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. Safe to say it was an inspiration at least. And again, this is motivated by the harmony, the new note being part of the new chord. (: Thanks, Stefan! Hi! to be clear: i didn't add the commercials, this is done by the original creators. So in a sense, it seems that Doyle is thinking more harmonically when arranging the theme whereas Williams was thinking more melodically and thwarting our expectations for “normal” notes of the scale at points where they would seem inevitable. English is not my nativ language and in this way it will be easier for me to put the chord on the right place. Hi Mark, Learn how your comment data is processed. Mit einem Gesamt-Einspielergebnis von ungefähr 7,7 Milliarden US Dollar sind die 8 Filme die erfolgreichste Filmreihe aller Zeiten. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. It will be nice you add the name of chords under the note. The Arrival of Baby Harry 4. Letters from Hogwarts 5. HTML tags allowed in your comment:

. And I agree this is not nearly as good as the original. Ausgewählte Artikel zu 'filmmusik harry potter' jetzt im großen Sortiment von Weltbild.de entdecken. Many of Williams’ themes for blockbuster action films are marches, which are always set in a two- or four-beat meter. ( Log Out /  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. I am excited to go through all these posts and read them. The tune doesn’t ring any bells with other pieces for me. 3. 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. The recognizable theme sound track from the movie (Hedwig’s theme) starts off with the use of a high-pitched mystical melody, then orchestral string instruments are used to play the harmony. Of the several themes Williams composed for the film, the most prominent is “Hedwig’s Theme”. Yesterday I went to an organ recital where Viernes Symphony no 4 was one of the highlights. Even so, I would attribute it to his tendency to vary his ideas. Finally, the third last note in the original is A#, an appropriately quirky note that again suggests mystery (raised 4 of the scale). Includes original track lists plus 6 bonus tracks for the Deathly Hallows Part 1. Hedwig’s Theme breaks down into two closely related sections I simply call A and B. I do what I can to contribute to the growing literature on film music. Thanks a lot! Williams’ avoidance of the tonic therefore gives the theme a feeling of being suspended in the air like a wizard on his broomstick. So all the notes of the chromatic scale are present in the theme. John Williams uses mostly orchestral sounds in the movie. I loved reading this. I was trying to analyse this theme by myself. But I do think it’s interesting that the Tchaikovsky is appropriated for the Secret of the Blue Room. Only 11 notes of the chromatic scale are used by Williams. But usually this variation occurs within the confines of a rather short 8-bar theme, like the A or B sections of Hedwig’s Theme, which are great examples. I just found this analysis and commentary. It does well by exaggerating the action and adding to the mood and without music like this, Harry Potter wouldn’t be as gripping. Hier gehen die Schüler sieben Jahre zur Schule (vom 11. bis zum 17. 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. This relates to the movie as Harry and Hermione are going back in time. Prologue 2. Interessant ist, dass auch Doyle, wie schon Williams, kein klares Thema für die Hauptfigur entwickelt.Was diesem vielleicht am nächsten kommt, ist der Track "Harry in winter". the harmonies are mostly really long notes, which help give the atmospheric effect. In the years leading up to the talkie, music for movies was often played from anthologies full of cues composed for various emotions and images. So finden sich "Hedwigs Thema" und auch das Thema aus "Harrys Wondrous World" in zahlreichen Variationen wieder. In the moderate waltz-like tempo of the theme, the three-beat meter evokes a feeling of elegance and grace that befits a wizard’s ability to get out of many jams quickly and easily with, for instance, the simple casting of a spell. Notice that this note comes a half step (or semitone) down from the preceding B, which is scale degree 5. As you point out, the film is from 1933, which was just a few years after the introduction of sound film, or the “talkie”. During less tense scenes, John Williams mostly uses long high-pitched sounds, a thinner texture, and he tries to give it a more “at ease” sort of feeling but at the same time he is able to convey that something big is going to happen soon. Harmonically, Hedwig’s Theme is essentially in the key of E minor, but the chord progressions are anything but typical for a minor key. Was allerdings ganz klar erschaffen wurde, ist ein Thema für die Bedrohung durch Voldemort, vielleicht sogar für Voldemort selbst. Using an electric guitar really won’t fit as Harry Potter isn’t rock ‘n’ Roll. The ticking getting gradually louder also acts as a good metronome. Throughout the theme song, the harmony is playing a riff, while higher pitched instruments of the orchestra, for example violins, are playing fast melodies which adds to the idea of “rushing” and adds to the fast paced mood of the film. 