In this second part of a two-part episode, we look at how Patrick Doyle, Nicholas Hopper and Alexandre Desplat pick up the mantle from John Williams to continue the sounds and world of Harry Potter in films 4-8. From folk tunes, to new and unusual instruments, to new places such as the Ministry of Magic, as well as returning ideas from dragons to flying to magic in Hogwarts. Each composer has their own unique sound while still staying within the late romantic orchestral sound with a few quirky moments thrown in while the sounds of magic are continued in choir and celeste.

Host: Ruth Mudge

Music included in podcast:

"The Quidditch World Cup" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"Foreign Visitors Arrive" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"The Goblet of Fire" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"Golden Egg" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"Hogwarts' March" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"Harry Sees Dragons" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"Underwater Secrets" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"The Black Lake" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"Der Zigeunerbaron: Schatz-Walzer (Treasure Waltz), Op. 418" - Strauss II: Most Famous Waltzes, performed by Ondrej Lenard & Strauss Festival Orchestra, music by Johann Strauss, Jnr., 1988.

"Potter Waltz" - Harry Potter and the Goblet of Fire (Original Motion Picture Soundtrack), music by Patrick Doyle, 2005

"Dementors in the Underpass" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"The Hall of Prophecies" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"The Ministry of Magic" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"Short Ride on a Fast Machine" - Adams: Short Ride on a Fast Machine, Grand Pianola Music, performed by Stephen Mosko & Netherlands Winds Ensemble, music by John Coolidge Adams, 1995

"The Room of Requirements" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"Fireworks" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"A Journey to Hogwarts" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"Flight of the Order of the Phoenix" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"The Sirius Deception" - Harry Potter and the Order of the Phoenix (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2007

"Ron's Victory" - Harry Potter and the Half-Blood Prince (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2009

"The Book" - Harry Potter and the Half-Blood Prince (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2009

"The Slug Party" - Harry Potter and the Half-Blood Prince (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2009

"Farewell Aragog" - Harry Potter and the Half-Blood Prince (Original Motion Picture Soundtrack), music by Nicholas Hooper, 2009

"Ministry of Magic" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"Detonators" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"Fireplaces Escape" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"Hermione's Parents" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"The Will" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"Godric's Hallow Graveyard" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"Lovegood" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"The Deathly Hallows" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"The Elder Wand" - Harry Potter and the Deathly Hallows, Pt. 1, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2010

"Gringotts" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"Dragon Flight" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"Statues" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"Panic Inside Hogwarts" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"The Grey Lady" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"Courtyard Apocalypse" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"Neville the Hero" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"A New Beginning" - Harry Potter and the Deathly Hallows, Pt. 2, (Original Motion Picture Soundtrack), music by Alexandre Desplat, 2011

"World of Soundtracks" - music by Edith Mudge, graphics by Lindsey Bergsma, 2022

Welcome to World of Soundtracks, a monthly podcast where we explore storytelling aspects in films and TV through music. Whether it is comparing book adaptations, observing themes over a series, or micro analyzing the choice of instruments, we look at how the story is told and moves us. I am your host Ruth Mudge and today we will be looking at the musical world from the Harry Potter series.

This is the second episode of a two-parter regarding the musical world of Harry Potter. If you haven’t listened to the other one first, go ahead and stop and then come back to this one. I highly recommend listening to the first one focusing on John Williams before listening to this one as all of the other composers built on what John Williams created. These composers were also working with different directors as the stories got progressively darker so the tone does begin to shift. However, there is still a bit of exploration into new places or new creatures as the stories continue.

As a little recap, John Williams used both a combination of late-romantic orchestral style with a fun quirky imitation of early 20th century composers such as Prokofiev or Stravinsky. He used celeste for the sound of magic, as well as the use of choir from the beautiful patronus light to slightly more spooky and uncertain magical elements such as the ghosts or moving stairs. He later expanded this instrumental world to include instruments from the Renaissance period, giving the world a sense of age and oddity and began to add jazz in for more familiar colors, always combining what is familiar to the audience ears mixed with a little something different for the world of magic and those who inhabit it.

In the 4th film, Harry Potter and the Goblet of Fire, the world is expanded past Britain to the wider magical world. It is also a return to the traditional Western late-romantic orchestral style under the composer Patrick Doyle after John Williams had pushed the boundaries with Renaissance instruments and jazz. That being said, Patrick Doyle does expand in a new way and that is through imitating the sound of traditional folk tunes.

