Harry Potter Characters - Villains and Quirky folk

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 character themes from the Harry Potter series.

This is the 3rd in a series regarding the Harry Potter soundtracks. The first focused primarily on Hedwig’s Theme which also became the theme for Harry Potter and the world of magic. The second focused on relationships and how the music told the story of friendship, loss, romance, and mentors.

This third episode is focused on specific character themes. Usually a soundtrack has a variety of different ways to tell the story. One is the emotional journey heard often in the relationships. Another is setting the world, in this case the world of magic, which I will focus on in the next episode. The other is to give specific themes to characters, telling you a lot about that character whether they are magical, comedic, villainous, or heroic. The theme that carries throughout all 8 films is of course, Harry’s theme also known as Hedwig’s theme, which tells his journey from a kid discovering a magical world to defeating Voldemort by the end.

However, Harry has the only character theme that persists throughout all 8 films. Due to the fact that there are 3 different directors and 4 different composers, some characters may only have one theme in one movie, or different themes over the course of the various films. We will be looking at some of these characters as many of them are stand alones for a specific film and provide a purpose in the story.

The character that has the most number of themes and motifs is Voldemort which makes sense as the villain of the story. However, his themes do morph and change not only due to the different composers and directions of the films but also because he is not fully physically present until film 4. In the first two films, Voldemort has two different motifs, one that is also tied to the sorcerer’s stone. In fact, some call it the stone or mystery motif in the first film as it is used almost every time the stone is referenced or seen. These are both small little motifs, a few notes, since Voldemort himself is not yet in the flesh but actively seeking to come back to life with the help of the Sorcerer's stone through Professor Quirrell. John Williams put these motifs together for Voldemort in his children’s Suite that he wrote at the same time as the first film, played by bassoons. Unfortunately, that suite is no longer available on Spotify or Apple Music but you can find it on YouTube.

The connection between objects and Voldemort is a musical idea that carries throughout the films. In the case of the sorcerer’s stone, while primarily used for this mysterious object that gives immortality, the underlying sound is of an evil-omen, a connection between the object and those who seek it for evil purposes. This connection will continue in later films both for this motif as well as Horcruxes. Sometimes Voldemort has a specific theme himself and other times it is tied to an object of his desire or an object that contains part of his soul.

The first time this Stone/Voldemort motif is heard is when Hagrid collects the stone from Gringotts Bank. It is first played in the flute and the celeste with bells are added. It is a mysterious magical item, so it makes sense to use the celeste, having being established in this first film as an instrument for magic. While Harry sees Hagrid collect something, he and the audience does not know what it is yet hence the mysterious aspect. The choir is then added that provides a foreboding nature of this three note motif. The motif itself is contained of a minor third and then a major third, not completely resolving, which also lends to the feeling of unease and mystery, as well as foreshadowing to the end of the film.

“The Gringotts Vault” (2:53-3:40).

This idea of mystery and the object being forbidden gives the audience clues even before Harry and his friends know what it is, where it is, and what it does. The flute plays this motif again followed by the bassoon as they enter the floor that is forbidden due to the moving staircases by accident. They don’t know why this area is off limits but the motif gives a clue to the audience along with the sense of unease of the students. The bassoon is an interesting choice for Voldemort and the stone as it often is used for comedy but instead is used for something dark, a role reversal of expectations. (The Moving Stairs - 2:24)

The motif returns as the Trio ask Hagrid questions about the stone and who unwittingly gives information including the name of Nicholas Flemel. It then plays again as Harry looks for information on Nicholas Flemel in the library under his invisibility cloak. The theme returns in the flute when Harry tells Professor McGonogall that someone is trying to steal the stone.

It all comes to a climax with both of Voldemort’s motifs when Harry runs into Professor Quirrell at the end in front of the Erised mirror, who encourages Harry to reveal his greatest desire in the mirror, resulting in Harry bringing out the stone from his pocket. (“The Face of Voldemort” 0:15 - 0:41). This time it is creepier with being higher and then lower, repeating faster and faster. When Voldemort’s face is revealed in the back of Quirell’s head the second Voldemort motif is heard. This one is a dotted rhythm climbing up and then back down, reminiscent of a portion of Hedwig’s theme but yet still different, the violins climbing around almost snake-like the melody in the trombones. (1:55) Both motifs play on top of each other as Voldemort threatens Harry before promising him to reunite him with his parents. This is the closest Voldemort has gotten to fulfilling his desire to be whole again instead of living through someone else. (2:22) The stone motif plays several times throughout this interaction as Harry destroys Quirell in self-defense. (4:00, 4:35). The celeste plays it one last time in the film when Harry wakes up in the hospital after this whole ordeal, having won but also having blacked out afterwards. (5:43)

