The guitar is often typecast in music for film/tv and other media, and called upon only when a particular sound is needed: your cowboy western needs that Ennio Morricone/Bruno Battisti D’Amario twang. Your Bond-esque spy thriller wants that Vic Flick surf-jazz feel. Your hard-boiled cop movie needs a rough, rebellious, raunchy Eric Clapton lead. While the guitar is really useful in slotting in and hitting these (and many more) on the head, I think it’s full potential is actually overlooked.

Themes. They are what give a musical work it’s signature. They’re what people hum when they exit the theatre, and they can help give your score structure unity. Whether abundant or few, simple or complex, themes can add a compelling layer of meaning to music for moving pictures.

Themes. They are what give a musical work it’s signature. They’re what people hum when they exit the theatre, and they can help give your score structure unity. Whether abundant or few, simple or complex, themes can add a compelling layer of meaning to music for moving pictures.