Conclusion Discussion

After we each watched our movie(s) and wrote our individual bog posts, we came together and discussed what we found. Thanks for visiting our blog!

Hedwig's Theme in the first two Harry Potter films

Hedwig's theme, written by John Williams, is introduced in the first film of the Harry Potter series. The theme is the first thing heard at the very beginning of the movie, right as the Warner Brothers logo appears on the screen. From the start, this theme is a powerful and important musical element of the films. As we will see, the theme transforms as the characters grow up, though the first movie presents Hedwig's theme at its most innocent and representing magic.

Before discussing how the theme is used, some characteristics of Hedwig's theme include: e minor tonality, in a 6/8 or waltz feel. The chord progression are not necessarily typical for the e minor key, although the phrases create a parallel period, meaning the first line ends on the dominant, with the second phrase ending on the tonic.
One peculiar moment is measure 7, where the F# note from the previous measure becomes an F natural:

The shifting nature of the melody evokes a sense of mystery and magic, and the instrumentation helps emphasize this mood. The theme opens with the celeste, a unique sound with an ethereal, bell-like quality. The celeste introduces the theme, with the tonic being played in a sort of accompaniment pattern. After the full theme phrase is introduced, more instruments enter to further instill that magical texture: bells, harp, and then a flurry of strings. Flutes and woodwinds repeat the theme, with a quick contrapuntal line being played by the strings and harp. John Williams repeats the theme in variation, before moving to a different theme to provide contrast and to continue telling the story.

The second part of the theme:

In analyzing the theme, the use of minor chords, as well as diminished thirds and tritones, provide a mysterious sound that moves beyond just a minor tonality:

In the first film, the theme seems to be paired with every instance of magic. As this film introduces the characters and sets up the world of muggles, wizards and other fantastic creatures and animated life, Hedwig's theme is used as a signal of magic. The theme is played at the beginning of the opening title scene, and then again as Harry Potter is placed on the doorstep in the muggle world. It continues to play during each instance of magic, kind of as a precursor to Hogwarts where Harry will be enveloped in this alternate world. The first major instance that Hedwig's theme plays is when his letter to Hogwarts arrives. The theme is broken throughout the scene, played first horns and strings, and then continuing with trombones. When all of the letters are pouring through the house and the owls are gathering, the theme is fully orchestrated and played in a powerful texture, further illustrating what is happening on screen. It is like the magic cannot be held back any longer, and the now familiar theme cements its meaning as a magical force that cannot be stopped.

The theme continues to play during other ethereal moments, as when Hargrid gives Dudley a pigtail in the lighthouse, when Harry finally receives and reads his Hogwarts letter, when Harry enters Diagon alley, when he takes the train and boat to Hogwarts, and other instances of transformation or unbelievable circumstances. At times, the theme is only played in a truncated version, though often just the first phrase or two is used. The way that the theme is orchestrated also gives meaning to the action on screen. Most of the time, the theme plays in the celesta, or with other bells and strings. However, it seems that in other powerful occasions, the theme is played in horns or with the full orchestra. 

Regardless, each time in the first film when Hedwig's theme is played, it emphasizes Harry's wondrous world of magic and pairs an association in the viewer's mind that will later be used and altered.

posted by Kramer

Harry Potter and the Prisoner of Azkaban

Harry Potter and the Prisoner of Azkaban

The music in the 3rd Harry Potter film was also composed by John Williams, the original creator of Hedwig's Theme. It may or may not be due to this fact that all usages of Hedwig's Theme in this movie are almost the exact same as the original score for movie 1. Let's take a look at the few times the theme is heard in this movie.

#1

The first time you hear Hedwig's Theme  in this movie is the introductory title screen that moves from the Warner Bro's logo to Harry practicing "lumos maxima" in his bedroom (in fact, I believe the track is titled "Lumos (Hedwig's Theme)" on the soundtrack). As such, the piece of music is in the forefront of the film, perhaps more important than what's going on in the story just yet. This instance of Hedwig's Theme has the same orchestration and style of the original version in movie 1, apart from the ending of the clip. At the end, the harp trails off with an echo of the beginning of the theme of the piece.

The purpose of this instance of Hedwig's Theme seems to be to welcome the audience back into the wizarding world of Harry Potter before the story really begins. Once the film focuses on the opening scene of the film, Hedwig's Theme ends and the music takes a secondary, background role. Maybe it's also worth noting that the theme seems more attached to Harry and the idea of the Harry Potter world rather than Hedwig herself, as Hedwig is nowhere to be seen in this beginning. 

