Writing music is one thing; writing music to picture is another. In this class I’ll be talking about strategies for thematic development within film structure, handling cue entrances/exits and transitions, techniques for orchestration in and around dialog/sound effects, working with temp tracks, and more. Plus I’ll give you some of[...]
Jazz has had a profound impact on film music and film music composers since the Golden Era; its tonalities and influences are omnipresent even today. With its strong improvisational core (“realtime composing”) and its extensive vocabulary of unique dissonances and consonances, it’s like a supercharger for our compositional engines. It[...]
Starting a piece can be rough. Where to begin? Well you can begin here, with this insanely useful collection of composing “recipes!” Call them inspirations, call them seeds, call them templates… I call them Kickstarters. Steal them, build on them, make them your own. I’ll tell you exactly which instruments[...]
This piece, Crimson Lake, was written as a demo to showcase The Hollywood Sound Timbral Impulse Collection: LASS Edition from Numerical Sound. It uses LA Scoring Strings v2.0 samples, with a touch of harp. For more on these great impulses, click the link above.
For years, I was fortunate to have been asked to write the music for Warner Bros. Pictures’ ShoWest Presentations. These were always grandiose commissions which employed a large orchestra, and required weaving quintessential movie-moods together in pure Hollywood fashion. Often set against a backdrop of some of the most iconic[...]
"The most pretentious thing one can do is quote oneself."Mike Verta