Brand New Tintin samples appear on Cinezik.org, Amazon and Qobuz

[Josh500 1,615]

Hmmm, I just realized that there is not much here that reminds me of CMIYC.

The Terminal, yes, but not CMIYC. But of course, there might be CMIYC-like stuff that is not heard in the samples...

[Brónach 1,302]

Yeah, me neither, I just think he said something like that.

[Incanus 5,716]

Hmmm, I just realized that there is not much here that reminds me of CMIYC.

The Terminal, yes, but not CMIYC. But of course, there might be CMIYC-like stuff that is not heard in the samples...

The Adventures of Tintin certainly has the CMIYC quality to my ears. Not so much the score as a whole though.

[Josh500 1,615]

Hmmm, I just realized that there is not much here that reminds me of CMIYC.

The Terminal, yes, but not CMIYC. But of course, there might be CMIYC-like stuff that is not heard in the samples...

The Adventures of Tintin certainly has the CMIYC quality to my ears. Not so much the score as a whole though.

Hmmm, yes. You might be right.

The saxophone especially, and the jazzy rhythm, of course. Good stuff.

[TownerFan 4,984]

I still like KotCS and consider it a good score. But Tintin after hearing all the samples seems to be better and much more creative on JW end.

I too like KOTCS and I'm able to appreciate it for all its qualities. However, just like happened with the SW prequels, I have the feeling that Williams somehow doesn't do his best when asked to revisit old grounds, especially after more than a decade. He probably enjoys the possibility to pay homage to himself in a way, but he probably feels much more enthused when asked to provide music for something completely fresh and new.

[Josh500 1,615]

I still like KotCS and consider it a good score. But Tintin after hearing all the samples seems to be better and much more creative on JW end.

I too like KOTCS and I'm able to appreciate it for all its qualities. However, just like happened with the SW prequels, I have the feeling that Williams somehow doesn't do his best when asked to revisit old grounds, especially after more than a decade. He probably enjoys the possibility to pay homage to himself in a way, but he probably feels much more enthused when asked to provide music for something completely fresh and new.

I wouldn't think so. It probably has to do with the quality of the movie itself, regardless of whether the movie is based on old material or not.

TPM is one of JW's all-time best scores, IMO.

And, of course, don't forget, TLC was also old ground for JW back in 1989 (although it was only 8 years after Raiders).

[Brónach 1,302]

I think it has to do with how the film catches his attention.

I mean, it's KOTCS.

[MSM 126]

This is beginning to sound like one of my fav JW scores ever Snowy's Theme, Shostakovitch and Rachmaninoff would be proud of this! Introducing the Thompsons, irresistable!! And of course the violin solo in Milanese Nightingale...gorgeous

[Jay 37,378]

1. Still no Eye Of Bagghar Theme in ANY of the samples from the 3 websites! Maybe Williams' excised it from the OST?

That theme might appear in Flight to Bagghar or the Pursuit of the Falcon. Otherwise, I have no idea what the Eye is supposed to be

That theme SHOULD appear in AT LEAST "Red Rackham's Curse and The Treasure" and "Return to Marlinspike Hall and Finale", unless Williams microedited it out.

I'm looking at the track list and the trailer and I think we're mainly missing music from the desert scenes here.

YES THANK YOU for noticing that. I too am dissapointed by the lack (so far!) of music from the desert section of the film, because some of my favorite music is from there. Perhaps Williams was not fond of that section of the film and chose not to include much music from it. It also explains why we haven't heard the Eye Of Bagghar Theme much yet, because most of it's occurrences are from that section.

[Jay 37,378]

OK listening to all the new samples and thinking about the score as a whole, I now believe there are TEN themes that make up this score:

1. Tintin's Theme

2. Snowy's Theme

3. Haddock's Theme

4. Thomson and Thompson's Theme

5. The Unicorn Theme (aka the Mystery of the Unicorn Theme)

6. The Unicorn B Theme (aka the Unicorn Revealed Theme)

7. Sir Francis' Theme

8. Red Rackham's Theme

9. The Eye Of Bagghar Theme

10. The Duelling Pirates Theme (only including because Williams made it a theme by expanded it to a concert arrangement End Credits piece)

Whew!

