Episode 24: Harry Potter and the Prisoner of Azkaban - Part 2

12/03/18 • -1 min

In Episode 24 we end our journey through Harry’s third year at Hogwarts with a deep listen to the unparalleled variety in John Williams’ score for Prisoner of Azkaban. We breakdown bebop, compare Italian waltzes, play with fugues, minimalism, swing, and some of the most dangerous flute music you’ve ever heard. Mischief most definitely managed. Episode notes: 2:51 – Aunt Marge’s waltz 12:20 – The jazz bus 14:31 – A short ride in a magical machine 17:28 – Bebop patronum 24:48 – A stretchy middle eight 29:51 – A fugue for quidditch 35:07 – Willow whomps 40:10 – A danger to birds and flute players 45:23 – Snowfights and woodwind bites 48:02 – Swing, swing, boggart 54:05 – Carried on the voices 57:50 – Book cranks and classic horror 1:01:28 – Sirius Black to the future 1:10:12 – Watch me if you can 1:14:51 – The John Williams greatest hits album We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.

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Episode 23: Harry Potter and the Prisoner of Azkaban - Part 1

In Episode 23 we return to the wizarding world with the first of a two part listen to Harry Potter and the Prisoner of Azkaban. Far from resting on prior achievements, the final John Williams Potter score knocks it out of the park, giving us everything from medieval music to waltzes, bebop jazz, and some of the most majestic flight music ever written. Join us, as we solemnly swear we are up to no good and journey with Harry and co for their third year at Hogwarts School of Witchcraft and Wizardry. Episode notes: 2:32 – Dan makes a big claim 6:35 – Some Azkaban homework 14:45 – Hedwig’s theme goes on holiday 16:23 – Something wicked this way hums 27:50 – Crumhorn, Sackbut, and Azkaban’s medieval sound 30:51 – Meeting Buckbeak 33:04 – Searching for the Fat Lady 35:33 – Some sleeping celeste 39:09 – The renaissance fair 46:49 – A Window to the Past 1:00:00 – Some serious Sirius 1:04:13 – Pettigrew’s motif 1:07:12 – Buckbeak’s brilliant flight 1:13:15 – Buckbeak’s equally brilliant second flight 1:17:26 – The Dementor’s dialectic. Thesis: aleatoric horror 1:21:39 – Antithesis: the angelic Patronus 1:23:06 – Synthesis: the Dementors converge We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.

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Episode 25: Blade Runner

In Episode 25, we’ve seen things you wouldn’t believe. A guest synth expert to tell us all about the great Yamaha CS-80’s attack and delay, and the shoulders of its Orion filter envelopes. We’ve watched Vangelis glitter in the dark, near Wagner’s Tannhäuser Overture. All these moments will be recorded in time, on podcast recording equipment, and released online, like tears in rain. Episode notes: 3:20 – A special Art of the Score guest 4:57 – A history of Blade Running 12:21 – The Vangelis sound 16:34 – Sound design versus music 20:37 – The Blade Runner main theme 26:48 – Synth talk with Seja: the Yamaha CS-80 31:52 – Aftertouch 35:32 – Oscillators and ring modulators 40:22 – The pitch ribbon 43:20 – Seja recreates the Blade Runner theme 52:44 – Pronunciation fun with Dan 55:02 – Tears In Rain 56:51 – Blade Runner and the film noir sound, from Double Indemnity to L.A. Noire 1:10:33 – The Blade Runner Blues 1:14:34 – Rachel’s theme 1:19:15 – The Love theme 1:23:49 – The ‘ethnic’ influences on the score – Blush Response 1:26:22 – Tales of the Future 1:31:10 – Damask Rose 1:36:15 – One More Kiss Dear and Blade Runner’s world of jazz 1:40:11 – The End Titles We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.