| 101. | John Williams, the great melodist | 375 | |
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| 102. | How can directors speak musical ideas to composers? | 372 | |
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| 103. | Introduction to Debussy's La Mer | 371 | |
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| 104. | The role of music in culture | 367 | |
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| 105. | The Madhouse theme from Psycho | 366 | |
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| 106. | Thomas Goss tells the story of his new woodwind course | 364 | |
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| 107. | Joshua Moshier on the influence of Carl Stalling | 362 | |
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| 108. | Using woodwinds to soften brass | 361 | |
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| 109. | John Powell on his use of choir in his film scores | 355 | |
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| 110. | What advice did John Powell get from Patrick Doyle? | 350 | |
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| 111. | Twilight Zone: The Invaders episode | 350 | Show |
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| 112. | The story of Sometimes I Do | 348 | |
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| 113. | Workflow Workshop 1: Discord, Cubase, and Dorico | 345 | |
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| 114. | Intro to the Riot Games Panel | 342 | Discussion |
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| 115. | Bernard Herrmann and the Psychological Narrative of His Film Scores | 341 | Vlog |
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| 116. | David Newman on how to start a recording session right | 340 | |
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| 117. | Highlights from Kevin Kiner and the Score Study of the Star Wars Suite (10/04/13) | 340 | |
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| 118. | How Back to the Future is summarized in three notes | 338 | |
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| 119. | Octatonic modulations in Back to the Future | 333 | |
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| 120. | Score Study Teaser! Leith Stevens' War of the Worlds with Josh Lucan | 332 | |
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| 121. | A special French horn effect in La Mer | 326 | |
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| 122. | Rhythmic observations from Asteroid Field (Star Wars) by John Williams | 316 | |
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| 123. | How Copland came up with his American sound | 315 | |
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| 124. | Insights on how John Williams writes | 314 | |
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| 125. | David Newman's practical daily tips for conductors | 313 | |
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| 126. | Music of "The Simpsons" with Chris Ledesma, David Silverman, & Ron Jones (INFOrum 9/25/14) | 312 | |
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| 127. | Introduction to the Holst Planets suite | 311 | |
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| 128. | The extraordinary story of Bjork's "It's Oh So Quiet" | 311 | |
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| 129. | Using cue notes for backup orchestration | 309 | |
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| 130. | A look at a handwritten cue from Nightmare Before Christmas | 309 | Discussion |
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| 131. | Tips on writing string harmonics | 309 | |
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| 132. | Did John Powell enter the Spitfire Westworld competition? | 307 | |
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| 133. | A look back at James Horner's Apollo 13 | 306 | |
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| 134. | Thematic development in Joe Kraemer's Rogue Nation score | 304 | |
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| 135. | Consistency across a music team, with the Riot Games music team | 303 | |
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| 136. | How the Manhattan Transfer chose songs for The Junction | 302 | |
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| 137. | Sample library recommendations | 297 | |
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| 138. | Harmonic analysis excerpt from North by Northwest | 296 | |
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| 139. | Processes for composing and orchestrating | 295 | |
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| 140. | Memories of the Apollo 13 sessions | 292 | |
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| 141. | Siddhartha Khosla on his approach to scoring THIS IS US | 288 | |
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| 142. | Paul Lipson on building the composing team for Halo Wars 2 | 287 | | Halo Wars 2
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| 143. | Marcelo Zarvos on using multiple tempos in Ray Donovan | 286 | |
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| 144. | Apollo 13's launch sequence | 286 | |
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| 145. | Back to the Future: slowing down a section | 284 | |
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| 146. | Jeff Russo on scoring Star Trek: Discovery | 284 | |
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| 147. | Tim Davies on writing horns in 1-3 2-4 order | 283 | |
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| 148. | LA Ravel “London Meets Hollywood” Highlights, 5/20/16 | 282 | |
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| 149. | The riveting snare drum ostinatos in Shostakovich | 281 | |
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| 150. | John Powell reveals his most personal score | 279 | |
