Skelly

Yeah, he uses pencil. 

This is what a John Williams sketch looks like. "1M1 Prologue Rev." for Chamber of Secrets.
 

 
Anyone who's taken a look at Williams's sketches knows that he's been sketching this way for decades. Same paper, same thin pen, etc.
 
This is what I'm pretty sure a William Ross sketch looks like. "8M2A Insert The Chamber Door Opens" for Chamber of Secrets (this is the cue when the bathroom sink opens up and reveals the hidden way).
 

 
Look at that. Thicker pen, very different handwriting, obviously a cue that borrows thematic material from the first film (heck, it even segues into tracked music), but it has "John Williams, BMI" written up there. I don't know for certain why Ross did that (though it fits in with Hellgi's assertion that Ross was very adamant about keeping it a Williams score and that he was merely an adapter) but I think we can at least say that Williams didn't personally put pen to paper for too many cues. That was Ross.

This is what a John Williams sketch looks like. "1M1 Prologue Rev." for Chamber of Secrets.
 

 
Anyone who's taken a look at Williams's sketches knows that he's been sketching this way for decades. Same paper, same thin pen, etc.
 
This is what I'm pretty sure a William Ross sketch looks like. "8M2A Insert The Chamber Door Opens" for Chamber of Secrets (this is the cue when the bathroom sink opens up and reveals the hidden way).
 

 
Look at that. Thicker pen, very different handwriting, obviously a cue that borrows thematic material from the first film (heck, it even segues into tracked music), but it has "John Williams, BMI" written up there. I don't know for certain why Ross did that (though it fits in with Hellgi's assertion that Ross was very adamant about keeping it a Williams score and that he was merely an adapter) but I think we can at least say that Williams didn't personally put pen to paper for too many cues. That was Ross.

He probably thinks that the music in the trailer is JNH's music for the film. Silly Casey!

It looks like one of those movies that's fun to watch once, but it's so vapid you can't remember anything at all about it once it's over.
It also looks like they've washed out all the color again...

Their performance of 'Dumbledore's Warning' also has a much more apparent celeste than the film.

No confirmation... all I ever found of it was this forum post, but there's no reason for him to have made up a story like that (either Beggs or the poster).
 
One clue that this story is at least somewhat accurate is the titling of one cue as "Sir Cadagon", who in the final cut of the picture appears for a split-second; the film originally was going to have a subplot with the knight which was entirely removed.
 


Note that the cue fits neatly into that scene, no editing required.

I'm talking about the sound that comes right after the harp gliss at :50 (I thought that was the shhhhhhh sound you mentioned ); I think you're talking about the sustained gong that hangs above while Trelawney is speaking to Hermione.

Alternates/inserts/unused stuff that I know of (for some material, I have no idea if it was actually recorded), both released and unreleased:
 
