Harry Potter - Hedwig's Theme

World of Soundtracks - Ep 8 - Hedwig’s Theme

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 “Hedwig’s Theme” from the Harry Potter series.

Welcome to all who are new listeners! I realize the majority of my podcasts have been Jane Austen focused so it is fun to branch out for the next few months on the Harry Potter series. I also am aware that several other podcasts and YouTube videos have done extensive work on the music for the first and third films so while I will be reiterating some of the information, one of my goals is to show you larger arcs between the films and not just focusing on one. This episode will be focusing on “Hedwig’s Theme” and how this very famous theme tells the story and changes between all 8 films. Just as a warning, if you haven’t read all the books or seen all the films, there will be spoilers galore. So, if you care about being spoiled, go ahead and finish reading and watching and then come back. This podcast isn’t going anywhere!

y Potter film was released in: 2001

“Hedwig’s Theme” or what is now considered “The Harry Potter theme” had an unusual beginning in that it was written first for the trailer. It was and still is very rare for the composer to write music for the trailer, instead of the team using already familiar music from other movies or from a databank. The film is rarely done, still being in editing stages or adding the music when the trailers are created plus there is a very specific purpose in capturing the essence of the film and trailer in 2 minutes.

John Williams, who probably needs no introduction being famous for his scores for Star Wars, Indiana Jones, Jurassic Park, and many more, had worked with the director Chris Columbus, before on ‘Home Alone.” John Williams had already read the 1st Harry Potter book so he was familiar with the material, so even though he usually waited until the whole film was completed before writing his scores, he agreed to write the music for the trailer. What struck him the most was the visual of all the owls flying in with the invitations from Hogwarts to Harry, which is why the theme was named after Hedwig, Harry’s owl, instead of Harry himself. The owls were the messengers to a new world, the world of magic as well as the school of Hogwarts, which would become home to Harry. There are essentially two different sections to this track created for the trailer. The main focus will be on the first one but we will cover a little of the second at the end.

. The celeste was invented in: 1886

In Hedwig’s Theme, not only does the celeste give the sound of mystery, magic, and even flight, but it is combined with very complicated violin string patterns weaving and wandering around after the theme is introduced. I can tell you from an orchestral perspective that most violinists don’t love playing that part. It’s a crazy pattern but helps to give the image of flying, flitting here and there. This piece is in 3/8, a quick moving time signature, often associated with movement and dance. It is also a piece in minor, lending both to the mystery but also reemphasizing some of the pathos surrounding Harry, being an orphan and friendless in the beginning. John Williams also uses a few unusual notes that lends to the feeling of being unsettled or odd, giving it a quirkiness particularly using a tritone near the end of the first phrase, known in the Medieval Era as the devil’s interval, being rather dissonant. As it goes up a tritone before resolving to the main note of the key, a few odd notes are added again for that slightly off color in the second half before again returning to that tonic or main note. As a cello teacher this always provides a unique challenge as my beginners haven’t learned where a few of those odd notes are on their instrument yet when they ask to play it. “Hedwig’s Theme”

If you are familiar with the movie soundtrack, you may be wondering where the tracks “Prologue” or “Hedwig’s Theme” occurs in the film which opens with this famous celeste solo. John Williams has combined three different versions of his music into the soundtrack of Harry Potter and the Sorcerer’s Stone (or Philosopher’s Stone if you live anywhere beside the US). A few tracks, such as “Hedwig’s Theme” - the music for the trailer, and “Harry’s Wondrous World” are his concert versions, versions especially adapted for performance by orchestras. John Williams himself was the principal conductor of the Boston Pops and wrote or adapted many of his film scores to be performed not only with his orchestra but orchestras around the world. This was not the first time a concert version is heard on one his soundtracks. A great example would be the version of Princess Leia’s theme on the soundtrack for “A New Hope,” which was also the concert version and not what was heard in that film.