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| 151. | When to use "niente" when writing for strings | 277 | |
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| 152. | Building polytonal chords | 275 | |
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| 153. | Jerry Goldsmith and mixed meters | 274 | |
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| 154. | Short Liszt: the Two Hour Composing Challenge Promo | 273 | |
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| 155. | How Jason Graves approaches a new project | 273 | |
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| 156. | Working with Prince | 269 | |
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| 157. | An overview of today's seminar on John Williams's action music | 268 | |
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| 158. | Star Wars conducting tips from David Newman | 267 | |
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| 159. | How Christopher Willis starts a cue with a piano mockup | 267 | |
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| 160. | The jarring harps of Bernard Herrmann's Taxi Driver | 266 | |
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| 161. | How Alan Silvestri reused thematic material in Back to the Future | 266 | |
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| 162. | Tim Davies on orchestrating to the size of the room | 264 | |
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| 163. | The end of Alex North's score to The Misfits | 262 | |
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| 164. | Are cellos just for playing an octave above the bass? | 261 | |
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| 165. | Octatonic harmonies in Back to the Future | 261 | |
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| 166. | Grant Geissman on guitar voicings | 260 | |
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| 167. | Inside the Score: Debussy's La Mer (excerpt 1) | 258 | |
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| 168. | Short Liszt Op. 2 Submissions | 254 | |
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| 169. | Kevin Kiner's advice to aspiring composers | 250 | |
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| 170. | Short Liszt Op. 1 Submissions | 250 | |
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| 171. | How James Horner structured his cues | 250 | |
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| 172. | Counterpoint in Apollo 13 | 249 | |
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| 173. | Bear McCreary on working with Mark Hamill on Child's Play | 245 | |
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| 174. | Joshua Moshier on his work on FX's show Baskets | 241 | Show |
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| 175. | Interview highlights with Thomas Goss (8/12/17) | 240 | |
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| 176. | LA Ravel Highlights, 3/18/16, featuring Richard Niles | 238 | |
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| 177. | Gordy Haab on when all else fails, what does a composer do? | 238 | | Star Wars Battlefront
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| 178. | Polychord motifs from North by Northwest | 237 | |
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| 179. | Mike Lang on working on Frank Zappa's Lumpy Gravy project | 237 | |
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| 180. | Is there unreleased Bernard Herrmann music? | 234 | |
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| 181. | The use of modes in How to Train Your Dragon | 232 | Guide |
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| 182. | Event Teaser! The Music of Scavenger's Reign with Nicolas Snyder | 229 | |
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| 183. | The instrumentation for Alex North's score to 2001: A Space Odyssey | 229 | | A Space Odyssey
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| 184. | What makes Nightmare Before Christmas unique? | 228 | Discussion |
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| 185. | A Look at "Vanity" from Bernard Herrmann's score to Jane Eyre | 225 | |
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| 186. | Jazz Music Theory with Scott Healy (Ellington Group 3/25/16) | 222 | |
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| 187. | Does John Ottman edit films with his own temp music? | 220 | |
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| 188. | Two dueling octatonic keys superimposed | 219 | |
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| 189. | How to prepare a score to conduct | 218 | Discussion |
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| 190. | James Horner's layered writing through handoffs | 216 | |
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| 191. | Studying John Williams' Star Wars with Ron Jones (12/11/14) | 215 | |
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| 192. | How Alan Derian got his start in Hollywood | 215 | |
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| 193. | Scoring Arts is live with the 14th Annual Fans of Film Music! | 214 | |
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| 194. | How great orchestration can create a massive sound | 213 | |
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| 195. | How composers are chosen | 213 | |
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| 196. | Mike Lang reminisces on working with Alex North | 212 | |
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| 197. | An excerpt from an orchestration critique of Debussy's Serenade of the Doll | 210 | |
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| 198. | Overview of the second movement of Debussy's La Mer | 209 | |
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| 199. | James Horner's countermelodies in Apollo 13 | 209 | |
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| 200. | Back to the Future: score breakdown excerpt | 208 | |
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