- 1M3A That's A Lie: unused in film. Just another suspenseful strings cue.
- 1M5 Parents Portrait: film uses celeste or a similarly gossamer instrument; music sheets call for harpsichord.
- 1M9A Squeeze Play: when the Knight Bus squeezes through the two Muggle buses, the film uses a much less melodious idea than what we hear on the OST.
- 2M3 The Train to Hogwarts: two versions were written, and Cuaron preferred the first. Both have the same basic idea but the second version uses flutes in place of recorders.
- 2M4 The Dementor Appears: two endings exist. OST uses busy orchestral crescendo for when the Dementor is expelled, but the film uses nothing but a simple note from the patronus choir (gotta admit, I prefer it to Williams's original idea).
- 2M6 Dumbledore's Warning: two endings exist. Williams originally wrote for the cue to end with a repeating figure on harpsichord and skittish strings (you can hear it on certain bonus feature menus). The film uses a piece where recorders play 'Double Trouble' with enthusiasm.
- 3MC Befriending the Hippogriff: two endings were written, but I don't know whether either was recorded since I'm pretty sure neither was used in the film (I can't read music).
- 3M10 Remembering Mother: when Lupin and Harry chat on the bridge. The cue was originally written to last 20 measures, but Cuaron ended up using a shorter variant (only 9).
- 3M11 The Portrait Gallery: film uses a dark, sustained note on strings to open the cue. It was an insert not recorded with the rest of the cue.
- 3M11A The Big Doors: 3M11 originally underscored the shot of the doors being bolted, and you can hear that ending on the OST. Like crumbs mentioned above, Cuaron wanted something more primal, and this cue replaced those final few measures.
- 3M12 The Great Hall Ceiling: three versions were written, but all are pretty much the same.
- 4M1 (I think?) Page 394: Replaces first few measures of 4M2 (foreboding harpsichord) with chilling harp glissando, and rising strings segue into the next cue.
- 4M3-4 Enter Winter: a shorter version of the 'time transition' scene where autumn becomes winter that I think went totally unused in the film.
- 4M5 Map to Snow Scene: a short cue but a good chunk of it went unused in the final film. The music editor just loops the same two or three measures.
- 5M2A: Reveal Your Secret: cue that I guess would have been used when Snape is trying to get some info about the Marauder's Map. Unused in film; the harpsichord seems to take center stage.
- 5M5 The Crystal Ball: the entire scene with Hermione storming out of class, then Harry returning the ball, then receiving the prophecy, was all written to be underscored by one long cue. A middle section (to underscore Harry finding the ball on the stairs, about fifteen measures) is dialed out of the film.
- 6M5 Werewolf Scene: tam-tam smash inserted into the film for when we see the moon rising above the clouds. Also, when we zoom into Lupin's eyes, between each timpani hit, there's a kind of scraping noise that resembles frightened panting. Not on the OST. I don't know if it's even music; it might be sound design.
- 6M5 Pt. II: Williams's original idea for the frozen lake scene. Pretty much the same as what we hear in the final film (6M4 AN 'First Frozen Lake') but a lot more expressive with mark trees, stuff like that.
 
And, er... that's as far as I got with taking a look at the score. Not sure of anything in the 7th reel. Track 14 on the OST has at one point what I can only assume is an alternate idea for the 'Chasing Scabbers' sequence. 

Alternates/inserts/unused stuff that I know of (for some material, I have no idea if it was actually recorded), both released and unreleased:
 
- 1M3A That's A Lie: unused in film. Just another suspenseful strings cue.
- 1M5 Parents Portrait: film uses celeste or a similarly gossamer instrument; music sheets call for harpsichord.
- 1M9A Squeeze Play: when the Knight Bus squeezes through the two Muggle buses, the film uses a much less melodious idea than what we hear on the OST.
- 2M3 The Train to Hogwarts: two versions were written, and Cuaron preferred the first. Both have the same basic idea but the second version uses flutes in place of recorders.
- 2M4 The Dementor Appears: two endings exist. OST uses busy orchestral crescendo for when the Dementor is expelled, but the film uses nothing but a simple note from the patronus choir (gotta admit, I prefer it to Williams's original idea).
- 2M6 Dumbledore's Warning: two endings exist. Williams originally wrote for the cue to end with a repeating figure on harpsichord and skittish strings (you can hear it on certain bonus feature menus). The film uses a piece where recorders play 'Double Trouble' with enthusiasm.
- 3MC Befriending the Hippogriff: two endings were written, but I don't know whether either was recorded since I'm pretty sure neither was used in the film (I can't read music).
- 3M10 Remembering Mother: when Lupin and Harry chat on the bridge. The cue was originally written to last 20 measures, but Cuaron ended up using a shorter variant (only 9).
- 3M11 The Portrait Gallery: film uses a dark, sustained note on strings to open the cue. It was an insert not recorded with the rest of the cue.
- 3M11A The Big Doors: 3M11 originally underscored the shot of the doors being bolted, and you can hear that ending on the OST. Like crumbs mentioned above, Cuaron wanted something more primal, and this cue replaced those final few measures.
- 3M12 The Great Hall Ceiling: three versions were written, but all are pretty much the same.
- 4M1 (I think?) Page 394: Replaces first few measures of 4M2 (foreboding harpsichord) with chilling harp glissando, and rising strings segue into the next cue.
- 4M3-4 Enter Winter: a shorter version of the 'time transition' scene where autumn becomes winter that I think went totally unused in the film.
- 4M5 Map to Snow Scene: a short cue but a good chunk of it went unused in the final film. The music editor just loops the same two or three measures.
- 5M2A: Reveal Your Secret: cue that I guess would have been used when Snape is trying to get some info about the Marauder's Map. Unused in film; the harpsichord seems to take center stage.
- 5M5 The Crystal Ball: the entire scene with Hermione storming out of class, then Harry returning the ball, then receiving the prophecy, was all written to be underscored by one long cue. A middle section (to underscore Harry finding the ball on the stairs, about fifteen measures) is dialed out of the film.
- 6M5 Werewolf Scene: tam-tam smash inserted into the film for when we see the moon rising above the clouds. Also, when we zoom into Lupin's eyes, between each timpani hit, there's a kind of scraping noise that resembles frightened panting. Not on the OST. I don't know if it's even music; it might be sound design.
- 6M5 Pt. II: Williams's original idea for the frozen lake scene. Pretty much the same as what we hear in the final film (6M4 AN 'First Frozen Lake') but a lot more expressive with mark trees, stuff like that.
 
