As

I mentioned in the intro, Hook's score is chopped up

a lot in the final cut. This is partially due to the fact that
Williams began composing for the film with only a script
and 5 reels of edited film. Especially considering that, the
amount of detail, thematic material, and diversity in this
score is certainly commendable. Hook is probably
JOHN WILLIAMS
4M4 "The Arrival of Tink"
my favourite score from Williams since I believe it shows
Williams at his best in terms of being a storyteller. Williams' Orchestrated by JOHN NEUFELD


music dominates the story, and in each of these cues, his

      

music encourages us to believe in fairies, helps Tink and #7 in the Oboe suggests a D harmonic minor scale. Williams frequently uses the


    
       These interval jumps between half-diminished
Peter to soar across the London skyline, bridging the first major 7th jump between D and C#.

      
3 Flutes

  
section of the film, in London, with the eccentric colours of

   7ths help to convey a slight "mournful" quality

-1 Flute 3
1 Oboe 3
Neverland we will soon be familiar with. These two cues


feature some of Williams' most intricate orchestration ever,
so buckle up folks!
I'll also note that the complexity of this piece is quite far out  3
 to the music. The use of 7th chords (in particular
of my comfort zone, so you should probably keep that in mind dominant 7ths) is consistent throughout the piece,
when reading the analysis. Dm7(♭5)/F

             

and I'll discuss it more later.


Violins

     
 

    
Synth Celeste C7/E Dm7(♭5)/F

 
D half-diminished 10

   
arpeggio

Harp
  (let ring) 
(poco)

 


           
             


   
1 Bassoon          



Violas  (Violas div.)

 

 
Celli
+Harp (no trill,
Peter drinks  mist. first note of each)

   
He walks into the cradle Williams introduces additional

 

  
     
       
Cut to alcohol being poured into a cup
movement in quasi-trills moving


Both the flute line in b. 3 and the clarinet


line here move in thirds (for the most part), around the half-diminished
The cue starts off with a somewhat melancholic passage, which is clearly imitating
the clarinet line here is mostly minor thirds. scale when Peter walks into
Peter's drunken state. The use of tremolos in the strings, the contour of the oboe
Bass Clarinet The fact that the two parts don't move in the cradle.
and bass clarinet lines, frequent use of grace notes and large interval leaps all seem to E♭ Contra Clarinet
suggest a state of "disorientation", which I'm sure you'd feel if your children were stolen,  parallel is of interest, as I think it helps
you were told you were actually Peter Pan, and started drinking. There doesn't really mirror Peter stumbling around the room.
Peter begins to move around the room
seem to be a clear "key" here, though D seems to act as somewhat of a tonal centre.
Perhaps, this is done to help communicate the tensions in Peter's character. One thing
worth mentioning is how disconnected the lines are. The little melodic content in these
opening bars frequently changes registers, and each are very different in character. This
also aids in communicating what is described above. Initially the melodic passages are
all derived from the D half-diminished scale (melodic minor mode), or D Locrian
natural 2 (considering the 2nd degree, the E, is natural). I think this is just as a
consequence of the half-diminished 7th chords in the violins.
This section here is all about creating atmosphere.
Really, nothing tense/mysterious has truly happened
during this cue yet, but Williams decides to create a
More Tense
Harp (all ring) Harp moves around the same diminished scale, arpeggiating some of the notes from the clusters in the woodwinds.

                                                 
more tense passage here by using his trusted ally: the

  
3 3 3 3

      

3 3 3 3 3 3 3 3

  
3 3 3 3 3 3 3 3 3 3 3 3


diminished scale. I feel that this scene would likely feel
incredibly drawn out and boring if Williams' music did
not introduce some sense of expectation - because of the 

 
        
mood created here, we want to know what happens next. Diminished scale derived figure with

  
           
E7 a chromatic passing tone (G♯)
Violins 1 Flute

 


 
Violas dolce
Repeated diminished
scale clusters provide a
crotchet pulse, giving the cue 



new momentum as Peter moves 7
Violins play ascending major/minor seconds (ending on a major 3rd). The ascending nature of the phrase, as well as

            
to the window.

  

the dissonance, helps to add to the tension of the scene. The intervals move around the G pedal tone in the flute.

    
                    
E half-diminished arpeggio

      

 
7 Violins 
2 Oboes

           
Cor Anglais
2 Clarinets
Synth Celeste
Harp
gently


 

      
            
Celli Celli/Basses rise up the diminished scale in the


1 Horn gap in the flute/violin lines with a slightly

  
Note the unexpected

   
Celli (pizz.)
syncopated rhythm. clash here between

 
 
the celli D♭, the flute
Celli D#, and the D♮ in the
poco esp. Basses other woodwind.

 
Peter walks towards the window


Basses (pizz.) 


Williams includes a short little melody
here that may be derived from E natural
 minor or perhaps the half-diminished scale from
earlier. It is interesting that Williams decides
Peter picks up the parachute to highlight Peter picking up and admiring the
parachute that Maggie made for him with an
expressive melody. It is only now that they are
gone that Peter seems to pay any attention to it.
 Now, we have another sudden change in character. I find it very interesting that as soon
At the cut to the exterior of the house, we get a sudden change to a more still texture, allowing the as Peter looks towards the night sky in confusion, Williams begins developing Tink's
eccentric material. Though the viewer is yet to see what Peter is seeing, Williams

 
quiet of the scene to have more of an impact on the viewer. Of course, this contrasts with the chaos


when Tink comes on screen. Once again, Williams makes use of tremolos as a way to create tension. creates anticipation and tension by describing, in the music, the strangeness of what Peter


C7 arpeggio, ending on ♭3


The strings largely play dominant 7th chords here, which are the chord that features the most in this is seeing. The sense of beat becomes incredibly unclear in the leadup to Tink's arrival,

  
Synth Celeste
13 piece. If I am to interpret this as a deliberate choice by Williams, this chord features heavily in Tink's and the string parts include offbeat accents, which help to add to the tension of the

 
Harp
Theme, in the harmony and is outlined in that melody, so the chord could have added associations moment. Throughout this passage, it is important to notice how Williams treats Tink's
with her. Particularly later in the cue, when the chord is played by pizz. strings, it evokes a certain movements as 'cartoon-like' in a way, imitating her movements in a 'Mickey Mousing'
let ring playfulness, and a teasing quality, in my opinion, and when played in longer notes, perhaps such as fashion. In the violin part, the contour is always ascending, barring some sudden
below, it evokes more of a 'curious' quality, that can be associated with Peter's impression of her. leaps in register. The melody is derived from mostly the diminished scale, though the
10 Because of the nature of the chord itself, it also leads to a certain expectation for resolution. By not chromatic scale is frequently referred to, particularly on some of the triplet
 including any such resolution to a tonic, instead moving to other 7th chords, Williams builds tension demi-semiquavers. Though Williams might just be using this to create tension, he could
here. I thought about using a fairy emoji for 7th chords like I did with dinos for Jurassic Park but also be using the small intervals to literally connote Tink's small size.
decided it was recognisable enough already. The orchestration here is also important, as Williams uses a number of string techniques


These flute tremolos are built

 
Descending major seconds chromatically all at once: arco Violin I, pizz. Violas, and tremolo Violin II which sustains the tension in

           
around major chords.

