A playful duo of clarinets dance around Neville’s conversation with Harry in the library. As Harry realizes that Neville may actually be able to help him, the music turns...
The four champions leap into the lake accompanied by downward flourishes. Harry struggles to breathe as the gillyweed hasn’t kicked in yet. Reprised and re-orchestrated...
Posted April 26, 2020
For this scene, we chose to include underscore again as if the source music ended after the first featured dance song. Cast A Christmas Spell plays in its music box...
Neville and Ginny, as well as Hagrid and Maxime, are some of the last dancers left at the Yule Ball. A small variation on A Winter’s Spell plays before the scene transitions...
A Window to the Past accompanies Harry’s trek to the Owlery, checking for mail from Sirius. As the theme finishes, it’s nearly interrupted by two pizzicato chords that...
A favorite cue that we wanted to see return to the series is the Christmas at Hogwarts music. It plays here over the shot of the castle and follows the excitement of Christmas...
This cue does not need much description: with Hedwig’s Theme being in ⅜ time, we once again wanted to utilize it for when the ball attendees are dancing. This time, we...
As Ron apologizes to Harry, the Weasley theme plays in a hesitant yet warm way. After the boys usher back in their friendship, Hermione is accompanied by a classic...
This cue was a perfect opportunity to utilize the classic orchestrations of Hedwig’s Theme. With the theme being a waltz itself, it only felt appropriate to use while the...
Posted March 29, 2020
Cellos and basses wander ominously for a few seconds before the Horntail strikes right next to Harry. A four-note motor motif begins in the low orchestra, propelling the tension forward. It stops quickly and then continues with a blast as the dragon spits fire. The higher sections of the woodwinds choreograph Harry’s hops and runs throughout...
Posted March 22, 2020
Ominous cellos and basses lead us out of the conversation Harry has with Moody, and erupt into the full orchestra playing a triumphant Triwizard theme as the stadium is revealed. Another statement of the theme follows, this time just in the brass and timpani, before a solo clarinet carries us into the tent where the four champions...
The Dark Forest theme opens this cue as Hagrid and Harry walk towards a mysterious destination. The music freezes as Hagrid stops and looks through the empty woods...
As soon as Moody throws a spell, the orchestra descends as Draco turns into a ferret. “The Snowball Fight” from Harry Potter and the Prisoner of Azkaban (2004) is re-edited...
A brand new theme opens this cue. Rita’s music is in the same style as Gilderoy Lockhart’s in Harry Potter and the Chamber of Secrets (2002). The theme is tailored to the...
Sirius appears in the fireplace of the Gryffindor common room. Ominous strings circle around fragments of the octatonic scale, showing the uncertainty in this new mystery...
Hogwarts Forever plays as Dumbledore dims the lights in the hall. Chords move around in thirds until the orchestra erupts magically with the goblet as it expels the...
Choir and celesta open this cue with Hedwig’s Theme. Harry is in for another adventure beyond his control. A full version of Hedwig’s Theme plays over the castle...
Posted February 23, 2020
Neville has a small musical moment at the beginning of this cue as he deals with what just happened in Defense Against the Dark Arts class. His history with the Cruciatus Curse is still unknown, but accenting this moment with a quiet yet brave theme felt appropriate. After Moody invites Neville for tea, the camera zooms in...
Posted February 16, 2020
As Moody picks up the spider, bassoons and horns move around with uncertainty. The orchestra choreographs the moment he enlarges the spider and begins to use the Imperius Curse on it. While the comedic events unfold in the classroom, the pizzicato strings dance around with various orchestrations coming in and out, aurally describing...
Posted February 8, 2020
We have reached the cue that shares the title of the film. As Dumbledore begins to tell the students about the event taking place at Hogwarts this year, the violins tremolo in a high register, waiting to react harmonically to his announcement. The first full statement of the Triwizard Cup theme plays in the woodwinds....
Posted February 2, 2020
Harry sees Cho as he’s getting food from the trolly. The harp quietly plays a version of his theme, but with new innocent and developing harmonies that represent...
A very short glimpse at what will become the Triwizard Tournament theme plays before Dumbledore launches into a speech to the students regarding their visitors...
A very low hint of Lucius Malfoy’s theme plays while Mr. Weasley enters the tent and expresses worry regarding what’s happening outside. As the music swells...
The mysterious figure roaming the burnt remains of the campground conjures a spell into the night sky. It turns into the Dark Mark, represented by...
The english horn introduces us back into the world of our three protagonists, beginning with Hermione awakening Harry, then moving over to Ron. Here we get...
The third cue (at 2:17) starts with a new motif known as the Wizard Games motif. It is a simple chord progression that moves forward and outward, opening up the...
Posted January 13, 2020
This score opens less conventionally than the previous three. Instead of hearing the warmth of the familiar Hedwig’s Theme, we are introduced to the fourth film with Voldemort 1. A brief Hedwig’s Theme statement follows, but then plunges back into the former until the title appears on screen. For the moment introducing Harry Potter and the Goblet of Fire, there is a fusion of Voldemort 2 and Hedwig’s Theme, representing...
Inspired by John Williams' scores for Harry Potter and the Sorcerer's Stone (2001), Harry Potter and the Chamber of Secrets (2002), and Harry Potter and the Prisoner of Azkaban (2004)
As lifelong John Williams and Harry Potter fans, we have always imagined the musical continuity that could exist if he had scored the entire Harry Potter series. Themes and motifs could develop with the characters' journeys, and the emotional narrative could be unified. The material written for Voldemort's first appearances could now reinforce his return to power; emotional character themes and motifs could recall nostalgia at significant moments; the whimsical soundscape could retain the mood of movies 1-3, while the darker material from the early films could begin evolving.
With thematic analysis and large-scale planning, we have created a score for the fourth movie with this in mind. Our score is not meant to replace the existing one from 2005 by Patrick Doyle, but rather provide an alternate look into what it may have been like had John Williams continued his work. We had a great time utilizing themes when and how he may have used them moving forward in the series. Because Williams was the first to make a definitive musical statement of J.K. Rowling’s Wizarding World, we have done our best to emulate that style for the purposes of continuity. Within the soundscape of the first three scores, our fourth one is a humble pursuit towards an imagined unified work.
Ravendor Studios is proud to present Harry Potter and the Goblet of Fire (2019) with music in the style of John Williams.