Beginner Harry Potter Piano Notes Letters

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Hedwig’s Theme – Harry Potter theme simple sheet music for piano, keyboard, flute, violin, sax, cello suitable for beginners and intermediate musicians. Feel free to leave a comment if you like these sheets for Hedwig’s Theme – Harry Potter Theme or if you think something is wrong with them and you know how to make them even better.

Beginner Harry Potter Piano Notes Letters

How to download Hedwig’s Theme – Harry Potter Theme Sheet Music? You can download the images for Hedwig’s Theme – Harry Potter Theme by simply clicking on each image and choosing “Save Image As…”. If you prefer to receive them as PDF, simply convert the images to PDF with any software you want, you can find many such programs for free with a simple Google search.

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More info about sheets posted here This site is aimed mainly at beginners, so all the scores posted are simplified versions to make it as easy as possible to play on a wide variety of instruments, including pianos, keyboards, flutes, violins, sax, Kalimba, cello and other similar instruments. The notes are also colored to make them even easier to read and follow. For absolute starters, letter notes are also included about the staff.

If you find mistakes on Hedwig’s Theme – Harry Potter Theme sheet music or you have suggestions on how to improve them, don’t hesitate to leave a comment and we will do our best to implement them in the post. “Hedwig’s Theme” is a musical theme composed by John Williams for the film Harry Potter and the Philosopher’s Stone.

On this page you will find a glockenspiel tutorial video, sheet music with a glockenspiel diagram that will help you find the notes on the musical instrument and a printable PDF for free download.

The melody of Harry Potter – Hedwig’s theme is moderately difficult and it consists of 14 notes (8 natural notes and 6 accidentals), as you can see on the diagram after the notes of the song.

Harry Potter Hedwig’s Theme Violin Tab

Actually, “Hedwig’s Theme”, as you can find out when you listen to the original composition, consists of three themes and a musical bridge. But the first two are the ones we can sing and remember, that’s why we talk about them in this tutorial video and music sheet.

So, the first two bars of the score are Part A of the piece, and the other two bars are Part A. We suggest to start studying the first one and then the second one which starts at 0:35 in the video.

Watch the video several times and study each part at your own pace until you get the hang of it. Remember to use both mallets as much as you can – not just the one that is more convenient for you (for example the right one if you are right-handed) as this is an important basic technique.

To save this free Glockenspiel sheet music from “Harry Potter – Hedwig’s Theme” to your computer, right click (or tap and hold on mobile devices) and select “Save Image As…”. Alternatively, you can download the PDF file below.

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To download a printable PDF file with sheet music for glockenspiel of this song, click on the button above or on the following link. After sharing my Hedwig’s Theme tutorial, Harry suggested that I make an arrangement of Lily’s Theme. Then I got inspired, but I wanted to save it… until now.

To commemorate this significant date, I have composed my own cover arrangement of Lily’s Theme from the movie Deathly Hallows for both solo piano and as a piano-violin duet.

‘Lily’s Theme’ is a subtle choral piece by Alexandre Desplat, the same composer who wrote and directed the renowned ‘Hedwig’s Theme’ in the Harry Potter films.

The song was originally written for string orchestra and is hailed as one of the most beautiful and emotional Harry Potter soundtracks from the film series, conveying a sense of loneliness and a loss of childhood. In the film, this soundtrack is played during the scenes ‘Dragon’s Flight’, ‘Voldemort’s End’ and ‘The Resurrection Stone’. The soulful, back-and-forth harmony of the cellos, violas, violin and choir is powerful and inspiring to me.

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What I arranged doesn’t sound quite like the original, but you can hear some of the main themes in the music. That’s why it’s a “cover”: it’s inspired by, not a replication of, the original.

I started this project about a month ago in anticipation of this date, and I’m relieved that I managed to complete it on schedule, especially with everything going on in my life. It took about twelve hours to compose the solo piano and piano-violin scores to Musescore, and then a total of five hours to practice all three parts on the violin and piano.

I’m afraid that, unlike my Hedwig’s Theme blog, this won’t be a tutorial, but an overview of my thought process in composing this, instead. I am also attaching download links to the PDF files if you are interested in trying out my arrangements.

Here I played both the piano accompaniment and the violin part separately and then combined them in Adobe Premiere. It is not perfect; Sorry for my exceptional violin playing as well as the places where the violin and piano parts are not quite in sync. This was the first time I had ever done something like this.

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I first started arranging the solo piano version. To begin, I listened to the original soundtrack to get a sense of the style, tempo, key signature and time signature of the piece. Knowing the key signature allows me to choose the left hand bass notes. While listening, I could identify four sharpened notes: F#, C#, G#, and D#. This initially made me think that the piece was written in E major, but that was not quite right. For one, the song didn’t sound like happy, upbeat E Major Unicorn Land. Second, the song ends on the note C # instead of the expected E. Both of which indicated that it was instead his relatively small: the key of C # minor.

Next I need to figure out the time signature. The time signature tells the type of note that one beat is worth, and how many of those notes are in each measure (each group of notes).

I want you to go back to the top of this blog and play the original score again. But this time I want you to try to tap your foot there.

That’s exactly what surprised me: at first I couldn’t exactly “feel” how the beats were grouped. The tempo remains constant, and yet the beat seems to retreat inconsistently. Sometimes I could feel the beat in groups of four: ‘1, 2, 3, 4, 1, 2, 3, 4’, but in other places it would feel like in groups of three: ‘1, 2, 3, 1 , 2, 3’. That’s when I realized what gives Lily’s Theme such an interesting melody: unlike most songs, it doesn’t have a single time signature, but that it changes several times throughout the piece.

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Finally, I managed to find the official piano arrangement of this piece by Warner Bros. for further inspiration. You can check it out here if you’re interested. To my disappointment, however, the official arrangement looks terribly bland, as it is a direct replication of the orchestrated version. Without the rest of the instruments, the piano part alone is empty and lacks body.

However, it gave me some ideas on how to proceed with my own cover arrangement. To begin with, here is the opening melody of my own rendition: a solo-like passage in the right hand, just as the piece was introduced in the original version. I chose to label the song ‘cantabile’, meaning ‘in a singing style’, to reflect the choral solo that opens the orchestrated version.

Then I wanted to add some accompanying right hand. In the key of C# minor, the tonic triad (the first triad in the key) would be C#, E, and G#.

Therefore, I split those notes and based the rest of my chords around those three notes. I won’t go into the rest of them, but essentially I simply built my accompaniment part from the notes in the counterpoint and the triads after the key signature. It was really crucial that I keep the key signature, or the notes would be off-key (which is where the term actually comes from).

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You can see where I had to change the time signatures here even for just single measures, because those are places where I felt the beat reset itself. This was complicated and took most of the time to adjust. Not to mention, Musescore is not a very smart program and requires a lot of manual intervention to make corrections and get the notes in the right place.

Now, here are my two favorite measures in the whole arrangement. This