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What Are the Genres of Film Scores?

What Are the Genres of Film Scores

Table of Contents

Movie soundtracks serve as the often unsung heroes of the film industry, providing the emotional backdrop that enhances the cinematic experience. These carefully chosen compositions, available in various genres and styles, play a crucial role in complementing the tone and atmosphere of the movie. Whether used in heartfelt romantic moments or breathtaking action sequences, these musical scores are essential to storytelling. This blog delves into the diverse world of film music genres, unveiling the enchanting art of bringing movies to life through music.

Key Takeaways

  • Movie soundtracks are a vital but often overlooked aspect of the film industry, adding emotional depth and storytelling power to the cinematic experience.
  • Film scores have evolved from live music accompaniment in silent films to fully synchronized soundtracks.
  • Film music serves various purposes, including enhancing emotions, setting the tone, and aiding character development.
  • The composition process involves spotting, composing, orchestrating, recording, editing, and mixing.
  • Iconic film scores by renowned composers have significantly impacted the industry.
  • Film scores encompass genres, from orchestral and classical to jazz, pop, rock, blues, new age, ambient, and ethnic/world music styles.
  • Silent films were an early form of cinema without synchronized sound but often featured live music accompaniment.
  • “The Jazz Singer” is credited as one of the first films with synchronized sound, marking a pivotal moment in film history.
  • Music in film matters because it enhances emotions, sets the mood, and aids character development.

The Fundamentals of Film Scores

The Fundamentals of Film Scores

A movie’s soundtrack is a crucial component of the cinematic experience. They are essential for evoking strong feelings in the audience, advancing the narrative, and making an impact. 

The impact of a film is greatly enhanced by its soundtrack, be it the suspenseful tunes of a romantic scene or the colorful score of an action-packed scene. We examine film music’s composition, history, and function in examining the genre of the movie. 

Historical Evolution

Since the beginning, music for movies has been an essential medium component. When the movies first came out, live musicians or small orchestras would play music during the silent films. 

The silent film era gave way to sound as technology developed, making synchronized soundtracks possible. Max Steiner’s 1933 score for King Kong, one of the most famous early film scores, signaled a dramatic change in the use of music to enhance narrative.

Role and Function

Film scores perform several crucial functions in the cinema:

Emotional Enhancement

Cinema scores offer an emotional context for the narrative, guiding viewers’ emotions and strengthening their bond with the characters and story. They can arouse various feelings, including fear, joy, and sorrow.

Mood Setting

Musicians utilize their craft to set the mood and ambiance of a scene. For instance, a romantic movie would use delicate melodies to portray love and intimacy, while a horror movie would use spooky and terrifying music to evoke fear.

Character Development

Film scores can be used to highlight the character’s development and personality. Every character could have a musical motif or theme that helps the audience relate to or differentiate between them.

Pacing and Rhythm

Additionally, music can affect a scene’s rhythm and pacing. While slower, more melodic music can give dialogue-driven scenes greater depth, faster, more intense music can heighten the excitement of action sequences.

Composition Process

Composition Process

Film composers, directors, and other essential creatives work together to create a film’s score, which is an exacting process. An outline of the composition process is provided below:

Spotting

The director and composer collaborate when deciding where in the movie to use music. This technique, known as “spotting,” is locating critical moments at which music will be most effective.

Composing

The composer starts writing the music, frequently using synthesizers or an orchestra to produce the pieces. When creating the score, they must consider the movie’s themes, characters, and intended feelings.

Orchestration

The music is orchestrated once composed, meaning each instrument and part is chosen. The orchestration can significantly influence the whole sound and impact of the score.

Recording

Depending on the budget and scope of the movie, the music is recorded using live musicians, digital instruments, or a studio.

Editing and Mixing

The recorded music is perfectly synced with the film through editing and mixing. This procedure ensures the music flows naturally with the dialogue and visuals.

Iconic Film Scores

Numerous soundtracks have achieved independent fame over the years. With their enduring soundtracks, renowned composers like John Williams, Hans Zimmer, Ennio Morricone, and Bernard Herrmann forever altered the film industry. 

Popular film scores include the emotional resonance of “Schindler’s List,” the triumphant theme from “Star Wars,” and the stirring score from “Psycho.”

