Skelly

I can just imagine the box office intake of these films wilting further and further with each installment.

I thought the reactions of everyone when she says that a "rebellion is built on hope" were pretty funny. They get all wide-eyed, as if this is a huge revelation.

I thought the reactions of everyone when she says that a "rebellion is built on hope" were pretty funny. They get all wide-eyed, as if this is a huge revelation.

Wow thanks for the info! That's crazy about Williams being given the wrong cut... Thank goodness for the filmmaking team that he's so capable as to re-write music of such complexity at such short notice- and still make it work so well! This does make it a little clearer as to why he was maybe not so keen to return to Potter, though of course that's a whole other story with many different factors involved! Would imagine he could have felt as though his talents/general effort that he obviously puts into his scores wasn't really appreciated by the potter team. 
 
It really is such a shame we never got to hear anymore Williams music for the rest of the franchise... Was just listening to the first score the other day and was reminded again at how annoying it is that the themes for Voldemort weren't continued throughout the series! Such awesome themes (both the three note motif and the two direct A/B themes for the character) so memorable too, think most general movie goers would have recognised them if they had been used appropriately! 

According to one of the film's sound designers and re-recording mixers, Williams got to the podium on day 1 of sessions and realized something was very wrong, and figured out pretty quickly that he had been given an outdated cut of the film to score to. Oops!
 
You can see some evidence of this through the unusual slates on some cues (letters instead of numbers, as if Williams was uncertain as to what numbers would be correct to use), and the titling of one cue as "Sir Cadagon", who had a minor role initially that was cut down to a non-existent one in the end.
 
You can read about it in a little more detail here. It's indeed very bothersome that Williams has never talked very much about Potter. I guess there's not much about it to say though.
 
I was excited at first to check out the Harry Potter music documentary from 2010, but it wasn't very enlightening or insightful at all. There was some fun archive footage of Williams conducting for the first film though.

could you enlighten further about the re-writing of a 'chunk of the score' during the sessions for azkaban? always so frustrated at the lack of information and mystery surrounding the writing/sessions for all the potter scores... 

It's been done very well by Fennel-Ka for Lord of the Rings and Star Wars, but I don't believe anyone's ever tried something like it for Harry Potter!
I thought it would be interesting to restore the unused music while also retaining dialogue/FX to give you an idea of how it all could have meshed together sound-wise, as opposed to just having music-only tracks. If people would prefer to have me not bother keeping the dialogue and sound effects in the mix, I'll do that in the future.
Here are a few examples from each of the films; I'll be updating the thread throughout the next few weeks with more.
 
PHILOSOPHER'S STONE
"Logos"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZVk4TWRILTczcms
Williams originally intended for the WB logo to be paired with an alluring celeste rather than a more orchestral arrangement of Hedwig's Theme.
 
"The Beach"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFdsNlVGUmEteEE
The opening portion of this cue was dialed out, and is introduced only when the Family Theme is played. Given that the mail delivery sequence essentially just repeats Hedwig's Theme over and over again, it was probably decided that another quotation of it would have been fatiguing.
 
"You're A Wizard Harry"
https://drive.google.com/open?id=0Bx_2TC4QmNqkMUZXa0djeWFVYWs
The first 40 seconds or so of this cue are used in the film, before it segues to the (tracked) unused logo music, and then the rest of the scene goes unscored. The cue is dialed back in when Hagrid points his umbrella at Vernon. I have no idea why this decision was made; I think the rest of the music complements the scene very well!
 
"Diagon Alley"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNEhTdlZjMUY1eFU
This is perhaps the most infamous music edit in the film. When brainstorming what to write for this cue, instead of capturing Harry's awe and wonder of the place, Williams imagined what a small wizard's ensemble might sound like if one were performing in Diagon Alley. There are plenty more opportunities in the film to listen to Harry's reactions to the wizarding world, but not as many chances to listen to the world as experienced wizards hear it. Of course, with the decision to track music in from a couple cues in the final cut, that creative choice is essentially reversed.
 
"Hagrid's Flashback"
https://drive.google.com/open?id=0Bx_2TC4QmNqkTUwwLUxLaENHUDg
The opening half of this cue was dialed out. It turns out that the unused portion is longer than the scene itself, so I edited the cue down myself in order to see how it might have been able to fit into this scene.
 
"Entering the Great Hall"
https://drive.google.com/open?id=0Bx_2TC4QmNqkczg3eW05dUZQRjQ
The first dozen or so measures were dialed out, when Malfoy introduces himself. I'm not sure why they considered this unflattering music expendable. Its removal certainly doesn't add any degree of subtlety to Draco's wickedess, considering how hammy the scene is with Malfoy essentially saying, "Join me or I'll hate you".
 
"Flying 1"
https://drive.google.com/open?id=0Bx_2TC4QmNqkRDRXRXhmYjNlODg
I'm really not sure at all why this quotation of the Hogwarts theme was dialed out.
 
"Flying 2"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdmN2NzNMZ2Z0WkU
The film loses yet another statement of the Hogwarts motif when McGonagall seemingly reprimands Harry. However, the lack of music does leave Harry's fate more to chance in the mind of the viewer.
 
