Review by Jessica Coote

18 August 2015

SOUNDTRACK
REVIEW

Hedwigs Theme
Quidditch, three-headed dogs, giants and witches; the story of boy wizard Harry Potter dominated
move screens from 2001 until 2011. Adapted from the book series by JK Rowling, the storyline
follows Harry Potter and his two friends Ron and Hermione as they learn
magic at British wizards school, Hogwarts. The fantasy novels were a
Did you know? As of
great success, lending themselves perfectly to a film adaptation, and
2008, Harry Potter
hence, the Harry Potter brand is now worth in excess of $15billion1.
books have sold over
Throughout the 8 films, four composers were gifted the opportunity to write
the score for the franchise. John Williams, Patrick Doyle,Nicholas Hooper
and Alexandre Desplat all brought a unique style to their respective films.
However when analysing the success of the film soundtracks as a whole,
it is clearly evident that the music composed by John Williams in the first
three films have endured and been the most successful. Film Score
Junkie agrees, stating on an online blog that In retrospect, the first score
for the series has been increased in status through the years as
subsequent composers have failed to uphold, despite considerable quality
in parts of their own endeavours, the integrity established by Williams.

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400 million copies and

have been translated
into 67 languages.

Review by Jessica Coote

18 August 2015

Born in 1932 New York, John Williams is a well known pianist, composer and conductor, having
produced themes for the likes of Spielbergs Jaws and Indiana Jones, Lucas Star Wars, and of
course, Columbus Harry Potter. It is perhaps this last mention that is the milestone of his legacy
as a film composer. The soundtrack to the first film, Harry Potter and the Philosophers Stone,
was nominated for Best Original Score at the 74th Academy Awards, and introduces the audience
to several key leitmotifs, including Hedwigs Theme.
The most well-known and prominent song of the series is Hedwigs
Theme. The piece, named after Harrys snowy-white pet owl Hedwig,
lends itself magnificently to the world of Harry Potter. Featuring
interesting intervals such as augmented 4ths, and chromaticism, the
theme portrays a magical, mysterious quality which is associated heavily
Ah, music, a magic
with the style and mood of the film. The song is also incorporated as
beyond all we do here both diegetic and non-diegetic; this enhances the effectiveness of the
music in the film by creating a mood.

ALBUS DUMBLEDORE

Harmonically, Hedwigs Theme is essentially in the key of E minor, but

the chord progressions are anything but typical of a minor key. The
diminished intervals add an other-worldy sense to the theme, because
of the frequent shifts away from diatonic tonality.
Hedwigs theme was written for a symphonic orchestra, including:
Flute
Contra Basson
Piccolo
4 F Horns
2
Oboes

3 Bb Trumpets
English Horn
2 Trombones
2 Bb Clarinets
Tuba
Bb Bass Clarinet
Timpani
2
Bassons

2 Percussion

Harp
Piano
Celesta
Violin 1 and 2
Viola
Violoncello
Contrabass

At some stage almost every instrument plays the

melody throughout the piece. Beginning with a simple
celesta solo melody, Hedwigs theme introduces its
main motif. Strings join this melodic line, echoing the
passage. Generally, the Celesta is the most important
instrument in the theme, often carrying the melody
and introducing new sections. The instrument is
famously featured in Tchaikovskys Dance of the
Sugar Plum Fairy and in Pure Imagination the 1971
movie adaptation of Roald Dahls Willy Wonka & the
Chocolate Factory. The celesta is also commonly
used in film scores, for the exact purpose of adding a
somewhat magical and mystical element to the
respective score. Its metallic yet soft and thin tone
colour creates an effective opening to the theme.
Williams use of the celesta throughout the theme
effectively enhances the mood.
The piece also features the tempo-marking of
Misterioso (dotted crotchet =58) Misterioso, meaning
mysterious, is therefore a suitable tempo marking
throughout. The rhythm throughout this piece is quite
complex with the composer using syncopation paring
well with the triple meter time signature. The
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Review by Jessica Coote

18 August 2015

rhythmically vibrant score enhances the forward momentum of the piece, and the overall mood of
the film.

The storys imaginative

attar of wizards flying
on broomsticks and
mail-delivering owls, all
occupying a wondrous
The main theme is introduced by the celesta and strings (see
world of magic, oered
Musical Example 1, of the melody as would be played on a
piano). The melody is memorable, similar to Classical melodies. a unique canvas for
music.
Generally this theme mezzoforte, however a wide range of
The form of the piece is based loosely around Theme and
Variation, because the main motifs return frequently. Williams
has used the variations to change the timbre of the theme, and
to build tension before the climax at the end of the piece.

dynamics spanning ppp to f is used. This is a characteristic of

the Romantic Era.

