This Patreon - Table of Contents
Added 2021-03-16 18:12:29 +0000 UTCComposition Screecasts:
Brother Commercial (Scoring to Picture) (with Audio Commentary):
- Part 5 (More Detail Work on the First Third of the Piece)
- Part 4 (Starting Detail Work on the Orchestration)
- Part 3 (Finishing Sketch and Breakdown of the Approach)
- Part 2 (Sketch Phase)
- Part 1 (Concept, General Approach and First Steps in Dorico)
Opening the Portal (Mysterious Theme):
- Part 12 (Dorico/with Audio Commentary)
- Part 11 (Dorico/with Audio Commentary)
- Part 10 (Dorico)
- Part 9 (Dorico)
- Part 8 (Dorico)
- Part 7 (Dorico)
- Part 6 (Dorico)
- Part 5 (Dorico)
- Part 4 (Dorcio)
- Part 3 (Dorico)
- Part 2 (Dorico)
- Part 1 (Dorico) - Concept, Theme & General Approach
Returning Home (Romantic Theme):
- Part 10 (Studio One)
- Part 9 (Studio One)
- Part 8 (Studio One)
- Part 7 (Studio One)
- Part 6 (Dorico)
- Part 5 (Dorico)
- Part 4 (Dorico)
- Part 3 (Dorico)
- Part 2 (Dorico)
- Part 1 (Dorico)
Composition Walkthroughs:
Christmas Village (Concert Piece):
Hero (Short Film Score):
- Part 21 - M6 & Final Thoughts
- Part 20 - M6
- Part 19 - M6
- Part 18 - M6
- Part 17 - M6
- Part 16 - M6
- Part 15 - M5
- Part 14 - M5
- Part 13 - M4
- Part 12 - M3
- Part 11 - M3
- Part 10 - M3
- Part 9 - M2
- Part 8 - M2
- Part 7 - M1/M2
- Part 6 - M1
- Part 5 - M1
- Part 4 - M1
- Part 3 - M1
- Part 2 - Concept and Thematic Material
- Part 1 - Introduction
A War Within (Feature Film):
Gazing at the Night Sky (Scifi Adventure Cue):
A Father's Job (Short Film):
We Have To Shake Them Off (Action Piece):
- Part 11 - Strings Mockup + Stems + Midi Files
- Part 10 - Brass Mockup
- Part 9 - Woodwinds Mockup
- Part 8
- Part 7
- Part 6
- Part 5
- Part 4
- Part 3
- Part 2 - More Concept and Line-Up
- Part 1 - The Concept
Mockup Walkthroughs:
Device Lexicon:
- Part 7 - Menacing Orchestra Unison (feat. Harry Potter 3)
- Part 6 - Artificial Harmonics Legato (feat. Hook)
- Part 5 - Woodwind Amalgamations (feat. Duel of the Fates)
- Part 4 - Woodwind Dyads (feat. Finding Nemo)
- Part 3 - Sweeping String Octaves (feat. E.T.)
- Part 2 - Low Trumpet Fanfares (feat. The Patriot)
- Part 1 - Sustaining Violin Chords (feat. Jurassic Park)
Tutorials:
Film Orchestration:
- Part 8 - Brass Section 2 - Seating
- Part 7 - Brass Section 1 - Line-Up
- Part 6 - String Section 2 - Divisi
- Part 5 - String Section 1 - Line-Up and Seating
- Part 4 - Orchestra Recording
- Part 3 - Concert Halls, Studios & Seating 2
- Part 2 - Concert Halls, Studios & Seating 1
- Part 1 - Introduction
Reharmonisation:
- Part 11 - Bass Notes II
- Part 10 - Pandiatonicism
- Part 9 - Modal Interchanges
- Part 8 - Avoiding Standard Cadences II
- Part 7 - Avoiding Standard Cadences I
- Part 6 - "Butter Notes"
- Part 5 - Sustaining Harmony I
- Part 4 - Secondary Dominants
- Part 3 - Standard Substitutions I
- Part 2 - Bass Notes I
- Part 1 - Introduction
Notation and Engraving for Scoring Sessions:
- Part 5 - Shorthands and Efficiency
- Part 4 - Dynamics
- Part 3 - Parts
- Part 2 - Score Sheet
- Part 1 - Introduction
Scoring Session 101:
- How to Record Your Music With an Orchestra
- Part 6 - Recording 2
- Part 5 - Recording 1
- Part 4 - The Booth
- Part 3 - Click Tracks
- Part 2 - Session Preparations
- Part 1 - Recording Order
Orchestral Voicings:
- Part 16 - Dynamic Envelopes
- Part 15 - Registral Homogenity
- Part 14 - The Influence of Dynamics
- Part 13 - What is Balancing?
