ancient little bird in a spaceship limping across universe to raze a mile-high mountain with its diamond-hard beak
Пока все увлечённо занимаются Хеллоуином, я всё о своём.
Читаю и перечитываю этот анализ (очень люблю такие вещи по интересным мне темам от людей, явно прекрасно разбирающихся и энтузиастов), решила сюда его притащить.
я всё фигею и фигею от того, с какой тщательностью люди подходят ко всему, имеющему отношение - ведь это всего лишь обложка саундтрека, но детали!…
Речь о саундтреке к HTTYD2.
Там реально много, поэтому под катом. Мне только жаль, что человек не развернулся позже, чтобы, уже не боясь спойлеров, сказать всё, что хотелось. В заголовок я вынесла своё собственное мнение (разумеется, это мнение автора анализа, но полностью совпадает с моим, хотя я настолько профан в музыке, насколько это вообще возможно 
).
I’m going to admit when I first heard the HTTYD 2 score, I didn’t feel that impressed because the music seemed much more generic and less melodically memorable. However, having now listened to the CD over nine times in the course of twenty-four hours, I can say that it has grown on me
I actually hate most music scores. I have on several occasions insulted the movie composer at the end of a film in the theatre, only to find a big name like Hans Zimmer appear on the screen (um, whoops?). But John Powell’s How to Train Your Dragon score captivated me when I first sat in the theatres, and as I bought the CD and listened to it dozens and dozens and times, my love for it has only grown. Powell integrates the orchestra’s power with folk instruments and melodies, memorable tunes, creative motivic variations, and the intelligent use of the leitmotif.
The leitmotif, for those who are unfamiliar with the term, was first widely used by Richard Wagner. It is a melody that is used within theatre (and now film) to signify a single specific person, concept, or idea within the story. The music represents an ideological theme from the story, in essence. And while I could talk extraordinarily about many other aspects of the HTTYD 2 score (such as its incredible use of complex midground, the energetic bass parts, and the great tambre combinations used), I want to focus especially on Powell’s use of the leitmotif – the different themes in the HTTYD 2 soundtrack – and why they make this score just as musically strong as the first.
I didn’t know what Powell was going to do for the score of the sequel, but what I wanted was that he not just rehash the same music or cut and paste the first movie music into the second. I wanted something new and fresh, and we got that. I’m going to admit when I first heard the HTTYD 2 score, I didn’t feel that impressed because the music seemed much more generic and less melodically memorable. However, having now listened to the CD over nine times in the course of twenty-four hours, I can say that it has grown on me and I absolutely am amazed with what Powell has given us.
The music fits with the mood perfectly, and the different themes are all brought up at the perfect points. He uses the different new melodies written for HTTYD 2 very well. I’ll just briefly talk about each and what each melody (I feel) represents.
And for those who haven’t yet seen the movie, I’m going to try to euphemize my way around major spoilers. But I am going to be talking about the plot of the movie and how the music relates to it, so read with your own discretion, I suppose. You could probably extrapolate some things I am talking around if you think about it.
New World Theme (Hiccup as a Boy)
This theme we first hear in track 2, “Together We Map the World,” appears often when Hiccup and Toothless are adventuring – and consequently, when the two of them are avoiding responsibility. We hear it again, interestingly, many times when Hiccup is with his mother, such as 0:46 of track 10 “Flying With Mother.” I think that represents the fact that Valka is telling Hiccup the things he wants to hear – that he is destined to be a dragon savior like her, to go around the world traveling and seeing the dragons – as versus taking on the responsibility his dad is trying to force upon him. And the last time we ever hear that theme is when Hiccup can no longer avoid responsibility, demonstrating his coming of age, in track 14 at 0:50 (no song title given because it’s “The Scene”). The fact the theme dies after that truly represents to me the idea there is no turning back and living the life of a boy.
Dragon Vigilante Theme
The dragon vigilante theme is very closely associated with Valka and is first heard at 1:04 in track 4 “Toothless Lost” when Hiccup encounters her flying Cloudjumper. We hear this song a lot and could arguably be the main theme of the entire movie, but I notice that it’s especially used when Valka is protecting dragons and living her role as the dragon vigilante. This theme obviously takes the forefront in “Flying With Mother” in a creative combination of choir, percussion, and bass guitar, but you hear it more subtly in other places such as in track 12 when she enters the battle. You also hear it at the start of track 14, which make sense, since while the story is obviously focused on Hiccup’s reaction, the scene has much to do with Valka and what it means to save dragons, as well.
