Byers 1 Karolyn Byers Professor Fülöp History Of

Byers 1

Karolyn Byers

Professor Fülöp

History of Film Music

21 December 2012

John Williams v. Alexandre Desplat: Approaches to Film Scoring for the Harry Potter Series

I. Introduction

The eight­film series based on the Harry Potter novels by J.K. Rowling includes compositions by four different composers. Beginning with John Williams in 2001, the Harry Potter films over the years have also been scored by composers Patrick Doyle, Nicholas Hooper and

Alexandre Desplat.1 The composers use different approaches to the film score and seek different levels of interaction between the music and film. In order to understand how Desplat and Williams each contribute something unique for their respective films, this paper will primarily focus on the music from Harry Potter and the Sorcerer’s Stone, and Harry Potter and the Deathly Hallows, and the differing approaches and styles undertaken by composers Williams and Desplat.

The techniques of the two composers vary immensely. John Williams is widely recognized as one of the greatest film composers in the last forty years; his music has gained him international fame and he greatly increased the popularity of film music with his strikingly memorable themes.2

His compositional style primarily reinforces ideas that are seen on screen, while Alexandre Desplat is a bit more subtle with his scoring. Rather than doubling the action on screen, Desplat displays emotions or actions that are not necessarily portrayed by anything visually. However, since

Williams composed music for the first three films, he established certain motives and themes that

1 John Williams composed the music for the first three films. The score to the fourth film was composed by Patrick Doyle. The fifth and sixth film scores were composed by Nicholas Hooper, and Alexandre Desplat composed the music for the final two films. 2 Jon Burlingame, Sound and Vision: 60 years of Motion Picture Soundtracks, (New York: Billboard Books, 2000), 186. Byers 2

Desplat uses, if infrequently. Although asserting some continuity with themes that Williams established, Desplat creates an atmosphere that enhances the film viewing experience, but in a much more subtle and nuanced fashion than Williams; he accomplishes this primarily through reliance on rhythmic drive, romanticism, and special effects.3 In contrast, Williams uses illustrative music and composes the most memorable themes of Harry Potter that are widely recognized as the iconic soundtrack of the Harry Potter enterprise.

II. John Williams, Harry Potter and the Sorcerer’s Stone

Williams’s leitmotifs in Harry Potter and the Sorcerer’s Stone are memorable, melodic and able to be sung easily. The most important leitmotifs in the first film include Hedwig’s theme,

Harry’s theme, the Voldemort motif, and the friendship motif. However, Hedwig’s theme and

Harry’s theme are the only motifs that are recalled frequently in future films. Harry’s theme is derived from Hedwig’s theme, and although no research has suggested that there is a distinction between the two, in my own analysis, I have separated the two themes.

Hedwig’s Theme

3 Here, romanticism refers to the dynamic colors and richness created through beautifully dissonant chords exaggerated gestures and enhanced instrumentation. Special effects is used to indicate a number of elements including electronic manipulations, minimalism, and other non­traditional Western sounds: mostly focused on how certain instruments are used, and the various noises they can create. Byers 3

Harry’s Theme

Although I find them to be closely related, I more often find one theme specifically associated with

Hedwig and flying, and the other theme closely affiliated with Harry. For example, Harry’s theme occurs in the films when Harry makes grand entrances, particularly to emphasize a heroic measure or indicate Harry’s bravery; this is a common idea that recurs throughout all eight films, and thus I have designated this portion as Harry’s theme. Hedwig’s theme, on the other hand, is closely affiliated with owls, flying and the magical presence within Hogwarts.

Through the recognition and familiarity of these motifs, Williams creates an experience for the film viewers to connect and engage with the film. Sometimes, the motives provide a clarity or suggest an idea that foreshadows the narrative on screen. For example, the first time the Voldemort motif enters is when Harry buys his wand. The wandmaker, Mr. Ollivander, seems perturbed by the particular wand that has “chosen” Harry, eventually revealing to Harry that a related wand was responsible for the death of Harry’s parents. When Harry inquires about the other wand owner,

Ollivander refuses to speak his name, but the theme immediately returns a whole step higher when

Ollivander says “he­who­must­not­be­named” slightly later in their conversation.

