‘Relieve Him of His Wand / Newt Releases the Thunderbird / Jacob’s Farewell’

An ominous, minor cello line opens this cue, with a female choir then entering with the top ostinato part of the ‘Grindelwald Theme Variation’. The main melodic line is heard then in the strings, wind, and brass, as the choir ostinato drops out. The melody rises before landing on an inverted dominant pedal, as Graves considers his next move.

Deciding to battle the Aurors, The strings and brass erupt out into a dramatic, conjunct melody, with a slightly more decorated version of it being doubled by the violins. Once again, Howard uses an inverted pedal in the strings to demonstrate the tension in the scene as Graves is captured by Newt. A pounding bass drum hit punctuates this pedal, followed by a brass flare and harp runs, with a low string tremolo. Enter, ‘Grindelwald Theme’. This idea is slipped in beautifully to this texture in the low brass, before repeating at the end of itself, at a higher register, moving from low brass to high brass, and then to strings, where the last note is held on, and this theme dies out.

A non-thematic, melancholy melody takes us out of Graves’ arrest as the main cast ponder the destruction around them. This melody diminuendos, and suddenly grows into the ‘Bowtruckle Theme’ as Newt talks to President Picquery.

As this melody ends, we hit a dominant chord, and what follows is a direct repeat of the opening of ‘Inside the Case’, with majestic, stated, opening chords which break out into a shortened version, only the first two bar, of the luscious ‘Thunderbird Theme’, as Frank emerges from the case.

Following this, a shortened version of ‘Newt’s Theme’ ensues, before a ritenuto at the end of it.

The ending of ‘Newt’s Theme’ leads straight into the ‘Majestic Chords’, a very beautiful and stately idea, characterised by its delicate wind and percussion line on the top, with its body in the strings for the first bar. This is quickly contrasted by the remaining two bars being for brass only, with a held string accompaniment, just providing harmonic foundation for the chords.

A wholesome sounding, diatonic melody emerges from this, as Frank simultaneously emerges from the subway, all in the buildup to the infamous rendition of the ‘Love Theme’, mirroring the Obliviation rainstorm. The orchestra pares down, with open fifths being used in the strings to sound like tuning up, as if preparing for something. The choir re-enters, with a gradually ascending melody. The strings and harp have crescendoing, fluid runs, as the brass has long sustained notes, all preparing a dominant chord, which feels like the audience has been waiting for for the entire film, and finally after being held for as long as possible, the tonic chord bursts out and resolves. Then taking two bars to gather itself, the beautiful ‘Love Theme’ then enters on piano and percussion, with a rippling arpeggioic accompaniment in the low strings. The upper string start to double the melody line, before taking it over for the repetition of these opening 4 bars, as the piano drops out.

Moving forward, the ‘Love Theme’ develops, with a minor section, and a slightly fuller orchestration, and the aforementioned arpeggioic accompaniment driving it forward. The 8 bar minor phrase then repeats, an octave higher in the strings, and at a louder dynamic. However the second 4 bars deviate, creating further tension and building up to a glorious return of the ‘Love Theme’, as we pan across the city, as it is being repaired. A beautiful harmonic shift, a James Newton Howard classic – a major chord two moving to a minor chord two, pivots into the coda of this theme, with a beautiful oscillation between the prevailing chords of the ‘Love Theme’ – C major and E minor – an unusual combination, as it has a very weak sense of tension, but works perfectly. This coda simply has a rising and falling idea based around these two chords that repeats ten times, decreasing in dynamics as it does. A horn melody is all that is left behind at the end of these repeats, which segues into quite a sad, emotional idea, as Newt again talks to Picquery, and Jacob is ordered to be Obliviated. A meandering clarinet line comes out of this, used to represent Queenie, as well as to segue us into the sadder consequent scene, where we say goodbye to Jacob. ‘Queenie and Jacob’s Theme’ emerges, a beautiful, melancholic line, with an unusual harmonic emphasis; a major chord IV in a minor key, in this instance, C major in G minor. It gives the theme a sense of duality, possibly hinting at the contrasting nature of Queenie and Jacob.

The theme develops, before repeating the opening 3 bars, then modulating and cadencing. A legato cello line transitions into a new idea. A gentle piano part comes in, with a static, 2 bar, chordal figure, with strings being added to the texture as it repeats. ‘Queenie’s Theme’ is added over the top of this in the clarinet, creating a very beautiful accompaniment to the touching moment where Jacob steps out into the rain.

The chords, combined with ‘Queenie’s Theme’ repeat several times before ending on the dominant and modulating into the relative major, G major, for the ‘Goodbye Theme’. Starting off exclusively in the strings, this gorgeous melody, with parallel major chords, underpins Queenie and Jacob’s kiss. Brass and harp enter as the theme develops, before eventually slowing down, with some harmonic shifts to signify the end of the theme, and ending on a final high D inverted pedal in the strings.

The very 20s inspired ‘Bouncy Theme’ is next heard, in a typical orchestration, with the piano playing the melody, almost as if improvised, drum kit on the backbeat and bass emphasising the harmonic bassline. Making use of the jazz idiom and vocabulary, this theme derives it’s character from its swung and upbeat nature, use of the minor third and melodic syncopation.

A gentle woodwind and string idea caps off this cue, as we see Jacob back at the canning factory. The bassline from the ‘Bouncy Theme’ returns after this, with a low woodwind melody included this time. Staccato strings then enter, and resolve into a long held major chord to end the cue, as Jacob receives his Occamy eggshells.

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