JOHN

WILLIAMS
4M5/5M1 "I Don't Believe in Fairies" Orchestrated by ALEXANDER COURAGE
 3

 


Chromatic grace notes followed

        

 
by a half-step trill that

        
Arpeggio outlining G♭7

      
introduces some degree of tension

   
Arpeggio outlining E♭7♭5 1 Oboe

   
into the music. 1 Clarinet 1 Harp (secco, ) 1 Flute


 let ring! 1 Picc.

7 1 Harp 
Williams uses the woodwinds similarly to before, to create a 'chirpy'

   
  
7

  
Violins sound that could act as Tink's voice in the music. The lines here

            
  
G7♭5/F G#m(add♭9)/A

   
move between G and F♯, including large interval jumps.

    
A7♭5/G C7/B♭

 
 E♭9/D♭

   
E9/D

       
Violins

(Violas arco)   
Violas
  Strings play half-step trills
(pizz.)  which add some tension. Violas
1 Harp (1st note of each, accented)
These chords can all be derived from different diminished scales. Notice that Williams

 3
 3 
tends to include an unstable bass note in each chord, typically the seventh scale degree. 2 Bass Clarinets

 
The top line descends, mostly chromatically, imitating Tink beginning to fall down the

                
2 Bassoons

   
  
 
                    
Planing dominant 7th chords chromatically stairs.

        
    
E♭7/G

      
4 Horns

  
Celli A♭7/C G7/B G♭7/B♭

 Contrabassoon  

  Bass Drum ("thud") 

-Horns


        
This bar Celli (pizz.) 3
3
Triangle  "dizzy"  is cut from Basses (pizz.)
the film E♭/B♭
Tink falls down the stairs

 

Tink begins to choke Williams delves back into Mickey Mousing territory again here,
using faster rhythms as Tink begins to fall faster down the stairs.
Williams clearly goes with the comedy of the scene here, clearly The low woodwind line is very strange in nature, and is seemingly
mimicking Tink's fake choking and falling down the stairs derived from the chromatic scale. It is clearly intended to be
through the music. Notice that Williams doesn't necessarily disorienting, since the two lines don't move in parallel, and there
make a very tense passage here, likely since Williams is somewhat are frequent changes in contour, though the overall phrase gradually
leaning into the fact that Tink is playing around with Peter. descends. This helps to mirror Tink's movements. Many intervals
In these first 3 bars, Williams continues to use dominant 7th feature, though major 3rds feature the most, among dissonant
chords, which thus far in the piece have had much more intervals. I find it interesting that Williams has rarely used the lower
pleasant associations than dying fairies. Furthermore, Williams registers to represent Tink's movements up to this point, but decides
tends to glissando chromatically between chords, which contrasts to now. Perhaps this is just to represent her falling down, but you could
with the cartoon-like Mickey Mousing he used for Tink earlier. also link it to the fact that Tink is faking it, so Williams treats the music
Williams also makes this passage feel very 'unusual' by moving differently.
away from strict tonality like that in Tink's Theme.
Note: The recording of this cue used in the film appears to move
the first beat to the second and starts there, so the first bar is a
3/4 bar.
 Assuming this clarinet figure was originally intended to play during Tink's final fall to
the ground, Williams is clearly playing it for comedy here. He uses a descending E♭7


arpeggio, beginning on a G♭, which allows for a half-step transition to the G major

  
chord played by the strings and harp. This makes the fall seem more presentational


B♭ dorian ♯4 (A♭ major #5)

    
and jolly than tense.

 gliss.
Harp I (D♭, C, B♭, E, F, G, A♭)



 
    
In contrast to this strong G major chord,


These dyads appear
 the clarinet plays a sustained F, to make

    
to be derived from Violins (pizz.) 

       
way for Peter's dialogue, and perhaps to


1 Clarinet

  
the diminished scale. Synth Celeste 3 G

    
2 Flutes

  
3 show that Peter obviously hasn't noticed

  
1 Picc. 

   
that Tink is joking.


6

         


-Harp


 tentatively
All Strings (pizz.)


Harp II (non arp.)  'Oh my God I think I killed it'

             
               
    
3 3

     
3 3

 

      
 
E7/D

Celli (pizz.) 
Low woodwinds now play a descending sequence cresc. Triangle
with a cell that is comprised of descending
planing major 3rds. In the following bar,
Williams augments the rhythm, perhaps to
Basses (pizz.) Tink hits the ground (of the toy house)
represent Tink slowing to a stop.
Contrabsn. (snd. 8vb)

These two bars are cut from the film There was an additional bar of music here in the score which
These low string/contrabassoon chords add was not recorded. I felt this reduction was confusing enough
a 'thud' effect to the music. The harmony without it notated out. It basically contains further
matches up with the low woodwind line. augmentation of the low woodwind line, with a clarinet trill
Perhaps it would have synced with on top, with more low string pizz. chords underneath. If
something in the film before these bars you'd like to see it reduced, let me know in the comments,
were cut. and I might put it in a link in the description.
 This little flute line seems to mimic the
wariness with which Peter reaches out to
Tink. The first bar is based off of half-step This melody here is difficult to analyse from a film standpoint, because of course it was cut from the film. The melody returns in the cue 'Slicing the Hand',
motion, but the second is derived from the but unfortunately that scene was deleted, so that doesn't really help us. From what I understand, that scene was meant to include Tink slicing Peter's hand to
diminished scale, ending on the 7th degree prove to him that he is not dreaming, and that Neverland is real. Thus, I could probably interpret this melody as corrrelating with Tink 'messing around' with
of the E7 chord, which leads the melody to Peter in some way. The melody itself is derived from the diminished scale, and frequently outlines dominant 7th chords in demi-semiquavers (which I have
feel like a question. This question is labelled). The use of trills, both in the melody and accompaniment, make the melody seem more playful in character, as does the harmony. The strings have

                  
answered by an accented E7 chord as tremolos between dominant 7th chords, while the harps and celeste keep a crotchet pulse, alternating between G7 and E7.

      -1 Flute     (G7)
     (G7)
 
    
Tink suddenly moves.

                        


         
(vaguely E7)


1 Flute (E7) (E7)
13 +1 Flute

3 


        


                 
Violins
E7 E7/B

 
A/C# G7/D G7/F

      
Seconds/thirds G7/D

    

Violas


 A7/E E7

 
E7/D E7/G#

   
from the same

    
Violins
diminished scale. Violas
Celli

 

 
Harp I

  
All Strings (pizz.)

      

niente Harp II (first of each bar)


2 Harps (non arp.)

        
        

Synth Celeste G7/D


Synth Celeste E7/G# E7/G#
G7/D









       








 Basses (pizz.)      



Peter reaches out his finger

 
Peter touches Tink

The basses enter during the gaps in the melody, playing notes from the labelled chords.

Cut from the film

 As Peter begins to clap, Williams creates a passage that builds in energy and The clarinets, bassoons and harp II provide harmonic foundation to these
excitement throughout, clearly mirroring Tink's miraculous recovery, and lines. The violins and harp I play a melody also derived from the diminished
Peter's rising enthusiasm as he begins to clap harder. Williams keeps a steady scale with trills on each note, which is very reminiscent of a similar melody
semiquaver pulse throughout until Tink stands up, perhaps mimicking a found in 4m4 when Peter attacks Tink with the magazine. With the slower
'clapping' rhythm. Also helping imitate this recovery is a return to the tempo, maybe Williams is using this to show that Tink is rising again to full
C dominant diminished scale we were so familiar with, all throughout strength. The low strings provide tremolos which make the passage more
4m4, though this would be very subtle. The oboes, flutes and horns unstable, either to add some tension, or make Peter seem slightly more silly
alternate playing different melodies. The oboe one is built in planing minor for falling for Tink's prank.

