Heavily influenced by Wagner, Jazz and Late Romanticism, the music of that time is big, melodramatic and glorious.

In this tutorial series we are going to learn how to write a main title cue in the style of that great era. We will begin by analyzing two cues that are representative of the style, and then work from a blank sheet of paper to a final orchestral mock-up.

I chose two main titles that I believe represent the very “typical” form and style of the era. The first is “The Sea Hawk” by Erich Wolfgang Korngold, and the second is “Gigi” by Frederick Loewe.

To be honest there are far too many examples to choose from, so I based my choices on the following criteria:

• The years the scores were written are a good distance apart; 18 years separate them, yet they still share quite a lot in common.
• They fit the “stereotypical” format of a classic main title cue, (Fanfare, upbeat A section, romantic B section) which we’ll get into.
• They are very different in genre. The Sea Hawk is a swashbuckling high-seas adventure, and Gigi is a romantic comedy set in turn-of-the-century Paris.
• They are both somewhat straightforward and easy to understand, Gigi being simpler than The Sea Hawk. Many of the true “classics” defy analysis, which would make this article a tad difficult to read, so I stuck with something digestible!

Analysis

If we want to be able to compose in a specific style, we first have to understand that style. Let’s go through and figure out what makes these two pieces of music tick.

Form – Gigi

If you have Spotify you can listen to the track here:

Intro – 8 bars – Typical of the era, the cue opens with a brass fanfare. The first two bars are repeated in sequence a step higher, and then a rhythmic build leads us up to the A section.

A – 37 bars – The A section is an upbeat, fun and brassy tune in the key of Bb. It’s a pretty typical 32 bar tune, with an extended ending. If you think of it as a mini ABAC form, the first ABA is 8 bars each, or 24 bars. It’s only the last segment, c, which extends in length by delaying the cadence by 4 bars.

Once the end of A cadences on the tonic, there is a 3 bar build to prepare for the B section. It’s a quick modulation from Bb to D (ending on the A dominant chord to prepare us) with a punchy rhythm to create a strong contrast with what’s to come.

B Intro – 2 bars – The B section begins with 2 bars in the new tempo, feel and key before beginning the actual melody. Notice how these little interludes and extensions add a lot of dimension and character to an otherwise very standard form.

The B section is a drastic shift in feel. It’s slower, lusher and more romantic.

This section is another double period, a 32 bar melody with four sections of 8 bars. The last part of the section is marked by a dramatic drop in tempo, which really adds to the melodramatic feel typical of the era.

The end of B sets up the next section, which I already mentioned is the end of the Main Title and the beginning of the film.

In summary, we have an introductory fanfare and build to the A section, an A section that is a complete tune, a transition and modulation to B, and a B section that is a complete tune.

Here is a visual summary of the form:

Form – The Sea Hawk

The Sea Hawk has similarities to Gigi, but is somewhat more complex and sophisticated.

Intro – 3 1/2 bars – The cue begins right away with an exhilarating brass fanfare that hints at the A theme, and then climbs upwards in a build to create suspense for the coming A section.

A – 19 Bars – The A section is rhythmic, exciting and dominated by brass. Although it’s mostly in 4/4, there are several time signature changes. A bar of 3/4 or 2/4 will suddenly push everything forward sooner than expected, which helps add to the excitement and energy.

The first segment is 8 bars, ending on F, the dominant chord. The next segment starts up again just like the first, but this time takes off in a new direction. While the first segment basically played a II-V-I progression, the repeat takes off into new harmonic territory, passing through Db and G before eventually landing us on a B major chord for the next section.

B – 14 bars – Lush, slow and romantic. Just like in Gigi, the B section is a stark contrast from the A. Unlike Gigi, however, there is no intro setting up this section. Instead Korngold goes right into it.

The whole section is made up of only 2 motives, which vary in pitch:

The form of the B section is AAB AAB AAAAB. Harmonically it takes us from B to Eb.

A – 7 bars – We come back to A, this time in the key of Eb and for only 4 bars before going into an aggressive climb to set up the last section.

Outro – 8 bars – The last section begins on a sever F minor chord. Like a proper introduction to a film, the cue doesn’t end on in a perfect authentic cadence (that would make it feel like the story was over, not just getting started!). Instead, it tapers off on the unresolved melody note of C.

The Sea Hawk has a much more dramatic form, but that makes sense because it is a more dramatic film! Neither one has to be necessarily “better” than the other for being more sophisticated, it just has to make sense for the story.

Here is a visualization of the form:

Harmony – Gigi

The harmony from Gigi is rather straightforward jazz harmony.

The fanfare sets up Bb. The A section begins and ends in Bb, and then modulates to D. The B section also cadences nicely on D.

Both sections begin with a basic interchange between I and V, only becoming more colorful for the melody’s climax, when ii-Vs pull us into other keys but always bring us back home.

Harmony – The Sea Hawk

The Sea Hawk is more sophisticated, less jazzy and more late romantic in style.

The first A section actually uses rather simple harmony and essentially outlines a I-ii-V-I progression. From there though it modulates to B major by passing through many unrelated keys.

It’s pretty remarkable that the chord at :14 is merely C minor, because after having the Bb major chord blasted with gusto it feels like such a fresh harmonic color. The G major chord that pulls into C minor really helps to add to the “foreign” sound of an otherwise diatonic chord.