"Troll in the Dungeon"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZ0FYdE5pRFk1aEU
Unused in the film. I think it was decided that the confusion and panic would be heightened if Quirrell's message was delivered without accompanying music (because a lack of music is a lack of information).
 
"Christmas"
https://drive.google.com/open?id=0Bx_2TC4QmNqkWnc1WWhXajFnZE0
This one is purely experimental in nature. Williams went to the trouble of writing a Hogwarts Christmas carol from scratch as well as an accompanying tune to be played on a music box synth. Alas, only a seconds of each were used in the final film. Here you can listen to how the whole song could fit into the scene; I tried to line it up to the music box track, but although they both carry the same basic melody the tempos are just too different to be melodiously aligned.
 
"Dumbledore's Caution"
https://drive.google.com/open?id=0Bx_2TC4QmNqkaHJEMk5jYXdvdzA
There's a very passive quotation of Hedwig's Theme edited out of the film that I think was supposed to underscore this deleted scene. I wish the scene had been kept in; it acts as a good contrast to the...
 
"Time Transition"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFBfMGtJMHBWT3c
Williams originally had an entirely different idea for this scene, which used a feathery arrangement of the Flying Theme (on the celeste, of course!). I much prefer the revised cue; in context, this one seems too whimsical to be taken seriously.
 
"The Dark Forest"
https://drive.google.com/open?id=0Bx_2TC4QmNqkS3NNMy1nT0FHeXc
Dialed out in the film is an airy statement of Voldemort's Theme, which I think was a bit too indicative of the Dark Lord's hand in the matter. Plus, the eeriness is increased tenfold when the scene is not graced with any music; it's as if they're isolated even from the underscore.
 
CHAMBER OF SECRETS
"Introducing Dobby"
https://drive.google.com/open?id=0Bx_2TC4QmNqkVi00bUpaM3pTbHc
This went fully unused in the film and honestly I think it was the right choice. Although it probably would have helped cement Dobby's theme into the film a little better, it just seems to be making light of Dobby's self-harm, thereby making it harder to pity him later in the film.
 
PRISONER OF AZKABAN
"The Dementor Appears"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdGljeU9nSnNhcms
Williams originally wrote this ending to the cue, but in the final cut it was replaced with a sustained note from choir that anticipates the similar sound that underscores later appearances of the Patronus charm.

It's been done very well by Fennel-Ka for Lord of the Rings and Star Wars, but I don't believe anyone's ever tried something like it for Harry Potter!
I thought it would be interesting to restore the unused music while also retaining dialogue/FX to give you an idea of how it all could have meshed together sound-wise, as opposed to just having music-only tracks. If people would prefer to have me not bother keeping the dialogue and sound effects in the mix, I'll do that in the future.
Here are a few examples from each of the films; I'll be updating the thread throughout the next few weeks with more.
 
PHILOSOPHER'S STONE
"Logos"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZVk4TWRILTczcms
Williams originally intended for the WB logo to be paired with an alluring celeste rather than a more orchestral arrangement of Hedwig's Theme.
 
"The Beach"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFdsNlVGUmEteEE
The opening portion of this cue was dialed out, and is introduced only when the Family Theme is played. Given that the mail delivery sequence essentially just repeats Hedwig's Theme over and over again, it was probably decided that another quotation of it would have been fatiguing.
 
"You're A Wizard Harry"
https://drive.google.com/open?id=0Bx_2TC4QmNqkMUZXa0djeWFVYWs
The first 40 seconds or so of this cue are used in the film, before it segues to the (tracked) unused logo music, and then the rest of the scene goes unscored. The cue is dialed back in when Hagrid points his umbrella at Vernon. I have no idea why this decision was made; I think the rest of the music complements the scene very well!
 
"Diagon Alley"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNEhTdlZjMUY1eFU
This is perhaps the most infamous music edit in the film. When brainstorming what to write for this cue, instead of capturing Harry's awe and wonder of the place, Williams imagined what a small wizard's ensemble might sound like if one were performing in Diagon Alley. There are plenty more opportunities in the film to listen to Harry's reactions to the wizarding world, but not as many chances to listen to the world as experienced wizards hear it. Of course, with the decision to track music in from a couple cues in the final cut, that creative choice is essentially reversed.
 
"Hagrid's Flashback"
https://drive.google.com/open?id=0Bx_2TC4QmNqkTUwwLUxLaENHUDg
The opening half of this cue was dialed out. It turns out that the unused portion is longer than the scene itself, so I edited the cue down myself in order to see how it might have been able to fit into this scene.
 
"Entering the Great Hall"
https://drive.google.com/open?id=0Bx_2TC4QmNqkczg3eW05dUZQRjQ
The first dozen or so measures were dialed out, when Malfoy introduces himself. I'm not sure why they considered this unflattering music expendable. Its removal certainly doesn't add any degree of subtlety to Draco's wickedess, considering how hammy the scene is with Malfoy essentially saying, "Join me or I'll hate you".
 
"Flying 1"
https://drive.google.com/open?id=0Bx_2TC4QmNqkRDRXRXhmYjNlODg
I'm really not sure at all why this quotation of the Hogwarts theme was dialed out.
 
"Flying 2"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdmN2NzNMZ2Z0WkU
The film loses yet another statement of the Hogwarts motif when McGonagall seemingly reprimands Harry. However, the lack of music does leave Harry's fate more to chance in the mind of the viewer.
 
