Happy New Year ya dweebs, hope you enjoy this one! 🎉 I know there’s a lot to take in here, so if you’d prefer to study this reduction a little more closely (and read at your own pace), then consider becoming a member by clicking the “JOIN” button above, or following this link: ua-cam.com/channels/k_jzTmW2Fmfnm70c2kZHpQ.htmljoin Memberships help to support this channel, and will also grant you access to the analysis PDFs, members-only videos, and other cool shtuff.
Dude, my brain hurts at the thought of how much time, effort and love you put into these. Thank you so much! I didn’t know you had membership options! Will be gladly supporting your efforts this year!
4:27, 4:28 I just adore the rapid scales from the Woodwind family, which adds more excitement to the piece combined with the main melody from the trumpets. That is some counterpoint techniques John William put into to really bring the story to life
I had to replay this several times to hear it - it's quite subtle, but what a delight when you notice it! It's this attention to detail that sets Williams apart.
I played the clarinet in a full orchestra performance of this piece when I was in high school. It was one of the greatest experiences ever. Those high woodwind parts are no joke
Brad, the section with the 2/4, plus the added triplet at 1:58, Conrad Pope, the orchestrator, and conductor for this cue, said, "Don't look at the beginning for understanding look to where the pattern is contrasted/changed--- that would be in the subsequent 3/4 2/4 It is this rhythmic "contrast" of feel that is being aimed at. My two cents. I haven't time to explain fully, but if you play through the passage I think you'll grasp what I'm trying to "get at"--- and, as Jeremy Levy points out, this "metrical modulation" is something that had to be thought out and planned for."
The Ab/C polychord at 0:46 is superb. I like to think of it as if "Ab" is some kind of challenging situation, and "C" in the bottom is your friends supporting you and hanging in there, in spite of any trouble.
Re: triplets in duple meter at 1:59, he's doing this because otherwise he'd have to write an equation over the barline, making it harder to read (ie. to keep the 3/4 time signature, he'd have to write ┌ 3 quarter note = quarter note).
At 1:59, Mr. Conrad Pope, the orchestrator for this cue, said to look at the basses and cellos playing the quarter notes. It's hard to hear, but you can hear it.
Awesome Analysis, not sure if you done this in other videos but a structural map is an amazing addition. Please if possible keep adding those on all future vids!
The way you edit your analysis has always been great, but this is just some next level stuff. I can't stress how much I admire your work! Also, loved that little jab at those dies-irae-heads :D
Bar 33. Another way to look at this instead of E7alt etc. Is Fm+maj7/E, then Fm+6th+#7/D, then Bb9omit3/F (or stick with Fsus4), then Eb69/G hence you have: iv#7, iv#7, VII9 or IVsus4, bIIIadd69.
Wow, I truly appreciate the time and efforts you put forward to make these videos possible. I’ve been a huge fan for some time, and I’m so happy to finally be able to support the channel!
That's amazing! Thank you for doing this! The idea with the structural map is great. It makes the structure and form of the piece a lot easier to follow and understand. 👏👏👏 Have a Happy New Year!
My goodness, this is amazing! Subscribed! Thank you sooo very much for your excellent work. I was a theory major and have been wanting to analyze John William’s scores, but the thought of doing so is daunting-you have saved me so much time and huge headaches trying to figure out his intricate compositions. I’m truly grateful and impressed. Thank you!
I absolutely love the addition of the structural map. For videos including movie scenes, I imagine it would clutter things up, but I’d love it if you did more of those in the future whenever possible.
This is an enormous amount of effort thank you. I'm in the process of making a midi chord-generation app for producers/composers, this will come in handy as refeence.
those first 9 seconds are so magical i love the hedwigs theme. i wish i can bring a speaker into my class and just blast that part in the classroom and watch everyones reaction 😂😂😂😂🦉🌨
This is absolutely wonderful masterpice! Genius forever ;) thank you John you made that. harmonic , melody, rythm , structure, color , virtuoso, emotions , technique, absolutely breathtaking!!
Thank You for the work that share to Us! Miss the video about how You make this kind of analysis videos. It was fascinating to watch how You do this and to appreciate really for to time,effort and knowledge You put in this work. MAybe, You will post it again! :) HAve a really good Year!
