Jul 23, 2019 | Daily Film Scoring Bits, Film Scoring
Doubling Strong Emotions with Music Strong emotions that are portrayed visually in the movie (e.g. someone crying desperately) feel rather awkward when they get doubled by the music. You are usually better off scoring such moments rather sparsely or possibly even...
Jul 16, 2019 | Daily Film Scoring Bits, Film Scoring
Narrative Links Beyond Themes Themes are not the only thing that can be used to identify characters/locations/situations musically. In fact, using too many themes especially on a genre that usually doesn’t have many themes might just become feeling strangely operatic...
Jul 9, 2019 | Daily Film Scoring Bits, Film Scoring
Classical Counterpoint in Film Scoring To have a thorough knowledge of classical counterpoint writing is definitley benefitial to sharpen your musical understanding but the strict classic rules hardly have any application in modern (film) writing. The term...
Jul 2, 2019 | Daily Film Scoring Bits, Film Scoring
First View Experience Many inexperienced composers forget the perspective of the “first view” when scoring a film. Due to the fact that as a composer you watch the movie or scenes so many times your way of perception shifts during that time and you tend to forget the...
Jun 25, 2019 | Daily Film Scoring Bits, Film Scoring
Connecting Close Cues If during the planning of your score you notice that two ore more cues will be pretty close together (meaning less than 30 seconds in between), unless that moment of silence is essential (point of a joke, strong emotional moment etc.), you should...
Jun 18, 2019 | Daily Film Scoring Bits, Film Scoring
Strategies for Writing Music to Unfinished Edits Unfortunately, there are quite often situations where you need to start writing music to an un-locked cut in order to be able to hit the deadline. While this situation is far from ideal due to picture lock dates being...
