Film Scoring

[WillRock]

If it's a personal project with some classmates doing their own thing, sure.

It's a different story if you're hired. You have a contract and actual pressure. I'm not saying Angel can't do it, but if you're someone who can't, you shouldn't say YES, imo.

Angel is a musician. I don't think "not being able to do it" applies if the potential is there. If you're an actor, for example, you should probably say no (lol) but if you are in any stretch capable of doing this, then you should try it. I don't think we're being very constructive right now arguing if "you're qualified for the job". We should be passed that point - do you think they would hire you if they didn't think you were up to the job? Have some faith in angel's musicianship skills and the companies ability to pick out a good composer for their music

[HoboKa]

So, today I got to visit a movie set and met with the director. I was originally trying out to be an extra, but I wound up being hired to compose music for the movie.

I'm pretty stoked about it. It's a horror/action movie about vampires. Looking through pictures, seeing the set, costumes, actors, props, etc. It seems to take some influence from "Vampire: The Masquerade" since it has a sort of "Urban Vampire" feel to it.

I've never actually wrote music for a film before, just independent games. What are some special, but not obvious differences I need to keep in mind when writing for a movie?

Congratulations Angel! When composing for VG or film music, you really need to pay attention to the background story, the characters, setting (especially setting) and obviously the current scene you're in.

For yon "Urban Vampire" movie - I would personally strive for a very brooding, dark and gritty soundscape - so whip out your dark pads for sure (Orchestration can work too; but a hybrid with creepy pads would be pure win). Given that there's vampires, there will probably be seduction, maybe even some crude love scenes - so you'll want to consider makings the music for those parts feel more organic and soft - a brooding kind of soft - but you know what I mean . Then the horror stuff is really, really about timing the music to the scene, which means you've got to pay attention to each second to get the best result (similar with action scenes). Hopefully these basic tips will help keep your confidence up - and don't let the bad comments here pull you down.

[HoboKa]

Personally, I go with andy's "always say yes" attitude. If I didn't, I wouldn't have got half the experience I do now. If you say no, you don't get anywhere. Trust me guys, getting gigs like this is hard and you should not turn them down if they come your way. Besides, if the guys don't like your music, they won't use it. NEVER EVER SAY NO. Can't emphasis that point enough.

Say yes, rise to the challenge, and expand your experience first hand

I can vouch for this philosophy

It's a good mindset to adopt - still a work in prog for me, but trust Willrock and me on this =p

[Nabeel Ansari]

Angel is a musician. I don't think "not being able to do it" applies if the potential is there. If you're an actor, for example, you should probably say no (lol) but if you are in any stretch capable of doing this, then you should try it. I don't think we're being very constructive right now arguing if "you're qualified for the job". We should be passed that point - do you think they would hire you if they didn't think you were up to the job? Have some faith in angel's musicianship skills and the companies ability to pick out a good composer for their music

If you're not gonna read the many times I make it obvious I'm not talking about AngelCityOutlaw, I'm just going to ignore you.

EDIT: The argument seems more compelling with the help of some explanation and example, so my opinion on the matter has been changed.

[dannthr]

Have faith in your own ability.

Be assertive and confident.

Be responsible and deliver a great product.

If you fail to deliver, you will burn that bridge. You will more than likely never be hired by that person again and you don't know who he talks to or knows.

If you say "yes," you better fucking deliver.

[theshaggyfreak]

Like doing anything that one hasn't done before, you can't just get by without educating yourself. Sure, you can learn as you go but your'e going to stumble and fall quite a bit. Luckily we live in the age of the internet. There's tons of resources out there and it's good to know where they are and how to use them.

Interestingly enough, I'm currently in a Composition for Film and TV class with Berklee. So far, a lot of what we're learning is about various moods and what type of chord progressions work best for each one. There is no one right answer for what to do but there are definitely a ton of hints as to what will definitely work. You gota follow the contour of the scene and enhance the emotion that's already there.

[Garpocalypse]

Like doing anything that one hasn't done before, you can't just get by without educating yourself. Sure, you can learn as you go but your'e going to stumble and fall quite a bit. Luckily we live in the age of the internet. There's tons of resources out there and it's good to know where they are and how to use them.

Interestingly enough, I'm currently in a Composition for Film and TV class with Berklee. So far, a lot of what we're learning is about various moods and what type of chord progressions work best for each one. There is no one right answer for what to do but there are definitely a ton of hints as to what will definitely work. You gota follow the contour of the scene and enhance the emotion that's already there.

I'd be interested in knowing some of that. i wanted to go to berklee but couldnt afford the ridiculous tuition. Any chance you could post some of what you learned?

[theshaggyfreak]

A lot of what we learn is by looking at a particular scene and pick it apart. When trying to achieve a particular mood, you'll find that there are a lot of key things that usually happen in the music. Take a sad ballad for instance:

***

Harmony

Sad ballads are written in minor keys. Closely related modes, such as Aeolian mode, can be used.

Triads are used extensively. The harmonies are not particularly adventurous, primarily using triads with an occasional added seventh chord.

The majority of triads are placed in root position. However, first- and second-inversion triads can

be used provided that their voice leading is logical.

Suspensions are often used to embellish the progression. The most common suspensions are 4-3

and 9-8. The 9-8 suspension is particularly common in minor. A 6-5 motion is much like a

suspension and commonly used in minor.

Modulations are used to restate themes in new keys.

Melody

Most intimate ballad melodies are diatonic.

The melodies are based on the pitches in the underlying chord progression, with the vast majority

of the pitches in the melody being chord tones.

