| 401. | Why composers should A.B.M. (Always Be Modulating) | 99 | |
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| 402. | The FOX theater organ as a living breathing instrument | 98 | |
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| 403. | How to develop your ear | 98 | |
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| 404. | Why conductors must look up | 98 | |
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| 405. | Military percussion writing in James Horner's Aliens | 98 | |
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| 406. | Conrad Pope on the genius of the collective | 98 | |
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| 407. | Composers who write for piano first | 97 | |
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| 408. | Jeff Beal on creating sound design as score in House of Cards | 97 | |
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| 409. | Apprenticing for other composers | 97 | |
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| 410. | The subtleties of Debussy's trills | 97 | |
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| 411. | Orchestration and mixing tips | 97 | |
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| 412. | The precision required in writing music for ads | 96 | |
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| 413. | On Adams's Century Rolls piano concerto | 96 | |
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| 414. | Bear McCreary on Da Vinci's Demons and Black Sails | 96 | |
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| 415. | Big band writing in West Side Story | 96 | |
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| 416. | An experimental aleatoric cue by Garry Schyman for Bioshock | 96 | |
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| 417. | Grant Geissman on using a capo | 96 | |
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| 418. | How Bernard Herrmann keeps accompaniment interesting | 95 | |
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| 419. | A music prep pet peeve | 95 | |
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| 420. | Instrumentation for The Day The Earth Stood Still | 95 | |
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| 421. | The Score to Independence Day: Echoes of the Holst Planets | 93 | |
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| 422. | The Score to Independence Day: Arrival Points | 93 | |
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| 423. | Arabian Influences in Resphigi's Pines of Rome | 93 | |
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| 424. | On doubling reeds with brass | 93 | |
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| 425. | Compressing musical ideas when writing music for ads | 91 | |
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| 426. | The influence of film noir in House of Cards | 91 | |
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| 427. | Austin Wintory's career advice and how to demo | 90 | |
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| 428. | Pieces that changed music history | 90 | |
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| 429. | An excerpt from Jeremy Levy's Jupiter | 90 | |
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| 430. | Angel Velez on using a baton in studio recording sessions | 89 | |
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| 431. | Tchaikovsky's use of accents | 88 | |
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| 432. | Holst's layers of woodwinds | 88 | |
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| 433. | Using bassoon to fill in the low end | 88 | |
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| 434. | How to pace a scene with dialogue | 87 | |
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| 435. | A typewriter accompaniment in John Williams's Superman? | 87 | |
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| 436. | LA Ravel Score Study Highlights, 5/20/16 | 86 | |
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| 437. | Michael Abels on music for action and emotion | 86 | |
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| 438. | Do you need a microphone reflection filter? | 85 | Discussion |
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| 439. | Emelie Bernstein on body awareness in conducting | 85 | |
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| 440. | The background to the Adventures of Robin Hood | 84 | | The Adventures of Robin Hood
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| 441. | How John Corigliano inspired Austin Wintory with wind ensemble writing | 84 | |
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| 442. | The metric organization of John Adams's Short Ride | 83 | |
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| 443. | How composers can inspire players | 83 | |
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| 444. | Scott Healy and Bernie Dresel on "Got Groove" | 83 | |
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| 445. | Angel Velez on conducting space | 83 | |
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| 446. | Taking apart a cue from Independence Day | 82 | |
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| 447. | The purpose of a mockup | 82 | |
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| 448. | An introduction to Bernstein's Candide | 82 | |
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| 449. | Studying Gerry Mulligan's Jeru, clip 1 | 82 | |
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| 450. | LA Ravel Highlights, 2/16/16, featuring Adrienne Albert | 81 | |
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| 451. | Cip on playing in the original pit for West Side Story | 81 | |
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| 452. | Book recommendation "First Nights" | 81 | |
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| 453. | Isolated score elements in Independence Day | 80 | |
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| 454. | Jazz Music Theory with Scott Healy (Ellington Group 12/18/15) | 79 | |
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| 455. | Intro, open voicings, and symmetrical instruments | 79 | |
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| 456. | Library music is the short end of a s****y stick | 78 | |
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| 457. | Alex North writes a double fugue into The Misfits | 78 | |
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| 458. | The conducting legacy of Leonard Bernstein | 78 | |
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| 459. | John Adams's Short Ride vs Copland vs Ravel's Bolero | 78 | |
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| 460. | Kris Bowers on a valuable composition lesson from Terence Blanchard | 77 | |
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| 461. | A Marvel chord sequence in Independence Day? | 77 | |
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| 462. | Isolated elements from James Horner's Apollo 13 | 76 | |
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| 463. | Composer Jeff Beal on telling a story through music | 76 | |
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| 464. | Koussevitzky, Reiner, Foss, Bernstein, and Bartok | 76 | |
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| 465. | The Score to Independence Day: Alien Harmonies | 76 | |
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| 466. | The premiere of Ellington's Black, Brown, and Beige | 76 | |
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| 467. | The importance of not being timid | 75 | |
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| 468. | Drunk History moves to Comedy Central | 75 | |
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| 469. | Jerry Goldsmith and Bernard Herrmann as radio composers | 75 | |
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| 470. | Nestico, Basie, and the Kansas City Sound | 75 | |
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| 471. | Recording and notating string harmonics | 75 | |
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| 472. | Ron Jones on learning to compose in 30 styles | 73 | |
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| 473. | How do you begin writing a film score? | 73 | |
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| 474. | Debussy's La Mer, 2nd movement, rehearsal mark 21 | 73 | |
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| 475. | Did Dvorak invent jazz? | 73 | |
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| 476. | Isolating elements in the Independence Day score | 73 | |
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| 477. | Stem breakdown of Neptune, rehearsal number 5 | 73 | |
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| 478. | Jazz and improvisation in West Side Story | 73 | |
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| 479. | Scott Healy's overview of today's film noir study | 73 | |
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| 480. | A glimpse into the scoring of Cobra Kai | 72 | |
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| 481. | Ellington Study Highlights, 9/23/16, featuring Scott Healy | 70 | |
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| 482. | How to research musical influences from other cultures | 70 | |
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| 483. | Voicing in different octaves | 70 | |
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| 484. | Coloring orchestration with woodwinds in Coming 2 America | 70 | |
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| 485. | The conductor as an aural spotlight | 69 | |
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| 486. | Dealing with directors with temp love | 69 | |
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| 487. | Composer Interview: Tim Corpus (Short Liszt Composer Challenge) | 69 | |
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| 488. | The many varied music styles in Ginny & Georgia | 68 | |
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| 489. | Tim Davies shows the "Journey" theme from Maya and the Three | 68 | |
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| 490. | Harmony and register in jazz voicings | 68 | |
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| 491. | Using flutes as a pad instrument | 68 | |
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| 492. | On Adams's Lollapalooza | 68 | |
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| 493. | Some of Bernard Herrmann's standout scores | 68 | |
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| 494. | Ron Jones's advice on staying abreast of what's hip | 67 | |
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| 495. | William Ross's vital tip on preparing to conduct from the podium | 67 | |
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| 496. | Inon Zur on crafting melodies | 67 | |
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| 497. | The wit, humor, and sophistication of Bernstein's Candide | 66 | |
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| 498. | Inon Zur on the French Horn | 66 | |
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| 499. | Christopher Willis on adapting to new styles of writing | 65 | |
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| 500. | Garry Schyman on the recording session for Dante's Inferno | 64 | | Dante's Inferno
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