#2

The next time Hedwig's Theme is heard is immediately after Harry stops talking with Professor Lupin about learning how to do a patronus in the forest overlooking the lake. Hedwig is actually present, this time, and the theme begins to play as soon as Lupin finishes talking and Hedwig takes flight. The film follows Hedwig's flight as a transition to Winter takes place, snow suddenly falling from the sky and Fred and George making a snowman in the courtyard of the castle.

The theme is used here as a compliment to the visual transition. As such, it is as much in the foreground as Hedwig is, and is only as long as necessary for the transition to take place. In other words, it is an abbreviated version of the theme, taken from the section with constant, quick runs in the strings and a horn playing the melody. It also has a slightly different ending, probably to better fit the visual segment as it transitions to different music. The melody line, which normally ends on "fi-me-do" in solfege, still plays those three notes, but elongates them, holding "fi" out for 6 eighth notes, then "me" for three, then ends with "do-ti-do-re-me-re-do", transitioning easily into the next piece of music. The orchestration used is the same, with a horn carrying the main melody line as mentioned before.

#3

The last time you hear Hedwig's Theme in this movie is at the very end, as Harry unwraps the Firebolt he's been sent. It starts out the same way it does in the original version, but soon skips to the contrasting section of Hedwig's Theme  that is not heard in any other part of this movie when Harry runs outside to try out his new broom. This more active section of the piece lasts for only a minute before the marauder's map is shown and the credits begin. As the map opens and Harry's voice is heard saying "lumos," the main melody of Hedwig's Theme returns in a more powerful, brassy, energetic way. It states the opening "So-do-me-re-do-so-fa-re-do" of the song with brass and chimes, but lands that final "do" on a major chord. It then leads into a variation of "Double Trouble," the most important musical theme played with on this particular soundtrack.

The way the theme is used here at the end is a little different than the previous times, as it acts like background music to drama (Harry finding the firebolt) instead of being the main focus. However, it still acts like a transition and a bookend, leading into the credits just as it led into the opening scene.

Harry Potter and the Goblet of Fire

Now that we have that out of the way...

Harry Potter and the Goblet of Fire was all about variations from the original film. Not only did our beloved actor who portrayed Dumbledore get replaced by a not as beloved actor who portrayed Dumbledore, but John Williams left the composition squad to write music for Star Wars. In the fourth movie, Patrick Doyle is introduced as the new composer and with him brought a new musical style into the series. Doyle would also be the only composer to only compose music for one of the movies and not multiple.

In looking specifically at Hedwig's theme, The Goblet of Fire is the first of the movies not to use the familiar theme immediately when the movie started. The theme is brought into the composition altered from the original versions around :56 once the full title is brought onto the screen.

This is different than the first three movies before which all played Hedwig's theme simultaneously with the film starting.

*wait what?*

While all the movies are dark in nature, Doyle in his arrangement of Hedwig's theme uses dissonance and instrumentation to make a remarkable change from the original three movies. The subject matter of this movie is darker than the preceding films, and Doyle uses the music to help convey that darkness to the audience.

Let's see how Hedwig's Theme was used throughout the movie:

Instance #1:
Outside of the title sequence, the initial occurrence of the leitmotif is found when the three main characters are on the train to Hogwarts. The theme begins playing when Harry asks his owl, Hedwig, to deliver a letter to Sirius Black. Even though the theme isn't always brought up when Hedwig is present, it does pay some homage to where the theme was composed by John Williams.

The motive is defiantly noticeable and is in the forefront of the scene. The theme is played during a transitional scene.

Instance #2:
The second instance of Hedwig's Theme is after Ron and Harry make up and they enter into the dining hall. The significance of the leitmotif playing here is that there are owls flying around the dining hall. Doyle choosing to use the leitmotif here is significant as well as symbolic of the situation.  The leitmotif leads into Harry checking out his crush Cho Chang. 

The motive is harder to hear than the last theme, but is still recognizable. I would say that it is between being in the forefront and the background.

Also, the leitmotif anticipates this very important scene:

*derp*

Instance #3:
The third and final time the Hedwig's Theme returned was at the end of the credits. Played with more string instruments, this return of the leitmotif set the tone of resolution more than the others had. The leitmotif was only played for an instant before Doyle introduced a new theme. 

This is obviously in the forefront of the film because it is welcoming the audience into the credits. This recognizable theme shows the audience that the film is finished.

Final Thoughts:
One thing I found interesting in looking at the Hedwig's Theme leitmotif was that it was only present during the lighter scenes. Doyle only seemed to include it at the beginning and end when the lighter topics were happening. Hedwig's Theme was completely absent in the scene of Voldemort's return.