JOHN WILLIAMS

A new motif (colloquially known as the

Nimbus 2000 Theme), is introduced, and
successfully builds on the intensity from the
previous section. More woodwind and brass
instruments are implemented, however the
Celesta and string solo are still featured. At
(Musical Example 1)
Bar 125 where we see the full orchestra
playing(for the first time together), all instruments begin at mp, however
quickly grow to mf and then ff by the use of small crescendos; this effectively leads up to the next
section and theme, (see Musical Example 2 for the string sections).
However it is interesting to see that after the
instruments reach ff on the first semi-quaver beat
of the final bar of the section, they are then drop
back to mf, in order to grow quickly again toward
forte in the first bar of the new section (Bar 128).
This effectively creates a huge dynamic shift in
the music, making it more dramatic and
spectacular. The accented articulation and
staccato also adds to the effectiveness.
During the following five sections, the orchestra
builds on the intensity of the previous sections,
introducing counter
melodies mainly on
string instruments.
From Bars 184 to 207
a new and very
different theme is
introduced( see Musical
Example 3 for the new melody in the string section).

(Musical Example 2)

Featuring two new motifs, including Voldemorts Theme, we hear this

near the end to give a change of timbre and build excitement. With all
instruments playing at some point in this section, the musical journey is
leading towards the climax of the piece. Swelling crescendos, louder
dynamics and new rhythmic patterns allow this theme is expand greatly
from previous sections, and give an appropriate lead up to the end of
(Musical Example 3)
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Review by Jessica Coote

18 August 2015

the piece.
The piece concludes with the inevitable culmination of the full orchestra. The final moments of the
piece are inclusive of a fake ending preceding a large finale in which dynamics play a large role.
The unusual but effective ending on the tonic chord suitably conveys a feeling of finality, whilst
still convincing the audience to remain listening for more magic.

Williams Theme clearly has influenced the success of the film series, with serval different
versions of the adapted to suit the style of the later, more mature and darker films. Hedwigs
Theme is the quintessential piece of Harry Potter music. Williams certainly does not hold back,
and has produced one of the best fantasy movie themes to date.
Despite the music being so successful the placement of the theme in the film is questionable.
During Harry Potter and the Philosophers Stone, the theme is sparingly used, and only once
during the entirety of the first film do we see the owl Hedwig when her theme is playing. The only
time we hear the piece in its entirety is during the second half of the credits; the film implicitly
disguises the theme and uses it minimally. It is clear that Hedwigs theme was ineffectively
implemented in this film series,and it can be considered unusual that such a rejected theme
receives such cultural recognition.
It is clear that the Harry Potter series is a true cinematic masterpiece. The lack of implementation
of Williams theme however undermines the effectiveness of the soundtrack as a whole. Despite
this, Hedwigs Theme is one of the more flexible themes in Williams oeuvre as it does not
represent a single specific character or thing the way, say, the Imperial March represents Darth
Vader. Instead, Hedwigs Theme seems to represent the world of wizards and magic, and
convincingly conveys the emotions and mood of the entire book and film series.
See the following three pages for a detailed analysis of each section of the piece.

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Review by Jessica Coote

18 August 2015

Section

Bars

Instruments

Texture

Articulation

0-90

Solo Celesta Bar 0-17. 1st Violins join softly at Bar 17 until 27
(barely audible). Violas join with sustained noted at Bar 31. Cellos
join with pizzicato crochets at Bar 33. Harp, Celesta, 1st and 2nd
Violins united in scalic /harmonic passage at Bar 35.
- Bar 43-small deviation in Bar 51, then changes dramatically in
bar 59 to triplets with 1/2 trills, finally a small chromatic passage
from the 1st Violins and Celesta leads to a change in bar 75.
This sequence continues underneath the Harp, Vibraphone,
Bassoon, English Horn and Alto Flute who now carry the melody
originally proclaimed by the Celesta from Bar 43 -75. Muted
Trumpet, Horns and C Bassoon join at Bar 59. Violas handle the
accompaniment whilst the melody is controlled by the English Horn
and 2 sets of Horns. 1st and 2nd Violins join on the upbeat to Bar
83. Cellos join upbeat to Bar 89.

Mainly
homophonic,
with some
polyphonic
sections.

Ringing
Celesta/
Theme,
pizzicato adds
to colour

91-127

English Horn, 3 Clarinets and 2 Bassoons play new theme in unison

in bars 91-98. This theme is taken over by 2 Oboes and 3 Trumpets
(now open), with the English Horn
remaining at bar 99 to 107.
1st and 2nd Violins, Violas, Cellos and occasionally Double Basses
accompany with a small counter-melody. Celesta solo from the
upbeat to 107 to 113, with 4 minims leading to a new section.
Accompanied by sustained notes on the Horn, and occasional
pizzicato on the cellos. Upbeat to Bar 115 introduces the 1st and
2nd Violins replacing the Celesta, finishing at Bar 122, with again 4
minims leading to a new change. 1st and 2nd Violins, Violas, Cellos
and Double Bases with converge together at bar 125, leading to the
introduction of the Piccolo( for the first time in the piece), Flute, 3
Oboes, 3 Clarinets (for the first time in this piece) with the quick
demi-semi quaver ascending scalic passage leading into the next
theme. This is held together with the remaining instruments
( Bassoon, C. Bassoon, 4 Horns, 3 trumpets, 3 trombones, tuba,
harp, timpani, triangle, tambourine, sleigh bells, sustained Cymbal
and full string section ) with a minim chord at Bar 127, finishing the
section.