The main stone/Voldemort motif returns in the 2nd film: Harry Potter and the Chamber of Secrets. Here, it is connected to Harry’s ability to hear and understand snakes, in particular the Basilisk that was turning students to stone, as well as connected with Tom Riddle’s Diary, which turns out to be a Horcrux of Voldemort’s soul even though that aspect is not revealed until several movies later. While not seeing Voldemort himself in this film, his presence is in both his Horcruxes: Harry’s ability to speak and understand parseltongue or snake language and in the Diary. The motif is heard as Harry hears the snake through wall as the Trio tries to figure out who is freezing students like stone. It is also heard as Harry is exploring Tom Riddle’s Diary, trying to find answers about the chamber of secrets, having no idea that Tom Riddle was Voldemort’s original name, as the diary/Tom Riddle responds to his questions before it transferred Harry into past memories of Tom. “Meeting Tom Riddle” (1:24) The brass plays it an epic way as Harry sees Tom accusing and framing Hagrid for deaths in a similar way to what is happening to students and Hagrid at the present before being thrust out of the memories. (3:07)

In a similar way, the motif returns and keeps repeating as Harry discovers the entrance of the chamber of secrets in the bathroom. This is where the idea of the motif being an evil-omen really occurs, providing dread as he tries to solve this mystery before more people get hurt. It returns as Harry approaches the door with snakes on it where he has to speak with parseltongue for it open and then again as Tom reveals himself as Voldemort as the letters rearrange in the diary. This moment brings back the other dotted scalar Voldemort motif and then plays again as Harry destroys the book and Tom with a basilisk fang.

It should also be noted that the motif played earlier in the film when Lucius Malfoy gave Dumbledore an order to step down as headmaster after some kids had already been hurt, hinting that not only was he a bad guy, later revealed in the movie to be the one responsible for giving Ginny the diary in order to have the Chamber opened, but also hinting at what would be revealed in future movies, that Lucius was a Death Eater who followed Voldemort. This idea of using the same or similar music for his followers is something that will be continued later in future films.

Film 3 does not include Voldemort, instead focusing on Dementors and Sirius Black vs Peter Pettigrew. But Film 4, Harry Potter and the Goblet of Fire, has a key role in Voldemort’s music as it is the film where he returns to full form. The music is by Patrick Doyle, the only one to compose for just one film. In this film, the themes are used throughout leading to the return of Voldemort. This also means that it is used as hints of unease and darkness when events are being arranged so that Harry will end up in the graveyard at the end, using it not only for Voldemort but for those who serve under him trying to restore him.

The theme for Voldemort and his minions is first heard when Frank, the man who worked on the grounds at the Riddle old manor house, sees a light in the Manor, accidentally discovering Voldemort and Peter Pettigrew. It is the first musical hint that Voldemort is coming back with an ascending low minor scale. This slightly chromatic minor scale has hints of the ascending second motif of John Williams, yet is clearly its own theme. (Frank Dies)

This theme plays in the trombones as Harry looks into the sky following the chaos of everyone fleeing the Quidditch World Cup to see the Dark Mark after Barty Crouch conjured it and his scar begins to hurt. This version is stronger with a group of trombone players instead of just one as this is a public moment instead of a private one. (The Dark Mark, 1:30).

The theme reappears when Mad Eye demonstrates the various unforgivable curses in the Dark Arts Class Room as he tells the class that only one person has survived the killing curse starting at Harry; the theme being a reminder that Voldemort was the one to cast that curse.

