Finally, the third last note in the original is A#, an appropriately quirky note that again suggests mystery (raised 4 of the scale). We keep your data private and do not share it with any third parties. Wir verwenden Cookies, die für die ordnungsgemäße Bereitstellung unseres Webseitenangebots zwingend erforderlich sind. But in Doyle’s version, it’s changed to a more normal scale-degree 5 (a semitone up). The music from Harry Potter gives a very gripping and atmospheric effect. I am happy to read such a good analysis. ( Log Out /  It’s good to have others’ ears and eyes spot new things! Content on this site may not be reproduced in any way without written permission from the author. I am excited to go through all these posts and read them. Probably the most distinctive feature of the first A section is its orchestration. Includes original track lists plus 6 bonus tracks for the Deathly Hallows Part 1. Thus, as we have seen throughout this series of posts, Williams creates his effect by aligning many different aspects of the music towards a common expressive goal. You’re right it is hard to find analytical work on this music. [email protected], Where can i find the notes to Hedwig’s theme. As you point out, the film is from 1933, which was just a few years after the introduction of sound film, or the “talkie”. Required fields are marked *. May be will analyze these two works on the subject of plagiarism? Patrick Doyle entwickelte für den vierten Potter viele neue Themen und Motive. I was curious enough to see if anyone else had thought the same. It was to early. It opens with a solo that combines synthesized and real sounds of the celeste, a keyboard instrument whose keys strike metal bars that sound like small bells. Did you notice that the A and B melodies have 1 note in each which shifted in the repeat? Das Märchen von den drei Brüdern Notice that this note comes a half step (or semitone) down from the preceding B, which is scale degree 5. That end credits piece is the big theme from Tchaikovsky’s Swan Lake. "Lily's Theme" (aus Harry Potter und die Heiligtümer des Todes, Teil 2; von Alexandre Desplat) - Filmmusik-Analyse Fast jeder Film hat mindestens ein musikalisches Hauptthema. In Harry Potter and the Prisoner of Azkaban, John Williams employs diegetic music by having the characters in the film sing a song that combines with the background music. And I agree this is not nearly as good as the original. I find the opening of the melody strongly reminds me of another piece, but can’t put my finger on what that is. As many others said, its hard to find such texts on the internet. Alle Filmmusik Harry Potter aufgelistet. The B section of Hedwig’s Theme shares many of the musical features of the A section: it is exactly the same 16-bar length, it retains the same orchestration in the celeste, and it closes with virtually the same 6-bar passage. For an excellent demythification of criticisms of Williams’ film music, particularly with regard to what others hear as plagiarism, see chapter 8 of Emilio Audissino’s John Williams’s Film Music, a great read all the way through as well. Hedwig’s Theme is one of the more flexible themes in Williams’ oeuvre as it does not represent a single specific character or thing the way, say, the Imperial March represents Darth Vader and the Empire. In Hedwig’s Theme, we do end on the tonic (in the last bar above) but the chord preceding it is not the dominant, it is the dominant of the dominant, which leads us to expect the dominant chord next. Enjoy! I was trying to analyse this theme by myself. In this audio clip, A is heard from the start, B begins at 0:17, A appears again at 0:45, B at 1:01, and A once more at 1:18: Below is my film music analysis in which I take a look at some of the musical techniques Williams uses to convey the feeling of magic and mystery associated with the world of Harry Potter. Ich habe schon öfters den Titel Harry Potter und der Stein der Weisen auf Englisch in zwei verschiedenen Versionen gesehen : ,,Harry Potter and the Philosopher's Stone" und ,,Harry Potter and the Sorcerer's Stone" Warum gibt es im englischen 2 unterschiedliche Titel und was ist der Unterschied? As soon as we hear those opening notes of ‘Hedwig’s Theme’ in Harry Potter and the Philosopher’s Stone (2001) – or the Sorcerer’s Stone, as it’s known in the US – we are immediately whisked away into Harry’s wizarding world through a flurry of strings and that haunting, solo celesta. Again, Saint-Saëns’ “Aquarium” is another well known example of this. What’s interesting is that the demand became so high for anthology music from a publisher named Belwin that, as one composer employed for the company colourfully wrote, ““in desperation [Belwin] turned to crime. Any ideas? Harry Potter and the Sorcerer’s Stone is the first in a series of seven books centering on protagonist Harry Potter. John Williams scored three films in the series starting with the first, Harry Potter and the Philosopher’s (or Sorcerer’s) Stone. The last repetition of the