Jul 30, 2019 | Daily Film Scoring Bits, Film Scoring
Dialogue Scoring Avoid anything that draws too much attention on itself when you’re scoring dialogue. This applies especially for instrumental solos but also for uncommon playing techniques or strange registers. Dialogue score usually needs to be as un-obtrusive as...
Jul 29, 2019 | Daily Film Scoring Bits, General
The “Lucky Punch” Project A career as a media composer is incredibly unlikely to launch like a rocket out of nowhere. And yet there are many composers who (secretly) wait for the call from a blockbuster director offering them a job that is several levels...
Jul 26, 2019 | Daily Film Scoring Bits, Orchestration
Three Part Divisi in Two Violin Sections In a situation where you want to spread out three voices over both violin sections, usually the better choice is to divide the second violins into two voices and leave the top voice to the first violins alone. Even though this...
Jul 25, 2019 | Daily Film Scoring Bits, Technical
Safety Takes Whenever you record live instruments, no matter if it is just a soloist or a whole orchestra, always go for “safety takes” if time allows. Those are takes that you do after the point where you are happy with a take. It can and will happen that you don’t...
Jul 24, 2019 | Composition, Daily Film Scoring Bits
Complementary Rhythm A very common musical concept to keep music interesting is to use complementary rhythm. This means, when for example your main melody comes to a rest (e.g. holding for a whole note), you bring in another side line/figure/motif somewhere else....
Jul 23, 2019 | Daily Film Scoring Bits, Film Scoring
Doubling Strong Emotions with Music Strong emotions that are portrayed visually in the movie (e.g. someone crying desperately) feel rather awkward when they get doubled by the music. You are usually better off scoring such moments rather sparsely or possibly even...
