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Harry Potter 7CD Collection - MUSIC discussion


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The whole thing is still surreal to me, that I would even be asked to work on something so large and important!  The whole thing came together extremely quickly (especially for 7 discs / 8 hours of mu

This set is the best album I have ever bought. It’s still unreal to me that all of my favourite music from my childhood is newly remastered and released. I’ve been looking forward to discussing every

Williams wrote that music for the deleted Sir Cadogan scene.  The cue was then tracked into two different spots in the final cut, one of which was artificially slowed down.   The little 10 s

3 hours ago, Jay said:

 

Wow, you guys don't miss anything!  That little bit of music wasn't in the sheet music for Reviewing The Recent Past OR Viewing The Recent Past, so I don't know whether to consider it an Extended Ending to the first cue or a New Intro to the latter!

 

Also: Bloody hell!  I've listened to that bit a million times and never noticed it was basically the Buckbeak's Flight melody in disguise!  How cool!

 

I first noticed it when I saw PoA in concert last month. I didn't say anything because I thought it must've been in the sheet music and everyone knew about it 😫

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4 minutes ago, Docteur Qui said:

 

I first noticed it when I saw PoA in concert last month. I didn't say anything because I thought it must've been in the sheet music and everyone knew about it 😫

 

I knew it existed but had not clued in on the melody either until it was mentioned. So it's a fantastic catch!

 

Side question: Would anyone be remotely interested in an analysis of the Music Editing of Prisoner of Azkaban? I'm about half way through, so it'd be a bit before it's finished, but if anyone wants to know more I'd be willing to share. It's less of an editing guide and more of just a reference on what cues are cut down and what techniques were used. It'd be way too detailed incorporating exact time stamps when things were removed.

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56 minutes ago, Once said:

On a somewhat related note I never, ever noticed the connection between 'Harry Gets His Wand' and the beginning of 'The Quidditch Match' (mentioned in the liner notes). I'm not sure I can really hear it, though.

 

Hum the opening “Harry Gets His Wand” tune twice as fast, or the “Quidditch Match” tune (the lyrical one right after that opening march thing) twice as slow.

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3 hours ago, mrbellamy said:

It’s about 2:30 of “Time Past/Saving Buckbeak,” on clarinet.

 

In the movie it’s when Harry/Hermione realize that Buckbeak’s “still alive” before heading down to Hagrid’s hut.

 I never noticed that bit was unreleased or that it was added to the new track or that it was Buckbeak's flight

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Are we talking about  0:17 of Quidditch Match?

1 minute ago, mrbellamy said:

 

And "Filch's Fond Remembrance" reprises the next bit (when Harry holds the wand and the lights flicker)

 

I feel like there might be one or two more.

3:11 of Dueling the Basilisk almost reminds me of that, but I think it is possibly supposed to be a reference to 1:18 of the Chamber concert arrangement.



 

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19 minutes ago, Faleel J.M. said:

Are we talking about  0:17 of Quidditch Match?

 

 

Yeah. First seven notes from there.

 

Not that there's any specific connection he's making...I think it's supposed to go unnoticed, just tying the score together more subconsciously. Or he was working on both of those cues that week and got lazy :P

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Just now, publicist said:

Is anyone editing this stuff to make a real album out of each score, Williams-style? If so, we should do a thread devoted to editing stuff together and whittling it down. 

 

My first priority at the moment is examining the film edits for learning techniques and analysis purposes, but yes, I do have a couple of custom editing ideas for a more "Album" like presentation as a listening option as well. Just haven't gotten to it yet.

 

I should finish up my film edits of Azkaban this weekend, and then I'm going to work on some of those Custom edit ideas. I really want to take a wack at condensing Pettigrew, Sirius, and Additional Double Trouble material into their own compilations like "A Window To The Past". I'd certainly be interested in participating something like this.

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1 minute ago, Richard Penna said:

I considered doing that for JP, with a 'Saboteur' suite consisting of all the little bits missing from the anniversary set.

 

But this... I just don't feel the need to do it. The work of merging all the little cues together is already done.

 

I'm just curious to actually hear some of the cues crossfaded and edited together in a conclusive track. Don't get me wrong, I love how they're presented here. Having the ability to have them basically separate is exactly what I wanted, but I'm also curious how they'd sound flowing into each other a bit more.

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Hey @Jay, just listening to POA for the first time now and the ending of Dumbledore's Warning surprised me! Was the film version editorially created using a sped up version of the following cue (the one that appears immediately after in the track Trouble Takes Many Forms)?