A section continues this rushing figure in the strings but now sounds the melody more powerfully in the French horns. Give me a day or two and I’ll see what I can do…, Thank you for your excellent commentary. Music Analysis: Harry Potter. You’re right that the theme is changed in the fourth film and has the normal scale-degree 2 rather than the flat version Williams wrote. From the fourth film on, the F natural in the sixth measure was changed to an F-sharp, which spoils the melody for me. Die Musik zu den Harry-Potter-Filmen wurde von vier verschiedenen Komponisten geschaffen: Für die Musik der ersten drei Filme war der bekannte Filmkomponist John Williams verantwortlich, der unter anderem auch Hedwig's Theme komponierte, das inzwischen als Hauptmelodie der Harry Potter Verfilmungen gilt. Yeah, the B section’s second version (C instead of B) is really hard to nail down when singing it out, cos it’s just so unnatural! The magic of this score lies in the fact how John William is able to make film music that would fit all the themes in the movie perfectly and would be catchy enough to be remembered and noticed by the audience at the same time. Zu diesem zauberhaften Geburtstag hat unsere Filmmusik-Redaktion eine Best of-Playlist der Harry Potter-Soundtracks zusammengestellt. In 1997, while Hermione Granger and Harry Potter were camping out together after Ron Weasley decided to abandon their hunt for Lord Voldemort's Horcruxes, this song came on the radio. If there is a way to contact you for a few questions, let me know. In Hedwig’s Theme, after the string of minor chords, Williams ends the section with two chords (see above musical example). Rowling also wrote a few companion books to the series, including The Tales of Beadle the Bard and Fantastic Beasts and Where to Find Them (the latter of which has also been turned into a movie). With the first repetition of A, Williams adds a prominent figure of rapid scales in the strings, harp, and celeste that paints a more vivid musical picture of the sorts of aerobatics that wizards, witches, and their owls engage in. Harry Potter Music Analysis. Probably the most distinctive feature of the first A section is its orchestration. HTML tags allowed in your comment:
. to be clear: i didn't add the commercials, this is done by the original creators. English is not my nativ language and in this way it will be easier for me to put the chord on the right place. Searched for a G# the whole time and havn’t found the Ab. Anyway, well done! Both the A and B sections are repeated, then the A is stated one last time before the piece moves into the “Nimbus 2000” theme. But at the same time, this triple time creates a lightness and buoyancy in the music, a floating quality that captures the feeling of taking to the air, as wizards so often do. ( Log Out /  But I do think it’s interesting that the Tchaikovsky is appropriated for the Secret of the Blue Room. The theme sound to me an awful lot like Burial of Kije from Sergei Prokofiev’s “Lieutenant Kije.”. Die Harry Potter Instrumental Solos - Selections from the Complete Film Series enthält erstmalig eine Sammlung aus allen acht Filmen des Harry Potter Epos. Das Grundkonzept dieser Filmmusik war vollkommen anders als das der vorherigen Filme. I do what I can to contribute to the growing literature on film music. (: Thanks, Stefan! BTW, a more extended analysis of Williams’ Superman March is now posted here – it draws on the points I gave in the Brazilian article but takes them further. It opens with a solo that combines synthesized and real sounds of the celeste, a keyboard instrument whose keys strike metal bars that sound like small bells. The music from Harry Potter gives a very gripping and atmospheric effect. Because the celeste is not exactly an everyday instrument, it has something of an ethereal sound, all the more so in Hedwig’s Theme since the sound is electronically manipulated and therefore literally unreal. Curiouser and curiouser…. Safe to say it was an inspiration at least. Harmonically, Hedwig’s Theme is essentially in the key of E minor, but the chord progressions are anything but typical for a minor key. Prologue 2. So the Tchaikovsky in Blue Room is likely a kind of sustaining of an earlier standard at a time when that standard was in flux and over the next few years to turn confidently towards the original score. This relates to the movie as Harry and Hermione are going back in time. This site uses Akismet to reduce spam. A reason for this might be because orchestral sounds might fit the mysterious feel of Harry Potter better than an electric guitar. Change ), You are commenting using your Facebook account. 