May 15, 2019 | Composition, Daily Film Scoring Bits
The Right Way of Finding Ideas There is no wrong or right way to compose music. Essentially, what works best for you to get ideas is the right way. Many people feel like cheating when finding ideas by playing random things on the piano or even clicking away in the...
May 8, 2019 | Composition, Daily Film Scoring Bits
Influence of Sample Limitations on Composition A lot of what defines today’s style in commercial orchestral music is actually defined by the limitations of samples. Certain things clearly can be pulled off more realistically with samples than others. This was even...
May 1, 2019 | Composition, Daily Film Scoring Bits
Alternative Chord Structures The structure of having a chord consisting of root, third, fifth etc. is nothing that is written in stone. Alternative chord structures may have a very interesting and useful sound and still sound like a fully working chord. A nice field...
Apr 17, 2019 | Composition, Daily Film Scoring Bits
9-1 Resolutions In practically any chord type and progression you can add very filmic sounding inner voices by relying on the 9-1 resolution. When you for example use a C major chord it will give you a colourful inner voice when some instrument (apart from the bass of...
Apr 10, 2019 | Composition, Daily Film Scoring Bits
Real Musicians and Rhythmic Complexity One of the most common reasons for slowdowns in recording sessions with real musicians are (unnecessarily) tricky rhythms. As a composer/orchestrator you should always be sure that real musicians are not sequencers that can play...
Apr 3, 2019 | Composition, Daily Film Scoring Bits
Melodic Target Notes Melodic target notes of a phrase should be avoided for as long as possible before reaching that target. For example, if your melodic phrase has a target note of a c, you should try to not use that c (if possible also in no other octave) in the...