And, er... that's as far as I got with taking a look at the score. Not sure of anything in the 7th reel. Track 14 on the OST has at one point what I can only assume is an alternate idea for the 'Chasing Scabbers' sequence. 

Alternates/inserts/unused stuff that I know of (for some material, I have no idea if it was actually recorded), both released and unreleased:
 
- 1M3A That's A Lie: unused in film. Just another suspenseful strings cue.
- 1M5 Parents Portrait: film uses celeste or a similarly gossamer instrument; music sheets call for harpsichord.
- 1M9A Squeeze Play: when the Knight Bus squeezes through the two Muggle buses, the film uses a much less melodious idea than what we hear on the OST.
- 2M3 The Train to Hogwarts: two versions were written, and Cuaron preferred the first. Both have the same basic idea but the second version uses flutes in place of recorders.
- 2M4 The Dementor Appears: two endings exist. OST uses busy orchestral crescendo for when the Dementor is expelled, but the film uses nothing but a simple note from the patronus choir (gotta admit, I prefer it to Williams's original idea).
- 2M6 Dumbledore's Warning: two endings exist. Williams originally wrote for the cue to end with a repeating figure on harpsichord and skittish strings (you can hear it on certain bonus feature menus). The film uses a piece where recorders play 'Double Trouble' with enthusiasm.
- 3MC Befriending the Hippogriff: two endings were written, but I don't know whether either was recorded since I'm pretty sure neither was used in the film (I can't read music).
- 3M10 Remembering Mother: when Lupin and Harry chat on the bridge. The cue was originally written to last 20 measures, but Cuaron ended up using a shorter variant (only 9).
- 3M11 The Portrait Gallery: film uses a dark, sustained note on strings to open the cue. It was an insert not recorded with the rest of the cue.
- 3M11A The Big Doors: 3M11 originally underscored the shot of the doors being bolted, and you can hear that ending on the OST. Like crumbs mentioned above, Cuaron wanted something more primal, and this cue replaced those final few measures.
- 3M12 The Great Hall Ceiling: three versions were written, but all are pretty much the same.
- 4M1 (I think?) Page 394: Replaces first few measures of 4M2 (foreboding harpsichord) with chilling harp glissando, and rising strings segue into the next cue.
- 4M3-4 Enter Winter: a shorter version of the 'time transition' scene where autumn becomes winter that I think went totally unused in the film.
- 4M5 Map to Snow Scene: a short cue but a good chunk of it went unused in the final film. The music editor just loops the same two or three measures.
- 5M2A: Reveal Your Secret: cue that I guess would have been used when Snape is trying to get some info about the Marauder's Map. Unused in film; the harpsichord seems to take center stage.
- 5M5 The Crystal Ball: the entire scene with Hermione storming out of class, then Harry returning the ball, then receiving the prophecy, was all written to be underscored by one long cue. A middle section (to underscore Harry finding the ball on the stairs, about fifteen measures) is dialed out of the film.
- 6M5 Werewolf Scene: tam-tam smash inserted into the film for when we see the moon rising above the clouds. Also, when we zoom into Lupin's eyes, between each timpani hit, there's a kind of scraping noise that resembles frightened panting. Not on the OST. I don't know if it's even music; it might be sound design.
- 6M5 Pt. II: Williams's original idea for the frozen lake scene. Pretty much the same as what we hear in the final film (6M4 AN 'First Frozen Lake') but a lot more expressive with mark trees, stuff like that.
 
