Cue No. 30

Trills stumble around with the giant Grawp as he gains his balance. The entire situation is uncertain, then the music halts as he achieves his goal: catching a bird. Brass swells in different registers when he advances on the trio. Instead of utilizing a faster tempo, this musical angle conveys that Grawp is not a true threat to our protagonists. Hagrid gives an explanation; the lasting bond between Harry, Ron, Hermione, and Hagrid is on display as the trio realize that Hagrid trusts only them to take care of his half-brother. A reprise of material from Goblet of Fire (2019) plays to recollect the nostalgia and lasting friendship between these characters.

Action music starts abruptly when Grawp decides to pick up Hermione. It becomes comedic almost immediately as Ron tries to take Grawp down with a tree branch. He fails miserably, and a quiet Ron theme can be heard played pizzicato in the low strings. Grawp kicks him away. After this tussle, a solo flute is the only instrument holding on to the previous texture.

“Hermione and Hagrid” from Harry Potter and the Chamber of Secrets (2002) gets a reprise here as Hermione has a moment with this new giant. It is adapted differently to match the scene and is slightly more full in its orchestration, showing Hermione’s growth in confidence and reflecting on their journeys since her second year. A gentle flute sees this out with Hermione's theme after Grawp puts her down and the trio begin to take a liking to this poor creature. Strings hold over a zoom in on Harry, and the Family theme plays as James fades into view. A memory of the mirror scene from Sorcerer’s Stone comes into view, and is quickly spoiled by Snape standing behind Harry. Trumpets and muted horns interrupt the texture, and Harry is pulled out of the memory. We find ourselves in Snape’s dungeon mid-Occlumency lesson with Harry.

Contrabass clarinet, contrabassoon, and harps slither around underneath the dialogue. Strings play chords rocking back and forth accompanied by timpani at the end of statements. This builds until Snape is ready to once again enter Harry’s mind. Trills hold, and as Harry’s memories are violently back on display, the music erupts with clusters of notes and fast tone rows in the percussion. When the music comes into focus, the Chamber of Secrets 2 theme grows from low in the orchestra. As it hits the top of the orchestra, as well as the top of a crescendo, we exit the memories.

Once again, the contrabass clarinet in combination with contrabassoon and harps begin their ominous rumblings during more dialogue. Trills quickly show up again, but this time, Harry is the one entering Snape’s thoughts. Muted horns fade the music from the dungeon to Snape’s worst memory. Strings begin playing a lament for Snape as he is bullied in his school days. The music begins in a somber, empathetic way until Harry realizes the bully is his own father. Dissonance makes its way into the texture, and the memory ends in another flare of muted horns and orchestral flourish.

The most intense silence occurs between Snape and Harry in the dungeon. Strings intensely finish out the lesson. Two ominous chords sound in the choir and horns, and Hedwig’s Theme makes its way in as Harry leaves and walks through the courtyard.