HP: Prisoner of Azkaban Complete Cue List & Analysis

[Mr. Breathmask 555]

Try the trading board anyway.

You should know by now I usually remove requests for complete edits in General Discussion.

[Marcus 390]

The introductory figure to track 13 is indeed a variation of Sirius's Theme, which is in itself a variation of the fanfare figure from "Harry's Wondrous World".

[Damo 0]

Hey has anyone worked out what source cue is called from Lupin's record player in that boggart scene???

[Demodex 557]

Sirius's Theme appears in 3 cues, 1 of which is on the soundtrack.

Where is it on the soundtrack?

[John Crichton 4]

Qudditch, Third Year, when the Grim appears in the clouds.

[Demodex 557]

Is that the recurring four-note motif throughout that track?

If not, what time in that track does it appear?

[Demodex 557]

Hello? Anyone?

[Ray Barnsbury 8]

1:35 in Quidditch, Third Year.

Ray Barnsbury

[Demodex 557]

Thanks.

[fommes 153]

(Bump.)

Thanks to MV on the FSM board I FINALLY know what source music is used and adapted (with synth overlay) in the X-Files episode "Triangle". This is the same big band piece that is used as source music in the classroom Boggart scene in POA:

Hot Liquorice, by Dick Walter

The complete piece in 128 kbps MP3 can be found here:

http://www2.playkpmmusic.com/pages/viewcd/viewcd.cfm?cdnum=1700

I think if you work inside the TV, radio, etc. industry, you can register there and download it in lossless.

[Jay 37,320]

Woah, awesome!

FINALLY!!

I still don't get why it wasn't listed in the end credits of the movie.

[Muad'Dib 1,801]

Awesome indeed! I always thought it was a Johnny piece for some reason.

[scallenger 483]

I don't see this discussed in this thread anywhere so I thought I'd post it here. The Prague recording of "Double Trouble", as featured on the "Essential Harry Potter" CD set from 2007, is a different version than the OST variation. Is it some kind of concert version, sort of like how Williams had different concert versions of tracks from Sorcerer's Stone, as shown in the complete recordings that were revealed. For example, in this same Prague set, the "Nimbus 2000" track is exactly the same as the one Williams himself recorded on his complete recording for SS. So you think he did his own recording of this "Double Trouble" variation as well. I really hope one day a complete recordings of POA gets released... just to see how many versions of it he actually did. That makes there be 4 known versions so far, right? 1) Album, 2) Film, 3) Trailer, 4) Concert (if you do believe this Prague version came from one of Williams own variations).

http://www.amazon.com/Essential-Harry-Potter-Music-Collection/dp/B001GKXGIG/

[fommes 153]

Yes, it's his own concert version, just like Bridge to the Past. Where have you been?

He didn't record this at the recording sessions though I believe; it was afterwards, like Irina's Theme concert version.

[Incanus 5,713]

Yes, it's his own concert version, just like Bridge to the Past. Where have you been?

He didn't record this at the recording sessions though I believe; it was afterwards, like Irina's Theme concert version.

Indeed Williams later created the proper and imo absolutely stunning concert version of the Bridge to the Past.

[scallenger 483]

I guess I am late to the game with this info, for I have never heard the concert version of Bridge to the Past. Where can it be heard, if anywhere? (Please PM me if needed).

[fommes 153]

On that same CD.

[King Mark 3,626]

one thing that's still not clear to me.

The 12 seconds that opens the End Credits in the film version missing from the OST

Is that an insert recorded later or another stellar Ramiro Belgart microedit in the OST?

[Henry B 50]

It's an edit.

[King Mark 3,626]

the c.d. or the film version?

[Datameister 2,037]

The truncated version heard on the OST is the way it was originally recorded. The film version contains an insert at the opening of the credits. (Incidentally, I believe the big horn statement of Hedwig's theme just before that was also an insert, but I'm not so sure about that one.)

[King Mark 3,626]

ok, so it's not the c.d. editor's fault in this case

[Datameister 2,037]

Nope, they just didn't include the insert.

