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Hedwig's Theme: Music Analysis

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Hedwig's Theme: Music Analysis
The Harry Potter films fall into the genre of fantasy. This is distinctly indicated in the main theme composed by John Williams, titled Hedwig’s Theme. The concert version of Hedwig’s Theme actually includes two different themes; Hedwig’s Theme and Flying Theme. I shall be focusing on Hedwig’s Theme.

There are two main sections of Hedwig’s Theme, part A and part B. The structure of the concert version is A B (Flying Theme) A B A.

The theme itself is quite strange, displayed in most of its musical elements. The theme begins with a high-pitched celeste. It is not a common instrument, and it has been electronically altered. Use of strings, harp, celeste and woodwind jump around frequently and unexpectedly, adding another mysterious element. French horns and other brass instruments are loud and powerful, reminding the listener of the formidable castle at which Hogwarts School resides.
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The timbre of the harp and celeste are quite ethereal. The strong, imposing French horns are a reminder of the castle. The texture is so thin you will miss the melody if you don’t pay attention, much like most fantasy worlds. The texture gets thicker and thinner but ultimately builds, similar to most adventures involving a fantasy world.

Hedwig’s Theme is mostly minor, and the harmony and melody are unpredictable. In bar 6, the notes of the melody are B D# F A#, which is similar to E minor dominant 7th (B D# F# A). However, Williams replaced F# with F and A with A#, so the chord doesn’t make sense, quite like wizardry itself. As well as this, phrases usually end in the dominant chord, then the tonic chord. However, in part A, the second last chord is the dominant of the dominant (F#7) and the last chord, expected to be the dominant of the tonic, is the tonic itself (E minor). The cadence doesn’t make sense, again, much like

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