Mate this is awesome, I've always liked this piece, seeing this dissected down to its technical aspects is really cool to see, even if I don't understand most of it. Thanks for the effort, I'll have to check out your other videos.
Really interesting how you find new ways to map things out so we can follow along! Thanks for the effort! (In fact, I do care about the dies Irae at :50 )
Wow. I can't believe someone else heard that. The very first time I heard that at 2:55, that's exactly what I thought. I'm surprised he used two- beat triplets. Wagner did that violin part in Tannhauser in 12/8 time. Totally addictive whether here, or in Wagner's piece.
It's not copying in any measure. It's similar to another piece, just like thousands of examples throughout western classical music, but it's not copied.
Bar 43 could arguably be F add 6/C or IV. The reason is that a B natural is in inner voices. This creates a brighter F Lydian sound. If the B naturals had been flats I would be inclined to mark as Dm/C. Often it is difficult to determine difference between ii7 and IV6.
Hahah “the dies irae” joke can everyone just relax about the damn dies irae?? Sometimes it’s just a background line for no reason! It’s like people hunting for anything that might resemble the lick nowadays in jazz
Amazing analysis!! Thank you so much for the hard work. Will you consider to do a similar analysis of the ending credits of Prisoner of Azkaban: Mischief Managed?
I'm always looking at your score. and I'm really into yours. I think you are really doing great with analyzing score. I already googled 'John williams' score but I falied hard to find.... So I wonder where did you get it !!! Could you happen to tell me where can i find 'John williams' score? I hope any good news from you!! Thanks to you, I've been studying score very well. Thanks a million! :)
I just realized the reason why, it's because this is the "Harry's Wondrous World" for Chamber of Secrets, I listen to the one for The Sorcerer's Stone.
@@naustinfipecto6104 It’s actually the Children’s Suite version. They used that version in the Chamber of Secrets soundtrack, but in the actual ends credits for the movie, William Ross conducted a condensed version of the theme. And as for the one heard in Sorcerer’s Stone, John Williams wrote a new ending to emphasize that Harry’s adventures were just beginning and things would get darker.
New colors are great! Text boxes... no, can even read them. Maybe put them in description? Just not useful to have small text boxes flash by. There is a better way. Maybe make a download of the PDF files? Cool video.
it was actually a general contract orchestra in London that did the scores for Sorcerer's Stone and Prisoner of Azkaban. The LSO only performed Chamber of Secrets (which William Ross conducted)
It was the LSO. Here's a helpful Wikipedia page outlining a lot of the details of the series' music: en.wikipedia.org/wiki/Music_of_the_Harry_Potter_films
Amazing!! Probably you have already listened to this new John Williams Star Wars' soundtrack: ua-cam.com/video/l-9reMkxTjw/v-deo.html I think it will be difficult finding this score for an analysis but it would be great!
JakeTheGearHeart ....yes, but none of the new original music in that score is as beautiful, instantly recognisable, magical or ‘wondrous’ as this piece, other than ‘Battle of the Heroes’ the ROTS score has nothing particularly noteworthy, and while I believe that Sith is fine work you would be lucky to find anyone (who isn’t a film nerd like us) that would know the tune. ‘Harry’s Wondrous World’ and ‘Hedwigs Theme’ are tunes that have been hardwired into a generation of children, and their parents, like The Superman March, The Raiders March, Star Wars main title and Jurassic Park main theme for my generation, those were magnificent, truly special and I believe most people would know these tunes, this is what makes them great.
Happy New Year ya dweebs, hope you enjoy this one! 🎉 I know there’s a lot to take in here, so if you’d prefer to study this reduction a little more closely (and read at your own pace), then consider becoming a member by clicking the “JOIN” button above, or following this link: ua-cam.com/channels/k_jzTmW2Fmfnm70c2kZHpQ.htmljoin Memberships help to support this channel, and will also grant you access to the analysis PDFs, members-only videos, and other cool shtuff.
FilmScoreAnalysis where is the “join”? I will happily contribute
@@PaulDMills, it's in the link...
ua-cam.com/channels/k_jzTmW2Fmfnm70c2kZHpQ.htmljoin
@@PaulDMills really nice Channel
Dude, my brain hurts at the thought of how much time, effort and love you put into these. Thank you so much! I didn’t know you had membership options! Will be gladly supporting your efforts this year!