 
  
thirds, moving around this diminished scale in a jagged contour, while the

   
Harp I (D#, C#, B, E♭, F#, G#, A, gliss. ad. lib)
flutes and horns play a repeated cell derived from the diminished scale with B major scale (-E)


a particular emphasis on a major second clash between the G and A.

Modifying the C7 chord by
removing the tonic and adding
2 Clarinets
Slightly Slower Similar material down

 C7/B♭       
2 Bassoons in the G/A major second a semitone - which adds more energy

  
Harp II (arpeggiated) dissonance from the flutes

 

 
B7/A

  
These woodwind lines are both derived from the G dominant
diminished scale. Once again, the two parts don't move in parallel.
Ascending chromatic Williams uses lots of minor 3rds, augmented 5ths, and tritones.


   
scale to finish 

 (♭)  (♮) 
Tink is tricking Peter into making himself look silly, and thus it is

   (♭) (♭)  (♭) (♮) (♮)  (♮) (♮)  (♮)

 (♭)


the melody. fitting that the music sounds slightly awkward. Peter certainly These lines are now derived from

     
Violins

      
looks reluctant. We could go further and say that perhaps the Harp I (stacc., no tr.) -Harp the B dominant diminished scale.

  
21

    
quirky clarinet line mirrors Tink's dialogue, and the bassoons (♭) (♭) (♭)
mirror Peter's reluctant response (which somewhat copies the last

        
part of the clarinet line, in the same way that Peter repeats the

       
 2 Oboes                 2 Oboes
     
 

           
word 'clap'). However, it probably doesn't mean anything at all.

           
       
   
               
E7

          
2 Flutes

   
    
        2 Bassoons 
 


2 Cl.   
  
  
2 Horns (fiber mutes)

           


       
Major 6ths

    

Violas

    
  


 
Celli (pizz.) (pizz)
 (arco) (arco)

  
Peter begins to clap his hands Basses (pizz.) 

 
Contrabsn. (stacc.)

This bar (and the following beat)

is cut from the film


"Clap your hands Peter.."
 As Tink smiles at Peter, Williams finally releases the tension he
created, transforming the Bsus4 harmony up a tone to form the
basis for a G7. On top of this, the woodwinds and celeste present


G major scale incorporating the notes of the


a development of the flute line from bar 27, built from planing

  
F# major chord below.

      
Gliss. incorporating notes of B9(sus4) chord (B, E, F#, A, C#)


major triads, since Tink is smiling at Peter's reaction. When Peter

  
Harp I (D, C#, B, E, F#, G, A#)

  
27

   

Harp II (D♭, C#, B, E, F#, G♭, A) .
lib. gliss responds distastefully, Williams uses the string section to respond
gliss. ad gliss.

  
in a lower register, replacing the F# major chord with a chord

              
  
derived from the whole-tone scale, which is much more dissonant

         


              


and less triumphant. It ends with the seventh of G in the bass,

 
6 Horns

  
Harp I


which adds tension. The high woodwinds then respond again, with

 
an ornamented phrase, going down the C major scale, harmonised

    
in 4ths below. This mirrors Tink's clear joy when the camera cuts

Synth Celeste ()                
back to her.

 


 (#)  (#)    (#)   (#)   (♮)                  

F# F#

 (#)    

G

           
2 Flutes
G G

        
 
1 Picc. 1 Picc.

      
          
2 Oboes
(♮) (#)

 2 Flutes           
Synth Celeste

 3  3 


2 Flutes 3 3
-Cls.


1 Picc.


Williams modifies the violin line here slightly, with a two-beat





2 Oboes -Bsns.

   
melodic cell that is somewhat repeated up the octave, besides +Pno.

 G7/F
Cor Anglais


Cor Ang.

         
  
the final note.


2 Clarinets 2 Clarinets

 
2 Clarinets

       
Violins Piano

     
2 Bassoons

    
2 Bassoons


Violas

                           

2 Flutes Synth Celeste
Violins G7

    
2 Tbns. (non. trem.) G7

             
-Tbns. Violas

   
     
  

 

 
 
2 Horns (fiber mutes)

  


               


  


        
    
Celli

   
gliss.


Celli (trills)

  
Bass Cl. +Contrabsn.
As Peter is clearly about to reach his breaking point, and Tink is Basses (pizz., crotchets) -Contra.
about to stand up, Williams changes the texture. The harmony of Sus. Cym.
bar 28 is rooted in a Bsus4 chord, which is brighter than the E♭ Tink smiles at Peter "Oh, God, you're alive"
we would expect in the B diminished scale in the previous bar.
Each part is built from this chord in some way. The Harp The bass instruments land on the F# in
 order to make the release of tension
arpeggiates the chord, the flutes play a quasi-trill like phrase
with the suspended E and F#, while the piccolo and celeste more satisfying, as they can lead
play accented, syncopated F#s which add excitement. The strings into the G and F♮ of the G7.
give harmonic foundation, using tremolos to generate energy.

There are four bars missing after bar 27 that were not recorded,
once again I have not notated them out. They were basically a
development of the material present in this bar (triplet melody
in woodwinds, suspended major second harmony in the strings,
arpeggios in the harp etc.), where the bar present here was the
climax of the 4 bars. Once again, let me know if you want to see
it transcribed.
 From here until the flight to Neverland, Williams returns to chaotic material, like that during Tink's arrival. I've tried my best
to label the insane music theory going on, but it's important to ask: why is Williams scoring this part of the scene in this way?
Before, Williams was using the fast tempos and rhythms moving around diminished scales to mimic Tink's movements in a
cartoon-like way, but now we have similar techniques, with almost no movement on the screen, at least initially. I can think of
two reasons. Firstly, perhaps Williams wants to introduce the fast tempo now, rather than later, in order that the transition into
the flight music will feel more natural. I find this to be the most likely, as there are no real 'tonal shifts' in the scene after this point.
Otherwise, perhaps Williams is scoring Peter's 'racing' thought process as he tries to get around calling Tink a fairy. Even if this isn't
the intention, I believe that Williams' use of harmony, which is certainly non-diatonic and somewhat unstable and frequently changing,
helps mimic Peter's drunken attitude. This is aided by the fact that all the instruments playing create a cacophonic texture, never


Quite unsure about this gliss. scale. I've settled on it really working off each other.
being a modifed E dominant diminished scale with
These clarinet and oboe runs are built from several diminished scales.
Presto Subito
     
a ♯2, (F♯), missing the C#.
The clarinet line is notably derived from two, changing on the

gliss.
Brief reference to common

  G7/F
second beat (E♭ dom., C♭ dom.), then the oboe line (as well as the flute

 
Triumphantly quavers below) comes from B dominant diminished. The lines are rhythm in Tink's Theme, derived

 
Harp I (D, C♭, B♭, E, F#, G, A♭) quasi solo seemingly unrelated to the dominant 7th chords below, creating more


 from C dominant diminished.

 
G CLIX

        
disorientation.

                        
2 Flutes

          
+1 Picc. (snd. 8va)

  
E♭/B♭ (X X X X) 1 Picc. (snd. as written) F7 arpeggio followed by C

          
2 Flutes

            
C♭ from E dom. diminished 


half-diminished 7th arpeggio.

  
1 Oboe 1 Oboe
2 Flutes


35

       
1 Picc.
2 Oboes


Cor Ang.


Synth Celeste
 1 Clarinet  1 Clarinet 1 Clarinet

  

2 Flutes


G7   E7            G♭7 F7/E♭   
Cor Ang.


    E7  G7   F7  
Violins (pizz.)

  
                   
E♭7/D♭


A♭7 Violins (arco)

   
Synth Celeste (stacc.)

