Jump to content

LLL Potter Whittling & Editing Guide

Recommended Posts

Hey Folks,


here insert all your best ideas how to


- connect cues (not necessarily chronological!)

- whittle down redundancies or tracked material

- intelligently create cues/suites out of material that isn't ideally presented as written for the film


This is to build 'albums' out of all three Williams Potters that cut out incidental music, repetitions or too short to create much of an impression. I just received the box this week so i only have some base ideas and especially for Azkaban, ideas how to connect the many short cues are needed.


Harry Potter and the Philosopher's Stone (example)


03. Don't Burn My Letter (first 0:55) cuts directly into 06. You're A Wizard, Harry (cut this at 02:32), join tail end with 03. Don't Burn My Letter (last 01:11) overlay harp flourish. A neat 'Letters from Hogwarts' cue that introduces/expands Nimbus/Wizardring Wold/Hogwarts material


Harry Potter And The Chamber of Secrets (example)


36. Car Drives Off, It's A Basilisk overlay with 56. Car Drives Off (Alternate Segment) at precisely 02:04. It's not perfect but creates a bit of a travelogue feel at the end and is the only way i found to put this short alternate to use


Harry Potter and the Prisoner of Azkaban  (example)


24 Buckbeak's Fate and The Marauder's Map > crossfade at 02:33 with latter half of 25 About Pettigrew / The Crystal Ball from 01:55...the first 01.55 of this cue meander and are not terribly interesting


31. Confrontation In The Shrieking Shack cut at roughly 02:13, overlay with complete Chasing Scabbers at this point, lose rest, not interesting musically either.

@Jay can u move this to the other area please?

Share this post

Link to post
Share on other sites

This was more a fun effort than serious, and is severely overedited at times, but I had a blast!

On 7/13/2018 at 9:33 PM, Holko said:

The alternate Chamber of Secrets OST. @Smeltington sparked an idea back in February of a presentation which focuses more on the new material, so I thought it would be fun to try and assemble one that's a pleasant listening experience. 6 hours of mind-racing, 8 hours of sleep and a whopping 3 hours of actual work later, I already had the finished 79 minutes through 18 tracks, and I had a blast! I deliberately moved out of my comfort zone to create a non-chronological presentation (which I succeeded in, for the first half at least), and it was surprisingly liberating and refreshing. Focusing on new material meant throwing out cues from the word "go" (bye, Aragog and Flying Pixies!), removing sections of old material from otherwise fine cues, or isolating little stretches of goodness and finding a way of inserting them elsewhere. Thankfully I did this bleeding craziness last year, that helped speed up my work enormously. There may be some wonky edit there - some come from the concept itself, some from necessity and some I didn't bother much to clean up - this is only temporary form the 128kbps session leak, anyway, I'll redo it better when I'll have the Matessino'd edition in lossless.




I will heavily appreciate literally ANY feedback!


Track-by-track description: (I recommend not reading it at first, just trying it blindly as a listening experience, I also placed a number of intentional surprises in the tracks)

  Reveal hidden contents



Possibly my favourite thing I've done in it is the transition from Hermione and Hagrid to Letters From Hogwarts, tracks 4 and 5.

Share this post

Link to post
Share on other sites

When I will have got the set, I will probably make 90 minute albums for my friends, while I myself will mostly listen to the C&C. I will share what I will have come uo with.


By the way, if somebody is interested in a perfectly flowing Masada film recording listening experience, tell me.

Share this post

Link to post
Share on other sites
3 hours ago, Holko said:

This was more a fun effort than serious, and is severely overedited at times, but I had a blast!


Possibly my favourite thing I've done in it is the transition from Hermione and Hagrid to Letters From Hogwarts, tracks 4 and 5.


Nice. Your edits are good, but you tend to include too much irrelevant stuff for my tastes...😎 Which results in transitions that are too obvious (The Flying Car) and probably don't help the flow of the music. Will check the other stuff later for sure.


Just found a great way to join the great second Patronus alternate into 'Summoning the Patronus' cues from POA. Will post results tomorrow. It sure is fun!

Share this post

Link to post
Share on other sites

@Holko What did you combine for 'Hermione's Solution'? 