But John Williams didn’t stop at the arrangements of his film music but also wrote a Nine-part Orchestral Suite for Children, using mostly themes in the movie, but arranged with different instruments almost in a chamber-like setting. The track of ‘Fluffy’s harp” is an example of this where the harp was heard in the film but not the version with the contrabassoon as is heard on the soundtrack. The opening “Prologue” or ‘Hedwig’s Flight” is from this Suite. Sadly, the whole Suite is not available for purchase or streaming anymore as it was included on a deluxe edition but you can find it on YouTube.

Overall, the musical style of Harry Potter world is in an older framework of late-romantic music but with a few unusual instruments and a few odd notes to give a sense of being other or different from the world that we know and live in. This main theme is also diegetic, which means that the theme is a part of the characters world, making it a musical theme from the world of Hogwarts and magic and just accompany it. Part-way through the first film, Hagrid is shown playing the “Hedwig theme” on the recorder. While that version is sadly not on the soundtrack, this is one of several themes throughout the series that is not only heard by the audience but a part of the world and the characters who live there.

Hedwig’s Theme became the theme connected with Harry Potter and his journey as well as the world of magic, partially due to the fact that it was used about 20 times in the first film. John Williams doesn’t shy away from repeating a theme to stick in your brain and to help tell the story. He did the same thing with the Imperial March in the Empire Strikes Back. In both cases, it solidifies the theme in the hearer’s mind and forever associates it with that character and world.

It should be noted that we don’t always hear the full theme as that doesn’t always work for time or the scenes. Sometimes, it is just the first few notes or a motif that is played, still giving the essence of the theme without hearing it all. In the beginning of Harry Potter and the Sorcerer’s Stone, it is this hint of the theme that first introduces it into the series, heard in the French Horn as Headmaster Dumbledore discovers Professor McGonagall watching as a cat to make sure everything is alright, as they wait to see baby Harry safely delivered to his aunt and uncle. (1:05) We see the use of magic and things are being prepped to see Harry as the theme is partially heard again in the celeste and then completed in the strings and French Horn as Harry arrives with Hagrid, hearing the swirl of violins as they fly in. (1:43)

The theme is slightly slower in the oboe, a plaintive instrument, as McGonagall has misgivings about leaving Harry with his Muggle relatives. (2:48) Finally, the celeste has the full melody as baby Harry is seen left with a letter to his relatives and a glimpse of his scar before the theme grows in brass and choir with the Main title. Choir is used quite a bit for another color in the mysterious, magical, or occasionally spooky scenes. (3:50)

Already, the theme is partially or fully used 4 times in the first 4 minutes of the film. It sets the tone in setting up the magical world in seeing Dumbledore, McGonagall and Hagrid but particularly with the first glimpse of Harry himself.

Hedwig’s Theme is used primarily for 3 ideas and places that are often intertwined together. The main one is for Harry himself, made most clearly as the theme is in its fullest form when Harry is shown as a baby and then with the titles. After all, he is the main hero - Harry Potter is in each title of the books and movies. Not only is it used for his journey and growth from a young boy to a young man, but used particularly in his relation to discovering magic and the place of Hogwarts. Hogwarts symbolizes home as well as being a magical place. Lastly, the theme is heard in relation to the flying owls, often the messengers to and from this magical place as we saw with the trailer and the title of the theme.

Part of Harry’s journey is to learn about himself as a wizard with magical abilities as well as what happened with his family. The first time the theme is played after the titles is when Harry accidentally makes the glass reappear with Dudley inside the snake pen at the zoo after Harry let the snake go free. While most of the scene is accompanied by the second portion of Hedwig’s theme, that little bit played by the French Horn associates Harry using magic even doing it unintentionally. “Visit to the Zoo.” (0:54)

The theme plays in the celeste when Hagrid tells Harry that he is a wizard and as he finally gets to open his invitation letter to Hogwarts, (then once more with flying strings as Hagrid gives Dudley a tail.) The celeste theme returns as Hagrid tells Harry the truth about his parents and how he got his scar, explaining “You’re the boy who lived.”

