released for free by New Line.

text: The soundtrack album for An Unexpected Journey was released on 11 December 2012.[58] It has been released in both Standard Edition and Special Edition, with both coming in a 2-disc format.[59] The Geeks of Doom commented that Shore, who recorded the soundtrack at Abbey Road Studios and AIR Lyndhurst in London,[60] re-used some of the "magisterial musical motifs" from his music for The Lord of the Rings soundtrack, but that he "uses his established themes to launch into a completely original sonic adventure with turns both optimistic and dark, true to the mutual visions of Jackson and Tolkien".[61]

text: The soundtrack was performed by the London Philharmonic orchestra, London Voices and Tiffin' boy choir, as well as featured vocal and instrumental soloists, namely soprano Clara Sanabras, Richard Armitage as a cast performer and Neil Finn for the end credits song.

text: Track listing[edit]

text:
Disc 1

No.
Title
Length

1.
"My Dear Frodo"
8:04

2.
"Old Friends"
4:29

3.
"An Unexpected Party"
3:57

4.
"Axe or Sword?"
5:59

5.
"Misty Mountains" (Music by David Donaldson, David Long, Steve Roche and Janet Roddick;[62] performed by Richard Armitage and The Dwarf Cast)
1:42

6.
"The Adventure Begins"
2:06

7.
"The World is Ahead"
2:18

8.
"An Ancient Enemy"
4:58

9.
"Radagast the Brown"
4:54

10.
"Roast Mutton" (Contains excerpts of "Misty Mountains" by Donaldson, Long, Roche and Roddick[62])
4:03

11.
"A Troll-Hoard"
2:39

12.
"The Hill of Sorcery"
3:51

13.
"Warg-Scouts"
3:05

text:
Disc 2

No.
Title
Length

1.
"The Hidden Valley"
3:50

2.
"Moon Runes"
3:20

3.
"The Defiler"
1:15

4.
"The White Council"
7:20

5.
"Over Hill" (Contains excerpts of "Misty Mountains" by Donaldson, Long, Roche and Roddick[62])
3:43

6.
"A Thunder Battle"
3:55

7.
"Under Hill"
1:54

8.
"Riddles in the Dark"
5:22

9.
"Brass Buttons"
7:38

10.
"Out of the Frying-Pan"
5:54

11.
"A Good Omen"
5:46

12.
"Song of the Lonely Mountain" (Lyrics and Performance by Neil Finn,[63] music by Finn, Donaldson, Long, Roche and Roddick[62])
4:10

13.
"Dreaming of Bag End"
1:49

text: The two-disc special edition contains six bonus tracks and six extended tracks.

text:
Disc 1

No.
Title
Length

1.
"My Dear Frodo"
8:03

2.
"Old Friends" (Extended Version)
5:00

3.
"An Unexpected Party" (Extended Version)
4:08

4.
"Blunt the Knives" (Lyrics by J. R. R. Tolkien, music by Stephen Gallagher; performed by The Dwarf Cast,[62] exclusive bonus track)
1:01

5.
"Axe or Sword?"
5:59

6.
"Misty Mountains" (Performed by Richard Armitage and The Dwarf Cast)
1:42

7.
"The Adventure Begins"
2:04

8.
"The World is Ahead" (Contains excerpts of "Misty Mountains" by Donaldson, Long, Roche and Roddick[62])
2:19

9.
"An Ancient Enemy"
4:56

10.
"Radagast the Brown" (Extended Version)
6:37

11.
"The Trollshaws"
2:08

12.
"Roast Mutton" (Extended Version)
4:56

13.
"A Troll-Hoard"
2:38

14.
"The Hill of Sorcery"
3:50

15.
"Warg-Scouts"
3:02

text:
Disc 2

No.
Title
Length

1.
"The Hidden Valley"
3:50

2.
"Moon Runes" (Extended Version)
3:39

3.
"The Defiler"
1:14

4.
"The White Council" (Extended Version)
9:40

5.
"Over Hill" (Contains excerpts of "Misty Mountains" by Donaldson, Long, Roche and Roddick[62])
3:42

6.
"A Thunder Battle"
3:54

7.
"Under Hill"
1:54

8.
"Riddles in the Dark"
5:21

9.
"Brass Buttons"
7:37

10.
"Out of the Frying-Pan"
5:55

11.
"A Good Omen"
5:45

12.
"Song of the Lonely Mountain" (Lyrics and Performance by Neil Finn,[63] Extended Version)
6:00

13.
"Dreaming of Bag End"
1:56

14.
"A Very Respectable Hobbit" (Exclusive Bonus Track)
1:20

15.
"Erebor" (Exclusive Bonus Track)
1:19

16.
"The Dwarf Lords" (Exclusive Bonus Track)
2:01

17.
"The Edge of the Wild" (Contains excerpts of "Misty Mountains" by Donaldson, Long, Roche and Roddick;[62] Exclusive Bonus Track)
3:34

text: Reception[edit]

text:
Professional ratings

Review scores

Source
Rating

AllMusic
[64]

Examiner.com
A+[65]

Filmtracks.com
[66]

Movie Music UK
[67]

Music Muse
[68]

MovieCues
[69]

Tracksounds
[70]

Movie Wave
[71]

text: The full score was nominated at the 11th Washington D.C. Area Film Critics Association Awards,[72] and "Song of the Lonely Mountain" received a nomination for the Houston Film Critics Society Awards.[73] Allmusic's reviewer wrote favourably about the album, but noted that the soundtrack was not as "sweeping and epic as that for [Jackson's] The Lord of the Rings", attributing this to the smaller scale of Bilbo's adventure as compared to the events of The Lord of the Rings.[64] Examiner.com, however, was very positive and observed that The Hobbit soundtrack fitted the style and tone of The Lord of the Rings, writing that the opening for An Unexpected Journey was much better than that of The Fellowship of the Ring.[65] In 2013, the score for An Unexpected Journey ranked ninth out of one hundred by Classic FM'S top film scores.

text: The album charted in several countries, reaching the top ten album charts in Korea and the United States. It was also awarded a golden record certification in Canada.

text: Chart positions[edit]

text:
Chart (2012–13)
Peak
position

Australian Albums (ARIA)[74]
45

Austrian Albums (Ö3 Austria)[75]
16

Belgian Albums (Ultratop Flanders)[76]
25

Belgian Albums (Ultratop Wallonia)[77]
54

French Albums (SNEP)[78]
70

German Albums (Offizielle Top 100)[79]
14

Irish Albums (IRMA)[80]
79

South Korean International Albums (Gaon)[81]
8

Dutch Albums (MegaCharts)[82]
40

New Zealand Albums (RMNZ)[83]
32

Polish Albums (ZPAV)[84]
28

Spanish Albums (PROMUSICAE)[85]
28

Swedish Albums (Sverigetopplistan)[86]
52

Swiss Albums (Schweizer Hitparade)[87]
40

UK Albums (OCC)[88]
61

US Billboard 200[89]
30

US Soundtrack Albums (Billboard)[90]
3

US Top Independent Albums (Billboard)[91]
3

text: Certifications[edit]

text:
Region
Certification
Certified units/Sales

Canada (Music Canada)[92]
Gold
40,000^

*sales figures based on certification alone
^shipments figures based on certification alone

text: The Desolation of Smaug[edit]

text:
The Hobbit:
The Desolation of Smaug

Soundtrack album by Howard Shore

Released
10 December 2013

Recorded
2013

Length
1:56:27 (Standard Edition)
2:09:17 (Special Edition)