Hiccup only has the theme directly associated with him at the very end of the story when, during the climax, he is coaxing Toothless (track 16 “Toothless Found”). And I see that as him embodying the role of a dragon vigilante, as he is indeed saving a dragon (really, many dragons) right now with his actions. This again shows a bit of coming of age, though I would love to discuss with people more about the future of his life in this sort of role.
For the Dancing and the Dreaming
The first time this theme is heard is the instrumental introduction before our characters begin singing on track 11. This song represents the relationship between Stoick and Valka. You hear it multiple times, such as during the fighting scenes and, appropriately and beautifully, as the main melody of track 15 (not giving title). The choice to reprise that melody at this point in the movie is an incredibly powerful move, and makes me wish other composers could be so intentional about what music they use in scenes like this.
Alpha Dragon Theme
The alpha dragon theme is of course heard when we meet the Bewilderbeast in Valka’s sanctuary. It’s also prominently used during the dragonfight in track 12 “Battle of the Bewilderbeast.” But it also appears – incredibly significantly – in track 18 at 2:56 “Two New Alphas,” rather appropriately applied to the alpha dragon as he stands at the end of the film. For those of you who have seen the film, you should appreciate the use of this theme at the end hugely.
Drago and his Dragon’s Theme
Pretty straightforwardly used, I think. Drago comes in, that music is used, such as, for instance, at 4:23 of track 12 “Battle of the Bewilderbeast.”
Toothless in Trouble Theme
I actually wanted to talk about this just in the old movie before I got to watch HTTYD 2, and then I realized to my pleasure that it was included once more in the new movie, and in just as appropriate of a place. This is probably the most incredible use of music I’ve seen in Powell’s HTTYD music. We hear this theme only very rarely, and always in moments when one of the main characters is “down,” usually Toothless. And here are the five times I have heard it significantly (note it’s hard to talk about instance #5 without hinting very heavily at spoilers):
1. Track 3 HTTYD score “The Downed Dragon” at 3:13. Toothless is down and his life is at the mercy of Hiccup. This is the scene where we are foreshadowed visually and through the music that Toothless and Hiccup will trade places as the “man down” by the end of the film.
2. Track 18 HTTYD score “The Kill Ring” at 3:59. This is when Toothless is captured by the Vikings and chained – again, the dragon is taken down tragically, and is at the mercy of his captors.
3. Track 20 HTTYD score “Battling the Green Death” at 3:57. Toothless falls underwater and is about to drown when Stoick saves him – he is at the mercy of Hiccup’s father, rather than Hiccup (as was with instance #1), and we again see a member of the Haddock family save the dragon.
4. Track 3 HTTYD 2 score “Drago’s Coming” at 2:06. This is when Stormfly gets caught in a trap and falls down toward Eret and his dragon hunters. Again, a dragon felled and at the mercy of Vikings.
5. Track 13 HTTYD 2 score “Hiccup Confronts Drago.” This is used in the final point of rising action before the unspeakable event occurs. This is an incredibly poignant place for the theme to be used as the final action culminates to Hiccup’s worst nightmare. I would like to talk about how this is so appropriate on so many ways, but you’ll have to extrapolate those ideas for yourself for now. I don’t want to get too spoilerific even if this very heavily implies events.
The Trumpet (Hiccup as a Man)
The solo trumpet is used to symbolize Hiccup’s coming of age and is heard significantly twice in the movie. The first time is in track 15 at 3:15 during an important quote I shall for now not mention, and the second in track 18 when Gothi marks Hiccup on the forehead.
The Bagpipes in HTTYD 2 Track 15
I cannot talk about the use of the instrument without giving spoilers. But if you are curious as to what I am thinking about and you’ve seen the movie, message me.
Use of Other Old Themes
The older themes do appear semi-frequently within the new movie score, though not as often as I would have expected. Personally, I think this was a wise choice on John Powell’s part. We hear enough of the themes to know it is a How to Train Your Dragon adventure, but since this is such a different chapter in Hiccup’s life and there are other important themes and ideas going about his life, it only makes sense that the music is going to reflect those different themes, too.
The most obvious reuse of the old themes is in a beautiful suite of all the main old themes in the first track. I found this a very refreshing revision of the music – it sounded very new, exciting, and energetic, while at the same time giving the listeners that sense of adventure and draconic drama that made them fall in love with the first film. It is incredibly similar to “This is Berk” and I encourage you to listen to them back-to-back. I appreciate so much that we have the same themes, but presented in a wholly new way, rather than cutting and pasting the exact same sounds from the first movie. I especially adore the Uilleann pipes in track 1 “Dragon Racing” at 1:42.