                    
C7/B♭

Violins (pizz.)   
-Bells Violas (arco)

 
Bells (snd. 8va) D7 C7 B7 F7/E♭

            
B♭7


E7

 
2 Bassoons

 4 Trombones (muted?) 
Piano (RH)

 Celli (pizz.) A7 A7


     
Violas (pizz.)

        


 


 
Basses (pizz.)
One thing that makes this passage so 'chaotic' and exciting is that the derivation for much of the material changes very

  
Celli. (arco) frequently. This is very effective, though it makes my life rather difficult. Often when reducing I often work with 4 bars
at a time, but for this cue, I often had to work bar by bar in order to get all the details. However, luckily for us, a lot of
the material can be linked back to the diminished scale. Bar 36 is built from the planing dominant 7ths in the strings/
+Pno. (LH) celeste/bells. The strings play fast pizz., which adds lots of energy. These chords can all be linked to the E dominant Williams uses some disorienting harmony here, still relying on
+Basses (pizz.) diminished scale. On top of this, the flutes and oboe add colour to the chords by providing additional movement on
+Bass Cl. dominant sevenths, but using them with the 7th note as the
+Contrabsn. the second and fourth beats, moving up a tone to the A (not a part of the diminished scale). In the second bar, bass note, and in polychords between the treble and bass.
Williams continues the planing dominant 7th chords (in 1st inversion) in a descending line, which doesn't seem to
"uhh, you're a..."
be derived from a certain scale, which makes it more disorienting. The B♭, A♭ and G♭ chords move by whole tones, while
the following chords are all rooted in the white keys on a piano. The flutes/oboe/picc. initially continue to move with
the strings until the second beat.
Williams once again uses major chords to emphasise Tink's
victorious grin. He ends on a G7 with the seventh scale degree
as the bass note, creating a degree of tension, as Tink asks
Peter who she is. The Clarinet presents a half-step trill
as Peter begins to answer, which is very reminiscent of just before
the initial statement of Tink's Theme in 4m4 where Violins
presented a half-step trill when Peter said 'you're a..' and Tink
answered 'fairy'. Notice now that we have very similar dialogue,
and thus Williams is likely making a deliberate call back to that
material. But Peter doesn't accept that Tink is a fairy, so it makes
it all the more surprising then that Williams defies our musical
expectation, and we go straight to Presto.
 As Peter begins to talk about Tink and describe her, Williams gives a brief
rendition of the opening phrase of Tink's Theme in upper woodwinds. Being
presented at a much quicker tempo, and being fragmented like this, the
theme is almost unrecognisable. This correlates with the fact that Peter's
description of Tink is anything but accurate. Notice also, that in a different
context the theme would be in a D minor tonality, but here it is harmonised
by dominant 7th chords built on a major sound. This is almost like a 'musical


B natural minor ♭4 - perhaps Williams
disagreement', which also helps convey Peter's incorrectness.

 
just wants to incorporate the E♭ from the F7

  
Flutes/picc. outline a B♭sus4 chord

 
and E♭7 chords below.

 
with syncopation. It is perhaps a

 
39 Harp I (D, C#, B, E♭, F#, G, A)


call back to some of the 'chirpy' gliss.
These little 'interjections' use the dactyl-like


piccolo lines from 4m4, feeling

  
 rhythm from Tink's Theme, moving chromatically

  
very disconnected from the other  Bells outline key notes of the woodwind line. Rising figure derived


around the E diminished scale.

   
Bells (snd. 8va)

    
lines. from notes of the labelled

        
            
 chords below.

          
   


            
2 Flutes



+Synth Celeste 2 Oboes 2 Oboes

1 Clarinet
Outlining E♭ 2 Clarinets

    
Harp I

  
half-diminished 7th Harp II

         
This bar of dominant 7th chords bears similarities to bar 37.

            

B♭7/A♭

        
G7 C♭maj7♭5

   
F7


E♭7 C♭maj7♭5

      
B7 D7 C7 D7

      
Violins (pizz.)

 
C7 F7

 
 D7/A 
     
-1 Horn

   



+1 Tuba () +2 Clarinets

 
E♭7/B♭

    
C7

 
F♭maj7♭5 +2 Bassoons F♭maj7♭5 C


4 Horns

       
+Basses (pizz.)
+4 Horns (stopped)


Violas (pizz.)

   
Celli (pizz.)

I view this chord    4 Horns (open)

Violas (pizz.)

+1 Tuba
as a manipulation Horns, low strings and tuba add Celli (pizz.)
'You're a complex Freudian hallucination..' +Contrabsn.
of the B♭7 that preceded extra depth and emphasis to the +Basses (pizz.)
it, sharpening the D (to E♭) dominant 7th chords present in Williams uses the same chord here as in bar 39, +Harp I (secco)
and flattening the F. the violins. 'mutating' instead the F7 chord. I find it
interesting that Williams lands on a C major chord.
By doing so, it seems that Williams also slightly
leans into the comedy of the scene.
 D harmonic major scale, or A mixolydian ♭2. I assume the B♭ is
included from the violin line below. I wouldn't pay much mind


to the scale, since it just seems to include lots of the notes from B neopolitan major ♭5 - though again, I wouldn't pay much mind to that.


the below parts (e.g. the F#7 chord is all here)

 
Harp II (D, C, B, E, F, G#, A#)

 
Harp I (D, C#, B♭, E, F#, G, A)


The oboes have an ascending gliss.
gliss.

sequence based off of descending

        

         
minor/major seconds, moving up  quasi solo
 quasi solo

    
the E diminished scale. The Cor


    
Anglais and Bassoon provide 3 Trumpets (st. mutes)
an augmented version of this E diminished scale runs in
same idea simultaneously. This contrary motion.
could potentially be mirroring Bells (snd. 8va) 

     sim.    
        
Peter standing up. Small chromatic

      

    
2 Flutes

         

1 Picc. cell

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

F#7/E G7/F F#7/E B♭7/D C♭7/E♭ B♭7/D

                 



(Obs.) 

   
42 2 Flutes
2 Clarinets +2 Oboes

Cor Anglais    2 Clarinets


 Violins (arco)    
      
  


       
A7♭5 

    
        
A7♭5

 
1 Bassoon

   +2 Horns 
  +Cor Ang. 
  
Violins (pizz.)

     C7
Harp II (secco)

 3 Trombones  
   
  Celli (pizz.)  
E7


Dominant 7 flat 5 chords

  
Violas (pizz.) 

 the tritone dissonance between

        
      
derived from the E diminished 2 Bassoons

 
Bass Cl. Violas (pizz.)



scale, particularly emphasising Celli (arco.)

  
the A and E♭. The chords

Basses (pizz.) 
match the notes of the flute/


Contrabsn. Bass Cl.
clarinet lines on the beats. 4 Horns Basses (pizz.) Contrabsn.

    
Celli (pizz.) 1 Tuba
These two bars are almost entirely derived from the chromatic scale, as Williams begins to build some


Sus. Cym.
degree of suspense in the lead up to Tink's response to Peter's dialogue, and the beginning of the flight.
Williams partly does this by repeating some of the material, namely the violin, viola and bassoon lines It is interesting that Williams doesn't use the
at a higher pitch in the second bar. Violins play a half-step trill followed by a chromatic grace note B♭7 from the woodwinds and trumpets here,
figure, while the violas and bassoons play a descending chromatic scale. Worth noting also is that which leads to somewhat of a polychord being
 created. This creates more instability.
Peter stands up the bass clarinet and celli invert this line and diminute it on the fourth beat. The violin line is answered
by the woodwinds, bells and trumpets, who use the same Tink's Theme rhythms I mentioned earlier.
The woodwinds have chromatic upper auxiliary notes, moving between dominant 7th chords.
 As Tink goes to flip the rug over, Peter stops talking
jibberish and we can actually see her on screen, notice
A more extended statement of Tink's Theme in the woodwinds here. Once again, though the melody
that Williams returns, somewhat, to the harmony we
would normally find itself in B minor, the accompaniment does not suggest this at all, and clashes
This ascending figure begins by outlining would expect to accompany Tink's Theme at the end
with the melody frequently. A good example is in bar 47, where the accompaniment is built off of

 
a B♭7 chord, but finishes with the C♯ and E of this phrase; namely the dominant 7 chord of B
dominant 7th chords initially moving chromatically in contrary motion with the theme. It seems that

   
from the A7. minor: F♯7.


here, Williams is finally fully combining Tink's chaotic material with her own theme with cacophonic

   
     
results. I assume Williams wanted to use the theme here in order to highlight the end of Peter's dialogue.