"Troll in the Dungeon"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZ0FYdE5pRFk1aEU
Unused in the film. I think it was decided that the confusion and panic would be heightened if Quirrell's message was delivered without accompanying music (because a lack of music is a lack of information).
 
"Christmas"
https://drive.google.com/open?id=0Bx_2TC4QmNqkWnc1WWhXajFnZE0
This one is purely experimental in nature. Williams went to the trouble of writing a Hogwarts Christmas carol from scratch as well as an accompanying tune to be played on a music box synth. Alas, only a seconds of each were used in the final film. Here you can listen to how the whole song could fit into the scene; I tried to line it up to the music box track, but although they both carry the same basic melody the tempos are just too different to be melodiously aligned.
 
"Dumbledore's Caution"
https://drive.google.com/open?id=0Bx_2TC4QmNqkaHJEMk5jYXdvdzA
There's a very passive quotation of Hedwig's Theme edited out of the film that I think was supposed to underscore this deleted scene. I wish the scene had been kept in; it acts as a good contrast to the...
 
"Time Transition"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFBfMGtJMHBWT3c
Williams originally had an entirely different idea for this scene, which used a feathery arrangement of the Flying Theme (on the celeste, of course!). I much prefer the revised cue; in context, this one seems too whimsical to be taken seriously.
 
"The Dark Forest"
https://drive.google.com/open?id=0Bx_2TC4QmNqkS3NNMy1nT0FHeXc
Dialed out in the film is an airy statement of Voldemort's Theme, which I think was a bit too indicative of the Dark Lord's hand in the matter. Plus, the eeriness is increased tenfold when the scene is not graced with any music; it's as if they're isolated even from the underscore.
 
CHAMBER OF SECRETS
"Introducing Dobby"
https://drive.google.com/open?id=0Bx_2TC4QmNqkVi00bUpaM3pTbHc
This went fully unused in the film and honestly I think it was the right choice. Although it probably would have helped cement Dobby's theme into the film a little better, it just seems to be making light of Dobby's self-harm, thereby making it harder to pity him later in the film.
 
PRISONER OF AZKABAN
"The Dementor Appears"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdGljeU9nSnNhcms
Williams originally wrote this ending to the cue, but in the final cut it was replaced with a sustained note from choir that anticipates the similar sound that underscores later appearances of the Patronus charm.

Added "Logos", "The Beach", and "Entering the Great Hall" to the first post (Philosopher's Stone).

I played the game once and thought that the Hedwig's Theme references were a little heavy-handed near the beginning, but overall I agree.
Whenever Hooper quoted the theme it was always so forced. It was like Hooper was midway through a cue and said, "Oh yeah, this is Harry Potter! I've gotta put the Harry Potter theme song in here!"

I don't know if you guys know about this already, but you can hear a little bit of CLEAN music from Breath of the Wild here
https://www.nintendo.co.jp/zelda/sound/bgm.mp3
 
I'm very excited for the piano soundscape they seem to be going for this time around.

It's been done very well by Fennel-Ka for Lord of the Rings and Star Wars, but I don't believe anyone's ever tried something like it for Harry Potter!
I thought it would be interesting to restore the unused music while also retaining dialogue/FX to give you an idea of how it all could have meshed together sound-wise, as opposed to just having music-only tracks. If people would prefer to have me not bother keeping the dialogue and sound effects in the mix, I'll do that in the future.
Here are a few examples from each of the films; I'll be updating the thread throughout the next few weeks with more.
 
PHILOSOPHER'S STONE
"Logos"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZVk4TWRILTczcms
Williams originally intended for the WB logo to be paired with an alluring celeste rather than a more orchestral arrangement of Hedwig's Theme.
 
"The Beach"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFdsNlVGUmEteEE
The opening portion of this cue was dialed out, and is introduced only when the Family Theme is played. Given that the mail delivery sequence essentially just repeats Hedwig's Theme over and over again, it was probably decided that another quotation of it would have been fatiguing.
 
"You're A Wizard Harry"
https://drive.google.com/open?id=0Bx_2TC4QmNqkMUZXa0djeWFVYWs
The first 40 seconds or so of this cue are used in the film, before it segues to the (tracked) unused logo music, and then the rest of the scene goes unscored. The cue is dialed back in when Hagrid points his umbrella at Vernon. I have no idea why this decision was made; I think the rest of the music complements the scene very well!
 
"Diagon Alley"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNEhTdlZjMUY1eFU
This is perhaps the most infamous music edit in the film. When brainstorming what to write for this cue, instead of capturing Harry's awe and wonder of the place, Williams imagined what a small wizard's ensemble might sound like if one were performing in Diagon Alley. There are plenty more opportunities in the film to listen to Harry's reactions to the wizarding world, but not as many chances to listen to the world as experienced wizards hear it. Of course, with the decision to track music in from a couple cues in the final cut, that creative choice is essentially reversed.
 
"Hagrid's Flashback"
https://drive.google.com/open?id=0Bx_2TC4QmNqkTUwwLUxLaENHUDg
The opening half of this cue was dialed out. It turns out that the unused portion is longer than the scene itself, so I edited the cue down myself in order to see how it might have been able to fit into this scene.
 