I'm not going to list which samples each theme can be found in.... At this point I'll just wait till I can write and post my complete score analysis and review.

[Incanus 5,716]

1. Still no Eye Of Bagghar Theme in ANY of the samples from the 3 websites! Maybe Williams' excised it from the OST?

That theme might appear in Flight to Bagghar or the Pursuit of the Falcon. Otherwise, I have no idea what the Eye is supposed to be

That theme SHOULD appear in AT LEAST "Red Rackham's Curse and The Treasure" and "Return to Marlinspike Hall and Finale", unless Williams microedited it out.

I'm looking at the track list and the trailer and I think we're mainly missing music from the desert scenes here.

YES THANK YOU for noticing that. I too am dissapointed by the lack (so far!) of music from the desert section of the film, because some of my favorite music is from there. Perhaps Williams was not fond of that section of the film and chose not to include much music from it. It also explains why we haven't heard the Eye Of Bagghar Theme much yet, because most of it's occurrences are from that section.

Do you know how many cues Williams has written for the desert scenes?

And we can hope that the Eye of Bagghar Theme appears in "Red Rackham's Curse and The Treasure" and "Return to Marlinspike Hall and Finale since we have only gotten a small percentage of those tracks in the samples. Unless you know for certain that it should appear in the middle of the samples and it is not there, victim of micro edits.

And Williams really utilized a lot of themes in this score either out of necessity but I bet more likely because he was inspired by the source material. A lot of the music is quite energetic, dexterous material that flits from one idea to the next quite fluidly it seems. Especially Snowy's Theme and Main Theme are everywhere. The orchestrations follow the suit with clarity and assignment of soloist roles. I think it reminds me of Home Alone and TLC in its style the most. Woodwind writing especially conjures HA feel, the action writing TLC. Also Williams relishes the chance to write some period style material like the Milanese Nightingale that is just like out of a 1940's film, like something from David Raksin, Victor Young, Max Steiner or Erich Korngold. There are the classic ponderous chords for appearances of villains and dramatic moments, the rhythmic action of Indiana Jones, racing strings and virtuoso brass that is just John Williams and associated with him and his action adventure scores.

[Josh500 1,615]

After another sample Snowy's theme reminds me of the Tennis Game from the Witches of Eastwick because of the playful piano work in it.

And it has to be said that the score, as noted before, seems highly thematic with significant melodies for the characters making constant appearances through out these clips.

Listen to Shostakovich's piano concerto No.2 (1st movement). It reminded me a lot of that. (the rhythm, the piano 8ves, the harmony and the melodic scales used)

That's right! A very similar techniques applied, the fast chromatic lines played two octaves apart, the constantly shifting key...Great catch.

The prominent use of the piano, played very fast, to represent a little active dog is reminiscent of Chopin's "Minute Waltz." The melody is not necessarily similar, but the idea behind it might be. I wouldn't be surprised if JW had that at the back of his mind when he wrote "Snowy's Theme"...

According to Chopin's biographer Camille Bourniquel:

Chopin got the inspiration for this waltz as he was watching a small dog chase its tail, which prompted the composer to name the piece Valse du petit chien ("The Little Dog Waltz").

[TownerFan 4,984]

FYI, the featured soloist is amazing LA studio pianist Gloria Cheng.

[Josh500 1,615]

FYI, the featured soloist is amazing LA studio pianist Gloria Cheng.

Too bad it wasn't Lang Lang.

Imagine Lang Lang working on Tintin!

[TownerFan 4,984]

I still like KotCS and consider it a good score. But Tintin after hearing all the samples seems to be better and much more creative on JW end.

I too like KOTCS and I'm able to appreciate it for all its qualities. However, just like happened with the SW prequels, I have the feeling that Williams somehow doesn't do his best when asked to revisit old grounds, especially after more than a decade. He probably enjoys the possibility to pay homage to himself in a way, but he probably feels much more enthused when asked to provide music for something completely fresh and new.

I wouldn't think so. It probably has to do with the quality of the movie itself, regardless of whether the movie is based on old material or not.

TPM is one of JW's all-time best scores, IMO.