Off-hand i just did some short things for COS. Simply combining the first half of 'Dumbledore and Harry' with 'Dobby is Free' (shortened, but still too long)



The shorter spiders cue i joined with the second half of 'Meeting Aragog' (repeated material from Part One anyway)



The alternate 'Car Drives Off' tacked on 'It's a Basilisk'



Share this post

Link to post
Share on other sites

Petrified Hermione, It's a Basilisk, Ginny gets Snatched, I can't even tell where I joined the last two and cut out the running section. Mind, these were still created from the sessions and might utilise clean openings and ends not present on the LLL, like the naughty Basilisk one.

Share this post

Link to post
Share on other sites

OK Holko, try your at at this:





It's the Summoning The Patronus cue but with the second 45 second alternate of Patronus Power intermixed at 02:18. Sounds not perfeclty natural but maybe you find a better synch point.

Share this post

Link to post
Share on other sites

2 more i quite like.


Combining 24. Buckbeak’s Fate with 25. The Crystal Ball 3:22


Combining  6. Apparition on the Train [Film Version] with 22. The Dementors Circle 


Share this post

Link to post
Share on other sites

I have created a 82 min program for my friends to listen to that represents the subtle aspect of the score better than the OST:


  1. Sir Cadogan 2:48 (LLL D6T10 "The Courtyard and Sir Cadogan" + LLL D6T11 "The Hippogriff Lesson")
  2. Aunt Marge's Waltz 2:18 (LLL D6T2 "Aunt Marge's Waltz")
  3. The Knight Bus 2:43 (LLL D7T14 "The Knight Bus (Alternate)" [1:15-end]) 
  4. The Dementor 3:15 (2m2A "Discussing Black" + LLL D6T6 "Apparition on the Train (Film Version)")
  5. Double Trouble 1:37 (LLL D6T7 "Double Trouble")
  6. Trouble Takes Many Forms 2:15 (LLL D6T8 "Trouble Takes Many Forms" [0:00-1:30] + LLL D7T22 "The Dementors Circle")
  7. Buckbeak's Flight 2:11 (LLL D6T13 "Buckbeak's Flight")
  8. Boggarts and Scabbers 4:14 (2m1 "The Book Attacks" + 3m6A "The Spider" + 3m6 "Snape Dresses Up" [edited] + 3m6B "The Snake" + 3m7A "Clown Out of the Cupboard" [with 3m7x "New Beginning"] + LLL D6T29 "Chasing Scabbers")
  9. The Portrait Gallery 2:07 (LLL D6T17 "The Portrait Gallery")
  10. He Was Their Friend 4:30 (LLL D6T22 "The Three Broomsticks" + 7m9 "Lupin’s Departure")
  11. Remembering Mother 3:32 (LLL D6T16 "On the Bridge - Remembering Mother" + LLL D6T32 "Sirius and Harry")
  12. Quidditch, Third Year 3:53 (LLL D7T17 "Quidditch, Third Year")
  13. Peter Pettigrew 3:28 (LLL D7T9 "The Wizards' Consort" [second source cue only] + 5m2A "Reveal Your Secret" + 5m2 "Reading the Map")
  14. Secrets of the Castle 3:09 (LLL D6T18 "The Big Doors and The Great Hall Ceiling" + LLL D6T9 "Rainy Nights, Dementors and Birds")
  15. Bird's Flight 4:07 (LLL D6T20 "A Walk in the Woods and Bird's Flight" + LLL D7T5 "The Rescue of Sirius"
  16. The Crystal Ball 3:11 (5m1 "Buckbeak’s Sentence" + 5m3 "The Mention of Pettigrew" [edited] + 5m5 "The Crystal Ball" [edited])
  17. The Sentence 2:42 (LLL D6T28 "The Sentence")
  18. Confrontation in the Shrieking Shack 3:53 (3m5B "Kids Inspect Newspaper" + LLL D6T31 "Confrontation in the Shrieking Shack" [3:09-end])
  19. The Werewolf Scene 4:29 (LLL D6T33 "The Werewolf Scene")
  20. The Dementors Converge 3:09 (LLL D7T1 "The Dementors Converge")
  21. Saving Buckbeak 4:25 (LLL D7T19 "Saving Buckbeak (Alternate Segment)")
  22. Lupin's Transformation 3:26 (LLL D7T20 "Lupin's Transformation (Alternate)" + LLL D6T30 "The Whomping Willow")
  23. The Patronus Light 2:58 (LLL D7T4 "Buckbeak Saves the Day / Watching the Past" [0:00-1:45] + LLL D7T23 "The Patronus Light")
  24. Finale and End Credits 8:38 (7m6 "Sirius Final Scene" + LLL D7T8 "The Firebolt and End Credits Suite" [0:11-end])