The most commonly used non-chord tones are passing tones, neighbor tones, and suspensions.

Countermelodies can be used, but they are typically presented during the second instance of the

theme. The first instance of a theme is typically presented simply, likely as a two-layered structure of melody and harmony. Doing so allows the listener to become acquainted with the primary melody.

When used, countermelodies have a unique rhythmic structure from the primary melody. This

separates the two musical ideas in the ear of the listener.

***

It really helps to have some grip on music theory to hear these things, though. It also helps to be able to look at the score itself if it's available. The nice thing about these classes is that we get to see scores that typically aren't available to the public. We study John Williams a lot since he has a pretty good track record for composing film scores.

My advise is to watch a bunch of movies you like which are similar to the one you'er working on. Take notes on things you notice in common musically and use that. Do that and write music that follows the contour of the scene and you'll do fine.

[HoboKa]

A lot of what we learn is by looking at a particular scene and pick it apart. When trying to achieve a particular mood, you'll find that there are a lot of key things that usually happen in the music. Take a sad ballad for instance:

***

Harmony

Sad ballads are written in minor keys. Closely related modes, such as Aeolian mode, can be used.

Triads are used extensively. The harmonies are not particularly adventurous, primarily using triads with an occasional added seventh chord.

The majority of triads are placed in root position. However, first- and second-inversion triads can

be used provided that their voice leading is logical.

Suspensions are often used to embellish the progression. The most common suspensions are 4-3

and 9-8. The 9-8 suspension is particularly common in minor. A 6-5 motion is much like a

suspension and commonly used in minor.

Modulations are used to restate themes in new keys.

Melody

Most intimate ballad melodies are diatonic.

The melodies are based on the pitches in the underlying chord progression, with the vast majority

of the pitches in the melody being chord tones.

The most commonly used non-chord tones are passing tones, neighbor tones, and suspensions.

Countermelodies can be used, but they are typically presented during the second instance of the

theme. The first instance of a theme is typically presented simply, likely as a two-layered structure of melody and harmony. Doing so allows the listener to become acquainted with the primary melody.

When used, countermelodies have a unique rhythmic structure from the primary melody. This

separates the two musical ideas in the ear of the listener.

***

It really helps to have some grip on music theory to hear these things, though. It also helps to be able to look at the score itself if it's available. The nice thing about these classes is that we get to see scores that typically aren't available to the public. We study John Williams a lot since he has a pretty good track record for composing film scores.

My advise is to watch a bunch of movies you like which are similar to the one you'er working on. Take notes on things you notice in common musically and use that. Do that and write music that follows the contour of the scene and you'll do fine.

I could use some theory related training my biggest problem is that I'm only proficient with 4/4 time sigs - I used to be able to play 6/4 and 3/4 on the piano and trumpet, but was more than a decade ago now haha...also I almost always go by ear when I make chord progressions =/

[theshaggyfreak]

This is actually a pretty good book to have on hand for reference. I got it before I started my Berklee classes and still find it quite useful: http://amzn.to/OvynFr

[HoboKa]

This is actually a pretty good book to have on hand for reference. I got it before I started my Berklee classes and still find it quite useful: http://amzn.to/OvynFr

Sweeet - I'll go pick that up as soon as I'm able Thanks for the tip theshaggyfreak =D

[Argle]

So, today I got to visit a movie set and met with the director. I was originally trying out to be an extra, but I wound up being hired to compose music for the movie.

Wow, that's great. Best of luck.

[Garpocalypse]

A lot of what we learn is by looking at a particular scene and pick it apart. When trying to achieve a particular mood, you'll find that there are a lot of key things that usually happen in the music. Take a sad ballad for instance:

***

Harmony

Sad ballads are written in minor keys. Closely related modes, such as Aeolian mode, can be used.

Triads are used extensively. The harmonies are not particularly adventurous, primarily using triads with an occasional added seventh chord.

The majority of triads are placed in root position. However, first- and second-inversion triads can

be used provided that their voice leading is logical.

Suspensions are often used to embellish the progression. The most common suspensions are 4-3

and 9-8. The 9-8 suspension is particularly common in minor. A 6-5 motion is much like a

suspension and commonly used in minor.

Modulations are used to restate themes in new keys.

Melody

Most intimate ballad melodies are diatonic.

The melodies are based on the pitches in the underlying chord progression, with the vast majority

of the pitches in the melody being chord tones.

The most commonly used non-chord tones are passing tones, neighbor tones, and suspensions.

Countermelodies can be used, but they are typically presented during the second instance of the

theme. The first instance of a theme is typically presented simply, likely as a two-layered structure of melody and harmony. Doing so allows the listener to become acquainted with the primary melody.

When used, countermelodies have a unique rhythmic structure from the primary melody. This

separates the two musical ideas in the ear of the listener.

***

It really helps to have some grip on music theory to hear these things, though. It also helps to be able to look at the score itself if it's available. The nice thing about these classes is that we get to see scores that typically aren't available to the public. We study John Williams a lot since he has a pretty good track record for composing film scores.

My advise is to watch a bunch of movies you like which are similar to the one you'er working on. Take notes on things you notice in common musically and use that. Do that and write music that follows the contour of the scene and you'll do fine.

Thanks for the post. That's certainly the kind of information i'm looking for, if there is anyway to get more in depth i'd be all over it. Of course there is alot to learn analyzing stuff off of youtube. Gotta love the age we live in.

[GallenWolf]

Thanks for the tips shaggy, sent in my order for the book