Film Scoring, Part 1: Techniques For The Modern Composer

Master the Art of Composing For Film and Learn To Find Gigs Doing It!

In this course, we will learn the essential techniques used in writing music for film. Through a series of analysis’ of well-known film scenes from your favorite movies we will learn what makes a great cue, and then apply those techniques by writing our own. I’ll be showing you some of my own projects for film and television throughout the class, and walk you through my process when composing music for a film project.

Here is a list of some of the topics we will cover:

  • Tools of the trade
  • Finding the emotional response
  • Music Theory and Genre
  • Using Modes in Film Scores
  • Finding the Message
  • Learning from Temp Cues
  • “Spotting” the film
  • Working with industry budgets
  • Diegetic music and nondiegetic music
  • Score and Source
  • The Ostinato
  • Working with silent films
  • Setting up a session
  • Marking hits
  • Scoring the opening credits
  • Motive and Lietmotif
  • Working with Lietmotifs
  • Working with rhythm in cues
  • POV
  • Finding and analyzing POV scenes
  • Composing using POV
  • Any much, much, more!

01

Welcome & Overview

Welcome to the class! In this section we will talk about what is covered in this class, the tools we will use, and a bit about the examples used in this class.
Introduction
05:01
Tools of the Trade, and a Look at One of My Projects
10:41
Update! MuseScore 3.0
00:43
What I’ve Found in Other Film Scoring Classes
03:21
A Note About Examples in This Class
01:42

02

Emotion and Music Theory

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One of the first things we should do with any project is explore the emotional palette of the scene.
Finding the Right Emotional Response
02:49
Music Theory and Genre
04:38
Using Modes in Film Music
04:17
Finding the Message of the Film
03:24
Threnody for the Care Bears
09:30

03

The Process

Before we dive in to writing our soundtrack, let’s learn a little bit about the process of scoring a film.
Learning From Temp Cues
06:35
Spotting the Film
05:12
Budgets
04:52

04

Diegetic Music and Non Diegetic Music

Sometimes called “source” and “score” music, these are the two main types of music we work with in film composition.
Diegetic and Non Diegetic Music
03:25
Score and Source Example: JAWS (1975)
05:56
Source Music Elements
03:54
When the Score and Source Collide
03:09
Analysis: Battlestar Galactica
06:08

05

The Ostinato

Once you learn what an ostinato is, you won’t be able to stop noticing them in every film score that you hear.
Analysis: Captain America
06:21
Analysis: Requiem for a Dream
07:34
The Ostinato
04:14
Working with Silent Films
04:15
Setting Up a Session
04:18
Composing with Ostinatos
12:19
Building on Ostinatos with More Elements
05:23
Marking Hits
02:46
Finishing Up Our Intro
15:02
A Quick Analysis So Far
10:19
[DOWNLOAD] MuseScore (Notation) File
00:08
Working with Notation
01:11

06

Motive and Leitmotif

When working on a film, you can sometimes create reusable motives for people, places, and things.
Motive and Lietmotif
04:44
Analysis: Star Wars
06:02
The Opera Connection
06:42
Locating Lietmotifs
03:03
Composing Lietmotifs
11:15
Adding Rhythm
09:08
Our Long Cue So Far
03:51

07

Point of View (POV)

Composing with an understanding of POV is essential!
What is POV?
03:55
Finding and Analyzing POV Scenes
06:17
Scoring a POV Scene
15:04
Analysis of our POV Scene
05:23

08

Wrap Up

This class got so big I decided to make a part 2!
Split in 2
02:05
Coming in Part 2!
02:11
Thanks for Watching!
02:12
But Wait! There’s More!
02:11
Certificate of Completion

Dr. J. Anthony Allen

Music PhD, Producer, Composer, Instructor, Professor, Author, & Ableton Certified Trainer.
    
ABOUT
Dr. Allen is a professional musician, top-rated online instructor, and university professor. In 2017 the Star Tribune featured him as a “Mover and a Shaker,” and he is recognized by the Grammy Foundation for his music education classes. He currently teaches at Augsburg University in Minneap
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