In a similar way, this main theme plays in the oboe near the end when Harry is recovering in the hospital as Dumbledore tells Harry that he was able to defeat Professor Quirell and Voldemort through his skin because of the love that his mother had poured out to him in protection when she gave her life for his. The oboe is always a bit of a plaintive instrument and fitting for this bittersweet moment.

Harry learns the most about himself and his family while creating a new family at Hogwarts. This is the place of mystery and discovery, a place of family and a place of danger. This sense of discovery and magic, with a hint of danger is heard as Harry arrives for the first time at Hogwarts. The celeste plays the theme as the train arrives but it is the addition of choir and brass that give it this epic quality of wonder, magic, and awe as Harry, all the first year students, and the audience see Hogwarts for the first time as they arrive by boat. (The Journey to Hogwarts - 1:16-2:15).

Now, we will get to this theme being used in Hogwarts but I want to talk a little about bookends. For any of you who have heard my podcasts or talks, I love a good bookend for a story tying the beginning and end together especially in the music. For Harry Potter, there is cyclical nature to the majority of the books around the school year. It begins in the summer, with Harry miserable at the Dursleys, his journey to Hogwarts, the school year with the ups and downs, and then finishing with leaving Hogwarts. This means that the Hedwig theme is often heard as he both goes to school and then as he leaves. It is tied together between the school and Harry’s journey. Leaving Hogwarts, his friends, and found family to go back to his blood family is always hard.

At the end of the first movie, there are two themes that follow each other in quick succession back and forth. One of these is Hedwig’s theme. The other is Harry’s family theme. This theme is Harry’s longing for his parents and family, a lonely theme for the majority of the film. It was introduced as Harry wrote Happy birthday to himself in the ground feeling very alone, and then again his first night in Hogwarts as he is in his bedroom, the beginning of a journey with the possibility of a new family. It is most poignantly heard as he sees his parents through the Erised mirror, heard in bells and harp, again a little cold and glassy since they aren’t actually there but instead a desire for them to be there. This follows the Hedwig theme that played combining the theme of magic and Harry as he took his invisibility cloak off, also using the celeste, harp and bells matching the same color of the unreality of the mirror right before he sees his parents with that family theme. “The invisibility cloak and the library scene (1:50)”

At the end, these two themes comes together again. It does help that both themes are in three as that makes it a lot easier to combine seamlessly. First, the family theme plays in the flute with the celeste playing over it as Hagrid gives Harry a picture of his parents. Harry jokes that he will use magic on Dudley as Hedwig’s theme plays, a nice little tie-back to using that theme when Hagrid did that to Dudley at the beginning. The family theme comes back in full force and even in a triumphant way with brass as Harry says “He’s not going home” because his home is with his friends, with Hogwarts and magic. It is a promise that he will be back soon back with the family he has chosen. Hedwig’s theme or motif ends the film before heading into credits. “Leaving Hogwarts (0:17)”

That’s not the only bookend, however. This exact music is used for the last scene in the last film, Harry Potter and the Deathly Hallows, part 2. Instead of leaving Hogwarts with his friends, now it is Harry, Ginny, Ron and Hermione who are sending their kids to Hogwarts 19 years later. They have found family with each other, and it is the new generation of Weasleys and Potters who get to experience Hogwarts. It bookends the entire 8 films, harkening back to the first one, again on a train platform. The flute family theme plays as the Potter kids are seen with their school carts, at the train platform in London with Harry helping Albus arrive on Platform 9 3/4 together. The solo trumpet plays Hedwig’s theme in the middle as Albus sees kids around him get ready while Ron and Hermione say goodbye to Rose. There is less motion underneath, with both a sense of quiet and a little bittersweet as families say goodbye. The full “Leaving Hogwarts” track starts here with the family flute and celeste theme beginning as Harry assures Albus that it doesn’t matter which house he gets sorted into, reminding him that any house would be lucky to have him and that the sorting hat does take his choice into account, just like it did for Harry years ago. The full orchestral theme with the brass grows as the camera focuses on Harry, Hermione, and Ron, the trio that survived so much together, as they watch their kids go off on their new adventures. It brings a sense of completion and even nostalgia to both the characters and the fans who watched this series over the course of 10 years, many who had grown up with this characters. Somehow, the music seems more triumphant and epic after watching what they had to overcome and seeing them all happy years later that can really move the emotions in that last scene, even though the music remains the same.