Moving to events that set things in motion for Harry’s journey, the theme plays as Dumbledore prepares to read the revealed names for the tournament, giving a sense of danger and dread to what should be a joyful occasion. (The Goblet of Fire) It returns when Harry’s name comes out of the Goblet of Fire, something that was not supposed to happen accompanied by a flurry of flutes and violins as it flies out, followed by Harry walking up to Dumbledore, being very confused as a repeated timpani drum plays as he walks in front of all the schools. At this point, the music suggests that the tournament is dangerous but they have no idea what this will ultimately lead to (The Goblet of Fire - 1:49)

The theme returns as Sirius speaks to Harry in the fireplace about their concern regarding who could have put his name in the Goblet, especially with the Death Eaters moving around again. After mentioning that Barty Crouch had put his son in Azkaban for being a Death Eater, Sirius warns Harry that it might be an inside job and to be careful as the tournament is dangerous. (Sirius Fire 1:29)

The music returns as ravens are seen flying around the castle after the Ball, leading to Harry’s dream of seeing what happened to Frank, the music mirroring what happened when it occurred in the beginning of the film. It also plays as the Trio talk in front of the fire after discovering Barty Crouch dead in the forest, Hermione saying that this is all much bigger than a Tournament, especially with Harry’s name put into the Goblet, echoing what Sirius had said in the fire earlier.

Of course, the crucial moment for this theme occurs once Harry and Cedric are transported to the graveyard of Tom Riddle where Voldemort is returned to bodily form. First with the cello scale coming up like the very beginning as Harry realizes that the portkey brought them to this graveyard and that they need to head back, being a little slower in tempo. (Voldemort) The cellos play the scale as Voldemort rises after after Peter Pettigrew brews the spell including blood from Harry, bringing him back to full bodily form, followed by a similar descending scale. (Voldemort 1:57). It then returns as the Death Eaters are summoned from Peter’s dark mark on his arm, this time heard in the brass, a lot faster as they are being summoned and arriving. (3:02)

The cello scales return again as Harry realizes that Mad-Eye was the one who put his name in the goblet of fire and responsible for everything that happened since, including getting him to the portkey and creating it for the rising of Voldemort. The oboe plays the theme again more quietly once it is revealed that Barty Crouch Jr. had been impersonating Mad-Eye that whole time.

Music for Voldemort is less prominent in film 5 as it deals with the Ministry choosing not to believe that Voldemort has returned. Much of the film instead focuses on Professor Umbridge and her reflection of the Ministry as well as the Order of the Phoenix. Voldemort is seen more through dreams and visions with Harry connected to him as a Horcurx, watching through the eyes of Nagini, the snake.

This means that there are hints of low strings scales and movement in the music but most of it is either shortened variations, or emotionally drawn out scenes such as the Possession that was covered in the last podcast or even silence such as in the duel between Voldemort and Dumbledore.

The shortened versions take the beginning ascending minor scales of Voldemort’s theme in lower strings that resemble Doyle’s music but then continues to weave up and down with it, making it into something new for this movie and the composer, Nicholas Hooper. This is most clearly heard in “The Sirius Deception” where Harry thinks he sees a vision of Voldemort torturing Sirius but is in fact a lie planted by Voldemort in his mind. The dreamlike nature is also reflected by a higher electronic sound. (The Sirius Deception)

Much of Film 6 features a theme for Draco Malfoy who was tasked to kill Dumbledore for Voldemort which we will return to later. Voldemort is not seen very much in this one but instead, his DeathEaters are at work making his presence felt if not seen. The music that is used for Voldemort is in fact through looking back into the past at memories of Tom Riddle through the pensieve. A mixture of electronics, high violins and a repeated pizzicato theme reflecting danger and unease, plays as the memory shows Dumbledore interacting with young Tom in the orphanage before bringing him to Hogwarts, learning among other things that Tom can speak to snakes. “Into the Pensieve”

This same combination of low pizzicato, high strings and electronics play as Dumbledore and Harry see the real memory of Slughorn when Tom asks about creating horcruxes, with the goal of splitting the soul not only once but 7 times to preserve towards immortality, over harp glissandos.