One of the most famous themes from the first score, “Astrid Goes for a Spin,” doesn’t occur quite as often as you might expect. But that music is used oftentimes as an exclamation to audiences, “Look! We’re flying dragons!” And we make that same exclamation at the start of the new movie in “Dragon Racing.” Buuuuut… we know that the Vikings of Berk are riding dragons now, and it doesn’t warrant the same sort of excitement because it’s an everyday event by now. However, that sense of adventure returns in other places, such as track 5 “Should I Know You?” when Valka is confronted suddenly with a son who * gasp * rides dragons, when they’re trying to ride baby dragons and that’s a novelty, or during the short adventure Hiccup and Astrid have when meeting Eret son of Eret in track 3 “Drago’s Coming” at 3:13. This is my absolute favorite instance of reusing the old music because it’s incredibly original (never heard the variation before in the first film) but still very recognizable and exciting. Lastly, during the final battles when there are epic dragon flying stunts, we rehear those themes from the first movie.
Similar events often warrant similar music. For instance, when the youths swoop in on their dragons for the boss battle at 1:13 of HTTYD track 20 “Battling the Green Death”, the same music is played as with them swooping in on their dragons for the big battle on track 12 “Battle of the Bewilderbeast” at 1:29. I could talk forever about the similarities between these two scores in the use of all the themes, such as the main danger-fight theme that follows, and how “Battle of the Bewilderbeast” flawlessly, effortlessly switches between new and old themes as the situation warrants and the action bounces back and forth between characters and many complex ideas.
Conclusively, while in the theatre I didn’t feel too impressed with Powell’s second score because the music didn’t stick out as much for a first impression, with several listens I have fallen completely in love with this score. I marginally love the first score better because it has that upbeat happy, dramatic adventure feel, but the HTTYD 2 score is enormously powerful, musically complex, and very intelligently composed. If you don’t have a copy of the soundtrack yet available to your ears, I recommend full-heartedly that you fix that. John Powell’s music is genius - not just for HTTYD 1 - but also HTTYD 2.
©
на тумблере
Есть ещё один замечательный анализ, относящийся к саундтреку к первой части, но, боюсь, сюда уже не влезет.
Читаю и перечитываю этот анализ (очень люблю такие вещи по интересным мне темам от людей, явно прекрасно разбирающихся и энтузиастов), решила сюда его притащить.я всё фигею и фигею от того, с какой тщательностью люди подходят ко всему, имеющему отношение - ведь это всего лишь обложка саундтрека, но детали!…
Речь о саундтреке к HTTYD2.
Там реально много, поэтому под катом. Мне только жаль, что человек не развернулся позже, чтобы, уже не боясь спойлеров, сказать всё, что хотелось. В заголовок я вынесла своё собственное мнение (разумеется, это мнение автора анализа, но полностью совпадает с моим, хотя я настолько профан в музыке, насколько это вообще возможно ).I’m going to admit when I first heard the HTTYD 2 score, I didn’t feel that impressed because the music seemed much more generic and less melodically memorable. However, having now listened to the CD over nine times in the course of twenty-four hours, I can say that it has grown on me
I actually hate most music scores. I have on several occasions insulted the movie composer at the end of a film in the theatre, only to find a big name like Hans Zimmer appear on the screen (um, whoops?). But John Powell’s How to Train Your Dragon score captivated me when I first sat in the theatres, and as I bought the CD and listened to it dozens and dozens and times, my love for it has only grown. Powell integrates the orchestra’s power with folk instruments and melodies, memorable tunes, creative motivic variations, and the intelligent use of the leitmotif.
The leitmotif, for those who are unfamiliar with the term, was first widely used by Richard Wagner. It is a melody that is used within theatre (and now film) to signify a single specific person, concept, or idea within the story. The music represents an ideological theme from the story, in essence. And while I could talk extraordinarily about many other aspects of the HTTYD 2 score (such as its incredible use of complex midground, the energetic bass parts, and the great tambre combinations used), I want to focus especially on Powell’s use of the leitmotif – the different themes in the HTTYD 2 soundtrack – and why they make this score just as musically strong as the first.
