Cue No. 31

Violins and celesta scurry upwards as a small firework appears in front of Umbridge, then flies into the Great Hall. Her suspicion grows as horns and cellos maneuver around, waiting for something to happen. The music comes to a halt.

Fred and George Weasley fly around the corner on their broomsticks, and fly straight past Umbridge. They enter the Great Hall and begin launching more fireworks. The music here is based on unused material from Prisoner of Azkaban’s ending. Though it was originally intended to play under Harry taking off on the Firebolt for the first time, it fit the mischief of this current flying scene. Choreography within the orchestra aurally accents various little explosions, pops, whizzes, and a high five between the twins.

A pause occurs when Fred and George begin to light their biggest firework. Double Trouble enters the texture, once again emphasizing that the twins are just that. The orchestra erupts as a giant dragon firework begins chasing Umbridge out of the Great Hall. Strings scurry around at the top of their respective registers. Finally, the dragon chomps down on Umbridge, leaving her completely disheveled and in shock. She stands in the doorway while oboes hover, not sure what’s going to happen. Suddenly, brass instruments wail in downward triads, descending chromatically and in hemiola. All educational decrees fall off of the walls and crash to the ground, representing the end of Umbridge’s reign over the school. The twins fly past her and out of the Great Hall. A triumphant Double Trouble plays in the Lydian mode, giving the victory a new excitement.

Once up in the sky outside Hogwarts, they launch the rest of their fireworks. The orchestra elaborates on their triumph with a huge statement in the horns, decorated by woodwinds and percussion. The idea to highlight a victory by utilizing the Lydian mode came from listening to the ending to the "Sail Barge Assault" in Star Wars: Return of the Jedi (1983). In that cue, Williams uses the mode to his advantage, letting the natural emotional lift take over due to a raised 4th degree of the scale.

In the midst of the celebrations, Harry senses something is wrong. Choir comes in with dissonances, and he collapses. Strings dig in with minor chords as Harry has another vision, this time of Sirius being tortured by Voldemort. Muted horns play the 3-note motif, while outside the vision, Hermione takes notice and comes over to help Harry.

A quick cut then brings us to the moving stairs, where the trio is moving quickly while also trying to make a plan. The urgency is helped, as it has in the past, by motoric strings. This time, the lower strings insist on a bass note, representing how Harry is driven to do one thing; save Sirius. The trombones play a distressed Order of the Phoenix theme, and the key moves up a half step. Hermione is finally able to get Harry to stop for a moment and think. The most uncertain Window to the Past heard so far sounds in a solo horn. It shows that Harry truly doesn’t know what’s going to happen, but he can’t take chances and let the only family he has left be put in jeopardy.

Cellos and basses move down towards the bottom of the orchestra’s range, and a transition shot of Hogwarts in the late afternoon appears. Over this shot, both the 3-note and the Order theme play together, foreshadowing the clash of the two that is soon to come.