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What are the Elements of a Film Score?

What are the Elements of a Film Score?

Table of Contents

The soundtrack is an integral part of filmmaking because it enhances a film’s emotional impact and guides the audience’s experience. It comprises several key elements of a movie that work together to create a musical accompaniment to the story that is both harmonious and memorable. 

Melodies, harmonies, rhythms, instrumentation, and dynamics are examples of these elements. Film Composers use these movie elements to convey the film’s mood, tone, and themes, making music an essential part of the cinematic experience. Each element contributes to the viewer’s connection to the characters and story, enriching the cinematic experience.

Key Takeaways

  • A film score is essential for enhancing a movie’s emotional impact and guiding the audience’s experience.
  • It consists of various musical elements, including melodies, harmonies, rhythms, instrumentation, and dynamics.
  • A film composer’s role involves understanding the story, setting the mood, scoring scenes, selecting instruments, and overseeing production.
  • Thematic development and the use of motifs are crucial in creating memorable film music.
  • Synchronization with visuals is vital to ensure music complements on-screen actions.
  • Integrating sound effects, dialogue, and music creates a rich film soundtrack.
  • Good film scores are characterized by thematic consistency, emotional depth, memorability, and adaptability.

The Role of a Film Composer

The Role of a Film Composer

A film composer’s job is to create the film score music, which is an integral part of the filmmaking process. A film composer collaborates closely with the director, producers, and editors to create music that enhances the film’s emotional impact and storytelling. 

Their responsibilities include the following:

Understanding the Story

Composers research the plot, characters, and themes of the film to create music that complements and reinforces the narrative.

Setting the Mood

Music creates the desired emotional tone, whether it’s suspense, romance, action, or drama.

Scoring Individual Scenes

Composers score specific scenes to enhance their impact and help convey the characters’ emotions.

Instrumentation

They choose the appropriate instruments and orchestration to create the desired sound in film.

Recording and Production

They oversee the score’s recording and production with a team of musicians and engineers.

Music Composition in Film Scoring

Music Composition in Film Scoring

In film scoring, music composition entails creating original music to enhance the emotional impact of a film while aligning with the narrative, characters, and director’s vision.

The Melodic Core

The central thematic material that runs through a film’s soundtrack is called the melodic core of film music. It is a repeated melody or motif representing important characters, emotions, or ideas. 

The score’s melodic core serves as a unifying element, connecting different scenes and creating a sense of coherence and emotional resonance throughout the film.

Harmonic Palette

In film scoring, the harmonic palette is the collection of chords, harmonies, and musical textures used to underscore a film. These harmonies are carefully chosen and blended by composers to evoke specific moods and atmospheres. 

Harmonies can range from dissonant and tension-building to consonant and emotionally resonant, and they play an essential role in shaping the overall emotional impact of the film.

Rhythmic Drive

In film music, rhythmic drive refers to the tempo and energy of the music. Composers use rhythm to enhance action scenes, create tension, and add dynamism. 

They can influence the viewer’s emotional response and advance the story by varying tempo, meter, and rhythm patterns, making them an essential element of film composition.

Orchestration and Arrangement

Orchestration and Arrangement

In music, orchestration and arrangement involve selecting instruments, their roles, and the organization of musical elements to create a cohesive and expressive composition, often for a larger ensemble.

Instrumentation Choices

When composing music for film soundtracks, instrumentation options include selecting specific instruments and their combinations to convey the desired atmosphere and texture. 

Composers take into account the timbre, range, and unique characteristics of instruments to create a distinct tonal palette that compliments the film’s story while also adding depth and emotional resonance to the score.

Voices in the Score

In film music, voices can include both vocal and instrumental elements. Composers use voices to convey emotions, themes, and motifs within the story, whether they use a choir, solo singers, or instruments that mimic the human voice. 

Vocal elements enhance the music’s expressiveness and storytelling, enriching the cinematic experience.

Texture and Dynamics

The overall synchronous sound in film quality and volume fluctuations in a film soundtrack are called texture and dynamics. Composers shape the emotional impact of music by manipulating these elements, which range from delicate, intimate moments to powerful climaxes.

