Oct 24, 2019 | Daily Film Scoring Bits, Technical
Overdubbing Small Line-Ups Overdubbing the same instruments to create a bigger and more epic sound only works to a certain extent. While it is possible to overdub a quite large string section to give it a little bit more substance and power against the...
Oct 23, 2019 | Composition, Daily Film Scoring Bits
Dominant7 and Tritone Substitution The reason why dominant7 chords create the feeling of wanting to resolve results from the inherent structure of the chord, specifically the tritone that exists between the third and the seventh of the chord. As an example, let’s look...
Oct 22, 2019 | Daily Film Scoring Bits, Film Scoring
Adding Odd Bars for Hit Points It is a common and well known way to hit hit-points that don’t lay on the downbeat of a bar by inserting one odd meter bar in order to make it fit, however it is also a quite common problem that learning film composers place that odd bar...
Oct 21, 2019 | Daily Film Scoring Bits, General
Negotiating Payment Structure On projects that take quite a long time (like several months), you should make sure to negotiate payments in installments. Even though the prospect of being paid quite a lot of money after the project is exciting, it doesn’t help to pay...
Oct 18, 2019 | Daily Film Scoring Bits, Orchestration
Triple Dynamics The dynamic range of orchestra musicians spans more or less between pp and ff. Triple dynamics, even though used quite regularly especially by inexperienced orchestrators will mostly result in not sounding any different than the double dynamics. Only...