The Voldemort motif:

The transposition is significant because the whole­step increases the tension in the music, and also puts it in a higher register with more flats in the key signature. The audience automatically hears this as more sinister than its initial appearance, and this exploited darkness emphasizes the power of the evil wizard. This idea of clarity is present later in the film, as well. At Hogwarts, Harry Byers 4

ventures into the Forbidden Forest and encounters a mysterious hooded figure. Without the music, the audience may not associate the figure with Voldemort, but as soon as Harry sees the figure, the

Voldemort motif enters. Although Harry does not realize whom he sees, the motif indicates the unknown figure is Voldemort.

In addition to the leitmotific nature of the themes, Williams seamlessly transitions through his themes to make broader connections between characters or ideas that have motifs. While eating in a London pub, The Leaky Cauldron, Harry asks Hagrid for more information about his parents, when Harry utters “you­know­who,” the Voldemort motif plays immediately; the theme repeats three times with harmonic manipulations and ascending sequences with each rotation. As Hagrid begins talking less about Voldemort and more about Harry, the celeste gradually enters and eventually plays Harry’s theme when Hagrid says, “you’re the boy who lived.” This scene is significant because it underscores Williams’s ability to connect themes, and transform smoothly to make wider associations. From the thematic transition in this example, we can gather the underlying link between Harry and Voldemort, even though neither of them realize the full extent of their connection yet.

Williams composes with techniques such as mickey mousing and illustrative music.4

Specifically, in Harry Potter and the Sorcerer’s Stone, Williams also uses music as an indicator of magical presence.5 At the beginning of the film, Williams uses illustrative music to illuminate the magical surroundings. On screen, we see a shadow of a cat morphing into a witch. As the shadow of the cat gets taller and transforms, the music rises in pitch and repetition with an underlying crescendo until the transformation is complete. During this shot, the ascending register in the music directly corresponds to the visual on the screen, and enhances the viewing. Similarly, at the

4 Brazelon, 196. 5 Jamie Webster "The Music of Harry Potter: Change and Continuity in the First Five Films" (Ph.D. dissertation, University of Oregon, 2009), 2­5. Byers 5

beginning of the film, the presence of music indicates the presence of magic. When the film begins, the celeste has the melody, and on screen, an owl sits on top of a sign reading Privet Drive; out of nowhere, a strange looking wizard (that we later learn is Professor Dumbledore) appears, and as he performs magic, the music mickey mouses to imitate him. The music swells each time Dumbledore turns off a street lamp with his deluminator, a magical device that can capture and release surrounding light. At this point, the instrumentation is mystical sounding, including a harp, celeste, wind chimes, and other various percussion. Williams uses illustrative music and mickey mousing to reinforce the visual image.

In his themes, Williams also reinforces mood of the scene. With the Friendship/love motif,

Harry reminisces about his friends, parents, or Hogwarts. During Harry’s first night at Hogwarts, the friendship/love motif plays at a piano dynamic as Harry sits in his windowsill with Hedwig, staring outside at the grandness that encompasses the Hogwarts grounds. The music in this scene when combined with Harry’s contemplative face represents Harry’s thoughts and feelings about his new surroundings.

