2020-03-10 | The end of Alex North's score to The Misfits | 2:02 | 262 | |
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2020-02-13 | John Williams's use of hocketing | 2:34 | 815 | |
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2020-02-13 | How John Williams uses woodwinds | 2:09 | 941 | |
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2020-02-13 | Insights on how John Williams writes | 1:03 | 314 | |
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2020-02-13 | How John Williams uses ostinato | 1:38 | 1,790 | |
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2020-02-13 | Rhythmic observations from Asteroid Field (Star Wars) by John Williams | 1:27 | 316 | |
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2020-02-04 | Steinberg Dorico: A Look at Music Notation in 2020 and Beyond | 2:20:28 | 8,513 | |
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2020-02-03 | The Goss-Gershwin Challenge @ScoringArts | 1:08 | 135 | |
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2020-02-02 | Joshua Moshier on the influence of Carl Stalling | 1:39 | 362 | |
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2020-02-02 | The approach of not writing to specific picture | 2:56 | 53 | |
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2020-02-02 | Taking apart The World Is Waiting | 3:20 | 19 | |
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2020-02-02 | Different ways harmony can move | 4:10 | 62 | |
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2020-02-02 | Joshua Moshier on whether he records all instruments simultaneously | 0:59 | 156 | |
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2020-02-02 | An overview of today's Ellington Study | 5:30 | 34 | |
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2020-02-02 | Joshua Moshier on his work on FX's show Baskets | 3:52 | 241 | Show |
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2020-02-02 | Intro to Ellington's East St. Louis Toodle-Oo | 1:13 | 50 | |
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2020-01-06 | Michael Abels on the Pas de Deux at the end of US | 3:51 | 551 | |
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2020-01-06 | Michael Abels and the opening march to US | 2:18 | 150 | |
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2020-01-06 | Michael Abels on finding your voice as a composer | 2:28 | 1,412 | |
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2019-12-20 | Jeff Russo on scoring Star Trek: Discovery | 3:08 | 284 | |
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2019-12-20 | Jeff Russo on the art of communication with fellow creatives | 3:08 | 58 | |
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2019-12-20 | Jeff Russo on how songwriting for Tonic morphed into scoring | 1:18 | 486 | |
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2019-12-09 | The Riot Games team on collaborating with outside artists | 0:55 | 157 | |
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2019-12-09 | Why does Riot Games work with an in-house team of composers? | 3:28 | 848 | |
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2019-12-09 | The importance of relationships, with the Riot Games music team | 1:14 | 175 | |
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2019-12-09 | Consistency across a music team, with the Riot Games music team | 1:41 | 303 | |
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2019-12-09 | Designing games that empathize with players | 1:38 | 107 | |
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2019-12-09 | What is League of Legends? | 1:45 | 173 | | League of Legends
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2019-12-09 | Intro to the Riot Games Panel | 1:09 | 342 | Discussion |
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2019-12-09 | The Riot Games music team on trusting how music feels | 1:13 | 498 | |
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2019-11-02 | A look at a handwritten cue from Nightmare Before Christmas | 2:17 | 309 | Discussion |
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2019-11-02 | Marking up a score to study | 1:06 | 123 | Discussion |
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2019-11-02 | How scores are prepped for live performance | 1:57 | 132 | Discussion |
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2019-11-02 | Tremolos vs. trills in Nightmare Before Christmas | 1:12 | 481 | Discussion |
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2019-11-02 | What makes Nightmare Before Christmas unique? | 2:23 | 228 | Discussion |
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2019-11-02 | Forensic orchestration | 3:23 | 152 | Discussion |
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2019-11-02 | How to prepare a score to conduct | 4:29 | 218 | Discussion |
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2019-10-20 | Bear McCreary on Da Vinci's Demons and Black Sails | 4:07 | 96 | |
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2019-10-20 | Bear McCreary on the evolution of The Walking Dead | 1:11 | 112 | | The Walking Dead
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2019-10-20 | Bear McCreary on working with Mark Hamill on Child's Play | 1:57 | 245 | |
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2019-10-20 | Bear McCreary on Rebel in the Rye and Professor and the Madman | 2:54 | 163 | |
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2019-10-20 | Would Bear McCreary ever remake an Elmer Bernstein movie? | 2:46 | 106 | |
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2019-10-20 | Bear McCreary on meeting Elmer Bernstein | 4:02 | 194 | |
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2019-10-20 | Child's Play, toy instruments, and girls choirs | 2:44 | 59 | |
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2019-10-20 | Bear McCreary and his work on Battlestar Galactica | 3:17 | 589 | |
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2019-10-01 | David Newman's practical daily tips for conductors | 2:16 | 313 | |
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2019-10-01 | Star Wars conducting tips from David Newman | 0:38 | 267 | |
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2019-10-01 | Tips for conducting soloists from David Newman | 1:18 | 187 | |
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2019-10-01 | David Newman on conducting ritardandos | 0:53 | 409 | |
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2019-09-30 | Marcelo Zarvos on how to keep underscores interesting | 4:18 | 101 | |
