You mean Secret of the Blue Room. Even so, I would attribute it to his tendency to vary his ideas.Yeah, the B section’s second version (C instead of B) is really hard to nail down when singing it out, cos it’s just so unnatural! As shown in the example below, the first two bars of the theme outline the E minor chord, and the bass extends the E into bar 5, all of which clearly establishes the key.


Best Sites About Hedwigs Theme Easy Piano Sheet. (not that unnatural is bad…) Thanks for letting me feel good about myself for having spotted it, hah… Lol, KL. To me they sound entirely different and I wouldn’t say they are in any way connected. But at the same time, this triple time creates a lightness and buoyancy in the music, a floating quality that captures the feeling of taking to the air, as wizards so often do.The B section of Hedwig’s Theme shares many of the musical features of the A section: it is exactly the same 16-bar length, it retains the same orchestration in the celeste, and it closes with virtually the same 6-bar passage. May be will analyze these two works on the subject of plagiarism?Thanks, KL. In the moderate waltz-like tempo of the theme, the three-beat meter evokes a feeling of elegance and grace that befits a wizard’s ability to get out of many jams quickly and easily with, for instance, the simple casting of a spell.

You can share this sheet on your Twitter or Facebook account to let your friends know too! In this audio clip, A is heard from the start, B begins at 0:17, A appears again at 0:45, B at 1:01, and A once more at 1:18:Probably the most distinctive feature of the first A section is its orchestration. I’m doing what I can to try and change that.

I am excited to go through all these posts and read them. (John Williams scored the first three films, but not the later ones. Williams’ avoidance of the tonic therefore gives the theme a feeling of being suspended in the air like a wizard on his broomstick.Both the A and B sections are repeated, then the A is stated one last time before the piece moves into the “Nimbus 2000” theme. I appreciate the clearly-set examples, also. The music from Harry Potter gives a very gripping and atmospheric effect. Any ideas?The tune doesn’t ring any bells with other pieces for me. Saint-Saëns’ famous piece, “Aquarium” from And even in film, in the well known theme for “Harmonica” from I would also point out that the melody of the A section uses all twelve notes of the chromatic scale, and so in an abstract way could indicate that wizards and witches can inhabit both the non-magical world of muggles (or non-magical folk, as represented by a “normal” E minor scale) and the supernatural world of magic (as represented by all the other notes outside the E minor scale).Many of Williams’ themes for blockbuster action films are marches, which are always set in a two- or four-beat meter. Great stuff! It opens with a solo that combines synthesized and real sounds of the celeste, a keyboard instrument whose keys strike metal bars that sound like small bells. Orchestra sheet music book by John Williams: Belwin Music at Sheet Music Plus: The World Largest Selection of Sheet Music. Give me a day or two and I’ll see what I can do…Thank you for your excellent commentary. But there is a G#, it’s just written as Ab in my example (bar 12 in my second example) because it’s part of an F minor chord. © Mark Richards. Of the several themes Williams composed for the film, the most prominent is “Hedwig’s Theme”. That end credits piece is the big theme from Tchaikovsky’s Swan Lake. But at the same time, the celeste is associated with the imaginative world of children primarily through the “Dance of the Sugar Plum Fairy” from Tchaikovsky’s ballet, Harmonically, Hedwig’s Theme is essentially in the key of E minor, but the chord progressions are anything but typical for a minor key. Also, what was Ab in the original theme now becomes the equivalent of A-natural, again rendering it the normal note found in the scale, so a bit less strange and mysterious. What’s interesting is that the demand became so high for anthology music from a publisher named Belwin that, as one composer employed for the company colourfully wrote, ““in desperation [Belwin] turned to crime.
Here is the entire B section:But there are some significant changes in the B section as well. But in bars 11-12, the music suddenly heads in a new direction, sounding out three more minor chords that bear no relation to one another. I had noticed the note in the A section that was changed (a D# becomes D natural), but I had not noticed the note in the B section, where a B is subtly chnaged to C. So thank you! For an excellent demythification of criticisms of Williams’ film music, particularly with regard to what others hear as plagiarism, see chapter 8 of Emilio Audissino’s But I do think it’s interesting that the Tchaikovsky is appropriated for the Secret of the Blue Room. This kind of semitone motion from 5 to #4 in a minor key is another musical feature that has associations with mystery.

Indeed, Williams even writes “Mysterioso” at the start of the score.Williams has used a series of minor chords before to accompany similarly mysterious circumstances: the opening scene of In Hedwig’s Theme, after the string of minor chords, Williams ends the section with two chords (see above musical example).

Only 11 notes of the chromatic scale are used by Williams.Hi Marlon! the harmonies are mostly really long notes, which help give the atmospheric effect.… You’re right that the theme is changed in the fourth film and has the normal scale-degree 2 rather than the flat version Williams wrote. John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist. But in bar 6, we get a very strange chord:Taken together, the notes of bar 6 are B-D#-F-A#, which is similar to E minor’s dominant seventh chord, B-D#-F#-A.