Friendship/love motif

The friendship/love motif’s diatonicism contrasts significantly with the chromatic alterations of

Hedwig’s theme. The diatonicism is reminiscent and reflective of Harry’s longing to find a place that feels like a proper home, whereas the chromaticism and “wrong note” feeling in Hedwig’s theme represents the unknown mysteries and grandeur of the wizarding world. The friendship/love motif is more stable due to its diatonicism, whereas Hedwig’s theme is less predictable, which also mirroring the spontaneity of the magical world. Later in the film, the friendship/love motif appears Byers 6

when Harry sees his deceased parents in an enchanted mirror: the theme plays as he is reminded of the life he could have had if it Voldemort never killed his parents. Again, the theme reflects this reminiscing moment due to its lyricism and simple melody; in combination with the puzzled, yet mesmerized, look on Harry’s face, the music exploits the idea of something Harry never experienced growing up: love. Lastly, at the end of the film the theme is played in brass instruments as Harry, Ron and Hermione, board the Hogwarts Express, and Harry says, “I’m not going home, not really,” meaning that he considers Hogwarts to be his home now. The grandiose instrumentation exemplifies the changes the year has brought, and rather than this motif being used in a reflective manner, its exploitation refers to Harry’s changes and symbolizes the grandeur he can expect at Hogwarts.6

III. Alexandre Desplat, Harry Potter and the Deathly Hallows

Hedwig’s theme has become the most iconic for the Harry Potter film franchise. Desplat feels “it would have been disrespectful and stupid for me not to use it at the crucial moments where we need to refer to these ten years of friendships that we've all had with these characters . . .

“Hedwig’s Theme” does [recur] a lot more in Part 1 where loss of innocence was the main theme of the film . . . Now we're back in Hogwarts where the battle takes place, and all the friends are there so it made sense to have it there. Also, at the end of the film when we say goodbye to these three kids who are becoming adults and are looking towards a new life, the John William’s theme is present.”7 Despite his differing compositional style, Desplat does choose to incorporate some of

Williams’s themes in both parts of Harry Potter and the Deathly Hallows, sometimes with drastic

6 This friendship/love motif appears in the Epilogue of the seventh film, when Harry’s kids leave for Hogwarts. 7 This quotation was extracted from an interview credited to Warner Brothers but released on a Harry Potter fansite, The­Leaky­Cauldron Byers 7

alterations. Harry’s theme appears to suggest the innate heroism of Harry, and to exploit victories of good (Harry, and the group of witches and wizards that make­up the anti­Voldemort movement, the Order of the Phoenix) triumphing evil (Voldemort, and his followers). The first occurrence of

Harry’s theme is in Part II, when Harry’s return to Hogwarts is revealed. Desplat uses Harry’s theme in its original, unaltered form, to signify Harry’s presence and to indicate the meaning of his return to Hogwarts. Until this moment, the music used a syncopated, unsteady rhythmic drive, trills and prominent dissonances to increase tension. Additionally, he increases the register; growing outward from the middle register, he reaches extreme high and low pitches in the range of instruments. He constantly adds a new layer to the texture to exploit the high registered trills and string tremolos. Furthermore, the overall tension strengthens due to a crescendo and sudden decrease of texture before the arrival of Harry’s theme. This scene exemplifies Desplat’s rhythmic drive that ultimately revels in the grandeur of Harry’s theme. When Harry, Ron, and Hermione, are walking through the tunnel to get into Hogwarts, the rhythm begins steady and pulsating. As the scene continues and the three get closer to Hogwarts (and the camera films sinister acts happening outside, such as Voldemort’s followers including the evil creatures dementors), the rhythm becomes more driving and intense, with rhythmic dissonance, the rhythms become destabilized, and eventually, the music suddenly erupts into Harry’s theme. This scene indicates a significant turning point in the film, because Harry’s arrival at Hogwarts, particularly accompanied by Harry’s theme, demonstrates the heroism of Harry, and foreshadows his victory. Later, after Professor

Snape’s removal from Hogwarts, this same musical gesture and rhetoric is accomplished; Professor

McGonagall duels Professor Snape, and his dismissal is immediately followed by Harry’s theme, further indicating the power of Harry and his heroic endeavors to save Hogwarts.