       
      


      
the gaps between the Violin I entries.

    +1 Clarinet

contrasting with the violin line on the previous page.

        
3 Flutes

   
2 Clarinets

 
 
C E♭ C D♭ A Violin I



  
 3




C7/E  
3 3

      
    
2 Ob. Am/B♭ 

  
F#dim/E

   
Cor Ang.

                    
Baug/C Gdim/A

  
A7/C#

     
E♭7/G Violas (pizz.)

    
2 Cl. C7/E

     
(Violins) F#/E


Harp 

    
+Violas E♭7/A E♭7/D♭

    

Violin II
Violins   

  
        
1 Oboe

    
Cor Ang.

     
These dominant 7th chords here are all related

       
C7/E E♭7/D♭

           
Minor 3rds

 
2 Bassoons
through the C dominant diminished scale.

       
2 Bassoons


  
2 Bass Cl.

 

(Celli arco)

   


Harp 
Basses (pizz.)

  
Celli (pizz.)
Cut to house exterior  E♭7, followed by Cdim arpeggio Peter stares out at the stars,


    
  
5 perhaps confused as to why


  
I don't believe this pizz. celli line is really derived



one is moving towards him..

  
from a scale. I think Williams includes lots of large,
jagged leaps to continue to imitate Peter's drunken
state.
This descending figure 
is derived from several
diminished scales, besides 
the C♮ in the Am chord.
Cut to Peter drinking at the window
In typical Williams
fashion, Williams creates
instability with the
bass note being sepeated
from the root of each chord
by second/tritone/seventh.
 These flute/piccolo runs don't seem to be intrinsically linked to a certain scale, through the chromatic scale features incredibly
And we're off! The next 50 or so bars of music are relentless, cartoon-like writing. heavily. Note the random interval jumps between many of the bars, which help imitate Tink's eccentric movements and add extra chaos.
Louise di Tullio, first flute on this score, said that Hook was the hardest score awdaa To a similar end, the two parts don't move in parallel, and move in a combination of major/minor 6ths, 7ths, and tritones in bar 27
she ever played for (out of some 1000+ film scores), and looking at this section of (remembering the piccolos sound above the flutes). I find it interesting that Neufeld hasn't decided to stagger any of the woodwind
music, it's not too difficult to see why. I think the most important thing to pay parts, which is something he does frequently. It helps the flutes/piccs. to constantly dominate the texture, like Tink dominates the screen.
attention to here is how Williams imitates Tink's flight. The flute/piccolo parts
Presto Subito
     
here have no rests at all, and there is no beat that is not filled with a moving part.

                 
 gliss.        
C dominant diminished (-D#)

   
This correlates with the fact that the next 40 seconds or so are filled with Tink (D♭, C, B♭, E, F♭, G, A)



Harp II (D♭, C, B♭, E, F#, G, A)

 
relentlessly zipping across the screen. The ridiculous flute runs (which I'll analyse Gliss. derived from the C diminished
gliss.
scale, only including the notes from

  
to the right), are supported by trem. strings, which add tension and help create a


the dominant 7th chords in the horns
chaotic atmosphere, but I believe could also have been used to imitate the vibrance   below.

                     
 

                    
of Tink in the frame. The horns and pizz. strings punctuate the main beats of the
flute line with dominant 7th chords, and the harp adds additional colour with


5 5 5

   
glisses. Notice now, once we know what Peter is seeing, the beat becomes much 2 Flutes

  
clearer. Also note that the treble register dominates the texture. It makes sense Piano
that he would do this, since Tink is small, which could be associated with a higher,


less intimidating sound, and she literally flies high above. There is no real "key"


5

      
here, but lots of the content can be linked to the C diminished scale. 2 Piccolos (snd. 8va)  5 5

               -Picc.    
    
brillante


+Orch. Bells (no grace notes)

       



    
+Picc. (snd. 8va)

 

-Clarinet


21

   
  

   
  Quasi half-step trills moving around the C diminished scale (the root notes
3

      
(Vln. II)       
 of the dominant 7th chords below)

      
 
+Orch. Bells ()

  
+Synth Celeste ()


   
 


Violas 

  
4 Horns

   
Harp I (no trill, first note of each)

           
Violin I (pizz.)

         
 E♭7/G


2 Oboes Celli (pizz.)

        

2 Clarinets C7/E A7/C#

 4 Horns   
2 Oboes
Cor Ang.
1 Clarinet 


 
 (Horns)


2 Bassoons C7/E 

    
3 Horns +Celli
Peter begins to back
Celli These dominant 7th chords are linked through the C diminished scale, and the root of each tends to


away..

    
Williams ups the tension here slightly by changing the time appear in the flute lines (though this is not strictly the case). See previous page where I discussed

     
Basses (pizz.) 
signature to 2/4 so the violin entries come at a more rapid the use of dominant 7ths in this cue further.


pace. This helps emphasise Tink getting closer to Peter. Triangle Sus. Cymbal
Furthermore, Williams adds additional colour by
including accented diminished clusters on the offbeats (the
first comes from E dominant diminished, the second from C   
dominant diminished). Williams begins to rely on the treble
I find it interesting that here, Williams relies on little percussion, just
register here. Tink flies into the frame
the suspended cymbal, and particularly, the triangle, one of the smallest
percussion instruments, which of course, creates a high, ringing sound.
This aids Williams in imitating Tink's flight.
 C diminished scale as described in the previous bar.
C dominant diminished (-D#)

    
12

 
+Harp II Notice that in this bar the flutes/piccs. highlight some of the

   
26 Harp I (D♭, C, B♭, E, F#, G, A)

  
  
grace notes in the violin material. As a consequence, these two

  
bars have more of a diminished scale derivation (though again,
this doesn't always apply). Williams includes lots of chromatic




 brillante
passing tones. Brief inversion of grace notes in the violins.

                                                
         
6

               
5 7
6 6

 

   
7 6

 
5


6 6

     
Reference to the Violin I line from earlier,


       
which adds extra colour to the chords


below, all C diminished scale derived.
Perhaps Williams wants to particularly
emphasise Tink's movements when she
Violin I (arco) 3


flies past Peter. Williams also uses the bells/ 

 
Synth Celeste 
harp and other strings to punctuate the beats,

 
2 Clarinets

    
as before. +2 Ob.