[fommes 153]

That's scary! What if ALL the so-called micro-edits are in fact... inserts. My whole belief system is shattered.

[Henry B 50]

Really? I trust the sheet music, but this bears mentioning. Notice that, unlike in the film version, the final horn note of Hedwig's theme is held to its full length before the transition to the insert. So the film version actually has a tiny micro-edit. Anyway, I assumed that this was a raw recording, but I guess the programmers for this game got a hold of the version with insert.

This news also corroborates something I've suspected about the much-lamented OST edits: that oftentimes the edits are only made to restore Williams' compositional intentions.

[Datameister 2,037]

Really? I trust the sheet music, but this bears mentioning. Notice that, unlike in the film version, the final horn note of Hedwig's theme is held to its full length before the transition to the insert. So the film version actually has a tiny micro-edit.

Yep, the film version isn't completely unedited, either.

This news also corroborates something I've suspected about the much-lamented OST edits: that oftentimes the edits are only made to restore Williams' compositional intentions.

Well, it's kind of difficult to just talk about a composer's intentions without any reference to time. Stuff gets revised, and what the composer intends on one day may not be what he intends by the time he's finishing up his work on the score. If we're talking about Williams' original intentions - his very first attempts at scoring the film - then the track "Mischief Managed" fails to capture that. It uses the revised cue that replaced the original unused cue "A New Broomstick", and instead of transitioning from the family/past/whatever theme into a new abridged recording of Hedwig's theme, it segues to music tracked from the rest of the score. In short, the majority of this track does not express Williams original intentions.

So-called edits in OSTs do sometimes reflect the way cues were originally written. Another example: there's nothing edited out of the beginning of ROTS's "A New Hope and End Credits." It starts with the cue "A Home for the Twins" exactly as it was recorded. The film version has a revised beginning that was recorded separately, so while the OST might seem at first like they edited out some music, all they did was fail to edit in the insert. But there are plenty of instances of material truly being edited out. Even in ROTS, there are many examples. For instance, the climactic passage near the end of "It Can't Be", some unimportant harp material after the choir cuts out in "Grievous Travels to Palpatine", some repetitive bits in "Boys Into Battle" and "They're Coming Around" - all of these were originally written and recorded with the rest of the music, but they were omitted from the OST because Williams (ostensibly) didn't want them there. Edits of this nature abound in Williams albums. These aren't about his original intentions for the film - they're just about his rather different intentions for the albums.

[Henry B 50]

Right - I didn't mean to make a blanket statement that all OST edits represent Williams' writing in its most original form.

With "It Can't Be," for example, I feel like there's a good chance the unreleased material is something that Williams had to add right before the recording session to account for a new cut of the film. It's awesome, but it just doesn't quite fit, I feel.

[Datameister 2,037]

Looks to me like they were written at the same time. I also disagree about it not fitting, but that one's just a matter of personal taste.

[gamelanwhisper 1]

I do have the scores of HPatPoA [handwritten by E. Karam and C. Pope][pdf], it was NEARLY COMPLETE.. but dissapointly there's no BUCKBEAK's FLIGHT cues AT ALL... the only cue that has the buckbeak's theme is in 7m5 : The Rescue of Sirius [enough for but..] hmm interesting...... x[ [excuse my english]

[mrbellamy 6,272]

Has anybody else noticed that "Sirius Black's Theme" shares the same first three intervals as "Voldemort Revealed"?

At 0:49 -

http://www.youtube.com/watch?v=kBRSPaASLFA

At 1:45 -

[JamieC 13]

Here's a nice consideration of Harry Potter 3. It doesn't mention JW at all but given that the music is as much a part of the fabric of the film as its visual and other sound elements we can 'sort of' consider the score as an implied part of why it's a fascinating entry in the series:

http://www.davidbordwell.net/blog/2013/09/18/harry-potter-treated-with-gravity/

[Muad'Dib 1,801]

Talking about POA on The Book Thief topic and how eclectic this Harry Potter score was considered to be, it got me into thinking about one of the most curious (and unreleased) cues from the soundtrack.