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. Personally, I have a hard time hearing Williams’ Harry Potter theme is a rehash of Swan Lake. Hi Aurelia. Although this theme may originally have been intended only for Harry’s pet snowy owl named Hedwig, its pervasiveness throughout the film captures much of the general air of mystery and wonder that a child like Harry would feel in becoming part of a world filled with wizards, witches, and magic. But at the same time, the celeste is associated with the imagi… astaraeel@icloud.com, Where can i find the notes to Hedwig’s theme. Since the progression is inexplicable, it creates an aura of wonder as well, a perfect musical accompaniment for a world of magic and mystery. 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. But that’s because of the harmony Patrick Doyle is using – the new note now fits with the new chord, so it makes sense that way. We began to murder ruthlessly the works of Beethoven, Mozart, Grieg, J.S. You mean Secret of the Blue Room. I look forward to reading the rest of your analyses. Released on 30 October 2001, the score was composed and conducted by John Williams. Das Märchen von den drei Brüdern For example, the harmonies at the start of bars 20 and 22 are from a family of chords known as “augmented sixths”, which tend to have an unearthly sound when paired with a sustained tonic note (pedal point) in the bass, as here. 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. 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. Da sie populär wurde und stets mit Harry Potter in Verbindung gebracht wird, findet sie auch in den Folgefilmen Anwendung. Mit Klick auf "Einverstanden" setzen wir zusätzlich Cookies und Dienste von Drittanbietern ein, um unser Angebot durch Analyse des Nutzungsverhaltens zu optimieren, um Nutzungsprofile zu erstellen, interessenbezogene Werbung anzuzeigen, sowie die Webseiten … I’ve just found this site after reading about John William’s inspirations for his music. 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? Again, Saint-Saëns’ “Aquarium” is another well known example of this. 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). Für den vierten Teil der Harry-Potter-Filme war Patrick Doyle, für … 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. Besonders im Winter sind die "Harry Potter"-Filme über Generationen hinweg beliebt. Then ı wondered if anyone else did this kind of thing and here we go! Argh, sorry my fault! i don't earn a penny with this video. Lebensjahr), um im Anschluss je nachdem auf die Universität oder in die Berufsau… Harry Potter und der Stein der Weisen ist der erste Teil eines der größten Phänomene der Unterhaltungsindustrie dieses jungen Jahrhunderts. The song “Double Trouble” is sung by the school choir while the film score for the movie that reflects mysteriousness and eeriness plays. The first out of a 7 book series, it quickly became a worldwide phenomenon. You’re right it is hard to find analytical work on this music. 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. 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. Fortschritte anderer Nutzer von Harry potter filmmusik. 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. Many of Williams concert versions of his scores are available in the Signature Series offered by Hal Leonard. Although the mood and tempo were very different, there was something in the intervals of the notes on the recurring theme which reminded me of Hedwig’s Theme. As shown in the example below, the first two bars of the theme outline the E minor chord, and the bass extends the E into bar 5, all of which clearly establishes the key. Most themes or sections of themes usually close with two cadence chords: dominant and tonic, in that order. Sound effects are used to emphasise even the tiniest of actions to make the scene more dramatic. Svan Lake? While the first five bars are entirely in the key of E minor, the sixth bar introduces a note foreign to it— F natural, which is the lowered form of scale degree 2. https://www.youtube.com/watch?v=b1QhNz117CQ. Any ideas? No problem. 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. the harmonies are mostly really long notes, which help give the atmospheric effect. Weiß verschneite Turmspitzen, warmes Butterbier aus Hogsmeade, Eulen, die Weihnachtsgeschenke bringen. 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. As shown in the example below, bars 9 and 10 of the theme return to the original E minor chord along with the same opening melody. Great analysis. Your email address will not be published. Harry Potter and the Philosopher’s Stone (or in the U.S., Harry Potter and the Sorcerer’s Stone) was the first in the series of seven fantasy novels that chronicle the adventures and coming of age of J. K. Rowling’s famed boy wizard, Harry Potter. Your email address will not be published. Saint-Saëns’ famous piece, “Aquarium” from Carnival of the Animals, is a prime example. 