| 1. | Bernstein Candide Overture: Piano Reduction Study Score | 481 | |
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| 2. | How John Williams' Catch Me If You Can Was Orchestrated | 314 | |
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| 3. | John Powell's advice for composer in a post-pandemic world | 180 | |
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| 4. | Short Ride in a Fast Machine: Orchestration Deconstruction | 127 | |
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| 5. | Steinberg Dorico: A Look at Music Notation in 2020 and Beyond | 107 | |
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| 6. | Fans of Film Music with John Powell (full video) | 84 | |
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| 7. | Jerry Goldsmith's Planet of the Apes: Thematic Analysis | 74 | |
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| 8. | 2017 Ravel Challenge featuring Thomas Goss | 59 | |
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| 9. | Gordy Haab on what makes John Williams's Star Wars writing unique | 48 | | Star Wars Battlefront
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| 10. | The Goss-Gershwin Challenge LIVE! | 48 | |
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| 11. | John Powell on when John Williams walks into the room... | 41 | |
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| 12. | David Cripps: How the LSO Landed the Star Wars Gig (LA Ravel 5/20/16) | 38 | |
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| 13. | Composing music under dialogue | 36 | Vlog |
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| 14. | John Powell on why there is a kazoo orchestra in Chicken Run | 35 | |
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| 15. | Michael Abels on finding your voice as a composer | 33 | |
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| 16. | John Powell lists composers that every composer should listen to | 30 | |
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| 17. | How John Williams scores to picture in Jurassic Park | 28 | |
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| 18. | Behind the Scenes of Drunk History with Derek Waters, Jeremy Konner (INFOrum Panel 4/9/16) | 25 | |
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| 19. | Jerry Goldsmith's approach to scoring Poltergeist | 24 | |
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| 20. | How John Williams uses woodwinds | 23 | |
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| 21. | Jerry Goldsmith and mixed meters | 22 | |
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| 22. | Ron Jones Returns ASA Live Stream | 23 | |
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| 23. | Superman Suite Score for study | 20 | |
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| 24. | Jerry Goldsmith's Planet of the Apes: The Hunt Part 2 (score) | 20 | |
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| 25. | Four Ways to Harmonize Using Parallel Motion - Ellington Study 3/25/16 | 20 | |
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| 26. | 2023 President's Message | 20 | |
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| 27. | Claude Debussy: La Mer: 1st Movement STUDY SCORE | 19 | |
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| 28. | What's in store for 2022 at the ASA | 19 | |
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| 29. | Westworld Scoring Competition: Winners Roundtable | 18 | |
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| 30. | The "Herrmann chord" from the Psycho Prelude | 18 | |
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| 31. | Mervyn Warren on A Special Blend and other early recordings | 18 | |
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| 32. | Why does Riot Games work with an in-house team of composers? | 17 | |
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| 33. | How the Goldeneye Tank Chase scene was constructed | 17 | |
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| 34. | John Williams's use of hocketing | 17 | |
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| 35. | Does John Williams revise his scores? | 17 | |
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| 36. | Octatonic modulations in Back to the Future | 16 | |
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| 37. | How to study a film score, with Tim Rodier | 16 | |
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| 38. | Michael Abels on the Pas de Deux at the end of US | 16 | |
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| 39. | Understanding John Williams's harmonic sense | 22 | |
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| 40. | Bear McCreary and his work on Battlestar Galactica | 15 | |
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| 41. | How John Williams uses ostinato | 15 | |
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| 42. | How Back to the Future is summarized in three notes | 14 | |
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| 43. | The minor-major 7 chord in Bernard Herrmann's Taxi Driver | 14 | |
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| 44. | Thematic development in Joe Kraemer's Rogue Nation score | 14 | |
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| 45. | What really happened to Alex North's score for 2001: A Space Odyssey | 14 | | A Space Odyssey
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| 46. | Short Liszt Op. 1 Submissions | 14 | |
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| 47. | The importance of mockups as a study tool | 13 | |
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| 48. | LA Ravel Earle Dumler Highlights, 4/22/16 | 13 | |
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| 49. | Mike Lang on playing with Frank Zappa for the first time | 13 | |
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| 50. | Studying Korngold's Adventures of Robin Hood with Edwin Wendler (LA Ravel 11/18/16) | 12 | |