I'm talking about Harry's Vow. Also known as Brief Snow Scene.

Now this a cue that no thematic material whatsoever but it still extremly interesting and -I believe- so different from the rest of the score. I imagine Cuarón tracked it with something very specific and asked Williams to do something similar, but I can't find any evidence or music to support that. Therefore it's only a speculative theory. But it's still a very curious cue, and one that I haven't seen discussen anywhere around here I believe.

It has such a specific mood and it's quite haunting, and even a very different approach to what any other director might have asked for. Radcliffe's acting is over the top and cringe-worthy even, but the music doesn't go over the top. It stays down, soft, hurt... As you can see, this cue truly intrigues and fascinates me.

That's about it, just wanted to see if anyone else was interested on this cue.

[Jay 37,320]

Great little cue!

[bollemanneke 3,338]

Bump. Can we discuss the concert suite?

 

I was wondering how accurately the City of Prague recordings correspond to the signature edition.

 

Aunt Marge's Waltz is the same as on the OST.

 

The Knight Bus has some differences, I think.

 

I find it extremely odd that in Double Trouble, they repeat the first stanza twice, neglect the second one and end with a shout.

 

Witches, Wizards and Wands is a great name, but an odd cue: 70% of Quidditch and then just some random little cues added.

 

A Bridge to the Past is superior to its OST counterpart... in my humble opinion.

 

Thoughts?

[crumbs 14,304]

 

This has bugged me for years. Is the distortion of the high note here a performance flub, a recording/mixing error, or simply the noise this instrument makes when you go so high?

 

Either way, it irritates me. I wouldn't be adverse to Matessino fixing it when he finally tackles the Potter scores (please, PLEASE be soon... it's long overdue at this point).

[Score 770]

On 5/24/2017 at 2:09 PM, bollemanneke said:

Bump. Can we discuss the concert suite?

 

I was wondering how accurately the City of Prague recordings correspond to the signature edition.

 

Aunt Marge's Waltz is the same as on the OST.

 

The Knight Bus has some differences, I think.

 

I find it extremely odd that in Double Trouble, they repeat the first stanza twice, neglect the second one and end with a shout.

 

Witches, Wizards and Wands is a great name, but an odd cue: 70% of Quidditch and then just some random little cues added.

 

A Bridge to the Past is superior to its OST counterpart... in my humble opinion.

 

Thoughts?

 

I've seen this only now. The City of Prague recording corresponds to the Signature Edition score, including the different arrangement of Double Trouble (ending with a shout). The Knight Bus was slightly rearranged for concert performance and also combines several film cues into one (again, as in the Signature Edition score). 

 

 

 

[Brundlefly 2,385]

On 6/9/2004 at 11:31 AM, Jay said:

14. Lupin's Transformation and Chasing Scabbers 3:01

[0:00-1:33] (1:33) The title of this track is misleading. It is not the music for when we see Lupin first transform, but the music for the SECOND werewolf scene. It starts with Harry & Hermione's talk about him seeing his dad cast the Patronus, and continues through Harry and Hermione racing over to the Whomping Willow when they hear Lupin transform again. After Hermione performs her wolf-call, an excellent percussion based chase piece ensues in the film; But here on the album we segue to another cue before that extraordinary piece plays.

[1:33-end] (1:28) Scabbers runs away and Ron is taken into the Whomping Willow by Sirius. It runs 0:50 in the film. I?m not sure, but the plucked strings portion (the part similar to Flight From Peru from Raiders), could be an alternate take in the film.

It's funny that it wasn't immediately obvious to everyone that the plucked strings were intended to accompany the werewolf chase and not the Scabbers chase.

[A. A. Ron 1,740]

You guys bumping this thread made me think Jay had finally made a spreadsheet for this score.

[Brundlefly 2,385]

This will never happen.