How to Train Your Dragon quickly became one of my favorite films and certainly one of my favorite soundtracks. I also managed to get several other members of my family into the film as well, lol. First, a few notes about the How to Train Your Dragon fandom:
Amongst the fandom, we agree that Astrid and Hiccup are relationship goals. We notice that Astrid will lean down and back to look Hiccup in the eye since he is used to looking down and avoiding people’s gaze.
We realize that Hiccup tends to bottle things up. He doesn’t like to be seen as weak; he tries to stay logical and mature. When it becomes too much, he either yaps, or shuts down, pushing himself harder.
Just think about when Hiccup was asleep after being injured in the first movie and Gobber built Hiccup a new tail for Toothless. Gobber had to go through and understand Hiccup’s drawings and recreate his work. What if Stoick joined him? How they would come to realize Hiccup’s genius. If he had been able to rework his earlier inventions. The fact that Hiccup didn’t hide his drawings because he knew no one would come looking; no one was interested in looking.
We also feel that Toothless is the single greatest character in all of film and television history. Any movie would be improved with the addition of Toothless. Including James Bond. He looks very dashing in a tux.
How likely do we think that at some point all of the Dragon Riders called Hiccup ‘Dad’ while they were at the Edge? And how much did they struggle not to do it when back on Berk?
Hiccup first imitates Stoick to undervalue himself, then imitates Stoick to think to highly of Hiccup. And finally he imitates Stoick when giving Toothless a curfew.
WWVD: What Would Viggo Do. More ruthless than WWJD. Sometimes, the Viggo method is valid. This would make Hiccup a formidable opponent to other villages and tribes they come across. And sometimes, the Viggo method is “Nope, no, definitely not.” For example, Viggo’s method would be helpful in a trade situation. Not so much if a group of assassins are caught trying to kill Hiccup. That would be murder. Though, Stoick’s method would also be murder.
It is pointed out that the How to Train Your Dragon franchise is not afraid to show its main characters, its heroes making mistakes. Being wrong.
Apparently sarcasm was first introduced to the English language by Vikings. We all know which Viking.
Hiccup is also the Steve Irwin of dragons. Cool, dangerous dragon? Let’s touch it!
This gem: Villagers ask why Hiccup is doing something monumentally stupid. “I was born with the heart of a dragon and the soul of an absolute dumbass.” [This is going in my room somewhere]
Compare Hiccup in the first film: cannot hold a shield, trips over his own two feet, the embarrassment of Berk. And in the third film: walks through fire looking like an avenging mythical dragon lord come down to earth to seek revenge on those that harmed his subjects.
Someone did want Hiccup to take off his leg when talking to Drago and the bigger man takes off his arm to show what dragons can do, and Hiccup throws his prosthetic foot at Drago comment “I’m not a little whiney baby about it.”
“Who needs a knight in shining armor riding a white stallion when I have this one-legged doofus with a dragon.” (Astrid, at some point)
I know there are thousands more fanfiction stories out there, but these are some of the ones that I have discovered and keep making my way back to:
Accidental Fiancé by harrypanther is a cute modern AU where Astrid is a soccer star and ends up accidentally engaged to Hiccup, with appearances by other characters throughout the whole series.
Sunflowerb has several How to Train Your Dragon stories, most notably Persephone which is a bit AU, but brilliantly written and a bit darker. The Late Egg is a nice one-shot, and there’s the duo of Cold North Wind and Warm Summer Breeze which feature Valka.
Dazed is a marvelous one-shot by Midnight Eternal that takes place directly after “Stryke Out” (S3, E8) and features Snotlout being decent to Hiccup.
For the Love of Thor is a collection of snippets by The Sad Privateer.
Eyeslikethecosmos has three stories, two of which feature Astrid and Hiccup and their relationship, and the third is Flightless Bird which starts the story of Valka (but is sadly incomplete)
There are some wonderful videos by Cinema Therapy about these movies and series; one is reacting to the first movie and covering the father/son relationship between Stoick and Hiccup, and the other is explaining how Astrid and Hiccup are couple goals. [He’s got a bunch of other great videos; I highly recommend checking them out]
Speaking of videos; there are people who are probably far more qualified to talk about the music to these films than me. But, I’ll take a stab at it. Though seriously, check out Sideways “Why How to Train Your Dragon Has the Best Opening Ever;” he makes some fantastic points and links to other material. Inside the Score also has a great video “Why is This Music so Memorable? How to Train Your Dragon,” and I agree with many of his points. I’ve watched a few of Charles Cornell’s videos and managed to save “How to Train Your Dragon is a MASTERCLASS in Theme Writing” three times. Matt Macleod also has a great short about Test Drive.
(All of this *points above* there is lots more out there that I probably will dive in to at some point, but I also highly encourage you go check it out for yourself. Join the fandom!)
Now, do I have qualifications to discuss the music of How to Train Your Dragon, beyond simply being a fan? Perhaps yes, perhaps no. Admittedly, I have been reading music since I was in kindergarten. I’ve learned to play the piano, the flute, and the viola (which has its own separate clef). I was in band, orchestra, and chorus in high school. I took part in choir every semester of college. I have a general interest in music; before I ever learned anything about music, I listened to it. I took dance lessons before I ever started reading sheet music. I am often bopping and bouncing in my seat as I listen to music, my hips minutely move as I sit. For about a minute freshman year, I considered minoring in music, then I realized that was completely outside the realm of crazy; I’d heard how much one needed to do to major in music and I was already busy with two majors and the honors’ program, so I wasn’t going to dig myself deeper. This does mean that I know just enough to be dangerous, but by no means am I an expert. I have not taken any musical theory classes; if I happen to know anything it’s from comments made by my directors, primarily Dr. Barr.
I may not identify all the different themes and a lot of this is based more on my experiences playing in ensembles. Again, not fully trained to do it, but these are my observations from lovingly listening to these soundtracks on repeat. If I’m stressed out or upset, How to Train Your Dragon and Lord of the Rings are the two sets of soundtracks that can always calm me down. How to Train Your Dragon is also an excellent soundtrack for driving. Enough movement to not lull one to sleep.
One phrase I throw around a lot in this write-up is “reveal chord” and I’m almost certain that is not a actual musical term, but what my brain has coined that sound when a big reveal happens on screen, when the music swells and opens up. Perhaps it is actually a key change, or a specific stacked chord, this is where the proof comes out that no, I don’t know all the proper terminology. But I certainly hope you enjoy it.
The first soundtrack opens with low brass and we get the first theme, or leitmotif [this I know is an actual musical term; again, just enough to be dangerous], then an oboe brings the next theme, little jaunty notes to brighten the piece. Strings play underneath and just the hint of a wordless choir. It’s light and peaceful as we get our first glimpse of a sleeping village. Then the pulse changes, percussion comes in, and a sharper rhythm takes over. At this point, I turn up the volume because I love the deep part that comes next. [I may be a soprano, but there is something about a deep male voice, particularly as a choir. Maybe I like this and Hobbit because you can actually hear the guys (sorry)]. There’s a definite downbeat now for each measure and the brass takes over the theme. Then lower brass comes in, against the up and down of the string instruments. More of our characters and the story is introduced. Deeper male voices, still without words, evoke the Viking villagers; we meet Stoick and know that he is in charge. Then back to the jaunty little tune and a flute takes a solo. Then there’s the sweeping, slow, legato theme that plays over the teens taking center stage (this will get reused for the romantic theme later, since Hiccup’s emphasis is Astrid at this point.) The score transitions as the scene settles.
Horns signal Stoick and the fight against the dragons. Percussion keeps the beat. There’s an anvil in the background, a nod to Hiccup and Gobber as blacksmiths. Parts are almost sweeping, but it’s certainly not a happy tune. Something serious is going on. When Gobber comes to the forefront, the tune again gets a little jauntier. The tone becomes a little happier when Hiccup runs through the village.
Strings hold a suspended note as a harp plucks out a melody before the oboe takes over while Hiccup searches for the downed Night Fury. Low brass and the male choir echo his thoughts about being a true Viking. Again, we have reed instruments that evoke something happy or curious. We know when Hiccup’s found the dragon by the change in tone. Strings again are suspended and percussion is low, but not steady. This all creates tension. What will happen? The strings have a reveal chord. Then there’s a staccato beat and Stoick’s theme takes over as Hiccup prepares to do what his father would do. But it’s soon drowned out by strings jumping between notes. They hesitate as Hiccup hesitates. Again, those strident notes [really hard to play against the performer next to you since they’re dissonant and don’t match] puts us on the edge of our seat as we wait for this tiny battle to play out. A violin mimics a bagpipe as Toothless stares down Hiccup. (As pointed out in one of the videos, this is an otherworldly creature now interacting with our hero.)
Viking choir introduces the arena that the teenagers will train in to kill dragons. It builds to another reveal chord. Low strings come in with a connected melody, a version of Hiccup’s as he looks around and starts thinking about what he will do. Faster, repeated notes build tension this time as everyone waits for the first dragon. Bagpipes signal the dragons and there’s a bit of chaos in the tune as there’s chaos on the screen with everyone running around. However, the instruments aren’t actually battling each other; they’re passing the tune around.
Wounded sounds a little spooky, possibly in a minor key. The themes we’ve just started hearing are slowed down a little; lots of held notes for suspense. The Dragon Book picks up where Wounded left off, a bit deeper choir signifying the Vikings as a whole. Percussion comes in to drive the tempo as Hiccup reads the book of dragons. Something that sounds akin to a hammer dulcimer plays the dragon’s theme. A solo violin comes in until the percussion finishes the piece with sort of a flash chord as the last say.
More chaos as Hiccup is back in the arena; the instruments almost competing against each other, interrupting. But the hero’s theme does come through clearly at a few points.
There’s a light percussion instrument, almost an Orff instrument [something like a xylophone or marimba; the family of percussive instruments that have removable bars that resonate when struck with a mallet. We had several of these in the rooms with children’s choir at my church. We were taught from an early age to respect musical instruments, but also to have fun] that echoes a bit that keeps a steady rhythm, almost like a heartbeat, as something strummed starts with a theme in Forbidden Friendship. Everything is light, gentle, echoing how Hiccup is trying to not scare Toothless in order to get close to him. The theme that develops slowly comes down the scale at points. Eventually a flute (which we kind of think of as Hiccup) takes over the melody. What emerges is the combination that becomes the two main characters’ friendship theme. Staccato notes are Hiccup’s footsteps, again, come in clearer as the piece goes on. The voice part holds notes, suspended, almost like someone holding their breath as we wait for how Toothless will respond to Hiccup. Overall, beautiful piece.
New Tail starts with almost double strings, which sounds vaguely Scandinavian (I think I saw something similar in Hobbit). Again the flute signifies Hiccup as he works on his plan for a new tail for Toothless. More suspended notes as Hiccup goes back to Toothless; there’s still hesitancy. Woodwinds do little frills over the strings. Harp and flute lead to the strings taking over a sharp rhythm. The Viking choir punctuates the beat. The woodwinds haven’t gone away; you can just pick them out over the low notes.
Strings and flutes almost sound Celtic as they bring in one of Hiccup’s themes. The flutes take over and we know Hiccup is up to something. The melody is bouncy and happy. Soon the brass and strings come in loud and proud with Hiccup’s theme. This is when Hiccup becomes a success in the training ring and the village begins to accept him. We get repeating phrases when Hiccup works on flying with Toothless. Then the phrases become jumpy when Hiccup is jumpy in the village.
Then we have the masterpiece that is Test Drive. Toothless’ and Hiccup’s themes twine together. The flute plays over runs by the strings and we feel the power of the two working together. The phrases soar. When the two are on the verge of failure, there’s not a lot of note movement in the orchestra, lots of held notes. The brass works to bring everyone back. They soar over the string runs as Hiccup finally gets rid of his cheat sheet.
We get two short pieces very similar to each other, descending notes leading into the dragon theme as Astrid tries to win training with the Berk theme. Then it repeats but now Astrid is taken on a wild ride and we can hear Toothless spinning and Hiccup’s response “thank you for nothing, you useless reptile.” When Astrid apologizes and Toothless decides to behave, he soars up into Romantic Flight. A beautiful piece featuring a solo violin with little grace notes to move between legato notes. The brass almost sounds muted. There are hesitant notes that move at the last moment, to help build the piece. The phrases are overarching, soaring. We hear those yarning notes, yearning moments, hallmarks of a great love theme.
There’s a change of tone in Dragon’s Den. The strings play short, repeated runs, and the key sounds minor. Something is happening, something unknown. The piece slowly builds until there’s a reveal chord as the teens discover the nest and the dragon queen. Little frills indicate the innocent dragon until deeper tones take over for the queen. It quiets down when the teens return to the cove. We get a reprise of the romance theme, since Astrid is sweet to Hiccup. Admittedly, she does hit him as well, but that’s Astrid.
Hiccup has to face a dragon in the ring the following morning, so there’s a reprise of the tune for entering the arena. Quiet, just a few instruments playing. The tone changes when Hiccup signals he’s ready. Then chaos when the Monstrous Nightmare is released and Stoick calls for the fight to be stopped. Instruments interrupt each other. There’s a moment of Toothless’ theme as he races to protect Hiccup, even a bit of their flying theme. A fanfare sounds when we think Hiccup and Toothless will be able to escape, but that dies down when other Vikings jump into the ring and try to “help.” Percussion rolls to signal a change; Toothless has been captured and now Stoick cannot look at his son. He’s no longer the pride of Berk; he’s more shameful than ever. The music declines in sadness.
Brass again signals the Vikings, very march-like, sharp and harsh as they prepare for war. Big strikes from the percussion. Bagpipes come back in as Toothless is lowered to a ship, and the Viking choir is back. The tune turns melancholic as the ships leave Hiccup behind, standing on a cliff. Everything quiet downs as Astrid talks to Hiccup, the occasional solo instrument playing over. It’s actually the same tune that was used when the dragon was led out; signifying Hiccup’s connection to dragons in general. But there’s a stirring in the strings at the end; action is ramping up. Hiccup has an idea and the Vikings have reached the nest. Once they land and dig in, their theme is back, but interspersed with the teens gathering and listening to Hiccup. Odd dissonant chords come in while the Vikings wait for their prey.
Strings repeating short phrases open Battling the Green Death, creating tension. This dragon is larger than any of these Vikings have seen and their plan is falling apart. Percussion and brass keep the beat. The notes swing back and forth a bit, sort of like a running step. Sweeping Viking choir as the Green Death rampages. Quiets down for a moment as Stoick and Gobber plan their last stand, then triumphant brass fanfare as the teens swoop in on dragons to help. Stoick can hear Hiccup issues order; there’s even a reprise of Stoick’s theme, except now it covers Hiccup as a leader. The rhythm becomes syncopated (when it’s not a straight, even tempo, when some notes are long and others are short. Often the short comes right before the long.) This adds intensity. This rhythm changes when Hiccup tries to rescue Toothless, their theme playing a little differently. Not quite as happy and bright; there’s the underlying battle sense. Strings keep the tempo going [I do not know why, but that part always has me envisioning someone skating backwards; we are going to blame watching Olympic figure skating for years].
Themes pass around as we see the teens try their best against the massive dragon, but then there’s the standoff music playing again as Toothless drowns. There’s more of a bass behind the double stringed instrument as Stoick and Toothless face off, but we’re soon back to the triumphant main theme as Toothless and Hiccup take to the air. A little quiet moment and Hiccup’s theme as Stoick tells his son he’s proud. But soon they’re in the air again, strings taking over as our heroes get into the action. There are two repeating brass phrases as Hiccup and Toothless rescue Astrid. Just, lots of triumphant hero themes interspersed!
When there are loud, low sounds, that’s the Green Death lumbering around. Moving notes, very fast, is the Night Fury speeding by as our heroic pair Counter Attack. The brass have a staccato note they repeat (which this is actually hard to keep tempo because your inclination is to speed up) as the pair climb into the clouds. This idea is repeated throughout the piece; instrument passing back and forth to keep movement going and the fact that there are two sides to this battle. Brass are very good instruments to portray the heroic moments, bright and loud [and they know it]. Everything speeds up at the end as the Green Death crashes. Though the notes slow and hold as Hiccup falls and Toothless dives.
Most of the voices are low and keep one tone as a higher voice (again, this is all without words, just open sound), mourns overtop as Stoick searches for Hiccup. All instruments and voices hold a note when Stoick finds his son, then it turns happier when he declares their hero alive. Hiccup’s theme plays gently on the piano [love this part] when we see Hiccup next, in bed recovering. Then he’s woken by his best friend. Some strings eventually join in as Toothless helps Hiccup up.
It’s almost a reprise of the romance theme when Hiccup steps out the door and discovers the changes to Berk. Vikings and dragons living together. Astrid does kiss him again, accompanied by a solo violin, and Stoick declares to all his pride. A tin whistle flourishes and then bagpipes come back in with the theme and strings sweep behind them. When the strings start their run, the brass take up the theme. The phrase echoes and then the percussion start rolling. The end almost sounds like a marching band [check out the massed pipes playing this at the Edinburgh Tattoo].
This score was nominated for Best Original Score at the 2010 Academy Awards (totally should have won.) The film as a whole was also nominated the same time as Best Animated Film, also lost, sadly.
There’s a louder and prouder brass introduction to the theme of This is Berk as Dragon Racing introduces the second film. The orchestra builds to the dragons’ theme as the young adults race and we hear bagpipes play clearly. It’s all an echo of the first film, but not as mysterious. We know these characters, this setting, but there are new things. So it’s a bit bolder and brighter. The tune turns jaunty as Hiccup describes what he’s helped install in Berk. Then we bring in a new theme, which is actually what’s used as the theme for Race to the Edge, kinds of sharp, but very adventurous. The tempo speeds up as we reach the conclusion of the race. A bit of a sweep as Astrid wins. Lots of movement in the strings. What can I say, I love it!
A harp and oboe bring us to Toothless and Hiccup, who are discovering a new island. A new, slightly mournful theme comes in as they look about. Hiccup wonders aloud if they’ll find some Night Furies. But the tune skips up and the strings pizzicato (when string players pluck the strings instead of sliding the bow across) and woodwinds take up the tune. Lots of movement as Hiccup and Toothless play. Then it turns reminiscent of their Forbidden Friendship theme.
Almost a melding of the romance theme and the Berk theme plays as Astrid and Hiccup talk about Hiccup becoming chief sooner rather than later. More subdued and laid back than the grand sweep it usually is; more yearning. A held note denotes the change in mood. The key changes as the pair flies to investigate. A take on the dragons’ theme introduces ice blast and new people connected to dragons. As Hiccup and Astrid dodge an attack, the theme from Battling the Green Death comes in. Another hold and another mood change as they report to Stoick and prepares the island for war. Lots of movement, lots of sharp rhythms, repeating to denote action and a little jumpy like eyes darting around. The strings keep busy. The tempo speeds up and instruments play over each other as Hiccup disobeys his father and flies off.
Again, I use ‘jaunty’ to describe the feeling as Hiccup finds Eret. A swashbuckling movement. Then it’s laid back as Hiccup nonchalantly tells Eret his plan to visit Drago. The mood changes when high voices take over sustained tones, strings are very light as Hiccup is in the clouds. When they repeat their notes and the trumpets take up that, the large new dragon circles our heroes, very new and strange. Chaos then mournful as Toothless falls into the water and Hiccup is taken away.
Large reveal chords as Hiccup’s taken to a new location. Voices hum the new mournful theme. Then we get the orchestra back in with the Viking theme as Stoick hunts for Hiccup. It’s not quite deep, more adventurous. There’s a bit of mystery in there too. Slow, open high tones show the sanctuary off. Something akin to a bell plays as Hiccup looks to his mother. The mournful theme plays as Valka speaks to her son, the woodwinds taking the lead. More bells and Valka’s theme as she talks about the dragons she’s helped. The theme is almost trying to be an older theme, but it’s not quite there. There’s a reprise of the theme from the cove in the first film, signaling discovery.
A change in mood as we flashback to a time when dragons and Vikings battled each other on Berk; Valka reminds her son, “it was a time of kill or be killed.” Valka’s theme plays as she looks at Cloudjumper and discovers he’s not all danger. There’s an almost triumphant theme as she’s carried off, but not fully. There’s still something sad tinging it; then fully sad, when the piano plays as Stoick rescues Hiccup from the fire and they watch Valka disappear, reprising that sense of loss from the first film. Then, it was the loss of Hiccup’s leg. Here, it’s the loss of his mother. A new theme for the Alpha comes in as Hiccup is introduced to the Bewilderbeast, the tempo slowing, denoting something large. High voices bring about a coldness, as the Bewilderbeast breathes on Hiccup.
A new, very minor theme is introduced as we’re finally introduced to Drago. Slow and ominous. The notes are very close to each other. There’s brief fast movement when there’s action, but it’s quickly subdued. Cellos take up Drago’s theme, percussion sounding occasionally. Then short bursts of notes, bit jarring as Drago takes control. Then it quiets down, as we’re in the flashback and Dragon is speaking to the chiefs and they don’t know what is about to happen. But brighter when Stoick is on screen. His theme as he issues orders to his son’s friends. This part of the score works both for the flashback and when the young adults meet Drago. His methods have not changed.
A bassoon introduces Stoick Finds Beauty. We get the Viking feel as Stoick starts to drag Hiccup out, but offset by a few woodwinds as Hiccup tries to explain. Tremolo (strings’ version of vibrato) as the strings show the tension once Stoick spots Valka. Then mournful, very hesitant. The strings grow louder as Stoick draws closer to Valka.
Uillean pipes play while Hiccup is Flying with Mother. It’s as bouncy, happy time. [Also note that produced soundtracks do not wholly follow the order of the film. The recording score is different than what is sold as the soundtrack.] The voices actually say a few words (not that I can make them out.) It’s almost like a dance; notes are up and down and back and forth. A happier version of Valka’s theme as she shows things to her son. The tone grows pensive as they talk, then grander and fuller as Hiccup leaps off Toothless to show off. Little chaos as Hiccup and Toothless crash.
The harp introduces For the Dancing and the Dreaming, then flute joins in. Stoick whistles the tune, very slow, a bit hesitant. Does Valka remember this? There is a long pause as he waits for her to join in. She’s quiet and hesitant when she responds, but they grow together. Gobber is caught up in the mood and joins, until he’s told to stop (twice.) A violin plays alongside Valka. Soon everyone is up and dancing, happy. Gobber holds the last note.
A complete mood change as percussion and brass begin a battle score. Strings go up and down in the background. There’s not the frantic air to this battle as in the first movie. Those involved are wiser and more coordinated. There are short bursts from the strings to show Drago coming. The orchestra builds as the young adults swoop in on their freed dragons, ready to cause chaos. The Viking theme also plays against them. A few high notes as Ruff falls, hoping Eret will catch her. Hiccup and Toothless’ theme signals their arrival. Instruments pass the melody around as we survey the battle. Then reveal chords as the Alpha Bewilderbeast enters the fray. A lot of this is a repeat from Battling the Green Death [but hey, if it’s awesome, why mess with a good thing?] Triumphant heroes theme makes us smile. Then in quiets down as Drago puts into action his plan. Bewilderbeast takes on Bewilderbeast, slow and low voices, plus some high voices to show action. A triumphant moment of Dancing and the Dreaming as Stoick rescues Valka, then the orchestra goes into Stoick’s theme as he battles Drago. More passing the melody around between the instruments; lots going on. Short bursts of notes as Drago’s Bewilderbeast takes the upper hand, and suspended notes at the end when Valka’s Bewilderbeast falls.
Repeated string phrases denote tension as the battle is not over. Stoick and Valka are looking after each other, but everything quiets down as Hiccup Confronts Drago. Drago’s theme features as he lays out his thoughts to Hiccup, trying to teach this young boy about the real world and real dangers of dragons. Then it turns mournful as Drago eyes Toothless. Bagpipes as Drago yells for his Bewilderbeast; almost an echo, but far more menacing than when Toothless and Hiccup first faced off. Timpani beat in the background. Toothless is in distress. The confrontation theme comes back clearer once Toothless is fully under Drago’s control and eyes Hiccup.
An accordion plays the mournful tune as we discover the cost that Stoick Saves Hiccup. A violin eventually joins in, swelling as more people realize who they’ve lost. The sad tune is almost a slow play on Hiccup’s theme. The choir comes back in when Drago takes control of Toothless and the rest of the dragons fly away. Percussion shows that for Drago, the battle will continue.
A very, very sad reprise of Dancing and the Dreaming done by voice and strings plays for Stoick’s Ship. A harp or piano is mixed in as well. The tune swells as bagpipes play once the pyre is lit [this still manages to draw a tear to my eye]. Then it dies down as Hiccup and Valka both speak; Valka telling her son how he came into this world, and Hiccup remembering his father; how can he live up to such a great man? The reprise of Dancing and the Dreaming showcases the time that this small family got to spend together, often apart, only happy for a brief time. Hiccup’s whistle comes back, circling our hero. Stoick, despite being gruff, loved his son. The tune becomes more purposeful as Hiccup takes charge, and then brings back his theme as he declares “a chief protects his own.”
The orchestra is a bit quiet and hesitant, like when Astrid and Hiccup found the ice in the beginning of the film. Ice now covers Berk. Then a change as our heroes arrive, triumphant and bouncy, considering they are riding young dragons. The main theme is back.
Timpani bring us into the fight between Drago and Hiccup. But it soon quiets down as Hiccup talks to Toothless, calling his best friend back. A little of that mournful theme comes in; Hiccup does not blame Toothless for Stoick’s death (despite his harsh words earlier in the full throes of his grief). The melody climbs up to triumph. Toothless is back! [Gotta turn it up at this point!] Brass does what they do best and punch out their theme until they quiet down for the strings to bring tension as Hiccup plans. Then back up to triumph as they take action. Their theme almost modulates into something more mature. Strings have a slide as Toothless flies. Lots of phrases that repeat and don’t quite complete as we wait to see what happens.
Low voices and timpani again signal Drago thinking he’s won, firing ice on the heroes. But the music doesn’t ever get sad. It holds until the brass come back up as Toothless unleashes new powers and takes on the Bewilderbeast as Alpha. Their theme is back. Tiumph as the dragons leave the Bewilderbeast and side with Toothless. Strings take over the theme for a minute, voices joining as Hiccup declares “this is what it is to earn a dragon’s loyalty.” More of the action theme as the dragons all fire on the Bewilderbeast, driving it away. Horns transition into a reveal chord when Berk realizes they’ve won. They settle into a new norm with Two New Alphas. Hiccup’s theme is fully back and bouncy as everyone cheers. Toothless is playful around his best friend again. A momentary reprise of Dancing and the Dreaming as Valka and Hiccup think about Stoick. The romantic theme is back as Astrid and Hiccup briefly talk and kiss [see, they were ready to be a couple.] Then quiet triumph as Hiccup is declared chief, building to a brighter finish.
The second film also features Where No One Goes and Into a Fantasy. Where No One Goes plays while Hiccup and Toothless are flying at the beginning of the film, racing through the waves and predominantly features their flying theme. Into a Fantasy only features in European releases of the film, but it is part of the official soundtrack. The official video certainly features Toothless.
Also already stated in the last post, the third How to Train Your Dragon film is not my favorite of the three, nor is the soundtrack. There are some great moments, but while I can listen to most of the score from the prior two films, I space out on many sections in this score. I do not blame John Powell for my dislike of the third soundtrack; I blame the storyline.
This film does not start with a reprise of This is Berk; instead, it is a mysterious and darker intro. Parts of the piece admittedly sound familiar, like another action movie or something, but I can’t quite recall. It is a very adventurous opening piece as our favorite dragon riders go on a raid to free dragons. There’s a small preview of the Light Fury’s theme when we spot her, but that’s amidst the chaos as the stealth part of the mission fails. Eventually the strings do transition the piece into This is Berk, even bolder and busier than the previous movie. Lots of movement underneath the main theme, and a faster tempo.
While still in Berk, the tone is quieter with a new theme, a tinge of sadness, but legato and arching. Mostly happy. The new life of Berk with its young chief. There’s a statute to Stoick Then a major mood change when the antagonists come on screen. Deeper tones and shorter bursts, a bit like Drago, but doesn’t have the minor notes. When the key does change to minor, it’s still a different melody. The orchestra doesn’t move a lot, very quiet, and not quite the tension that they’d sometimes have. The strings try to build and we get Grimmel’s theme. Perhaps it’s not as bombastic since Grimmel likes to lurk in the dark. When the orchestra finally gets louder and gains movement, it’s when his creepy dragons take the screen.
It’s quieter in the next piece, a suspended note to start, but not creepy. A little sad since it’s a flashback. The flute quietly plays a new theme, while Stoick talks of the Hidden World, then it switches back to the new gentle theme, which has a bit of a romantic touch to it. Another switch to echoes of the mournful theme of the second film. Strings bring back the new theme and pass it on to the flutes. They’re a little hesitant, but we soon get a whistle playing Astrid’s romantic theme.
Light chimes bring in the Light Fury and her theme, as Toothless gets proper look at her. It slowly builds, a hint of tension, then returns to quiet and hesitant. The strings take over the theme and there are a few deeper notes underneath (foreshadowing that she can’t be completely trusted at this point.) When Toothless truly becomes interested, the tempo and rhythm change to something more precise and playful. Woodwinds bring in the Light Fury and the harp brings back the playful tune.
Not much happens in Worst Pep Talk Ever. Mostly quiet, occasionally mysterious, particularly towards the end of the piece. There are also brief hints of Grimmel’s deep theme. This is where our characters find out about Grimmel. When he appears next, very dissonant. Lots of notes played against each other, scary. Grimmel’s theme takes over. But all very slow. Strings start to bring tension, little bursts of a repeated note. They remain even as Grimmel’s theme tries to play overtop. Eventually, the piece gets louder as the creepy dragons attack, still some dissonance, but now Hiccup’s home is alight.
Exodus! starts with a few held notes, until the choir comes in and grows the sound. Percussion raps a few times, a silent beat, and everyone comes back in with the new theme, even with a few uillean pipes. This is a new adventure; off into the unknown. A deeper phrase comes in, but it brightens, then repeats. A little bit of the action theme comes in, then the Light Fury enters. Some danger when she drops Hiccup, but she’s back. The orchestra quiets for a bit, then grows and adds the full choir with the romantic new theme. It eventually dies down with some held suspended notes and very slow phrases.
Now, Third Date is a piece that I enjoy. It’s happy and light. The woodwinds play a bit of the Light Fury theme and the harp brings back that playful section from their first meeting, eventually joined by woodwinds and chimes. Pipes of a variety and a whistle bring a Celtic flair. A moment for the legato theme, then stumbling a bit with a trumpet flare until everyone resumes the bouncy theme. The tempo picks up, some of the lower instruments take over the theme, build it up, then settle back down. The piece slows down a bit with rests between notes in the woodwinds, but not quite tense. Bagpipes come in and repeat a phrase as Toothless tries a dragon dance to flirt with the Light Fury. Then back to the bouncy theme with woodwinds. Strings come in and grow the volume, a hold, and then back to the playful tune a bit faster and with a fuller orchestra. Pipes even come back in and everyone grows louder and faster, and then another hold. Now a few floating legato phrases. The harp comes back in, but not as bouncy, this is almost a variation on the Light Fury theme, along with some Orff instruments. We can hear Toothless’ yearning when he can’t follow the Light Fury. I envision even a human couple skipping along, romantic and in love, a bit playful and teasing.
The strings softly bring in the new action theme, then the old action theme for a moment. Finally a reprise in a new key of New Tail, since Hiccup has rebuilt a new tail for Toothless so he can pursue the Light Fury. Overall higher, without some of the deep Viking tones of the original.
Low tones bring in the next piece, and then a high descending voice. The Light Fury theme features heavily in Furies in Love, with a few variations. There are hints of romance and yearning, and then, a bit unexpectedly, a hint of danger, but it soon returns to a brighter variation of the Fury theme, before slowly descending away. (We’re getting hints that the Light Fury can’t fully be trusted, or at least, there is something going on in the background.)
Loud, repeated phrases signal imminent danger in Killer Dragons but it doesn’t quite grow. There’s a beat of silence, a moment of dissonance, but that is soon gone, though we get a march for a moment [reminiscent of Imperial March]. More low tension and it sounds like an old action theme is trying to make its way in, but it’s never completed and is always drowned out. Woodwinds take over the tension, signaling that danger is incoming with a repeated trill. Chaos ensues as our heroes escape. The choir jumps in for a few moments, even bringing a new heroic theme for a second, trying to brighten the piece when it seems everyone is free and clear.
We get a quiet, mournful reprise of something from the first film in With Love Comes a Great Waterfall. Then a few odd transitional notes to bring in an action theme. Lots of moving instruments, our characters are moving, on a mission. Low horns bring them to the waterfall in the middle of the ocean. It swells even more with the choir and a solo trumpet playing over all [I always turn the music up at this point; I think it is so cool!]
Not fond of The Hidden World track. Very modern sounding; which it’s supposed to be like nothing we’ve heard from this world before because this is strange, and new, and different. A suspended note hangs over the high vocal lines. A second, competing line comes in; there are almost words to these lines, though I certainly cannot tell what they are saying. They do unite for a moment, then split apart. Voices give way to the new theme, but in different variations (and perhaps keys). Towards the end, low brass and strings speed up the tempo and the chaos as Astrid and Hiccup are in danger.
I think it would be fun to direct Armada Battle. I would not be a traditional director because I would move too much, but I’d love to cue the different parts. (Battle scores are a great way to use lots of themes to show what’s going on.) This is a masterful weaving of different action themes from across the trilogy. The brass starts faraway, then a slow and quiet reprise of Toothless’ and Hiccup’s confrontation theme. It gently builds, adding the choir into the “ready for war” section from the second movie, with a bit of Stoick’s theme entwined. The confrontation returns in the strings then a brighter version of the Light Fury theme. We get our typical hero/action theme almost directly into the battle score from the second film. The brass punches through until the romantic theme plays as Hiccup and Astrid cause a fireball. The brass continues to keep the piece moving, the sense of flying coming in, then into the track that played in the first film when Toothless was reaching Hiccup in the arena.
A suspended note, then into an action variation of the new theme. And the Viking choir is back with its usual theme, accompanied by low brass. Valka’s flying theme takes over, back to the new action theme with strings repeating a scaling down phrase. The orchestra passes the melody of the first film’s battle back and forth; this piece certainly keeps the tempo. Back to the Light Fury theme, then the second’s action theme, a bit of the bouncy Berk theme thrown in. The climbing portion of any battle Hiccup and Toothless encounters comes in. Strings scale up and down, the brass maintains the beat, a bit of dissonance, but not stalling the music, back to passing within the strings, and the tune that plays when the Green Death rises. After the crescendo, a gentle release.
The pace resumes with the next track, with brass repeating phrases to keep suspense. The melody from the waterfall returns, then the choir comes in mournfully as Hiccup falls. It’s actually the flying theme that plays with the Light Fury saves Hiccup, loud and proud. The theme turns to the new romance theme with a held note as everyone lands. But a harp plays a few notes as Hiccup speaks to Toothless. The mournful cry is back when he says goodbye, a sad reprise of Hiccup’s theme. The Hiccup/Toothless Alpha theme then takes over as the dragons fly away, with the waterfall theme also showing up. They leave for the safety of the Hidden World.
Once There Were Dragons ends the soundtrack with the choir singing the new theme as Astrid and Hiccup marry. It becomes clear that this theme signifies changes and a new chapter. Pipe eventually come in, a bit bouncy, then strings. Finally, the piano gently plays the main theme as Hiccup brings a new generation to the Hidden World. Solo brass calls and cello and whistle respond, then the choir as Hiccup approaches. We get a wonderful reprise of Forbidden Friendship as Hiccup shows his kids to Toothless, even the breathing notes as the put their hands on the Night Fury. And finally, the main flying theme returns, as glorious as the first movie as both families fly together. (Can’t beat the original.)
Overall, I believe that my favorite soundtrack of the trilogy is the original. I enjoy some of the additions in the second film and there are a few bits of the third that I like, but overall, the first soundtrack is great to listen to. The themes that were set out haven’t been modified.
Up Next: Another break for a bit as I continue to try to finish drafts of two stories. But the next fandom we will visit is Chronicles of Narnia. This might start up after the first of the year; I tend to watch them around the holidays. The books series will be interspersed with the three films that came out between 2005 and 2010. I read these books as a child and there was an animated film that I watched as a child, but I am not quite sure where to find it. And I really enjoyed these films.
Dreamer in the Mirror 