| 2019-06-11 | Bernard Herrmann's classical music influences | 2:03 | 500 | |
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| 2019-06-11 | Bernard Herrmann's admiration for British composers | 1:35 | 62 | |
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| 2019-06-11 | The Habanera from Bernard Herrmann's Vertigo score | 2:19 | 409 | |
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| 2019-06-11 | Some of Bernard Herrmann's standout scores | 1:48 | 68 | |
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| 2019-06-11 | When Bernard Herrmann met Alfred Hitchcock | 1:45 | 133 | |
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| 2019-06-11 | The complex Herrmann-Hitchcock artistic relationship | 1:46 | 44 | |
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| 2019-06-11 | About The Man Who Knew Too Much | 2:05 | 134 | |
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| 2019-06-11 | How Bernard Herrmann might have scored a comedy | 3:10 | 60 | |
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| 2019-05-29 | How Mahershala Ali learned to play piano for Green Book | 0:45 | 3,070 | |
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| 2019-05-29 | First impressions of Don Shirley (Mahershala Ali) in Green Book | 0:57 | 34 | |
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| 2019-05-29 | Dvorak's place in American music history | 1:32 | 108 | |
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| 2019-05-29 | Kris Bowers on a valuable composition lesson from Terence Blanchard | 2:45 | 77 | |
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| 2019-05-29 | How Kris Bowers uses music throughout Green Book | 1:59 | 527 | |
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| 2019-05-29 | How Kris Bowers began writing cues for Green Book | 1:27 | 40 | |
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| 2019-05-29 | Kris Bowers on the power of silence in music | 1:15 | 53 | |
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| 2019-05-29 | Green Book: the uniqueness of writing for piano, cello, and double bass | 1:13 | 146 | |
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| 2019-05-29 | Kris Bowers on recording the score for Green Book | 1:24 | 135 | |
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| 2019-05-25 | Coming up: North by Northwest, Bernard Herrmann, and Alfred Hitchcock | 2:37 | 121 | |
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| 2019-05-20 | Ron Jones on the color of the contrabassoon | 2:18 | 104 | |
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| 2019-05-20 | Ron Jones on balancing instruments in the mid range | 1:15 | 109 | |
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| 2019-05-15 | David Newman on communicating rhythm with the baton | 1:39 | 140 | |
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| 2019-05-15 | David Newman on how to start a recording session right | 2:01 | 340 | |
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| 2019-04-17 | How John Corigliano inspired Austin Wintory with wind ensemble writing | 1:39 | 84 | |
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| 2019-04-17 | Austin Wintory on how the first Banner Saga began | 2:50 | 60 | |
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| 2019-04-17 | The big picture trilogy view of the Banner Saga | 2:37 | 36 | |
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| 2019-04-17 | Debussy's La Mer, 2nd movement, rehearsal mark 21 | 2:36 | 73 | |
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| 2019-04-17 | Austin Wintory on conceiving the sound for the Banner Saga | 6:27 | 119 | |
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| 2019-04-17 | Austin Wintory on recording combat music in layers for Banner Saga | 3:19 | 126 | |
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| 2019-04-17 | Debussy's La Mer, 2nd movement, rehearsal mark 19 | 1:35 | 142 | |
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| 2019-04-17 | Austin Wintory's career advice and how to demo | 2:21 | 90 | |
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| 2019-04-10 | Ron Jones's advice on staying abreast of what's hip | 2:36 | 67 | |
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| 2019-04-09 | Don't begrudge the gatekeepers | 2:08 | 48 | |
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| 2019-04-09 | Find balance between writing timeless music and following a trend | 1:02 | 45 | |
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| 2019-04-09 | Library music is the short end of a s****y stick | 0:52 | 78 | |
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| 2019-04-09 | Ron Jones on learning to compose in 30 styles | 1:37 | 73 | |
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| 2019-03-28 | Do you need a microphone reflection filter? | 2:37 | 85 | Discussion |
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| 2019-03-28 | How reverb can help glue samples and live instruments together | 0:56 | 136 | Discussion |
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| 2019-03-28 | Why every composer should have a Shure SM57 | 1:05 | 63 | Discussion |
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| 2019-03-25 | An excerpt from an orchestration critique of Debussy's Serenade of the Doll | 2:11 | 210 | |
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| 2019-03-25 | Thomas Goss tells the story of his new woodwind course | 4:18 | 364 | |
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| 2019-01-07 | When young Paul Peress met Duke Ellington | 0:53 | 42 | |
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| 2019-01-07 | Paul Peress on leading as a drummer | 2:32 | 112 | |
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| 2019-01-07 | Paul Peress on his father, Maurice Peress | 1:35 | 124 | |
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| 2019-01-07 | Melodic pedal points | 1:58 | 35 | |
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| 2019-01-07 | Maurice Peress, Duke Ellington, and George Gershwin | 2:12 | 54 | |
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| 2019-01-07 | Did Dvorak invent jazz? | 1:42 | 73 | |
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| 2019-01-07 | The superpower of being able to auralize harmony | 2:55 | 34 | |
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| 2019-01-07 | Studying Gerry Mulligan's Jeru, clip 2 | 1:26 | 28 | |
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| 2019-01-07 | Jazz, groove templates, and creating reality | 2:14 | 52 | |