The interplay of structure and dynamics within the soundtrack creates depth, tension, and a dynamic flow, enriching the film’s narrative.

Thematic Development in Film Music

Thematic Development in Film Music

The transformation and elaboration of recurring musical motifs in film music to reflect character growth, narrative progression, and emotional nuances, enhancing the storytelling experience, is known as thematic development.

Establishing Themes

Establishing themes in film music entails introducing specific melodies or musical motifs and linking them to characters, locations, or ideas. 

These recurring themes help the audience connect with the story by providing musical cues that elicit emotion and create a sense of continuity throughout the film.

Motifs and Variations

Motifs are short, distinct musical phrases that convey specific elements in a film, such as a character’s characteristics or the meaning of an object. 

Variations adapt these motifs to various contexts, allowing composers to express changing emotions and developments while maintaining thematic continuity.

Leitmotif Technique

In film music, the leitmotif technique is a compositional technique in which recurring musical themes represent specific characters, concepts, or emotions. These motifs change as the story progresses. 

This effectively manages the audience’s emotional involvement while providing insight into the story’s depth and complexity. Composers like Richard Wagner popularized this technique, frequently used in film music.

Synchronization with Visuals

Synchronization with Visuals

In film scoring, synchronization with visuals refers to the precise alignment of music to on-screen actions and timing. Composers make sure that the music complements enhances, and perfectly matches the visual elements of the film.

Scoring to Scene

The art of creating music that reflects and enhances the emotional and narrative dynamics of a specific film sequence or scene is known as incidental music. 

Composers take rhythm, mood, and character interactions into account when creating music that effectively supports and enhances what is happening on screen, resulting in a harmonious blend of image and sound

Emotional Resonance

The ability of film music to evoke deep and authentic feelings in the audience is referred to as emotional resonance. Composers use melodies, harmonies, and instruments to connect with viewers emotionally, amplifying the impact of the narrative and leaving a lasting impression. 

This reverberation enhances the cinematic experience, making it more memorable and influential.

Film Music Composition Techniques

Film Music Composition Techniques

Film music composition techniques include a variety of approaches to creating music that enhances storytelling, such as thematic development, orchestration, rhythm, and dynamics, all of which are intended to serve the cinematic narrative and emotional depth.

Tempo and Meter

When writing film music, tempo and beat are critical components. Composers select the tempo (speed) and meter (time signature) of a piece based on the mood and pace of the scene. 

Variations in tempo and meter can influence the emotional response of the audience and create momentum or tension, enhancing the narrative impact of the film.

Sound Design Integration

Sound design in film music is all about matching the musical score to the sound effects in the film. Composers collaborate with sound designers to create a seamless blend of music and ambient sounds, enhancing the immersion and emotional depth of the film experience. 

This integration contributes to the film’s coherent and effective aural landscape.

Sound Elements of a Film Soundtrack

Sound Elements of a Film Soundtrack

A film soundtrack’s sound elements include dialogue, music, sound effects (foley), and ambient noise. These elements work together to provide the audience with a rich and immersive audio experience.

Dialogue

Dialogue in a film refers to the spoken interactions and conversations between characters. It is crucial in conveying the plot, character development, and exposition.

Foley

The art of recreating or enhancing sound effects for a film is known as foley. Foley artists use a variety of props and techniques to create realistic, synchronized sounds that correspond to on-screen actions like footsteps, door creaks, and object handling.

Sound Effects

Sound effects are sounds that enhance a film’s visual elements. They can be natural, like thunder or birdsong, or artificial, like a car crash or a laser beam.

Background

The auditory backdrop for a scene is provided by background sound, also known as ambient sound. Environmental noises such as wind, traffic, or the subtle hum of a room are included, adding depth and realism to the setting.

Music

A film soundtrack’s music is the composite score or songs used to evoke emotions, enhance storytelling, and set the mood. It enhances the narrative and significantly contributes to the cinematic experience by creating atmosphere and emotional resonance.

Essential Elements of a Memorable Film Score

A good film score necessitates the following elements:

Thematic Consistency

A strong, recurring musical theme that engages the audience and reinforces the film’s narrative.