In the brackets you can see what the individual tracks consist of. I indicated them with the LLL titles, as long as they weren't considerably edited or when the LLL tracks were mostly left intact. Otherwise I used the titles of the cue sheet.

Share this post

Link to post
Share on other sites

Did anyone happen to recreate the "Harry's Wondrous World" edit from the first OST based on the La-La Land release?

At the moment, the Children's Suite version is identical to the Chamber of Secrets version and I'd like to swap one out with a slightly different version.


On 12/27/2018 at 12:20 PM, King Mark said:

The only thing I'd like to include somewhere in the main score is Patronus Power

I'd also be curious to know if someone knows a sensible spot to add that one into the main program.

Share this post

Link to post
Share on other sites
On 2/2/2019 at 6:07 PM, Pieter_Boelen said:

Did anyone happen to recreate the "Harry's Wondrous World" edit from the first OST based on the La-La Land release?


What would be the point?  It's 100% identical except 2 bars are just sliced out, like 5 seconds of music.  It's barely any different

Share this post

Link to post
Share on other sites
On 2/4/2019 at 3:48 PM, Jay said:


What would be the point?  It's 100% identical except 2 bars are just sliced out, like 5 seconds of music.  It's barely any different

Only very little point, I admit. The main reason is to make it NOT 100% identical. :unsure:

Share this post

Link to post
Share on other sites

Entering the Diary.WAV

I recreated the music from the scene, when Harry enters the diary in the second movie. The priority was to keep the musical flow as well as preventing blatant crossfades and not to match the editing points precisely as heard in the movie, so it doesn't perfectly sync up with the scene.

Share this post

Link to post
Share on other sites

It's really impressive how the assembly and the arrangement of an album can affect the overall tone of the score. I created a massive listening experience for the first two scores, reduced to a manageable amount of music. The Philosopher's Stone got reduced to 120 minutes (with the Children's Suite integrated) and The Chamber of Secrets has now a running time of 80 minutes. Both scores, especially the first one, differ from the C&C and the OST variant, regarding the tone, the focus, the pace and the dramaturgy.


The Philosopher's Stone

1.      The Prologue 4:32

2.      Nimbus 2000

3.      Letters from Hogwarts 1:42

Track 1-3 are basically the introduction of the two main themes. After that I moved on pretty quickly to the much more colourful music of the wizard world. The first part of the score actually drags a bit and is very repetitive, so I skipped a lot of it.

4.      Gringotts Vault 4:50

Track 4 introduces the Diagon Alley Theme and the Three-Note-Loop.

5.      Platform Nine and Three Quarters 2:41

6.      Entry into the Great Hall 2:01

7.      Journey to Hogwarts 2:08

8.      The Banquet 3:43

Track 5-8 describe the whole process of the journey from London to the dormitory of Hogwarts. Each track underscores a further step of that journey and presents new motifs and various brassy fanfares seem to be ever-present.

9.      House Selection 3:15

10.  Diagon Alley 2:52

Due to the rapidly changing palette of textures Track 9-10 are supposed to consolidate the advancing renaissance and mean age character of the score. I also liked the idea to make Diagon Alley Theme an actual recurring theme. (Edit note: I edited a bit out of "House Selection" (1:03-1:17) due to its fragmented mood changes that are a bit distracting musically.)