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| 51. | Rhythmic observations from Asteroid Field (Star Wars) by John Williams | 12 | |
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| 52. | John Williams, the great melodist | 12 | |
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| 53. | Conrad Pope on the importance of correcting interpretation early | 12 | |
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| 54. | Counterpoint in Apollo 13 | 12 | |
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| 55. | Short Liszt Op. 2 Submissions | 12 | |
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| 56. | Writing a through-composed piece of music for animation | 12 | |
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| 57. | How to notate legato and detaché for strings | 12 | Guide |
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| 58. | The secret to great big band voicings | 12 | |
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| 59. | One foolproof way to learn orchestration | 12 | |
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| 60. | Melodic and muddy timpani in Holst's Uranus | 11 | |
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| 61. | What is mickey-mousing in animation composing? | 11 | |
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| 62. | Orchestration Insights on Holst's Venus (from The Planets) | 11 | |
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| 63. | The Apollo 13 bugle theme and the Copland influence | 11 | |
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| 64. | David Newman's practical daily tips for conductors | 11 | |
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| 65. | How Jason Graves Pitched and Scored Far Cry Primal | 11 | | Far Cry Primal
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| 66. | Scoring Arts is live with the 14th Annual Fans of Film Music! | 10 | |
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| 67. | Gordy Haab on when all else fails, what does a composer do? | 11 | | Star Wars Battlefront
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| 68. | Jerry Goldsmith and John Williams on writing to picture | 10 | |
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| 69. | Bear McCreary on working with Mark Hamill on Child's Play | 10 | |
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| 70. | How John Williams uses the hexatonic scale | 17 | |
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| 71. | Octatonic harmonies in Back to the Future | 10 | |
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| 72. | How can directors speak musical ideas to composers? | 10 | |
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| 73. | Back to the Future: slowing down a section | 10 | |
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| 74. | John Powell reveals his most personal score | 10 | |
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| 75. | Kevin Kiner's advice to aspiring composers | 10 | |
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| 76. | Should you write a melody under dialogue? | 10 | Vlog |
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| 77. | John Powell on his use of choir in his film scores | 10 | |
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| 78. | Workflow Workshop 2: Mocking Up a Score | 9 | |
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| 79. | Bernard Herrmann and the Psychological Narrative of His Film Scores | 9 | Vlog |
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| 80. | Introducing Bernard Herrmann's score to Taxi Driver | 9 | |
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| 81. | What advice did John Powell get from Patrick Doyle? | 9 | |
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| 82. | A hidden countermelody in John Williams's Superman | 9 | |
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| 83. | The story of Blues for Harry Bosch by the Manhattan Transfer | 9 | |
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| 84. | James Horner's layered writing through handoffs | 9 | |
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| 85. | Emil Richards on collecting exotic percussion instruments | 9 | |
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| 86. | Borrowed and superimposed themes | 9 | |
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| 87. | Bernard Herrmann's classical music influences | 9 | |
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| 88. | The influence of Soviet music in The Death of Stalin | 9 | |
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| 89. | Kevin Kiner on using expression to enhance realism | 9 | |
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| 90. | How James Horner used symmetrical harmony | 9 | |
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| 91. | How great orchestration can create a massive sound | 8 | |
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| 92. | The role of music in The Death of Stalin | 8 | |
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| 93. | Using faster tempos when film scoring | 8 | |
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| 94. | String textures inspired by the piano in Back to the Future | 8 | |
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| 95. | How Mahershala Ali learned to play piano for Green Book | 8 | |
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| 96. | David Newman on how to start a recording session right | 8 | |
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| 97. | Mike Lang reminisces on working with Alex North | 8 | |
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| 98. | James Horner's use of different modes | 8 | |
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| 99. | Mervyn Warren on the Manhattan Transfer's Cantaloop Flip Fantasia | 8 | |
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| 100. | Two dueling octatonic keys superimposed | 8 | |
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