The beginning theme starts things off very slow with an intriguing percussion and soothing string melodies. While it begins to build up, the intense music to come is foreshadowed. Brian Tyler wrote one of the best video game scores that I have ever listened to. MW3 is an orchestral masterpiece that occasionally gives us some electric guitar, but mostly focuses on the natural orchestral sounds.
Prague Hostilities is a new take on the once peaceful sounding theme from the beginning and adds a feel of unresolved conflict and dark bass. Intense action is frequently heard due to the game's setting and subject, but that intensity is toned down with slow build ups and moments that are mysteriously calm.
I admire the use of the viola in the beginning of I Stand Alone because it has a very unique and unusual sound at times. The viola gave this track an interesting sound to start it off. The ending is equally enjoyable, featuring the main theme that rises and gives a somewhat victorious feel before ending with the brass and percussion hitting a note that does not sound like a resolving victory.
Hamburg invasion introduces the electric guitar as we enter deeper into this war that spans the globe. Once again, the main focus is the orchestra. Now, when you reach Battle For New York, there is an exception. The excellent orchestral representation of the war is intense, a little victory medley in the middle before reaching a quiet, calm state. Just when it seems nothing is going to happen, you wait, before you suddenly get slammed in the face with the electric guitar. Were you expecting that?
Interestingly, two excellent film composers worked on the previous title, giving this series a true cinematic feel and sound. Hans Zimmer and Lorne Balfe scored Modern Warfare 2, but Brian Tyler was much needed for Modern Warfare 3. This is the last chapter where everything gets crazy and the final confrontation and resolve is met. This requires much more intensity in the music.
I admire creativity, and I almost believe that this is one of Brian Tyler's most creative and original work. Consider the brilliantly placed electric guitar so that it actually sounds good. Also, the occasional synth appearances are welcome additions. The various percussion techniques and instruments used help give each track a sound different enough to distinguish from each other, but consistent in overall sound.
Paris Siege is an epic five minutes of unrelenting tension that stands out as one of the most interesting pieces throughout the score. Special Forces brings back that electric guitar experience from Battle For New York, but at a much lighter scale. It gives off an epic feel that seems to sound like things are going good for the right side.
The main theme for Modern Warfare 3 is one of the most memorable, so I am glad to hear it brought up frequently, but not too frequently. It can sometimes get annoying hearing the same theme over and over again, but there is a perfect balance. You are actually excited to hear it when it shows up.
One thing that Brian Tyler wrote into this score is some quieter parts that tone down the action so that we are not always racing toward the goal. There is some sneaking that goes on, but sometimes you get caught and you have no choice but to shoot your way out of the situation.
MW3 End Credits is an epic conclusion to this great score, presenting the main theme once more. The strings give you a huge performance that bring a close to this adventure and leave you with a satisfying ending. What are your thoughts? Do you have a favorite game score?
composed the music for the first and second as well as 
. I honestly am not a huge fan of this music, but it does in fact fit the period of the game very well, which take place during the middle ages/Renaissance period.
returned for 
, which spiked my interest. This music is much better, especially since Lorne Balfe was brought on to work on the multiplayer content. Generally, high expectations are put on film composers, so being a composer mostly for films, 
lived up to my expectations on his work for this score.
set in the beginning of this score is just amazing.
for handheld gaming systems is 
. Winifred Phillips scored this game and met the high quality sound that 
put on the III name in the series.
scored the fourth major installment named 
. This game takes place around the same time and place of Pirates of the Caribbean when pirates were one of the biggest threats. The score is very calming and does not reach the high intensities that is common with 
. It does its job very well, making me think of the ocean and the Caribbean. I enjoyed this entire score from beginning to end.
and 
. 
(
), 
(
), and 
(
) scored 
takes on the violent French Revolution with fast spiccato and impressive intensity. The interesting thing about these two is that there are slight hints of the theme from 
's music is by far better than the other music produced in 
. While I do believe that 
's music for this game does fit the setting perfectly, the overpowering violin at times can get a bit obnoxious. Of course, this is probably the style of music that was popular at the time, so I still applaud his work, just not so much outside of the game.
film? It is so cheesy I'm not sure how it became so popular. I would say the same about 
.
scored the 2014 film remake with his usual sounds and incredible levels of intensity. Although another great score from one of my favorite composers, this all sounds very familiar. If you pay close attention and with the familiarity with scores for 
and 
, then you will see (or hear) that the sounds and themes from this aren't completely original.
. 
from 
has a noticeable theme in a few parts that are impossible to miss. They are nearly identical to 2013's 
main theme which was in fact composed by 
despite the credit going largely to 
.
did in fact compose the music for 
and 
, so it is not terrible, just slightly disappointing. The music is very similar.
used some techniques heard in his score from 
and some similar sounds from the the 
theme in 
. He may borrow from himself often, but his work is excellent and irreplaceable. I couldn't think of another composer who could have pulled off 
's work on the Marvel films better than him (maybe 
, since he shares a similar sound).
has a very noticeable sound to his scores. Much of his recent work shares the same sound, not necessarily the same theme. 
seems so sum up his works in one package. We will not see him return for this year's sequel, as 
will be picking it up. Listen to the score below and send me your thoughts.