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Harry Potter 7CD Collection - MUSIC discussion

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On 1/22/2019 at 6:59 AM, Incanus said:

All I hear are variations on the Chamber theme and its arpeggio accompaniment figure but I guess there is that small section which repeats in all three examples.

I concur, I believe it's a variation of the Chamber theme too.

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9 hours ago, Docteur Qui said:

I’m with you @King Mark, it just isn’t centred on anything memorable or tangible to me. It’s fascinating to hear of course, especially small gestures that are clearly linked to the eventual Past theme, but it’s a very different effect to the revised cue.

Agreed. This original draft actually sounds like Williams' hadn't yet honed in on the eventual Window to the Past theme melody. While a beautiful little piece in its own right, it certainly doesn't have the emotional melodic directness of the final version.

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I'm not at all disappointed that that early RM was not recorded, it's a curiosity with not much musical value IMO.

 

Theory why the Harry Gets His Wand motif reappears early in The Quidditch Match: Williams confused Ollivander and Oliver Wood.

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3 minutes ago, bollemanneke said:

What's the final part of The Wizards' Consort, do we think? An alternate for the shawm music? A piece meant to be playing in Hogsmeade?

Um... that's some sort of fiddle partly playing Winter's Spell. The middle and final parts of Consort are the two Three Broomsticks sources. The shawm cue accompanies an actual shawm being played onscreen in the background.

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3 hours ago, Holko said:

Um... that's some sort of fiddle partly playing Winter's Spell. The middle and final parts of Consort are the two Three Broomsticks sources. The shawm cue accompanies an actual shawm being played onscreen in the background.

 

I can't place that final source piece in the movie to be honest. I don't hear it anywhere in the mix. The first and second pieces are very clearly audible though (the fiddle piece when Harry arrives at the Leaky Cauldron, the flute piece as Harry sneaks into the Three Broomsticks). I've just assumed the last piece was intended for the Pettigrew/Sirius discussion that Harry eavesdrops on upstairs at the Three Broomsticks (buried deep in the mix, of course).

 

And yes, the shawm piece is the second source Williams wrote for the Leaky Cauldron but remains unreleased.

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Hello. Can anyone help me? I know the first five discs of this set are in chronological order. But is the "Prisoner of Azkaban" set similarly ordered? I ask because of the presence of some tracks relegated to the "Additional Music" section of Disc 7. If these tracks should be placed in the body of the score proper, could anyone help me with a playlist that more reflects their position in the actual score? If indeed this is the case. Cheers Raymond 

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The only additional score cues in the bonus track section of Azkaban are the two 10 second cues that open "Aunt Margie's Waltz (Alternate)", everything else is alternates (or source music) 

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My thinking with that is: Something Wicked Intro is very similar in structure and feel to the Train to Hogwartses, but without "spoiling" the Double Trouble theme before the choir introduces it. I actually quite like it on album even if I reproduced that chronology for my phone. My bigger problem is the alternate Train to Hogwarts after Double Trouble March, which is just crying out to lead into Rainy Nights.

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I understand the logic of having the Double Trouble material together, but it just bugs me that it's not chronological. Is there a case in the other two scores of there being material out of chronological order for the sake of including alternates?

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No, but Azkaban is the only one with a ton of short, fragmented cues and alternates usually different enough that nobody would recognise them if Jay hadn't told us.

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3 hours ago, Holko said:

My thinking with that is: Something Wicked Intro is very similar in structure and feel to the Train to Hogwartses, but without "spoiling" the Double Trouble theme before the choir introduces it. I actually quite like it on album even if I reproduced that chronology for my phone. My bigger problem is the alternate Train to Hogwarts after Double Trouble March, which is just crying out to lead into Rainy Nights.

I couldn't agree more.

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20 minutes ago, Richard Penna said:

Why are people getting so worked up about the ordering of tracks on the album? Just move stuff once you've ripped.

 

Quite honestly MM could've ordered the tracks alphabetically and I couldn't care less. We have the music.

Because some people want to listen to the 100$ worth of CDs they bought in a player instead of purely treating them as no more than a session leak you just reedit once?

 

But for those cues around the Hogwarts arrival, I found we do actually have clean enough openings and endings, as long as one doesn't care whether a fadeout on a held note is 5 or 3 seconds long.

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To be honest, it doesn't really bother me that much, and I didn't realize my bringing it up would cause a stir!

 

I'm just happy to have it all there after all this time, and @Holko is right, they are open to edits with mostly clean openings and endings.

 

I guess PoA was just more revealing to me than I had once thought, I wasn't aware it was fragmented in a strange way.

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2 hours ago, Kühni said:

Reading through the notes for SS, it shows that recording dates and venues in London for this and Fellowship of the Ring overlapped. I wonder if Williams and Shore ever, y'know, crossed paths in the Mens' Room?

 

I've always considered this section of PS uncannily similar to Shore's writing in a memorable cue from FOTR. When I heard the two scores were actually recorded at the same time at the same venue, I had a raised eyebrow! I don't think I've heard Williams write for brass like this in any other score.

 

 

 

In any case, I'd be surprised if Shore hadn't at least invited Williams to visit one of the LOTR recording sessions.

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Finally listening to Prizoner of Askaban. 

 

I've always considered it one of my favorite Williams scores, and there's a lot of good new stuff, particularly in the back half of the movie. 

 

The C&C presentation, for me, doesn't do it a lot of favors - especially early on.  The first quarter of the score is so repetitive with all of the Double Trouble variations.  Kind of grated on me a little bit.  I also vastly prefer the OST version of Knight Bus, which doesn't lose its madcap momentum quite as much.

 

I'm happy for the new music, but the OST will be my likely go-to program for this one.  Same with CoS.  Philosoror's Stone, I might listen to in the expanded form, or at least in some non-OST form.  The OST for that has always been a bit repetitive for me, and the "new" highlights from that one allow it to breathe pretty well. 

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