History AwesomeMusic / AvengersInfinityWar

* On a more general level, despite the conscious choice from the filmmakers to avoid overt reprisals of individual {{leitmotif}}s beyond Silvestri's established ''Avengers'' material[[note]]It's worth noting that Silvestri's own "Captain America March" is also absent to reflect the character's status, even though other portions of [[Film/CaptainAmericaTheFirstAvenger that score]] do make an appearance.[[/note]], the writing style of previous MCU scores is reflected in his compositions here. The liberal use of choir to anchor the space segments is reminiscent of Tyler Bates' work on the [[Film/GuardiansOfTheGalaxy Guardians]] subfranchise, and the instrumentation for ''Film/DoctorStrange'' comes through whenever his influence is prominent here. However, one interesting example of thematic continuity comes in "One Way Ticket," the cue that plays when Stark and Strange debate about altering their course for Titan. At the 3-minute mark, the score references Michael Giacchino's own arrangement of the Avengers theme as heard on the closing moments of ''Film/SpiderManHomecoming'', fitting for Peter's baptism as an Avenger.

* On a more general level, despite the conscious choice from the filmmakers to avoid overt reprisals of individual {{leitmotif}}s beyond Silvestri's established ''Avengers'' material[[note]]It's worth noting that Silvestri's own ''Captain America March'' is also absent to reflect the character's status, even though other portions of [[{{Film/CaptainAmericaTheFirstAvenger}} that score]] do make an appearance.[[/note]], the writing style of previous MCU scores is reflected in his compositions here. The liberal use of choir to anchor the space segments is reminiscent of Tyler Bates' work on the [[Film/GuardiansOfTheGalaxy Guardians]] subfranchise; and as previously noted, the instrumentation for ''{{Film/Doctor Strange}}'' comes through whenever his influence is prominent here. However, one interesting example of thematic continuity comes on "One Way Ticket," the cue that plays when Stark and Strange debate about altering their course for Titan. At the 3-minute mark, the score references Michael Giacchino's own arrangement of the Avengers theme as heard on the closing moments of ''[[Film/SpiderManHomecoming Spider-Man: Homecoming]]'', fitting for Peter's baptism as an Avenger.

* On a more general note, despite the conscious choice from the filmmakers to avoid overt reprisals of individual {{leitmotif}}s beyond Silvestri's established ''Avengers'' material[[note]]It's worth noting that Silvestri's own ''Captain America March'' is also absent to reflect the character's status, even though other portions of [[{{Film/CaptainAmericaTheFirstAvenger}} that score]] do make an appearance.[[/note]], the writing style of previous MCU scores is reflected in his compositions here. The liberal use of choir to anchor the space segments is reminiscent of Tyler Bates' work on the [[Film/GuardiansOfTheGalaxy Guardians]] subfranchise; and as previously noted, the instrumentation for ''{{Film/Doctor Strange}}'' comes through whenever his influence is prominent here. However, one interesting example of thematic continuity comes on "One Way Ticket," the cue that plays when Stark and Strange debate about altering their course for Titan. At the 3-minute mark, the score references Michael Giacchino's own arrangement of the Avengers theme as heard on the closing moments of ''[[Film/SpiderManHomecoming Spider-Man: Homecoming]]'', fitting for Peter's baptism as an Avenger.