Voldemort and the Death Eaters share a motif at the beginning of film 7, Harry Potter and the Deathly Hallows, part 1. This time, it is a descending minor scale instead of what had been used in film 4 and 5. It plays during the opening title with repeated string patterns underneath and then continues as Snape arrives at Malfoy manor where Voldemort and his Death Eaters are gathered. An interesting color is the use of the Shakuhachi flute, which is a Japanese flute, playing slow slides down alongside the violins. The motif is also used after he kills the professor of Muggle studies and offers the body to the snake in a truly chilling moment. “Snape to Malfoy Manor” (0:15)

This theme returns during the battle in the sky between Voldemort and Harry as the French Horn and high voices play the theme as Voldemort suddenly appears and begins dueling Harry, resulting in Voldemort’s wand cracking and not being able to withstand the duel, leading him to disappear suddenly and his journey to find a superior wand throughout the film. “Sky Battle” (2:28)

The theme next plays as Ron stops Harry from leaving the Burrow, telling him that if he leaves, even though it is out of a desire to protect everyone else, that it would be doing Voldemort a favor. (“At the Burrow, 1:26)

Since this theme is used for both Voldemort and the Death Eaters, it next returns with the Death Eaters searching for Harry and his friends, looking for him on the train to Hogwarts, checking homes, and putting him out as enemy 1 on pamphlets with the Death Eaters being in prominent positions in the new Ministry. This music is very similar to the beginning with the string patterns and glissandos around the motif, giving a real sense of danger and urgency. The use of trumpet also gives a color of the militaristic nature of this search. “Death Eaters - 2:26”

The theme returns at the end when Lucius Malfoy is about to summon Voldemort through the dark mark on his arm, to tell him that they had captured Harry when Dobby distracts them with the chandelier providing a rescue. (“Rescuing Hermione - 0:15)

This is a self-contained motif that does not continue to the 8th film, despite that it is both a two-parter and written by the same composer. Part of that may be due to the fact that there is more of a focus on the final battle.

The motif that does carry through both is the music for the horcruxes, which carry part of Voldemort’s soul. It is first heard when Harry, Hermione and Ron learn about the real locket in part 1. It is through Kreature that they discover that the person who had stolen it from the Cave was Sirius’ brother, as they ask him where it ended up, learning that Mundungus had stolen it and sold it to Professor Umbridge. There are two parts to this motif, both of them haunting. The first goes up and ends unresolved often played by the vibraphone, an unusual instrument in the Harry Potter world. The second involves high instruments soaring about that theme in high violin harmonics and trumpet. “Dobby” (2:08)

What makes the first motif fascinating is that it expands on one of John William’s motif for Voldemort that also was used for the horcurx of Tom Riddle’s Diary back in the Chamber of Secrets, not to mention that both composers wrote two motifs that can work together reflecting fragments of Voldemort. “The Face of Voldemort” (0:16 or 2:30) Play Dobby again.

This theme returns once Ron and Harry see Umbridge wearing it in the trial of a witch being Muggle-born, mixed with a theme of the Death Eaters after it in the flute, making it seem sweeter but yet still quite dangerous. “The locket” It is played again as they grab it and run, including high voices and then trombones. (1:20)

This motif then returns in film 8 as the Trio looks for the next Horcrux in Bellatrix’s vault in Gringotts Bank. The flute plays it with violins as they look for the Horcrux, followed by the trumpet when they find it before everything starts multiplying and causing chaos. “Underworld - 1:51”

It is not just this motif that links the horcruxes, but it also the use of the Japanese flute, the Shakuhachi that links a few of them. It is heard with Nagini the snake, pretending to be Bathilda Bagshot, trying to lure them in during their visit to Godric’s Hallow in film 7. Between that, the tremolo and harmonics in the strings and the occasional drum beat underneath, there is a great sense of unease that something isn’t right. The horcurx motif is quietly also hiding in the celeste telling the audience that the snake is a horcrux which Harry and Hermione haven’t figured out yet. (Bathilda Bagshot - 1:30)

This instrument is then used as Rowena Ravenclaw angrily tells Harry about being betrayed by Tom Riddle and what happened with the diadem that he turned into a horcurx. (“The Grey Lady - 2:38)

After this, the flute plays as Harry searches for the diadem in the room of requirement, particularly when he senses where it is, horcrux recognizing horcrux, reflecting the sound of it almost calling to him. “The Diadem” (0:48)

The Shakuhachi flute briefly returns as Ron and Hermione try to kill the snake after Harry returns to life and begins to duel Voldemort. “Showdown - 0:38”

It should be noted that every time one of these is destroyed, chaos and dissonance ensues in the orchestra. While the motif is absent, the violence and destruction that results in the killing of these horcruxes is clearly heard. The one difference is when Neville kills the snake, the last one as everything gets quiet with voices and electronics instead. In a similar way, when Voldemort dies and disintegrates, it gets quiet with electronics and flute before going into Lily’s Theme. It is no big theme or mention of his motifs as Voldemort was defeated in the end. It is fitting that he began with fragments and ends that way as well. “Voldemort’s End” (1:40)