"Entering the Great Hall"
https://drive.google.com/open?id=0Bx_2TC4QmNqkczg3eW05dUZQRjQ
The first dozen or so measures were dialed out, when Malfoy introduces himself. I'm not sure why they considered this unflattering music expendable. Its removal certainly doesn't add any degree of subtlety to Draco's wickedess, considering how hammy the scene is with Malfoy essentially saying, "Join me or I'll hate you".
 
"Flying 1"
https://drive.google.com/open?id=0Bx_2TC4QmNqkRDRXRXhmYjNlODg
I'm really not sure at all why this quotation of the Hogwarts theme was dialed out.
 
"Flying 2"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdmN2NzNMZ2Z0WkU
The film loses yet another statement of the Hogwarts motif when McGonagall seemingly reprimands Harry. However, the lack of music does leave Harry's fate more to chance in the mind of the viewer.
 
"Troll in the Dungeon"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZ0FYdE5pRFk1aEU
Unused in the film. I think it was decided that the confusion and panic would be heightened if Quirrell's message was delivered without accompanying music (because a lack of music is a lack of information).
 
"Christmas"
https://drive.google.com/open?id=0Bx_2TC4QmNqkWnc1WWhXajFnZE0
This one is purely experimental in nature. Williams went to the trouble of writing a Hogwarts Christmas carol from scratch as well as an accompanying tune to be played on a music box synth. Alas, only a seconds of each were used in the final film. Here you can listen to how the whole song could fit into the scene; I tried to line it up to the music box track, but although they both carry the same basic melody the tempos are just too different to be melodiously aligned.
 
"Dumbledore's Caution"
https://drive.google.com/open?id=0Bx_2TC4QmNqkaHJEMk5jYXdvdzA
There's a very passive quotation of Hedwig's Theme edited out of the film that I think was supposed to underscore this deleted scene. I wish the scene had been kept in; it acts as a good contrast to the...
 
"Time Transition"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFBfMGtJMHBWT3c
Williams originally had an entirely different idea for this scene, which used a feathery arrangement of the Flying Theme (on the celeste, of course!). I much prefer the revised cue; in context, this one seems too whimsical to be taken seriously.
 
"The Dark Forest"
https://drive.google.com/open?id=0Bx_2TC4QmNqkS3NNMy1nT0FHeXc
Dialed out in the film is an airy statement of Voldemort's Theme, which I think was a bit too indicative of the Dark Lord's hand in the matter. Plus, the eeriness is increased tenfold when the scene is not graced with any music; it's as if they're isolated even from the underscore.
 
CHAMBER OF SECRETS
"Introducing Dobby"
https://drive.google.com/open?id=0Bx_2TC4QmNqkVi00bUpaM3pTbHc
This went fully unused in the film and honestly I think it was the right choice. Although it probably would have helped cement Dobby's theme into the film a little better, it just seems to be making light of Dobby's self-harm, thereby making it harder to pity him later in the film.
 
PRISONER OF AZKABAN
"The Dementor Appears"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdGljeU9nSnNhcms
Williams originally wrote this ending to the cue, but in the final cut it was replaced with a sustained note from choir that anticipates the similar sound that underscores later appearances of the Patronus charm.

I go very few times a year. So many other members of the audience can be so rude, the screen is too big, the sound is too loud, there are too many previews, it all costs too much, etc.
I prefer waiting a few months for the DVD to come out because all of those problems go away.

It's been done very well by Fennel-Ka for Lord of the Rings and Star Wars, but I don't believe anyone's ever tried something like it for Harry Potter!
I thought it would be interesting to restore the unused music while also retaining dialogue/FX to give you an idea of how it all could have meshed together sound-wise, as opposed to just having music-only tracks. If people would prefer to have me not bother keeping the dialogue and sound effects in the mix, I'll do that in the future.
Here are a few examples from each of the films; I'll be updating the thread throughout the next few weeks with more.
 
PHILOSOPHER'S STONE
"Logos"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZVk4TWRILTczcms
Williams originally intended for the WB logo to be paired with an alluring celeste rather than a more orchestral arrangement of Hedwig's Theme.
 
"The Beach"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFdsNlVGUmEteEE
The opening portion of this cue was dialed out, and is introduced only when the Family Theme is played. Given that the mail delivery sequence essentially just repeats Hedwig's Theme over and over again, it was probably decided that another quotation of it would have been fatiguing.
 
"You're A Wizard Harry"
https://drive.google.com/open?id=0Bx_2TC4QmNqkMUZXa0djeWFVYWs
The first 40 seconds or so of this cue are used in the film, before it segues to the (tracked) unused logo music, and then the rest of the scene goes unscored. The cue is dialed back in when Hagrid points his umbrella at Vernon. I have no idea why this decision was made; I think the rest of the music complements the scene very well!
 
"Diagon Alley"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNEhTdlZjMUY1eFU
This is perhaps the most infamous music edit in the film. When brainstorming what to write for this cue, instead of capturing Harry's awe and wonder of the place, Williams imagined what a small wizard's ensemble might sound like if one were performing in Diagon Alley. There are plenty more opportunities in the film to listen to Harry's reactions to the wizarding world, but not as many chances to listen to the world as experienced wizards hear it. Of course, with the decision to track music in from a couple cues in the final cut, that creative choice is essentially reversed.
 