Label
WaterTower Music, Decca Records

Producer
Howard Shore, Peter Jackson, Fran Walsh, Philippa Boyens

Special Edition Cover

Singles from The Hobbit: The Desolation of Smaug

"I See Fire"
Released: 2013

text: The soundtrack album for The Desolation of Smaug was released on 10 December 2013 in both Standard Edition and Special Edition. The cover of the Special Edition features the design used for the special edition of the soundtrack for An Unexpected Journey on a purple background. The scoring process was documented in an hour-long feature of the behind-the-scenes footage of the film..

text: The soundtrack was orchestrated by Conrad Pope and James Sizemore, with Conrad conducting the orchestra.[93] It was performed by the New Zealand Symphony Orchestra, Wellington University Gamelan Orchestra, London Voices and Tiffin' boy choir, as well as featured vocal and instrumental soloists, namely soprano Grace Davidson and singer Ed Sheeran. The latter's Song, "I See Fire", was released as a single.

text: Track listing[edit]

text:
Disc 1

No.
Title
Length

1.
"The Quest for Erebor"
3:23

2.
"Wilderland"
4:56

3.
"The House of Beorn"
3:42

4.
"Mirkwood"
4:27

5.
"Flies and Spiders"
7:51

6.
"The Woodland Realm"
4:26

7.
"Feast of Starlight"
2:49

8.
"Barrels Out of Bond"
1:50

9.
"The Forest River"
4:54

10.
"Bard, a Man of Lake-Town"
2:30

11.
"The High Fells"
2:37

12.
"The Nature of Evil"
3:20

13.
"Protector of the Common Folk"
3:36

text:
Disc 2

No.
Title
Length

1.
"Thrice Welcome"
3:33

2.
"Girion, Lord of Dale"
3:33

3.
"Durin's Folk"
2:28

4.
"In the Shadow of the Mountain"
2:15

5.
"A Spell of Concealment"
2:51

6.
"On the Doorstep"
7:46

7.
"The Courage of Hobbits"
3:00

8.
"Inside Information"
3:48

9.
"Kingsfoil"
2:25

10.
"A Liar and a Thief"
3:40

11.
"The Hunters"
9:04

12.
"Smaug"
5:24

13.
"My Armor is Iron"
5:16

14.
"I See Fire" (Written and Performed by Ed Sheeran)
5:00

15.
"Beyond the Forest"
5:25

text: The special edition contains one bonus track and twelve extended tracks.

text:
Disc 1

No.
Title
Length

1.
"The Quest for Erebor"
3:22

2.
"Wilderland"
4:56

3.
"A Necromancer" (Bonus Track)
2:54

4.
"The House of Beorn" (Extended Version)
4:52

5.
"Mirkwood" (Extended Version)
5:31

6.
"Flies and Spiders" (Extended Version)
9:35

7.
"The Woodland Realm" (Extended Version)
5:14

8.
"Feast of Starlight"
2:48

9.
"Barrels Out of Bond"
1:50

10.
"The Forest River" (Extended Version)
5:10

11.
"Bard, a Man of Lake-Town" (Extended Version)
3:18

12.
"The High Fells" (Extended Version)
3:38

13.
"The Nature of Evil"
3:20

14.
"Protector of the Common Folk"
3:35

text:
Disc 2

No.
Title
Length

1.
"Thrice Welcome"
3:33

2.
"Girion, Lord of Dale" (Extended Version)
4:15

3.
"Durin's Folk" (Extended Version)
3:04

4.
"In the Shadow of the Mountain"
2:15

5.
"A Spell of Concealment" (Extended Version)
3:22

6.
"On the Doorstep"
7:46

7.
"The Courage of Hobbits"
3:00

8.
"Inside Information"
3:48

9.
"Kingsfoil"
2:25

10.
"A Liar and a Thief"
3:41

11.
"The Hunters" (Extended Version)
9:55

12.
"Smaug" (Extended Version)
6:29

13.
"My Armor is Iron"
5:16

14.
"I See Fire" (Written and Performed by Ed Sheeran)
5:00

15.
"Beyond the Forest"
5:25

text: Chart positions[edit]

text:
Chart (2013–14)
Peak
position

Australian Albums (ARIA)[94]
60

Australian Classical/Crossover Albums (ARIA)[94]
2

Austrian Albums (Ö3 Austria)[95]
29

Belgian Albums (Ultratop Flanders)[96]
44

Belgian Albums (Ultratop Wallonia)[97]
97

Dutch Albums (MegaCharts)[98]
51

French Albums (SNEP)[99]
103

German Albums (Offizielle Top 100)[100]
25

Irish Classical Albums (IRMA)[101]
7

Norwegian Albums (VG-lista)[102]
40

South Korean Albums (Gaon)[103]
84

Spanish Albums (PROMUSICAE)[104]
39

Swiss Albums (Schweizer Hitparade)[105]
51

UK Albums (OCC)[106]
69

US Billboard 200[107]
39

US Independent Albums (Billboard)[107]
4

US Top Current Albums (Billboard)[108]
34

US Top Soundtracks (Billboard)[107]
6

text: The Battle of the Five Armies[edit]

text:
The Hobbit:
The Battle of the Five Armies

Soundtrack album by Howard Shore

Released
8 December 2014

Recorded
2014

Length
1:34:01 (Standard Edition)
1:48:12 (Special Edition)

Label
WaterTower Music, Decca Records

Producer
Howard Shore, Peter Jackson, Fran Walsh, Philippa Boyens

Special Edition Cover

text: The soundtrack album for The Battle of the Five Armies was released on 8 December 2014.[109] Both a Standard Edition and a Special Edition were released. The score was performed by the New Zealand Symphony Orchestra and Wellington University Gamelan Orchestra as it was for The Desolation of Smaug. The London Voices and soprano Grace Davidson provided the vocal performances. For the song, Billy Boyd, who played Peregrin Took in The Lord of the Rings, wrote and recorded the song "The Last Goodbye".[110]

text: Track listing[edit]

text:
Disc 1

No.
Title
Length

1.
"Fire and Water"
5:57

2.
"Shores of the Long Lake"
4:01

3.
"Beyond Sorrow and Grief"
2:50

4.
"Guardians of the Three"
5:14

5.
"The Ruins of Dale"
3:39

6.
"The Gathering of the Clouds"
4:07

7.
"Mithril"
3:08

8.
"Bred for War"
3:19

9.
"A Thief in the Night"
4:14

10.
"The Clouds Burst"
4:12

11.
"Battle for the Mountain"
4:38

text:
Disc 2

No.
Title
Length

1.
"The Darkest Hour"
5:31

2.
"Sons of Durin"
4:23

3.
"The Fallen"
4:56

4.
"Ravenhill"
5:47

5.
"To the Death"
5:13

6.
"Courage and Wisdom"
5:09

7.
"The Return Journey"
4:16

8.
"There and Back Again"
4:19

9.
"The Last Goodbye" (Written and Performed by Billy Boyd)
4:05

10.
"Ironfoot"
5:03

text: The two-disc special edition contains two bonus tracks and five extended tracks.