     
Harp II ()
Orch. Bells ()

    
-Harp I
Violin II
Violas   

 
           
A7/C#

       
C7/E 4 Horns C7/E


Diminished scale


derived chord

    
     


 


         
2 Bassoons
Celli (pizz.)

 

Worth noting is the continual use of major seconds throughout this section,
+Basses (pizz.)
appearing in the dominant seventh chords, the flute lines, the bassoon
trills and in particular, the trem./pizz. strings in the treble and bass
respectively. This accented dissonance is used to make the passage even
more disorientating for the viewer, and to reflect Peter's current state of
confusion.
 For the end of this passage, the flutes/piccs. ascend further than previously, perhaps The trumpet plays C diminished
This gliss. could be an altered C melodic derived clusters here. Throughout
mimicking Peter's gaze of horror upwards towards Tink. In bar 29, the piccs. use a
minor scale with an F#. I wouldn't pay this passage, you can view the
chromatic scale, while the flutes appear to use a B♭ major scale, before deviating


much mind to it. The gliss. simply
into a chromatic scale on the G#. The flutes/piccs. then move in planing tritones. piccolo as "Tink's voice", as it is

  
incorporates all the notes in the chord
on beat 1 and subsequent Cm(maj7) figure. the highest instrument in the C dominant diminished (-D#)

       
   
29 orchestra, and Williams frequently

 
Harp II (D, C, B, E♭, F#, G, A) Harp I (D♭, C, B♭, E, F#, G, A)


makes use of that in short

  
                     
interjections, featuring grace notes,

  6  


  
(2 Fl./Pno.) 6

                             1 Picc. (snd. 8va)

   
6  which seem to imitate Tink playfully

  
6 Ascending C dominant diminished scale run

         

6 flitting around.

     
     
push
6

3 Tpts. (straight mutes)    

-Picc.

  


6 6
(2 Picc.) 6 6  3 6
Clarinet I
Outlining Cm(maj7) Clarinet II


      
5


chord, with large

 
2 Flutes (ht. trill)

   
interval leaps, in the

         
   
Violins (arco, ht. trill)

               
These 3 chords all seem to be derived from the diminished scale.. The last one in


gap in the texture. Violas (ht. trill)

     
particular is an Adim7 with an added #6 (F#), likely borrowed from the flute line.

            
   
(Vln. II/Vla.)

  2 Bsns.

 


      
Bells ()  More major seconds

 
D♭maj9♯5(sus4) C7♭5(add6)

          

Harp I ()

   
 
A7/C#

    
C7/E Vln. I (pizz., )

   
4 Horns -2 Horns +1 Trumpet Celli (ht. trill)

 
  
      

   
Basses (pizz.)

  
Cut to Tink making Peter dizzy..

  
Celli (pizz.)
Basses (pizz.) Quartal(-ish) chord derived from C diminished
3 Horns

  
Triangle Here, Williams alternates between two C diminished clusters.
If you wanted, you could view them as polychords: F#m7/E♭,
and C/E♭m respectively but it's easier to just treat them as
clusters. The repetition, and the use of trills, could be used

to imitate Tink spinning around Peter at a rapid rate. It's worth
discussing the frequent use of the diminished scale here.
Of course, the scale works really well in creating suspense, like it
did in the T-Rex Rescue cue from Jurassic Park, but I feel that
the diminished scale would have somewhat of an unfamiliar sound
to the common movie viewer. I think this helps to demonstrate
how Peter almost views Tink as alien/a figment of his imagination.
 Williams creates an interesting polychord on the

 
first beat of this bar, putting the A minor chord

     
 
As Tink finishes her circle routine, Williams accompanies this with a descending, followed by ascending

   
in the woodwind against the accompanying C7.

          
figure, which is just planing major triads chromatically (besides the last chord), beginning on E♭ major,


35


Notice that Williams emphases the tritone between


and finishing on E major (followed by an A minor chord). the E and the B♭ in the C7 chord in the upper


                  

voices.

  
 +1 Flute

              

+1 Picc. (snd. as written, top line)

                             

                   
1 Flute -1 Oboe

           
-Flute

                           




2 Picc. (snd. 8va)

            
2 Oboes


E♭ Picc. Oboe


    
  

 9 9 Cm/D♭


6

  
           
Vlns. A7/G C7/G Cm7/G E♭7/D♭


   
Vlas.

 
-Piano
Violins -Vibes


Piano (pedal)
Vibes (pedal)
Synth Celeste (pedal)

Violas

 
+3 Tpts. (stacc.)


              
 More 7th chords here, which create clashes with the chords in 

  
the woodwinds above.

      
Celli (pizz.)

 
Basses (pizz.)


2 Bassoons
2 Bass Cl.


I'm not 100% sure how these lines are derived.
The celli/basses line and the bottom bassoon line
all seem to be derived from different diminished
scales, while the top bassoon line is more chromatic
in nature. I think it is effective that Williams does
not fully resort to planing intervals and that Williams
writes the lines in contrary motion. The sudden
change from the shrill woodwinds to the bass register
may be a more comedic choice on the part of Williams.
He may be using the bass register to represent Peter
in contrast to Tink, though I think that is unlikely, as
he does not consistently do this.
 Run alternating between A major and C minor chords. The notes themselves
could be attributed to a C dominant diminished scale, but I think the chords The music suddenly becomes slightly more playful in nature here, as Peter
formed are the important thing here, especially since the notes in the harp begins to fold up a magazine to swat the 'firefly' with. The violins provide
Scale derived from the top line of the gliss. and woodwind lines all can be found in the A major/C minor chords. a constant quaver pulse with a line that is almost entirely derived from

 
 
woodwinds. The run finishes on a C major chord. C dominant diminished (besides the use of A♭s in bar 45/46), as is most of

      
  
38 Harp II (D, C#, B♭, E, F#, G, A) the other material here. What is most notable about the violin line is the
Harp I (D#, C#, B#, E, F♭, G, A)


jagged contour. Williams repeatedly makes use of the shape present in
bar 43 below (small step down, larger step up, even larger step down).

 Note how Williams builds towards the moment where Peter actually swats

  Descending C diminished scale run in 6ths/4ths.

Planing major triads with the


Tink. The music is still very inherently chaotic, as there are lots of conflicting

   
bottom line moving up the D

                   

musical lines played at once.

           

major scale, ending on Edim.

                                

       
2 Flutes

                   
                 
+1 Oboe


1 Oboe

     
Synth Celeste
6

      




C7/F# (not including Cls.)