"Hagrid's Flashback"
https://drive.google.com/open?id=0Bx_2TC4QmNqkTUwwLUxLaENHUDg
The opening half of this cue was dialed out. It turns out that the unused portion is longer than the scene itself, so I edited the cue down myself in order to see how it might have been able to fit into this scene.
 
"Entering the Great Hall"
https://drive.google.com/open?id=0Bx_2TC4QmNqkczg3eW05dUZQRjQ
The first dozen or so measures were dialed out, when Malfoy introduces himself. I'm not sure why they considered this unflattering music expendable. Its removal certainly doesn't add any degree of subtlety to Draco's wickedess, considering how hammy the scene is with Malfoy essentially saying, "Join me or I'll hate you".
 
"Flying 1"
https://drive.google.com/open?id=0Bx_2TC4QmNqkRDRXRXhmYjNlODg
I'm really not sure at all why this quotation of the Hogwarts theme was dialed out.
 
"Flying 2"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdmN2NzNMZ2Z0WkU
The film loses yet another statement of the Hogwarts motif when McGonagall seemingly reprimands Harry. However, the lack of music does leave Harry's fate more to chance in the mind of the viewer.
 
"Troll in the Dungeon"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZ0FYdE5pRFk1aEU
Unused in the film. I think it was decided that the confusion and panic would be heightened if Quirrell's message was delivered without accompanying music (because a lack of music is a lack of information).
 
"Christmas"
https://drive.google.com/open?id=0Bx_2TC4QmNqkWnc1WWhXajFnZE0
This one is purely experimental in nature. Williams went to the trouble of writing a Hogwarts Christmas carol from scratch as well as an accompanying tune to be played on a music box synth. Alas, only a seconds of each were used in the final film. Here you can listen to how the whole song could fit into the scene; I tried to line it up to the music box track, but although they both carry the same basic melody the tempos are just too different to be melodiously aligned.
 
"Dumbledore's Caution"
https://drive.google.com/open?id=0Bx_2TC4QmNqkaHJEMk5jYXdvdzA
There's a very passive quotation of Hedwig's Theme edited out of the film that I think was supposed to underscore this deleted scene. I wish the scene had been kept in; it acts as a good contrast to the...
 
"Time Transition"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFBfMGtJMHBWT3c
Williams originally had an entirely different idea for this scene, which used a feathery arrangement of the Flying Theme (on the celeste, of course!). I much prefer the revised cue; in context, this one seems too whimsical to be taken seriously.
 
"The Dark Forest"
https://drive.google.com/open?id=0Bx_2TC4QmNqkS3NNMy1nT0FHeXc
Dialed out in the film is an airy statement of Voldemort's Theme, which I think was a bit too indicative of the Dark Lord's hand in the matter. Plus, the eeriness is increased tenfold when the scene is not graced with any music; it's as if they're isolated even from the underscore.
 
CHAMBER OF SECRETS
"Introducing Dobby"
https://drive.google.com/open?id=0Bx_2TC4QmNqkVi00bUpaM3pTbHc
This went fully unused in the film and honestly I think it was the right choice. Although it probably would have helped cement Dobby's theme into the film a little better, it just seems to be making light of Dobby's self-harm, thereby making it harder to pity him later in the film.
 
PRISONER OF AZKABAN
"The Dementor Appears"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdGljeU9nSnNhcms
Williams originally wrote this ending to the cue, but in the final cut it was replaced with a sustained note from choir that anticipates the similar sound that underscores later appearances of the Patronus charm.

At least part of it is sourced from production music, starting at 1:48. I recognize it from somewhere Here it is. 
 

I'll vouch for your analysis, Incanus!
Anyone, like Stu, who wants to take a look at how Williams designed the score will be off to a great start by reading that.
 
I myself slowly working on something similar for Prisoner of Azkaban.

It's been done very well by Fennel-Ka for Lord of the Rings and Star Wars, but I don't believe anyone's ever tried something like it for Harry Potter!
I thought it would be interesting to restore the unused music while also retaining dialogue/FX to give you an idea of how it all could have meshed together sound-wise, as opposed to just having music-only tracks. If people would prefer to have me not bother keeping the dialogue and sound effects in the mix, I'll do that in the future.
Here are a few examples from each of the films; I'll be updating the thread throughout the next few weeks with more.
 
PHILOSOPHER'S STONE
"Logos"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZVk4TWRILTczcms
Williams originally intended for the WB logo to be paired with an alluring celeste rather than a more orchestral arrangement of Hedwig's Theme.
 
"The Beach"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFdsNlVGUmEteEE
The opening portion of this cue was dialed out, and is introduced only when the Family Theme is played. Given that the mail delivery sequence essentially just repeats Hedwig's Theme over and over again, it was probably decided that another quotation of it would have been fatiguing.
 
"You're A Wizard Harry"
https://drive.google.com/open?id=0Bx_2TC4QmNqkMUZXa0djeWFVYWs
The first 40 seconds or so of this cue are used in the film, before it segues to the (tracked) unused logo music, and then the rest of the scene goes unscored. The cue is dialed back in when Hagrid points his umbrella at Vernon. I have no idea why this decision was made; I think the rest of the music complements the scene very well!
 