Emotional Depth

The ability to elicit and enhance a wide range of emotions by the story’s mood.

Timing and Synchronization

To create a seamless auditory experience, precise coordination with on-screen action is required.

Variety and Contrast

It balances various musical elements to avoid monotony while supporting the nuances of the narrative.

Memorability

The score should have a long-lasting impact, becoming instantly identifiable and associated with the film.

Unity and Cohesion

For a consistent sonic palette, a harmonious blend of instruments, harmonies, and dynamics is used.

Adaptability

The music should be adaptable to changes in the story’s pacing and mood.

Innovative Soundscapes

To provide a distinct auditory identity, use unique sounds and creative instrumentation.

Effective Dynamics

Changing the volume and intensity to correspond with the ebb and flow of the film’s events.

Seamless Integration

Use dialogue, sound effects, and ambient noise to create a complete auditory experience.

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FAQs about Elements of a Film Score

A film score is music composed and orchestrated precisely for a film. It contains a variety of musical elements, such as melodies, harmonies, rhythms, and instrumentation, all of which are carefully crafted to enhance the emotional impact, storytelling, and overall cinematic experience of the film.

A film soundtrack usually consists of three major components: dialogue, sound effects, and music. These elements contribute to the film’s rich auditory backdrop, with music essential in conveying emotions, setting the mood, and reinforcing the narrative.

A theme in a film score is a recurring musical motif or melody associated with specific characters, locations, emotions, or ideas in the film. Themes serve as a unifying musical element, assisting the audience in connecting with the story and characters, and they play an essential role in enhancing the film’s storytelling and emotional resonance.

A film score is typically composed by a film composer or a music composer specializing in film scoring. The composer works closely with the director, producers, and editors to create music that complements the story, characters, and director’s vision, enhancing the overall cinematic experience.

Conclusion

A film soundtrack is a versatile musical tapestry that enhances the cinematic experience. It is a powerful tool for shaping a film’s atmosphere, conveying emotion, and guiding the audience through the story. 

It comprises melodies, harmonies, rhythms, instrumentation, dynamics, and thematic elements. An expert composer orchestrates the synthesis of these elements, ensuring that the music blends seamlessly with the visual elements of the film, resulting in an engaging and unforgettable cinematic journey for viewers.

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Take a look at our Syllabus

PART ONE – Chordal State Lecture

  • Chordal States – constantly change based on harmony, melody, and film emotion
    • Grounded state versus Ungrounded state.
      • Grounded states and examples
      • Ungrounded states examples including altered tone degrees or dissonance.
    • Tools to use in between Grounded and Ungrounded, when you don’t know what the emotion will be:
      • Lydian Mode “chord” – Root + Major Third + Flatted 5th
      • Augmented triad example
      • Suspended triad
      • Intervallic triad
    • Spotify Listening – Film Score Intensive 1 playlist.
    • Homework Session – Thor Love & Thunder cue

PART TWO – Spotting, Dialog, Scoring Devices

  • Questions to ask at a Spotting Session
  • Writing around dialogue
  • Musical Devices – Key, Mode, Register, Tempo, Density, etc
  • Review Michael’s Thor cue – introduction to the review process

PART ONE – Animated Scoring and intro to Harmonic textures

  • Review of students’ Thor cue
  • Monophonic Orchestration Style (#1) from George Frederick McKay’s Creative Orchestration – 8 Orchestra Textures
    • Can be a solo instrument, doubled in octaves, or unison at same register with different instruments.

Homework – Sonic the Hedgehog cue

PART TWO

  • Review of students’ Thor cue

PART ONE – Expanded Harmony and intro to comedy writing

  • Chordal Harmony (#2) and Onomatopoeia (#8) Orchestration Style
    • Chordal Harmony – melody is supported by chords, without countermelody or conter-rhythm, in its entirety.
    • Onomatopoeia – music sounds like its subject – any musical device you can think of.
  • Review of students’ Sonic cue
  • Kids’ Music and Comedy – Types of writing – bumper-based shows, rock/pop, cheesy and sparse, short stings or reactionary scoring, electronic/EDM, classic lo-fi, instrumentation, etc.