6 6
7 2 Clarinets This melodic line moves around
6

  C7/G 

 C dominant diminished, rising by

   (ht. trills)     

A7/E♭maj


leap on every beat.

  Violins
 
C7(♭10)

   
(dominant seventh

         
split third chord) gliss. E♭7(add#9)/G

    
Violins (pizz.)

 

 
Violins


Violas


Chords derived from

       
  
   
C dominant diminished

      


    
Celli Violas (pizz.)

          
2 Bassoons

     
2 Bassoons Celli (pizz.)
2 Bass Clarinets 6

    



Violas (pizz.)
This bar and a half weren't even Celli (pizz.) 
recorded, as far as I'm aware, at least


  
I haven't ever heard them performed Basses Planing minor thirds
Similar idea to the +Basses (pizz.)
before. Triangle based on the C dominant
previous bar, but now diminished scale in the
Cut to Tink knocking the
we have planing tritones lower voice.
paintings off the wall
chromatically.

The runs and the glisses here may be mirroring the
paintings falling down the wall. Williams uses a
brief polychord, with the two chords seperated by
tritone, followed by a C7 chord with an F# as the
bass note, which is also seperated by a tritone. The
violins/violas, and celli/basses move in contrary
motion.
 Williams decides to accent the cut here Chord built from
combining the notes
with a diminished scale derived chord of all the other parts
Williams refers to the material from bar that spans a very large range, and is on this beat. (G#7/C


C dominant diminished (-D#) voiced very widely (besides the D♮ in the with a D# tritone dyad


32 here, with repeated diminished "clusters"


Planing major seconds, the top line

glis 
  
Harp II (D♭, C, B♭, E, F#, G, A) harp II part). on the top)

  
     
in the muted trumpets, and a chirpy, piccolo


moves via the C dominant

    
44

 
 
Harp II Harp II
s. line, that is more developed here than before. diminished scale, echoing the


Here, I think the piccolo line is somewhat previous bar, where the flutes/
 of a comedic response to Peter's 'firefly from picc. move via the C tonic diminished

  3    


   
hell' line, on the part of Williams.   scale. This idea is played over a


               
+1 Picc. (snd. as written) diminuted version in the Violin I

    
   
-Oboe 1 Picc. (snd. 8va) C#dim arpeggio followed by Cdim (B#) arpeggio, -Flutes

        

3 part starting on the A♮.

 
+Picc. Ob. 1 Clarinet derived from the diminished scale. Synth Celeste 

       
Harp I


2 Flutes 1 Clarinet

     
6



 
       
Harp I


     
3 Tpts. (muted)   

   


           
 
     
                 
+Bells (no dbl.)

   
            
       
    
  Diminished cluster
   +Cor Ang.   A7/C#  B♭7/D
 
3 Tpts. (muted) +2 Oboes

 
4 Horns


   
2 Tbns. Vlas. (pizz.)

      
 
      
Celli (pizz.) -Tpts. G#7/C
Harp I

        
    
This G# does not belong to the C dominant diminished scale,

  
2 Tbns. (muted?) +Harp I () though Williams may be borrowing it from the tonic

Basses (pizz.)  
diminished scale, considering its use in the flute part above.


Perhaps Williams wants to create a semitone clash
with the Violin I part between the G# and G♮. It is followed
Brief syncopation

Triangle 
by more dominant 7th chords, planing chromatically upwards.

 
"Firefly from hell!"

      
Tambourine (?)

 
All these chords in the violas/celli Sus. Cym.
seem to just be derived from the C
diminished scale until bar 49.
  Triangle

Cut to Peter folding up the magazine

"Big damn bug!"
 cresc.
    
     
2 Harps (D♭, C♭, B♭, E, F#, G, A#)


                     
        
    
   
       
          
51



    -1 Flute       

cresc. molto

                                                    
Violins

         
 
3 Flutes 

                                       

2 Clarinets


   
                              
      


4 Trumpets

                  
(muted)

               
2 Bassoons    
           


                         
      
sim.

   
2 Oboes

          
                   
       
      
Vlas. (arco)


Celli (arco)

  
            


    
2 Horns +1 Horn sim. +1 Horn

     

Sus. Cym.



Peter goes on the offensive with the magazine As Peter prepares to swat Tinkerbell, the music reaches its most chaotic point. I believe this is meant to be a comedic choice.
The music here prepares us for a tense battle, but instead Tink just steals the magazine and knocks Peter into the cradle.
Despite this, it is still clear that Williams is still scoring Tink's eccentric movements with chaotic music. Lucky for us, the
music here is not as complex as it might look. Important to note is still the use of solely the treble register.
Let's break down what's going on:
1. Violins/flutes/clarinets play chromatic quasi-trills starting on a C diminished cluster. Importantly, not all instruments
trill in the same direction, Williams uses contrary motion here, to create more disorder.
2. The trumpets play widely voiced chords derived from the C diminished scale. The foundation of each chord is a tritone,
and Williams chooses all the intervals to be seconds/tritones/sevenths to create dissonance. The oboes/bassoons/violas/
celli stagger this line.
3. The horns play a C diminished cluster, syncopated, that grows in size over the 4 bars. This increases the tension
throughout the passage.
4. Harps add extra colour with glisses in contrary motion with a scale that seems to be derived from the notes of the
trumpet chords (besides the C♭) (I don't recognise the scale here, please let me know if you do in the comments).
5. Williams uses the dynamics here to build towards the moment where Peter actually attacks.
        
                              
 

 
 
  
                             
               
55


    
    
         
(dim.

     
    
3 Flutes A7 cluster)


2 Clarinets 2 Oboes Ascending C dominant Chromatic/half-step trills, with lots of seconds/tritone intervals.
diminished scale Williams continues the 'clumsy' trilling from earlier, but the
chromaticism is more reminiscent of Tink's earlier material,

  
perhaps this is because it is her that is causing Peter to stumble

 
    
5

    
 around.

        


   
     
-Celeste Violins

   
Violins (ht. trill)


2 Flutes


Synth Celeste (ht. trill) -Flutes


 These trill passages in the violins/celeste and woodwinds above are all derived from C dominant 

        
diminished. I feel that the use of trills adds a feeling of 'clumsiness' to the music, which Williams

 
  
  
       
may want us to associate with Peter.

          
D♭maj/E♭aug +3 Tbns. (st. mute)


   
    
    
  
3 Oboes +Vlas. (pizz.)

     
F#7/C7

         
 
2 Clarinets


+Celli (pizz.)
2 Bassoons
-Bsns.
(F#7/C7)
-2 Ob.

   
2 Bells
2 Flutes
Xylo.
1 Picc.


4 Horns
2 Oboes
4 Trumpets 3 Ob.
7 7
Violas (pizz., ) 3 Cl.

  
  

  
S. Celeste


Celli (pizz., )


Pno.