 
Harp I
F#7/A#


Williams also introduces another recurring technique here, which is writing short, 1 beat long


3 Horns

    
Piano
semiquaver passages for one/two instruments, which add lots of colour, and make this part of the piece
more disorienting.

Harp I (, crotchet) 


1st violins outline the Gm7♭5 chord 3 Horns

 
Ascending phrase outlining Dmaj7♭5 Ascending chromatic from the previous bar.

 A♭7/C  
7

  
arpeggio scale  Planing thirds derived from the

 
2nd violins play the Cor Anglais

        B♭7/D       
C#7/F

       
F# major scale.

    
line from the previous bar up a tone.

              
A7/G

       
Harp I (let ring!)

         
Violins (pizz.) Violins (pizz.)

           
45 Violins

   
2 Clarinets Violas (pizz.)

Cor Ang. 
  



Echo of the clarinet Violas (arco)
line in the bar Celli (arco)

 2 Clarinets
2 Flutes
 

        
 prior. 2 Oboes

  C
1 Picc.

         
Outlining F♯ half-diminished 7th Cor Ang.

       
2 Oboes


2 Flutes

     
2 Oboes Cor Ang. (lower notes only)

           
1 Picc. (snd. 8va) F#/C#


sim.

  
Bells (snd. as written)

     
    
   
   
 marc. 

   


    
 2 Flutes

        

E7/B The woodwinds tremolo between two

      
D7/C

     
G♯m7♭5 G♯m7♭5 2 Bsns. Bells (snd. 8va)

      

 
E7/B


major chords seperated by a tritone,


Violins

 
2 Bassoons 2 Cls.

 
which maintains the feeling of

 Contrabsn. 
 +Celli (pizz.)  
'disorientation' in the music.

 

Bass Cl. Bass Cl.

  
 Violas (pizz.) Contrabsn.

 
Celli (pizz.) Celli (pizz.) Basses (pizz.)


Basses (pizz.) Tink goes to flip the rug over
"What am I talking about.." Triangle
More accented major second Descending chromatic
dissonance that was used scale This bar is in 4/4 in the score, but it seems that a change
frequently in 4m4. Bass Drum was made during the recording session to move the
 string pizz. to the fourth beat instead of the second and
extend the bar to 6/4, likely to match the cue point of Tink
flipping the rug over on the next page.
 Notice that there is lots of chromatic movement in the harmony here. The G♭7 is transformed into
I believe the notes of this scale are
the C7♭5 by lowering the top note by semitone, and the C and B♭ of the C7 are semitones from the B


chosen to be very chromatic in nature,

 
(A#, B, C, D♭ and E, F) and the G# fits of B minor.

 
with the E7 chord below. A♯ dominant diminished (-G)

      


   
Harp II Harp I (D, C#, B, E, F, G#, A#)
49 The woodwinds and strings each alternate between dominant 7th chords
(D♭, C, B, E, F, G#, A#)

 
seperated by tritone (this suggests a diminished scale derivation) at
s.
glis different paces simultaneously. The semiquaver rhythms and ascending
contour following Peter's fall help to transition into the more busy

   
   
material on the next page.


 

   


         
         
sim.

                         

E7/G# C7/E 3 Tpts. (open) G♭7/E C7♭5/E Bm(add♭10) sim. D♭7/B G7/D


D♭7/B G7/D sim. D♭7/A♭
G7/F

Violins  
(♮) 1 Tbn.

 


 
2 Flutes



Violas 2 Oboes




  
Celli


Cor Ang.


Brief ascending sequence chromatically

              

1 Picc. (snd. 8va.) 2 Clarinets


+Violin I

     
   
C#7/B

    
1 Bassoon

    
2 Flutes

 
G7/D

      
-Cls. C#7/B

 
 
    

Violins


Violas


Celli

     

Violin II

    


    
Violas


2 Clarinets 

  
Williams returns to a very chromatic scale derived
passage, filled with lots of half-step trills and chromatic 2 Bassoons Bass Cl. Chromatic grace notes up to the B minor tonic,
Bass Cl.
grace notes. I assume Williams wants to make this Celli
 2 Bassoons Mickey Mousing Peter landing on the ground.
passage disorienting in order to mirror Peter as he is Contrabsn. 
The notes of the


flipped over. The constant use of trills seems to mimic 2 Tbns (no grace notes)
bass/treble trills Tuba (no grace notes)
this motion anyway. Williams chooses to end the

   
here are seperated Timp. (no grace notes)

  
passage on a modified B minor chord, which leads me to

   
by semitone. Celli ()

   
interpret the passage as a 'warped end' to the Tink Basses ()


Sus. Cym. Piatti (secco)
Theme fragment we just heard, which was in B minor.

  
Bass Drum
"Guess again!"
Tink flips over the rug
 Synth II ("bright + ringing")

          
              
2 Harps (staggered)

                   
                   
52

      
                               

3 3 3


        
let ring! 3

                 
Synth Celeste

   
Bells (snd. as wr.)

                 
  
  
                  
2 Tpts.

                     
2 Flutes (st. mutes) 

                    
1 Picc. (snd. as wr.)

 
                         
2 Clarinets

                 
2 Bassoons

                   
4 Horns (marc., )

  


2 Oboes


Cor Ang.  cresc.

    
    
Piano

  
Am7♭5

     
         
   
Violins
Violas
2 Horns (slurred)

  


      
      

Bass Cl.
Contrabsn. 

     
Tuba
Celli cresc.
Basses
Triangle
Sus. Cym. (?)


Peter sees stars while Tink wraps him in the blanket To me, these four bars are all about 'preparing for liftoff'. All of the material here is based off of two things: the ascending chromatic
scale pattern found in Tink's Theme, which is repeated each bar, and the A half-diminished seventh chord. Because of the
repetition, you could also argue that Williams is imitating Peter's 'dizziness', seeing stars after he is flipped over. Let's break it down.
1. The woodwinds and horns play the chromatic pattern in Tink's Theme, adding in a note on the last quaver beat which is raised
on each iteration, which adds momentum and excitement. It almost seems like we are getting closer and closer to taking off by raising
the note each time. On the first iteration, the note is an F♯, which is what we would expect if this was a proper statement of Tink's
Theme, after which Williams uses the notes of the A half-diminished seventh chord. Oboes/Cor Anglais/Piano add extra energy
by adding in octave leaps on the quaver offbeats.
2. Celeste and bells add further movement to this line with somewhat of a counter melody, either derived from the A half-diminished
7th chord, or borrowing from the notes of the melody. As with the above, this line doesn't repeat itself exactly, which adds more
excitement.
3. The violins, violas and other horns add harmonic foundation by playing tremolos on the A half-diminished 7th. The trumpets also
play notes from the A-half-diminished 7th chord, giving emphasis to the first beat of each bar.
4. The bass instruments add intensity with a descending bass line, in contrary motion with the ascending lines above, which outlines
the A half-diminished 7th chord on the offbeats.
5. Synth and Harps have runs based off of A half-diminished 7th arpeggios, which add colour, as do the triangle and suspended
cymbal rolls.
 These lines move around the chromatic scale, in contrary motion from the
third beat. The articulation reminds me of the chirpy piccolo lines before,
and might mimic Tink excitely saying 'Neverland!'. Notice that Williams
Williams releases some of the anticipation and excitement he was building in the previous 4 bars by moving the harmony ends on the B, so we get a nice transition into E major.
up a tone to the B dominant 7th. These three bars all move around this B7 chord, which prepares us very nicely for a


B mixolydian ♭6 (E major ♭3)
perfect cadence progression into E major on the next page. He begins with an overall descending contour, which makes


Harp I (D#, C#, B, E, F#, G, A))
the ascending passage in the following bars even more satisfying when Tink finally lifts Peter off the ground to fly to

(♭)  
       
Neverland.