3. what is the scale of the notes in HEDWIGS theme, Interesting that AMC is playing secret of the blue moon this evening and the end song during the credits is the harry potter theme…although the former film was released in 1933…love to see your analysis and then it begs the question is John Williams just rehashing the precursor and took it to the bank? The tune doesn’t ring any bells with other pieces for me. Hedwig’s Theme is different, however, because it is set in a three-beat meter, which creates an entirely different feel. Das Stück "Lily's Theme" (Link: Hörbeispiele) ist sicher einer der Höhepunkte und ein ganz zentrales Thema des Filmes, denn in abgewandelter Form erscheint es immer wieder. Sound effects are used to emphasise even the tiniest of actions to make the scene more dramatic. Was allerdings ganz klar erschaffen wurde, ist ein Thema für die Bedrohung durch Voldemort, vielleicht sogar für Voldemort selbst. Since the progression is inexplicable, it creates an aura of wonder as well, a perfect musical accompaniment for a world of magic and mystery. Learn how your comment data is processed. Indeed, Williams even writes “Mysterioso” at the start of the score. April 2, 2012. Als 2004 der dritte Film der Serie, Harry Potter und der Gefangene von Askaban erschien, komponierte Williams auf Wunsch des neuen Regisseurs Alfonso Cuarón auch diese Filmmusik. Diese besondere Atmosphäre wird getragen von fantastischer Filmmusik. Thanks for this. Please listen to Charles-Camille Saint-Saëns “Animal Carnival” part of the “Aquarium”. Harry Potter and the Sorcerer’s Stone In 1997, J.K. Rowling changed the world forever when she published her first book, Harry Potter and the Sorcerer’s Stone. Because the celeste is not exactly an everyday instrument, it has something of an ethereal sound, all the more so in Hedwig’s Theme since the sound is electronically manipulated and therefore literally unreal. Da sie populär wurde und stets mit Harry Potter in Verbindung gebracht wird, findet sie auch in den Folgefilmen Anwendung. Hi Em. Another note foreign to E minor that Williams introduces is A#, the raised fourth scale degree (#4), which first appears in the melody in bar 13. Besonders im Winter sind die "Harry Potter"-Filme über Generationen hinweg beliebt. Die Filmmusik zu Harry Potter und die Kammer des Schreckens wurde vielfach eher gleichgültig aufgenommen. 954 Words4 Pages. https://www.youtube.com/watch?v=b1QhNz117CQ. Ausgewählte Artikel zu 'filmmusik harry potter' jetzt im großen Sortiment von Weltbild.de entdecken. Williams has used a series of minor chords before to accompany similarly mysterious circumstances: the opening scene of E.T., when the aliens are collecting samples of the Earth’s plant life and we are unsure at this point whether or not these aliens are friendly, and in Raiders of the Lost Ark as the theme for the Ark itself, whose divine source of power is shrouded in mystery. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Change ), You are commenting using your Google account. As we saw, this note is part of the strange dominant-like harmony of the bar, but at the same time it also creates odd-sounding intervals in the melody. He does this by adding silence between notes. Pingback:John Williams & The Philosopher’s Prisoner of Secrets – Peter's Site! There was also a continuous ticking sound as Harry and Hermione were travelling back in time signifying that time is running out and it builds up to the suspense. mb. I wonder why he did that. Most themes or sections of themes usually close with two cadence chords: dominant and tonic, in that order. This kind of semitone motion from 5 to #4 in a minor key is another musical feature that has associations with mystery. Filmmusik Harry Potter - Die besten Filmmusik Harry Potter ausführlich analysiert! Released in 1997, the novel ignited the imaginations of countless fans and the seven novels together have sold over 450 million copies to date, making Harry Potter the best-selling book series in history. Change ). The fifth note of the theme is now the raised 4th of the scale rather than the normal version, which adds a bit of that mystery I talk about in the post with the sharp-4 degree. Methinks so. Thanks, Felipe. I’m doing what I can to try and change that. But in bars 11-12, the music suddenly heads in a new direction, sounding out three more minor chords that bear no relation to one another. Thanks for the kind words. But in bar 6, we get a very strange chord: Taken together, the notes of bar 6 are B-D#-F-A#, which is similar to E minor’s dominant seventh chord, B-D#-F#-A. I look forward to reading the rest of your analyses. Yesterday I went to an organ recital where Viernes Symphony no 4 was one of the highlights. The use of Hedwig’s theme in the music reflects to the idea of nostalgia and going back in time, as Hedwig’s theme was used in the first movie. The Arrival of Baby Harry 4. Letters from Hogwarts 5. ( Log Out /  The ticking getting gradually louder also acts as a good metronome. But by substituting F# with F, and A with A#, he instead creates a chord that cannot be fully explained, much like the workings of a wizard’s magic. John Williams uses mostly orchestral sounds in the movie. The soundtrack was nominated for Best Original Score at the 74th Academy Awards. JAVASCRIPT IS DISABLED. So all the notes of the chromatic scale are present in the theme.