Homework – Little Margo cue

PART TWO – THURSDAY-SCI FI Music, Chromatic Expansion and Hans Zimmer Music

  • Review of students’ Sonic cue
  • “How DUNE Composer Hans Zimmer created the Oscar-winning score l Vanity Fair” YouTube video
  • Review of students’ Little Margo cue

PART ONE – Chromatic expansion, polyphonic texture, Sound design drones

  • Polyphonic Writing, Orchestration Style – consists of two or more simultaneous melodic lines. Similar to fugues or counterpoint. Maybe side by side to start, then together.
  • Spotify listening playlist – Polyphonic Harmony
  • Chromatic Expansion – Take the top voice and go up chromatically while chords change underneath.
  • Review students’ Little Margo cue
  • Making a Drone using a Synth Plugin
  • Homework – Mandalorian cue

PART TWO – Live Scoring “star Wars” Speed Writing

  • LIVE Scoring session – Star Wars Carbonite – spotting and scoring
  • Loopback sample setup

PART ONE – Modulations, secondary harmonic dominants, James Bond Music(SPY)

  • “Kobe Bryant’s Greatest Speech – BEST Motivation Ever” YouTube video
  • Review of students’ Mandalorian cue
  • Secondary Harmonic Dominants (teoria.com) – method of prolongation of the chordal structure and movement to another chord or key, including false cadences.
  • Spotting session – Golden Eye cue
  • Spotify playlist – Bond Music – Spy music – review instrument palette and playing styles.

WEEK 5 PART TWO – Templates Intro including libraries, MIDI CC

  • “John Barry and David Arnold – The Music of James Bond” YouTube video – music review
  • MIDI CC’s – 1, 7, & 11 – how to get a quick and dynamic response from brass and strings.
  • Michael shares a look at his Template and favorite Libraries.

PART ONE – James Newton Howard, Trailer music,

  • “The Pretty Woman soundtrack changed my career / James Howard Newton on Composing” YouTube review.
  • Review of students’ Golden Eye cue
  • Trailer & Promo Music – both part of music library music
    • Promo – Station promotes a new show or episode coming up
    • Trailer – written in shorter sections, not a lot of modulation or melody, with editable hit points, ostinato, swells, etc.
    • Spotting session – Joker Trailer cue

PART TWO – Guest in depth dive of Vienna Ensemble and Midi mapping/articulations

Guest teacher Steve Steele – Creating Articulation Maps, Vienna Ensemble Pro, Babylon Waves Art Conductor, MIDI CC’s, creating a workflow and Aux’s in your Template in detail.

PART 1 – Sound Design,Reharm progressions, Motifs and themes

  • Sound Design – anything non-orchestral or non-band oriented
    • Best chance of success in trailer music if you are good at sound design – more important than how good you are at orchestral music.
  • Spotify listening playlist – Sound Design
  • Incorporating Sound Design alongside Orchestral music in trailers, so you can hardly tell which is which. Strings and Synths made to sound like one thing – together.
  • Review of students’ Joker Trailer cue
  • Spotting session – Star Wars Return of the Jedi cue.

PART 2 – Reharm discussion including John Williams, Hybrid Brass

  • Reharmonization – cool chord progressions
    • vi-IV-II is a very powerful one, cinematic, gets you out of one key
    • vi-IV-VII keeps building and overcoming.
    • Variations: I-iv6-II Great for REVEALS with the last chord
  • Hybrid String-Synth and Brass-Synth creation
    • How to make a Hybrid Synth & Orchestral String instrument from scratch, including many FX plugins
  • Star Wars Theme Reharmonization ideas

PART 1 – SATB Scoring, Homophonic textures, Musicals

  • Homophonic Texture orchestration style – Melody with texture of chords underneath. SATB
  • Review of students’ Star Wars Return of the Jedi cue.
  • Homework – Lion King cue

PART 2 – Live Satb Scoring, Voice Leading In Film Scores

  • Review of students’ Star Wars Return of the Jedi cue.
  • LIVE Scoring – SATB
  • “How to Get From Chord to Chord – Voice Leading Music Theory by Odd Quartet” YouTube video review
  • “The Orchestration Method that ALWAYS Works by Ryan Leach” YouTube video review.