This expansion is first heard during the World Cup of Quidditch, where the themes represent the two teams from Ireland and Bulgaria. The Irish music matches Celtic Fiddling and drums. (“The Quidditch World Cup”) The Bulgarian team uses male choir almost shouting grunts, low repeated string patterns, and low brass. It is less melodic but gives a sense of weight and presence. This music is also used for Victor Krum’s entrance to Hogwarts with his classmates and teacher. (0:50)

The music for the two schools that compete for the Triwizard Tournament at Hogwarts also reflect a bit of the culture and heritage of each of the schools. The music that plays as these schools arrive may not be their School anthems but it does give a flavor as to the kind of people who are arriving. The girls from the French Beauxbatons schools is accompanied by high instruments such as violins, flutes, harp, and trumpets and a lot of swirling motion as they arrive in a flying carriage. In contrast, the Boys from Durmstrang is all in the low strings and brass as their ship ascends out of the lake, resembling a lot of Russian orchestral music. “Foreign Guests Arrive” (0:30)

When the names of the competitors come out of the Goblet of Fire, the instrumentation continues in the same manner even if not the exact same melody, with flutes, harp glissandos, high violins, and celeste for Fleur followed by trumpet, low brass and lower strings for Victor Krum. “The Goblet of Fire: (0:49)

This is followed by a piece in strings and French Horn for Cedric Diggory who is representing Hogwarts, called Hogwarts Hymn. (1:23) This piece has a complete version on the soundtrack which is very much in the style of Doyle’s music under big emotional monologues in his Shakespeare movies. It also plays at the very end of the film during the main credits.

While there is no school Quidditch match in this school year due to the focus on the Tournament, the opening to the Tournament begins with a fanfare reminiscent of the Olympics style opening to Quidditch in film 1 featuring a lot of brass and percussion, sounding very celebratory and grand. “The Golden Egg”

This film also includes a school song for Hogwarts called Hogwarts March, which is an instrumental marching band song. Similarly to the previous school songs by John Williams, it is only heard in part in the film and the whole thing is on the soundtrack. It matches many school pep band songs played in brass, heard as the contestants head towards their final challenge as the winner is most likely going to be Gryffindor, whether it is Cedric or Harry. “Hogwarts March”

Unfortunately, the opening part of this March also plays as Harry arrives with Cedric’s dead body at the end of the last challenge and it takes a few seconds before the music is abruptly stopped once everyone realizes a tragedy instead of victory has transpired. This is often what most of the audience associates with this school song which is quite sad.

The middle portion of the March is actually heard more frequently throughout the film as a little motif for Harry and Hogwarts throughout the film and tournament. ‘Hogwarts March” (0:50)

This is first played in the French Horns as the student of Hogwarts awaits for the other schools to arrive outside. “Foreign Guests Arrive” (0:21)

It is also plays in small little fragments during Harry’s flight against the Dragon anytime he gets a little win, such as when the Firebolt arrives and he is able to fly away initially. “Golden Egg” (2:40, 3:24) Of course, it ends in a triumphant version at the end as he gets the Golden Egg and then is seen rejoicing with the Gryffindor students afterwards holding it up in their common room, complete with timpani and cymbals crashes. “Golden Egg” (5:50)

This film brings back the return of two very different creatures that had music in previous films. The first of these, of course, are the dragons. Before that first challenge, Hagrid invites both Harry (under the invisibility cloak) and the headmistress of Beauxbatons to see what is coming up. Unlike the cute fun music of the first time Harry sees a baby dragon, this music reflects a sense of danger as he sees the large, fire-breathing dragons in cages barely being contained. The music is ominous with brass, percussion, and low strings as Harry is understandably a little freaked out. (0:54)

The second return is the return of the ghost Moaning Myrtle as Harry is in the prefects bath trying to solve the mystery of the golden egg that has the clue for the next challenge. Instead of using the oboe, the lower English horn plays a tango as she flirts with Harry before telling him to open the egg under the water. “Underwater Secrets” (0:52)

As Harry puts his head the water underneath to hear what is being said when he opens it, a beautiful voice sings the next clue about the merpeople. The voice is actually Patrick Doyle’s daughter singing which is a nice little family moment for him to include. To match the sound of water, there is an extended overlapping of the choir repeating the same melody just a few beats off from each other so it blends into each other and has also the effect of a large reverberating church building as well. “Underwater Secrets” (1:20)