I didn’t know what Powell was going to do for the score of the sequel, but what I wanted was that he not just rehash the same music or cut and paste the first movie music into the second. I wanted something new and fresh, and we got that. I’m going to admit when I first heard the HTTYD 2 score, I didn’t feel that impressed because the music seemed much more generic and less melodically memorable. However, having now listened to the CD over nine times in the course of twenty-four hours, I can say that it has grown on me and I absolutely am amazed with what Powell has given us.
The music fits with the mood perfectly, and the different themes are all brought up at the perfect points. He uses the different new melodies written for HTTYD 2 very well. I’ll just briefly talk about each and what each melody (I feel) represents.
And for those who haven’t yet seen the movie, I’m going to try to euphemize my way around major spoilers. But I am going to be talking about the plot of the movie and how the music relates to it, so read with your own discretion, I suppose. You could probably extrapolate some things I am talking around if you think about it.
New World Theme (Hiccup as a Boy)
This theme we first hear in track 2, “Together We Map the World,” appears often when Hiccup and Toothless are adventuring – and consequently, when the two of them are avoiding responsibility. We hear it again, interestingly, many times when Hiccup is with his mother, such as 0:46 of track 10 “Flying With Mother.” I think that represents the fact that Valka is telling Hiccup the things he wants to hear – that he is destined to be a dragon savior like her, to go around the world traveling and seeing the dragons – as versus taking on the responsibility his dad is trying to force upon him. And the last time we ever hear that theme is when Hiccup can no longer avoid responsibility, demonstrating his coming of age, in track 14 at 0:50 (no song title given because it’s “The Scene”). The fact the theme dies after that truly represents to me the idea there is no turning back and living the life of a boy.
Dragon Vigilante Theme
The dragon vigilante theme is very closely associated with Valka and is first heard at 1:04 in track 4 “Toothless Lost” when Hiccup encounters her flying Cloudjumper. We hear this song a lot and could arguably be the main theme of the entire movie, but I notice that it’s especially used when Valka is protecting dragons and living her role as the dragon vigilante. This theme obviously takes the forefront in “Flying With Mother” in a creative combination of choir, percussion, and bass guitar, but you hear it more subtly in other places such as in track 12 when she enters the battle. You also hear it at the start of track 14, which make sense, since while the story is obviously focused on Hiccup’s reaction, the scene has much to do with Valka and what it means to save dragons, as well.
Hiccup only has the theme directly associated with him at the very end of the story when, during the climax, he is coaxing Toothless (track 16 “Toothless Found”). And I see that as him embodying the role of a dragon vigilante, as he is indeed saving a dragon (really, many dragons) right now with his actions. This again shows a bit of coming of age, though I would love to discuss with people more about the future of his life in this sort of role.
For the Dancing and the Dreaming
The first time this theme is heard is the instrumental introduction before our characters begin singing on track 11. This song represents the relationship between Stoick and Valka. You hear it multiple times, such as during the fighting scenes and, appropriately and beautifully, as the main melody of track 15 (not giving title). The choice to reprise that melody at this point in the movie is an incredibly powerful move, and makes me wish other composers could be so intentional about what music they use in scenes like this.
Alpha Dragon Theme
The alpha dragon theme is of course heard when we meet the Bewilderbeast in Valka’s sanctuary. It’s also prominently used during the dragonfight in track 12 “Battle of the Bewilderbeast.” But it also appears – incredibly significantly – in track 18 at 2:56 “Two New Alphas,” rather appropriately applied to the alpha dragon as he stands at the end of the film. For those of you who have seen the film, you should appreciate the use of this theme at the end hugely.
Drago and his Dragon’s Theme
Pretty straightforwardly used, I think. Drago comes in, that music is used, such as, for instance, at 4:23 of track 12 “Battle of the Bewilderbeast.”
Toothless in Trouble Theme
I actually wanted to talk about this just in the old movie before I got to watch HTTYD 2, and then I realized to my pleasure that it was included once more in the new movie, and in just as appropriate of a place. This is probably the most incredible use of music I’ve seen in Powell’s HTTYD music. We hear this theme only very rarely, and always in moments when one of the main characters is “down,” usually Toothless. And here are the five times I have heard it significantly (note it’s hard to talk about instance #5 without hinting very heavily at spoilers):
1. Track 3 HTTYD score “The Downed Dragon” at 3:13. Toothless is down and his life is at the mercy of Hiccup. This is the scene where we are foreshadowed visually and through the music that Toothless and Hiccup will trade places as the “man down” by the end of the film.
2. Track 18 HTTYD score “The Kill Ring” at 3:59. This is when Toothless is captured by the Vikings and chained – again, the dragon is taken down tragically, and is at the mercy of his captors.
