Prisoner of Azkaban: "Werewolf Scene/Dementors Converge" (Score Reduction and Analysis)

[@patricksuiter]

My apologies that the text and score had to be so small in some parts of this. I spent a lot of time reformatting and resizing to try and avoid too much confusion, but if you're having trouble reading it all and you want to (ie you're as crazy as me), I recommend taking a look at the PDF link in the description. :) Sorry again and thanks for watching.

[@gazelleman08]

Thank you so much for doing these cues! There is so much material here, and you've broken it down really well. His score for this film is one of my absolute favorites, and I think these two tracks are some of Williams' best "horror" sounds. The string/brass/choir effects during the intro of Dementors Converge are just incredible. And the way it all builds to that climax during the Patronus scene? *chef's kiss* I agree with the others: do more from this score, please!

[@patricksuiter]

Thank you! To write this material so quickly, it is evidence of an absolute master of the craft at work.

[@liamruiz2833]

THANK YOU!!! I’m so happy to have found this. Amazing work and dedication for putting this together. This score is in my opinion one of John Williams’ most beautiful. This cue in particular captures so much of what I love about this score and your analysis is spectacular. Eternally grateful

[@patricksuiter]

Thanks very much for this kind comment :) Glad you like it.

[@jessemoog5310]

In my opinion Williams best Score of the 21st Century. I love that your doing Azkaban, as there is not that much in terms of reductions and scores on Azkaban.

[@patricksuiter]

I agree! I hope to do some more analyses of this score at some point.

[@TimBoulette]

This is amazing! Thanks for putting it out there. So much to learn from Williams's scores.

[@patricksuiter]

No worries, thanks for watching!

[@JDM_Score]

This is fantastic. Thank you so much for making such exhaustively detailed reductions and analyses! These are incredible resources.

[@patricksuiter]

You are very welcome. Thanks for your comment :)

[@johnmcallistermusic]

Great work!! I really love the music for this film. It does such a phenomenal job of setting the darker tone. I remember being so fascinated with the "clusters" at the end when I first heard this. Cool to see it written out.

[@patricksuiter]

Thanks so much!

[@olihayne3724]

Tremendous work! Thanks so much. I love the textures Williams creates in this cue, particularly the tonal dissonances when the patronus is produced. Hoping you can do some more from Azkaban, my personal favourite score of all time! Thanks again :)

[@patricksuiter]

Thank you for watching and for your kind comment! It's quite extraordinary isn't it. I wonder how long he spent writing the sketch for it. I'm hoping to do some more cues from Azkaban eventually!

[@paateri]

Amazing job!! Amazing score!!

[@patricksuiter]

Thanks!

[@felixstephanmusic]

cool, thanks for doing this! there are many interesting pieces in prisoner, i also love the part from dumbledores speech and then onward, with the harpsichord. or the mischief managed end

[@patricksuiter]

Thank you! Also a huge fan of both of those, the former has one of my favourite cue titles ever: "Dumbledore's Warming" :)

[@lernekomponieren]

thank you for your work 🙏The Action Cues of the Azkaban Soundtrack are so genius!!! May I ask where did you find the score? Or did you transcribe everything by ear? 😊 I want to study the orchestration it so badly 😂 Greetings Orlando

[@vincentdonnadio6455]

Could you do apparition on the train?! I would love to know what the heck is going on during that one

[@patricksuiter]

I’ll add it to the list! Definitely want to do more cues from this film at some point

[@Ryan.82-u8c]

I'm curious of how you're able to notate 12 tone rows throughout these cues. I'm working on a HTTYD cue, and at one point, woodwinds are instructed to make "quiet random mutterings" and I'm not sure how to get it exactly as the score says.

[@patricksuiter]

Could you let me know what the cue title is? I have the HTTYD score and I might be able to give better advice if I knew exactly what it looks like in the score. My main advice is to not be completely constrained by how the score notates the part. If you are able to get the idea of the line across through your transcription in a clear way, then I'd consider that successful. Experiment with it! I'm not sure if your HTTYD stuff contains box notation, but for this cue, the way I actually made the '12 tone rows' is really silly. You might find it useful anyway: - Firstly, I used tuplets to get the right amount of notes per bar. Then, I removed the stems just by making each invisible. - Then I placed a box around them by writing a small bit of text (made transparent) and then expanding the box by pressing space/enter. Then you can add a frame around the box, and make it thicker as needed. It's a bit finicky, unfortunately Musescore isn't really made for this kind of thing. You could probably use images copied into Musescore, but I think it's much less functional for the purposes of a reduction. There are a few other ways, but all of them a kind of annoying as well. I don't know if there is a better version in Musescore 4, I don't use it yet since it doesn't have the Screen Capture tool. I think it is often neater to use the kind of notation in my Schindler's List video in the harp part, which you can just do by placing the quavers and then adjusting the beam properties (like I mentioned with the glisses) - but if the composer specifies the box notation I usually stick with it. Let me know if you have any other questions!

[@Ryan.82-u8c]

@@patricksuiter 4m27-28 Kill Ring/Stop the Fight

[@patricksuiter]

@@Ryan.82-u8c A great cue! Very complex. I couldn't be bothered to type out an explanation, so here is a short video of me writing it out: kzbin.info/www/bejne/pma4e4iZnM58ors. I know there's no leger lines, and the bassoons are technically in bass clef, but since there's clearly no pitch significance here, I don't think that matters. If you really wanted to use leger lines, you could add them in manually (with straight lines), but that would take forever, I don't recommend.

[@Ryan.82-u8c]

@@patricksuiter I can probably just make it on one line since that's what I'm doing. Thanks!

[@macprofire]

I so wish Williams had written more in this style or could generally have been more experimental. To me he always sounds best when he is least like the stereotypical late 19th century, blaring trumpet chords Williams everybody seems to loose their minds over. HP3 easily is the best film with the best score of the whole franchise I think

[@ArnoldTohtFan]

Can you do “The Face of Voldemort” and “Leaving Hogwarts”? Those are my favourites.

[@patricksuiter]

I love both cues - but I've already seen reductions of them on KZbin, so I probably won't do them myself. You can find them here: kzbin.info/www/bejne/Z2fCfqiAq6ydhcU, kzbin.info/www/bejne/bHakoauwoNepeNk

[@BenjusJamentus]

Woah, this is so amazing, both the music and this video! Can I ask you where one can find the complete original orchestral score to this film? I was only able to find suites with 4-5 pieces

[@pixelbrady]

What is the tempo for the first 6 measures?

[@patricksuiter]

It changes almost every bar. According to the live-to-picture version, the first bar is crotchet = 79, the second bar is crotchet = 72, the 3rd/4th bar is crotchet = 90, and the 5th/6th bar is crotchet = 85. Hope that helps!