  
C harmonic major scale run, ending on


Another polychord here, deviating from C dominant a ♭7. The ascending part of the run
diminished. I've included the B♮ as part of an Eaug seems to directly mirror Tink's
Basses (pizz.) chord, but it could also easily be part of a D♭7. Notice movement upwards.
that as soon as Tink takes control, Williams deviates
 


from the static harmony of the previous 3 bars.

    
Basses play the tonic of the C7 chord in the gaps between hits.

  


                
        
 
(Sus Cym.)

  
Bell Tree
(swipe)

 
Peter swings Swings again Swings again Tink grabs the magazine and smacks Peter with it
Williams delves into pure "Mickey Mousing" here, marking each swing of the magazine
with a polychord, superimposing the F# dominant seventh chord with the C dominant
seventh chord (remembering we can consider the A# as a B♭ enharmonically), two chords
with roots that are seperated by a tritone. All the notes here are still found in the C
dominant diminished scale. Williams wants to emphasise the aggression with which
Peter swings at Tink, in order to make his 'defeat' more humourous. I think the use of
dominant seventh chords here does make the attacks seem a little more silly too, as the
dominant seventh tends to lead somewhere, and gives this passage an inherent instability,
even disregarding the dissonance created by the polychord. Furthermore, the inconsistency
in the rhythm (by that I mean this passage is not symmetrical at all) as a result of syncing
the chords with the film also leads to that same instability.
 Williams uses this phrase as somewhat of a 'dénouement' to transition out of the
This chord doesn't really seem to have a specific chaotic passage into a calmer mood, of course correlating with the fact that Tink
derivation (feel free to disagree with me below). is no longer flying around. The horns and celeste play syncopated chords to support
The E♭ and F seem to just come from the ending the flute line, chords which I really struggled to label, and would appreciate your


of the trill in the previous bar in the violins, and help in the comments! There doesn't seem to be any sort of scale from which the C dominant diminished (-G)

   
Williams seems to want to introduce a clash between

chords are derived, in fact every note of the chromatic scale is present in some Harp I (D♭, C, B♭, E♭, F♭, G♭, A)
the B♮ of C harmonic major with the B♭ in C gliss.
way. I'm guessing that Williams wrote the flute melody first and experimented

  
dominant diminished, which is used in the rest of

 
with the harmony second to determine what sounded right.  cresc.


the bar. Harp II Amaj/Bmaj Gmaj/Amaj The use of augmented chords here is something that will be used



This quirky line is simply derived from C Celeste
a lot towards the end of the piece, something Williams often uses


dominant diminished. Williams seems to

  
Harp and woodwinds play


to create a 'fantastical' character. (I'll discuss it more later)

  
be leaning, once again, into the comedy of

      
an ascending G dorian scale

s .     
E♭aug/A♭ E♭m7/A

       
the scene here, as the articulation and

 g    
(F Major). B♭augM7 cresc.

  


              
E♭7♭5

     

F7♭5(sus)


use of grace notes in the piccolo, like in the F7

       
   3 Tpts. (muted) 


       
Synth Celeste

  
61 previous material, could be expressing Harp I (D, C, B♭, E, F, G, A)

     
lis
Tink's voice as she messes around with

     
Peter. The piccolo entry in particular seems

  
to sync with Tink's final blow. The ascending

 

contour of the phrase may be mirroring how +3 Horns

   



  1 Cl.               
Tink knocks Peter upwards before he falls 1 Piccolo +1 Horn

   
+1 Horn

    
+2 Flutes -Tpts.
1 Oboe +1 Bsn.

       
into the cradle (where we have descending glisses).  +2 Bsns. +Bass Cl.

 
+1 Oboe

       
Vlas. (pizz.) +Vlns. (pizz., staggered) 2 Flutes +Cor Ang.

   
-Vlas. 2 Oboes

   
Xylo.   A/E♭maj
Pno. (8va)   Ascending minor thirds in an ascending sequence, rooted in the whole tone scale.

        
Polychord derived


+3 Tbns. (st. mutes, ) 4 Tbns. (st. mutes)

  Celli (pizz.)    
from the

   
Violas

   
C7 Violins

                    
Celli diminished scale.


Violas


Vlas. (pizz.) Basses

  
Harp II (on

 built around the tonic (C). 

accents)



These trills in the violins/violas add some instability, and could be

  
Basses (pizz.) Accented diminished clusters

        
mimicking Peter moving back and forth in the cradle.

       
 

   
Bass Drum Triangle
Descending glissandi
for Mickey Mousing of
Peter's fall into the cradle.
 Sus Cym.
 
Peter lands in the cradle
 Williams includes lots of
leading tones into F in


  
this bar to allow a


                   
Harp II (D♭, C, B♭, E♭, F, G, A)


       
transition into the F7.

 
         
68

      Short melody moving up the C dominant diminished scale, ending

 1 Flute on a suspension. The slower rhythms on the same scale which was

      
the derivation for much of the chaos preceding this seems especially


1 Bassoon

 
Clarinets begin by outlining a D7 chord, followed by the labelled chords below.

         
1 Horn impactful, and allows this transition to a calmer mood to be a smooth one.

        
Harp I (in crotchets)

         

F#m7♭5/D♭

                 
      
(cresc.)

    
1 Cl.

        
  1 Cl.
  




 
         
Violins F7/E♭

       
E♭7/D♭


Violas

             

G♭7/D♭

 
Celli -Horns

      
4 Horns ()

       
     
 esp.
The change in character fully arrives here, Williams using planing dominant seventh chords,


moving downwards. As I alluded to before, I think that the character of these chords matches

 
  
Peter's curiosity towards Tink. While obvious, it's important to note just how much Williams

 
pares back the texture here to match the decrease in energy on screen.


Tink lands: 'It is you!'
 These 4 bars seem to be imitating Tink spinning around. Williams does
this by using the trill effect, and using repetition. Williams includes the
direction 'gently', which I find interesting, as Williams is using trills as
he did in the chaotic section (good name), but now wants to use that to
When Tink jumps back (there is movement on screen), Williams refers to the original show that Tink is really light-natured, and to position us to grow fond
material preceding Tink's arrival. Here, the grace notes seem to be derived from the of the fairy. Either that, or he doesn't want it to overbear the dialogue!
The polychord and C7 chord are both derived from C dominant diminished.

   
'white keys', but the passage as a whole is probably derived from C double harmonic

      
major. The violins/clarinets are accompanied by modified dominant seventh chords

          


with added major second intervals for added dissonance. The dominant seven flat 5 2 Flutes
chord features the most on this page, and the strange sound of this chord adds a
sense of 'unfamiliarity' in my opinion.


