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Harry Potter 7CD Collection - MUSIC discussion


Jay

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1 hour ago, Jay said:

Yup, Lumos was a different take (or assembly of takes) on the album than the take (or assembly of takes) used in the film, so Mike included it in the bonus tracks to be comprehensive.  Compositionally there are no differences.

Is there a list somewhere of all alternates that are different takes, but the exact same composition?

Because those are admittedly the ones that don't really interest me, since I basically don't hear the difference anyway...

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So when all the speculation was going on Jay actually knew about this, just not the release date I assume. 

1 hour ago, Jay said:

It's sort of a slightly different melody every time, but basically Discussing Black, The Grim, Quidditch Third Year, Confrontation in the Shrieking Shack

 

Time stamps?

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You can't tell there's a similar idea in all those tracks?  Or Mike's description of the theme in the liner notes don't help you?

I don't have time to figure out timestamps right now, but maybe somebody else can

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5 hours ago, Josh500 said:

Spare me such comments. I don't get your German sense of humour! 😂 

As a German I lack any kind of humour.

 

5 hours ago, Josh500 said:

Again, to each his own. Some people just can't see it. That's OK.

Once and for all, to each the truth. Some people just can't see that there is nothing to see. That's not OK.

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1 hour ago, Mr. Who said:

Some HP6 trailer music has already been released, although not the "trailer" version:

 

 

Yep! I’ve got that one. Thanks for bringing it up though! I’m really after the IMAX Theatrical Trailer:

 

 

 

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2 hours ago, Faleel J.M. said:

Do do DOOOOOO doooo.

 

0:52 of Monster Book and Discussing Black

 

Thanks

2 hours ago, Faleel J.M. said:

0:33 The Grim / The Newspaper

 

Thanks

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Finally got the box and started listening to HP1. The box and presentation is great, and its good that we finally can legally have the complete music. But I am very disappointed in one respect: The dynamic range is severely reduced compared to the session leaks. The session sound like a large orchestras should sound (and does e.g. during HP live in concert!), while the Box has crushed the dynamic range to almost pop music likeness. Just compare the fight against the troll, stop after 1 minute or so and then start the first or second track of Disc 1. The music sounds almost as loud as the troll music! Unfortunately this seems to be another victim to the loudness wars. For listening in the background or during driving this is ok, even helpful. But when I want to hear the true orchestral sound at home on the stereo, I will go back to the session (which I planned to delete after purchase of the box). A Pity.

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6 hours ago, Incanus said:

 

Also that pizzicato material was clearly too whimsical for the scene and I prefer the driving percussive insert (precursor of the Episode III Grievous material) and it was an astute call on the part of the film makers to rescore it.

 

My God, it just came to me...

 

That pizzicato section, JW was channeling "Flight from Peru" from Raiders! Holy smokes! It's the same thing, practically. That's why it sounded so familiar to me all these years! From 0:38... :D

 

 

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I get what you mean @Gurkensalat I've been listening to the 'mastered' sessions edits for so long that this set has taken some time to get used to. There's noticeable differences between PS and CoS, the latter has a more amped (?) feeling, certainly a bit hissier. 

 

 

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3 minutes ago, Nick Parker said:

I don't remember the scene as it is in the film

 

16 hours ago, crumbs said:

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What do you mean?  That's the same footage as the film.

 

Did you mean to say music, ie "I don't remember the music as it is in the film"?

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7 minutes ago, Josh500 said:

I really love the pizzicato cue...  And I think I know (or I can guess) why JW originally chose to score it that way. It's frantic chase music, all right, but at the same time it somehow needed to be quiet chase music, because it's in the middle of the night, everything's quiet, and you don't want to unnecessarily draw the werewolf's attention! At least, that might have been JW's reasoning.

 

That's an interesting way to look at it, actually

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10 minutes ago, Jay said:

What do you mean?  That's the same footage as the film.

 

Did you mean to say music, ie "I don't remember the music as it is in the film"?

 

Well if the final version of the music is very percussion oriented, that means the scene plays out very differently to me. So I'm referring to the music specifically in how it works in context.

 

9 minutes ago, Josh500 said:

 

Misstep? Not at all! 

 

I really love the pizzicato cue...  And I think I know (or I can guess) why JW chose to score it that way. It's frantic chase music, all right, but at the same time it somehow needed to be quiet chase music, because it's in the middle if the night, everything's quiet, and you don't want to unnecessarily draw the werewolf's attention! At least, that might have been JW's reasoning.

 

Like I said before, I like that it's almost surreal with its harmonies and everything. He might've thought of intensity by contrast, and that having these frantic, weird plucked passages would increase the tension by having this more "unfamiliar" music. Not in terms of dynamic intensity, but he went for a similar approach that next year in Revenge of the Sith, when Palpatine's face gets deformed by his lightning. There he wrote really wacky-ass music (in that case I think they were wise to leave it unscored).

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Nick, the percussive music used in the film at the end of the track "Lupin's Transformation" in the main program of the LLL album.

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Just now, Jay said:

Nick, the percussive music used in the film at the end of the track "Lupin's Transformation" on disc 7 of the LLL set.

 

I don't have the set, so the film would be my reference point.

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2 hours ago, Josh500 said:

Misstep? Not at all! 

 

I really love the pizzicato cue...  And I think I know (or I can guess) why JW originally chose to score it that way. It's frantic chase music, all right, but at the same time it somehow needed to be quiet chase music, because it's in the middle of the night, everything's quiet, and you don't want to unnecessarily draw the werewolf's attention! At least, that might have been JW's reasoning.

This! Thank you!

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Yea I mean, who knows if the scene was edited differently or had different footage or whatever when Map To Snow Scene was written. Unless the sketches leak we may never have any idea. 

 

Nice work on both videos! 

I think Cuaron was right to drop the beginning and replace that part towards the end for the film. It's better that way in the film, though of course Williams intentions are better on album. 

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43 minutes ago, Jay said:

I think Cuaron was right to drop the beginning and replace that part towards the end for the film. It's better that way in the film, though of course Williams intentions are better on album. 

 

Agreed. It's really hard to believe how many alternate sections and tracked music the film yielded. Cuaron is clearly extremely detailed in his musical thinking, knowing exactly how to accentuate his visuals with musical tone. Such a shame their collaboration ended after one film, there's simply not enough opportunities for Williams to stretch his creative talents with Star Wars alone. And clearly Cuaron's film delivered a plethora of inspiration for him. 

 

8 hours ago, Faleel J.M. said:

I like both takes (the unrecorded insert vers is better than the OST one tho IMO), though I prefer the film version seeing as it's so Savage, and I LUV Savage brass cues.

 

Wait, what? Williams wrote a third version of the werewolf chase and it wasn't recorded? 

 

Edit: Actually I vaguely remember someone pointing this out earlier in the thread. Williams initially wrote a string overlay for the pizzicato strings before abandoning the idea outright or something.

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