The Spectrum of Film Score Genres

Film scores come in various movies by genre, providing an auditory experience as varied as the films. Discover the various genres of film score music by digging into this musical kaleidoscope.

Orchestral and Classical Music in Film Scores

Orchestral and Classical Music in Film Scores

For many years, the foundation of movie soundtracks has been made up of orchestral and classical pieces. They elevate everything from dramatic battles to heartfelt love stories with their timeless elegance and expressive power, making them a cinematic mainstay.

Jazz: A Genre Full of Improvisation

Jazz: A Genre Full of Improvisation

Jazz’s improvisational style lends films a feeling of liveliness and spontaneity. This genre gives the story a dynamic element and thrives on adaptability.

The Pop and Rock Beat in Movies

The Pop and Rock Beat in Movies

Pop and rock music give movies energy and frequently reflect the characters’ and scenes’ rebellious and youthful spirit. This music for film captivates audiences with its contagious rhythms.

Blues Music: Soulful Expressions in Film

Blues Music: Soulful Expressions in Film

Blues music can convey pain, resiliency, and longing because of its raw emotional depth. It gives characters and stories a heartfelt genuineness in movies.

New Age and Ambient Soundscapes

Viewers are transported to otherworldly realms by the immersive atmospheres of new age and ambient soundscapes. These movie genres are perfect for creating surreal and dreamy cinematic experiences.

Embracing Ethnic and World Music Styles

Film scores incorporating world and ethnic music resonate with various audiences and enhance storytelling with cultural authenticity while providing a window into various global customs and experiences.

Are There Any Films Without Film Music?

Certain movies don’t have the typical soundtracks or music. These movies are frequently called “silent films.”

The Era of Silent Films

The majority of movies in the early days of cinema were silent. These movies had no synchronized sound for sound effects, music, or dialogue. Rather than using text cards or captions, they used them to tell the audience the story and convey the dialogue.

Live Music Accompaniment

Despite lacking traditional cinema music, silent films were frequently screened with live music accompaniment. Depending on the size and requirements of the theater, the musical offerings can vary significantly and include anything from a solo pianist to a small orchestra. 

Live music guaranteed a dynamic cinematic experience while enhancing the film’s emotional impact.

The Transition to Sound

The days of silent film ended with the development of sound technology. The film industry underwent a revolution when sound and images could be synchronized. 

“The Jazz Singer” (1927) is regarded as the pioneering motion picture with synchronized sound, initiating the shift from silent to talkies. This shift paved the way for the development of soundtracks, cinema music, and the evolving use of sound in modern films.

Legacy of Silent Films

Silent films are unique in cinema history, even though they are no longer shown in theaters. They are a window into a bygone era of film history, marked by creativity and originality in narrative and visual design. 

The history of film and the incorporation of sound and music as essential components of the cinematic experience were paved by silent films.

Contemporary Homages to Silent Films

While silent films are no longer the norm, some modern directors have made silent films as a nod to this early cinematic history.

These contemporary silent films pay homage to the history of cinema and the craft of visual storytelling, reminding us of the significant impact these formative years had on the development of the movie industry.

What Was the First Film With a Score?

Many people credit 1927’s “The Jazz Singer” as the first motion picture to use synchronized music. Although there have already been short films and experiments with music and sound effects, The Jazz Singer is widely regarded as a significant turning point in the evolution from silent to talkies. 

It was one of the first feature films to feature synchronized sound (the film contained recorded dialogue and music).

The soundtrack to “The Jazz Singer” was synced with the movie and included cameos by Al Jolson. 

Film history underwent a sea change with the addition of music and spoken dialogue, which eventually paved the way for the widespread use of soundtracks and soundtracks in later films.

The Significance of Music in Film

A movie’s soundtrack fulfills several crucial functions and is essential to the cinematic experience. The following are some justifications for why a movie needs music and why it matters:

Emotional Enhancement

A scene’s emotional impact can be increased, and emotions can be evoked by music. The spectators may experience various emotions, including fear, excitement, sadness, joy, and fear. For the audience to feel connected to the characters and the narrative, there must be an emotional resonance.

Setting the Tone

The music influences a scene’s or the movie’s overall tone and atmosphere. The soundtrack tells the viewer what to expect, whether it’s the teasing melody in a comedy or the menacing music in a horror movie.