  
Silent bar to


I'm tempted to say this descending

  C7/G

Violins (ht. trill)
make way for Ascending C dominant Violas (ht. trill)
D7/C♭ A♭7♭5/C E♭7♭5 figure is just derived from F lydian

   Violas (ht. trill)       

diminished figure outlining

 S. Celeste 
Peter's yell.

      
G♭maj/Cmaj G♭maj/Cmaj dominant (major scale with #4 and ♭7),

 
   
a tritone.

            
               
Violins

    
in order to fit with the chord below it.

        
C7/G

          
Violins (ht. trill)

  
D♭7/C♭ 2 Clarinets 1 Clarinet


                 
Harp I misterioso


77

      
5

 
  
 Synth Celeste  gently 
Piano
Synth Celeste 
Piano


2 Oboes
Cor Ang.
  

    
All Strings (pizz.) 1 Bassoon   

 
F7♭5/B

                
Violas (pizz.)

  
(Horns decresc.)

   

      
Celli (pizz.)
E♭7♭5

     
C7♭5 1 Bsn. 4 Horns (second time only)

      
Bass Cl.

 
   
1 Bassoon Celli (pizz.)   (Cel.)


   
4 Horns

  
E♭ Contra Cl.


Celli (pizz.)  Tink spins around as she tells Peter misterioso
Triangle 
about the fun times they'll have This sudden pause in
+Bass Cl.
rhythm is Williams' way
+Cont. Cl.
of creating anticipation +2 Bsns.
Chromatic grace note
Here, I think that the warm sound of the horns  "MOIRA!"    for Tink's reveal that she +4 Tpts.
'flick' on a tritone is, in fact, a fairy. The +4 Tbns.
greatly contrasts with the accented pizz. of
Tink jumps back in surprise interval, as Tink misterioso direction seems +Violas
all the strings. Perhaps, Williams wants to +Celli (arco)
hits the ground to indicate that Williams
compare the warmth with which Tink greets +Basses
again. is treating it as such.
Peter, like an old friend, with Peter's look of
horror towards her, and subsequent yell for
his wife. As a sidenote, the horn chords are
related through the C dominant diminished
scale, while the D♭7 chord is not, which might
make it slightly more striking.
 Something quite unusual for Williams happens here, as he gets a chance to provide a full statement of Tinkerbell's Theme, this time in B♭ minor. Usually Williams will introduce his themes in little bits, but in
Hook, he often gets a chance to give full presentations of his musical ideas when the characters/subjects first arrive. This is a great example, but this also occurs for the Neverland Theme (which I will discuss
in lots of detail in the second cue) when Granny Wendy enters, the Pirate Theme (in the 'Show Us Your Hook' scene, and in the scene preceding this one where Wendy tells Peter about his past), and Hook's
Primary Theme (in the same 'Show Us Your Hook' scene) (there are a lot of musical themes in this movie!). I can imagine a few reasons for presenting the theme like this. Firstly, Hook was first intended to be
a musical, and while I don't believe that Tink's Theme was originally one of the songs Williams wrote for the film (Low Below (the Pirate Theme), and When You're Alone (a theme for Jack and Maggie), both
were), in musicals, the musical themes tend to be first introduced in a full statement via a song, and perhaps this is a consequence of the original vision for the project. Otherwise, I think that the statement of
the theme provides Williams with a strong foundation on which he can develop the theme later, as the audience becomes very much familiar with the theme from this well-developed statement. It's also important
to consider that this theme is underscoring dialogue, and thus it seems fitting that Williams would just use one sustained idea throughout, otherwise I feel that the music would become too distracting from what's
happening on screen. The theme itself clearly takes inspiration from Tchaikovsky's ballet work. The use of celeste and chromatic scale reminds me of the Dance of the Sugar Plum Fairy from the Nutcracker, and
of course, it makes sense that Williams would do this because of the clear connotations with the fairy. The high register of the celeste helps imply the brightness of Tink on the screen and her small size. I think that it
also adds a certain lightness to the character, which Williams is clearly trying to evoke with the 'whimsically' direction. The theme also seems reminiscent of Williams' work on Home Alone the year prior. The
melody is mostly built from the B♭ harmonic minor scale, but Williams frequently includes small ascending chromatic scale passages, like at bar 92 (which outlines part of the F dominant 7th). Williams leans into
B♭m
the non-diatonic notes of the chromatic scale, like the B♮, which he harmonises with the neopolitan chord, which helps to make Tink seem more 'unusual', as we are seeing her through Peter's eyes. The use of the
half-step intervals may, once again, mirror Tink's small size. The melody is made quite memorable by repetition. In fact, the first two phrases are the same barring the last note of each. Furthermore, Williams
i
frequently outlines arpeggios within the phrases in a repetitive way. The accompanying material is all derived from the labelled chords, and serves to act as harmonic foundation for the theme. It features a
combination of string techniques, just like we had preceding Tink's arrival: arco Violin I, tremolo Violin II/Violas, and pizz. Celli. Williams continues to use trills and tremolos, which I think add a sense of unease,
which we can associate with Peter's confusion towards her. In relation to the film, the theme starts as soon as Tink says she is a fairy, thus the audience and the music can interpret her for what she is. We also have
a new sense of comfort with the addition of a solid tonality once we know what she is. I would like to note how many of the phrases of the music follow the natural beats of the conversation, for example, I've noted
Half as Fast down below the system numerous cue points in the conversation. This helps the music to feel like more of a natural accompaniment to the film. (If you read all that, wow!)

     
( )
 =  B♭m Whimsically B/D# B

                
F F7 B♭m F F F7

 
                       
♭II ♭II


Violins i (ht. trill)

 
89 V V7 i V V V7


Violin I

Violin II       


 


                           

Violas

       
poco

   
Synth Celeste (transcribed) 

     






poco poco

   
Synth Celeste (pedal)

                     
-Horns

       
-Harp

             

 +Harp I ( <)

          
 "You're a little... fairy."  
     
