Jan 10, 2019 | Daily Film Scoring Bits, Technical
Key Switches vs. Many Tracks The majority of sample libraries nowadays rely on so-called key switches. By triggering a (usually very low) note outside of the range of the instrument, you can switch to another articulation of the same instrument (e.g. switch between...
Jan 9, 2019 | Composition, Daily Film Scoring Bits
V-I Cadences and Extensions Final V-I cadences in important form sections (e.g. like the end of your main theme) can start to sound quite pedestrian and boring especially when they occur very often in the piece. Of course, the quality of a V-I cadence is one of the...
Jan 8, 2019 | Daily Film Scoring Bits, Film Scoring
Scoring Perspective There are usually several perspectives from which you could score a certain scene. Usually, you have the character’s perspective, the audience’s perspective and the perspective of an omniscient narrator. Often, there are even more perspectives and...
Jan 7, 2019 | Daily Film Scoring Bits, General
Be Easy to Work With Clients most of the time value a lot how easy it is to work with, sometimes even more than your musical expertise. It is one of the biggest nightmares for any producer/director etc. to work with a composer who isn’t able or willing to communicate...
Jan 4, 2019 | Daily Film Scoring Bits, Orchestration
Notes Near the Range Limits of Instruments For practically every woodwind and brass instrument, there is the general rule that the closer to the limits of the range you get, the less controlled the sound will be. This means that either the intonation gets problematic...