      
  


               
Gliss. of notes of B9 chord

                    1 Picc.          
 
Harp II (D#, C#, B, E♭, F#, G♭, A)

    
+Picc.

  
-Picc.

       
56

      
+Cor Ang. (snd. 8va)


2 Flutes


2 Oboes
2 Clarinets brillante


Harp I (same scale, 1 Tpt. (muted)
 The horns here start on a C minor major 7th with a flat 5th.


gliss. ad lib., start 8vb) Chord build from
The first horn replays the B, while all the other lines move in

 
B7/D# seconds and tritones (or


parallel upwards, chromatically, finishing on the B7.


2 Horns the diminished scale).

   
C7/E♭

             
Piano

  
Notice that there are

            

Synth II +Cor Ang. B7/A lots of leading tones 

   
B7/A


into B7 in the chord.

  -Cor Ang.
    


4 Horns B pedal tone

 
4 Trombones -Tbns.

       
G#dim7/D


 Cm(maj7)♭5 C♯m7♭5 B7/D#

                  
B7/D♯

 
2 Flutes

      
+Harp II (non. arp.)

      
B Cm(maj7)♭5

           
1 Picc.

   
+Celli

      
Violins -Harp

 
2 Oboes (Strings pizz.)

 
Cor Ang. Violas (all arco)
2 Clarinets


Synth Celeste

 Celli (pizz.)  

Violins These glisses very much


Violas strings - esp. (no accents)

   
 seem to correlate with

  
Celli
Timp. B pedal tone Tink lifting Peter off the

  
ground.


Bass Cl.
Basses (pizz.) -Bass Cl.
This line is built from planing major 2 Bassoons "Neverland!"


Bass Cl. +Contrabsn.


3rds down the chromatic scale. Contrabsn.
(Basses arco)


2 Trombones


Tuba


Basses ()



Tink begins to lift Peter up from the floor

 
 Timpani

     

Sus. Cym.


 As we finally exit the house, and are on the way to Neverland, Williams returns to the 'chaotic material' we had at the beginning of this fast section. I believe Williams is trying to do two things here:
emulate Tink's excitement as she lifts Peter off the ground to Neverland, as well as that of Tootles who smiles watching them leave the house, and, more importantly, generate lots of energy and momentum
for the flight sequence we are about to see. Also, perhaps Williams is using the virtuosic woodwind lines to mimic the sound of fairy dust. The music bears a lot of similarity to the music first introduced at the
beginning of the presto section, particularly with the energetic, fast pizz. played by the violins and violas, especially in the first bar. But there is a change in the harmonic language, with the harmony being
built almost entirely off of major and augmented chords. Furthermore, the phrase in bar 60 is ascending, instead of the descending phrase we had before, which may imitate the 'liftoff'. It is worth further
discussing the use of augmented chords, as Williams uses them frequently in his fantasy score writing, The BFG in particular comes to mind. While maybe not incredibly applicable here, augmented chords
tend to add a feeling of 'surreality', 'dreaminess' and even 'weightlessness', so it makes sense that Williams would use them so much here. Williams also uses them in the Neverland Theme, so it could be a
consequence of that. In general here, the harmony seems to slowly prepare us for the Neverland Theme, as we have somewhat of a major tonality for the first time in the piece, that of E major. However,


Williams doesn't stick to the E major scale at all, deviating, in particular, to the E harmonic major scale with the use of the C♮ at times. The tonality won't become extremely clear until we begin to follow
Joyously
   
Tink and Peter to Neverland. The rhythms of this passage are extremely fast and consistent throughout, creating lots of energy and buildup towards the flight.



59

   
    
Tremolo around an E major

  
chord helps establish tonality.

        
 Harp arpeggiates labelled chords More augmented major 7th chords The harp presents a

      
Harp I

 

2 Clarinets as described in the bottom left. diminuition of the
idea in the celli and

 
bassoons below on the

 
third beat followed by

      Harp I
 Gliss. combining

  
 Caug E


an ascending E major

         
notes of chords

Synth Celeste           
              
arpeggio.

  
Ascending E major scale runs below.


See below 2 Flutes E

       
     
          
stave ** Piccolo Harp II (quasi solo)


2 Flutes

         
(D, C#, B♭, E, F#, G#, A)




      1 Oboe    


2 Bassoons 
+Cor Ang.    
  
2 Oboes
Cor Ang.
 


  
  B♭aug/G# Faug/D
Violins (pizz.) Caug Faug B♭aug B♭aug

  
Violins (pizz.)

            
           
Violas (pizz.)

      
C#m7/D# Violas (pizz.)

         
   
E Caug E Caug E

            
E G♯m7/C♯ Caug/E E/G♯ Bells (snd. 8va)

    
E/C B

                         
   
Violins (arco)

         Outlining F diminished major


4 Horns Violas (pizz.)

  
Celli (pizz.) 7th chord, somewhat
 -1 Horn 3 Tpts. (st. mutes)

         
introducing the new tonality.

 
Williams has deviated entirely to augmented chords

      
Celli (pizz.)

 
+2 Bsns.

  
Descending chromatic scale which creates some in the harmony here. As usual, Williams likes to insert Celli (pizz.)

   
         
dissonance with the chords above. notes that don't fit in the chords as the bass note. Here
he is 'inserting' notes from the E major scale as the

  
bass notes under the augmented chords and the


bassoon/celli line.
Bass Cl.


(Basses to pizz.) Contrabsn.

   
+Bass Clarinet

 
Basses (pizz.)
-Contrabsn.

   
** The bassoon line here is another example of Williams using short,
beat-long semiquaver passages, which help create an excited character.

    
 Notice that Williams likes to include these little 'cells' on the offbeats,


which aids in this. The passage outlines a C augmented major 7th chord,
but I find it more likely that Williams is outlining an E major arpeggio,
and then adding in the C♮ from the C augmented chord below. The line
is repeated up the octave on beat 4 by the oboe and cor anglais.

Cut to house exterior - Tink and Peter fly out of the window
 These two bars create this really 'otherworldly' sound leading into the flight sequence, as if the orchestra is exploding
in colours as we are about to be transported from London to the colourful and fantastical Neverland. Williams also
generates the final momentum before the actual flight sequence. Williams mainly does all this by relying on more
augmented chords. The woodwind runs are mostly built from augmented chords, as I've labelled, using inversions to
preserve chromatic motion in the top line. On the third beat, the top line outlines a Caug7 chord, harmonised with
Williams slightly deviates from exact repetition tritone intervals. On the fourth beat, the top line moves up the whole tone scale, once again harmonised with tritones.
of bar 61 here (though it is very similar), by The pace of the runs and the trills at the end all make me think of the vibrance of Tink and Neverland. Underneath,
using the trumpets instead of the woodwind to the strings play rising augmented chords, ending on the B♭ augmented chord, which has lots of leading tones into the
F mixolydian ♭6 trill on the augmented chords, and
or a modification G major tonality on the next page. The bass moves in contrary motion to this line, Williams opening up the orchestral
overlaying the chromatic segment of Tink's


of F harmonic major range as the passage goes on to generate more excitement. The vibrance of the passage seems to also mirror Tootles'
with a ♭4 (E♭), which is Theme on the quaver offbeats on top, which obvious joy at seeing Peter fly off to Neverland.

     
found no where else in creates more energy.