PART ONE – ADVENTURE MUSIC, Advanced Orchestral Devices

  • Flying and Adventure music – instrumentation and characteristics
  • Review of students’ Lion King cue
  • Homework – Jurassic Park cue
  • Orchestral Devices
    • Bi-tonal division – ability to superimpose other modes over/under your melody
    • Metric Modulation
    • Elongation
    • Melodic Counters
    • Register Division
  • Analysis of 1 minute of John Williams’ Jurassic Park Conductor’s score

PART 2 – Music Business Part 1, Music Libraries, Brand Development

  • Review of students’ Lion King cue
  • Analysis of Jurassic Journey to the Island
  • Music Business – Pitching to Music Libraries – What to Do
    • Creating your own catalog, brand and unique perspective.
    • Write a few paragraphs about your “Brand”.

PART ONE – Westerns And Their Traditional Orchestral Devices

  • Review of students’ Jurassic Park cue
  • Western Music review – instrumentation, characteristics, etc
    • Western Sub-Styles –
      • The Good, The Bad and The Ugly
      • Aaron Copland Heroic style, such as Billy the Kid
    • Spotify listening playlist – Westerns FSS
    • Spotting session – Butch Cassidy cue
  • Review of Western music sample libraries

PART TWO – Writing Transitions, Vertical And Horizontal Compositional Syles

  • Review students’ Jurassic Park cue
  • Transitions in compositional scoring
    • Trumpet Transition sample
    • Displaced Entry Transition
    • Major 7 on the V chord Transition
    • Rhythmic Displacement Transition

PART ONE – Orchestral Reductions, Holst Analysis And Uses

  • Review students’ Butch Cassidy cue
  • 20th Century Orchestration Style –
    • Holst: The Planets listening and review instrumentation and characteristics
  • Analyze “Mercury, The Winged Messenger” section from The Planets, and do a Score Reduction.
    • Dovetailing – when you move the melody or something up and down in register and section of the orchestra.
    • Major Tetrachords
    • Staggered triads in the Harp
  • “The Planets: Mercury, the Winged Messenger Score Reduction and Analysis” YouTube video
  • HOMEWORK – Spiderman cue

PART TWO – Invervalic Writing,in Class Score

  • Review students’ Butch Cassidy cue
  • Intervalic writing style (from Paraschetti book on 20th Century writing) – can be used under dialogue and can also be a way to transition between tension and release. The point is to create tension under the score without key and mode. Move by chord or by single notes. Every interval in a melody has an emotion. Review each one.
    • Two levels to Intervallic writing – Melody and Harmonization

LIVE scoring – write a melody with 2 woodwinds, with 4 changes in the melody, 4 intervals. Harmonize with another instrument underneath. Note change in emotion.

PART ONE – Hybrid Scoring Intro

  • Review students’ Spiderman cue
  • Hybrid Sound Design Music inspired by Songs
  • How to make a Pulse from scratch, including FX plugins
    • Favorite plugins and libraries
  • Spotting session – The Matrix lobby shootout cue
  • Spotify listening playlist – Hybrid Scoring

PART TWO – Advanced Sound Design And Project Pitch Creation

  • Review students’ Spiderman cue
  • Stylus RMX and REX files
  • Audio Mangling tools and favorite plugins
  • LIVE scoring – Record something audio, chip it up, reverse, delays, distortion, glitches, etc. Make an instrument out of it.

PART ONE – Music Of Jerry Goldsmith, Sci Fi, Horror Music

  • Review students’ The Matrix cue
  • Horror music – instrumentation and characteristics, sample libraries
  • Alien soundtrack by Jerry Goldsmith analysis
  • Spotify listening playlist – Week 4 FSS Horror
  • Spotting session – Prey (Predator 7) Final Battle Predator vs Naru Fight Scene cue

PART TWO – Mixing Part One

  • Review students’ The Matrix cue
  • Mixing – Thing in Frequency Ranges. Group tracks by frequency
    • How to treat Tracks and Stems
      • EQ can be built into your Template. Every project may be different, though.
      • Make a Bus/Aux Track for each plugin effect.
    • Compression, Reverb, EQ etc. concepts and products
    • How to Set Up a Master Bus