 

3:05 here (the edit is conveniently hidden by the moving stairs):

 

 

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"The Stone" on the LLL album of HP1 is "7M3 Three Note Loop".  It's the cue that goes in between "7M2 The Blue Forest" and "7M4 Running To McGonagall"

 

Why did you think Ross & COS had anything do with it?  I don't follow your thought process here

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22 minutes ago, Chewy said:

I like this film edit, pretty neat.

 

Yeah it's one of the better ones in the film.

 

Some of the edits are awful. More awful than I expected.

 

Snowball Fight is butchered surprisingly terribly (quality of edit wise, it really only has two or three edits in it).

That and Portrait Gallery / Big Doors / Great Hall Ceiling are particularly awful. Most of them just shorten things and aren't particularly bad (having the full track is of course better). In the case of the ones I mentioned: Removing instruments, abrupt edits, retiming, etc. Ugh. The poor music.

 

I can't say that I prefer the film edits of anything of course, but "Brief Snow Scene" has an interesting edit in the film. 

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1 hour ago, Jay said:

"The Stone" on the LLL album of HP1 is "7M3 Three Note Loop".  It's the cue that goes in between "7M2 The Blue Forest" and "7M4 Running To McGonagall"

 

Why did you think Ross & COS had anything do with it?  I don't follow your thought process here

 I made a mistake.I badly remembered Three Note Loop was on the CoS sessions but I checked again and it was HPSS

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Apologies if this has already been discussed, but did anyone catch the opening to "The Daily Prophet", AKA "Mail Drop"? The first two measures aren't in the sheet music or sessions leaks...sounds like a slower version of the first two written measures, with many of the instruments removed. I wonder what the story there is.

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2 minutes ago, Datameister said:

Apologies if this has already been discussed, but did anyone catch the opening to "The Daily Prophet", AKA "Mail Drop"? The first two measures aren't in the sheet music or sessions leaks...sounds like a slower version of the first two written measures, with many of the instruments removed. I wonder what the story there is.

I've been wondering about that too, thank you for bringing it up!

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4 hours ago, MrJosh said:

I have listened through Chamber of Secrets. 

 

It was a great experience! The sound quality is fantastic. Mike's liner notes talking about the mixture of the familiar with the unfamiliar helped me listen to it with a new perspective. 

 

I love all statements of Dobby's theme, the Chamber theme, and Fawkes. I love the brass and action writing in The Spiders Attack and Dueling the Basilisk

 

Hearing 'Harry is a Parselmouth' was so cool to me! As were the alternates! I love the alt ending to Petrified Colin and the Car Drives Off (Alternate)!

 

Oh, and the TV commercial tracks at the end are awesome!

 

 

 

Yeeeeees.

4 hours ago, crumbs said:

I had to stop Azkaban after Summoning the Patronus. What an achingly beautiful track, the last minute especially. The way Williams develops WTTP in this score is simply masterful. 

 

But what really surprises with Azkaban is that the score plays like a chamber piece, as if Williams approached the score like a series of miniatures, ala his Children's Suite for Philosoper's Stone. It's inspired writing, poles apart from his lushly orchestrated approach for the first two scores, and innovative scoring for a blockbuster Hollywood franchise score. Frankly I don't think any composer except Williams would have been allowed to write a score like this in the early 2000s, but for Williams it's simply breathless. 

 

Just goes to show the power of a director-composer collaboration that challenges both parties to branch outside their comfort zone. The result is an innovative, powerful display of how adaptable Williams can be, and how agreeable he is to service the director's needs no matter the project. 

 

This absolutely a great take away. Azkaban truly is innovative and unexpected given the type of film it was attached to. Very well said!

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The score to Prisoner of Azkaban is certainly more chamber music like, if you will, with its choice of medieval (sounding) instruments and somewhat smaller ensemble generally, but it's certainly not as different from PS as some make it out to be. It's certainly not a difference of night and day! Many pieces from PS, but especially Diagon Alley, Fluffy's Harp, Cast a Christmas Spell, and The Banquet have that distinctive medieval sound, as well. Conversely, many pieces from PoA, like Buckbeak's Flight, Mischief Managed!, Quidditch Third Year, The Werewolf Scene, and Aunt Marge's Waltz utilise a full orchestra to great effect!

 

The main difference is not chamber music VS. full orchestra, but rather the tone of these scores. It's just that the tone of PoA is much darker, bleaker, and generally colder than the much warmer and more jubilant and positive Chris Columbus-directed installments.

 

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