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Harry Potter 7CD Collection - MUSIC discussion

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So how come these obvious widespread grand sheet music revelations never made it into the 10 year old accessible cue lists on the main page or your brand new fandangled updated 20 page spreadsheet instead of keeping up the gatekeeping or (sometimes condescendingly) implicating more info is available... somewhere...

 

Or maybe the booklets could have included the cue names and slates already, with an additional few pages, or cutting down on repeating some of the pictures like the Radcliffe/Columbus pointing one, but Mike only does them occasionally, seemingly randomly. A.I. gets one, ST:TMP gets one, Superman gets one, Potter and CE3K don't for some reason.

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7 minutes ago, fommes said:

Is the Diagon Alley Reveal insert supposed to supplant 0:11-0:17 of the track, or was it indeed an insert that extends it?

 

I have no clue but my sync attempt seems to fit pretty well as far as only the opening is concerned:

 

 

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The other day I started wondering about the alternate HP1 logo music. Where do we think was its original placement? Looking at the slate number and looking at it from a purely musical level, I can't imagine that it could havpe played right before the arrival cue, but then where would it have been? Somewhere between 1M1 and 1M3, for instance, right before they enter the zoo?

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I just guess it was the original opening, for the Warner logo at the very beginning, before Williams, Columbus or both decided it wasn't right and the new Logo at the beginning of the film and LLL Track 1 was written.

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Just noticed something interesting: I have embraced the train station-flying car transition. My new computer comes with some great Dolby Atmos normalise/crystalise tool and makes the transition sound much, much better, even perfect!

 

(Listening to the HP3 pub music now and feeling at peace with the world.)

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5 hours ago, bollemanneke said:

It does! I know it's weird, but now it sounds great.

 

Does it still sound "off" to you if you listen to it on other equipment? I'm wondering if you've simply gotten used to the timing of the edit. In my experience, these sorts of segues sound more and more natural the more you listen to them.

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Is that choir little cue at the beginning an edit from the editors or really an unreleased cue that isn't on the LLL set but plays in the movie?

 

 

I can't see what cue we have on the LLL set this could come from :( 

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We know the Azkaban editors did a great job making their edits unnoticable but this seems a bit too much to pitchshift and reedit from the following cue, and too similar to be some synth choir which I could maybe believe the film's Apparition ending could be.

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53 minutes ago, bollemanneke said:

So is this the guy who is finally going to give us the isolated score? I must say I prefer the original composition, though (end of Three Broomsticks), must be one of the most haunting cues I've ever heard.

That guy seems to get the "film-only" cues from 5.1/7.1 channel isolation.

 

By the way, another thing: in "Befriending the Hippogriff", there is a big difference between the film and the LLL version in the beginning of the cue when the harpsichord plays:

 

Did Mike use a wrong take for his presentation?

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4 minutes ago, Jay said:

I know *exactly* what you mean!

 

Keep listening and it will happen :)

 

And yea, I really love that ending rendition of the familiar Hedwig's Theme arrangement, it's performed just differently enough to make it feel fresh IMO

 

I hope I'll stop expecting it.  But then again, it might not ever happen.  The Beatles "1" compilation from 2000 was the first Beatles release I owned and I listened to it CONSTANTLY.  By probably 2002 I had gotten to Revolver, but STILL to this very day when "Eleanor Rigby" finishes my brain expects "Penny Lane" to start (which followed it on 1).  This is despite the fact that I listened to 1 for two years and I've listened to Revolver for 16!  These things can be hard to shake.

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So now that this thread has been bumped... Rescue of Sirius, brass notes when Sirius turns his head before it goes into Buckbeak. 3 ascending, 2 descending, then it goes into direct buildup mode. 

 

 

Is that some form of the Family theme, not too unlike the [musical mumbojumbo like key or something] in Leaving Hogwarts? Huge if true!

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2 hours ago, Holko said:

So now that this thread has been bumped... Rescue of Sirius, brass notes when Sirius turns his head before it goes into Buckbeak. 3 ascending, 2 descending, then it goes into direct buildup mode. 

 

 

Is that some form of the Family theme, not too unlike the [musical mumbojumbo like key or something] in Leaving Hogwarts? Huge if true!

 

I think it is a variation of the family theme but it is slightly offkey and people will only make it out if they really pay attention. I think it needed that 6th descending note to make it more recognizable. 

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So, now that the thread has been bumped, does anyone also thinks that this part on Dementors Converge combining choir and orchestra in an epic symphony of doom and hell is a little similar to ROTS' Anakin's Dark Deeds?

 

0:59 - 1:23

 

 

1:44 - 1:52

 

That makes even sadder that Williams didn't got to score other Potter movies beyond the third one. If he got this dark just on PoA, imagine him scoring the return and the rise of Voldemort? More choirs from hell!

 

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Seems wrong to demand Williams be continually tied to an endless stream of boring teen melodrama for five more movies. There's only so much of that crap a viewer can take, let alone one film composer who has to cook up new and original music for it every time. You people view Williams like he's your little plaything!

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