text:
Disc 1

No.
Title
Length

1.
"Fire and Water"
5:57

2.
"Shores of the Long Lake"
4:01

3.
"Beyond Sorrow and Grief" (Extended Version)
4:11

4.
"Guardians of the Three" (Extended Version)
5:47

5.
"The Ruins of Dale"
3:39

6.
"The Gathering of the Clouds" (Extended Version)
5:52

7.
"Mithril"
3:08

8.
"Bred for War"
3:19

9.
"A Thief in the Night"
4:14

10.
"The Clouds Burst"
4:12

11.
"Battle for the Mountain"
4:38

text:
Disc 2

No.
Title
Length

1.
"The Darkest Hour"
5:31

2.
"Sons of Durin"
4:23

3.
"The Fallen"
4:56

4.
"Ravenhill"
5:47

5.
"To the Death" (Extended Version)
7:22

6.
"Courage and Wisdom"
5:09

7.
"The Return Journey"
4:16

8.
"There and Back Again"
4:19

9.
"The Last Goodbye" (Written and Performed by Billy Boyd)
4:05

10.
"Ironfoot" (Extended Version)
6:11

11.
"Dragon-sickness" (Bonus Track)
3:51

12.
"Thrain" (Bonus Track)
3:24

text: Chart positions[edit]

text:
Chart (2014–15)
Peak
position

Australian Albums (ARIA)[111]
74

Australian Classical/Crossover Albums (ARIA)[112]
1

Austrian Albums (Ö3 Austria)[113]
35

Belgian Albums (Ultratop Flanders)[114]
38

Belgian Albums (Ultratop Wallonia)[115]
83

Dutch Albums (MegaCharts)[116]
43

German Albums (Offizielle Top 100)[117]
25

Spanish Albums (PROMUSICAE)[118]
45

Swiss Albums (Schweizer Hitparade)[119]
37

text: Notes[edit]

text:
Jump up ^ For comparison, John Williams' 16-hour composition to Star Wars contains just over fifty leitmotifs.
Jump up ^ Mikko Ojala notes the two instances. He stressed elsewhere that the initial Elvish Blades composition is not part of the Dwarves in-Exile motif that precedes it in the Troll Hoard.
Jump up ^ Ojala points out that "Interestingly this music is combined often with a rhythmic string pattern to represent the dragon-sickness." Doug Adams explains in the liner notes: "the heaving furnace-like chords that once breathed fire into Smaug's bellows are now inlaid with dissonant string pulsations[...]and the melody line is rendered with queasy microtonal colorations."
Jump up ^ The sound effects of the Treasure Hoard utilize a Gamelan Orchestra, Tibetan Singing Bowls, Shakuhachi, Gongs and a Tanpura, echoing the rattling jewels. In Mirkwood, the effects include thumping hearbeats on timpani and sounds of bowed and struck string instruments, waterphones, bowls and gongs.
Jump up ^ Oscar Gimenez mentions the sound of Kouxian being used.
Jump up ^ The transceleste is a xylophone-like instrument of hollow metal bars that are tuned to the Indian microtonal shruti scale.
Jump up ^ A harpsichord was also recorded and tested, but the composer and filmmakers opted for the clavichord.
Jump up ^ There are even alternates between the standard and extended editions of the soundtrack, with some material appearing only on the standard soundtrack and some - only on the extended version.


document_title: Chitty Chitty Bang Bang (car)

question_text: where was chitty chitty bang bang car made

root

text: Chitty Chitty Bang Bang (car)

text: Film cars[edit]

text: For the 1968 film, six cars were created, including a fully functional road-going car with UK registration GEN 11. This car was designed by the film's production designer, Ken Adam, and cartoonist and sculptor Frederick Rowland Emett, built by Alan Mann Racing in Hertfordshire in 1967, fitted with a Ford 3000 V6 engine and automatic transmission and allocated a genuine UK registration. This car was privately owned by Pierre Picton of Stratford-upon-Avon from the early 1970s until May 2011.[1] Actor Dick van Dyke, who drove the car in the film, said that "the car was a little difficult to maneuver, with the turning radius of a battleship".[2] Public appearances of the car in 2010 are listed on the GEN 11 official website, with a note that there will be no more as the car was sent to Los Angeles, USA, to be auctioned on 22 May 2011.[3][4] The auction price was expected to reach US$1–2m, but capped at $805,000 (£495,415) with the winning bidder New Zealand film director Sir Peter Jackson, who according to his spokesperson said he would use it as a charity fund-raising vehicle.[5][6][7] It is registered in New Zealand as GEN 1I, as the registration GEN 11 had already been issued.[8]

tag: p

text: Five other car props were built by the studio: a second, smaller road-going version; a transforming car; a hover-car; a flying car; and an engineless version for trailer work. Most had engines added after filming was complete and were used to promote the film throughout the world.

text: The second road version, which only appears in 12 seconds of the movie, is on display at the Dezer Car Museum in North Miami, Florida.[9] There were construction flaws on this vehicle which made its use impractical. Eon Productions made a less-detailed transforming version which they use to promote the stage musical but, as it does not have an MOT certificate (of roadworthiness), is not allowed on public roads. The final road version is privately owned by Anthony Bamford, and is on display at the National Motor Museum in Beaulieu, UK. The hover-car was a shell mounted on a speed boat, and was destroyed after filming. Only the original road-going version used the registration GEN 11 legitimately and it was owned by Pierre Picton of Stratford upon Avon. One of the cars used in the film was displayed at a Chicago restaurant for many years, then sold at auction in 2007 for $505,000 to a Florida resident.[10]

text: One car appeared in a humorous Public information film aimed at British motorists, intended to remind them to pay their Vehicle excise duty. Ironically, there was criticism as all cars built before 1 January 1973, including the Chitty Chitty Bang Bang model, are exempt from vehicle excise duty in the UK. The PIF was a parody of the MGM film.

text: In July 2009, the EON copy of the car was prevented from being used in Norwich by the police, as the car was not roadworthy, properly registered or insured.[11] The GEN 11, Pierre Picton car subsequently visited the city of Norwich in August 2009 to promote the theatre show.