  
Almost an exact repeat of bars

          
this bar.

 
59/60 with some changes to the 4 Horns This horn/bassoon line gives extra harmonic support to the labelled chords and emphasis on the beats.


      
Harp II (D♭, C#, B♭, E♭, F, G, A)

    
2 Bassoons

  
woodwind parts and bass line,

 
and now up a semitone to F
major. The constant upward key
Harp I

 
changes (there are more coming)

   
add lots of energy and excitement to Ascending


(Picc. snd. 8va)

              
the music. F harmonic major Faug A♭aug +Cor Ang. B♭aug

         
E♭aug Gaug G♭aug Faug

                        
G♭aug Caug

         
  
scale fragment

     
+2 Cls.

                  
1 Flute -Cor Ang.

 1 Oboe           


               
Cor Ang. +Picc.

                                     
2 Flutes

         
 +2 Obs.

        
               
         
1 Flute +Cor Ang.

 
63


     
  Gaug  
3

B♭aug
2 Cls. 3 Tpts. (st. mutes)  2 Clarinets

B♭aug  B♭aug  

 
 Harp I

   
Faug arpeggio

Violas (pizz.)  D♭aug F

     D♭aug   Dm7/E F/D♭C D♭aug/F  F/A
       


           
B♭aug/A♭maj Gaug

 F Am7/D   Violins (arco)         

Faug A

  
                    
Violins (pizz.) F Gaug arpeggio

        
F

                 cresc.    
Violas (pizz.) 
 
  chromatically.   
Descending major 3rds

          Celli (trem.)   cresc.  

Celli (pizz.)


Celli (pizz.)


Violas (arco)

                   
             
     
1 Trombone

 
Tuba

Basses (pizz.) 
Bass Cl.
Contrabsn.

 
Contrabsn.



 2 Trombones      
Basses (pizz.)

          
  
The bass line here moves chromatically in what might be
an augmented inversion of the chromatic passage in
Tink's Theme. I've labelled the chords above seperate




      
to these bass notes, which are seperated from the
viola (and trombone) by a tritone, and could Triangle
thus form a diminished 7th chord with them with the
mediant removed. Notice that the line ends on a C♮,
which leads easily into the mediant of G major.
 Tootles smiles as he watches Tink and Peter fly away
 And we're off! Williams now presents us with flying music for the trip to Neverland, which is based around the Neverland Theme, played here in G Major/lydian. Once again, the transition into another new key adds lots of energy
to the music. In Williams' typical flying music (think E.T. or Buckbeak's Flight from Harry Potter), we often have primarily the strings and horns presenting the main thematic material, with the winds embellishing the line
with crazy runs. Notice that Williams flips this structure on its head, having primarily the winds presenting the Neverland Theme (at first, he'll go back to his regular tendencies in a moment). This could be as a result of the
dominance of the winds in Tink's 'chaotic material' earlier, or maybe, since this is a longer sequence, Williams saves the broader sound of the strings for the climax. The bassoons, synth and celli play somewhat of a countermelody
to the theme, often taking precedence during the gaps in the melody. The use of staccato/pizz. in these countermelodies adds lots of energy. The trombones provide harmonic foundation to the theme, which is often syncopated, to
add rhythmic drive. Notice that the harmonic foundation is not very expansive. It is only when we get closer to Neverland that Williams introduces more expansive harmony. Low winds and basses provide additional movement to this
foundation, often on the offbeats. The violins and synth add colour and energy with a fast, continuous semiquaver passage, moving around the G lydian scale. The line frequently uses the notes of the G pentatonic scale, is filled
with quasi-trills, and is generally ascending in nature, just like Tink and Peter. Pitched percussion, harp, and triangle add 'extra sparkle' on the last two bars of each phrase, sounding a little like fairy dust, by moving around the
G major scale with a particular emphasis on seconds and fourths. The frequent movement in seconds, fourths and the pentatonic scale helps make the accompaniment sound very pleasant over the melody and harmony.

 I   let ring!
D G
 
Em7(sus) Bm7
G
                 
Bells Em7(sus)


7

 
iii7

 
Piano (RH, ped.) vi

                    
    
V

     

G lydian scale. These glisses add lots of colour to the texture.
I vi7

   
Harp I


68 Harp II (D, C#, B, E, F#, G♭, A)

                           
Xylo

                 
 gliss. ad lib.

     
Piano (LH, ped.)
brillante

                     
          
Harp II


Violins

        
   
       
  
    
Synth ("In Echo")

 

      ♯4   


          
2 Flutes

      
Picc. (snd. 8va)

   
2 Oboes
Cor Ang.

  
2 Clarinets

   
6 Horns

 
      
Violas (trem., )

 
 bring out

  
(Celli to pizz.)

        
         
2 Bassoons

       
Synth II

     
(Celli to arco)

  
Celli (pizz.)

 
 
 Bass Cl.


-Basses

   
+Basses (pizz.)

           
Contrabsn.


+1 Tbn. -Contrabsn.

 
Basses (pizz.)

 
(Basses to arco)

    
+1 Tbn.

  
 2 Trombones Despite the slight deviance from the tonic Triangle

Cut to Tink and Peter flying across the London skyline here, notice that the B and the D from the
G major chord still feature.


As we watch Tink and Peter fly off to Neverland, Williams gets an opportunity to score a scene with little to no sound effects, and decides to
fully present one of the film's main themes in very grandiose proportions, in what is some of his best flying music, in my opinion, even if there
is some great competition. I call this theme the Neverland Theme, however, the liner notes for the La La Land release of the score label it as
the Childhood Theme. I'll discuss the merit to both of these interpretations on the next page. (One thing I dislike about Hook is how many
themes there are, it gets really confusing at times!) For now, let's discuss the melodic qualities of the first part of the theme that is presented
here in G Major. This theme is all about portraying the warm, vibrant, enveloping and inviting atmosphere that is Neverland. Thus, it is
only fitting that Williams uses as derivation a combination of the major scale and the lydian scale, with the ♯4 being used sparingly to brighten
up the phrase. The theme begins with a repeated descending third, which returns throughout the theme, giving the theme a more reassuring
quality, as does the fact that almost all of the musical phrases move around and finish on the mediant of the major key. As the theme progresses,
this interval is increased to a fourth (b. 73), before the melody reaches up a fifth (b. 74), which gives the theme a sense of elevation, particularly
meaningful in this flying sequence. The harmony during this first part of the theme is very static, in that it stays around the tonic, which adds
warmth to the phrase. The theme is usually presented in fragments, but just like with the introduction of Tink, Williams gives us a full
statement of the theme here as we are introduced to Neverland.
The accompaniment here is essentially a repetition of the previous 4 bars. The harmony is slightly expanded with the QC G/D
I
 
addition of the third voice, which helps build towards the next section, and the violin line is altered, with a similar D Harp II (G major)


derivation, leaning more into the F♯.
V

   
Em7(sus)

          
Bells


D Gsus2

Piano (RH, ped.)
vi7

             
Harp I

   
V I


let


72 let ring!


Harp II (D, C, B, E, F#, G, A) ring!

                           
Xylo

   
                        
Piano (LH, ped.)

                 
G major

         
Harp I

                    


    
 
    
     
          
      
    
 
Countermelody outlines the harmony

         
below in these 2 bars

      
(Celli to arco)

          
            
-Tbn.
  
 
-Basses Basses (arco)

  
+Contrabsn.

          
Synth II

       
(Basses to pizz.) Basses (pizz.)