This same effect is used in the Black Lake as Harry seeks to find what was taken, which was his friend Ron. But the choir is a bit more unsettling and dangerous than the beautiful music earlier as the merpeople turn out to be an unfriendly bunch as he swims through their realm in the lake, especially when he tries to free more than one person. “The Black Lake” (0:28)

While John Williams was both imitating and messing with the waltz, Doyle aimed to be serious and romantic in this imitation. Both Neville’s dance in the preparation for the ball and Harry’s Waltz occurring during the ball follow a similar sound using a lot of swirling harps, violins and flutes to give the fun illusion of a grand ball even though the main characters may not actually be enjoying themselves to a great extent. I will also add these waltzes also resemble Doyle’s waltzes in the newer live-action Cinderella should you want to compare another magical ball. “Potter Waltz”

There is a switch and focus in tone in both the narrative and music once Voldemort returns to full form at the end of Film 4. There is less exploration of a magical new world or new creatures or even the expansion of the world past Britain as the journey focuses more and more towards the ultimate battle in the last 4 films. However, there are still a few musical ideas, places and creatures that are newly experienced or continued.

One of the continued ones is the presence of the Dementors who attack Dudley and Harry in the summer at the beginning of film 5. The use of dissonant strings are continued for the music of the Dementors under the composer Nicholas Hooper. What slightly changes is the use of low guttural male choir, almost throat singing underneath with a lack of clear melody. He still used voices but in a different way for the cold danger of the soul being sucked away while the full tonal choir returns as Harry uses his patronus to send them away and save his cousin. “Dementors in Underpass” (0:40)

In a similar way, choir and throat singers are used in the Hall of Prophecies within the Ministry of Magic as Harry and friends are looking for a specific prophecy. The choir adds to the ambiance with high electronics as they are surrounded by numerous prophecies, the voices reflecting both the eerie light and the voices of prophecies around them and then the low throat singers come in with Hedwig’s Theme playing in the French Horn as they see the one specifically for Harry. “The Hall of Prophecies.” (0:36)

While Patrick Doyle writes primarily in his own late-romantic style, Hooper straddles the line in following in the footsteps of both Doyle and John Williams, using ideas and instrumentations that both composers used to create the world while still creating his own music palate and unique melodies. One of the new places Harry gets to experience is the Ministry of Magic with Mr. Weasley as he goes to his trial for using underage magic near the beginning of the film. It has a fun and comedic quality as they enter through a telephone booth with the use of celeste, established for the world of magic, as well as bells and clarinets. As a side note, the bells and celeste are also used for Professor Umbridge in this film, who is sent from the Ministry of Magic and working with their authority. Once they enter, there is a little more dissonance as they magically enter the Ministry, followed by a repeated violin pattern which in all honesty sends me briefly into Les Mis vibes. It expands and grows, adding in more instruments as Harry sees the immensity and grandeur of this government building, similar to his first experience at Gringott’s Bank or Hogwarts, being a bit overwhelmed in seeing everything. “Ministry of Magic” (0:41)

The bells and comedy that play as Harry enters the Ministry are also used much later as Professor Umbridge and her band of students try in vain to find where Dumbledore’s army is meeting within Hogwarts. Choir, harp, and celeste begins the sequence as the Room appears to Harry and the rest of Dumbledore’s army leading the scene into a comedy of dance between the two groups between hiding and learning and those seeking to bring it down. Using the choir and celeste is also a nice call back to the many times Hogwarts has done something magical. “The Room of Requirement” (0:25)

The combination of the celeste and bells being used for Umbridge from the Ministry of Magic is juxtaposed with Hogwarts magically offering a room needed for these students to learn Defense of the Dark Arts together. A new instrument is also added with the xylophone in this film combined with a mixture of high percussion as well as the harp, bells, and celeste for Dumbledore’s Army while bassoon (often for comedy and buffoons) and the bass clarinet are used for Umbridge’s group including Filch and Draco Malfoy. (2:29)

Nicholas Hooper also continues the idea of using folk tunes in his films from Patrick Doyle, with the Weasley Stomp resembling the same Celtic fiddling as the Irish Quidditch team, which makes sense considering the twins were rooting for that team. This is used as they create mayhem in the exams in the 5th film and for their joke shop in film 6. “Fireworks”

The idea of using Celtic music for the Weasley family is also continued in the 7th film during Bill Weasley’s wedding reception.