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. Please listen to Charles-Camille Saint-Saëns “Animal Carnival” part of the “Aquarium”. Here is the entire B section: But there are some significant changes in the B section as well. It was to early. Change ). ( Log Out /  During the more tense scenes, John Williams creates a thick texture, he uses clashing chords and increases the tempo and the volume dramatically. Probably the most distinctive feature of the first A section is its orchestration. But even so, because the theme is usually heard in the films when Harry is the focus of attention, it may well be thought of as mainly representing the magical world as seen through Harry’s eyes. Diese besondere Atmosphäre wird getragen von fantastischer Filmmusik. We began to dismember the great masters. Check your inbox or spam folder to confirm your subscription. Just when I thought I nailed the melody in my head, when after listening to it again I heard the off-notes in the second version! Zu diesem zauberhaften Geburtstag hat unsere Filmmusik-Redaktion eine Best of-Playlist der Harry Potter-Soundtracks zusammengestellt. Harry Potter Music Analysis. Please enable JavaScript on your browser to best view this site. If there is a way to contact you for a few questions, let me know. Indeed, Williams even writes “Mysterioso” at the start of the score. Hey, I just wanted to thank you for all the great analysis of these works. The Music of Harry Potter Das magische Konzert-Erlebnis im Wohnzimmer. Greetings from Argentina. Hi Em. It’s good to have others’ ears and eyes spot new things! Thanks, KL. Bach, Verdi, Bizet, Tschaikovsky and Wagner — everything that wasn’t protected from our pilfering by copyright.”. 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. Diagon Alley and the Gri… Congratulations for your work! After listening to it, I notice that there are a couple of other small note changes. Hedwig’s Theme is different, however, because it is set in a three-beat meter, which creates an entirely different feel. The concert version of Hedwig’s Theme actually incorporates two themes: Hedwig’s Theme and the Flying Theme (or “Nimbus 2000”, the name of Harry’s broomstick). But there is a G#, it’s just written as Ab in my example (bar 12 in my second example) because it’s part of an F minor chord. The two friends proceeded to share a slow dance to lift their spirits. Die Stücke sind für Flöte, Klarinette, Alt-Sax, Tenor-Sax, Trompete, Horn, Posaune sowie eine optionale Klavierbegleitung arrangiert. 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. That end credits piece is the big theme from Tchaikovsky’s Swan Lake. ( Log Out /  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. John Williams & The Philosopher’s Prisoner of Secrets – Peter's Site! Complete soundtrack playlist for all 8 Harry Potter Movies. Unsere Mitarbeiter haben es uns zur obersten Aufgabe gemacht, Varianten jeder Variante zu checken, dass Sie zu Hause einfach den Filmmusik Harry Potter sich aneignen können, den Sie als Kunde kaufen wollen. Give me a day or two and I’ll see what I can do…, Thank you for your excellent commentary. 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. The music from Harry Potter gives a very gripping and atmospheric effect. Since the dominant is the fifth note of the scale, it is, in a sense, “high up” from the “ground” tonic note with which the theme began. mb. O Children is a song by Nick Cave and the Bad Seeds. 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. Williams is one of my all-time favourites. 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! But in Doyle’s version, it’s changed to a more normal scale-degree 5 (a semitone up). He does this by adding silence between notes. JAVASCRIPT IS DISABLED. This ousting of the usual dominant chord shifts the sound of the cadence out of the ordinary world and moves it into the realm of the strange and ethereal. In Hedwig’s Theme, after the string of minor chords, Williams ends the section with two chords (see above musical example). Thanks for the insightful analysis. Curiouser and curiouser…. May be will analyze these two works on the subject of plagiarism? 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. This site uses Akismet to reduce spam. To me they sound entirely different and I wouldn’t say they are in any way connected. The soundtrack was nominated for Best Original Score at the 74th Academy Awards. Indiana Jones hat seinen Marsch, Luke Skywalker seine Fanfare und Forrest Gump sein Feder-Thema. Hear these two passages below (from the start of each clip). Also, what was Ab in the original theme now becomes the equivalent of A-natural, again rendering it the normal note found in the scale, so a bit less strange and mysterious. Content on this site may not be reproduced in any way without written permission from the author. But when Williams restates the whole 8 bars of a theme, he usually keeps the notes the same, so this is unusual that way. 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. 