Returning back to Hogwarts and the beginning of their journey in the first film, the idea of Hogwarts and magic connected to the theme is heard in the cellos at the beginning of Hermione’s sorting as she is the first student to go through this event in the movie and then the first 4 notes play as a motif in the oboe as the sorting hat speaks before switching to the Hogwarts school theme as she gets sorted to Gryffindor. While it could be symbolizing that Hermione will be important to Harry, it seems to reflect the awe and magic of Hogwarts and the magical world as they begin the first step.

That being said, there are two other instances when Hermione used magic to save Harry or the Trio in this film that is accompanied by that main theme. The first time is Hermione’s use of magic when she opens a locked door as the three of them try to escape Filch having been on the third floor by accident due to the moving staircases only to discover that Fluffy, the three headed dog was behind that locked door. The theme is played in the flute and bass clarinet, followed by the clarinets. This is a forbidden side of Hogwarts and the music reflects that danger. (3:10 - The Moving Stairs)

In a similar way, Hedwig’s theme plays as Harry is escaping Filch once again, searching for information on Nicholas Flemel, while wearing the invisibility cloak before he discovers the mirror of Erised on Christmas break. The music has a darker edge as he once again hides trying to avoid being found. (The invisibility cloak - 1:22)

The second time the theme plays with Hermione using magic is during the Quidditch match as she sets Snape’s robe on fire, believing that he is the one hexing Harry’s broom (7:30 - Quidditch Game) right before they win the game. The first part of the theme is played over harp glissandos as Harry is being knocked around on his broom trying not to fall off.

The theme is used throughout the series, especially in the later movies, for transitions of time either in the day and night or the various seasons, while showing the castle of Hogwarts. That occurs once in the first film as the trio decide to sneak out and protect the Sorcerer’s stone from Snape, whom they believed to be the person after it, transitioning to see the castle at night while the theme plays in the French Horns.

While the larger bookends occurred with arriving and leaving Hogwarts, there is a smaller one connecting the mirror and seeing his parents to his final confrontation near the end of the film with Voldemort speaking through Professor Quirell. Voldemort tempts Harry with that same mirror, saying that he could reunite him with his family in return for the Sorcerer’s stone and so that family theme is heard in a minor unsettled version, the chords underneath quite dissonant as we know these are all lies. “The Face of Voldemort - 2:59”

The main Hedwig theme plays in the celeste both times Harry is seen holding the stone in that scene. The first time is when he sees himself taking the stone out of his pocket in the mirror, again just a desire and not reality, contrasted by high violins for that cold look of the mirror and then also the danger surrounding him. (“The Face of Voldemort - 0:54) The second time it plays is after he vanquishes Quirell and picks up the stone at the end. (4:54) It is a contrast to Voldemort’s motifs and the menacing music around it, a sign of magic and hope in the midst of the darkness and lies promised.

Going back to our third use of this theme, between the trailer and name of this theme, we cannot forget mentioning the owls and messengers of Hogwarts when Harry received the first invitation to Hogwarts via owl. Every time an owl showed up, the theme is heard as there becomes a battle royal between the owls and the Dursleys. Mr. Dursley expects a pause in this battle on Sunday but then the solo celeste plays as all of the owls arrive and the letters pour through the closed up fireplace and door. This is the proper Hedwig’s theme, the version written for the trailer that we heard at the beginning, as the letters pour in and Harry tries to catch them.