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2019-09-30 | Ray Donovan and the "less is more" approach to music scoring | 1:08 | 142 | |
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2019-09-30 | A look at Sweet Smell of Success | 2:45 | 57 | |
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2019-09-30 | Marcelo Zarvos on using multiple tempos in Ray Donovan | 1:56 | 286 | |
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2019-09-30 | Scott Healy introduces today's study on film noir | 2:00 | 47 | |
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2019-09-30 | Ray Donovan and the influence of film noir | 5:23 | 103 | |
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2019-09-30 | How Marcelo Zarvos conceives themes for Ray Donovan | 4:39 | 665 | |
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2019-09-30 | How sounds become part of the theme in Ray Donovan | 1:40 | 102 | |
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2019-09-24 | Jeff Beal on avoiding predictability in music | 1:32 | 107 | |
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2019-09-24 | Scott Healy's overview of today's film noir study | 5:50 | 73 | |
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2019-09-24 | Harmony and register in jazz voicings | 4:12 | 68 | |
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2019-09-24 | Composer Jeff Beal on telling a story through music | 1:44 | 76 | |
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2019-09-24 | Jeff Beal on creating sound design as score in House of Cards | 1:15 | 97 | |
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2019-09-24 | The influence of film noir in House of Cards | 2:16 | 91 | |
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2019-09-16 | Jerry Goldsmith's approach to scoring Poltergeist | 0:59 | 847 | |
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2019-09-16 | Why does John Ottman edit without temp music? | 1:56 | 2,174 | |
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2019-09-16 | John Ottman explores a misconception about how films are edited | 1:40 | 144 | |
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2019-09-16 | John Ottman on different approaches to scoring in Valkyrie | 1:44 | 51 | |
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2019-09-16 | Does John Ottman edit films with his own temp music? | 3:29 | 220 | |
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2019-09-16 | John Ottman on the opening sequence to Kiss Kiss Bang Bang | 1:06 | 107 | |
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2019-09-16 | John Ottman on the wolverine fight from X Men 2 | 1:52 | 58 | |
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2019-09-16 | Bohemian Rhapsody and the Who Wants To Live Forever montage | 0:55 | 39 | |
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2019-09-16 | The life lesson John Ottman learned from Cable Guy | 1:11 | 111 | |
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2019-09-10 | Orchestration and mixing tips | 1:53 | 97 | |
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2019-09-10 | The subtleties of Debussy's trills | 1:05 | 97 | |
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2019-09-10 | How to research musical influences from other cultures | 2:11 | 70 | |
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2019-09-10 | Isolating strings and woodwinds in Debussy's La Mer | 2:20 | 206 | |
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2019-09-10 | The purpose of a mockup | 1:35 | 82 | |
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2019-08-28 | Overview of the second movement of Debussy's La Mer | 4:28 | 209 | |
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2019-08-28 | The psychology of writing demos for directors | 2:22 | 42 | Vlog |
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2019-08-28 | Jerry Goldsmith and John Williams on writing to picture | 1:18 | 471 | |
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2019-08-28 | Apprenticing for other composers | 2:30 | 97 | |
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2019-08-28 | How Alan Derian got his start in Hollywood | 2:27 | 215 | |
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2019-08-28 | Composing music under dialogue | 4:02 | 2,523 | Vlog |
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2019-08-28 | Should you write a melody under dialogue? | 1:36 | 483 | Vlog |
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2019-08-28 | How mixes are delivered for Madame Secretary | 1:21 | 54 | |
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2019-08-09 | How John Williams scores to picture in Jurassic Park | 1:13 | 1,424 | |
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2019-07-04 | Clip from the score breakdown of Debussy's La Mer #4 | 1:07 | 33 | |
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2019-07-04 | Clip from the score breakdown of Debussy's La Mer #2 | 1:57 | 55 | |
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2019-07-04 | Inon Zur on how live players can bring music to life | 1:40 | 36 | |
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2019-07-04 | An example of creative sound design with Inon Zur | 2:17 | 50 | |
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2019-07-04 | Inon Zur on crafting melodies | 0:52 | 67 | |
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2019-07-04 | Clip from the score breakdown of Debussy's La Mer #1 | 2:16 | 121 | |
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2019-07-04 | Clip from the score breakdown of Debussy's La Mer #3 | 0:58 | 28 | |
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2019-07-04 | Inon Zur on the French Horn | 1:25 | 66 | |
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2019-07-04 | Inon Zur on how he approaches meter in the Fantasia overture | 2:29 | 46 | |
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2019-06-11 | Polychord motifs from North by Northwest | 1:12 | 237 | |
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2019-06-11 | Harmonic analysis excerpt from North by Northwest | 1:41 | 296 | |
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2019-06-11 | Score study excerpt from North by Northwest | 1:39 | 179 | |
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2019-06-11 | The love theme from North by Northwest | 1:23 | 731 | |
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2019-06-11 | The complex Herrmann-Hitchcock artistic relationship | 1:46 | 44 | |
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