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| 2019-01-07 | Studying Gerry Mulligan's Jeru, clip 1 | 1:38 | 82 | |
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| 2019-01-07 | Bernie Dresel talks about his new record Bern Bern Bern | 7:41 | 122 | |
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| 2019-01-07 | Chord symbols and knowable music theory | 6:53 | 23 | |
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| 2019-01-07 | Scott Healy and Bernie Dresel on "Got Groove" | 1:42 | 83 | |
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| 2019-01-07 | The secret to great big band voicings | 3:07 | 778 | |
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| 2019-01-07 | Voicings in Ellington's Diminuendo and Crescendo in Blue | 2:47 | 50 | |
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| 2019-01-07 | Does Scott Healy orchestrate with MIDI? | 1:29 | 34 | |
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| 2019-01-06 | Percussion polyrhythms in Goldsmith's Planet of the Apes | 1:30 | 146 | |
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| 2019-01-06 | Dual harps playing 5 against 4 | 1:37 | 43 | |
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| 2019-01-06 | Composing with a pencil vs. computer | 1:14 | 110 | |
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| 2018-12-10 | Leaving off the root | 2:51 | 49 | |
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| 2018-12-10 | Intro, open voicings, and symmetrical instruments | 2:56 | 79 | |
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| 2018-12-10 | On working with comedian Martin Short | 2:51 | 58 | |
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| 2018-12-10 | A big band arranging textbook recommendation | 1:59 | 128 | |
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| 2018-12-10 | Bruce Hornsby's influence on pianists | 2:13 | 139 | |
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| 2018-12-10 | Improvising three voice harmony | 4:29 | 102 | |
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| 2018-11-25 | Intro to today's Ellington Study | 2:20 | 27 | |
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| 2018-11-25 | Ellington, gestures, and intent | 2:04 | 19 | |
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| 2018-11-25 | The story of Sometimes I Do | 2:18 | 348 | |
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| 2018-11-25 | How the Manhattan Transfer chose songs for The Junction | 1:49 | 302 | |
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| 2018-11-25 | Ellington vs. Miles | 2:23 | 30 | |
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| 2018-11-25 | Applying composer's intent to your writing | 2:11 | 33 | |
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| 2018-11-25 | The story of Blues for Harry Bosch by the Manhattan Transfer | 4:02 | 519 | |
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| 2018-11-25 | The story of the Manhattan Transfer's Tequila | 2:11 | 149 | |
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| 2018-11-25 | Mervyn Warren on the Manhattan Transfer's Cantaloop Flip Fantasia | 2:05 | 517 | |
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| 2018-11-25 | Mervyn Warren on A Special Blend and other early recordings | 2:03 | 1,143 | |
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| 2018-11-23 | Emil Richards on touring with Frank Sinatra | 4:00 | 207 | |
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| 2018-11-23 | Emil Richards on collecting exotic percussion instruments | 6:28 | 555 | |
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| 2018-11-23 | Emil Richards talks about being in a Frank Sinatra session | 1:19 | 187 | |
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| 2018-11-23 | Emil Richards on how recording sessions were his greatest teacher | 3:39 | 195 | |
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| 2018-11-22 | The great organists of the silent film era | 1:46 | 166 | |
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| 2018-11-22 | The FOX theater organ as a living breathing instrument | 1:06 | 98 | |
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| 2018-11-22 | Nathan Barr tells the story of the FOX organ | 9:06 | 204 | |
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| 2018-11-22 | Does the FOX organ have dynamics? | 1:11 | 41 | |
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| 2018-11-22 | Dovetailing lines in Tchaikovsky's Pathetique | 2:20 | 446 | |
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| 2018-11-22 | Debussy's colors and textures | 1:16 | 176 | |
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| 2018-11-22 | A special French horn effect in La Mer | 1:25 | 326 | |
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| 2018-11-21 | How Christopher Willis starts a cue with a piano mockup | 2:20 | 267 | |
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| 2018-11-21 | The beauty of recording in a large room | 0:52 | 21 | |
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| 2018-11-21 | On working with Rupert Gregson Williams | 1:13 | 31 | |
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| 2018-11-21 | The role of music in The Death of Stalin | 1:33 | 708 | |
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| 2018-11-21 | The recording sessions for Mickey Mouse | 2:24 | 38 | |
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| 2018-11-21 | The influence of Soviet music in The Death of Stalin | 1:49 | 1,241 | |
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| 2018-11-21 | Christopher Willis on adapting to new styles of writing | 2:49 | 65 | |
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| 2018-11-21 | Weighty Russian orchestrations in The Death of Stalin | 3:54 | 382 | |
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| 2018-11-20 | Jerry Goldsmith's Planet of the Apes: Thematic Analysis | 7:32 | 2,455 | |
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| 2018-11-13 | Jerry Goldsmith's Planet of the Apes: The Hunt Part 2 (score) | 1:24 | 1,345 | |
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| 2018-10-13 | Claude Debussy: La Mer: 1st Movement STUDY SCORE | 9:20 | 2,315 | |
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| 2018-09-27 | Inside the Score: Debussy's La Mer (excerpt 1) | 2:36 | 258 | |
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| 2018-09-27 | Inside the Score: Debussy's La Mer (excerpt 2) | 1:28 | 117 | |
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| 2018-09-24 | Introduction to Debussy's La Mer | 3:34 | 371 | |
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