PART ONE – Atonal Music

  • Review students’ Prey cue
  • Atonal music style – instruments, characteristics, sample libraries
    • Uses shapes and colors outside key and mode.
    • Doesn’t have to be dissonant all the time.
    • Nebulous emotional center
      • Two ways to increase emotional intensity – speeding up or down, crescendo/decrescendo
      • Homogenous instruments or Non-Homogenous instruments
    • Spotting session – Mizimono cue (Hannibal season finale)
    • Spotify listening playlist – Atonal Class Music
    • Ideas for Scoring Atonal Music
      • 12-tone system of writing
      • Use Intervals in dissonant shapes
      • Alternate mild consonant interval to a more dissonant interval in succession
      • Clusters

PART TWO – Switching States And Emotions Rapidly, Midi Mockup

  • Review students’ Prey cue
  • LIVE Scoring – Atonal to Tonal – Grounded to Ungrounded
  • How to Record Initial Volumes into MIDI Instrument Tracks (and Gainstaging)
    • Adjusting CC’s on instruments, stems, leaving headroom on the master bus

PART ONE – Team Scoring Week, Bernard Hermann

  • Spotify listening playlist – Film Score History – Bernhard Herman, Vertigo & Psycho film scores
  • Review students’ Mizimono cue
  • Working with a Team – Work in pairs remotely to write Great Wolf Lodge cue.
    • Some of the best film score composers today have teams – Hans Zimmer, Harry Gregson-Williams, etc.
    • Who will write what? Style? Tempo? Key? Who will do the Deliverables to submit to Producer?
  • HOMEWORK – Great Wolf Lodge cue

PART TWO – Stacks And Ensemble Writing, Master Business Planning

  • Review students’ Mizimono cue
  • LIVE Scoring – Make an Instrument by Stacking instruments – Omnisphere is great for this. Trailer music and music library work, and Pop – these will require that you bring something new to the table. Can turn them into Risers, resample them, add FX plugins, etc.
  • Write a Master Plan – Don’t be on the No Plan Plan. Make a list of people, organizations, events, etc that you can access to promote yourself and make connections and relationships.

PART ONE – Computer Technology, Romantic Comedies

  • Computer configuration – Tech spec discussion regarding requirements for a good computer or network – size, speed, etc.
  • Review students’ Great Wolf Lodge TEAM cue
  • Romantic & Romantic Comedy music –
    • Instruments, writing styles, sample libraries
    • Woodwinds feature heavily, Pizzicato, Lydian mode, mallets, not super heavily orchestrated, etc
  • Write a Romantic Theme for violin. Deliver a chart for just the violin part. Send audio of orchestration or accompaniment with separate click track. Next week, we’ll have a live violinist in the studio to play and record your theme.
  • Spotify listening playlist – Romantic Comedy Score review
  • HOMEWORK – Titanic cue

THURSDAY – LIVE RECORDING IN CLASS WITH STRING PLAYER

PART ONE – Sync Music,promo Music, Hits Slams, Drums

  • Review students’ Titanic cue
  • Sync Music – Different styles, musical beds, used before TV shows, announcing new series/episodes, in movie trailers.
    • Definite format to this style
    • Big drum sounds
    • Editable hit points
    • Original music or Soundalikes
  • How to get your music in front of the right people. Who are the right people? How does the business of Sync music work?
  • Spotify listening playlist – PROMO Music/Sync playlist.
  • HOMEWORK – Back to the Future cue

PART TWO – Trailer Music<,music Pitch Part Two

  • Review students’ Titanic cue
  • LIVE Scoring – Trailer ending sample (last 15 seconds)
    • BIG ending, fast and frantic
    • Rise, Post Hit, then a sparkly thing at the end
  • Samples Libraries good for Trailer sounds

PART ONE – Video Game Music And Industry

  • Video Game Music – Non-linear, think in “blocks” of music
    • Must loop right at the zero point and create a tiny fade at the front and the end. Snap to Zero Crossings.
    • Emotional Mapping
    • Vertical Resequencing, Horizontal Resequencing
    • Cross Fading
    • Transitions
    • Middleware – Game Audio Engine
  • Spotify listening playlist – Video Game Music Mix
  • Spotting session – Video game cue “sections”. Deliver loopable audio regions for selected parts of the game.
  • Review students’ Back to the Future cue