Although Williams’s themes are present in Desplat’s score, sometimes they appear manipulated, fragmented, intensified with chromaticism or harmonically altered. When Hedwig Byers 8

dies at the beginning of Part I, Hedwig’s theme briefly plays, but out of time, with significant chromatic alterations in the melody, and it breaks off quickly; these deformations of Hedwig’s theme suggest that with her death, her theme also dies. Her theme does not come back in full until

Harry has defeated Voldemort; it does however, return fragmented and still manipulated. When the students of Hogwarts first enter the great hall in Part II, Hedwig’s theme plays, but much more sinister than usual. There are no pitch alterations of the theme, but the accompaniment has entirely collapsed, with varied instrumentation, and the rhythmic augmentation has been applied to the theme to intensify the slow­motion feeling. Horns play the theme, but there is a heavy emphasis on all strings, all of whom appear to be playing in their lowest available registers. The upper strings move by half steps to create dissonances through harmonic suspensions, while the lower strings sustain a tonic pedal. The strings are also emphasized because an ascending cello melody precedes

Hedwig’s theme; the uneasy dissonances against a stagnant bass makes the theme appear darker, but the effect Desplat communicates occurs through the combination of the solo horn with the increasingly dissonant strings.

Through manipulations, distortions, rescoring, and new contextualizations, Desplat manages to take themes from Williams and shape them into a new style that accurately follows the progression of the film series. Because the books have a tendency to darken and become increasingly complex as the series progresses, the films capture this element, and Desplat’s careful use of the initial themes displays his knowledge of the series’ evolution, and recognition of the coming of age tale. Harry is no longer eleven years old, learning about his magical world, but rather seventeen and fighting the evil wizard who threatens all elements of the magical world, and

Desplat’s score reflects this new imagery of Harry, Ron, and Hermione, outside of Hogwarts.

In contrast to Williams, Desplat’s original themes use rhythmic drive and special effects to fully capture an array of emotions and elements in his themes, which are not always visually Byers 9

represented. Desplat’s themes are based primarily on rhythmic elements, and not incredibly melodic or lyric. In an interview with Daniel Schweiger, Desplat admitted that he wished to compose an orchestral score with “as many inventive sounds as possible.”8 Experimental compositional techniques are employed primarily in the horcrux theme, but other rhythmic based themes include obliviate, Lily’s theme and battle music. Desplat also seems to favor special effects rather than using a grandiose instrumentation; he uses special effects to create tension or as a basic foundation to support his themes. To create special effects, Desplat seems more interested in how instruments are used, rather than what specifically is used. However, he also uses exotic instruments, including Brazilian instruments such as a tamborin, pandeiro, and djembes. While

Williams seems to favor brass instruments for triumphant themes or fanfares, Desplat prefers experimental techniques, special effects, and motifs purely founded in rhythmic drive.

Desplat’s experimental composition techniques include his theme for the horcruxes, the magical objects Harry must destroy in order to defeat Voldemort. Electronically manipulated sounds that mostly consist of screeching noises and whirring sounds indicate the presence of a horcrux. The music used for the horcrux theme is both internal diegetic and nondiegetic. When

Harry, Ron, and Hermione break into the ministry of magic, Harry can hear the horcrux; Although the others cannot hear the artifact, Harry hears the electronically manipulated sounds of the horcrux. Below this mystical screeching, a violin plays a high, slow moving, chromatic melody accompanied by flutes and minor mode orchestral accompaniment. The melody keeps accentuating the leading tone, which creates a strong dissonance against the rest of the accompaniment. As

Harry locates the horcrux, the music appears to keep diminishing; the music darkens and viio7 chords accompany the melody, which has shifted to a lower register, in the cello. The theme is

8 Alexandre Desplat, interview by Daniel Schweiger, "The Deathly Hallows Composer Alexandre Desplat,"Film Music Magazine, November 09, 2010. Byers 10

extremely high pitched and unstable, with a drastic manipulation on some kind of percussion instrument, perhaps because the music is reflecting the instability of horcruxes. Because Harry can hear them, the horcruxes are internal diegetic. However, the other characters cannot hear them, but the screeching indicates to the viewers that a horcrux is present, so they are also nondiegetic. The scenes involving horcruxes demonstrate Desplat’s approaches and interest in experimental electronic manipulations to create special effects. Part I of the film opens with the electronic noises that we later associate with horcruxes, combined with Hedwig’s theme. By using the screeching noises and using special effects, Desplat creates an atmosphere that represents Harry’s connection with the horcruxes (through his use of internal diegetic music), and generates a consistent and creeping eeriness to the audience.