- Part 12 - Line-Up Considerations
- Part 11 - The Orchestral Context
- Part 10 - Managing Dissonances (feat. Rite of Spring)
- Part 9 - Cluster Voicings
- Part 8 - Quartal and Quintal Voicings
- Part 7 - Surrounding Context
- Part 6 - A Closer Look at Intervallic Constructions
- Part 5 - Extended Harmony and Problematic Intervals 2
- Part 4 - Extended Harmony and Problematic Intervals 1
- Part 3 - Low Interval Limits 2
- Part 2 - Low Interval Limits 1
- Part 1 - Introduction
Budget Options for Recording Orchestras:
- Part 6 - The Super Cheap Options
- Part 5 - Prague, Budapest etc.
- Part 4 - Berlin, Vienna, Sydney etc.
- Part 3 - London & Los Angeles
- Part 2 - Custom and Shared Sessions
- Part 1 - Fundamentals
Making V-I More Interesting:
Patron Composition Feedback:
- Dave Gottlieb - Composition Feedback June 2020
- Benjamin Goldman - Composition Feedback May 2020
- Jordain Wallace - Composition Feedback March 2020
Studio One Session File Downloads:
Multitrack/MIDI Downloads:
- Across the Great Plains
- Opening the Portal - Stems/MIDI/Score
- Hero - M1
- Gazing at the Night Sky (Scifi Adventure Track)
- A Father's Job - M10 (+Basic Mix Tutorial)
- Pastry Party - Feed the Puppies
- Pastry Party - Boss Battle
- Pastry Party - Waffle Mode
- Pastry Party - Feed the Customer
- Pastry Party - World Map
- One Minute Hero (Action Track)
- We Have to Shake Them Off (Action Track)
Score Sheet/Dorico Files Downloads:
- Christmas Village - Recording/Dorico/MIDI/MusicXML
- By The Christmas Tree - New Orchestra Recording
- Enjoy the Silence (Arrangement for Lucy Kay)
- Witches' Spell (for Woodwind Quintet)
- A Simple Act of Kindness (for Woodwind Quintet)
- Nocturnal Adventures (Commercial Score)
- Opening the Portal
- Returning Home
- Three Christmas Themes
- A Father's Job (Short Film Score)
- Gazing At The Night Sky - Orchestra Recording & Score Sheet
- Diamond Heist - Big Band + Orchestra Score Sheet
- Pirate Waters - Adventure Cue with Score Sheet
- We Have to Shake Them Off! - Audio and Score Sheet
Orchestra Discovery Sessions:
- Composition Diary - Boris Bruchhaus
- Composition Diary - Adrian Gucze
- Composition Diary - Sebastian Katzer
- Composition Diary - Lukas Lindner
- First Orchestra Discovery Session - Recordings and Score Sheets
- 1st ODS - Winner Announcement
- 1st ORCHESTRA DISCOVERY SESSION
Audio File Downloads:
- By The Christmas Tree - New Orchestra Recording
- Revisiting PIRATE WATERS - New Mockup
- Nocturnal Adventures (Commercial Score)
- Opening the Portal (Mystery Track from Composition Screencasts)
- Returning Home (Romantic Theme from Composition Screencast)
- A Father's Job (Short Film Score)
- Gazing At The Night Sky - Orchestra Recording & Score Sheet
Single Posts:
Business/Career/Contract:
- Getting and Agent
- The Monopolization of the Film Music Industry
- Where to Find Motivation for Gigs That You Don't Like
- About The Vanity Fair Article
- The Danger of Depending on Just a Few Clients
- Don't Wait Until You're "Ready"
- Write Music According to the State of Your Career (?)
