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 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....
Jun 11, 2019 | Daily Film Scoring Bits, Film Scoring
Disguising Tempo Changes On rhythmically active music, tempo changes are quite obvious and can drag so much attention on themselves that they might not be appropriate in certain scoring situations. But of course they might be necessary as the scene changes pace etc. A...
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...
Mar 14, 2019 | Daily Film Scoring Bits, Technical
“True Legato” Samples Lag When you’re working with true legato sample patches (where the transitions between notes have been sampled as well) be aware that depending on the instruments, the lines will always feel more or less late. Real players will always...