text: Replica cars[edit]

text: There is a MGM licensed replica in the United Kingdom, built for a commercial photography business. The car is roadworthy and has the registration number GEN 22. It weighs around 1.5 tons and is nearly 18 feet long and 6 feet wide. The brass lamps are all original period pieces and the brass snake horn came from one of the original Chitty cars. The engine is a 3L V6 Ford with a BorgWarner automatic gearbox.[12][13] The car is displayed at events and in shopping centres.

text: Another Chitty 'copy' was built by Nick Pointing of the Isle of Wight after his wife Carolyn, a lifelong Chitty Chitty Bang Bang fan asked him to build her dream car. The car was built on a 1970s Land Rover chassis and engine and was driven 12,000 miles overland to Australia in 2007/8 to raise money for charity.[14][15]

text: A replica Chitty Chitty Bang Bang car built by Gordon Grant was sold at an auction held on 1 December 2011 at Bonhams at Mercedes Benz World in Weybridge, Surrey, UK.[16][17] The car was later sold to broadcaster Chris Evans after the purchaser found it was too long to fit in his garage.[18][19] The car, which is now registered as 772 YUJ, has erroneously been reported in a number of newspapers as the original GEN 11 film car.[19][20]

text: Another replica was built and finished in July 2014 by hospital worker & jeweller John Rothwell of Cambridge UK. It is based upon a Reliant Rialto chassis and took approximately 3 years to build in a tiny garage rented from the local council offices. Being a three-wheeler based chassis makes this car unique and also takes it out of the running of being a genuine replica. This three-wheel version of Chitty was used by a local car insurance company for a promotion campaign and is frequently taken to local car shows where it helps to raise money for Addenbrookes Hospital Charitable Trust.[21][22]

text: A replica car, built by retired NYPD police Sergeant, Tony Garofalo, of Long Island, New York, was completed in June 2015 after a 5-year project build at a cost of over $100,000. The car is modelled in exacting detail to the original motion picture car, after Garofalo conducted a personal inspection of two original Chitty Chitty Bang Bang cars. Built on a vintage, road legal, 1914 Overland car, and a vintage Ford Model A Engine, the car features automated opening retractable wings and vintage brass adornments. All of the bright work featured is brass, aluminum, stainless steel and copper to prevent any corrosion over time. It is reported that over 90% of the car has been fabricated, although the original vintage chassis, drivetrain and rear axle have been retained, with an additional conversion to 12 volts. The car is finely detailed with all of the iconic brass features of the original movie car, including a vintage serpent snake horn from an antique Mercedes vehicle. Garofalo also owns the original Broadway Stage Production Chitty Chitty Bang Bang car featured in the U.S. Stage tour, as well as a costume worn by Dick Van Dyke in the film.[23][24]

text: Stage production car[edit]

text: Another version of the car, built for the British stage production of the story, debuted at The London Palladium in 2002. Built at a cost of £750,000, the car is listed in Guinness World Records as the most expensive stage prop ever.[25]

text: In July 2014, Tony Garofalo became the new owner of the US National Broadway Touring Chitty Chitty Bang Bang Prop Car, by a sale release made by Big League Productions of New York City. This prop car is highly detailed and is fully equipped with multiple Stage prop tricks, including computer activated retractable wings and rotating 45 degree tilt tires. The car was originally constructed at The Rolling Stock Company of Sarasota, Florida and hydraulics designed and constructed at PRG of New Windsor, NY, under license by Michael Rose and MGM On Stage.[21]


document_title: Kyle Richards

question_text: who did kyle play in little house on the prairie

text: Kyle Richards

text: Early life[edit]

text: Richards was born on January 11, 1969, in Hollywood.[2][3] She is the daughter of Kathleen Mary Richards (née Dugan; 1938–2002) and Kenneth Edwin Richards (1917-1998).[4][5] The couple separated in 1972 and Kathleen later remarried twice more. Richards' siblings are Kathy Hilton (her older half-sister from her mother's first marriage to Lawrence Avanzino (born 1959) and Kim Richards (born 1964),[6] as well as three paternal half-siblings from her father's first marriage, all of whom were adults by the time Richards was born. Nicky and Paris Hilton are her half-nieces.

text: Acting career[edit]

text: Richards began acting in 1974. She appeared in 18 episodes of the television series Little House on the Prairie as Alicia Sanderson Edwards. Her sister, Kim, was also an actress. In the 1970s, Richards appeared on several television series and in a few horror films, including the cult classic Halloween (1978). In 1980, she appeared opposite Bette Davis and Lynn-Holly Johnson in The Watcher in the Woods. Most of her 1980s roles were minor, and included made-for-television, direct-to-video, or other video work. Subsequent roles included Nurse Dori in 21 episodes of ER (1998–2006) and Lisa, a supporting character in National Lampoon's Pledge This!. She also appeared in The Simple Life and My New BFF.

text: She appears on Bravo's The Real Housewives of Beverly Hills, which also previously featured her sister, Kim Richards.

text: Philanthropy[edit]

text: With her husband, Richards is listed on the "First Families" of the Children's Hospital Los Angeles which means they have donated US$100,000 or more to the hospital.[7] She also held a fundraiser for the CHLA in 2013, which was featured on the Real Housewives.[8][9]

text: Personal life[edit]

text: In 1988, at age 18, Richards married Guraish Aldjufrie from Indonesia while she was pregnant with their daughter Farrah (b. 1988), but they separated in 1990 and divorced two years later.[10][11][12]

text: Richards met second husband Mauricio Umansky, a Los Angeles real estate agent, in 1994. Umansky is of Russian and Greek Jewish descent. He is the son of Estella Sneider. He was born and raised in Mexico. The couple wed on January 20, 1996, when Kyle was 4 months pregnant. Their daughter Alexia was born on June 18, 1996. The couple went on to have two more daughters, Sophia (born 2000) and Portia (born 2008). Richards, who is of English, Irish and Welsh descent, converted to Modern Orthodox Judaism when she married Umansky.[13][14][15] She also attends events at the Kabbalah Centre in Los Angeles.[13]

text: She resides in Bel Air, Los Angeles, with her husband and children.[1][16][17]

text: Filmography[edit]

text: Film and television[edit]

text:
Year
Show
Role
Notes

1974
Police Woman
Julie
1 episode, "The Cradle Robbers"

1975–1982
Little House on the Prairie
Alicia Sanderson Edwards, Samantha (S05E22)
19 episodes

1977
A Circle of Children
Sarah
TV movie

1977
The Car
Debbie

1977
The Father Knows Best Reunion
Ellen
TV movie

1977
Eaten Alive
Angie

1977
Father Knows Best: Home for Christmas
Ellen
TV movie

1978
Halloween
Lindsey Wallace

1978
Walt Disney's Wonderful World of Color
Naomi
1 episode, "The Million Dollar Dixie Deliverence"

1978
Flying High
Katie
1 episode, "The Vanishing Point"

1979
Vega$
Julie Travis
1 episode, "Kill Dan Tanna!"

1979
Fantasy Island
Rebecca
1 episode, "Cornelius and Alfonse/The Choice"

1979
Time Express

1 episode, "Rodeo/Cop"

