Dec 18, 2019 | Composition, Daily Film Scoring Bits
“Treading Water” Between Hit Points Writing music for film often has a danger of just writing “bridgeing” music that just fills time until the next hit point. While sometimes it can’t be avoided to just fill bars between hit points in order to not have an overly...
Dec 11, 2019 | Composition, Daily Film Scoring Bits
Balance Between Surprise and Being Expectable Compositions that are considered attractive and interesting by most listeners usually find a balance between being expectable and suprising. This applies from the smallets structures to the largest extents of the...
Aug 7, 2019 | Composition, Daily Film Scoring Bits
Rhythmic Offset of Key Motifs In order to keep a composition interesting, try to rhythmically offset your motif now and then. If you’re melodic idea is based on a motivic idea being placed on every downbeat of a bar, try moving that motif to a different rhythmical...
May 24, 2019 | Daily Film Scoring Bits, Orchestration
Ten Seconds per Texture The ear/brain needs about ten seconds to adjust to and digest a new musical texture so changing orchestration colours roughly in that tempo is something that feels quite natural/interesting and is easy to digest for our brain. However using...
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...