Looking at many of the other character themes throughout the films, they often vacillate between the quirky, the loyal, or the tragic both on the side of good and bad. Usually those characters have a theme for just one movie but composed to be memorable. Along with that, there is often an instrument that is used for that specific character to make it unique, giving you clues about that character.

keyboard instrument from the: 1600

The other thing to take note of is the use of silence, or rests and staccatos. This is often used for comedic purposes in soundtracks, letting you know that this is ultimately a comical character. The theme first plays when Harry and friends see Lockhart signing autographs of his book, and then in class teaching Defense of the Dark Arts badly. (Gilderoy Lockhart - 1:23) There is also a great version including snare drum as he duels Snape, trying to teach the students how to do it and failing badly. “The Dueling Club” (0:18)

Another character introduced in the Chamber of Secrets is Dobby the house-elf who causes problems for Harry, hoping to get him kicked out of school in order to protect him from his master Lucius Malfoy and whatever dwells in the Chamber of Secrets. It’s a sweet little quirky theme in the English horn but more clear in the soundtrack written by John Williams than throughout the film. It first plays the beginning of the theme when Dobby firsts meets Harry and reveals that Dobby kept letters from his friends, hoping that would make Harry sad and not want to come back to school. Another key moment is when Dobby is freed at the end and Harry asks him to promise to never save his life again considering the mess he made in that year. “Dobby the House Elf” (0:10)

her older instrument from the: 1600

There is a brief moment or hint of this motif as Dobby appears to save the day at Malfoy Manor bringing down the chandelier before chaos ensues. (0:39). Neither theme is used for the death of Dobby, as that becomes more tragic, and Hedwig’s theme is played for Harry’s grief as he dies.

One character who is important in almost all the films but particularly important to Harry is Hagrid. Yet, it is only in film 3 when Hagrid becomes a professor of magical creatures that he has a theme of his own. It matches the older Renaissance sound that John Williams decides to use for much of Harry Potter and the Prisoner of Azkaban by using instruments such as the krumhorn and sackbut (older brass instruments) as well as recorders. Mixing the old with the quirky for this lovable, loyal, but sometimes clueless half-giant. One of the times it plays is as the students head to class with Hagrid for the first time. “Hagrid the Professor,” A little bit of the theme plays later in the contrabassoon as the trio passes the executioner for Buckbeak, heading towards Hagrid’s home.

Both Sirius Black and Peter Pettigrew have a motif in film 3, Peter’s being the inverse of Sirius and in the harpsichord. It often seems to be connected to the Maurader’s map as that is the only way they see Peter’s name until the end when it is revealed that Peter used to be the rat Scabbers that belonged to Ron. Unfortunately, this motif is not on the soundtrack but it something to pay attention when watching the film!

In a similar way to the first film, the 4th film focuses on new themes for Harry and Voldemort, as well as expanding the world with the World Cup and tournament teams. There weren’t many other specific character themes in the same way that happens in the movies both before and after. However, there is an exception with the so-called journalist “Rita Skeeter”. This theme matches the feeling and timbre of John Williams’ music with the comedy and using the celeste for her magic pen, often writing things down differently from what she hears as she interviews. There is also the use of pizzicato often used for comedy plus some fun trills and scales, again seemingly lacking substance and yet proving that what seems sweet and innocent is actually manipulation she pulls Harry into a broom closet for an interview, calling him 12 and wanting to pull up trauma for sensational stories. “Rita Skeeter”

This combination of what seems like a sweet lady on the surface but is in fact, a horrible person underneath, is also in Professor Delores Umbridge’s music, mainly featured in Harry Potter and the Order of the Phoenix. Just like her pink suits and cats, the music seems comedic, using bells like the sugar-plum fairy but alas turning out to be a tyrant to the school. The bells are in contrast with the lower trombones that provide weight as she messes with the school with her rules and order, even from her opening speech at the beginning of the school year. “Professor Umbridge” (0:24)

Since this theme is played throughout the film anytime she makes educational reforms or starting to rain on the parade of the students, one of the first time is appears is heard in the pizzicato as she takes over for the Defense of the Dark Arts class, after burning a paper bird flying around in class.“Umbridge destroys a beautiful morning - 0:26” The bells take over when she tells Harry that he is lying about Voldemort’s return, giving him his first detention, where you can also hear some worrying darker chords appear even at this earlier stage. (2:10) While Umbridge is seen in later films, the main focus appears to be on the horcrux locket and that theme when she wears it in film 7.