Along that same line, the theme accompanies the owls delivering mail to the students at Hogwarts later on, played with trumpets and swirling flutes.

when he delivered the Nimbus: 2000

Secrets which was released in: 2002

Just like the first film, the opening title is accompanied with Hedwig’s theme, this time surrounded by clouds. As this film is the closest in tone due to the same director and closeness of time, this one resembles the first the most, with only a few darker chords in the lower strings. “Prologue: book 2”

Just like the first film, Hedwig’s theme plays as Harry and Ron arrive at Hogwarts, this time in a flying car, and then again in the oboe as Ron asks Professor McGonagall if they will be expelled for how they arrived and arriving late. In a similar fashion, the film closes with this theme at the end of the school year as Hermione is restored to her friends, followed by Harry’s family theme as Hagrid is also restored to the school from prison and Harry hugs him. “Reunion of Friends”

The Hedwig theme plays again in the flute as the whole school gives a standing ovation to Hagrid. This is the same music used at the end of the first and 8th films. Everyone is happy together at Hogwarts as they finish off the school year after a year of dread and suspicion. The film still keeps the cycle of the school year but more importantly, the bookends feature Harry separated in the summer at the beginning, missing his friends and family and now everyone restored together at the end. “Reunion of Friends” (4:21)

Like the previous film, the theme occurs twice with a view of Hogwarts as a transition.

It plays three other times in this movie, each in the celeste. The first is when Harry discovers that he had spoken parseltongue to a snake during the duels instead of English. Again, this is a moment when Harry learns something new and magical about himself. The second is near the end as Dumbledore tells him that he is different from Voldemort as he chose to be part of Gryffindor’s house instead of Slytherin, followed by a final time as Harry confronts Lucius Malfoy, accusing him of giving the diary to Ginny and freeing Dobby. All these choices will affect Harry’s journey later on and are essential into who Harry is becoming.

� released two years later in: 2004

It does however, continue to open with the opening title and the celeste plays the theme as Harry tries to practice magic in his bedroom. Since most of it is exactly the same to the concert version of “Hedwig’s theme” I will only play the end as the harp begins to shift away repeating part of the theme. “Lumos”

At this point, the focus of the theme has definitely shifted towards either Harry or Hogwarts. The use of it for owls really disappeared after the first film.

We still have a bookend with this main theme at the end, using as the opening of Hedwig’s theme to transition into the credits. It’s small but still showing the importance of that theme almost like a musical trademark with Harry Potter at this point. It literally acts as the period of a sentence for the entire movie as well as the three movies under John Williams. “Mischief Managed” (0:29)

The few other times the theme is heard in this movie are again transition points, such as the transition to Hogwarts with snow, including seeing Hedwig flying or even seeing the whomping willow at the end after all the drama surrounding it throughout the movie. Harry’s journey both emotional and otherwise are portrayed with other themes.

blet of Fire, was released in: 2005

The tone shifts for the opening title sequence with the underlying chords being minor, lending it to sound a bit more sad, letting the audience know that this story is going to be get darker especially by the end. The rhythm is also altered by straightening parts of it which makes it seem slightly more on edge and less charming. ’The Story Continues” (0:53)

Patrick Doyle also uses Hedwig’s theme for the beginning of the credits at the end, again for that bookmark and continuity feeling.

Harkening back to the uses of the previous films, the theme is used once for a transition between the 1st and 2nd competition, and another transition looking at Hogwarts, grounding the audience in that familiar sight and sound together especially as most of the music is different.

The theme also plays near the beginning when Harry writes to Sirius about his dreams, his scar hurting and what happened at the World Cup Quidditch match. This is establishing Hedwig’s theme as Harry’s, something that is explored even more in the later films, before new themes are introduced for Harry’s journey in this film, as he tries to understand what is happening to him.

We then move on to movie no. 5, “Harry Potter and the Order of the Phoenix.” Directed by David Yates and composed by Nicholas Hooper. Nicholas Hooper also composed for the 6th film and had worked on previous projects directed by David Yates including the mini-series the “Way we live now” for any of you who are period drama fans.

