| 1. | Bernstein Candide Overture: Piano Reduction Study Score | 26,948 | |
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| 2. | How John Williams' Catch Me If You Can Was Orchestrated | 16,582 | |
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| 3. | Short Ride in a Fast Machine: Orchestration Deconstruction | 13,321 | |
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| 4. | Steinberg Dorico: A Look at Music Notation in 2020 and Beyond | 8,513 | |
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| 5. | Behind the Scenes of Drunk History with Derek Waters, Jeremy Konner (INFOrum Panel 4/9/16) | 5,508 | |
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| 6. | John Powell's advice for composer in a post-pandemic world | 5,071 | |
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| 7. | How the Goldeneye Tank Chase scene was constructed | 3,731 | |
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| 8. | How Mahershala Ali learned to play piano for Green Book | 3,070 | |
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| 9. | Composing music under dialogue | 2,523 | Vlog |
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| 10. | Jerry Goldsmith's Planet of the Apes: Thematic Analysis | 2,455 | |
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| 11. | Claude Debussy: La Mer: 1st Movement STUDY SCORE | 2,315 | |
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| 12. | Why does John Ottman edit without temp music? | 2,174 | |
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| 13. | Fans of Film Music with John Powell (full video) | 2,145 | |
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| 14. | 2017 Ravel Challenge featuring Thomas Goss | 1,795 | |
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| 15. | How John Williams uses ostinato | 1,790 | |
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| 16. | David Cripps: How the LSO Landed the Star Wars Gig (LA Ravel 5/20/16) | 1,755 | |
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| 17. | How John Williams scores to picture in Jurassic Park | 1,424 | |
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| 18. | Michael Abels on finding your voice as a composer | 1,412 | |
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| 19. | Gordy Haab on what makes John Williams's Star Wars writing unique | 1,406 | | Star Wars Battlefront
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| 20. | Jerry Goldsmith's Planet of the Apes: The Hunt Part 2 (score) | 1,345 | |
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| 21. | The "Herrmann chord" from the Psycho Prelude | 1,330 | |
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| 22. | The influence of Soviet music in The Death of Stalin | 1,241 | |
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| 23. | The Goss-Gershwin Challenge LIVE! | 1,215 | |
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| 24. | What really happened to Alex North's score for 2001: A Space Odyssey | 1,152 | | A Space Odyssey
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| 25. | Mervyn Warren on A Special Blend and other early recordings | 1,143 | |
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| 26. | John Powell on why there is a kazoo orchestra in Chicken Run | 1,139 | |
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| 27. | John Powell on when John Williams walks into the room... | 1,016 | |
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| 28. | How John Williams uses woodwinds | 941 | |
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| 29. | John Powell lists composers that every composer should listen to | 880 | |
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| 30. | Why does Riot Games work with an in-house team of composers? | 848 | |
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| 31. | Jerry Goldsmith's approach to scoring Poltergeist | 847 | |
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| 32. | How Siddhartha Khosla created the sound for THIS IS US | 821 | |
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| 33. | John Williams's use of hocketing | 815 | |
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| 34. | Westworld Scoring Competition: Winners Roundtable | 800 | |
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| 35. | The secret to great big band voicings | 778 | |
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| 36. | Michael Abels on the role of music in Get Out | 746 | |
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| 37. | The love theme from North by Northwest | 731 | |
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| 38. | How John Williams uses the hexatonic scale | 718 | |
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| 39. | The first sound you hear in advertising | 715 | |
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| 40. | The role of music in The Death of Stalin | 708 | |
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| 41. | LA Ravel Earle Dumler Highlights, 4/22/16 | 707 | |
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| 42. | The minor-major 7 chord in Bernard Herrmann's Taxi Driver | 690 | |
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| 43. | How Marcelo Zarvos conceives themes for Ray Donovan | 665 | |
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| 44. | Understanding John Williams's harmonic sense | 661 | |
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| 45. | Writing tenuto, legato, and detache for strings | 658 | |
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| 46. | "So Close To Me Blues" from Taxi Driver | 656 | |
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| 47. | LA Ravel Highlights, 1/15/16, featuring Gene Cipriano | 648 | |
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| 48. | Mussorgsky's Night on Bald Mountain Score Study Highlights (10/21/16) | 636 | |
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| 49. | So who wrote the music for 2001: A Space Odyssey? | 628 | | A Space Odyssey
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| 50. | Superman Suite Score for study | 621 | |
