Skelly

http://www.filmscoremonthly.com/board/posts.cfm?threadID=117068&forumID=1&archive=0&pageID=15&r=365  
That sounds like it might be Harry Potter 1 to me! It came out in 2001.

http://www.filmscoremonthly.com/board/posts.cfm?threadID=117068&forumID=1&archive=0&pageID=15&r=365  
That sounds like it might be Harry Potter 1 to me! It came out in 2001.

I hope that the book is successful enough to warrant an English translation - but it is exciting to see that a book on perhaps Williams's most iconic music being released all the same.

In the Lovegood house Hermione mentions the mark being on a grave in GH. She asks Lovegood if the Peverell name means anything and he says the three names of the brothers and says they're the inspiration behind the tale.
Its in the film! 

Since Alex asked (sort of), here are all the sound bites given for Prisoner of Azkaban. Unfortunately the nature of the feature is such that 'real' information is scant, and anything and everything is presented in sound bites from these interviews. I imagine these people all had a lot to say and only a precious few seconds were retained for the final product. At least we got what we got.
 
On 'Aunt Marge's Waltz':
Williams: The third Harry Potter film... there were a few off-the-edges experiments in that thing... we just thought a sort of grand oom-pah-pah, blown-up waltz would be fun to do. When we think of a waltz we think of it being light and floating. This is a waltz that is a bit leaden! *chuckles*
 
On the 'Knight Bus' sequence:
Cuaròn: We were discussing what to do with the Knight Bus, and I said, 'Well, what about if we go and we depart a little bit and go a little acid jazz?'... And it was so much fun, the scoring of that. He had a big huge brass band. The biggest brass band I'd ever seen in my life, playing all this music that is funny, is spooky! It's a really bizarre piece of music.
 
William Ross: John is a terrific jazz pianist. He's somebody with a tremendous command of the vocabulary of jazz.
 
Marcia Crayford: John brought in saxophones... there was an accordion so you get this wonderful squeezy noise when the Knight Bus does this [makes flattening motion].
 
Williams: When we recorded the music with the orchestra, I thought Alfonso would tear his hair our and say, 'What is this crazy thing?'; he loved it. It was the quintessential piece of silliness.
 
On 'Double Trouble':
Cuaròn: When we were going to establish the new year at Hogwarts, we had the idea of involving a choir. And we had the kids singing, and there were some toads that were doing, like, some of the rhythms. And we were thinking about what would be the text, and... I said, 'Well, there's the Double Trouble that one of the witches sing in "Macbeth". And when I suggested that, John Williams, he [rings?] me and says, 'Okay, this is the one. This is it.'... And it was so extraordinary when he did that actually; that became the tagline when they were promoting the film. In the posters is "Something Wicked This Way Comes".
 
Emma Watson: I remember particularly watching the trailer, that that was the beginning of it. I remember that being really eerie, and ominous, and exciting and dark, and that getting me excited to see it.
 
On 'Buckbeak's Flight' [ostensibly]:
Williams: The performance of orchestras in films... when they are infused with some magic, like the great live performance, it will do something for the film, I firmly believe... But if you turn the lights out and can't see, and you turn the vocals off, and all you hear is the orchestra, you realize you're hearing a world class performance; a virtuosic performance that supports these scenes, these characters, and locations... the action: flying and so on. The orchestra is flying with them.

Since Alex asked (sort of), here are all the sound bites given for Prisoner of Azkaban. Unfortunately the nature of the feature is such that 'real' information is scant, and anything and everything is presented in sound bites from these interviews. I imagine these people all had a lot to say and only a precious few seconds were retained for the final product. At least we got what we got.
 