1979
Carter Country
Gerry
4 episodes

1979
Friendships, Secrets, and Lies
Livia
TV movie

1980
Once Upon a Family
Liz Demerjian
TV movie

1980
The Watcher in the Woods
Ellie Curtis

1980
Beulah Land
Young Sarah
TV mini-series

1981
Concrete Cowboys
Isobel
1 episode

1981
Halloween II
Lindsey Wallace
Unaired footage

1982
This is Kate Bennett...
Jennifer Bennett
TV movie

1982
CHiPs
Jodi
1 episode, "The Spaceman Made Me Do It"

1984–1985
Down to Earth
Elizabeth 'Lissy' Preston
12 episodes

1989
Curfew
Stephanie Davenport
Lead role

1990
Escape
Lydia

1998
Nick Freno: Licensed Teacher

1 episode, "Model Citizen"

1998
Love Boat: The Next Wave
Scheming Woman
1 episode, "Captains Courageous"

1998–2006
ER
Nurse Dori
21 episodes

1999
Beverly Hills, 90210
Anna Murphy
1 episode, "Bobbi Dearest"

1999
City Guys
Kate
1 episode, "Miracle on 134th Street and Lexington Avenue"

2003
7th Heaven
Matt's Patient
1 episode, "Life and Death: Part 1"

2006
Pledge This!
Lisa

2011
Deadly Sibling Rivalry
Tricia

2012
CSI: Crime Scene Investigation
Ms. Young
1 episode, "Play Dead"

2013
Days of Our Lives
Casey McGraw
3 episodes

2014
The Hungover Games
Heather
Parody of The Hunger Games and The Hangover

tag: table

text: As herself[edit]

text:
Year
Show
Notes

2003
The Simple Life
Various episodes

2010–present
The Real Housewives of Beverly Hills
138 episodes

2012
TMZ on TV
1 episode

2013
Stars in Danger
TVs special

2013
Betty White's Off Their Rockers
1 episode

2013
Whose Line Is It Anyway?
1 episode

2014
G.U.Y.
Music Video by Lady Gaga

2015
Girlfriends' Guide to Divorce
1 episode

2017
The New Celebrity Apprentice
Contestant/12th place

text: Memoir[edit]

text: Life Is Not a Reality Show: Keeping It Real with the Housewife Who Does It All (New York, NY: HarperOne), December 27, 2011; ISBN 0062113488; ASIN: B00ANYP1HA.

tag: ul


document_title: G2 phase

question_text: what does g2 do in the cell cycle

question_tokens: what does g2 do in the cell cycle

text: G2 phase

text: Overview[edit]

text: G2 phase is a period of rapid cell growth and protein synthesis during which the cell prepares itself for mitosis. Curiously, G2 phase is not a necessary part of the cell cycle, as some cell types (particularly young Xenopus embryos [1] and some cancers [2]) proceed directly from DNA replication to mitosis. Though much is known about the genetic network which regulates G2 phase and subsequent entry into mitosis, there is still much to be discovered concerning its significance and regulation, particularly in regards to cancer. One hypothesis is that the growth in G2 phase is regulated as a method of cell size control. Fission yeast (Schizosaccharomyces pombe) has been previously shown to employ such a mechanism, via Cdr2-mediated spatial regulation of Wee1 activity.[3] Though Wee1 is a fairly conserved negative regulator of mitotic entry, no general mechanism of cell size control in G2 has yet been elucidated.

text: Biochemically, the end of G2 phase occurs when a threshold level of active cyclin B1/CDK1 complex, also known as Maturation promoting factor (MPF) has been reached.[4] The activity of this complex is tightly regulated during G2. In particular, the G2 checkpoint arrests cells in G2 in response to DNA damage through inhibitory regulation of CDK1.

text: G2/M checkpoint[edit]

text: In vertebrate cells, the G2/M DNA damage checkpoint consists of an arrest of the cell in G2 just before mitotic entry in response to genotoxic stress (such as UV radiation, oxidative stress, DNA intercalating agents, etc.) in both a p53-dependent and p53-independent manner.[5] DNA damage signals cause activation of the transcription factor p53. CDK1 is directly inhibited by three transcriptional targets of p53: p21, Gadd45, and 14-3-3σ. Inactive Cyclin B1/CDK1 is sequestered in the nucleus by p21,[6] while active Cyclin B1/CDK1 complexes are sequestered in the cytoplasm by 14-3-3σ.[5] Gadd45 disrupts the binding of Cyclin B1 and CDK1 through direct interaction with CDK1. P53 also transcriptionally represses CDK1.[5]

text: P53-independent G2 arrest is mainly affected through the actions of Chk1 kinase. DNA damage is sensed by ATM and ATR (Rad3 and Mec1 in yeast), which then signal to Chk1 and Chk2. Chk1 then mediates the degradation of cdc25A, an activator of CDK1.[7] ATR/ATM also activate p53, indicating that these pathways may act synergistically in regulating G2 arrest.[5]

text: Both p53-dependent and p53-independent cell cycle arrest are not specific to G2; these same proteins function upstream in DNA damage checkpoints in G1 and S phase as well. In yeast, which has no p53 homolog, G2 arrest functions through the p53-independent pathway.[5]

text: End of G2/entry into mitosis[edit]

text: Mitotic entry is determined by a threshold level of active cyclin B1/CDK1 complex. In vertebrates, there are five cyclin B isoforms (B1, B2, B3, B4, and B5), but specific role of each of these isoforms in regulating mitotic entry is still unclear. It is known that cyclin B1 can compensate for loss of both cyclin B2 (and vice versa in Drosophila). Cyclin B1/CDK1 activity is regulated both spatially and temporally during G2 phase to ensure proper entry into mitosis.[8]

text: Cyclin B1 transcription begins at the end of S phase after DNA replication. Its promoter contains consensus binding sequences for a number of transcription factors, including p53, p21, Ets, Ap-1, NF-Y, c-Myc, TFE3, and USF.[8] Cyclin B1 accumulates in the cytoplasm throughout G2, where it binds to and activates CDK1's kinase activity. CDK1 activity is modulated primarily through regulation of its inhibitory phosphorylation sites at Thr14 and Tyr15. Wee1 and Myt1 phosphorylate these two residues, with Wee1 acting on the Tyr15 site and Myt1 acting predominantly on the Thr14 site. However, Myt1 has a separate inhibitory effect on CDK1; it can also sequester CDK1 in the cytoplasm via interaction with Myt1's C-terminal domain.[9] CDK1 is dephosphorylated primarily through the actions of Cdc25, which can dephosphorylate both the Thr14 and Tyr15 residues of CDK1.[9] There are three isoforms of Cdc25 (A, B, and C) in mammalian cells, all of which have been shown to have roles in regulation of G2 phase.[8][9]