11.  Mr. Longbottom Flies 3:36

12.  Hagrid's Flashback 2:54

13.  Quidditch, First Year 10:11

Track 11-13 consist of two of the first proper action tracks, interrupted by the first really menacing cue. Voldemort's theme is introduced and contrasts the light-hearted Nimbus 2000 and Quidditch fanfare which surround it. (Edit note: "Quidditch, First Year" is so long, since "Qudditch" from the Children's Suite precedes "The Quidditch Match".)

14.  The Daily Prophet 2:46

15.  Hogwarts Forever 3:49

Track 14-15 are both track combinations. "The Daily Prophet" consists of the eponymous track and the medieval part of "Filch's Fond Remembrance". "Hogwarts Forever and Moving Stairs" is the combination we know from the OST without the micro edit.

16.  A Norwegian Ridgeback 1:39

17.  The Troll 3:14

The pleasurable beginning of Track 16 leads into a dark foreshadowing of the following Track 17 which is another action highlight and ends the first half of this listening experience. (Edit note: Again, I edited a chunk out of "Fighting the Troll" (054-1:28), this time in order to keep up the tempo of the track.)

18.  The Dark Lord 4:14

19.  The Invisibility Cloak 5:56

Track 18-19 start the second half of this presentation which is much darker with the menacing Voldemort theme and the haunting invisibility synthesizer. The former serves as an extensive foreshadowing that features the Voldemort theme more prominently than "Hagrid's Flashback". (Edit note: "The Dark Lord" is a track combination of the first 1:58 of "Harry Gets His Wand" and "Voldemort" from the Children's Suite. "The Invisibility Cloak" consists of the eponymous cue followed by "Christmas Morning". The first 1:24 of the latter are edited out.)

20.  Family Portrait 4:58

21.  Cast a Christmas Spell 2:40

22.  The Mirror of Erised 3:35

Track 20-22 not only emphasize the sinister but also the reflective side of the score. Reserved renditions of Hedwig's Theme, the Family Theme and the ghosts' surreal Christmas song as well as an expressive rendition of the Friendship Theme can be seen as the lull before the storm. (Edit note: "Family Portrait" is a combination of "Hedwig's Theme for Harp" and "Family Portrait" from the Children's Suite. The first 0:22 of the latter are edited out.)

23.  The Dark Forest 5:17

24.  Fluffy's Harp 2:41

The gruesome forest music highlighting Voldemort's Theme and one last resort of tranquillity before we get to the heavy stuff, namely Fluffy's Harp Lullaby featuring the bassoon.

25.  In the Devil's Snare 3:21

26.  The Chess Game 7:27

27.  Face of Voldemort 6:13

Track 25-27 accompany the adventurous encroachment to the philosopher's stone and of course the final confrontation with Lord Voldemort. I excluded "The Flying Keys" from this selection of thrilling tracks, because there is an extended version of it in the second score. (Edit note: "In the Devil's Snare" is preceded by "Hermione's Reading". Besides 0:29-0:39 from the original track "In the Devil's Snare" are edited out.)

28.  Leaving Hogwarts 3:55

29.  Harry's Wondrous World 5:26

30.  Hedwig's Theme 5:04

Track 28-30 provide the relieving finale of the listening experience with triumphant renditions of several themes. (Edit note: "Leaving Hogwarts" is a simple combination of "Love, Harry" and "Leaving Hogwarts".)

Hopefully, I could convey the idea I had, when creating that summarizing presentation. All in all, the score's darker and medieval is foregrounded. It is absolutely impossible to get diabetes from that listen experience, even for publicist. There are few things missing that are really important, but some of them just didn't fit anywhere ("Hagrid's Entrance" or "Christmas Morning"). Furthermore, I would like to mention that I excluded a few substantial pieces that occur in the second score in an extended variant, because the two scores are supposed to complete each other and form one massive work.


The Chamber of Secrets

1.      Fawkes the Phoenix 3:46

2.      Escape from the Dursleys 4:08

3.      Dobby the House Elf 3:29

No, the second score does not start with Hedwig's Theme, we already had that. Instead we get something new. Track 1-3 consist of two light-hearted concert arrangements and an action cue which also introduces the Dursley Motif. (Edit note: "Vernon Gathers Family" is attached to the beginning of "Escape from the Dursleys".)