And, er... that's as far as I got with taking a look at the score. Not sure of anything in the 7th reel. Track 14 on the OST has at one point what I can only assume is an alternate idea for the 'Chasing Scabbers' sequence. 

For me, easily the first. You can tell Williams was having just a great time writing it. He never lingers too long on any one idea when he doesn't need to and fills even incidental scenes with great melody and atmosphere. Some people say it's 'overscored' and the mood of some scenes are exaggerated by the bursting underscore, but I love it.
 
The third is a fun score too, though it's evident that Cuaron reined Williams in a bit. Nevertheless he did a great job at devising off-beat ways to underscore the weirder scenes (the Knight Bus, Trelawney's prophecy, etc.)
 
As for the other scores, the only one that left me with lasting impression was DH Pt. II. That somber courtyard battle tune was very well-used.

John Williams was really mean to me when I tried to contact him. I went up to his house but didn't want to bother him at a time when he would be busy. So around 2 or 3 in the morning I started knocking on his bedroom window. He seemed very bewildered to see a dedicated fan like me! Before I could give him my list of suggestions for the next Star Wars score he grabbed a couple of batons and started hitting me with them. I still don't know what I did wrong; maybe he thought I was Michael Giacchino.

It wasn't until later that I realized I should have blatted out a Star Wars tune on my trombone, just like those other guys. I felt like such a fool!

John Williams was really mean to me when I tried to contact him. I went up to his house but didn't want to bother him at a time when he would be busy. So around 2 or 3 in the morning I started knocking on his bedroom window. He seemed very bewildered to see a dedicated fan like me! Before I could give him my list of suggestions for the next Star Wars score he grabbed a couple of batons and started hitting me with them. I still don't know what I did wrong; maybe he thought I was Michael Giacchino.

Poor brass section...

It's a pretty goofy song, but it's not too hard to imagine the Potter movies actually going down that pop path. Think of all the kids' books-turned-movies that actually did have that sort of crap playing during the end credits... fortunately David Heyman was very adamant that the Potter movies definitely shouldn't be like that.

My favorite is "The Arrival Of Tatooine". It makes it seem as if the planet of Tatooine suddenly barged into the plot unannounced.
Actually, that is sort of what happened, so never mind.

Wow, if Disney really does have the rights to the SW scores now, they didn't waste a single day in getting things ready for sale (I assume they received ownership on Jan. 1).

Wow, if Disney really does have the rights to the SW scores now, they didn't waste a single day in getting things ready for sale (I assume they received ownership on Jan. 1).

Wow, if Disney really does have the rights to the SW scores now, they didn't waste a single day in getting things ready for sale (I assume they received ownership on Jan. 1).

If you look hard enough on the Internet you'll actually find a behind-the-scenes image of Voldemort's death shot "correctly": Harry standing over his dead body. But I guess the flashy CGI route was more appealing to them.

Maybe some members of the Academy are getting so old that they need huge cover art to see what film's music they're listening to.

They probably forgot to turn a layer on in Photoshop when the booklet was finalized.
Personally I'm quite amused at the idea of a T-Rex gumming down prey rather than grinding it to pieces! 

My favorite is "The Arrival Of Tatooine". It makes it seem as if the planet of Tatooine suddenly barged into the plot unannounced.
Actually, that is sort of what happened, so never mind.