[2] Due to time constraints and the final cut of the film changing until "the last possible minute", Djawadi had help with arrangements and additional cues from Hans Zimmer and Remote Control Productions.

[2] Musicians John O'Brien and Rick Boston, frequent collaborators with Favreau, provided a big band-style arrangement of the Iron Man theme song from the 1966 cartoon The Marvel Super Heroes for a scene where Stark attends a casino.

Armstrong chose not to listen to the temp, or watch Ang Lee's Hulk, before composing the score, which he began in his home in Glasgow, Scotland, before moving to Remote Control in Los Angeles to be closer to the production.

But that doesn't mean you have to play those elements down either", adding that he felt Captain America was fleshed out more as a character simply by facing "a really bad guy" in the Red Skull in a similar way to Luke Skywalker's development in the presence of Darth Vader.

Tyler stated that Marvel was interested in him for his more thematic work from the likes of The Greatest Game Ever Played, Annapolis, and Partition, rather than his "modern" action music such as that for The Fast and the Furious films and Battle: Los Angeles, and wanted him to combine the energy of the latter with the sensibilities of the former.

The idea of spirituality also extends to the Mandarin's theme; Tyler noted the ambiguity of the character in terms of ethnicity and culture, and how he appears in the film as a "be-all" terrorist, as well as his role as a fanatical, "quasi-religious leader" comparable to Jim Jones.

[20][32] Tyler described his new theme as mature, regal, and epic, and noted that the romantic elements with the character Jane Foster become "kind of melancholy" for the sequel, "because she's this mortal that he's fallen for, which could not be further from his side of the train tracks".

[40] Jackman first created three pieces of music for directors Anthony and Joe Russo: a modern Captain America theme; a six-to-seven-minute suite for the Winter Soldier; and a track representing Hydra.

[56] Tyler also reprised his own Iron Man and Thor themes in the score, as well as previous Captain America material, "in order to create a similar musical universe",[50] especially since those character's post-Avengers solo films "set up" Age of Ultron.

[53] The music for the visions that the Scarlet Witch gives the Avengers pays homage to scores from the 1950s, with Tyler using a "randomly played" vibraphone and strings such as a harp to create a "dreaminess" and "hypnotic effect".

Feige asked that they instead take "the classic symphonic approach with big themes and bold brass",[62] which Beck did with the unique twist of "a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy.

[65] In July 2015, Jackman noted the industrial elements of his Winter Soldier suite from the previous film was an indication of what the new score would sound like, but did caution that "it's just a jumping off point since the Russos are looking for something new—similar with a twist.

[74] Director Scott Derrickson called the score "magic in the literal sense of the word" and said that Giacchino "is doing what good scorers do, which is he is not just creating music that supports the images, he's adding a third thing to the movie.

[124] The Skye theme is most clearly heard in emotional moments dealing with that character's backstory, but also appears in many other variations, including brief, romantic statements to highlight her early relationship with Grant Ward.

"[119] McCreary created his own theme for the Tesseract, "an ominous melodic line that shifts between two distantly related minor chords",[124] and for Asgard, "like an old fanfare, a melody that capture[s] the majesty of Asgardian nobility" though it is generally performed as a "smaller version" since the series is still "rooted in reality".

Paesano subsequently wrote a more "songish" version of the main theme for the sequence, with a basic verse-chorus-verse structure, and instrumentation such as guitars and a drum kit to retain the feel and energy of the originally chosen song.

[141] To match the series' psychological thriller and neo-noir tone, Callery used a "smaller ensemble, it's almost like a jazz score, but there's some very weird, gooey sound design elements that kind of come in".

After creating the theme, Callery expanded it, adding a "fun" rhythmic quality, and eventually fully orchestrating it to include a piano, which he played himself, as well as instruments such as the acoustic bass, and additional sound design.

"[180] To create the score, Lennertz "put together a big band, combined it with an orchestra, and added modern electronic and dub-step elements", to represent the 40s setting, the Marvel feeling, and the advanced technology, respectively.

[179] With All Hail the King serving as a spin-off/sequel to Iron Man 3, many crew members from the film worked on the short alongside returning actor Ben Kingsley, including composer Brian Tyler.

[181] He described his music for All Hail the King—which features a title sequence inspired by Dr. No, Charade, and Iron Monkey, as well as other exploitation films "ranging from obscure Kung Fu to funky Italian Horror"—as "retro vibed".

[131] A modern-day arrangement of the song is used in "The Star-Spangled Man", an episode of The Falcon and the Winter Soldier, where it is used as the music played by a marching band as John Walker, who now holds the mantle of Captain America, enters a stadium.

[198] For All Hail the King, Drew Pearce created a fictional CBS 1980s television pilot titled Caged Heat (starring Ben Kingsley's Trevor Slattery character),[199] and Feige encouraged him "to go off.

[181] The episode "Filmed Before a Live Studio Audience" of WandaVision features an original theme song written by Kristen Anderson-Lopez and Robert Lopez, and was meant to evoke the "dawn of television".

They included "an optimistic group of voices singing jazzily" about the love between Maximoff and Vision, and were thrilled to use words like "gal" and "hubby" as well as a "big musical pratfall" in the middle of the song.

Hannah Shaw-Williams of Screen Rant commented that while the chorus was "cheerful and upbeat", the verse heard in the episode was "far more melancholy" with poignant lyrics that "captures Loki's self-imposed isolation and loneliness".

[229] In July 2016, Luke Cage showrunner Cheo Hodari Coker revealed plans for a vinyl soundtrack album for the series, to be produced by composers Adrian Younge and Ali Shaheed Muhammad.

The first vinyl produced was for Ant-Man and The Wasp on April 24, 2019, featuring collectible artwork designed by Phantom City Creative and 14 previously unreleased bonus tracks, followed by Black Panther and Thor: Ragnarok.

[239] In February 2014, director James Gunn revealed that Guardians of the Galaxy would incorporate songs from the 1960s and 1970s, such as "Hooked on a Feeling", on a mixtape in protagonist Peter Quill's Walkman, which acts as a way for him to stay connected to the Earth, home, and family he lost.

[257] At Flickering Myth, Simon Columb responded to a description of Tyler's scores for Iron Man 3 and Thor: The Dark World as "alright" with an opinion piece titled "The Forgettable Soundtrack to Marvel's Movies".