- The Overworking Attitude in the Industry
- The Musically Educated Client from Hell
- What to Charge
- The Pitch Culture
- The "Lucky Punch" Project
- Unpleasant Work Keeps Coming Back
- The Unpredictability of Work Load
- The Unglamorous Side of the Film Scoring Industry
- Agreeing to a Revenue Percentage Deal
- How Attractive is it for a Composer to Write Music for Media
- How I Made a Sustainable Income from Writing Music
- A Media Composer's Moral Responsibilities
- Communication and Organisation Schedule
- Ambition vs. Reality When Writing Music for Media
- Developing a Thick Skin
- What to Include in Written Agreements for Composers
- Generating Expectable Feedback
- The Composer-Orchestrator Relationship
- Going the Extra Mile
- Sending Out Unsolicited Emails
- My Story of Musical Specialization
Film Score Theory/Film Score History & Development:
- The Monopolization of the Film Music Industry
- Stylistic Waves in Media Music
- "Modern" Orchestra Line-Ups
- Media Music Can NOT Be Unpolitical
- Performances and Instruments with "Character"
- Innovation in (Media) Music
- The Marvel Symphonic Universe
- The Film Music Age of Sampling
- Key Signature Dramaturgy Over an Entire Score
- The Recent Evolution of Film Music - Part 3
- The Recent Evolution of Film Music - Part 2
- The Recent Evolution of Film Music - Part 1
- Scoring Competitions (feat. Spitfire Audio)
- Music and Emotional Manipulation
- The John Williams Phenomenon
Film Scoring:
- Themes for Isolated Scenes and Sequences
- Splitting Long Cues
- Musical Perspectives
- "Treading Water" Between Hitpoints
- Too Many Themes
- Working Backwards
- De-Emphasizing with Music
- Red Herrings and Musical Jump Scares
- How Exactly Do You Need to Place a Musical Hit Point?
- Practice Small Emotions
- Sacrificing Hit Points for the Higher Purpose
- Cue Starts and Cue Ends
Study/Work/Creativity/Practice:
- The Relevance of Craft
- Music Theory and Intuition
- How Did I Learn Composition/Orchestration?
- Don't Wait Until You're "Ready"
- Listening Fatigue
- The Overworking Attitude in the Industry
- Giving Up Control Over Your Music
- Practice Routines
- The "Know Your Music Theory" Argument
- Why You Shouldn't Use Your Primary Instrument for Writing Music
- Maturing Voice as a Composer
- The Composer's Solitude
- The Side Effects of Teaching Music
- Re-Scoring Blockbuster Scenes as Demo Material
- Make No Excuses (in spite of Dunning-Kruger)
- Mindsets about Learning to Compose
- Work Process Streamlining
- Channeling Your Creativity
- Writing "Musician's Music"
- Pros and Cons of Getting a Music Degree
- Talent, Practice and Musical Education
Orchestration:
- Orchestrating the Dynamic
- Extreme Dynamics
- Deceiving Dissonances
- Confusing Musician's Feedback
- Musician's Muscle Memory
- Orchestra Player Hierarchy
- Orchestrating With a Vertical Focus
- "Modern" Orchestra Line-Ups
- The Sample Spiccato Conundrum
- Intonation Struggles
- The Percussion Section in Modern Scoring
- Legato on Strings
- Avoiding the Organ Effect
- The Emancipation of Note Releases
- Pizzicato Pet Peeves
- What's the Big Deal With the Lips of Brass Players?
- The Contrabass Lowest Register and Its Limitations
- Why Do Brass Instruments Sound Like That?
- String Trills and Tremolos Physical Limitations
- Staccato vs. Spiccato
- String Line-Up Sizes
- Why to write for instruments that can't be heard in the mix anyway?