Homophonic

Short and
articulate.

B1

128-136

3 Trumpets, Glockenspiel, Celesta and Violas play the main melody

in Bars 128 to 136. Piccolo, Flute, 3 Oboes, 3 Clarinets play a
counter melody throughout this. 2 Bassoon, C. Bassoon, 4 Horns, 3
Trombones, Tuba, Timpani, Cellos and Double Basses play
underlying sustained and simple notes.1st and 2nd Violins play
another counter melody, which strategically lines up frequently,
however otherwise completes a scalic pattern. Almost all
instruments (apart from the Timpani and the Harp(which is gliss. ad
lib)) come together on the 3rd and 4th beats of Bar 131 for a minim
chord. Another gliss ad lib on the Harp and a chromatic ascending
melody in Bars 135 and 136 leads to the new section.

Thick, very
polyphonic.

Generally
articulated.

137-153

An counter melody beginning at Bar 137 with 3 Clarinets, 2

Bassoon and Viola, playing a melody of triplets. Main melody with
the Flute, Glockenspiel, Celesta and 1st and 2nd Violins in Bars
139, English Horn joins at Bar 142, Oboes join upbeat to Bar 144
and this melody ends at Bar 146. 4 Horns, Trombone, Tuba,
Timpani, Harp, Cellos and Double Basses all play the
accompaniment. The English Horn, Bassoon, 4 Horns and Cellos
begin a new melody at upbeat to bar 147. This is then echoed by
the Bass Clarinet, Bassoon, 4 Horns and Violas at upbeat to
bar148.This is then echoed again by the Bassoon, C Bassoon,
Tuba, Cellos and Double Basses at upbeat to Bar 149. Upbeat to
Bar 150 introduces a new theme of Triplets, played on the Clarinet,
1st and 2nd Violins and Violas. The Bassoon, Bs Bassoon and
Cellos enter this melody at beat 2 of Bar 150. Oboes enter at Bar
152. English Horn and Double Basses enters at Bar 153. A small
counter melody of demi-semi quavers in the last bar of the section
(Bar 153) in played on the Piccolo, Flute, Oboes, Bs Clarinet and
Harp; this effectively leading into the next section.

Polyphonic,
with several
counter
melodies.

Legato

Music Review- Empire Magazine

Review by Jessica Coote

18 August 2015

Section

Bars

Instruments

Texture

Articulation

B2

154-163

3 Trumpets and Celesta play the melody in Bars 154-157.

Accompanied by Piccolo, 2 Flutes, 2 Oboes, English Horn, 2
Clarinets, Bs Clarinet, 2 Bassoon, Glock, Vibes and Chimes playing
a simple melody underneath in Bars 154-157. Piccolo, 2 Flutes, 2
Oboes, English Horn, 2 Clarinets, Bs Clarinet, Glock and Celesta
now play the main melody in Bars 158-161.1st and 2nd Violins and
Violas play a counter melody underneath this.1st and 2nd Violins
and Violas play a small triplet pattern to bridge the gap to the next
section in Bars 162-163.This is accompanied by a gliss on the Harp.

Homophonic,
sometimes
polyphonic

Articulated and
accented.

C1

164-175

1st and 2nd Violins, Violas and Trumpets play the melody in Bars
164- 170. The Celesta and 2 Clarinets play a complex counter
melody underneath this. During Bars 166 and 170, the Piccolo, 2
Flutes, 2 Oboes, English Horn, 2 Clarinets and the Bs Clarinet join
the melody. Bars 171-175 encompasses a small interlude:
Upbeat to Bar 172- 4 Horns and the Glock
Upbeat to Bar 173- 2 Trombones and Violas
Upbeat to Bar 174- English Horn, 4 Horns and 2nd Violins
Upbeat to Bar 175- 2 Bassoon and 2 Trombone

Homophonic.

Legato

B3

176-183

4 Horns carry the melody, spanning upbeat to Bar 176- 183.

Accompanied by the 1st and 2nd Violins and Violas on pizza staring
bar 176, and with the Cellos and Contra-bass joining in bar 180.

Homophonic

Accented.