Thank you so much blakus, I really appreciate it! The membership options are brand spankin' new, so you weren't missing anything before.
@@bradfrey Great news! All the best this year, happy new year!
I always feel the Holiday vibes from this piece. It fits so appropriately.
4:27, 4:28 I just adore the rapid scales from the Woodwind family, which adds more excitement to the piece combined with the main melody from the trumpets. That is some counterpoint techniques John William put into to really bring the story to life
I NEVER noticed how that flute part at 0:54 was hedwigs theme and I've listened to this a hundred times. Nicely done!
Same here!!
I had to replay this several times to hear it - it's quite subtle, but what a delight when you notice it! It's this attention to detail that sets Williams apart.
Well great, now I can’t unhear it lol
@@Redheadeddude41 Do you want to unheard it? It's wonderful!
I love how Edmund-Davies gives it a wonderful hooty tone just like an owl.
I played the clarinet in a full orchestra performance of this piece when I was in high school. It was one of the greatest experiences ever. Those high woodwind parts are no joke
your structural notes probably require a lot of extra work but they are so incredibly helpful. thankyou so much for your efforts!
Brad, the section with the 2/4, plus the added triplet at 1:58, Conrad Pope, the orchestrator, and conductor for this cue, said,
"Don't look at the beginning for understanding look to where the pattern is contrasted/changed--- that would be in the subsequent 3/4 2/4 It is this rhythmic "contrast" of feel that is being aimed at. My two cents. I haven't time to explain fully, but if you play through the passage I think you'll grasp what I'm trying to "get at"--- and, as Jeremy Levy points out, this "metrical modulation" is something that had to be thought out and planned for."
The Ab/C polychord at 0:46 is superb. I like to think of it as if "Ab" is some kind of challenging situation, and "C" in the bottom is your friends supporting you and hanging in there, in spite of any trouble.
One of the most complicated orchestral score I have ever seen!
Roumen Boyadjieff - junior You should check jut the finale to ET then
Tommy Lellan Yes! I know:)
lol
Thanks, your work is so fantastic, the reduction score and analysis are very easy to understand with colors and notes.
Re: triplets in duple meter at 1:59, he's doing this because otherwise he'd have to write an equation over the barline, making it harder to read (ie. to keep the 3/4 time signature, he'd have to write ┌ 3 quarter note = quarter note).
These are simply superb.
It is truly formidable how good this guy is
At 1:59, Mr. Conrad Pope, the orchestrator for this cue, said to look at the basses and cellos playing the quarter notes. It's hard to hear, but you can hear it.
There are brilliant. I'm playing several of the pieces you did this way in orchestra right now and these videos are brilliant for learning them.
Wow I really like the structure map! You should do more of these endcredits, it really brings the best of each theme
My favorite piece of Harry Potter, it always has been.
Awesome Analysis, not sure if you done this in other videos but a structural map is an amazing addition. Please if possible keep adding those on all future vids!
so glad you are doing harry potter. John William's work on the films he did is some of his finest
How does someone come up with this? John Williams is amazing.
The way you edit your analysis has always been great, but this is just some next level stuff. I can't stress how much I admire your work! Also, loved that little jab at those dies-irae-heads :D
Bar 33. Another way to look at this instead of E7alt etc. Is Fm+maj7/E, then Fm+6th+#7/D, then Bb9omit3/F (or stick with Fsus4), then Eb69/G hence you have: iv#7, iv#7, VII9 or IVsus4, bIIIadd69.
Absolutely amazing! Thanks for sharing
Wow, I truly appreciate the time and efforts you put forward to make these videos possible. I’ve been a huge fan for some time, and I’m so happy to finally be able to support the channel!
Thank you for your support, Robert!
That's amazing! Thank you for doing this! The idea with the structural map is great. It makes the structure and form of the piece a lot easier to follow and understand. 👏👏👏
Have a Happy New Year!
You did it! Your channel is now my new favorite thing on earth!
Harry Potter has the most intense score, so much more technicality to it than Star Wars.
Marvellous! Music, score, analysis.
This is fecking brilliant. Great visual representation and analysis. LOVE IT!
My goodness, this is amazing! Subscribed! Thank you sooo very much for your excellent work.