Thanks for reading! Have a magical day :)



Most gifs and memes were found on Tumblr or Pinterest

Harry Potter and the Order of the Phoenix

The main theme, Hedwig's Theme, is not as prevalent in the fifth movie which caught me off guard. It is really only heard a few times throughout the movie. But Nicholas Hooper uses it in very interesting ways without over using it.

The very first time is at the very beginning when the title is showing up, which is not surprising because it gets the viewer into the "magic of Harry Potter" mood. Although this time it sounds sad and looming. It is slower with the theme in the strings with long high sustained chords that are kinda creepy. It's not quite the same as in the first movie, it is more gloomy with a hint of impending doom (aka He-Who-Must-Not-Be-Named has returned... )

We hear part of the theme twice in the next few scenes. The first is right after Harry sends away the dementors. I find this significant and necessary because it is the first time that magic is used in the movie but it is very hidden and fragmented. 4:06 The next time we hear a fraction of it is when Mrs. Fig is walking Harry home after the attack but it is in the celeste and hardly noticeable. 5:15

The next time we hear the full theme is when Harry, Ron, and Hermione are on the train to Hogwarts. This time it sounds closer to the innocent magical theme from the first few movies. The strings are playing running 16th notes again but in a recognizable pattern. The melody comes on top of the strings and is played in somewhat of a canon. The theme is played in a sequence of instruments and to my ear sounded like it changed from minor to major. This makes me think that Harry is excited to go back to Hogwarts and that maybe, just maybe, things will make sense and everything will be better again. 27:39

Or maybe not....

Because the next time the theme is heard it is after a very "dun dun dun!" moment when Hermione explains that the ministry is interfering at Hogwarts. It is really only the first half phrase of the theme and then cuts to a gloomy looking hogwarts. 32:37

One of the major moments that changes the course of the movie is when Hermione suggest that Harry teach them how to defend themselves against the dark arts because Mean Old Umbridge won't teach them anything useful. Since this is such a pivotal part of the movie the theme of course comes back. This time it is in the flute which sounds eerily hopeful. 52:45

The last time we hear the theme is after a long and dark fight against both Umbridge and the Death Eaters. It only comes back after the fight when Harry is talking to Dumbledore and figures out what the prophesy means. The melody sounds like a haunting realization. 2:05:10

Don't worry! I have more random things I noticed while watching the movie with the music specifically in mind!

First of all, Nicholas Hooper has created some brilliant themes for this movie. Three of my favorites are "Fireworks," "Flight of the Order of the Phoenix," and "Professor Umbridge." Fireworks is just fun and completely captures Fred and George Weasley. The Order of the Phoenix theme is also very necessary and very heroic sounding. It is played only twice in the movie. The first time is when the Order saves Harry from his Aunt and Uncles house, and again when "Dumbledor's Army" leaves Hogwarts to go save Sirius Black. This could signify that these students are the next Order of the Phoenix. Umbridge's theme also completely captures her by being girly and completely annoying! Also it is played over and over in a long montage of evil Umbridge decrees... all of this together makes you want to strangle her! My hat is off to you Nicholas Hooper for this amazing characterization theme!

Second, Nicholas Hooper's soundtrack is actually quite thin. In the movie I notices the silence way more than I noticed the music. He made sure that every sound was with intention and purpose. Most of the time though, especially in the fighting scenes, there was silence. This, to me, got me to the edge of my seat wondering what in the world was going to happen next.. because anything could happen!

Last I will comment on how Nicholas Hooper uses the french horn and string combo. I noticed a few times throughout the movie that Nicholas Hooper would give the strings fast 16th notes and then add a slow french horn melody. Now this may not seem significant but when you think about it, that is exactly what Hedwig's theme is. So every time he used this combination I was expecting the main theme to come again... but it didn't... but yet I was still thinking of the theme in my head... BRILLIANT! Nicholas Hooper was able to allude to the theme without actually playing it. To my mind it can be seen as a metaphor for the state of the magical community. Magic is still there... but tainted and without the wondrous quality to it anymore.

Overall I think Nicholas Hooper did a great job! All the new themes he brought in were absolutely necessary but he still kept the feeling of the main theme and the magical world of Harry Potter in our hearts.

~Becca

Sound Track Links:

"Another Story" (Main theme)

"Fireworks"

"Professor Umbridge"

"Flight of the Order of the Phoenix"

Harry Potter and the Half-Blood Prince

The score for the sixth Harry Potter movie was composed by Nicholas Hooper.  He continues his sparse use of Hedwig's Theme, using it in only three very specific situations.  The sixth movie continues the trajectory of the fifth, as the mood grows perpetually darker.  In response, Hedwig's theme no longer references the joy and excitement of magic.  It seems all magic is sinister rather than enticing.  The theme instead signals moments of friendship and safety for Harry, recalling his special moments of his childhood.