184-207

New melody begins on the 4 Horns in Bar 187. Changes to 3

Trumpets at Bar 188 (overlaps with the end note of the
Horns).Changes to Flute, Oboe, English Horn, 2 Clarinet and Eb
Clarinet in Bar 189 ( overlaps again with previous Trumpet melody).
Circle finishes back with the 4 Horns in Bar 190 ( however this time
does not over lap with previous instruments). All of the above is
accompanied by the Celesta, 1st and 2nd Violins playing a
chromatic triplet pattern, beginning on the 3rd beat of Bar 184 and
continuing until 193. All Instruments,( apart from the Timpani and
Harp) line up for the first beat of Bar191. 3 Trombones, Tuba have
the melody ( Upbeat to Bars 197- 200). 2 Oboes, 4 Horns, Bassoon,
C Bassoon and Glock then take over the melody (Upbeat to Bars
201-203).Harp and 1st and 2nd Violins accompany with gliss. in
Bars 197-201 Piccolo, Flute, Clarinet and Celesta also accompany
in Bar 197-201. Bar 202 represents a shift, the music becomes
much more dramatic and erratic. The Piccolo, Flute, Oboes,Clarinet,
Eb Clarinet, Horns, Glock, Celesta, 1st and 2nd Violins and Violas
play a new melody of (crotchet(trill)-, quaver, crotchet(trill)-, quaver).
All other instruments play a similar rhythm. This is from Bars
202-203.The Trumpets play a triplet melody in Bars 204-205, with a
counter melody by the 1st and 2nd Violins and Violas.This is
accompanied by the Flute, Oboes, Clarinets, Eb Clarinet, Celesta
whom all have a similar rhythm. This is also joined by the Piccolo,
Bassoon, C Bassoon, Trombones, Tuba, Timpani, Cellos and Cb, all
playing a simple melody.Bar 206 is basically empty of melody, with
most instruments having a sustained note (Bassoon, C Bassoon,
Horn, Trumpet, Trombone, Tuba, Timpani and Strings). The
Woodwinds ( Piccolo, Flute, Oboe, Clarinet and Eb Clarinet)
meanwhile, continue the triplet rhythm just previous played by the
Upper Strings. This simplicity is to make way for a large dynamic
shift. The final bar of the section (Bar 207) unifies the piece, almost
like a fake ending, with all the instruments coming together and a
pause on the last note of the bar. The Piccolo, flute, Oboes,
Clarinets, Eb Clarinets, Horns, Trumpets, Timpani, Celesta, 1st and
2nd Violins, Violas and Cellos are all until with a ascending triplet
and hold note, making a very surreal but pleasing chord.

Polyphonic

Legato but
accented.

Music Review- Empire Magazine

Review by Jessica Coote

18 August 2015

Section

Bars

Instruments

Texture

Articulation

Coda

208-212

As part of the fake ending in Bar 207, the first beat of Bar 208
consists of the finishing chord. However, the Clarinet, Eb Clarinet,
Celesta, 1st and 2nd Violins quickly start a triplet pattern previous
played during the piece- this is in Bars 208-209( the strings continue
to 210)- signalling that that was not the end of the piece. The
instruments playing are playing the same notes, creating
unison.The Flute joins this pattern at Bar 209.Instruments such as
the 1 Trombones, the Tuba and the Timpani carry sustained notes
underneath this triplet pattern as an accompaniment in Bar
208-211.4 Horns and the Violas interrupt this pattern in Bar 210.The
Cellos now also hold a sustained note in Bar 210.In Bar 211 the
Piccolo, Flutes, Oboes, Clarinets, Eb Clarinet, Celesta, 1st and 2nd
Violins play the same rhythmic pattern, quite like what happened in
the fake ending in Bar 207. The Bassoons, C Bassoon, Horns,
Trumpets, Trombones, Tuba, Timpani, Harp, Violas, Cellos and Cb
play a sustained note. There is a great swell of dynamics in this bar,
leading up to the end of the piece. The final bar (Bar 212) consists
of a single chord, played on all instruments. The dynamics in this
bar are sffz, making the final note short and punctual, however it
does ring (evident in recordings).

Think,
polyphonic
texture

Articulated at
start, however
quickly
becomes
legato, then a
short last note.

Music Review- Empire Magazine

Review by Jessica Coote

18 August 2015

Images:
Film Poster- Internet Movie Data Base, 2001
Williams, John- Conducting the London Symphony Orchestra, 2006
Ron, Harry and Hermione, red background- Gallery shot, n.d.
Ron, Harry and Hermione, grey background- Gallery Shot, 2002
Text References:
1(https://login.thetimes.co.uk/?gotoUrl=http%3A%2F%2Fwww.thetimes.co.uk%2Ftto%2Fbusiness

%2Fmoversshakers%2F) Thompson, Susan (2 April 2008). "Business big shot: Harry Potter author JK Rowling". The
Times (London). Retrieved 14 July 2009.

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