Like the previous films, the Hedwig/Harry Potter theme is used for the opening title in the Horns and flutes, then violins, fading out with the repeated interval in the horns part-way through the melody as the film transitions to seeing Harry alone in a hot summer. While there is flying around in the flutes and bells, it almost seems more chaotic than a joyful magic. ’Another story”

This will be the last time the theme accompanies the title sequence, although it will still open the next two movies with the opening Warner Brothers symbol.

Another similarity and harkening back to the first films, is in using the theme as the teenagers journey to Hogwarts on the train. This helps to provide a familiar scene and situation after all the drama leading up to Harry’s possible expulsion. This version includes the opening motif overlapping each other in the flute and French Horn. It gives the sense of going home but also a sense of action and things happening, a nervous energy in the students. “A Journey to Hogwarts.”

h a symphonic poem written in: 1874

In a similar way to traveling down the river, there is more focus on visually seeing the river in this journey back to Hogwarts and the strings reflect that.

The theme is also used for a transition scene showing Hogwarts, this time to night during their first evening back.

We do expand past those continuous threads in this movie, the theme being used several times for Harry’s journey. It may be fragments but still occurs for several key points.

The first is while Mrs Figg walks Harry and Dudley home after their encounter with the dementors as she tells Harry that Dumbledore has been keeping an eye on him after everything that happened with Voldemort returning and Cedric being killed at the end of film 4. The opening part of the theme is played in the celeste.

The theme returns later in the flute as Hermione states that the students need someone to teach them how to defend themselves, since they weren’t going to learn in their class of Defense against the Dark Arts, and then turns to look at Harry.

This connects to Harry’s first time teaching in the Room of Requirement, hints of the theme being played in the celeste again. This is a combination of Hogwarts looking out for the students and what they needed, in this case, a place for Dumbledore’s Army to learn spells to defend themselves against the Dark Arts. Then bells play a fun melody (which seems to be the theme for the room and the students learning) as the celeste plays the hint of Hedwig’s theme as Harry prepares Neville for the first spell. “Room of Requirement” (1:00)

Things take a darker turn, however, as Harry hears the prophecy regarding himself and Voldemort. The French Horn plays the main theme over choir, a tangled chaos of voices, including throat singers which have a very guttural low sound to it for the effect of hearing the prophecy. Tension is also added with a single tremolo note held in the violins and cellos as Harry hears that one would have to kill the other. “Hall of Prophecies” (0:55)

To go along with that prophecy, the second half of Hedwig’s Theme is played in the French Horn and then hangs on the dissonant note as Harry tells Dumbledore the prophecy near the end. It is played over a repeated minor pattern in the flute as he shares this and Dumbledore sadly confirms it. (Another Story - 1:58)

Nicholas Hooper, continues this main theme in the opening of the 6th film, “Harry Potter and the Half-Blood Prince” a score that was nominated for a Grammy. Having just lost his godfather Sirius at the end of movie no. 5, the fourth note of the theme is changed to go higher to indicate that things are not alright even though familiar being in the celeste again. Over this is the voiceover of Belatrix Lestrange when she killed Sirius. While the theme is played with the opening WB picture and clouds, it immediately transitions to tragic music in the strings and choir, full of suspensions which accompanies the actual title of the film, the first time the theme isn’t with the title of Harry Potter. “Opening” (0:15)

The end of the Hedwig melody is repeated in the horns after the opening title in a different time signature similar to Doyle’s version, sounding ominous for the first time right before the DeathEaters begin to attack Muggle London. Magic is breaking through in a terrible way. “Opening” (1:33)

The theme is used sparingly in the 6th film appearing mostly at the beginning: such as when Ginny sees Hedwig and Harry’s things at the Burrow and everyone starts asking each other in the staircase if they have seen Harry, when he reveals himself that He has arrived. It is a sweet moment of friends and family for Harry, all delighted to see him at the end of the summer, heard in lower flute with violas, including the classic celeste and pizzicato. “Ginny” (0:36)

The same music plays again, followed by the French Horn taking the melody as they travel back to Hogwarts on the train, seeing the various students interact before focusing on the Main Trio, following in the tradition of the majority of the movies previously.

