Harry Potter Sheet Music With Letters

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Harry Potter Sheet Music With Letters

Harry Potter In 99 Seconds Sheet Music Created By – See The Potential Of Sheet Music @

Harry Potter Character Letter

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Cross Discord Diamond Laptop Happy Birthday Flower Crown Palm Tree Phone Icon Play Button Nike Logo Microphone Merry Christmas Magnifying Glass Moana Watercolor Sunflower Subscribe Football Shield Logo Youtube Taco Triangle Thank You Twitter Icon After sharing my Hedwig Theme tutorial Harry suggested that I create Lily Theme settings. That’s when I got my inspiration, but I wanted to keep it… until now.

A Tune A Week #3

To commemorate this important date, I have personally composed a cover arrangement of Lily’s Theme from Deathly Hallows for a piano solo and as a piano-violin duet.

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

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

What I set doesn’t sound like the original, but you’ll be able to hear some of the main themes in the music. That’s why this is a ‘cover’: it is inspired by, not a replica, of the original.

Double Trouble (satb ) By John Williams/arr.

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

I’m afraid, unlike my Hedwig Themes blog, this isn’t a tutorial, but an overview of my thought process in putting this together. I’ve also attached a download link to the PDF file if you’re interested in trying my setup.

Here, I played the piano accompaniment and violin parts separately, then combined them in Adobe Premiere. It’s not perfect; sorry for my misaligned violin playing as well as the places where the violin and piano parts are not quite in sync. It’s my first time doing something like this before.

I first started by composing a solo version of the piano. To start, I listened to the original soundtrack to get a feel for the style, tempo, key signature, and time signature of the song. Knowing the key signature allowed me to select the left bass note. While listening to it, I can identify four sharp tones: F#, C#, G#, and D#. This, at first, made me think that the work was written in E major, but that’s not entirely true. First, the song doesn’t sound like E major’s bubbly and cheerful unicorn land. Second, the song ends on a C# note instead of the expected E. Both notes indicate that the note is its relative minor: the key of C# minor.

Harry Potter Soundtracks

Next, I need to find out the timestamp. The timestamp shows the type of note that is worth a beat, and how many notes are in each measure (each group of notes).

I want you to come back to the top of this blog and play the original score again. But this time, I want you to try to set your foot on it.

That’s what confused me: at first, I couldn’t really “feel” how the beats were grouped. The tempo remains steady, however, the beats seem to reset themselves inconsistently. Sometimes I can feel the beat in groups of four: ‘1, 2, 3, 4, 1, 2, 3, 4’, but elsewhere, it will 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 changes many times throughout the song.

Finally, I managed to find the official piano arrangement of this piece by Warner Bros. for further inspiration. You can see it here if you’re interested. However, to my dismay, the official setup looks pretty bland, as it’s a direct replication of the regulated version. Without other instruments, the piano part is empty and lacking in body.

Harry Potter (theme Song) Piano Notes & Chords

However, it did give me some ideas on how to proceed with setting up my own covers. To start, here’s the opening melody of my own rendition: a verse like a solo in the right hand, which is also how the piece was introduced in the original. I chose to mark the song with ‘cantabile’, which means ‘in a singing style’, which is meant to reflect the choral solo opening up the orchestral version.

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

Therefore, I split the notes and based the rest of my chords around those three notes. I won’t go into the rest, but in essence, I just made the accompanying parts of the notes in the treble and triad chords according to the key signature. It’s very important for me to adhere to the key signature, or else the records will become unimportant (that’s where the term comes from, actually).

You can see where I need to change the timestamp here even for just one step, because that’s the place where I feel the beats seem to reset themselves. It is complex and takes the most 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 notes in the right place.

Harry Potter Hedwig’s Theme Viola Sheet Music

Now, here are two of my favorite steps in the whole setup. This part of the melody is very beautiful; I can’t even put it into words. I decided to mark each note with a perfect 4th and 5th interval on the left hand to give the phrase a unique harmony and set it apart from the rest. Intervals simply describe how far apart two notes are from each other, but each interval is characterized by a specific sound and is important in musical analysis.

In later sections, I repeat the melody but two octaves lower for a more serious variation. The bass notes are a repeat from the start, but with bigger chords, and they all reach a huge climax in this last loop here. I’ve also kept changing the left note a bit, even allowing some of the major seventh intervals clashing here to build tension (two notes right next to each other). It doesn’t sound like this in the original, but as long as I don’t have a full orchestra to work with, I’ve done what I can.

In the end, I had a diminuendo sign (“become softer and slower”) with the same rolling arpeggios in the left hand that we heard earlier. This last section is marked as ‘morendo’, which translates to ‘dying’ — and rightly so, considering it descends all the way down to pianissi-issimo in low, dark C# notes to end the section. The song decays and ends silently, as if we have let out a long, sad breath.

After I finished composing the piano solo section, I then disassembled my second version of the piano solo: arrangements for piano and violin. Perhaps in a more familiar musical context, you can think of the violin as the vocalist and the piano as the background instrumentalist. Therefore, I only gave the violin part the treble key part of the solo, and lowered the accompanying piano part an octave. That way, I think the instrument can be a bit in unison while

Goin’ Back To Hogwarts