text: CDK1, in turn, phosphorylates and modulates the activity of Wee1 and the Cdc25 isoforms A and C. Specifically, CDK1 phosphorylation inhibits Wee1 kinase activity,[8] activates Cdc25C phosphatase activity, and stabilizes Cdc25A.[10] Thus, CDK1 forms a positive feedback loop with Cdc25 and a double negative feedback loop with Wee1 (essentially a net positive feedback loop). These loops encode a hysteretic bistable switch in CDK1 activity relative to cyclin B1 levels. It is thought that this hysteretic behavior ensures that cells commit to mitosis even if cyclin B1 levels falter.[4]

text: In mammals, cyclin B1/CDK1 translocation to the nucleus is activated by phosphorylation of five serine sites on cyclin B1's cytoplasmic retention site (CRS): S116, S26, S128, S133, and S147. In Xenopus laevis, cyclin B1 contains four analogous CRS serine phosphorylation sites (S94, S96, S101, and S113) indicating that this mechanism is highly conserved. Nuclear export is also inactivated by phosphorylation of cyclin B1's nuclear export signal (NES).[8] The regulators of these phosphorylation sites are still largely unknown but several factors have been identified, including extracellular signal-regulated kinases (ERKs), PLK1, and CDK1 itself.[8][11] Upon reaching some threshold level of phosphorylation, translocation of cyclin B1/CDK1 to the nucleus is extremely rapid.[12] Once in the nucleus, cyclin B1/CDK1 phosphorylates many targets in preparation for mitosis, including histone H1, nuclear lamins, centrosomal proteins, and microtubule associated proteins (MAPs).[8]

text: Recently, evidence has emerged suggesting a more important role for cyclin A2/CDK complexes in regulating entry into mitosis. Cyclin A2/CDK2 activity begins in early S phase and increases during G2.[13] Cdc25B has been shown to dephosphorylate Tyr15 on CDK2 in early-to-mid G2 in a manner similar to the aforementioned CDK1 mechanism.[14] Downregulation of cyclin A2 in U2OS cells increases Wee1 activity and lowers Plk1 and Cdc25C activity.[15] However, cyclin A2/CDK complexes do not function strictly as activators of cyclin B1/CDK1 in G2, as CDK2 has been shown to be required for activation of the p53-independent G2 checkpoint activity, perhaps through a stabilizing phosphorylation on Cdc6.[16] CDK2-/- cells also have aberrantly high levels of Cdc25A.[16] Cyclin A2/CDK1 has also been shown to mediate proteosomal destruction of Cdc25B.[17] These pathways are often deregulated in cancer.[15]


document_title: Impaired driving in Canada

question_text: when did drinking and driving become illegal in canada

text: Impaired driving in Canada

text: History[edit]

text: One of the first reported criminal cases regarding drinking and driving in Canada was an Alberta decision in 1920 called R. v. Nickle. In that case, the appeal court found that the act of driving while intoxicated was an unlawful act that could support a manslaughter conviction.[1]

text: In 1921, the Parliament of Canada first created a summary conviction offence for drinking and driving, called "driving while intoxicated". At the time, the courts interpreted intoxication to mean substantial inebriation, and more than just being under the influence of alcohol. The minimum penalty for the first offence was seven days in jail. The minimum penalty for the second offence was one month in jail. The minimum penalty for a third offence was three months in jail.[2]

text: In 1925, Parliament amended the Criminal Code to include a new offence of driving while intoxicated by a narcotic. The offences were also amended to include "care or control" of a motor vehicle, not just driving. (See below.)[3]

text: In 1930, Parliament changed the offence to a hybrid offence, giving the Crown the option to proceed with the more serious indictable offence procedure.[4]

text: Difficulties arose regarding how to prove someone was in care or control of a motor vehicle, and what the test should be. In 1947, Parliament amended the Criminal Code again, adding a presumption of care or control when a person was found sitting in the driver's seat of a motor vehicle.[3] This did not answer all of the problems regarding the test (i.e. when a person is not found in the driver's seat of a motor vehicle). Many of the court's answers to those questions remain in conflict today.[4]

text: In 1951, Parliament re-worded the law, making it an offence to operate or have care or control of a motor vehicle while the driver's ability to operate the motor vehicle was impaired by alcohol or other drugs.[4]

text: The breathalyzer was made into a practical police tool by Robert Frank Borkenstein in 1952, which allowed for the police to measure a person's blood alcohol concentration. The first Canadian test of the breathalyzer was in Ontario in 1954. By 1962, police were using the breathalyzer for "mass testing". However, the test was voluntary, and could only be used as confirmatory evidence.[4]

text: In 1969 (fifteen years after the introduction of the breathalyzer into Canada), Parliament created an offence of driving while "over 80" (over 80 milligrams of alcohol per 100 millilitres of blood). In 1976, Parliament made the penalty the same as driving while impaired, created the offence of refusing to provide a breath sample (with the same penalties), and created laws allowing the police to use roadside screening devices.[4] Both offences are now set out in the same section of the Criminal Code, section 253.[5]

text: After 1976, there were additional changes to the minimum penalties, and the introduction of new offences (impaired driving causing bodily harm and impaired driving causing death).

text: By 2008, drinking and driving cases made up 12 per cent of all criminal charges, making it the largest single offence group. In 2008, it was estimated that 53,000 drinking and driving cases are heard every year in Canada. The conviction rate was 73 per cent, which exceeded the rate for all criminal convictions by 13 per cent. Notwithstanding the higher rate of conviction, drinking and driving cases are more likely to go to trial than any other criminal offence, and are often fought on both technical issues and alleged police violations of section 8, section 9, and section 10(b) of the Canadian Charter of Rights and Freedoms.[6]

text: 2008 also saw the most recent amendments by Parliament to the law on drinking and driving. The Tackling Violent Crime Act came into force on July 2, 2008. The changes included adding new evidentiary restrictions on defendants trying to raise "evidence to the contrary" regarding the presumption of a person's blood alcohol concentration, created mandatory standard field sobriety tests that can be requested by a police officer, created additional means to allow police officers to test for the possible presence of drugs in a driver's body, increased the minimum sentences to their current level ($1000 fine for the first offence, 30 days in jail for the second offence, and 120 days in jail for the third offence), and created new offences for "over 80" causing death or bodily harm and refusing to provide a sample where operation caused death or bodily harm.[7]

text: Testing for alcohol and drugs[edit]

text: Approved instrument demands[edit]

text: If a police officer has reasonable grounds that a person has committed an offence under section 253 within the past three hours due to alcohol, they can demand that a person provide suitable breath samples into an approved instrument.[8] The results of those samples may be introduced as evidence at a later trial. If it is later determined that the officer did not have reasonable grounds, then the taking of the breath samples violated the protection against unreasonable searches and seizures under section 8 of the Canadian Charter of Rights and Freedoms and the person can apply to have them excluded as evidence under section 24(2) of the Charter.

text: Police officers can obtain reasonable grounds from observations they make and information they receive, including the results of the other demands listed below.