3. Track 20 HTTYD score “Battling the Green Death” at 3:57. Toothless falls underwater and is about to drown when Stoick saves him – he is at the mercy of Hiccup’s father, rather than Hiccup (as was with instance #1), and we again see a member of the Haddock family save the dragon.
4. Track 3 HTTYD 2 score “Drago’s Coming” at 2:06. This is when Stormfly gets caught in a trap and falls down toward Eret and his dragon hunters. Again, a dragon felled and at the mercy of Vikings.
5. Track 13 HTTYD 2 score “Hiccup Confronts Drago.” This is used in the final point of rising action before the unspeakable event occurs. This is an incredibly poignant place for the theme to be used as the final action culminates to Hiccup’s worst nightmare. I would like to talk about how this is so appropriate on so many ways, but you’ll have to extrapolate those ideas for yourself for now. I don’t want to get too spoilerific even if this very heavily implies events.
The Trumpet (Hiccup as a Man)
The solo trumpet is used to symbolize Hiccup’s coming of age and is heard significantly twice in the movie. The first time is in track 15 at 3:15 during an important quote I shall for now not mention, and the second in track 18 when Gothi marks Hiccup on the forehead.
The Bagpipes in HTTYD 2 Track 15
I cannot talk about the use of the instrument without giving spoilers. But if you are curious as to what I am thinking about and you’ve seen the movie, message me.
Use of Other Old Themes
The older themes do appear semi-frequently within the new movie score, though not as often as I would have expected. Personally, I think this was a wise choice on John Powell’s part. We hear enough of the themes to know it is a How to Train Your Dragon adventure, but since this is such a different chapter in Hiccup’s life and there are other important themes and ideas going about his life, it only makes sense that the music is going to reflect those different themes, too.
The most obvious reuse of the old themes is in a beautiful suite of all the main old themes in the first track. I found this a very refreshing revision of the music – it sounded very new, exciting, and energetic, while at the same time giving the listeners that sense of adventure and draconic drama that made them fall in love with the first film. It is incredibly similar to “This is Berk” and I encourage you to listen to them back-to-back. I appreciate so much that we have the same themes, but presented in a wholly new way, rather than cutting and pasting the exact same sounds from the first movie. I especially adore the Uilleann pipes in track 1 “Dragon Racing” at 1:42.
One of the most famous themes from the first score, “Astrid Goes for a Spin,” doesn’t occur quite as often as you might expect. But that music is used oftentimes as an exclamation to audiences, “Look! We’re flying dragons!” And we make that same exclamation at the start of the new movie in “Dragon Racing.” Buuuuut… we know that the Vikings of Berk are riding dragons now, and it doesn’t warrant the same sort of excitement because it’s an everyday event by now. However, that sense of adventure returns in other places, such as track 5 “Should I Know You?” when Valka is confronted suddenly with a son who * gasp * rides dragons, when they’re trying to ride baby dragons and that’s a novelty, or during the short adventure Hiccup and Astrid have when meeting Eret son of Eret in track 3 “Drago’s Coming” at 3:13. This is my absolute favorite instance of reusing the old music because it’s incredibly original (never heard the variation before in the first film) but still very recognizable and exciting. Lastly, during the final battles when there are epic dragon flying stunts, we rehear those themes from the first movie.
Similar events often warrant similar music. For instance, when the youths swoop in on their dragons for the boss battle at 1:13 of HTTYD track 20 “Battling the Green Death”, the same music is played as with them swooping in on their dragons for the big battle on track 12 “Battle of the Bewilderbeast” at 1:29. I could talk forever about the similarities between these two scores in the use of all the themes, such as the main danger-fight theme that follows, and how “Battle of the Bewilderbeast” flawlessly, effortlessly switches between new and old themes as the situation warrants and the action bounces back and forth between characters and many complex ideas.
Conclusively, while in the theatre I didn’t feel too impressed with Powell’s second score because the music didn’t stick out as much for a first impression, with several listens I have fallen completely in love with this score. I marginally love the first score better because it has that upbeat happy, dramatic adventure feel, but the HTTYD 2 score is enormously powerful, musically complex, and very intelligently composed. If you don’t have a copy of the soundtrack yet available to your ears, I recommend full-heartedly that you fix that. John Powell’s music is genius - not just for HTTYD 1 - but also HTTYD 2.
©
на тумблере
Есть ещё один замечательный анализ, относящийся к саундтреку к первой части, но, боюсь, сюда уже не влезет.