The Obliviate theme opens Part I and Desplat claims this theme drives the entire first film.

Desplat claimed this theme represented a “sense of sorrow, loss of innocence, but still with a propelling motor . . . [This] piece . . . is the the first melody that you’ll hear. And it’s the music that goes with the theme where the three heros leave their families, leave their homes and go to the unknown. They go on the road to fight the dark forces and it captures their anxiety, their fears, their sadness. And that’s why this theme will be recurring in various shades all over the film.”9As

Hermione and Harry get ready to separate from their families, this theme plays with a steady horn melody, but an uneasy driving rhythm and intermittent percussion. The melody is transferred through the horn, flute and cello, becoming more expressive with each repetition, particularly when played in the cello due to the amount of vibrato, and sudden change to a lower register. After this, the theme is played by all strings, the larger instrumentation adding to the romanticized element of the theme.

9 This is from an interview credited to Warner Bros. but located on the Harry Potter fansite The­Leaky­Cauldron. Byers 11

Desplat speaks about the influence of death and darkness within the themes in the seventh film, especially Lily’s theme. This theme opens Part II, and according to Desplat, “ghost[s] the film all along and [is] the music thread that will take us from the beginning to the end of the film.

So that's one element of death, the people that you miss, the people that you long for, the sorrow, and the question about death.”10 When Lily’s theme first enters at the beginning of the film, everything visual is dark. The Warner Brothers logo is dark, and surrounded by storm clouds. As the theme continues, the film transitions to an evil being representing absolute despair, dementors, then moves to a dark Hogwarts. The combination of several dark elements represent the darkness that Lily’s theme encompasses.

Lily’s theme

Lily’s theme is in c# minor, and built entirely upon a pedal sustained C# in the low strings. Popular

Japanese singer Mai, then enters with a solemn melody with a pure voice; upper strings enter to add intensity through the dissonance of the close harmonies. As the theme progresses, it becomes more romanticized in despairingly rich harmonies as the strings eventually take over the voice’s theme. The theme overall is slow and sad, the sadness reflected by the low register in the string melody. Lily’s theme is purely reminiscent of death and shadows Part II, mostly appearing at times when death seems closest to Harry. Later in the film, Lily’s theme plays with a grand instrumentation and faster tempo when Harry, Ron, and Hermione break into the wizarding bank,

Gringotts, and escape on a dragon. As they fly into the unknown while riding the dragon, Lily’s theme plays in the upper strings; the appearance of Lily’s theme here represents the danger of the

10 This is from an interview credited to Warner Bros. but located on the Harry Potter fansite The­Leaky­Cauldron. Byers 12

dragon, and everything the three risked by breaking into the bank. Also, Lily’s theme appears when Harry is about to face death directly. Harry finds out that he must sacrifice himself in order to save the wizarding community, and as he ventures into the forest on the Hogwarts grounds to face

Voldemort, Lily’s theme plays. Harry sees his parents through an enchanted stone that can reawaken the spirits of the dead. Although it cannot return his parents in full being, Harry can see and talk to them. During this scene, Lily’s theme plays softly, reminiscent of the deadly task ahead and sending courage and providing comfort to Harry. Lily’s theme is passed between the piano, strings, and voice. Here, the theme has been significantly slowed through rhythmic augmentation, and fragmentation in the piano.

The battle theme is one of Desplat’s original themes that exemplifies his rhythmic drive; the theme captures the setting of the battle, as its first appearance occurs when Professor McGonagall enchants the suits of armor to protect Hogwarts. The prominent repetitive rhythmic drive and melodic sequencing pushes the theme forward, which adds intensity to the battle fighting scenes in which it is used. There is no lyrical theme or melody that could be sung in this theme, as its rhythmic base is too strong.