On 'Aunt Marge's Waltz':
Williams: The third Harry Potter film... there were a few off-the-edges experiments in that thing... we just thought a sort of grand oom-pah-pah, blown-up waltz would be fun to do. When we think of a waltz we think of it being light and floating. This is a waltz that is a bit leaden! *chuckles*
 
On the 'Knight Bus' sequence:
Cuaròn: We were discussing what to do with the Knight Bus, and I said, 'Well, what about if we go and we depart a little bit and go a little acid jazz?'... And it was so much fun, the scoring of that. He had a big huge brass band. The biggest brass band I'd ever seen in my life, playing all this music that is funny, is spooky! It's a really bizarre piece of music.
 
William Ross: John is a terrific jazz pianist. He's somebody with a tremendous command of the vocabulary of jazz.
 
Marcia Crayford: John brought in saxophones... there was an accordion so you get this wonderful squeezy noise when the Knight Bus does this [makes flattening motion].
 
Williams: When we recorded the music with the orchestra, I thought Alfonso would tear his hair our and say, 'What is this crazy thing?'; he loved it. It was the quintessential piece of silliness.
 
On 'Double Trouble':
Cuaròn: When we were going to establish the new year at Hogwarts, we had the idea of involving a choir. And we had the kids singing, and there were some toads that were doing, like, some of the rhythms. And we were thinking about what would be the text, and... I said, 'Well, there's the Double Trouble that one of the witches sing in "Macbeth". And when I suggested that, John Williams, he [rings?] me and says, 'Okay, this is the one. This is it.'... And it was so extraordinary when he did that actually; that became the tagline when they were promoting the film. In the posters is "Something Wicked This Way Comes".
 
Emma Watson: I remember particularly watching the trailer, that that was the beginning of it. I remember that being really eerie, and ominous, and exciting and dark, and that getting me excited to see it.
 
On 'Buckbeak's Flight' [ostensibly]:
Williams: The performance of orchestras in films... when they are infused with some magic, like the great live performance, it will do something for the film, I firmly believe... But if you turn the lights out and can't see, and you turn the vocals off, and all you hear is the orchestra, you realize you're hearing a world class performance; a virtuosic performance that supports these scenes, these characters, and locations... the action: flying and so on. The orchestra is flying with them.

Since Alex asked (sort of), here are all the sound bites given for Prisoner of Azkaban. Unfortunately the nature of the feature is such that 'real' information is scant, and anything and everything is presented in sound bites from these interviews. I imagine these people all had a lot to say and only a precious few seconds were retained for the final product. At least we got what we got.
 
On 'Aunt Marge's Waltz':
Williams: The third Harry Potter film... there were a few off-the-edges experiments in that thing... we just thought a sort of grand oom-pah-pah, blown-up waltz would be fun to do. When we think of a waltz we think of it being light and floating. This is a waltz that is a bit leaden! *chuckles*
 
On the 'Knight Bus' sequence:
Cuaròn: We were discussing what to do with the Knight Bus, and I said, 'Well, what about if we go and we depart a little bit and go a little acid jazz?'... And it was so much fun, the scoring of that. He had a big huge brass band. The biggest brass band I'd ever seen in my life, playing all this music that is funny, is spooky! It's a really bizarre piece of music.
 
William Ross: John is a terrific jazz pianist. He's somebody with a tremendous command of the vocabulary of jazz.
 
Marcia Crayford: John brought in saxophones... there was an accordion so you get this wonderful squeezy noise when the Knight Bus does this [makes flattening motion].
 
Williams: When we recorded the music with the orchestra, I thought Alfonso would tear his hair our and say, 'What is this crazy thing?'; he loved it. It was the quintessential piece of silliness.
 
On 'Double Trouble':
Cuaròn: When we were going to establish the new year at Hogwarts, we had the idea of involving a choir. And we had the kids singing, and there were some toads that were doing, like, some of the rhythms. And we were thinking about what would be the text, and... I said, 'Well, there's the Double Trouble that one of the witches sing in "Macbeth". And when I suggested that, John Williams, he [rings?] me and says, 'Okay, this is the one. This is it.'... And it was so extraordinary when he did that actually; that became the tagline when they were promoting the film. In the posters is "Something Wicked This Way Comes".
 