PART TWO – Advanced Chordal And Tectural Scoring Techniques

  • Review students’ Bank to the Future cue
  • LIVE Scoring – Leading Shapes, Whole Tone Scale – Go from Lydian shape to resolution, which needs to modulate somewhere else. Use Leading or Common Tone resolutions style.
  • Leading Shapes, Whole Tone Scale – very useful if someone comes to a new place, or if there are mixed emotions.
    • Two whole tone scales – one starting on C and one starting on C#. Triads are all Augmented triads. Lots of Lydian Shapes in the Whole Tone Scale.
    • Leading Resolution
    • Common Tone Resolution
    • Alternate Root Notes

PART ONE – Mixing And Mastering

  • How the Video Game music business works – special events, etc
  • Review students’ Video Game loops
  • Mixing & Mastering Considerations –
    • Think front to back – far to close
    • Where to put reverb plugin in the signal chain
    • Frequency Masking
    • Drum sample mixing
  • HOMEWORK – Toy Story cue
  • Students screenshare live and “show and tell” their mixing workflow for the Toy Story cue. Have DAW open to show us.

PART TWO – Guest Composer

  • Guest composer Gigi Meroni Animation music specialist.
    • References for music given by Producers.
    • Are most of your episodes shorter these days?
    • Do you get writer’s block?
    • What are some good ways to try to get work when you’re just starting out?
  • Mixing Drums – Split them out and mix separately – LOTS of detail regarding drum positioning, panning, bleed, overhead mics, EQ ranges for each drum type, etc.

PART ONE – Personal Plan, Business Development, Final Full Episode

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • HOMEWORK – Wolf Lodge FINAL 24-minute episode cue
    • Theme for each character
  • ScoreCraft Academy Post Class Action Plan review
  • 20 questions to answer in detail about what concrete things you will do within different timeframes to get you further along in your composing career

PART TWO – Speed Write

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • LIVE Scoring – Speed & Accuracy – How far have you come?
    • Section vs Section of Orchestra contrast. Write one complete section of the orchestra by itself, not across sections, and write it into another section of the orchestra.

PART ONE – Synthesis

  • “Analog Synths Explained” from Groove 3 video by Scott Dugan
    • Oscillators, Filters, Envelope Generator, Attack/Decay/Sustain/Release ADSR, Low Frequency Oscillator (LFO’s)
  • Favorite analog synth plugins and hardware.

PART TWO – Getting Paid, deliverables, Live Sound Design Session

  • Music Library Business format and payment process, royalties & publishing
  • LIVE Scoring – Sound Design Synthesis – Learn to use an LFO. Write a 20 second Intro to a trailer.
  • Omnisphere’s LFO – How to assign and use LFO’s

PART ONE – Brand Development, director Producer Interviews

  • What is your BRAND? It’s more than just music. It’s your journey. Document your journey, and share it! Do it in a way that will inspire people.
  • What will you bring to a project?
  • Why am I right for the project?
  • Michael interviews each student with the questions above.
  • Important concepts to convey to potential project managers –
    • I’m an expert, not a jerk about it.
    • I have a passion for music.
    • I have a passion for the project.

PART TWO – Personal Development, Score Reductions

  • Conductor’s Score Reductions review
    • Scherzo for Motorcycle and Orchestra score reduction and analysis Indiana Jones (NMK Music)
    • Finlandia score reduction and analysis (NMK Music)
  • Uncommon Sense for Creative People – Whitty-isms
  • Submit “My Strengths and Weaknesses” paragraphs to Michael. Notice how they may have changed since the beginning of the class.

Final Wrap

  • No Zoom – just hanging together.
  • “Alan Silvestri breaks down the composing workflow behind his blockbuster scores” (by Native Instruments) video
  • “Watch this every day and change your life – Denzel Washington Motivational Speech 2023” by AlexKaltsMotivation video
  • Final