              
Celli (pizz.) Ascending chromatic scale,
Williams decides to emphasise diminuition of the idea
Tink's reveal that she is a fairy in the melody.

          
poco
by pulling back the orchestration 
entirely to just a violin trill between Triangle (Triangle)
the leading note and tonic of B♭ minor
which will be the home key for the
next section of the cue.  
The Celeste arpeggios must have been added in during
The triangle adds extra colour on the 'And if less is more..'
the recording session as they aren't in the score. I'm not a
offbeats, in a similar way to how I
gifted transcriber, but they appear to just be a C dominant
discussed in bar 23. Now though, the
7th with a half-step 'rub', followed by an F dominant 7th,
triangle doesn't just represent Tink's
which allows for an easy transition into B♭ minor aswell,
flight, but can be associated with Tink
as it is the dominant of B♭. As mentioned, the dominant
herself.
7th chords feature heavily in Tink's theme, and the colour
matches Peter's bewildered expression. The fermatas aren't
in the score either, but this bar doesn't seem to be conducted
in tempo.
 In the second 'part' of the theme, Williams tends to deviate further from the diatonic chords we would
associate with B♭ minor, opting for lots of chromatic movement between chords. For example, B♭m -> Am,
F#m --> F, and the imperfect cadence of E -> F7. This helps create this more 'unusual' sound that I mentioned on
the previous page. He also changes the vii chord to a minor one by making the E natural, in order that the
antecedent phrase is harmonised with minor chords until the F major chord. This makes the second part of
the melody feel different to the first one. From a story standpoint, perhaps Williams is using this to represent F lydian dominant scale. I assume
the sadder aspects of Tink's story in this film. She professes love for Peter but is turned away because of his this is used here since it fits well

 

devotion to his family. In fact, when Tink's Theme plays for the last time when she says goodbye to Peter, Flutes add colour with over a dominant 7th chord.

 
     
telling him she'll 'always love' him in the place where you 'still remember dreaming', the quotation of Tink's Theme staccato major triads,

 
ends on this phrase. The chromaticism also dominates the melody, which includes several half-step auxiliary notes. the articulation matching

   
There is slightly more interest in the accompaniment part this time, with the bassoon and celli adding colour in the the celeste part.


gaps in the melody. 3 Flutes
E♭m


 
 
 
  
B♭m/F Am

   
iv

   
F#m F G♭

    
F7

  
     
i vii Harp I

             
B♭m E

          
Violins (ht. trills)


 
V F7

         
+Violas vii 7 VI

     
V

  


      
i ♭V


V7


98

  


            
Violas


     
Harp I Brief diminished

 
Brief use of contrary motion vaguely outlining

  
 

   
scale pattern Chromatic movement
the labelled chords.

       
in contrary motion


 between the celeste
and celli leading to
notes of a B♭ minor

                 
chord.

                
                   
  
 
                  
    
   
               
         


 
1 Bsn.
Celli (pizz.)

Celli (pizz.)
(Celli pizz.) 
(Celli arco) -Harp
"Whoever you are it's still you" +Harp (on quaver beats)
Quasi-trill in "The smell of somebody who's ridden the back of the wind.."
celli compliments
those in the violins.
 
B♭ melodic minor

 
   

Harp I (D♭, C, B♭, E♭, F, G, A)





Williams finishes Tink's Theme with symmetry, by initially Harp plays F lydian dominant scales 

 
           
repeating the initial antecedent phrase, in much the same in the gap in the melody.

      
manner as before. However, the addition of the Cor Anglais

 
Harp I

 

adds some extra colour and interest. I note now that Williams

   
Violas


uses the Cor Anglais and the Bassoon to add colour, as both
reed instruments have a timbre that sticks out of the orchestra.
This helps their inclusion to be more meaningful, and I believe
the reedy quality helps create that 'unusual' sound. 5

 
  
6



B♭m B♭m

    

B♭m

     
E♭m/B♭

 
B/D#

                 
   
F F7 Violins (ht. trills) i F (implied) i

           
                      
i


Violin I ♭II Violas (ht. trills) iv

(ht. trills)

   
V V7 (ht. trill) V
V. I

 
106

       


V. II

                
Violin II

    
           
Violas





   

 
                  
                             


       
      
Modified Tink Theme

   
  

         
fragment

 
Cor Anglais

      

Celli (arco)

         
    
Basses (pizz.)

    
(Celli pizz.)

Cor Anglais adds to the Celeste line during which the Celli plays a

Triangle Triangle
diminuted version of that chromatic scale starting on F (to fit with the
F7, jumping to G in order to finish on the B♭).
Peter stands up
Here, the melody starts as before, but Williams takes it off in a different
direction. He relies moreso on the chromatic scale than the harmonic minor
as derivation for the melody here, with the cell at bar 112 being derived from
half-step intervals. Interestingly, despite the bass line strongly suggesting a
typical perfect cadence to end the theme, Williams makes the cadence much
weaker by not including the mediant or dominant note of F major in the
penultimate bar, instead using the chromatic scales in the violins and celeste
to lean into B♭ minor. This seems fitting to me, as not only does it make the
passage more 'unusual', but I feel that a stronger perfect cadence would make
Tink seem more comically exagerrated, which might be achieved elsewhere, but
would not fit here.
 Williams decides to now offer another statement of Tink's Theme, up a major 3rd in D Minor. The sudden tonality change I feel these harmonics also mirror the fact that Peter believes he is high
without any harmonic preparation is deliberate, as I believe this part of the music is a sudden shift in perspective. If we perceive up; they are high in the register and clash with the other harmony on the

the previous statement of the theme as from Tink's point of view, this is now from Peter's point of view. Now, the melody is quaver offbeats, which hints at the fact that he is being a little ridiculous.
played not by a celeste, but in a lower register by flute and harp. Despite the dynamic marking, the accompaniment dominates
in the recording, thus the theme is presented in a very weak form. This helps represent Peter's view that Tink isn't real, but
just a figment of his imagination. Yet, I feel that Williams is mocking this interpretation. Throughout this page Williams uses

   
Gliss. incorporating notes of D# and A chords


the orchestra to mimic Peter's drunken state. Violins trill on the chords labelled, while the celli have portamenti around minor

   
"Dizzily"
 
(D#, G, B♭, and A, C#, E respectively)

                  
triads and chromatic scales, and in the last two bars Williams uses violin harmonics marked 'dizzy'. Furthermore, the repeats

             
114



Harp I (D#, C#, B♭, E, F♭, G, A)

 poco 
(which seem to have been added after Neufeld finished orchestrating), lead the phrases to feel slightly more unbalanced, since
gliss.
we expect to hear 4 bar phrases from the previous statement of the theme. All this to say that Williams wants to match the
comedy of the dialogue that Robin Williams is delivering.


  
       
  
 
Dm A Dm D#

    
   
E♭ A A7

              
A


i V i

     
♭II

    
♭II V V7

   
(Violins) V

       
(harmonics, snd. 15ma)

      
                  
"dizzy"

     
Bells outline main notes of Tink's Theme.

   
Orch. Bells




Flute    +1 Ob.
   -Harp 1 Tbn.
 (dynamics over repeat)

      
-Ob.

  
Harp I   

     
+1 Ob.

       
       
               
      
      
             
  D# borrowed
         
Harp II

           
from celli

    
Synth Celeste

  
    
  
     
    
                 
Celli (port.)