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. I believe that “Hedwige Theme” is plagiarism. Did you notice that the A and B melodies have 1 note in each which shifted in the repeat? Sicheres & geprüftes Online-Shopping bei Weltbild.de! Harry potter filmmusik - Die TOP Favoriten unter allen analysierten Harry potter filmmusik. Probably the most distinctive feature of the first A section is its orchestration. Music Analysis: Harry Potter. Harry Potter und Ich Die Handtasche der Queen Ein Jahr im Leben von J. K. Rowling Harry Potter: Quidditch-Weltmeisterschaft (Spiel-Soundtrack) Magic Beyond Words: Die zauberhafte Geschichte der J. K. Rowling Harry Potter: Beyond the Page. This would explain the childlike sense of wonder heard in the ethereal sounds of the celeste, as well as the features that suggest strangeness, mystery, and the magic of flight. The recognizable theme sound track from the movie (Hedwig’s theme) starts off with the use of a high-pitched mystical melody, then orchestral string instruments are used to play the harmony. Usually having an orchestra gives you a thicker texture which really helps in creating an atmosphere. I agree! But at the same time, the celeste is associated with the imaginative world of children primarily through the “Dance of the Sugar Plum Fairy” from Tchaikovsky’s ballet, The Nutcracker, whose fanciful creatures are presented through a young girl’s dream. 1. Harry Potter and the Sorcerer’s Stone is the first in a series of seven books centering on protagonist Harry Potter. 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. I had noticed the note in the A section that was changed (a D# becomes D natural), but I had not noticed the note in the B section, where a B is subtly chnaged to C. So thank you! Scores are not the most popular kind of music in anywhere, you know, but I love it and texts so great as yours are difficult to find. Anyway, well done! The music from Harry Potter gives a very gripping and atmospheric effect. 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. Thanks, Felipe. 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. Harry's Wondrous World - Similarly structured to the family theme, it changes from the tune of Hedwig's Theme to a more hopeful and lively theme. Have you noticed that Hedwig’s theme was altered starting with the fourth film? John Williams Themes, Part 1 of 6: The Force Theme, John Williams Themes, Part 2 of 6: Star Wars, Main Title, John Williams Themes, Part 3 of 6: The Imperial March (Darth Vader’s Theme), John Williams Themes, Part 4 of 6: The Raiders March (Indiana Jones’ Theme), John Williams Themes, Part 5 of 6: Theme from Jurassic Park, John Williams’ Superman Theme (Superman March). Vor allem der Fakt, dass viele Melodien aus Harry Potter und der Stein der Weisen übernommen wurden, trug dazu bei. We keep your data private and do not share it with any third parties. I’m a very enthusiastic on film scores and found your blog reading the Brazilian “Revista Cultura” magazine. The theme sound to me an awful lot like Burial of Kije from Sergei Prokofiev’s “Lieutenant Kije.”. 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. Change ), You are commenting using your Facebook account. A reason for this might be because orchestral sounds might fit the mysterious feel of Harry Potter better than an electric guitar. "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. Below is the melody for the entire A section of Hedwig’s Theme, which itself divides into two phrases. Great stuff! Lol, KL. Schaut man präziser nach endeckt man vornehmlich Erfahrungsberichte, die den Artikel ohne Beschränkung für gut befinden. The Music of Harry Potter Das magische Musik-Erlebnis Live in Concert Solisten, Sänger und Musiker der Cinema Festival Symphonics Spektakuläre Licht- und Leinwand-Animation Seit 20 Jahren ziehen die „Harry Potter“-Filme weltweit und über Generationen hinweg Menschen in ihren Bann. 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. I find the opening of the melody strongly reminds me of another piece, but can’t put my finger on what that is. 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. 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. Pingback:John Williams & The Philosopher’s Prisoner of Secrets – Peter's Site! Required fields are marked *. Hedwig's Theme ist eine Komposition, die John Williams für den ersten Harry-Potter-Film geschrieben hat. Hi, Mark. Your analysis was fascinating, thank you. I appreciate the clearly-set examples, also. I was curious enough to see if anyone else had thought the same. April 2, 2012. This kind of semitone motion from 5 to #4 in a minor key is another musical feature that has associations with mystery. With the previous D# the F takes the minor third we would have had and “squashes” it into a diminished third, and with the following B it “squashes” a perfect fifth into a diminished fifth (or tritone). The music of the Harry Potter film series was recorded and released in conjunction with the post-production and releases of each of the eight corresponding films. Herzlich Willkommen auf unserer Seite. The Harry Potter films have continued the success of the franchise, collectively earning over $7.7 billion at the box office. 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.

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