"Diagon Alley"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNEhTdlZjMUY1eFU
This is perhaps the most infamous music edit in the film. When brainstorming what to write for this cue, instead of capturing Harry's awe and wonder of the place, Williams imagined what a small wizard's ensemble might sound like if one were performing in Diagon Alley. There are plenty more opportunities in the film to listen to Harry's reactions to the wizarding world, but not as many chances to listen to the world as experienced wizards hear it. Of course, with the decision to track music in from a couple cues in the final cut, that creative choice is essentially reversed.
 
"Hagrid's Flashback"
https://drive.google.com/open?id=0Bx_2TC4QmNqkTUwwLUxLaENHUDg
The opening half of this cue was dialed out. It turns out that the unused portion is longer than the scene itself, so I edited the cue down myself in order to see how it might have been able to fit into this scene.
 
"Entering the Great Hall"
https://drive.google.com/open?id=0Bx_2TC4QmNqkczg3eW05dUZQRjQ
The first dozen or so measures were dialed out, when Malfoy introduces himself. I'm not sure why they considered this unflattering music expendable. Its removal certainly doesn't add any degree of subtlety to Draco's wickedess, considering how hammy the scene is with Malfoy essentially saying, "Join me or I'll hate you".
 
"Flying 1"
https://drive.google.com/open?id=0Bx_2TC4QmNqkRDRXRXhmYjNlODg
I'm really not sure at all why this quotation of the Hogwarts theme was dialed out.
 
"Flying 2"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdmN2NzNMZ2Z0WkU
The film loses yet another statement of the Hogwarts motif when McGonagall seemingly reprimands Harry. However, the lack of music does leave Harry's fate more to chance in the mind of the viewer.
 
"Troll in the Dungeon"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZ0FYdE5pRFk1aEU
Unused in the film. I think it was decided that the confusion and panic would be heightened if Quirrell's message was delivered without accompanying music (because a lack of music is a lack of information).
 
"Christmas"
https://drive.google.com/open?id=0Bx_2TC4QmNqkWnc1WWhXajFnZE0
This one is purely experimental in nature. Williams went to the trouble of writing a Hogwarts Christmas carol from scratch as well as an accompanying tune to be played on a music box synth. Alas, only a seconds of each were used in the final film. Here you can listen to how the whole song could fit into the scene; I tried to line it up to the music box track, but although they both carry the same basic melody the tempos are just too different to be melodiously aligned.
 
"Dumbledore's Caution"
https://drive.google.com/open?id=0Bx_2TC4QmNqkaHJEMk5jYXdvdzA
There's a very passive quotation of Hedwig's Theme edited out of the film that I think was supposed to underscore this deleted scene. I wish the scene had been kept in; it acts as a good contrast to the...
 
"Time Transition"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFBfMGtJMHBWT3c
Williams originally had an entirely different idea for this scene, which used a feathery arrangement of the Flying Theme (on the celeste, of course!). I much prefer the revised cue; in context, this one seems too whimsical to be taken seriously.
 
"The Dark Forest"
https://drive.google.com/open?id=0Bx_2TC4QmNqkS3NNMy1nT0FHeXc
Dialed out in the film is an airy statement of Voldemort's Theme, which I think was a bit too indicative of the Dark Lord's hand in the matter. Plus, the eeriness is increased tenfold when the scene is not graced with any music; it's as if they're isolated even from the underscore.
 
CHAMBER OF SECRETS
"Introducing Dobby"
https://drive.google.com/open?id=0Bx_2TC4QmNqkVi00bUpaM3pTbHc
This went fully unused in the film and honestly I think it was the right choice. Although it probably would have helped cement Dobby's theme into the film a little better, it just seems to be making light of Dobby's self-harm, thereby making it harder to pity him later in the film.
 
PRISONER OF AZKABAN
"The Dementor Appears"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdGljeU9nSnNhcms
Williams originally wrote this ending to the cue, but in the final cut it was replaced with a sustained note from choir that anticipates the similar sound that underscores later appearances of the Patronus charm.

Great work Skelly. It's great to see how these bits of unused music line up with the films.
 
Williams did some really curious editing decisions when compiling the original album for the Philosopher's Stone as he managed to sneak parts of the Children's Suite in for what he must have thought would make a more rounded listening experience. Five movements of the suite are represented on the OST in some form, Hedwig's Flight functions as the Prologue, Hogwarts Forever and The Moving Stairs contains the brass ensemble performing Hogwarts theme, Diagon Alley edits in portion of the concert movement of the same name and Fluffy's Harp is the entire Fluffy and His Harp movement from the suite for contrabassoons and harp whereas the film version features only the harp. And of course Harry's Wondrous World which rounds out the suite functions also as part of the End Credits for the film.
 
Oh and I think the Diagon Alley opening could have worked. I don't think it is that much distracting than the Great Hall cue, which also fits the scene surprisingly well with its festive and opulent feel.
 
I'll admit this is shameless self-plug but you could start HERE.

Williams liked the themes he wrote for the film so much that he wrote self-contained tracks for each (he called this the "Children's Suite"). The version he wrote for the actual film was very fast-paced, but the Children's Suite version - which you can hear on the OST - is a lot more leisurely.
 