In contrast and defiance to Professor Umbridge, are the Weasley twins, Fred and George, who upset the final exams with a display of fireworks before leaving school. This is delightful Celtic fiddling matching with their love of the Irish Quidditch team seen in film 4, with the electric guitar, perfect for any rebellious teenager, as the whole school is put into chaos. “Fireworks” (1:13) This theme returns in film 6 without the electric guitar, when the trio and friends are visiting the new Wizard Wheezes shop that the twins opened up after leaving school. Interestingly enough, there is a different big band track on the soundtrack with that title but it seems that the director and team felt it more appropriate to bring this Celtic sounding theme back instead.

In film 6, we see and hear Draco’s journey being conscripted to kill Dumbledore. This theme usually is heard in the undulating flute, strings and piano throughout as he seeks to find the vanishing cabinet, proceeding to send an apple and then a bird through, which prepared a way for the Death Eaters to enter Hogwarts. The theme is minor and a bit melancholy, as it is shows that Draco is torn up about this when no-one else is watching. (Malfoy’s Mission) “1:20”

A flute is also used a lot for memories of Lily, Harry’s mother, such as when Slughorn remembers the kindness Lily showed him years ago as Harry reminds him that Lily sacrificed her life for his, and that he needs to know the correct memory regarding Tom Riddle. It is a bittersweet melody, one of sweetness for the kind girl that Lily was mixed with the sadness in the knowledge that she is gone. “Slughorn’s confession”

In a similar musical fashion, the flute plays during the memories of Lily and Snape when they became friends as kids, in the last film. Both sweet but with a few odd notes to give it more angst over a shimmer of strings and celeste, as they bond over using magic before going to Hogwarts. It is also bittersweet since this memory was taken as Snape was dying, giving Harry a glimpse into what Snape did for him because of his love for his mother. “Severus and Lily” (0:45)

The last character theme to explore is Luna Lovegood’s father, Xeno Lovegood, who is wearing the symbols of the Deathly Hallows when they first meet him. After seeing this symbol several times, Hermione suggests that they go and visit him. Being an eccentric man, his theme includes a repetitive pattern in the piano and celeste with several world instruments playing over it almost like 70s jazz, including the shakuhachi flute, a lute, and a variety of percussion including the Hang Drum which is similar to Caribbean steel drums. The Hang Drum is used throughout for the Deathly Hallows and its symbol, and it is fitting to use it with Lovegood as he will be the one to help them put together the gaps of the children’s story into actual facts before betraying them over to snatchers. (“Lovegood” 1:49)

As we conclude this section on character themes, I would like to point out that several of these albums have orchestral suites or tracks that are encapsulations of the characters, instead of just what is heard in the movies. John Williams does this with Voldemort in his Children’s Suite and Gilderoy Lockhart in the Chamber of Secrets, to Nicholas Hooper’s Wizard Wheezes that wasn’t used, to Alexander Desplat’s bonus track of Voldemort. This is often their chance to share a theme they are proud of and expand upon it, which is fun for the listeners but also a bit confusing in trying to figure out where it is in the films.

The past two episodes, there was a focus on themes that change to reflect Harry’s journey or relationships with those around him. Here, we see how fragments and motifs changed and morphed as Voldemort grew to power, returning to bodily form. Themes turned back into fragments and motifs as he was defeated, for a long time dark and malevolent, but ultimately defeated by good.

There is also the highlighting of specific characters with a theme or instrument or both. Many of these are quirky characters, providing some fun and levity, or a contrast between what is seen on the outside versus what is internal. These musical themes don’t often change throughout the film as they are often foils, with less focus on their emotional journey or growth, since ultimately the focus is on Harry and his friends and their journey. These characters provide a different focus and contrast.

The last installment in this podcast series on Harry Potter will be focusing on the Magical World of Harry Potter: from ghosts to merpeople, to Diagon Alley to the Ministry of Magic, listening to different choices of instruments used to reflect the world of magic.

You can join in on discussing all the musical moments regarding your character theme or any other of your favorites themes and tracks in 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.