text: These breath samples are typically taken at a police station by a qualified technician, after a person has been arrested.

text: Blood samples[edit]

text: If a person is unable to give breath samples (usually due to injuries suffered from a traffic collision), a police officer can make a demand for blood samples, under the direction of a medical doctor, and performed by the same doctor or a nurse.[8]

text: Approved screening device demands[edit]

text: If a police officer has a reasonable suspicion that a person has alcohol in his or her body, and that he or she has been operating or has had care or control of a vehicle within the past three hours, the police officer can demand that person provide a suitable sample into an approved screening device.[8] These devices are usually calibrated to display fail if a person has a BAC above 0.1 percent, warn or caution if a person has a BAC between 0.05 and 0.1 percent, and a numerical value if the person has a BAC below 0.05 percent.

text: These breath samples are typically taken at the roadside by an investigating police officer. Typical observations supporting a reasonable suspicion is if a driver has an odour of an alcoholic beverage on their breath, or if they admit they had a drink.

text: Field sobriety tests[edit]

text: If a police officer has a reasonable suspicion that a person has alcohol or drugs in their body, and that they have been operating or have had care or control of a vehicle within the past three hours, they can demand that that person perform physical coordination tests, in order to allow the officer to determine whether to make an approved instrument demand, a blood demand, or a drug evaluation demand.[8]

text: Drug evaluations[edit]

text: If a police officer has reasonable grounds that a person has committed an offence under section 253 within the past three hours due to drugs or a combination of drugs and alcohol, they can demand that the person submit to an evaluation by an evaluating officer to determine if the person is impaired by drugs or a combination of drugs and alcohol.[8] If the evaluating officer has reasonable grounds that the person is impaired by alcohol, they can make an approved instrument demand.[8] If the evaluating officer has reasonable grounds that the person is impaired by drugs or a combination of drugs and alcohol, they can make a demand for blood or urine samples.[8] Fatigue toxins and effects due to illness have been held to be drugs for the purposes of the statute.[citation needed]

text: Refusing to comply[edit]

text: If any of the above demands are lawfully made, it is a criminal offence to fail or refuse to comply with them, unless the person can show they had a reasonable excuse.[8] The penalties are identical with the penalties for other drinking and driving offences.

text: Proving blood alcohol concentration[edit]

text: When a person gives a breath sample into an approved instrument by a qualified technician, a determination still needs to be made of what the person's BAC was at the time of the offence. That requires evidence of two things:

text:
The person's BAC at the time of giving the breath samples, and
Based on the person's BAC at the time of giving the breath samples, the person's BAC at the time of the offence.

text: Presumption of accuracy[edit]

text: To work out the person's BAC at the time of giving the breath samples, the prosecutor can rely on a Certificate of a Qualified Technician, which states what the results were of the analysis of the breath samples, and is evidence of its contents.[9] This is commonly referred to as the presumption of accuracy. It is still open for the defence to call evidence showing why the results are not accurate, leaving it for the court to weigh the evidence.

text: If there is no Certificate, or the Certificate is flawed, the prosecutor can always call the qualified technician to give evidence about the accuracy of the results. The prosecutor may still call the qualified technician if there is a Certificate in order to counter the defence's evidence.

text: Typically, the Certificate will round the BAC results down to a hundredth of a percentage (e.g. 0.116 percent is truncated to 0.11 percent).

text: Presumption of identity[edit]

text: To work out the person's BAC at the time of the offence, the prosecutor generally needs to show the following:

text:
The breath samples were taken as soon as practicable,
The first breath sample was taken within two hours of the offence, and
A second breath sample was taken 15 minutes or more after the first sample.

text: If the three criteria are met, then the lower of the two results is presumed to be the person's BAC at the time of the offence.[9] This is commonly referred to as the presumption of identity.

text: The presumption can be rebutted two ways, depending on whether the defence is challenging the accuracy of the results. If defence is challenging the accuracy of the results, they need call evidence that shows:

text:
the approved instrument was malfunctioning or not being operated properly,
the malfunction or improper operation resulted in a reading of a BAC in excess of 0.08 percent, and
the person's BAC would not have been in excess of 0.08 at the time of the offence.

text: The last criteria is typically met by calling reliable evidence of how much the person had to drink prior to the offence, and expert evidence of what their BAC would have been at the time of the offence as a result of the drinking evidence.

text: If defence is not challenging the accuracy of the results, they only need to call evidence on the last criteria, and have the expert give evidence why it would not be inconsistent with the breath sample readings.[9] (This is typically called the bolus drinking scenario.)

text: If the prosecutor is unable to rely on the presumption of identity (usually because the first reading was taken outside of the two hours), they can still "read-back" the readings by calling their own expert evidence.

text: Sentencing[edit]

text: A person convicted for any drinking and driving offence (which includes a refuse to comply offence) faces an automatic Canada-wide driving prohibition, and either a fine or jail sentence and the possibility of probation.

text: The minimum sentences are:[10][11]

text:
For a first offence, a $1000 fine and a 12-month driving prohibition,
For a second offence, 30 days of jail and a 24-month driving prohibition, and
For a third or subsequent offence, 120 days of jail and a 36-month driving prohibition.

text: Drinking and driving offences are prior offences for refuse to comply offences, and vice versa.[10]

text: If no one is hurt or killed, and the prosecutor is proceeding by summary conviction, the maximum sentence is 18 months of jail. If no one is hurt or killed, and the prosecutor is proceeding by indictment, the maximum sentence is 5 years of jail.[10]

text: If another person suffers bodily harm because of the offence, the maximum sentence is 10 years in jail.[10]

text: If another person is killed because of the offence, the maximum sentence is a life sentence.[10]

text: If a person is convicted of both impaired operation/care or control and operation/care or control with a BAC in excess of 0.08 percent, the defendant can only be sentenced for one of the offences (the prosecutor chooses which one).[12] The same does not apply if a person is also convicted of a refuse to comply offence.

text: A province is allowed to set up special ignition interlock device programs specifically to limit criminal driving prohibitions. Not all provinces have such specific programs, but if they do, and a person is enrolled in one, then they can drive during their prohibition period with an interlock device, beginning as follows:

text:
For a first offence, 3 months after the day of sentence,
For a second offence, 6 months after the day of sentence, and
For a third offence or subsequent offence, 12 months after the day of sentence.

text: Driving otherwise while on a driving prohibition is a criminal offence.

text: Driving Prohibitions vs. Suspensions[edit]

text: Canada is a federal state, and responsibility for road safety with respect to drunk driving falls on both Parliament and the provincial legislatures. Typically after an impaired driving offence is committed, the accused will be subject to both a prohibition imposed under federal law (criminal law) and a driver's licence suspension under provincial law. It is important to note that while Parliament may prohibit an accused from driving, in the absence of provincial legislation, this does not affect the validity of the driver's licence of the accused. Nonetheless the accused may be charged with driving while prohibited under criminal law despite possessing a valid driver's licence.