I was a theory major and have been wanting to analyze John William’s scores, but the thought of doing so is daunting-you have saved me so much time and huge headaches trying to figure out his intricate compositions.
I’m truly grateful and impressed. Thank you!
The amount of work you put into these is staggering. Thank you for sharing!
This is the peace of Chamber of Secrets. You can hear the horns in bar 191 added. Thank you so much for these analysis.
Hey could you do an analysis of the "Lord of the Rings" soundtrack
Sadly, the sheets for that music are pretty much locked away. ☹️
Quotenwagnerianer this is not an annotated score, it's discussion in the film, no written music is contained
The closest we have are the LOTR Score Analysis videos made by the amazing channel Monoverantus: ua-cam.com/channels/byg3ujMxvifnRRHFrlCvmg.html
Damn..beautiful to see so much work to decipher this masterpiece. Thank you.
I absolutely love the addition of the structural map. For videos including movie scenes, I imagine it would clutter things up, but I’d love it if you did more of those in the future whenever possible.
So masterful. So much incredible craft in this piece.
Thank you so much for this elaborate analysis! Bravo!!
The layout of the structure is amazing! Thank you
Very well done on this, Brad! This piece is such a nice one from Williams and you really made it as clear as anyone could hope for!
This is an enormous amount of effort thank you.
I'm in the process of making a midi chord-generation app for producers/composers, this will come in handy as refeence.
those first 9 seconds are so magical i love the hedwigs theme. i wish i can bring a speaker into my class and just blast that part in the classroom and watch everyones reaction 😂😂😂😂🦉🌨
This is absolutely wonderful masterpice! Genius forever ;) thank you John you made that. harmonic , melody, rythm , structure, color , virtuoso, emotions , technique, absolutely breathtaking!!
Thank You for the work that share to Us! Miss the video about how You make this kind of analysis videos. It was fascinating to watch how You do this and to appreciate really for to time,effort and knowledge You put in this work. MAybe, You will post it again! :) HAve a really good Year!
The production quality of these score reductions are unbelievable!! Major respect
P.S. -Thanks for the little red circle every so often 👍
Bar 69: Totally agree, I'm baffled by why there's a duple meter, but the everything is expressed in triple rhythm.
4:48 is akin to the Fantastic Beasts 12/8 (5/8+7/8) theme
Oh yeah! It is like 0:18 in ua-cam.com/video/WBOMpfxsUpk/v-deo.html
Mate this is awesome, I've always liked this piece, seeing this dissected down to its technical aspects is really cool to see, even if I don't understand most of it. Thanks for the effort, I'll have to check out your other videos.
Really interesting how you find new ways to map things out so we can follow along! Thanks for the effort! (In fact, I do care about the dies Irae at :50 )
Woow, the structural map is really a great idea! Really loved it
Little unsure of some of the analytical markings: Gb before F is surely the tritone sub for the applied dominant rather than bV in C, for instance.
this is incredible
really good high quality video!!
There are geniuses, and guides who understand them and enlighten the path to make us reach the genuises of them
I would love to see an analysis of the Fantastic Beast’s soundtracks!
Amazing!
At 2:55 he’s coping Wagner’s Tannhauser
I prefer Tannhäuser!
Wow. I can't believe someone else heard that. The very first time I heard that at 2:55, that's exactly what I thought. I'm surprised he used two- beat triplets. Wagner did that violin part in Tannhauser in 12/8 time. Totally addictive whether here, or in Wagner's piece.
It's not copying in any measure. It's similar to another piece, just like thousands of examples throughout western classical music, but it's not copied.
@@jakegearhart People have a HARD time understanding this
Indeed he is doing so ^^ And hes not ashamed of it!
I already love this.
Amazing work. Thank you
oh my god, this is amazing.
Omg dude you're AWESOME!!!
Bar 43 could arguably be F add 6/C or IV. The reason is that a B natural is in inner voices. This creates a brighter F Lydian sound. If the B naturals had been flats I would be inclined to mark as Dm/C. Often it is difficult to determine difference between ii7 and IV6.
Hahah “the dies irae” joke can everyone just relax about the damn dies irae?? Sometimes it’s just a background line for no reason! It’s like people hunting for anything that might resemble the lick nowadays in jazz
These are so great, man! Would love to see one for Reunion of Friends from Chamber of Secrets :)
You‘re the best!!! Thanks!