And, of course, don't forget, TLC was also old ground for JW back in 1989 (although it was only 8 years after Raiders).

Of course it depends mainly on how much he gets engaged by the movie itself. And of course he did always his best on sequels in general. But in the case of the prequels and KOTCS he was somewhat "forced" to return to old grounds, because that's what was expected from him. I feel Williams today does his absolute best when challenged to compose music for something completely fresh and new for him. It looks like Tintin, while being an adventure romp in the style of Indiana Jones films, provided him enough new material to get him fully engaged and inspired. In this sense, it reminds me of PoA.

[Josh500 1,615]

Of course it depends mainly on how much he gets engaged by the movie itself. And of course he did always his best on sequels in general. But in the case of the prequels and KOTCS he was somewhat "forced" to return to old grounds, because that's what was expected from him. I feel Williams today does his absolute best when challenged to compose music for something completely fresh and new for him. It looks like Tintin, while being an adventure romp in the style of Indiana Jones films, provided him enough new material to get him fully engaged and inspired. In this sense, it reminds me of PoA.

Well, PoA was covering old ground as well . . . except that JW mostly came up with new stuff.

Again, in my opinion, whether JW works on a sequel (or prequel) or not, doesn't necessarily have an impact on the quality of the music he writes. Whether the movie is good or bad certainly does. Jaws 2 and The Lost World, in my opinon, are two of JW's best and most creative scores. Also, of course, The Empire Strikes Back, Temple of Doom and The Last Crusade, as well as The Phantom Menace and The Prisoner of Azkaban. In the case of, say, Kingdom of the Crystal Skull, The Chamber of Secrets, and Attack of the Clones (and Home Alone 2), the movies themselves were not quite up to standards set by previous movies, and that might have shown in the music as well. I can almost imagine a dishearted JW saying to himself, "Whoa. Why am I doing this scene again?"

What I mean to say is, KotCS, CoS, AotC, and HA2 were pretty bad movies overall, whereas the other sequels/prequels were very good to pretty decent.

[crumbs 14,319]

I'd much rather see Johnny scoring new, original properties for the rest of his career than even touch an Indy 5 or something we've already heard him do a million times. There's just obviously nothing left for him to explore creatively with some franchises/characters. I'm kind of glad he didn't bother returning for Potter, if it meant Tintin or War Horse would be lesser scores for it.

[filmmusic 1,843]

The thing I always wanted to see him score (but won't ever as the things have turned out) was a 2d animation musical (like disney's beauty and the beast, hunchback, Bluth's american tail, such stuff)/

Tintin is the next close thing to that..

[TownerFan 4,984]

Well, PoA was covering old ground as well . . . except that JW mostly came up with new stuff.

That's exactly my point. He was given free reign to do whatever he thought was best and he came up with a whole new approach/sound. I don't know if this is the result of a director challenging him to write something completely fresh or the fact he felt more engaged by the film itself, but the final result is a score free from any kind of constraints/obligations. And that's the reason he left the Potter franchise, imho. For Star Wars and Indy, instead, he had to return no matter the quality of the movies themselves.

[Neimoidian 14]

I was just listening to The Adventure Continues and it suddenly struck me how much the beginning of that cue, that string build-up, reminds me of Zimmer's PotC. I am preety sure now that Spielberg used PotC cues as a temp track for the scenes with pirates. It's fascinating to see how JW can start from that and come up with something actually interesting and creative.

[Incanus 5,716]

Well, PoA was covering old ground as well . . . except that JW mostly came up with new stuff.

That's exactly my point. He was given free reign to do whatever he thought was best and he came up with a whole new approach/sound. I don't know if this is the result of a director challenging him to write something completely fresh or the fact he felt more engaged by the film itself, but the final result is a score free from any kind of constraints/obligations. And that's the reason he left the Potter franchise, imho. For Star Wars and Indy, instead, he had to return no matter the quality of the movies themselves.