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| 51. | Breaking up the octatonic scale | 619 | |
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| 52. | John Adams: Short Ride in a Fast Machine - Score Study Highlights (8/26/16) | 618 | |
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| 53. | The Apollo 13 bugle theme and the Copland influence | 608 | |
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| 54. | How Holst uses ostinato but holds interest | 605 | |
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| 55. | Four Ways to Harmonize Using Parallel Motion - Ellington Study 3/25/16 | 602 | |
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| 56. | How Johnny Knoxville played Johnny Cash | 598 | |
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| 57. | Bear McCreary and his work on Battlestar Galactica | 589 | |
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| 58. | Jonathan Wilson demonstrates the GuitarViol | 575 | |
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| 59. | Siddhartha Khosla interview highlights, composer and songwriter of NBC's THIS IS US | 558 | |
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| 60. | Emil Richards on collecting exotic percussion instruments | 555 | |
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| 61. | Mike Lang on playing with Frank Zappa for the first time | 554 | |
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| 62. | Michael Abels on the Pas de Deux at the end of US | 551 | |
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| 63. | One foolproof way to learn orchestration | 528 | |
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| 64. | James Horner's use of the Lydian mode | 527 | |
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| 65. | How Kris Bowers uses music throughout Green Book | 527 | |
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| 66. | How to notate legato and detaché for strings | 522 | Guide |
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| 67. | Orchestration Insights on Holst's Venus (from The Planets) | 522 | |
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| 68. | The story of Blues for Harry Bosch by the Manhattan Transfer | 519 | |
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| 69. | Mervyn Warren on the Manhattan Transfer's Cantaloop Flip Fantasia | 517 | |
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| 70. | How Jason Graves Pitched and Scored Far Cry Primal | 513 | | Far Cry Primal
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| 71. | Join our Ravel Challenge! | 506 | |
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| 72. | Bernard Herrmann's classical music influences | 500 | |
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| 73. | The Riot Games music team on trusting how music feels | 498 | |
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| 74. | Writing a through-composed piece of music for animation | 489 | |
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| 75. | Jeff Russo on how songwriting for Tonic morphed into scoring | 486 | |
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| 76. | Studying Korngold's Adventures of Robin Hood with Edwin Wendler (LA Ravel 11/18/16) | 484 | |
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| 77. | Should you write a melody under dialogue? | 483 | Vlog |
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| 78. | Apollo 13's signature low piano chords | 481 | |
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| 79. | Tremolos vs. trills in Nightmare Before Christmas | 481 | Discussion |
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| 80. | Jurassic Park: studying the oboe | 480 | |
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| 81. | Interview with Neal Desby - Composer, Orchestrator, Arranger (8/26/16) | 474 | |
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| 82. | Jerry Goldsmith and John Williams on writing to picture | 471 | |
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| 83. | Tim Davies on the role of the viola | 466 | |
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| 84. | How to study a film score, with Tim Rodier | 461 | |
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| 85. | Dovetailing lines in Tchaikovsky's Pathetique | 446 | |
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| 86. | A harmonic dissection of John Williams's action music | 441 | |
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| 87. | Does John Williams revise his scores? | 441 | |
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| 88. | Melodic and muddy timpani in Holst's Uranus | 436 | |
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| 89. | What is mickey-mousing in animation composing? | 433 | |
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| 90. | John Altman Highlights (12/1/16) | 422 | |
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| 91. | Introducing Bernard Herrmann's score to Taxi Driver | 418 | |
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| 92. | Ron Jones Returns ASA Live Stream | 413 | |
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| 93. | Why did James Horner use a C trumpet in Apollo 13? | 411 | |
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| 94. | David Newman on conducting ritardandos | 409 | |
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| 95. | The Habanera from Bernard Herrmann's Vertigo score | 409 | |
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| 96. | The use of choir in James Horner's Apollo 13 score | 408 | |
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| 97. | Highlights from the Holst Planets Jupiter Score Study (7/15/17) | 403 | |
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| 98. | 4 basic motifs in Bernard Herrmann's Taxi Driver | 394 | |
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| 99. | Weighty Russian orchestrations in The Death of Stalin | 382 | |
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| 100. | Gordy Haab Introduction | 376 | | Star Wars Battlefront
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