4.      Lucius Malfoy 5:05

5.      Gilderoy Lockhart 2:06

6.      The Flying Car 4:12

7.      The Writing on the Wall 4:39

8.      Cornish Pixies 2:16

Track 4-8 jump back and forth between sinister/menacing and comical/adventurous music. After Lucius Malfoy's Theme and a brief introduction of the Chamber Theme the ironic Lockhart Theme and the exciting action highlight "The Flying Car" lighten up the mood, before the Chamber Theme gets an extensive treatment in "The Writing on the Wall". After that, yet another hilarious action cue which is basically an extended version of flying key music. (Edit Note: "Lucius Malfoy" is a combination of "Harry Meets Lucius Malfoy" and "Petrified Colin (Alternate)". "The Writing on the Wall" consists of "The Writing on the Wall" (0:00-2:50) and "Ginny Gets Snatched" (0:35-end).)

9.      Aragog 3:21

10.  Harry Meets Fawkes 3:24

11.  The Dueling Club 4:25

Track 9-11 mostly develop and vary existing themes and motifs, such as the Spider Motif, Fawkes' Theme and the Lockhart Theme. (Edit note: "Harry Meets Fawkes" is the exact same edit that can be found on the OST, however, using exclusively the film takes.")

12.  Christmas Break 3:46

A warm and tender track as an opportunity to relax, before we get to the serious stuff, extending "Hagrid's Christmas Tree" from the first score. (Edit note: "Hagrid and Hermione" foregoes "Christmas break".)

13.  Meeting Tom Riddle 3:43

14.  Moaning Myrte 2:12

15.  Polyjuice Potion 4:12

The mysterious "Meeting Tom Riddle" that reintroduces the Three-Note-Loop is followed by two tracks that are amusingly clumsy and mystic at the same time, one of them introducing us to the Myrte Motif and the other presenting a great variation of Nimbus 2000. (Edit note: "Meeting Tom Riddle" and "Moaning Myrte" both equal the OST versions. "Polyjuice Potion" is the version as can be found on the LLL set with a shortened pause between the two cues.)

16.  Petrified Justin 2:37

17.  The Spiders 4:57

Another dark track using the Three-Note-Loop, followed by a thrilling action piece highlighting the Spider Motif. (Edit note: Once more the cue combination is the same as on the OST, relinquishing the micro edit.)

18.  Entering the Chamber 5:33

19.  Dueling the Basilisk 5:07

Yet another dark track using the Three-Note-Loop, followed by yet another thrilling action piece being the highlight of the whole score. (Edit note: "Entering the Chamber" combines "Borgin and Burkes", "The Search for Ginny" (0:00-2:08) and "Transformation Class" (0:36-end).)

20.  Dumbledore and Harry 2:41

21.  Reunion of Friends 5:10

22.  The Chamber of Secrets 3:54

One contemplative and one quixotic track seem to conclude the score, but then the fully developed Chamber Theme puts a heavy and unsettling end to the listening experience.

For the second score, I focused much more on the proper representation of the new themes as well as the extended themes and pieces from the first score, like or example "The Flying Keys"/"Cornish Pixies", "Hagrid's Christmas Tree"/"Christmas Break" or "Gryffindor Wins the House Cup"/"Reunion of Friends". There were a lot more atmospheric, mood-setting cues, but although there is original stuff in all of them they mostly sound very similar and so they could be represented by including only a few of them. In the end Harry Potter and the Chamber of Secrets manages to offer more than 80 minutes of original and highly exciting material. Interestingly, my presentation has almost the same content as the OST which definitely offered the best official representation of its score out of the three OSTs.


Of course that is not the definitive go-to presentation, but I think it serves its purpose very well. At least my friends don't drown in masses of Harry Potter music any more. ;)

Share this post

Link to post
Share on other sites

Thank you. The editing of the tracks was actually not that hard. It was the "album" arrangement and the concept of the listening experience that took the most time. There were at least 7 or 8 drafts for each score, before I was completely satisfied with the general flow and the cue combinations. Sometimes, swapping the order of two tracks or adding one second of silence between two cues can do wonders.

I will eventually post a similar text for the third score.

Share this post

Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Create New...