- Glissando and Portamento
- "Favourite Keys" on Orchestral Instruments
- Pros and Cons of the Homogenous Sound of the String Section
- Instrumental Solos
- Low and High Horns in Film Scoring
- Leaving Out the Bass Register
- Unison Between Two Identical Instruments
Composition:
- Emotional Quality of Melodic Intervals
- Music Theory and Intuition
- Deceiving Dissonances
- The Overuse of Downbeats
- Vocalizing Articulation Options
- Hummable Melodies
- Don't Spoil Your Musical Target
- Key Signature Dramaturgy Over an Entire Score
- Why You Shouldn't Use Your Primary Instrument for Writing Music
- Musical Contrasts and Transitions
- Tension and Resolution (feat. Gustav Mahler)
- Diminished Chords
- Working Backwards
- Vertical and Horizontal Musical Development
- Symmetric Scales (feat. Debussy and Messiaen)
- The Advantages of Writing Score Sheets over DAW Production
- Cmaj7 vs. C6 vs. C6/9
- Bidrectional Application of the Scale-Chord Relationship
- Voice Leading Priorities
- The Big Deal With Parallel Fifths (and Octaves)
- Polychords
- The Big Deal With Doubling the Third
- Building Towards a Musical Climax
Technical:
- Mix Automations in Orchestral Music
- Recording Imperfections
- How to Record Your Music With an Orchestra
- My New DAW
- How the Sampling Industry Forgets the Pros
- The Recording Room as an Instrument
- The Sample Spiccato Conundrum
- The Percussion Section in Modern Scoring
- The Technical Aspect and Work Flow of Orchestration in the 21st Century Pt.1
- My (Current) Work Setup (June 2020)
- Sub Bass Frequencies and Acoustic Instruments
- 3D Audio Formats in Film Scoring
- Orchestral Template - Walkthrough
- Cutting Through the Sound FX with Score
Score Analysis:
- John Williams - Home Alone - "House Theme" - In Depth Analysis
- Comparing Scoring Approaches Pt. 1 (John Powell & John Williams)
Sample Reviews:
Poll of the Week:
- Did You Ever Ghost Write?
- How Happy Are You With The Current State Of Your Music Career?
- What Outlets Do You Use For Music Education?
- How Was 2021 For You?
- How Do You Back Up Data?
- How Much of Your Income is Through Royalties?
- What Are The Genres That You Work In The Most?
- What Role Does Music Play in Your Spare Time?
- How Do You Deal With "Office Work"?
- How Many Instruments Can You Play?
- How Does Your Musical Imagination Work?
- What is Your Primary DAW for Composing/Producing?
- How often do you listen to your own music after you finished working on it?
- Did/Do You Have a Plan B For Your Career?
- Are You From a Musical Family?
- When Are You Most Creative?
- How Did Covid19 Impact Your Music Business?
- How Does Your Work Computer Setup Look Like?
- What is Your Average Daily Output Rate?
- How Do Tight Deadlines Influence Your Work Output?
- How "Remote" is Your Work?
- What Do You Earn on Average Per Minute of Music?
- Where/How Do You Document Your Ideas at First?
- What Would You Consider Your Main Line of Work?
- How Many Hours of Concentrated CREATIVE Work a Day Can You Do?
- For How Long Have You Been Composing Music?
- Has Your Music Ever Been Played/Recorded by Real Musicians?
- Where do you create your music?
- What is your Educational Background?
- Is Music Your Main Job?
Wrap-Ups:
- April 2022 - Wrap Up
- March 2022 - Wrap Up
- February 2022 - Wrap Up
- January 2022 - Wrap Up
- December 2021 - Wrap Up
- November 2021 - Wrap Up
- October 2021 - Wrap Up
- September 2021 - Wrap Up
- August 2021 - Wrap Up
- July 2021 - Wrap Up
- June 2021 - Wrap Up
- May 2021 - Wrap Up
- April 2021 - Wrap-Up
- March 2021 - Wrap-Up
- February 2021 - Wrap-Up
- January 2021 - Wrap-Up
- December 2020 - Wrap-Up
- November 2020 - Wrap-Up
- October 2020 - Wrap-Up
- September 2020 - Wrap-Up
- August 2020 - Wrap-Up
- July 2020 - Wrap-Up
- June 2020 - Wrap-Up
- May 2020 - Wrap-Up
- April 2020 - Wrap-Up
- March 2020 - Wrap-Up
- February 2020 - Wrap-Up
- January 2020 - Wrap-Up
Miscellaneous:
