The score calls for over 30 percussion instruments. Other instruments used include the sopilka, hammered dulcimer, gadulka, esraj, yaylı tambur, hurdy-gurdy, accordion, harmonium, Hardanger fiddle, acoustic and electric guitar, and the aforementioned fiddle, bagpipes, uilleann pipes, warpipes and pennywhistle. Woodwind players also double on piccolo, english horn, bass and contrabass clarinets, and contrabassoon. Orchestration Īccording to Powell's book on the score, the orchestra includes 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 12 French horns, 4 trumpets, 4 trombones, 2 bass trombones, a tuba, timpani, 8 percussionists, 2 harps, a celesta and piano, a SATB choir, and a string section.
The score has traditional Scottish influences, and uses instruments such as the fiddle, bagpipes, uilleann pipes, Great Irish warpipes and pennywhistle. And Celtic music was something that Jeffrey felt had this very attractive quality to it, and a sweetness, that he thought would be wonderful for the film." Composition And I'm part Scottish and grew up with a lot of Scottish folk music, so that came into it a lot. We looked at all the folk music from the Nordic areas. But there is that in a few cues-heavy, dark guitar textures going on at the same time as large orchestration. They were an influence as well, even though that seems paradoxical.
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So that, plus it was great to have Jónsi do a song at the end of the movie, because I've always liked Sigur Rós. I studied a lot of Sibelius as a kid, and I've always adored his music. Grieg to a certain extent, although I think he was a little bit more Germanic than he was Nordic. You could say the symphonic musical past was Nielson, the Danish symphonist. They wanted a feeling of the Nordic musical past. They did want size and depth and emotion. were really very specific a lot of the time. As a kid I remember watching The Vikings with Tony Curtis and Kirk Douglas, and I always liked that score. I just felt the animation and the visuals were giving me a broader palette to play with. "I was certainly trying to get a bit more epic. In an interview with The Wrap's Steve Pond, Powell talked about his intent for the score: Director Dean DeBlois had previously worked with Jónsi before, directing a concert film for his band Sigur Rós entitled Heima, and a companion film for his album Go entitled Go Quiet. Icelandic singer Jónsi was brought on to write and record the song "Sticks & Stones", which plays during the end credits of the film. Zimmer had long praised Powell's abilities, and on many occasions, asserted that he was the superior composer between them, thus firmly supporting Powell's solo animation effort. Powell had scored many of DreamWorks' previous films, but this was the first of DreamWorks' films where Powell helmed the score on his own (on his previous efforts with DreamWorks, he had collaborated with other composers such as Harry Gregson-Williams and Hans Zimmer).
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How to Train Your Dragon was composer John Powell's sixth collaboration with DreamWorks Animation.
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