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  1. But the Prequels scores are great...!
  2. "Hey orchestra, I didn't bother to write stuff down this time, I thought we should just close the saga with a collective improvisation. We now go through the movie, and you guys just improvise whatever you want on Rey's theme when you see Rey on the screen, and on any other leitmotiv when you don't see her. We record in one take, and then Bill will transcribe by ear the final result just to have a written document".
  3. Hi! It's a nice job, but I would suggest you to focus a bit more on the proof-reading stage: JW's music is very detailed and it's worth to get everything right. For example, looking at your reduction of Yoda's Theme, I've noticed the following: - bar 8, Celli: the third note is D, not D#; - bar 13: the harmony is E minor, not Am7(9), check the high strings; - bar 19, low strings: I think you mixed up alto clef (Viola) and bass clef (Celli) notation in the upper voice of that staff; - bar 25, low strings: there should be F, not F#; - bars 33-34: a prominent Horn line is missing from the reduction; - bar 39: the highest note of the last chord in the fourth staff (bass clef) is D, not E; - bars 51 and 53, high strings: the middle note of the 2nd, 4th, 6th, and 8th chords is G, not A (so the chord is C major, without 6th); - bar 56, high strings: the middle note of the 3rd chord is C#, not D; - bar 60, high strings: the 6th and 7th chords are incorrect. This list is based on a first-reading impression, so there could be more things needing to be corrected. It's just to show that it is important to be very careful when typesetting scores!
  4. Score

    Harry Potter - Live to Projection Concerts

    Did they do it? https://www.youtube.com/watch?v=1gIZYO_goXI (It's a shame that the LLL set did not include this splendid... "alternate" version! )
  5. But this is very far from being journalism. If a real journalist receives some important inside news about, say, the government actions, and he publishes them because it's an issue of general concern and interest, and by doing this he forces the government to give an official statement about that issue, then of course anonymous sources are useful. The thing we are talking about here, is nothing more than gossip about a person who should have the right to decide what to say publicly about his future plans, and when. The government's action should have no privacy (in principle) and answers should always be given to people who have elected them, while a person's privacy should always be guaranteed. There is a huge difference.
  6. I didn't mean that they stole it from another site. I meant that I find it extremely incorrect that they have put this news online in that way. They replied to Lehman's request for the source of their information by saying that they cannot reveal it. So, either their source was not supposed to pass this personal information around (otherwise it would be official and there would be no need to hide the source), or they made it up. In both cases, what HPANA did is wrong (and, in my opinion, childish), even if it eventually turns out that JW will indeed retire next year. In any case, I would trust information like this only when they come from official and verifiable sources, like JW himself or his agents. The man does not need to reveal his future plans in exclusive to HPANA.
  7. My first internet rule is that unofficial, unconfirmed, and unverifiable news should not be re-tweeted and, in general, should not be taken seriously. This HPANA that posted that rumor has shown a significant disrespect towards the man, and we should not feed this behavior.
  8. Ah, I see (and hear). I thought you were mostly referring to the fact that there were extra-bars. Indeed, the abrupt tempo change is very strange.
  9. Indeed, as you say, it's just the first two measures with many of the instruments removed. We cannot know the reasons for these changes with certainty, but there are several possibilities: - maybe JW decided at the sessions that he wanted a faster tempo with respect to what he had thought when he was composing the cue, so he needed to add a couple of measures to fit the whole scene; - maybe he and the director decided that the music should start a few seconds earlier than planned earlier, so he had to fill those extra seconds with some neutral music; - maybe the scene was slightly changed and this affected the duration of the music; - maybe those extra measures helped in getting some synchro points right; - ... Small edits like this one happen quite often. Also in Azkaban, for example, but also in many other scores, such as Star Wars. Another example: in the track "Harry is a Parselmouth" (= 5M2 Harry on the Mountain) from COS, bar 12 is slowed down at half tempo (musically speaking, I find this choice awful), then some of the last bars are edited out.
  10. Limiting myself to one track per score, I'd say: Stored Memories (from A.I.) The Face of Voldemort (from HP1) Finale (from AOTC) The Dementors Converge (from HP3) Jazz Autographs (from The Terminal)
  11. I agree sooo much! A wonderful piece of pure tension! And the details... Despite the apparently repetitive character of the piece (and the almost complete absence of "lyrical" themes), there is so much stuff going on in every bar... But my favourite part is the beginning (first couple of minutes). When you watch the movie, at that point you really get the expectation that something outstanding is going to happen.
  12. I agree with Ludwig that, stylistically, that passage is much more related to avant-garde writing than jazz. Maybe you get that feeling from the prominent "brass band", but harmonically it's definitely not jazz, in my opinion. I agree that it's really a passage to marvel at, and it's easily one of my favourite entries in JW's collection of avant-garde pieces. But all the dementor stuff in Azkaban is exceptional, as well as the whole Knight Bus ride sequence. It's the kind of stuff that showcases JW's exceptional aural imagination.
  13. I've not had enough time to listen to the whole set yet (too many things to do at work before Christmas), but for now I'll say that the whole Azkaban is spectacular. And I'm referring to both the material itself and the presentation. I already had a high opinion about that score, but this new presentation really allows to appreciate so many details... I much prefer it with respect to the OST. I also found all the "editorial choices" (i.e., which cues should be put together in a single track) totally spot-on. For example, I loved stuff like the "Boggarts" sequence, where 5 or 6 separate small cues (almost insignificant if taken on their own) were combined into a very nice single piece. I cannot wait to dig into the rest!
  14. The score of the harp arrangement of Hedwig's theme is published by Hal Leonard, together with the solo harp version of Fluffy's Harp. See here, for example: https://www.sheetmusicplus.com/title/two-themes-from-harry-potter-and-the-sorcerer-s-stone-sheet-music/4005334 I don't have this score, but there is an image of the first page of the Hedwig's theme cue, and it matches the recording perfectly. So, I guess it's a nice small cue that was probably written according to the same logic that motivated the Children's Suite. To summarize: the score I linked should contain the Hedwig's theme arrangement and the film cue (probably in the original form, but I don't have the score to check, maybe someone else can confirm), while the piece in the Children's Suite is like the film cue, but with the added bassoon.
  15. Correct. Immediately before that, he also said something like "he opened to the wide public and audience the music of the 20th century", and that he (Desplat) finds it fantastic. A very nice comment.
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