Another new instrument heard along with the xylophone is the accordion, which hasn’t been heard since the Knight Bus in film 3. Here it is heard as Harry, Ron, and Hermione find out that Hagrid was back after Christmas break after a semester long absence and they run to visit him heard in the running scales in xylophone and strings. The accordion is another instrument associated with folk music and provides a different color in visiting Hagrid, who seems to get several of the older instruments to represent him. “A Journey to Hogwarts” (2:15)

The other musical idea that is continued from previous films are the themes of flying. There are two instances of flying…one at the beginning with the Order of the Phoenix and one at the end as Harry and friends go to supposedly rescue Sirius. The first one includes French Horns, violins, swirling flutes and a few harp glissandos in the same manner as John Williams but with a theme for the Order which also includes snare drum to sound a bit more battle ready. (0:55) “Flight of the Order of the Phoenix.”

Both of these flying themes include an element of danger but the thrill and joy of flying over the country is still felt. The second is on thestrals, a creature that is invisible to most unless they have seen someone die, and there is a sense of urgency to rescue Sirius from Voldemort, which is why the music is partially in minor and repeated lower string patterns. However, it still has many of the typical flying instruments such as soaring violins with French Horns, with harp glissandos. (1:40) “The Sirius Deception”

In the 6th film, flying takes form in the return of Quidditch. Nicholas Hooper took John Williams 2nd melody from the Prisoner of Azkaban and turned it from a depressing, losing game played in the rain surrounded by Dementors to a more joyful and fun game. The motif is less disjointed and dissonant, becoming more of a recognizable melody over moving string patterns and rhythmic syncopations still providing tension for the game, especially Ron as the goal keeper. This game focuses on Ron’s victory instead of Harry’s, with Ron believing he had taken the luck potion and blocking every goal. “Ron’s Victory” (0:40)

The liquid luck potion was a prize for Harry, having used the book of the half-blood prince in potions class. Not knowing who was the author of the extra notes, Harry becomes obsessed with this book to the concern of Hermione and Ginny and slight envy of Ron. As they take the book from him originally in the Gryffindor common room to discover that it is claims to be the property of the half-blood prince, there involves a mixture of fun in the flute, celeste and pizzicato but hints of darkness around this book as well. “The Book”

While much of the music involving the potions class and using the book are fun and humorous especially seeing Harry succeed in an area he had previously struggled with while Hermione is frustrated and others fail, it also gives Harry a chance to spend more time with Professor Slughorn, who likes to collect famous or promising students. A result of this leads to Slughorn’s Christmastime party which brings back a form of jazz, resembling Dave Brubeck in the background, with bass, drum-kit, clarinets, and violins providing both a mood but also giving lots of space for dialogue and the interactions of characters within the party. “The Slug Party” (0:05)

There is a big band track for the Weasley twins joke shop on the soundtrack but they decided use the Fireworks music in the movie instead.

After Harry ends up taking the lucky potion himself in order to get answer from Slughorn regarding missing memories of Tom Riddle, he ends up going to visit Hagrid with Slughorn accompanying him. In the process, they find Hagrid mourning the death of Aragog. This does not bring back the creepy spider music from before, but instead it harkens back to the idea of using folk music for things that are old, or in this case, creatures that are old. A solo violin plays a mournful tune, following the lament style of British folk-songs including the rhythmic fast slow that occurs in many those songs, with strings joining in part-way through, giving a sense of age and timelessness to an old creature in this magical world but in a familiar style to the audience as Slughorn gives the eulogy. This is also fitting with older styles and instruments for Hagrid as he is the one grieving. “Farewell Aragog” (0:38)

With Alexander Desplat, comes both the return of older instruments, such as recorders and lutes, while adding in some instruments from around the world, expanding the music palate with new timbres, especially in Part 1 of the Deathly Hallows. There is also a return to the Ministry of Magic with repeated minimalistic patterns, again sounding like part of a machine, or a ticking clock, but this time a bit darker as Harry, Ron, and Hermione are using polyjuice potion, pretending to be other people as they enter. Not to mention seeing the disturbing changes such as the statue crushing down Muggles and other creatures heard in the minor strings over harp. “Ministry of Magic” (0:11)

The return of the recorders occurs in the Ministry of Magic as Harry walks through the workroom where the propaganda pamphlets are being mass produced while he heads to Umbridge’s office, creating a distraction with detonators and causing chaos. It is a mixture of recorders, bassoons, strings, and even a lute used for comedic purposes in this old establishment with an element of chaos but also repeated patterns as there is a visual precise timing in the process of producing the pamphlets. “Detonators”

