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...
Jan 3, 2019 | Daily Film Scoring Bits, Technical
Samples vs. Real Musicians Real musicians don’t work like samples which brings advantages and disadvantages. Musicians are people with a musical understanding and a sense of context, you don’t need to explain to them the obvious things, neither in written form nor...
Jan 2, 2019 | Composition, Daily Film Scoring Bits
Keeping Up Rhythmical Momentum One thing many learning composers/orchestrators struggle with in orchestral music is to keep up a rhythmical momentum without relying on a drum kit or trailer music like ostinatos or trailer music like use of the percussion section (as a...
Dec 21, 2018 | Daily Film Scoring Bits, Orchestration
ORCHESTRATION STANDARD RULES One of the biggest misconceptions about orchestration is that people who just start to learn it think there is a definite set of rules to follow like “If situation x then always do y.” There are no such things as “Top orchestration...