With the Star Wars Prequels and Indy IV Williams had more than 20 years to mature and change as a human being and a composer. He composed them in a different environment and collaborated with people who had changed as film makers as well. And as you said Williams prefers to begin on a clean slate and tries as an artist to create something new more than retread his old steps. His albums are certainly a testament to this where he often deliberately leaves out music which features his older material be it SW or Indy, almost too embarrased about his old music or somehow thinking that fans will think less of him if he presents older material again on the CD. He was during the scoring of Episode I first one to point out that 90 % of the music was new.

So many factors, inspiration, times etc. affect a person and artist same as anyone else. They have good days and bad days. And again art and a piece of art can be an inspired treasure to another man and to the other it is old regurgitation and uninspired. But in general Williams prefers, despite his huge success with fabulous sequel scores, to compose for a fresh project. The self quoting in almost a self homage style has become more prevalent in these sequels made long after the original films either because it is demanded of him by the film makers or he just does feel that it serves the film best, a nod to the old sound/musical ideas near verbatim. And he certainly found a good deal of inspiration in the above mentioned films since he did write some truly excellent material for them. But film composer has to find inspiration or steady flow of ideas no matter what. Sometimes the images and story ignite a spark and sometimes it is truly work, keeping the pencil moving, serving the picture.

For Tintin I feel JW was rather fondly returning to his old sounds and crafting a brand new shiny score full of whimsy and mischief that indeed captures the world of Tintin and his thirst for adventure in all its colorful glory.

[Brónach 1,302]

Anyone else like the glissando in Flight to Bagghar followed by the accordion?

This sounds colourful indeed.

[Jay 37,378]

Do you know how many cues Williams has written for the desert scenes?

And we can hope that the Eye of Bagghar Theme appears in "Red Rackham's Curse and The Treasure" and "Return to Marlinspike Hall and Finale since we have only gotten a small percentage of those tracks in the samples. Unless you know for certain that it should appear in the middle of the samples and it is not there, victim of micro edits.

And Williams really utilized a lot of themes in this score either out of necessity but I bet more likely because he was inspired by the source material. A lot of the music is quite energetic, dexterous material that flits from one idea to the next quite fluidly it seems. Especially Snowy's Theme and Main Theme are everywhere. The orchestrations follow the suit with clarity and assignment of soloist roles. I think it reminds me of Home Alone and TLC in its style the most. Woodwind writing especially conjures HA feel, the action writing TLC. Also Williams relishes the chance to write some period style material like the Milanese Nightingale that is just like out of a 1940's film, like something from David Raksin, Victor Young, Max Steiner or Erich Korngold. There are the classic ponderous chords for appearances of villains and dramatic moments, the rhythmic action of Indiana Jones, racing strings and virtuoso brass that is just John Williams and associated with him and his action adventure scores.

No, I haven't heard evidence of it being microedited out, and you bring up a good point that those two are long tracks that we've only heard a small percentage of

And I love that he created a large amount of short themes instead of a small amount of long fully developed themes. It seems right for the material

[TownerFan 4,984]

With the Star Wars Prequels and Indy IV Williams had more than 20 years to mature and change as a human being and a composer. He composed them in a different environment and collaborated with people who had changed as film makers as well. And as you said Williams prefers to begin on a clean slate and tries as an artist to create something new more than retread his old steps. His albums are certainly a testament to this where he often deliberately leaves out music which features his older material be it SW or Indy, almost too embarrased about his old music or somehow thinking that fans will think less of him if he presents older material again on the CD. He was during the scoring of Episode I first one to point out that 90 % of the music was new.

So many factors, inspiration, times etc. affect a person and artist same as anyone else. They have good days and bad days. And again art and a piece of art can be an inspired treasure to another man and to the other it is old regurgitation and uninspired. But in general Williams prefers, despite his huge success with fabulous sequel scores, to compose for a fresh project. The self quoting in almost a self homage style has become more prevalent in these sequels made long after the original films either because it is demanded of him by the film makers or he just does feel that it serves the film best, a nod to the old sound/musical ideas near verbatim. And he certainly found a good deal of inspiration in the above mentioned films since he did write some truly excellent material for them. But film composer has to find inspiration or steady flow of ideas no matter what. Sometimes the images and story ignite a spark and sometimes it is truly work, keeping the pencil moving, serving the picture.

