Cue No. 11

On seeing Cho, Harry in Love plays for the first time in this score. The piano introduces it as a timbral reprise of the scene in which he asked her to the Yule Ball. The theme does not last long though, as Neville appears to say hi to the trio. Neville’s theme gets its first statement in this score as well. As nice as it is to hear these themes again, they are both short-lived. The music is interrupted by a dies irae when Harry turns around and sees a Thestral for the first time.

The dies irae moves up until a solo horn plays a sad and pastoral melody. It subtly suggests horses of the English countryside, but with a tinge of melancholy. The harp answers, and the camera pans passed a blonde girl sitting in the carriage who, until this moment, went unnoticed. A playful bassline motif creates a delightful yet awkward moment as we are introduced to a most delightful yet awkward character, Luna Lovegood.

Her proper theme plays in the flute immediately following the bassline lead up. The theme dances around and modulates downward as Hermione realizes that by talking she only made the situation more awkward. When the conversation finally ends and the carriage starts moving, a short Hedwig theme plays then transitions into the great hall.

A colorful new orchestration of Harry’s Wondrous World welcomes the new school year as it plays over the camera pan through the feast. It calms down rather quickly when Dumbledore stands up to speak to everyone. The brass sound out a full statement of Fawkes the Phoenix, which now comfortably doubles as a father-like theme for Dumbledore. The woman from Harry’s hearing is seated at the end of the faculty table, ready to pounce on the unsuspecting school. Her theme intrudes into the texture, and she, without hesitation, interrupts Albus Dumbledore.