What's kind of funny is that even though it was totally unused in this film, Will Ross still adapted the theme for when we visit Diagon Alley in the sequel. I guess people still could identify the theme since it was on the OST.

Not tracked, per se, but Williams did directly adapt/copy several measures directly into the film score (a piece of "Mr. Longbottom Flies", for instance, borrows a dozen or so from his earlier "Trailer #2").

I haven't even listened yet but I assume he's using the film cue. The OST uses the version recorded for the children's suite, which is slower. 

Nope, nothing. Either he hasn't had the time to sit down and write a thorough reply, or he only deals with business-related messages.
If he ever does write me back, I'll try to remember to let you all know.

Williams liked the themes he wrote for the film so much that he wrote self-contained tracks for each (he called this the "Children's Suite"). The version he wrote for the actual film was very fast-paced, but the Children's Suite version - which you can hear on the OST - is a lot more leisurely.
 
What's kind of funny is that even though it was totally unused in this film, Will Ross still adapted the theme for when we visit Diagon Alley in the sequel. I guess people still could identify the theme since it was on the OST.

It's been done very well by Fennel-Ka for Lord of the Rings and Star Wars, but I don't believe anyone's ever tried something like it for Harry Potter!
I thought it would be interesting to restore the unused music while also retaining dialogue/FX to give you an idea of how it all could have meshed together sound-wise, as opposed to just having music-only tracks. If people would prefer to have me not bother keeping the dialogue and sound effects in the mix, I'll do that in the future.
Here are a few examples from each of the films; I'll be updating the thread throughout the next few weeks with more.
 
PHILOSOPHER'S STONE
"Logos"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZVk4TWRILTczcms
Williams originally intended for the WB logo to be paired with an alluring celeste rather than a more orchestral arrangement of Hedwig's Theme.
 
"The Beach"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFdsNlVGUmEteEE
The opening portion of this cue was dialed out, and is introduced only when the Family Theme is played. Given that the mail delivery sequence essentially just repeats Hedwig's Theme over and over again, it was probably decided that another quotation of it would have been fatiguing.
 
"You're A Wizard Harry"
https://drive.google.com/open?id=0Bx_2TC4QmNqkMUZXa0djeWFVYWs
The first 40 seconds or so of this cue are used in the film, before it segues to the (tracked) unused logo music, and then the rest of the scene goes unscored. The cue is dialed back in when Hagrid points his umbrella at Vernon. I have no idea why this decision was made; I think the rest of the music complements the scene very well!
 
"Diagon Alley"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNEhTdlZjMUY1eFU
This is perhaps the most infamous music edit in the film. When brainstorming what to write for this cue, instead of capturing Harry's awe and wonder of the place, Williams imagined what a small wizard's ensemble might sound like if one were performing in Diagon Alley. There are plenty more opportunities in the film to listen to Harry's reactions to the wizarding world, but not as many chances to listen to the world as experienced wizards hear it. Of course, with the decision to track music in from a couple cues in the final cut, that creative choice is essentially reversed.
 
"Hagrid's Flashback"
https://drive.google.com/open?id=0Bx_2TC4QmNqkTUwwLUxLaENHUDg
The opening half of this cue was dialed out. It turns out that the unused portion is longer than the scene itself, so I edited the cue down myself in order to see how it might have been able to fit into this scene.
 
"Entering the Great Hall"
https://drive.google.com/open?id=0Bx_2TC4QmNqkczg3eW05dUZQRjQ
The first dozen or so measures were dialed out, when Malfoy introduces himself. I'm not sure why they considered this unflattering music expendable. Its removal certainly doesn't add any degree of subtlety to Draco's wickedess, considering how hammy the scene is with Malfoy essentially saying, "Join me or I'll hate you".
 
"Flying 1"
https://drive.google.com/open?id=0Bx_2TC4QmNqkRDRXRXhmYjNlODg
I'm really not sure at all why this quotation of the Hogwarts theme was dialed out.
 
"Flying 2"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdmN2NzNMZ2Z0WkU
The film loses yet another statement of the Hogwarts motif when McGonagall seemingly reprimands Harry. However, the lack of music does leave Harry's fate more to chance in the mind of the viewer.
 
"Troll in the Dungeon"
https://drive.google.com/open?id=0Bx_2TC4QmNqkZ0FYdE5pRFk1aEU
Unused in the film. I think it was decided that the confusion and panic would be heightened if Quirrell's message was delivered without accompanying music (because a lack of music is a lack of information).
 
"Christmas"
https://drive.google.com/open?id=0Bx_2TC4QmNqkWnc1WWhXajFnZE0
This one is purely experimental in nature. Williams went to the trouble of writing a Hogwarts Christmas carol from scratch as well as an accompanying tune to be played on a music box synth. Alas, only a seconds of each were used in the final film. Here you can listen to how the whole song could fit into the scene; I tried to line it up to the music box track, but although they both carry the same basic melody the tempos are just too different to be melodiously aligned.
 
"Dumbledore's Caution"
https://drive.google.com/open?id=0Bx_2TC4QmNqkaHJEMk5jYXdvdzA
There's a very passive quotation of Hedwig's Theme edited out of the film that I think was supposed to underscore this deleted scene. I wish the scene had been kept in; it acts as a good contrast to the...
 