For Tintin I feel JW was rather fondly returning to his old sounds and crafting a brand new shiny score full of whimsy and mischief that indeed captures the world of Tintin and his thirst for adventure in all its colorful glory.

As usual, you put it out wonderfully.

[publicist 4,643]

That's exactly my point. He was given free reign to do whatever he thought was best and he came up with a whole new approach/sound. I don't know if this is the result of a director challenging him to write something completely fresh or the fact he felt more engaged by the film itself, but the final result is a score free from any kind of constraints/obligations.

I thought it was common knowlege that Cuaron actually demanded the change in tone and Williams obliged, but found the task....tasking, so to speak. If he had free reign, i doubt that he'd have ventured away from his older ideas that much.

[Incanus 5,716]

That's exactly my point. He was given free reign to do whatever he thought was best and he came up with a whole new approach/sound. I don't know if this is the result of a director challenging him to write something completely fresh or the fact he felt more engaged by the film itself, but the final result is a score free from any kind of constraints/obligations.

I thought it was common knowlege that Cuaron actually demanded the change in tone and Williams obliged, but found the task....tasking, so to speak. If he had free reign, i doubt that he'd have ventured away from his older ideas that much.

I find it great that a director demands something different from the composer and challenges him to think differently about the music, trying to create something he might not have done before. HP 3 is a good example of this in Williams' ouvre. Memoirs of a Geisha is another.

[indy4 155]

To me the samples don't sound like old fashion JW at all (not that that's a bad thing!). Although I do recall hearing something that sounded like it could've been from LC.T

That said, I've only listened to the clips once or twice for fear or spoiling to audio experience, so I could be wrong.

[publicist 4,643]

I hear lots of HOME ALONE, HOOK and PHANTOM MENACE...the Prokoviev is unmistakable, as is the pirate-y music. LAST CRUSADE, of course, which occassionally flirts with Satie.

[Josh500 1,615]

Well, PoA was covering old ground as well . . . except that JW mostly came up with new stuff.

That's exactly my point. He was given free reign to do whatever he thought was best and he came up with a whole new approach/sound. I don't know if this is the result of a director challenging him to write something completely fresh or the fact he felt more engaged by the film itself, but the final result is a score free from any kind of constraints/obligations. And that's the reason he left the Potter franchise, imho. For Star Wars and Indy, instead, he had to return no matter the quality of the movies themselves.

Well, my point was, you can't generalize--at all. Not all (or even most) sequel scores are bad, or inferior to completely original works, etc. etc.

PoA is just one example. You fail to address the other examples I mentioned (Jaws 2, Home Alone 2, The Lost World, etc).

[MSM 126]

And Williams really utilized a lot of themes in this score either out of necessity but I bet more likely because he was inspired by the source material. A lot of the music is quite energetic, dexterous material that flits from one idea to the next quite fluidly it seems. Especially Snowy's Theme and Main Theme are everywhere. The orchestrations follow the suit with clarity and assignment of soloist roles. I think it reminds me of Home Alone and TLC in its style the most. Woodwind writing especially conjures HA feel, the action writing TLC. Also Williams relishes the chance to write some period style material like the Milanese Nightingale that is just like out of a 1940's film, like something from David Raksin, Victor Young, Max Steiner or Erich Korngold. There are the classic ponderous chords for appearances of villains and dramatic moments, the rhythmic action of Indiana Jones, racing strings and virtuoso brass that is just John Williams and associated with him and his action adventure scores.

Nice comments I feel exactly the same

[Tom 4,673]

on the issue of what these samples sound like, I cannot shake a Star Wars trench run feeling with the French sites clip of the Pursuit of the Falcon.

[MSM 126]

After another sample Snowy's theme reminds me of the Tennis Game from the Witches of Eastwick because of the playful piano work in it.

And it has to be said that the score, as noted before, seems highly thematic with significant melodies for the characters making constant appearances through out these clips.

Listen to Shostakovich's piano concerto No.2 (1st movement). It reminded me a lot of that. (the rhythm, the piano 8ves, the harmony and the melodic scales used)

That's right! A very similar techniques applied, the fast chromatic lines played two octaves apart, the constantly shifting key...Great catch.