      
Bass Clarinet

    
Quartal chord

 3

      
Triangle

 The camera and the couple rise upwards

So why interpret it as a Neverland Theme and not a Childhood Theme? From what I understand, one of the songs that Williams originally wrote for Hook
was entitled 'Childhood', and was meant to be sung by Granny Wendy early in the film. So far in the film, this theme has been used in a very intimate way when
we first see Granny Wendy, and when she is reading Maggie the stories in the nursery and telling her about Neverland. If Wendy were to sing this theme, it would
explain why it is used in that way (but I have no idea whether this is actually the case). Other scenes that lend credence to this labelling are the 'Remembering
Childhood' sequence, which is largely based on this theme, and also the final scene, in which Peter kisses Moira, where Williams uses the theme as an
apparent call back to when Pan kisses her in the same 'Remembering Childhood' sequence. Yet I feel like this doesn't fully encapsulate the theme's use.
This theme is definitely the most commonly used in the film, and I feel that calling it the Childhood theme is far too restrictive. I like to interpret the
theme as a theme for Neverland because of a multitude of moments, but this flight sequence is the best one. This melody has not appeared for the rest of the
cue, but only when we are suddenly flying with Tink to Neverland do we hear it, and as we get closer to Neverland, it gets stronger in character. The theme
conveys a certain warmth and reassuring atmosphere that I tend to associate with Neverland. Granny Wendy is our connection to Neverland at the beginning
of the story, so it makes sense that the Neverland theme begins to develop itself from her. Furthermore, in the 'Remembering Childhood' sequence, the
Neverland theme only enters once Peter describes Tink taking him to Neverland for the first time. There is another theme in that sequence that I would
personally call the Childhood Theme (listen at 3:00.) Fragments of the Neverland theme bear melodic similarities to many of the other themes, it is like a
foundation for all of the other thematic material, in a similar way that Neverland itself is at the centre of the film. I may explore that in more detail in future.
Overall though, Peter's childhood and Neverland are so connected that you could probably interpret it either way.
 B major scale, doubling the mediant Bmaj7 B6
I 
C B Harp II (D#, C#, B, E♭, F#, G#, A#)
I7 Badd9

I
 
 let ring! 
gliss ad. lib.

      

 
I

                           
/B
       
IV
               
       
/C
   
/D /G
 
/A
   
76 Harp I (G major?)

 gliss ad lib. +2 Flutes 

+Picc. (snd. 8va) Synth II ("Bright and Ringing") These woodwind runs are initially entire built from the B major pentatonic scale, descending and ascending. Notice
that Williams changes the starting note of each bar to match the melody, so the woodwind runs also add to the sense

  
+2 Oboes 2 Flutes

        
+Cor Ang. 2 Oboes of 'elevation' I mentioned earlier, and don't cause unwanted dissonance. If you'd like to hear these woodwind runs in

       
                                            
+2 Clarinets 2 Clarinets

   
more detail, I suggest listening to the arrangement of this piece in Louise Di Tullio's album The Hollywood Flute.

      

             


    

         

Bells (snd. 8va)

   
Synth II (RH)

         
   
3 Trumpets ()

   
Cor Ang.

                

 
-WW

   
Bells
+Celli (sonore)

Chimes 
Synth Celeste


+2 Bassoons


Piano


+Synth II (LH)


Violins 6 Horns ♯4

 
Violas

+1 Tbn.  
marc.

       

Celli

    


     
 4 Tbns. 
    
 
Bass Cl.
Contrabsn. -Contra.
+Contra. Tuba
1 Trombone 2 Bsns.  
Tuba 

      
Bass Cl.

    
Basses (arco) This descending bass line around a diatonic Contrabsn.

  
chord is a common transposing tool that

          
  
Williams uses. Williams also keeps the E in Timp.

Basses      
the melody and the timp. roll, in order to

(pizz.)   
suggest a IV-I into B major.

 



             
Triangle Piatti  (Triangle)

Fade   The two stars appear

Williams mirrors the ascending

As we fade away from London towards the stars that will guide us into Neverland, Williams gives a rendition of the Neverland Theme in
camera movement and the couple
it's full glory, in B major. Now, we have a more typical flight music orchestration, with the strings carrying the soaring melody, supported
with the contour of the music. The
by percussion, trumpets and cor anglais. Yet, I'd like to note that usually in his flight music Williams loves to climax with character
violins play an ascending sequence
moments. Instead, since we don't have a moment like that in Hook, Williams climaxes as we get closer to Neverland, and climaxes with
based on quasi-trills and the
the visuals, with clear thematic implications for the Neverland theme. Williams does this, firstly, by adding in much more harmonic foundation
woodwinds invert the descending
in the low brass and woodwinds than we had previously. Moreover, there is much more harmonic development using added note harmonies this
third of the Neverland Theme to
time around. The melody becomes incredibly warm and inviting thanks to the continuous emphasis on the tonic in the timpani and basses,
outline a C major arpeggio, before
which provide movement to the harmonic foundation. Williams uses the harp and woodwinds to add colour and flourishes to the melody, while
joining the violins for an ascending
the horns and chimes add extra interest with a countermelody which follows the harmonic foundation.
G major scale. The harmony
prepares us for the key change
with the C major chord, as we can
move easily down a half step to
B major (deviating from the lydian
scale).
 Ascending B major arpeggio
B B

B6 Bmaj7 Bmaj7
 
followed by B pentatonic

I
B6 B6
         
derived passage

  
I

I
 
    
7
I7

I
     
Harp I (D#, C#, B, E♭, F#, G#, A#) Harp II (same scale)
I I

     
81  gliss. ad lib.


Harp I (same scale, gliss. ad lib.)

Piano (pedal)
   This seems to me like a keyboard replacement for 

the trills in the woodwinds, alternating between

       
inversions of Badd9. Note that Williams loves to


fill the gaps in the melody with lots of movement

           
Synth II to maintain the energy. In this second part of the melody, Williams adds in a strong countermelody, which is essentially in canon with the theme during

   
("Bright and Ringing")


-Cor Ang. the gaps in the melody. This gives the melody extra strength and reassurance, and helps maintain momentum. To a similar end,
-Bass Cl. note here how the harmony moves up the B major scale with the melody, just like the woodwinds did previously.

 Badd9  

   
+Piano


        
     
 
Ascending arpeggios, Bmaj7 on the first and last

    
+Synth ("Bright and Ringing")

       

Chimes

  
Badd9

 
beat, and B6 (G♯m7) on the second and third.

                     

      
 

+1 Fl.

     
+Cor Ang.


+Bass Cl.


+Bells (no tr.)

-2 Tpts.
-Synth -Bells




         
-1 Tpt. Pentatonic scale

           
-Bells clusters, omitting the

         
-Piano

  
third.

            
-Cor Ang.

          

 
  
+1 Tpt.

 
6 Horns

         


  
-Chimes

   
bring out! 3 Tpts.

       
Cor Ang.

   
Bells (snd. 8va)


-Bass Cl.           

       
+Bass Cl.

                   


       
 

              
Triangle
(Triangle) Sus. Cym.

Triangle
Sus. Cym.  Tink and Peter enter the frame The "second star to the right" begins to glow 
 Williams continues to the second part of the theme here, finally deviating from the B major tonic harmony, however the
E harmony is still major-based, for now. Since we were denied this second part on the previous iteration, the harmonic change

 F♯7/E
is incredibly satisfying. All of the melodic material of the second part is derived from the first part of the melody. The music
IV

       

somewhat 'basks' in the glory of the melody by stopping the movement in the timpani and basses, until bar 89.

 
V7

  
  
Synth II

  
86 Harp I (same scale)

  
            
Chimes

   


            
Piano continues the pentatonic scale runs from the previous pages in E pentatonic.


F#add9 arpeggio

          F# major arpeggios, following the

 
  
Piano (pedal)

 
 trumpet line.