As the trio escape towards the fireplaces with their disguises having worn off, pamphlets are flying around and they are chased both by people within the Ministry and Dementors. Following in the same vein as Williams and Hooper, choir sings along with the brass as the Dementors chase after the trio as they escape in the Fireplace. (2:13)

A patronus also returns in this film with high violin harmonics, celeste, and high voices, keeping the sound of something beautiful and high and pure. Here, it is not being used against the dementors but instead leading Harry to the lake where he can find the sword of Gryffindor which will help him defeat the Horcruxes that they are seeking to destroy. This patronus is a doe, in honor of Lily’s patronus which also happens to be similar to Harry’s stag. However, there is a sense of unease in this one as the pattern underneath repeats, almost a bit eerie as Harry is following it out to the unknown in the dark not knowing whether it is friend or foe sending this patronus out for him to follow. (Hermione’s Parents - 2:17)

Several of the unusual instruments used by Desplat are connected with older objects or stories as Harry, Hermione, and Ron are sent on a journey after the reading of Dumbledore’s will. The theorbo (a deeper, longer lute) plays with the flute and celeste as Dumbledore leaves Harry the Gryffindor sword near the beginning, even though it was locked up at that moment for safe keeping. (The Will 1:07)

These choices of instruments are especially connected to the Deathly Hallows, both with the symbol and the story of the brothers from Godric’s Hallow. As this is a story that became a legendary children’s story, using instruments such as the theorbo aids the older nature of this story mixing the old with the new. The motif includes an augmented 2nd, often used in music from the Middle East, Gypsies, and other cultures that have been around for centuries. The first time it appears is when Harry and Hermione visit the graveyard in Godric’s Hallow at Christmas time. The cello and theorbo play as Harry looks at his parent’s gravestone while Hermione finds the symbol of the Deathly Hallows on another gravestone. “Godric’s Hallow Gravestone” (0:25)

Later on, Hermione puts together that the young man she had seen in a picture at Bathilda Bagshot’s house was Gregorvich, someone who had stolen the Elder Wand, part of the Deathly Hallow trio of objects as the theorbo and clarinet play. (1:18)

The majority of instruments are played for Xeno Lovegood who wears the symbol of the Deathly Hallows around his neck and a bit of an oddity himself, so there is a mixture of the Japanese Shakuchachi flute, Hang Drum (a newer Swiss steel drum), lute, and percussion along with strings and piano. “Lovegood”

Hermione reads the story of the Deathly Hallows at the Lovegood home, putting together that the gravestone she had seen was connected with the story of the three brothers and their objects: the Elder Wand, The Resurrection Stone, and the Invisibility Cloak making one the master of death if they had all three. This is accompanied by the harp and theorbo, celeste, hang drum, and low strings. The Hang Drum repeating a note gives the impression of a clock ticking as Xeno keeps looking out anxiously because he is going to hand them over to Snatchers. Both the trio and Mr. Lovegood are aware that they are running out of time. “The Deathly Hallows” (0:30)

The Japanese Shakuhachi flute is used in the 7th and 8th film for Voldemort particularly through his horcruxes, especially the snake Nagini. While I did cover the majority of that in the previous podcast focusing on Voldemort, it is important to note that it was used as Voldemort moves the gravestone of Dumbledore to collect the Elder Wand, in seeking to find a weapon that could destroy Harry and in his quest to defeat death itself. “The Elder Wand” (0:06)

While the majority of the last film is focused on the final battle between Harry and Voldemort, it does bring back a few things and creatures that were first seen in the film no. 1, providing a bookend in many ways, even though the circumstances and composers are quite different.

One of these is revisiting Gringotts Bank. Instead of the wonder mixed with a little quirkiness, it is much more sinister considering that both Ron and Hermione are pretending to be Bellatrix Lestrange and her goon while Gripuk the goblin and Harry are underneath the invisibility cloak. They are trying to sneak in without being caught so most of the music reflects that aspect as well as Harry’s view under the invisibility cloak, heard in the lack of clear rhythm and in a shroud of sound, but it does also involve a version of the hammered dulcimer, most likely the cimbalom, which is a concert Eastern European version. This provides a different musical color for the goblins while also providing an unease to the whole situation. “Gringotts”