Since the film focuses as much on Dumbledore and Harry getting answers about Tom Riddle, Horcruxes and even the Half-Blood Prince, the theme isn’t used for the rest of the movie.

It does however, return for Harry’s journey in the next film, Harry Potter and the Deathly Hollows, part 1. Both the Deathly Hallows films were by French composer Alexander Desplat, who has written for quite a few famous films including ‘the Painted Veil’, “the Queen,” “The King’s Speech, “Julie and Julia,” “The Shape of Water,” “The Tree of Life,” the newest “Little Women,” and the ‘Grand Budapest Hotel.” Desplat signed on for the 7th film without knowing whether he would be doing the last. It was hearing the music in the sound booth that convinced the team that they needed him back for the last film.

Like the previous film, the celeste Hedwig theme opens with the WB symbol but accompanied by creaks and whispers as the WB symbol rusts and decays. The theme also drops to a lower key abruptly during this decay and does not finish. The theme is used some for Harry’s journey but also tying in things from the beginning of his story as the story comes to a conclusion.

For example, when Harry looks into the cupboard that he used to live in, the harp with reverb or electronics plays a straight version of his theme leaving it unresolved as he prepares to leave the house he grew up in.

The theme plays again in celeste as Hagrid tells Harry that they will be leaving together, finding it fitting since Hagrid was the one to bring him there in the first place. The harmonies have changed, recognizing the danger they are in but still referencing back to the beginning. “Polyjuice potion” (3:09)

There are hints of the theme in a different rhythm in the violins as Hedwig appears for the last time to save and protect Harry, sadly killed in the battle as they flee. It is the last time it is used for an owl but appropriate for Hedwig’s last appearance. Using a different rhythm while ending each version on a higher dissonant note recognizes both the heroic and tragic nature of Hedwig’s death. “Sky Battle” (1:52)

This is not the only death that the theme is used for as it plays right after Dobby dies in Harry’s arms at the end of the film as Harry grieves, accompanied by solo piano playing the theme. Solo piano is rarely used in the Harry Potter films, often being saved for quiet intimate moments, bringing the audience in to the emotion. Harry has lost another loyal friend who has been with him almost from the beginning and it also ties back to when the theme was used in the 2nd film when he freed Dobby.

The combination of using the theme both for Harry’s journey, harkening back to the beginning but also coming across death continues in the 2nd part. As it is a continuation, it is the only one that does not open with Hedwig’s theme in some form.

It first appears in the celeste as Harry considers a deal with the goblin Gripuk to hand over the sword of Gryffindor in exchange for breaking in to Bellatrix’s vault. After a pause, the music continues as Hermione asks if they think another horcrux is in the vault. This is a continuation of their quest from the first film but seemingly able to get more momentum in defeating Voldemort. The theme plays briefly but triumphantly later on in trumpets once they accomplish this task, having got the Horcrux, while flying away on a dragon. “Dragon Flight” (0:48)

One of the callbacks to the previous movies is in Harry’s return to Hogwarts. It may be through a secret tunnel to the Room of Requirement, instead of the train arriving at the beginning of the school year, this time seeing fellow students seeking refuge from a horrible situation but the music is the same from previous movies in the brass and celeste as the students rejoice to see Harry come back home.

It is the combination of returning to Hogwarts but in secret and dark times that the theme is played again in the horn over minor chords as the celeste musically descends while all the students are marched down the stairs to the Great Hall with Harry among them. “A New Headmaster” (0:22)

The theme returns with brass and celeste in a triumphant way again as Snape is defeated by McGonagall in a duel and leaves, with the students rejoicing in the Great Hall, harkening back to good and joy being restored even if only for a minute.