text: Often the provincial suspensions are more severe than the criminal prohibition. For instance many jurisdictions require the accused to complete a remedial program and participate in the ignition interlock program, failing which will result in an indefinite suspension until the conditions are met. Also an accused may be suspended from driving for medical reasons if a physician reports that the accused has a serious alcohol problem likely to result in an unacceptable risk to the public should the accused operate a motor vehicle.

text: The Criminal Code provides that an accused may be prosecuted for either driving while prohibited or driving while disqualified. The former refers to driving in contravention of a criminal court order of prohibition while the latter refers to driving while suspended under provincial legislation relating to a suspension for an impaired driving offence.

text: Administrative driver's licence suspensions[edit]

text: Administrative licence suspensions are separate from the driving prohibitions that are ordered as part of a criminal sentence. While drinking and driving are criminal offences, which is the jurisdiction of the Canadian Parliament, the provinces have jurisdiction to regulate their roads and highways (see Canadian federalism). Therefore, the provinces have the ability to administratively suspend a person's driver's licence separately from any criminal proceedings.

text: Licence suspensions can occur in three ways: 1) having a high BAC, but not enough to commit a criminal offence, 2) a police officer having reasonable grounds that a drinking and driving offence has occurred, and 3) being found guilty of a drinking and driving offence. Driving with a suspended licence can result in being charged with either criminal or provincial offences.

text: High blood alcohol concentration[edit]

text: When a person blows into an approved screening device, they might not register a BAC high enough for a fail, but they will still register a significantly high BAC. The provinces deal with that situation in different ways. There may also be different type of suspensions for novice drivers who are not allowed any BAC above zero.

text:
Alberta - Length: 24 hours; Reason: a police officer reasonably suspects the person's ability to operate a vehicle is impaired by alcohol or drug, but does not charge them with a criminal offence. While the 24 hour suspension remains on the books, drivers may also receive a 3-day non-criminal suspension and other penalties should their blood alcohol concentration test 0.05 or over (warning), but not above the criminal 0.08 (failure). New drivers will receive a 30-day non-criminal suspension for a blood alcohol concentration of greater than zero. [13] [14]
British Columbia - Length: 12 hours; Reason: BAC over zero when a licence restriction is in place.[15] Length: 3–30 days depending on prior offences; Reason: BAC over 0.05 percent.[16]
Manitoba, New Brunswick, Nova Scotia - Length: 24 hours; Reason: BAC over 0.05 percent.[17][18][19]
Newfoundland and Labrador - Length: 24 hours for the first and second suspension, 2 months for the third suspension, 4 months for the fourth suspension, 6 months for the fifth or subsequent suspension; Reason: BAC over 0.05 percent.[20]
Ontario - Length: 3 days for the first suspension, 7 days for the second suspension, 30 days for the third or subsequent suspension; Reason: BAC over 0.05 percent.[21]
Prince Edward Island - Length: 24 hours for the first suspension, 30 days for a second suspension within 2 years, 90 days for the third suspension within 2 years; Reason: BAC over 0.05 percent.[22]
Quebec does not suspend a person's licence if their BAC is below 0.08 percent (except for novice drivers).
Saskatchewan - Length: 24 hours for the first suspension, 24 hours & 15 days for the second suspension, 24 hours & 90 days for the third or subsequent suspension; Reason: BAC over 0.04 percent.[23]
Northwest Territories and Nunavut - Length: 24 hours for the first suspension, 30 days for a subsequent suspension; Reason: BAC over 0.05 percent.[24]
Yukon - Length: 24 hours; Reason: a police officer has reasonable grounds the driver is impaired.[25]

text: Committing an offence[edit]

text: If an officer has reasonable grounds to believe a person has committed a drinking and driving offence, besides being allowed to arrest the person, the provinces will suspend the person's driver's licence for a period of time. The same suspensions apply if the person refuses to comply with a breath demand.

text:
Alberta - 90 days generally; 6 months if bodily harm or death is caused.[26]
British Columbia, Manitoba, New Brunswick, Newfoundland and Labrador, Nova Scotia, Ontario, Prince Edward Island, Quebec, Saskatchewan, Northwest Territories, Nunavut, Yukon - 90 days.[27][28][29][30][31][32][33][34][35][36][37]

text: Found guilty of an offence[edit]

text: Provinces will suspend a person's driver's licence for a lengthy period of time if they have been found guilty of a drinking and driving offence, and will usually require various types of programs to be completed before or after a licence is reinstated. When programs are required to be completed, the driver is also required to pay the cost.

text:
Alberta - 1 year for the first offence, 3 years for a second offence, 5 years for the third or subsequent offence.[38] A rehabilitative course may be required.[39]
British Columbia - 1 year for the first offence, 3 years for the second offence, indefinitely for the third or subsequent offence. A rehabilitative program, which may include an interlock device program, must be completed.[40]
Manitoba - 1 year for the first offence (2 years for refusing to comply and no other offences), 5 years for the second offence (7 years for refusing to comply and no other offences), 10 years for the third offence, life for the fourth or subsequent offence; If the offence was committed while there was a passenger in the car 16 years old or younger, or caused death or bodily harm, 5 years for the first offence, 10 years for the second offence, life for the third or subsequent offence. If it is a subsequent offence, or if it had a passenger in the car 16 years old or younger, or death or bodily harm was caused, an interlock device will be required.[41]
New Brunswick - 1 year. A drinking driving course is required.[42]
Newfoundland and Labrador - 1 year for the first offence, 3 years for the second offence, 5 years for the third offence, life for the fourth or subsequent offence; 10 years if bodily harm or death was caused. Rehabilitative programs, interlock programs, and alcohol/drug screenings may be required.[43]
Nova Scotia - 1 year for the first offence, 3 years for the second offence, indefinitely for the third or subsequent offence. For the second and subsequent offences, a driver must have an interview with Drug Dependency Services.[44]
Ontario - 1 year for the first offence, 3 years for the second offence, and indefinitely for the third or subsequent offence. They may have to complete a remedial program before have their licence re-issued. The driver will need to have an interlock device for a prescribed period of time.[45]
Prince Edward Island - 1 year for the first offence, 3 years for the second offence, 5 years for the third or subsequent offence. A rehabilitation program may be required.[46]
Quebec - 1 year for the first offence, 3 years for the second offence, 5 years for the third or subsequent offence. If the licence suspension is longer than the driving prohibition, a driver may be able to drive after the prohibition is completed with an interlock device. A rehabilitative course is required.[47]
Saskatchewan - 1 for the first offence, 3 years for the second offence, 5 years for the third or subsequent offence.[48]
Northwest Territories and Nunavut - 1 year for the first offence, 3 years for the second offence, 5 years for the third offence, indefinite for the fourth or subsequent offence. If death is caused, the period is indefinite. A number of rehabilitative programs may be required.[49]
Yukon - 1 year for the first offence, 3 years for the second offence, indefinitely for the third or subsequent offence.[50]