  

"It's finally happened, I'm having a total nervous breakdown" Cut to the model house

The Celeste (along with the second harp) is reduced here to the role that the left hand of
the Celeste played earlier, simply outlining the labelled chords. I did not mention this before,
but this part keeps a steady quaver pulse, with the help of the strings, throughout the theme.
This probably doesn't mean anything, but perhaps Williams wants to use this so that the
theme always has a sustained energy, just like Tink.
 The music takes on a more serious tone here by removing the
'dizzy' material that I described earlier, like the trills and portamento
celli. I believe this is because Peter kind of 'snaps out of his trance' when Notice that Williams


Tink mentions his kids. The melody is also given additional strength uses the dominant

   
with the addition of the oboe, which, going with my interpretation on the


122 7th to set up a
previous page, might show that Peter has a new found belief in her at the regular continuation of


mention of his kids. Tink's Theme here,

   
A

 
which will make the

 
   
Dm C♯m B♭m Dm

   
Gm/D Violins

  
V following bars more

      
i vii vi i Gm A7

         
iv striking.

     
Violins (pizz.) iv V7


Violas

     
                            
1 Flute +Harp I (to 2nd

           
Bells

           
1 Oboe voice where

    
notated)

   
      
       
    
  
                   
-Ob.

      
    
-Harp

  
   
          
     

Violas

         
Celli

 
Celli

   
1 Bassoon

"How do you know about my kids?"  Basses (pizz.)
Echo of the main Peter gets sprinkled
melody in the bassoon with fairy dust
starting down a These 2 bars are cut from the film
perfect 5th.
 Suddenly, as Peter sneezes and launches Tink into the house, we suddenly get a
short passage with lots of movement. As before, Williams matches Tink's sudden
movements in a cartoon-like way. So let's break it down.
1. The harmony of bar 129 is rooted in a suspended A7 chord (with the C# removed)
which helps create tension, especially since the bar that preceded was built on an


A7 chord, after which we expected a tonic resolution. Williams emphasises the major

 

Following this reference to the chaos of Tink's arrival, Williams clearly tries to score



second dissonance between the G and A. The horns play this chord, while the celeste

  
through Tinkerbell's perspective, emulating her sadness that Peter has forgotten


    
adds a tremolo around the chord.

     
D harmonic minor

      
who he really is and has grown up. I'm guessing that Williams wrote the melody

   
129 2. Harps and Piano provide ascending glissandi to mimic the sudden movement.


Harp II (D, C#, B♭, E, F, G, A)
here to match the harmony, which is all built from dominant 7th chords. As I've


To a similar end, the violins and celeste play a descending and ascending D
harmonic minor scale run, landing on the leading note, the C#. mentioned before, the dominant 7th has a tendency to lead somewhere, and


Piano (white gliss)  3. The woodwinds, violas and celli provide accented notes on the beat, with grace denying that resolution gives the music a 'yearning' quality in my opinion.

     


 
In bar 135, lower woodwinds and strings provide a quirky line derived from the

    
A7/Em7♭5 notes seperated by half-steps, recalling the Violin I line preceding Tink's arrival.
Synth Celeste (LH) The quaver beats appear to be matching with flashing lights coming from the house diminished scale. Williams seperates the line into different instruments,
 and uses strange rhythms, mimicking Peter's response to Tink's emotional lines:
that Tink falls into. The percussion add extra 'punch' to this line.


4. At Bar 130, which seems to be when Tink actually hits the ground, the trombones 'Are you in there little bug?'. This response is clearly annoying for Tink, and I feel
and basses play an E half-diminished 7th chord, which creates a polychord with the that using these techniques, Williams makes this bar musically annoying as well,
3 Horns interrupting the sweet dominant 7th melody. After this, the 'shy' sound of the

 trill seperated from the

A7 elsewhere.
clarinet seems to mirror Tink's tone of voice when she replies.

    
  Jarring half-step

      
              Harp I     
          
  
Sweetly

Synth Celeste (RH) You could just view this


other harmony.

   
 

Violins chord as an F dominant


1 Clarinet



7th with the B♮ as the
bass note, but the voicing


1 Cl. leads me to describe it this
  

     
"shyly"
 sub.

 
way.

     


        
+2 Piccs. (snd. 8va)

                  
   
Bm7♭5 E♭7/G


            
+1 Tpt. (st. mute, no grace, )
A7/G G7/FA7/G G7/B F7/A

   

2 Flutes 2 Flutes C7/B♭ F7/E♭
2 Oboes
F7/C
F7/Bm7♭5


1 Bassoon Violins /D /C



 
               
        
 

   
  
  




    

   

    
       
Violas (pizz.)

  
    

Violas

      
Violas
 Celli

 
Celli   "I'm not a bug, I'm a

    
"It is true then, you did grow up"

     
Bass Cl. 1 Bass (pizz.) fairy"

 
This B half-diminished 7th 1 Bassoon
highlights Peter's look
towards the model house.

  
4 Trombones  3


Basses (pizz., snd. 8vb)


          
   "Have you forgotten everything?"



Triangle

Sus. Cym.
 
Peter's sneeze launches Tinkerbell into the toy house
 Ascending E half-diminished 7th
arpeggio, suspending the A in the
This passage seems to mimic Tink's iritation with Peter. The Cor Anglais and
second half. If you recall, this cue
Clarinets play Tink's Theme in D Minor, yet the accompaniment does not
began with a very similar D
clearly suggest this tonality. Instead, the low winds/brass/strings all play an
half-diminished arpeggio. It's
E half-diminished 7th chord. Though the notes of the chord can be found in
unlikely that it means anything,


D minor, this low, dark, and discordant accompaniment greatly contrasts with

     
but Williams likes to make his cues


the light celeste variation we heard earlier, as does the more striking tone

    
feel cohesive.


             
quality of the Cor Anglais.


D♯ Gdim

    
137 Violins Violins (pizz.)  Synth Celeste

This Oboe melody moves around the D harmonic minor scale, landing on the

 Synth Celeste 
leading tone, which creates some suspense leading up to Peter's yell. Once

   
           
 A pedal tone Harp  again, Williams mimics Tink's solemn mood.

         
Echo of Tink's


1 Oboe

  
Cor Ang.

     
Theme fragment 2 Flutes 

  
2 Clarinets

   sadly  F
 misterioso Strings form a cluster built from D harmonic minor, adding
tension. Williams uses the cluster and the dynamics to I

 
build to Peter's sudden outburst.

   
N
                                
2 Bass Clarinets


Violin I
3 Bassoons

   
Em7♭5

 

       
4 Trombones E


 +Celli            
Violin II

 Violas     


  



      

Celli
Basses  -Celli "I DO NOT BELIEVE
"Everytime somebody says I do not believe in fairies.." IN FAIRIES!"
Peter opens the toy house