"Time Transition"
https://drive.google.com/open?id=0Bx_2TC4QmNqkNFBfMGtJMHBWT3c
Williams originally had an entirely different idea for this scene, which used a feathery arrangement of the Flying Theme (on the celeste, of course!). I much prefer the revised cue; in context, this one seems too whimsical to be taken seriously.
 
"The Dark Forest"
https://drive.google.com/open?id=0Bx_2TC4QmNqkS3NNMy1nT0FHeXc
Dialed out in the film is an airy statement of Voldemort's Theme, which I think was a bit too indicative of the Dark Lord's hand in the matter. Plus, the eeriness is increased tenfold when the scene is not graced with any music; it's as if they're isolated even from the underscore.
 
CHAMBER OF SECRETS
"Introducing Dobby"
https://drive.google.com/open?id=0Bx_2TC4QmNqkVi00bUpaM3pTbHc
This went fully unused in the film and honestly I think it was the right choice. Although it probably would have helped cement Dobby's theme into the film a little better, it just seems to be making light of Dobby's self-harm, thereby making it harder to pity him later in the film.
 
PRISONER OF AZKABAN
"The Dementor Appears"
https://drive.google.com/open?id=0Bx_2TC4QmNqkdGljeU9nSnNhcms
Williams originally wrote this ending to the cue, but in the final cut it was replaced with a sustained note from choir that anticipates the similar sound that underscores later appearances of the Patronus charm.

Yes, along with a couple SW ones those are my all-time favorites.
@Cerebral Cortex
 
 
Yes! Also one of my all-time favorites.
 
 
Yeah, I wish I'd been a Williams fan then, that must have been amazing. 
 
I know the purpose of your post was NOT to start an argument, so the following will be directed more toward JWFan in general:
 
I will admit right off the bat that, since I like SW, I've always been really interested in finding artistic value or complexity in it beyond simple entertainment.
 
So, am I a little biased? Sure. Am I a film or literature professor? No. 
 
But today in English class at school we read a short essay on literature -- specifically, the difference between "commercial" and "literary" fiction. There were some interesting parallels with film, specifically SW and the prequels. There is obviously a lot of gray area about commercial vs. literary and you could make all sorts of arguments about what goes into each category but the author of this particular essay talked about several main ways to distinguish them. "Commercial fiction" was defined as fiction whose main purpose was to be a diversion for the reader and to make money. "Literary fiction" was defined as that which gives us a deeper understanding of the human condition and is written with some greater "artistic purpose" than just making money. Literary fiction, the essay stated, should be read at least twice before judgement, and often contains deeper levels, making it often immensely rewarding to keep reading over and over again even if it seems much more boring than "commercial fiction" at first. 
 
Here's the really interesting part: There were some common characteristics of commercial fiction listed. According to the essay, these were the things people at large really wanted in general in their literature.
 
- We come in with specific, fixed expectations and we feel frustrated and dissapointed unless those expectations are met. (People expected another "kids movie" with TPM. Was that fair? Why isn't it okay to change your mind about something? (people are always criticizing Lucas about that) GL clearly chose to go a different direction, searching for "higher art" more so than kids fare by the time of the prequels). Those fixed expectations generally held by readers of "commercial fiction" include...
- A pretty happy, uncomplicated ending (sounds like ROTJ!)
- A hero that the audience can easily relate to (sounds like Luke!)
- A clear plot with a page-turning quality (the prequels are always being criticized for being "boring" and "complicated" which I agree is pretty accurate compared to many other films)
 
Now, here are some characteristics of literary fiction:
 
- Unresolved, sad, and/or conflicted ending (sounds a little like ROTS!)
- We are forced to examine our expectations and discover how our views have been challenged
- Unique style or vision in order to express artistic truth (if the ring theory is spot on, then this fits in perfectly; even if not, there are some very interesting ideas discussed)
- We need to keep an open mind and stay receptive to the author's style and imagination, however different it may be from our habits of perceiving the world
- A more complex plot structure that is more demanding of the reader (prequel politics!)
- Takes us behind the scene to see more how the real world works (politics, suffering, sad endings) and not how some fantasized version works (obviously we don't see the real world directly, it's fiction, but the idea is that we learn some "truth" through even fictional works) 
 
Now, is it appropriate to talk about the prequels as if they were written art when they are in fact visual art? Some would argue that it is not. Obviously such an analysis eliminates things like camera work and acting quality that someone like me, who knows a lot about literature but not much about film, can't really notice a lot of the time. 
 
This post does continue my tradition of discussing the prequels as if they were books. Part of that, I think, stems from the fact that when I haven't watched a movie in a while, it's more the story than the camera shots that stay in my memory. So after going a little bit without watching the film I tend to judge it more based on the story, I think, possibly in lieu of other things. 
 
That said, I was really stunned by how many parallels there were between that article I read today at school and the SW prequels vs. OT debate. I hope that others at least consider what I've written above. 
 
To summarize: Looking at SW as literature, the OT and TFA are more in the "commercial fiction" area, with some "literary fiction" elements, while the prequels are much more strongly in the literary fiction category, Lucas's seemingly rigid adherence to literary forms perhaps to the detriment of other elements of the films, some would say. Therefore, it could be argued that the OT and TFA are more "popcorn entertainment" while the prequels are films that deserve to be studied in a more scholarly way.