Guarding the vaults is a chained up dragon, one that has been treated poorly by the goblins to Hermione’s horror. However, it does provide a means of escape at the end as the Trio jumps on to the Dragon, combining a mixture of dissonance as they set the dragon free and the dragon begins to destroy the building as it flies up. The brass climbs up with the dragon, even changing keys until a moment of silence as it arrives on the roof before they start flying, using many of the classic flying instruments such as high violins, trumpets, and swirling flutes as it plays Lily’s Theme, one of the main themes from that film. “Dragon Flight”(0:05)

The final battle is brought to Hogwarts and it is there that Professor McGonagall uses a spell to bring the Statues to life to protect the school. It returns the idea of the school itself being full of magic, but instead of the awe and wonder at the beginning of the journey, this is a more solemn moment with the strings, drums, and brass playing as the stone statues jump down and the professors join spells to provide a protection around the school. It combines the feeling of magic with the swirling flutes with the preparation for battle with the snare drum and timpani, while the gravity and sorrow of this coming to pass is heard with the low minor string patterns. “Statues”

The use of choir at Hogwarts returns as the students and portraits are running in panic, Ron and Hermione run to tell Harry that they are going to the Chamber of Secrets to get the Basilisk fang to destroy the Horcruxes, and the staff continues to prepare for the upcoming battle, with little hints of the Statues music in the French Horn. (0:14)

This idea of choir and preparation for battle continues after Harry speaks with Rowena Ravenclaw about where the Diadem is located. As he heads towards the Room of Requirement, everyone is getting into their places to wait for Voldemort to attack. String patterns, timpani, celeste, and choir play before moving to a quieter clarinet as they begin to wait. “The Grey Lady” (4:17)

The Statues theme returns over the beating of drums as Ron, Hermione, and Harry run through the courtyard battle to the boat-shed to kill the snake, while the statues are fighting trolls. They also pass their friend Lavender who has died and Aberforce Dumbledore sends away Dementors with a patronus, as the choir is added and the music adds a few major chords with the violins rising up even higher. This is perhaps the most tragic version of the theme with the moving strings as they see friends dead or fighting for their lives. “Courtyard Apocalypse” (0:52)

One of the last things that is connected through many of the movies is the use of a brass fanfare for celebration or victory. Throughout much of the series, it was saved for Quidditch matches or the Tournament in school marches. However, one of the most important victories is the final victory over death with the resurrection and reveal of Harry Potter being alive after he had been killed and then declared dead. Neville makes a moving speech that those who died are still with them and they didn’t die in vain followed by a long timpani roll, Harry rolls out of Hagrid’s arms and reveals himself alive as a brass, especially trumpets play, perhaps not as joyful as the ones in previous movies, but no less important at the final crux of the battle. (“Neville the Hero” - 1:13)

Finally, this film essentially has two endings, the first with the trio at Hogwarts, now looking destroyed and in ruins after the battle, as Harry breaks and throws away the elder wand, which had become his and one of the ways he could defeat Voldemort at the end. Since they are weary and have a hard time believing it is all over, the music is much quieter, the harp opening with the statues ostinato, seeing the stone rubble all around them. Low flute and strings play as they hold hands, having survived this journey together. Then the celeste and harp play a major version of the statues ostinato and as they are able to look to a future where everything will be restored leading into the second ending, which is seen and heard in the epilogue with their kids, which will restore Hogwarts to its former glory, bringing awe and wonder to a new generation of magicians. “A New Beginning”

The world and characters change in their journey over the eight films as does the music. But underneath, there is a foundation of folk, classical, quirky chords and instruments, choir, and celeste that sets apart the world of magic and the places, creatures, and things unique to that world. A varied but beautiful journey of a boy, the Chosen One, who discovered his place and purpose within the world of Magic and the people and friends he met along the way.

If you have listened to all my various podcasts on Harry Potter and made it through this two parter, thank you for coming along my musical journey with all 8 films of Harry Potter. In the next podcast episode, I will be returning to Jane Austen and Mansfield Park.

You can join in on discussing all the musical moments regarding your favorite place, creature, style or instrument within the Harry Potter films in the Facebook group “World of Soundtracks” or on Twitter and Instagram at WoSoundtracks. Please like and subscribe, share with friends, or even leave a review on Apple podcasts, Spotify, or Amazon. I highly recommend subscribing so you don’t miss when the next episode comes out.

Until next time, Happy Listening!

A special thanks to all those involved to make this podcast happen especially Edith Mudge for the title music and Lindsey Bergmsa for the graphics. This is World of Soundtracks.