The first occurs within the first minute of the opening credits, right as the HP appears on the screen.  Though the reference is brief, only a brief statement of the initial melody, its use effectively establishes the Harry Potter-ness of the movie.  The tempo is slower than the original, introducing the movie's somber tone.  Its instrumentation contrasts the surrounding material.  The melody is played high in the strings, accompanied by bell-like percussion.  This quickly gives way to a slow choral.  Though short, this use of the theme quickly reminds the audience of what has come before and sets up the action to follow.


The second use of the theme occurs at 13:02 as Harry arrives at the Wesley's home for the end of summer.

   

This is the first happy moment of the movie.  Before, Harry has been alone or on business with Dumbledore.  Now he is with his friends.  The theme emerges from very active melodic material as the Wesley's realize that Harry has arrived.  This time the melody is quick and soft, under the dialogue as the characters are reunited.  The string section plays two statements of the theme accompanied by ascending runs by the harp before a transition into the a french horn melody.  The use of the theme aids in lightening the mood.  

The theme appears for the last time as camera sweeps across the Hogwarts Express before finding Harry and his friends, at 22:40.    

Here the theme is presented by the french horns with string and harp ascending runs.  The theme features the most melodic deviations from the original version in the first movie.  Its use establishes the light, happy mood of the students returning to school, but abruptly changes to the standard dark tones as the scene returns to Harry and his friends.  

This is the last appearance of Hedwig's Theme in the sixth movie.  From this point on, the mood is significantly darker than that of previous movies.  Though the film ends with Harry's peaceful realization of the beauty of Hogwarts, he and his companions have been forever changed.  The score ends with a serene theme that has not been heard before.  This leads us out of the darkness that dominated most of the film but does not take us back to the brief moments of happiness and innocence experienced at the beginning.  This omission of the theme seems to signal that Harry's life is on a new course.   

Harry Potter and the Deathly Hallows Part 1

Alexandre Desplat is the composer for the movie "Harry Potter and the Deathly Hallows Part 1." He utilizes the main "Hedwig's Theme" by John Williams in a manner that is quite contrary to how this song has traditionally been used.  The song up until this point has often been associated with joyful moments that are filled with hope.  In this movie, the song is used quite differently, and only occurs five times. 

1. (0 hours. 0 min. 0 sec.) The theme song is heard as the Warner Brothers logo is displayed.  This is traditional to welcome the viewers back into the Wizarding World of Harry Potter.  The WB logo is rusted, and we hear the screeching of rusted metal, and sounds that could be heard as the whirring of cranks and cogs as in a machine.  This sound that occurs simultaneously with "Hedwig's Theme" takes us on a journey to the headquarters for the Ministry of Magic where The Minister of Magic, Rufus Scrimgore is addressing the press stating that the Ministry will continue to be the people's ministry after Dumbledore's death.  The main theme is played on the Celesta, which sounds very ethereal and bell like.  The first phrase of the song is played and acts as background music to the screeching.  A short time later the same screeching is heard (0 hours. 4 min. 5 sec.) when Snape passes through an entry gate at Malfoy Manor to meet with Lord Voldemort and the other Death Eaters.   

2. (0 hours. 11 min. 05 sec.) A very brief inclusion of "Hedwig's Theme" takes place as Harry Potter is saying goodbye to his little cupboard under the stairs where he had lived.  Once again this is played on the Celesta, and only half of the phrase is played.  To imply that good memories occurred in this place with the Dursley's would be a stretch, but in contrast to the situation with Lord Voldemort, I am certain that Harry Potter would give anything to even just go back to those days of living under the stairs.  Life was simpler then.  The theme is used as a farewell to earlier memories of better times. 

3. (0 hours. 15 min. 05 sec.) "Hedwig's Theme" is appropriately used as Harry Potter releases Hedwig to fly off into the night sky.  The theme song is played with horns sounding somewhat triumphant.  Only half of the phrase is played, and the theme is altered slightly to create an ominous sense that this could be Hedwig's final flight. 

4. (0 hours. 17 min. 18 sec.) The theme song is played in the foreground by horns creating a sense of hope.  Hedwig dives in to distract the Death Eater, and she ends up sacrificing herself to protect Harry Potter.  When Hedwig is hit, the theme is then played by the violins and is altered to create a dissonant and tragic segment.  The dissonant intervals continue to be repeated over the rest of the scene.  It is very fitting that "Hedwig's Theme" should be played once she was struck down and killed by intercepting a spell meant for Harry Potter.  Once again the song is used as a farewell to happier times.  The song in this movie has taken on a completely opposite role from previous movies. 