Emma Watson: I remember particularly watching the trailer, that that was the beginning of it. I remember that being really eerie, and ominous, and exciting and dark, and that getting me excited to see it.
 
On 'Buckbeak's Flight' [ostensibly]:
Williams: The performance of orchestras in films... when they are infused with some magic, like the great live performance, it will do something for the film, I firmly believe... But if you turn the lights out and can't see, and you turn the vocals off, and all you hear is the orchestra, you realize you're hearing a world class performance; a virtuosic performance that supports these scenes, these characters, and locations... the action: flying and so on. The orchestra is flying with them.

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 think that the part just following the completion of the 1st task offers a good stopping point. Harry and Ron have repaired their friendship, so it ends on a happy note in that respect; at the same time Harry has two more challenges to surpass, which adds anticipation for part 2.

It's astonishing to me to think that some - maybe even most - composers intend for their work to all be recorded separately: first the violins take their turn, then the next day it's horns, then it's woodwinds the next, etc. I guess reliance on the click track is pretty heavy these days.

I like you.

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.

Soule's Chamber of Secrets is on fleek. Very good score. Willow Fight 3 is great and I love his Library cues. 

And since this is a Harry Potter thread, I'd like to point out that the "Three-Note Loop" cue you can find on the sessions was almost certainly for the purpose of being cut up by the editors. I guess Williams's experience on The Phantom Menace taught him a lesson, and he wanted to be one step ahead this time!

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.

The internet is calling this "Gia's Masterpiece." 
 
DenofGeek hails that Michael Giacchino's Doctor Strange is an "incredible" "delight" and nothing less than "essential."
 
One commentator on social media's Twitter says that "John Williams has finally passed the torch" and a Facebook user says "Giacchino has changed everything."  
 
Not all comments have been positive, however, with one user on AICN's talkback saying "Gia s*cks balls, where's Zimmer?" while users on JWFan.com called it "boring" and "wacky" with one perceptive user lamenting the lack of a hurdy-gurdy.
 

Both books are essentially done. On Impossible Silence, we wrapped up editing last spring and completed music example engraving this summer. We are now finalizing end notes (which is no small task as there are easily a thousand). Layout will go quickly as this book is primarily text.
 
Hobbit is written and assembled in a temp layout (and has been for some time), but won't go to final proofing/layout until the studio gives the go-ahead.
 
 

FSM says...
 
 

Interesting info Skelly! Thanks for sharing that bit about POA. What an awful suprise it must have been to discover you had scored the wrong cut of the film. Williams came out of that calamity in flying colours though. The score is ample testimony of that.
 
The term used is "striping", recording different orchestral sections separately. I guess it all stems from the desire to have greater (if not full) control of the music/sound aspects of the post production during the mixing.
 
E.g. many sections of the finale of Howard Shore's The Desolation of Smaug were striped when Peter Jackson wished for more control over the music elements when that part of the film was still in raw state up to the last minute of the final mix.
 
We actually have had a discussion of the practice before.

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.

Added "Dumbledore's Caution" and "Time Transition" to the main post (Philosopher's Stone).
I was going to restore the unused music from 6M2A 'The Library Scene' back into the film, only I discovered there really isn't much unused material at all! The tracked music from the Chess Board scene was there because for some reason 6M2A was way too short, and they needed extra music to fill that gap.

There's a lot we still don't know about it, but there are a few things we know, mostly from the art book, with some additional info from Pablo Hidalgo, Lucasfilm Creative Executive, on Twitter, and GL himself:
 
- Two main characters were Skylar (who became Finn) and Thea (who became Rey).
 
- Lucas's treatment centered on teenagers (so presumably Skylar and Thea were teens). 
 
- Part of the story took place on the planet Felucia (http://starwars.wikia.com/wiki/Felucia). This planet featured in ROTS during the Order 66 montage, looking very fantastical and awesome, but also cartoonish... 
 