The search for another horcrux continues, resulting in finding the diadem of Rowena. Ron and Hermione look for Harry on the Marauders Map to join him in that search while the cellos plays Hedwig’s theme as they see his footsteps on the Map and then disappear, realizing that he had gone to the Room of Requirement. After they find it and destroy it, cellos alternate the theme with the celeste at different tempos, the cellos much slower than the celeste after Harry feels the effects and anger of Voldemort, also seeing in Voldemort’s mind that the last horcurx is the snake Nagini. “Snape’s Demise” (0:20)

One of the reasons I believe that this main theme is connected to finding and destroying the Horcruxes in this movie is not only because is an important part of Harry’s journey to defeating Voldemort but because it is after this that it is revealed that Harry himself is a Horcrux and will also have to die so that Voldemort can be destroyed. The theme accompanies Harry in the harp as he walks towards his death after learning this. His whole journey has been leading towards this moment. A journey of love and sacrifice, being protected by his mother to live but also having a little bit of Voldemort’s soul latched on to him when the killing curse rebounded. While his mother’s theme of love is one of the main musical themes in this movie, it makes sense for Harry’s to play as he heads down the road alone but also appropriate that the theme remains unfinished. “Harry’s Sacrifice” (1:38)

This theme is also played in the solo French horn as Voldemort announces that Harry Potter is dead to the school and his friends. It plays over a low male chorus and deep drums that had been accompanying all the battle scenes. The theme ends on a minor step, to indicate the grief and despair, as Voldemort declares that they need to put their faith in him, declaring the war over. It is the last moment of Victory for Voldemort before it is revealed that Harry was in fact alive after all. “Procession” (1:23)

I already talked about the epilogue using the “Leaving Hogwarts” music to wrap up the series with their kids but the main version of “Hedwig’s theme” is also used for the beginning of the credits, again giving that sense of completion for the journey and victory of Harry Potter.

Before we leave this theme, I should point out that “Hedwig’s theme” has become THE music for the world of Harry Potter outside of just Harry himself. It has become synonymous with the world of Magic and the places from the books in the same way that the main Star Wars theme is used for anything related to Star Wars. For example, Hedwig’s theme is one of the themes played at the Wizarding World of Harry Potter that you can visit in Universal. It is also used in the trailers for the Fantastic Beasts movies, advertising them as part of that world, despite being decades before Harry Potter himself as well as the advertisement for the stage version of the “Cursed Child.” In many ways, it returns the theme to its original form as being written for trailers which is fascinating.

Speaking of trailers, for those of you who are deeply knowledgeable of the music, you may have noticed that I spent quite a lot of time just on the first theme but not the second. Hedwig’s theme does indeed have two separate parts, both being used and written for the trailer. The second theme changed time signatures and is much more upbeat, being used for the fun aspects of magic and Hogwarts both in the trailer and the first two movies. “Hedwig’s theme” (1:35). This B theme also has two parts: the first is a jaunty part in the brass followed by a crazy celeste solo then doubled by the violins, again matching that sound of flying, plus a few odd notes to match the world of magic. “Hedwig’s theme” (1:35)

is flying theme or the Nimbus: 2000

This B section of Hedwig’s theme also accompanies Harry and Ron flying in the car to school in the second film. I will say that the most amusing and comic version of this mischievous part is when they take the poly juice portion to pretend to be Crabbe and Goyle in the second film as it involves a duet between the flute and bassoon then piccolo and tuba, an extreme combination of the very high and the very low making it even more absurd. “Polyjuice Potion” (0:09). While a fun theme for the trailer, Harry and Hogwarts with flying and magic, it does not continue throughout the rest of the films the way the A theme does. I know I mentioned it was only in the first two films, but all three parts are heard at the very end of the Prisoner of Azkaban, again ending those three films for John Williams with a very abrupt and almost brash way of ending them.

That brings us to the end of seeing how Hedwig’s Theme is used throughout the Harry Potter series. Sticking around for that much of the same theme is quite a feat! Next month, I will be focusing on relationships of all kinds heard in the music from Harry and his parents, to the Trio of friends, to falling in love, to finding family. I hope to see you all there!

You can join in on discussing all the musical moments regarding Hedwig’s Theme or any other of your favorites themes and tracks in the Harry Potter films on 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 hopefully at the end of each month.

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.