Battle theme, layer 1

The battle theme begins simply, and has a strong minimalist quality. As you can see in the diagram, there is much repetition before something changes, and this is an incomplete rotation of the theme.

The theme continuously has layers added to it to thicken the texture, and combined with a

Mannheim crescendo, which strengthens the effect. Overall, the theme evolves slowly and gradually becomes more complex with each additional layer, which illuminates the minimalist Byers 13

influence. The strings initially begin the rhythmic pattern, followed by dissonant brass chordal accompaniment, staggered percussion entrances (beginning with the snare drum which pushes the rhythm forward even more), a horn counter melody, chorus, and at the height of its orchestration, higher strings enter with a rhythmic diminution variant of the initial rhythmic theme. As the theme progresses, the number of layers increase the amount of dissonance. The theme does not begin incredibly dissonant, but by the end, tone clusters appear and also, rhythmic dissonance is prominent. Because of the frequent repetition and constant addition of layers, this theme builds suspense and tension. Later in the film, this theme appears as Harry, Ron, and Hermione, make their way through the middle of the battle. They are attempting to reach a destination, but the battle holds them back. During this scene, the Battle theme is playing, but the minimalist qualities and gradual musical process does not appropriately reflect the chaos of the surrounding battle. In an interview, Desplat admitted composing for the battle scene consisted of “[balancing] emotion and action. Sometimes it [is] good to feel the adrenaline of the battle, and sometimes it [is] good to take it from a bird’s eye view and have more of a distant look to it. With this bird’s eye view, you can sometimes create a deeper emotion.”11 In such scenes where the music does not necessarily depict the battle, the music suggests an internal dialogue of characters who contemplate the further the implications of war, and what this means for the magical world. The final occurrence of the battle theme happens during the last scene before the epilogue. As the camera zooms in on Harry, Ron, and Hermione with rich string chords in the background, a percussion instrument plays the first layer of the battle theme, which represents the chaos they recently encountered, but the chords in the strings represent the possibilities that now lie ahead with their endeavors firmly in the past.

The epilogue of the seventh film mirrors the ending of The Sorcerer’s Stone. At the end of

11 This too comes from an interview credited to Warner Bros. but located on the Harry Potter fansite The­Leaky­Cauldron. Byers 14

the first film, John Williams uses the friendship/love motif as Harry talks with Hagrid, and again when Harry boards the Hogwarts Express. During the epilogue, Desplat uses the same theme as

Harry’s children go to Hogwarts, even with quite similar instrumentation. Here, the theme retreats back to the innocence and new magical adventures that Williams’s theme initially established for the series. This parallel is significant because of the drastic manipulations that have occurred throughout the series, and ultimately, this theme returns nearly in its original form, exemplifying the power of friendship and love that Williams’s designated with this theme.

In the earlier films where plots were lighter and not as complex, Williams’s themes were well received and appropriate for the age of the characters. However, the darkness and different elements that Desplat brings to the seventh films is significant because of its interaction with the film. Although the music may not be memorable or melodic enough to stand alone, it greatly enhances the film due to its richness of harmonies, special effects, and experimental techniques, and a restless rhythmic drive that pushes the whole film forward. As the first composer for the saga, Williams established the themes that all subsequent composers incorporated somehow;

Desplat’s interpretation and utility of these themes is meaningful because he composes the soundtrack to the final film, and the epilogue especially makes use of many themes that Williams wrote, including the return of the friendship/love motif. The approaches to scoring differ tremendously, and while Williams may have composed the themes that are most widely recognized as iconic to the series, Desplat’s music greatly complements the visual imagery and often adds a new dynamic to the film. Essentially, the two composers each have a unique style, and both made significant impacts on the film music of Harry Potter, each casting a certain light and adding different elements to the experience. Byers 15

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