5. (2 hours. 11 min. 12 sec.) The final occurrence of "Hedwig's Theme" in this movie takes place once again as a tragic goodbye.  Dobby had just apparated Harry, Ron, and Hermione to safety.  They had just escaped from Bellatrix Lestrange.  As they apparate away, Bellatrix throws a dagger at them which goes through the portal with them and stabs Dobby, leading to his Death.  The theme is again played on the Celesta, but this time it is much slower, and only half of the phrase is played.  This segment feels unfinished like there should be more.  This is very representative of Dobby's life and how it was tragically cut short.  Luna Lovegood then closes Dobby's eyes as if he were sleeping and then Harry Potter digs a proper grave for Dobby, without using any magic to do so.  The use of "Hedwig's Theme" once again was used as a final farewell. 

"Hedwig's Theme" was not frequently used in this movie, especially when  you consider that its longest usage was only one phrase long.  The instrumentation of the theme did not change significantly.  The biggest change is simply the situations occurring surrounding the theme.  Alexandre Despot has shown us that the frequency of a theme is much less important than proper theme placement.  Although the theme was only heard partially in five places, It still enhanced the movie and made us reflect on moments when "Hedwig's Theme" used to provide hope.  Perhaps the use of the theme in these tragic moments is to indicate that good things can occur, even during bad times, and that we should never give up hope.  It truly has been fascinating to explore the diverse and unique role of "Hedwig's Theme." 

Harry Potter and the Deathly Hallows Part 2

The score for Harry Potter and the Deathly Hallows: Part 2 was written by the same composer for Part 1--Alexandre Desplat. His usage of "Hedwig's Theme" is sparse, but specific, and it only comes in on moments that have an element of triumph or familiarity. 

In this movie, "Hedwig's Theme" first appears very briefly within the first twenty-five minutes of the film; it's so short that I almost missed it upon first listen. In this scene (at 22:03), Harry, Ron, and Hermione are escaping Gringotts Wizarding Bank on the back of a dragon that had been kept in cruel captivity for years. As the beast bursts from the domed ceiling, the first phrase of the theme makes a short appearance as the dragon begins to take flight before disappearing. The theme literally only appears for a couple short seconds and is only played in the melody in the strings. 

The second usage of "Hedwig's Theme" is at 32:30, when Harry returns to Hogwarts and greets his peers, who are hiding from the school authorities. With his arrival, he brings obvious hope and raises morale. The music in this section is nearly identical to the original arrangement of "Hedwig's Theme" by John Williams, except that it's transposed to a different key (to make transitions smoother), and there are no virtuosic string ostinatos underneath the melody. 

Not much later at 34:50, the theme appears once more when the students are gathered in the Great Hall so Snape, the new headmaster, can confront the students about the sudden reappearance of Harry Potter. There is a short confrontation between Snape and Harry (plus additional resistance) followed by a brief wizard duel between Professor McGonagall and Snape. Snape flees, and as he does so, "Hedwig's Theme" comes in. With the Death Eaters gone, it's as if the protagonists had won a small battle, making the usage of the theme appropriate, due to its representation of something triumphant or victorious. Instrumentation and arrangement of the theme is virtually identical to the one used just before at 32:30 (see above). 

The theme does not appear after that until the very end of the movie with the time skip of 19 years into Harry, Ron, and Hermione's futures. "Hedwig's Theme" dips in and out until the credits roll. At 1:55:43, the theme slips in, much slower than what we're used to, and the instrumentation is more minimal, with a trumpet solo playing the part. At this point, Harry and his son have arrived on Platform 9 3/4, and the parents are saying goodbye to their children. At 1:57:03, Albus Severus Potter boards the train, and the theme appears again, with a simple flute solo. Finally, at 1:57:52, the theme appears for the last time as Harry is watching the train leave and the screen fades out. It is the last thing you hear, and after playing the [do me re do sol fa me] motif, the music ends on a major chord, finishing out the series with a sense of hope and closure. 

It's also fun to note that during this final scene, the composer utilizes snippets from the original score from the first movie, particularly the piece "Leaving Hogwarts," which seems very appropriate for the ending of the franchise. He weaves back and forth from using "Leaving Hogwarts" and "Hedwig's Theme." 

The closing credits end on the original score for "Hedwig's Theme," bringing the audience full circle.