Amazing analysis!! Thank you so much for the hard work. Will you consider to do a similar analysis of the ending credits of Prisoner of Azkaban: Mischief Managed?
Is this a remake or the original music? I can’t tell the difference ? But it’s brilliant !
The structural map is quite good！
I'm always looking at your score. and I'm really into yours. I think you are really doing great with analyzing score. I already googled 'John williams' score but I falied hard to find.... So I wonder where did you get it !!! Could you happen to tell me where can i find 'John williams' score? I hope any good news from you!! Thanks to you, I've been studying score very well. Thanks a million! :)
My god, these runs at 3:39 get me everytime...
Holy Shit! You should get paid for this kind of work.
Some of the ending for Harry's Wondrous World is different where I stream it for some reason.
I just realized the reason why, it's because this is the "Harry's Wondrous World" for Chamber of Secrets, I listen to the one for The Sorcerer's Stone.
@@naustinfipecto6104
It’s actually the Children’s Suite version. They used that version in the Chamber of Secrets soundtrack, but in the actual ends credits for the movie, William Ross conducted a condensed version of the theme. And as for the one heard in Sorcerer’s Stone, John Williams wrote a new ending to emphasize that Harry’s adventures were just beginning and things would get darker.
Please do He's a Pirate (Pirates of the Carribbean)!!
Hi Bradfrey…..as a Level 2 member, how do I access the score pdfs please?
How do you acquire these scores???
Do you buy them or do you transcribe by ear?
Arvin Nguyen most can be found on reddit or though google.
New colors are great! Text boxes... no, can even read them. Maybe put them in description? Just not useful to have small text boxes flash by. There is a better way. Maybe make a download of the PDF files? Cool video.
Wonderful
Where did you get the score for this from?
Did LSO or LA studio musicians record this? Probably LSO right due to the age of the film?
it was actually a general contract orchestra in London that did the scores for Sorcerer's Stone and Prisoner of Azkaban. The LSO only performed Chamber of Secrets (which William Ross conducted)
It was the LSO. Here's a helpful Wikipedia page outlining a lot of the details of the series' music: en.wikipedia.org/wiki/Music_of_the_Harry_Potter_films
2:08 Faster version of “Leaving hogwarts”
Hey. How can i join your channel??
Hola tenés Misión imposible?
3:30
Ah yes, The Dies Irae™®©. I also found the interval of a half-step™®© many times, and sometimes even the interval of a WHOLE-step™®©. Many such easter eggs in here. Standing on the shoulders of geniuses™®©.
always thx
I have no idea how to read music it looks so confusing! One of my favourite scores though.
Can you read a piano roll?
@@musical_lolu4811 Nope no clue. Is it worth learning?
Can hear some similar parts in Jurassic park too. Lol
Now that is HOT
Amazing!! Probably you have already listened to this new John Williams Star Wars' soundtrack: ua-cam.com/video/l-9reMkxTjw/v-deo.html
I think it will be difficult finding this score for an analysis but it would be great!
Ooooooook!
Hermmmm... I'm No comment ok.
His last truly great score, masterpiece. Mischief managed.
He wrote Revenge of the Sith after Sorcerer's/Philosopher's Stone.
JakeTheGearHeart ....yes, but none of the new original music in that score is as beautiful, instantly recognisable, magical or ‘wondrous’ as this piece, other than ‘Battle of the Heroes’ the ROTS score has nothing particularly noteworthy, and while I believe that Sith is fine work you would be lucky to find anyone (who isn’t a film nerd like us) that would know the tune. ‘Harry’s Wondrous World’ and ‘Hedwigs Theme’ are tunes that have been hardwired into a generation of children, and their parents, like The Superman March, The Raiders March, Star Wars main title and Jurassic Park main theme for my generation, those were magnificent, truly special and I believe most people would know these tunes, this is what makes them great.
@@jakegearhart And Catch Me If You Can, and, love it or hate it, The Last Jedi.
VulcanJedi343 .......all good music, but none ‘Truly Great’
@@TimeSignatureManiaq TLJ's score wasn't remarkable and that's what we're talking about. TFA's soundtrack was at least twice as good.