Harp I (same scale)

     
           
The woodwinds change pattern here. The top line moves via E pentatonic while the lines below move to create 

                 
   
-Bass Cl.


major/minor triads. Williams avoids the F♯ minor triad, opting instead for a C♯m7 missing the third. +Harp II

                  

F♯sus2

                   
Eadd9

           
   
               
     
   
   
3 Flutes
2 Clarinets

  
Bass Cl.

            
               
  
Bells (snd. 8va)


 
  
3 Tpts.

       
The trumpets add additional harmonic foundation, sticking out of the texture to add a 'triumphant' feel to the end of the cue. +Synth II
(ten.)

 -Harp II
        
2 Oboes

                
Cor Ang.

    
3 Horns

      
-3 Horns
Harp II

    
S. Celeste
Violins

-Bsns.
Violas




 
Celli


3 Horns

  
-1 Tbn.


+3 Horns

    
             
3 Trombones

           
2 Bassoons


       
   

+Bass Cl.


+1 Tbn.

       
1 Trombone

   
+2 Bsns.

  
Trombones and bassoons present a countermelody which is an augmentation of the countermelody
Tuba 

 
presented in the G major section at bar 68 with a dotted rhythm added in, moving around the

        
(Timp.)
E major scale.

         
   
  
Contrabsn.

         
Basses (pizz., in crotchets)

 
Triangle
Sus. Cym.

   

Light beams from the star


Flying Extension (rev. ending)
Comp.: J. Williams, Orch.: J. Neufeld
E C♯m7♭5

 
IV
This part of the cue is a revised ending, after I assume the flying sequence was extended in some way. Williams wrote the music for Hook as the
editing was being done, so it is unsurprising that the score is full of inserts like this. This one is welcome though, as it allows Williams to finish
off the statement of the Neverland Theme, which he did not in the original. As we get our first view of Neverland and we know we've reached
our destination, Williams pulls back slightly in the orchestration, and treats these last few pages as a bit of 'dénouement', though that may also
have to do with the change in orchestrator. The harmony is quite interesting here, as Williams uses a half-diminished 7th chord, hinting at a
brief deviation to B harmonic major. The harmonisation of that part of the theme often uses an E minor as a borrowed chord elsewhere in the score
instead, inserting the tiniest bit of melancholy or maybe even nostalgia into the theme. It is almost like Neverland is expressing a sadness that
Peter will have to leave again.
C♯m/E E

ii7
  
B

B harmonic major

           
ii
     
B major

   
IV
      
              
Harp I (D#, C#, B, E, F#, G, A#)

  
Harp II (D#, C#, B, E, F#, G#, A#)


I

90

 
        


  
2 Tpts.


3 Tpts.


-1 Tpt.

   
                
4 Horns -Horns

   
                         
                  
C#m7♭5 arpeggios B pentatonic scale runs

      
2 Flutes

           


2 Clarinets

       
(staggered)

 
     


     
   
+1 Tpt.

             
       
-Tpts.

          
2 Oboes

           
  
Cor Ang.

    4 Horns    
2 Horns

1 Tpt.   
1 Tpt.


Violins

       
Violas




   
Celli

       
+Bells (snd. 8va)

   
 More canon

     

4 Tbns. countermelody
Tuba

           
 


        
  This part of the theme takes fragments from the
    


 
Basses (pizz.)

 little 'melancholy' bit I mentioned above, the melody

Sus. Cym.
main melody and puts them in sequence. In the

descends, before ascending back to a triumphant

 resolution. 
Fade to Neverland morning
 E/B E C♯m7 B mixolydian ♭6

C♯m7♭5
  
B major

 
IV
   
IV E major scale/B mixolydian
/D♯ ii7 ii7
   
(E melodic minor)

  
Harp II (D#, C#, B, E, F#, G#, A#)
95 Harp I (D#, C#, B, E, F#, G#, A)


 
Harp I (D#, C#, B, E, F#, G, A)



          
      
+2 Tpts. E/G♯

    
B

   
1 Tpt.

 
 
        
4 Horns

          
1 Tpt.

                  
      
Outlining C♯dim(add9)

 
Bells (snd. 8va)

  
+Picc. (snd. 8va)

      
      


      
 
    
   
(no stagger)

     
B pentatonic scale run

   
        

    
       
+1 Tbn.


cresc.

     
  
      
   
-1 Tbn.

   
-Tuba

  
+Tuba

 
         
Sus. Cym.

 
I love this cadence here. Williams once again uses the half-diminished
seventh, but let's look particularly at the E minor foundation for this
chord (Williams clearly wants to emphasise it in the trumpet chord).
Williams modifies the plagal cadence by using this minor chord,
making it much more unique and satisfying by including the
G♮ which moves by semitone to the F♯ of B major. From a thematic
standpoint, we must remember that Neverland is a fantastical place,
so it seems only right that the end of its theme is given a strange,
magical cadence. In a similar vein, the melody ends with a repeated
minor 7th interval, which is not incredibly common, and would probably
be frowned upon in my music theory exam.
 
G major B♭ mixolydian ♭6

  
B mixolydian ♭6 (E♭ melodic minor)

 
Harp I (D, C, B, E, F#, G, A)


Gliss. combining notes of F# major (F#, A#, C#) with C major (B♯, E, G) and a D♯


 
(E melodic minor)


(D, C, B♭, E♭, F, G♭, A♭)

  
Harp II (D#, C#, B#, E, F#, G, A#)


    
98


   

     The harmony mostly moves around this B pedal tone.
      
Harp II (B major gliss.)

     
Synth Celeste

 
(D#, C#, B, E, F#, G, A)

  


(Tpts.)


  


    
(Horns/Tpt.)

        

     
              +1 Fl.     C  
B/D♯

-Picc.      
G/B B♭aug


                          
B

   
Em


D/F♯ Arpeggiating labelled chords

                 

E♭aug B♭aug/D

       
C#m

  
A

                  

C#m

 Unlike in the original ending, the

F♯m

       
Em -Synth

     
2 Flutes

 
A C

           
  
Picc. -Cls.
3 Clarinets
S. Celeste
(ringing, no tr, orchestra accents this last chord

 
 The woodwinds tend to trill to a chord a tone above.

 3
arpeggiated) to match with the sound effect of

             
       
Bells 3 3 Peter hitting the ground.

       
Piano

       
3


Synth Celeste/Bells

     
B 
Bells (snd. 8va)

 
2 Horns

 
(Piano/Synth)
C♯m7♭5

  
       
B♭aug/C B
     
C


F#

   
+3 Clarinets

   
Violins
Violas
F

  
I

              
        
N
 
   
+4 Horns
E
 +Celli -1 Tbn.  

+2 Bsns.

  
+Basses (arco) +Contrabsn.

  


  
B major arpeggio

 
 
Harp I

    
+Piatti

 Cut to Peter and his blanket falling towards the camera  


Peter hits the ground

What goes up must come down, and Williams spends the last few bars mimicking Peter's descent
to the ground with the contour of all the melodic lines. Though the music still celebrates the glory
of seeing Neverland for the first time, much of the harmony being based on major triads, from bar
99, the music reminds us that Neverland is foreign territory we are yet to explore. The music
briefly explores augmented harmony, the half-diminished 7th, and a chromatically descending line
played by piano and synth (reminiscent of the original ending for the cue), and uses trills in the
woodwinds, reminiscent of some of the pre-flight material. Before the final perfect cadence,
Williams uses a C major chord, which is seperated from the F♯ major chord by a tritone. All of this
leads Neverland to feel slightly more alien. You could also say that the strange harmony could mimic
the fact that Peter's descent isn't extremely graceful. The original ending to the cue was defined by
chromatic lines slowly descending, creating a 'dream-like' end.