Dec 12, 2018 | Composition, Daily Film Scoring Bits
Atonality in Film Scoring Atonality can be a great colour when writing music for films and can create a unsettling, almost painful feeling. However, as it is already extremely demanding to “understand” the structure of this music when you hear it even without a movie,...
Dec 11, 2018 | Daily Film Scoring Bits, Film Scoring
Dramatic Links beyond Leitmotifs There are many more possibilities when scoring a film (or rather when writing music at all) to create dramatic connections. Every single musical element can serve the purpose of connecting cues. Obviously, a melodic idea is the...
Dec 10, 2018 | Daily Film Scoring Bits, General
Relying on only a Few Clients Always take care to have a wide range of customers. When you are in a comfortable position of getting a steady flow of projects and therefore income from a few customers, you might not see the urgent pressure to aquire new customers but...
Dec 7, 2018 | Daily Film Scoring Bits, Orchestration
“Real Orchestra” Problems Coming from a sampling background, many young composers are surprised about what main problems usually arise in “real orchestra” recordings that are practically non-existent in the sample world. When recording a real ensemble, the...
Dec 6, 2018 | Daily Film Scoring Bits, Technical
Mock-Up Weaknesses If you can not mock-up an instrument convincingly in a piece (that eventually will end up without recording of real instruments in a score) due to the lack of decent libraries or just out of the fact that this instrument can not be simulated...
Dec 5, 2018 | Composition, Daily Film Scoring Bits
Diminished Chord Function Diminished chords usually serve the function of a dominant seventh chord, usually targeting to a chord a with a root a semitone higher. For instance the chord C#dim (C#-E-G) wants to resolve to a D or Dm. The reason for that is that the...