 
For what it's worth, though, the art for the planet shown in the TFA book didn't include any of these mushroom things. 
 
- GL was interested in using the Legends character of Darth Talon (http://starwars.wikia.com/wiki/Darth_Talon). 
 
- There were no twins a la Jacen and Jaina (who were never GL's idea anyway). 
 
- There was no Mara Jade. GL didn't ever have her as part of his storytelling.
 
- Chewbacca was in it. 
 
- GL has talked in the 80s and 90s about the sequel trilogy:
 
"If the first trilogy [I,II, III] is social and political and talks about how society evolves, Star Wars [IV, V, VI] is more about personal growth and self realization, and the third [VII, VIII, IX] deals with moral and philosophical problems," he once said. Also, referring to the sequel trilogy, he said, "The other one — what happens to Luke afterward — is much more ethereal ... It would be about the rebuilding of the Republic, the necessity for moral choices and the wisdom needed to distinguish right from wrong. So the sequels, the three films that would follow Jedi, are considerably vaguer." 
 
Along these lines, some of the early concept art depicted a world of fire and ice, a villain with a lightsaber with one red side and one blue side, a Force ghost of half Anakin half Vader, Luke rather than Ren keeping Vader's helmet around, etc. Clearly the artists were inspired by Lucas's "good and evil in all of us" theme. 
 
This isn't much, unfortunately. I've done a ton of research since the film came out and this is essentially all I know. It seems that GL's ideas had already been sort of "rejected" by the time they started creating art in January 2013, so at that point they were in the stage where they were using his treatment as a starting point but weren't actually "following" it. We do know that the treatment was provided to the art team at that time. 
 
Speaking more broadly about how GL's ideas have been used...
 
- He wrote multiple treatments  -- for 7, 8, and 9, he says, (although Pablo Hidalgo says it was only for 7) that he gave to Disney, as well as for a bunch of other movies (for example, all the Anthology films except for Rogue One are his ideas). 
 
- He attended some early TFA story meetings, apparently.
 
- He claims his TFA ideas were discarded; Disney claims the final story used his treatment as a starting point and evolved from there, and that this is perfectly normal. 
 
Hopefully the TFA making of book coming out next year (it's been mysteriously delayed from this month to next spring, and rumors are it may even be canceled. Strange.) will answer some of my questions. J.W. Rinzler has hinted that it will touch on GL's stories. 
 
GL's ideas sound intriguing and I wish we'd gotten to see them realized. Oh well. 
 
EDIT: Oh wow. According to this article - http://www.bloomberg.com/news/articles/2013-03-07/how-disney-bought-lucasfilm-and-its-plans-for-star-wars - Michael Arndt was working on the TFA script and Kasdan consulting before the sale to Disney; in fact, before June 2012. I thought it was after. Interesting. Also in that article:
 
 
It sounds like maybe Iger gave Lucas his word he'd use the treatments ... but then didn't. Who knows. This is kinda like the teaser 2 Williams-or-not situation.  So many conflicting accounts and such. 
 
I actually rather enjoyed the music in the last two trailers (but not that rejected cue). 
 
Incredible work! So much better than what I did. 
 
I love the bit here (are those, like, rock music chords?):
 
 
My favorite musical moment in the last trailer was...
 
 
Of course, none of this can even compare to TFA teaser 2's music. 

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

Yeah, his use of samples is a little grating... there are people who really can wrap their heads around how to make samples sound more realistic and punchy, but the guys who have scored the last trailer or two aren't those sorts of composers (yet).
 
Here's my go at isolating the music. There were a couple unremovable FX near the end but oh well.
I also tried to normalize the volume and undo all the volume dips (that were done to "make room" for the dialogue).
https://drive.google.com/open?id=0Bx_2TC4QmNqkU1NwWmxaZGlFYmc
 
 

LSO is not credited on POA so it is more likely that some of the LSO musicians played on the sessions, as they often do for various London based ensembles, but the actual LSO wasn't engaged so they can't use the name.