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Potter Scoring Project

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  1. Hello everyone, we have some reprises today (lots of Chamber of Secrets again) in Cue No. 24: The Christmas Party and Cue No. 25: Snape and Malfoy! Hope you enjoy!
  2. @Tizzeres, thank you so much! Totally agree on the saga consistency, that was a huge motivator in starting this project. An initial goal of mine was just to temp scenes I disliked as a book fan with Williams just to see if they could fit in and achieve the same emotional impact before we conceptualized a whole arc. It's really great to hear all this work for continuity is working out for you now! We hope you'll enjoy the rest of what we have planned! MS
  3. Thanks @redishere and @WampaRat for such a great reception to HBP!! It really is a bummer we can't share this on YouTube or make it more public in any way. I guess only the cool people know about it. BP
  4. Hi all, here are some little emotional cues for our troubled teens at Hogwarts. We hope you enjoy Cue No. 22: Hermione and Harry and Cue No. 23: Malfoy and the Vanishing Cabinet!
  5. @superultramegaa You are WELCOME. The amount of literal time I've waited to write a quidditch match you don't even know. BP
  6. This week we have "Slughorn's Shelf," a more Tom Riddle-centric cue (more of these to come...) followed by "Quidditch, Year Six"! We had fun even though they're short, and we hope you enjoy Cues No. 20 and No. 21.
  7. @David Müller Haha that's so funny cause when I first played the score for Molly she said something similar. It's a tricky theme cause it has to be sneaky and in the background for almost the entire score. Yes POA is always welcome in Hogsmeade! Glad you liked that. Even though the first four notes of Slughorn's theme match the first four notes of Luna's (though it's technically the opening of her accompanimental material rather than her actual theme), it's missing the hooked rhythm, and because of the different functions of each, I never actually noticed that similarity. I guess I just played it and thought "that's very Williams-y" and called it a day haha. Thank you for the kind words about Malfoy. I feel he needs to have his moment, and I'm glad it's connecting! BP
  8. Today we've got another dark/light combo, starting with an understated Malfoy discussion followed by an awkward Slughorn dinner party. We hope you enjoy Cue No. 18: Accusation of Malfoy and Cue No. 19: The Slug Party!
  9. thanks for the comment! We haven't tackled that yet, but if anyone else on here wants to try we'd have no arguments.
  10. @David Müller You are very welcome! Thank you so much for making an account just to comment here! That means the world to us. I'm so thankful to hear everything you had to say about the project, and that it has a life outside of people just clicking on it every Sunday. Your desire to hear thematic continuity is exactly why we started this project in the first place, so you've come to the right thread. Hope to hear more of your thoughts in the future! @superultramegaa Ok. So. Yes. This has been discussed many times, and I agree with you. I could barely go back and listen to the GOF cues when I needed to check or reference something while writing OOTP and HBP. So I feel you. We were toddlers at this when we first started, and absolutely want to go back and fix it up (as well as some stuff at the beginning of OOTP). It really came down to whether or not we wanted to restore GOF before or after tackling DH. I've finished my work on HBP and am planning to start DH1 in September while Molly finishes mixing and mastering for the remaining cues in Prince. So the short of it is that GOF is up in the air as to "when" but it's absolutely going to happen. BP
  11. @David Müller wow, thank you!! We've had a lot going on and somehow this notification got lost, but Ben will add his thoughts tomorrow as well - this means so much and we are thrilled that some of our initial plans when starting this project are hitting home for you and achieving the emotional beats we had also wanted to see from the beginning. It's still crazy for us that people are listening at all, so sincerely, thank you. I personally cried in theaters too when Desplat quoted Williams - it's really telling how powerful this music can be. We're really glad we can bring a little bit of that impact from Williams into the other films in some way (I would always listen to the JW scores while reading the series and it's been so exciting to work on this project with the thought of hearing those motifs over the whole journey). @superultramegaa hopefully! We feel the same! MS Also, we have two cues today for everyone! Lots of Prisoner of Azkaban-like statements as well. Here's Cues 16 - The Half-Blood Prince and 17 - The Cursed Necklace.
  12. Hi all! Another light moment to contrast the other ominous events. Here's Cue No. 15: Quidditch Tryouts!
  13. We have a short cue for today, but our first main Malfoy-centric scene. Here's Cue No. 14: Malfoy and the Room of Requirement!
  14. @superultramegaa So glad you enjoyed Cue 13! It’s been a dream of mine to finish the Tom Riddle narrative set up so well in COS. In terms of the 3-note, since GOF, I’ve used it in reference to Voldemort’s quest for immortality as well as the Horcruxes (which obviously aren’t introduced yet but will be soon!). Absolutely 100% the best and most chilling part of COS is that paralell of Dumbledore asking both Harry and Tom the same question. Since the 3-note has been consistently used as a Horcrux motif (or more broadly an ‘evil quest for immortality’ motif), it can apply directly to Harry in the sense that he’s the last Horcrux. I can definitely see the 3-note representing Harry’s darker moments like in COS, but more because of the part of Voldemort’s soul that lives inside him than anything else (and what that possible connection means to Harry). This can be seen in the OOTP score when I put it over moments when Harry and Voldemort were directly connected through visions. In HBP, most of the 3-note stuff is used in direct relation to Tom and the Horcruxes since that’s the main plot point of the film. Harry also does not have visions in this film, nor does Voldemort himself appear, so I’ve been as conservative with the 3-note and the two Voldemort themes as I could with this score to leave room for Malfoy and Snape. This also helps the Tom Riddle moments because the listener feels starved for those themes, which gives them a greater impact. Hope this answers your question! Thanks as always for listening and commenting! BP
  15. Hey all, we're back a day later than normal with some long cues this week! A lot of material is reprised from films 2-5 and weaved in with the new. We hope you enjoy Cue No. 12: The Potion Contest and Cue No. 13: The First Memory!
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