The prominent use of the piano, played very fast, to represent a little active dog is reminiscent of Chopin's "Minute Waltz." The melody is not necessarily similar, but the idea behind it might be. I wouldn't be surprised if JW had that at the back of his mind when he wrote "Snowy's Theme"...

According to Chopin's biographer Camille Bourniquel:

Chopin got the inspiration for this waltz as he was watching a small dog chase its tail, which prompted the composer to name the piece Valse du petit chien ("The Little Dog Waltz").

Actually the style of Snowy's Theme is much more expressionistic, much in the vein of Shatakovitch' 2nd Piano Concerto:

[Jay 37,378]

Anybody else take all the samples and edit them together? I discovered that the amazon and cinezik.fr samples usually come from at or near the beginning of each track, while the cinamusica.dr samples come from any damn random place they chose.

I also found that for 3 of the tracks, the samples from all 3 sites can be combined to form one long continuous track:

02 Snowy's Theme (1:13)

10 Capturing Mr. Silk (0:49)

15 The Captain's Counsel (1:20)

For 5 of the tracks, the amazon sample is completely redundant & not needed, but the cinezik.fr and cinamusica.de samples combine to form one long track:

1 The Adventures of Tintin (0:46)

3 The Secret Of The Scrolls (0:45)

5 Marlinspike Hall (0:51)

11 The Flight To Bagghar (0:53)

12 The Milanese Nightgale (0:47)

For the remaining 10 tracks, the amazon and cinezik.fr tracks combine to form a long track, but the cinamusica.de sample comes from a different part of the track and therefore doesn't connect:

04 Introducing The Thompson's and Snowy's Chase (0:31 & 0:30)

06 Escape From The Karaboudjan (0:30 & 0:37)

07 Sir Francis and the Unicorn (0:43 & 0:30)

08 Captain Haddock Takes The Oars (0:50 & 0:30)

09 Red Rackham's Curse and The Treasure (0:56 & 0:30)

13 Presenting Bianca Castafiore (0:36 & 0:30)

14 The Pursuit of The Falcon (0:50 & 0:30)

16 The Clash of the Cranes (0:30 & 0:32)

17 Return To MarlinSpike Hall & Finale (0:52 & 0:29)

18 The Adventure Continues (0:30 & 0:42)

I got a total of 19:22 of unique music between the 3 sites. And it sounds great! Especially the longest sections. Can't wait to hear the whole thing!

Some other thoughts:

1. The more I listen to it, the more I am pretty sure "Presenting Bianca Castafiore" will be a track that doesn't even make it to my personal edit, and is skipped over often when listening to the OST. I'm sure it's perfect for the film, but I don't enjoy it on its own.

2. Red Rackham's Theme in "The Clash Of The Cranes" is freaking AWESOME

3. Snowy's Theme (The track) is quite the virtuoso performance! I'm amazed at the skills of all the players here, but especially the piano. Its great, and something unlike any other film music I'm familiar with.

4. The European flair to parts of "Introducing The Thompsons and Snowy's Chase", "The Flight To Bagghar", and "The Milanese Nightingale" is simply exquisite!!! I love it!

5. I love Haddock's Theme! I can't wait to hear more of the normal variations, instead of the Hook and Home Alone style ones we have so far.

6. I want the OST now!!

[Incanus 5,716]

I have to say I agree with pretty much every one of those few thoughs Jason. Especially thought # 6.

[Josh500 1,615]

3. Snowy's Theme (The track) is quite the virtuoso performance! I'm amazed at the skills of all the players here, but especially the piano. Its great, and something unlike any other film music I'm familiar with.

I agree. Makes me wonder, in fact, whether the short piano bursts are quite random, or intended to accompany Snowy's movements, like the window jump... whether it's a case of mickey-mousing (and I mean it in a good way), in other words.

6. I want the OST now!!

Yes!!!

[Sandor 797]

Anyone else getting a really positive vibe from the mystery/Unicorn theme..? If anything comes close to the really 'classic' sound from Williams, it's this theme I feel. I'm sure it will do wonders in the film.

[Josh500 1,615]

I am still amazed at how many themes there are in this 110 minute movie.

Aren't there more themes here than in HP&PS?