Character Development

Character development and personalities can be highlighted with music. Every character could have a distinct musical theme or motif that serves as a means of aiding the audience in recognizing, connecting with, or differentiating between characters.

Creating Memorability

Iconic movie soundtracks are frequently recalled long after the movie has ended. These catchy musical selections have the power to blend into the overall tone of the film and make an enduring impression on viewers.

Cultural and Historical Context

A movie’s soundtrack can give it a cultural or historical context. Music from that era or tradition can enhance the narrative and help viewers fully comprehend the scene.

Famous Film Scores by Genre

Explore the fascinating world of movie soundtracks, where music enhances the telling of tales. Discover iconic movie soundtracks from various genres on this indulging journey through cinematic soundscapes.

Orchestral and Classical Music

The foundation of cinema music is composed of symphonic and classical music, which offers a majestic and enduring atmosphere for narratives in motion pictures. 

Hans Zimmer’s “Gladiator Theme” evokes an epic sense in us, while John Williams’s “Star Wars Theme” transports us to a galaxy far, far away. “The Good, the Bad, and the Ugly Theme” by Ennio Morricone is a prime example of how orchestration can produce timeless soundscapes that cut across space and time.

Jazz Music

Jazz music has a lasting impression on movies because of its improvisational spirit and emotional depth. 

The “Ascenseur pour l’échafaud” soundtrack by Miles Davis creates a somber, atmospheric tapestry that reflects the noir sensibilities of the movie. Duke Ellington’s “Anatomy of a Murder” has a lively, dynamic energy that highlights the versatility of jazz in enhancing cinematic narratives while also elevating the film’s courtroom drama with its toe-tapping, jazz-infused rhythms.

Pop and Rock Music

Film soundtracks benefit from the modern and thrilling dimension that pop and rock music provides. 

The folk-rock charm of Simon & Garfunkel’s contributions to “The Graduate Soundtrack” is ageless, perfectly capturing the rebellious spirit of the time. The band’s epic rock enhances the film’s grandeur, and Queen’s “Flash Gordon Soundtrack” transports us to a sci-fi adventure. 

This shows how pop and rock songs can create iconic cinematic moments.

Blues Music

Blues music, renowned for its lucid and sentimental portrayal, appears in movies thanks to B.B. King’s “Into the Night Soundtrack.” King’s distinctive guitar and passionate vocals give the movie a sensual, longing vibe. 

Through evocative slide guitar melodies and a focus on the haunting beauty of vast landscapes and reflective storytelling, Ry Cooder’s work on the “Paris, Texas Soundtrack” elevates the blues to a contemplative level.

New Age and Ambient Music

The distinct, ethereal quality of new age and ambient music enhances movie soundscapes. Vangelis’ “Blade Runner Soundtrack” elevates the noir aesthetic by enveloping the dystopian world of the movie in a menacing and futuristic soundscape. 

The “Dune Soundtrack” by Brian Eno evokes an unearthly atmosphere that reflects the majestic scope of the film’s intergalactic story and demonstrates how ambient music can carry listeners to far-off places.

Ethnic and World Music Styles

Ethnic and world music styles enhance the cultural depth of film scores. The “Gandhi Soundtrack” by Ravi Shankar envelops us in the complex web of Indian classical music, highlighting the historical and spiritual elements of the movie. 

Tan Dun’s “Crouching Tiger, Hidden Dragon Soundtrack” is a masterful synthesis of orchestral and traditional Chinese elements that adds a captivating element to the martial arts story of the film and demonstrates the influence of other cultures in film.

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You will acquire the competencies required to pursue a rewarding career in the film, television, and music industries through individualized coaching, practical scoring projects, and step-by-step instructions. Discover the countless opportunities in film composition and realize your most significant potential.

Are you prepared to write engrossing movie soundtracks and showcase your musical prowess on a large screen? Take a Master Class at Scorecraft Academy to learn about film composition from professionals in the field. 

This is where your cinematic adventure begins. Contact us today and write the music for the hits of tomorrow!

Conclusion

Many genres come to life in the varied world of film scores. These musical genres enhance cinematic storytelling and advance the craft of filmmaking in different ways. 

These include the timeless appeal of orchestral and classical compositions, the improvisational flair of jazz, the electric rhythms of pop and rock, the emotional depth of blues, the ambient landscapes of the new age, and the global resonance of ethnic and world music styles.

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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