[crocodile 8,020]

Oh I don't know. The first HP had like 10 recurring themes or so.

Karol

[Josh500 1,615]

Oh I don't know. The first HP had like 10 recurring themes or so.

Karol

Well, so does Tintin!

And HP was a what? 140-minute movie?

[crocodile 8,020]

I think they were like 8 of them in KOTCS as well (March, Marion's theme, Skull's theme with it's B theme as well, Dovchenko's theme, Irina's theme, Mutt's variation on Raider's March, Mutt scherzos also have some few connecting dots, Ark's theme for some reason).

Karol

[Sandor 797]

Quality > Quantity. Remember JP or SL...?

[Josh500 1,615]

Okay:

Hedwig's Theme

Harry's Theme

Harry's Theme (2)

Nimbus Theme

Voldemort Theme (1)

Voldemort Theme (2)

Voldemort Theme (3)

Hogwarts Theme

That's 8. What am I forgetting?

[crocodile 8,020]

Oh no dear Roald. Size DOES matter (contrary to popular belief).

That's 8. What am I forgetting?

Qudditch fanfare. And I'm sure there is another one.

Karol

[Josh500 1,615]

Remember JP or SL...?

Quality wise? About the same.

They are just completely different styles/genres.

[MSM 126]

Guys any of you also obsessed by the rhythmic drive, playfulness and harmonic development of Introducing the Thompson's where the clarinet and accordion kick in? I can listen to those 15 sec for hours

[crocodile 8,020]

I just listened to samples as an apetizer of sorts. Don't want the sample overload. Will wait these few days or week.

Karol

[Josh500 1,615]

That's 8. What am I forgetting?

Qudditch fanfare. And I'm sure there is another one.

Karol

Well, yes, I thought of that, but that's only heard once in the movie right (during Quidditch)? Same with Ron's Theme.

So technically they are not themes.

[Incanus 5,716]

Okay:

Hedwig's Theme

Harry's Theme

Harry's Theme (2)

Nimbus Theme

Voldemort Theme (1)

Voldemort Theme (2)

Voldemort Theme (3)

Hogwarts Theme

That's 8. What am I forgetting?

Well Hogwarts Theme functions as a theme for Gryffindor as well. The Quidditch Fanfare could be considered a theme as it is used several times during the game but naturally is confined into the match. The Great Hall has its own theme which is stated a couple of times and so does Diagon Alley that makes another appearance in COS and Williams obviously meant it to be a theme for the location. The reoccurence is the surest way of determining leit motifs but distinctive melodies and motifs can be counted as themes as well depending on the situation.

[Sandor 797]

Remember JP or SL...?

Quality wise? About the same.

They are just completely different styles/genres.

I meant; those scores didn't feature a plethora of recurring themes, but the themes it DID have were totally awesome. I would rather see a score have 2 or 3 truly memorable themes than 10 average ones. Not saying Tintin's or Harry Potter's themes aren't memorable.

[Josh500 1,615]

Well Hogwarts Theme functions as a theme for Gryffindor as well. The Quidditch Fanfare could be considered a theme as it is used several times during the game but naturally is confined into the match. The Great Hall has its own theme which is stated a couple of times and so does Diagon Alley that makes another appearance in COS and Williams obviously meant it to be a theme for the location. The reoccurence is the surest way of determining leit motifs but distinctive melodies and motifs can be counted as themes as well depending on the situation.

Well, anything that is heard only once in the movie (or only in one scene) is IMO not a theme.

So Diagon Alley and Quidditch Fanfare are, IMO, not themes.

If we considered these themes, then we might as well consider the Chess Game and Fluffy's Harp themes, as well.

Remember JP or SL...?

Quality wise? About the same.

They are just completely different styles/genres.

I meant; those scores didn't feature a plethora of recurring themes, but the themes it DID have were totally awesome. I would rather see a score have 2 or 3 truly memorable themes than 10 average ones. Not saying Tintin's or Harry Potter's themes aren't memorable.

Ah yes. Agreed!

Though I wouldn't complain about 4 or 5 awesome themes (and 5 or 6 mediocre ones), either, like we seem to have here with Tintin...