Just like with the form, you have to remember that The Sea Hawk is a much more dramatic film than Gigi. To have harmony that flies from one key to another in Gigi just wouldn’t fit the laid back style of the period. In a big adventure story it makes much more sense to take more bold harmonic leaps.

Orchestration – Gigi

We all know that orchestration is where this period really shines. Nothing says Hollywood like a huge sweeping orchestra!

What I’m interested in here are the following points:

• What instruments play the melody and when?
• What instruments play the harmony?
• What instruments provide rhythmic support?
• How do they add extra color and flair?

The opening fanfare of Gigi is played, not surprisingly, by trumpets. strings, winds, percussion and low brass providing excitement with runs, trills, and big hits.

The A section melody is played by trumpets, with the high strings going back and forth between playing the melody and adding counter-lines. Low brass and percussion fill in the harmony and the marching rhythm. Extra color comes from the winds which are primarily being used for runs and trills.

The B section is carried by the strings, at first in a lower register and then for the second half in glistening high violins. When the violins jump the octave the trumpets also join in.

Counter melodies are played by low brass, while winds provide harmonies. The rhythm is pushed ahead by little more than pizz basses.

The most important take aways are:

• The majority of the heavy lifting is being done by trumpets and violins.
• Woodwinds are barely present beyond some filler and color.
• The A and B sections are contrasted not only by tempo and feel, but also by orchestration. A is predominantly brassy with percussion driving the energy. B features strings and doesn’t use a percussive rhythm.

Orchestration – The Sea Hawk

The fanfare and A sections are all about brass! Strings and woodwinds add support with runs and flair, but it’s the brass that really takes center stage.

It’s interesting to note that the bulk of the A section is brass in triadic harmony (all lines playing the same rhythm), with no other harmonic support. There aren’t big strings pads or anything else to clutter up the space, just the brass all alone. It’s very easy to over-orchestrate and think you need to have all sections playing at all times. This is a fantastic example of how a single color can really pack some punch.

The romantic B section is carried by the violins, with winds providing chords in the background and horns playing counterlines.

Flute and celesta play runs for added color interest.

The return to A also marks a return to the brass-focused orchestration.

The outro is made dramatic by a big fat brass chord, but the drama of it is played by the strings. Strings are a great choice for wanting to fade out with a natural and smooth disappearance.

For extra color there is a tambourine rhythm in the ending. The brand new color is refreshing and grabs our interest. Normally it would be odd to start adding new colors at the end of a piece, but since this whole cue is one big introduction it actually makes sense to start adding new instruments as the story unfolds.

Conclusion

Now that we’ve pulled apart the style bit-by-bit to see how it works, it’s time to write our own rendition!

We could talk about what happens in other people’s music for a lifetime, but none of that is very helpful unless we put those principles to work.

Stay tuned for Part II in which we’ll write our own cue from scratch in the Golden Age style.

Your Thoughts

What are your favorite main title cues from the Golden Age of Hollywood? Which ones stand out to you as the most iconic, or the most representative of the overall style of the era?

In this article we’re going to take an in-depth look at how an James Horner uses modulation to bring out the significant shifts in a story.

Key Takeaways

As we analyze a cue of James Horner’s classic score from Braveheart, I’ll keep coming back to two core ideas. They both deserve much more detailed discussion, but for now here’s a general summary.

1. Chords from outside the key have a heightened sense of major or minor. In other words, a non-diatonic major chord feels more “major” and a non-diatonic minor chord feels more “minor”.

Here’s a quick examples. We have a little melody harmonized with diatonic chords. The melody note E is accompanied by an A major chord and it feels nice and happy.

But listen to what happens if instead we change the chord to C, a non-diatonic major triad:

The C chord feels far more uplifting, and in a weird way it even feels more “major”. Obviously a C major triad is just as “major” as an A major triad, but because it’s coming at us from outside the key the character of the chord is heightened.

2. There is a difference between a hit and a shift. A hit marks a specific moment as significant, such as a powerful action or an important line. A shift on the other hand, marks an entire change in the mood and character of the scene.

While a hit lasts for a moment, a shift can last for an entire cue. When you are able to back up and think about the major shifts in your cue you begin to have more control over the direction of the story.

Braveheart – They Will Never Take Our Freedom

In this clip from Braveheart, James Horner modulates three times. He starts in A Mixolydian, modulates to D Major, moves to D Dorian (the parallel minor with a raised 6th degree), and then brings it back to D Major.

Watch the clip first and then we’ll get into a deep analysis of Horner’s masterful use of modulation.

Opening – A Mixolydian

The beginning of the clip is A Mixolydian. Although you could make the case that this is just an elaborated A7 chord to prepare for the upcoming D Major, it is so long that you feel like A is the tonic. If the cue ended after 20 seconds on the pitch A it would not feel unresolved, which it would feel if we ended on a dominant chord.

Mixolydian is a great mode to use when you want a generally positive feeling but find that the raised 7th of Ionian (traditional major) feels just too darn happy. The b7 degree adds a sense of neutrality and softness.

Modulation #1 – A Mixolydian to D Major “Sons of Scotland”

The first modulation comes at :30 when Wallace says “Sons of Scotland.” As we already noted, A Mixolydian is arguably just an A7 chord, or the dominant of D major. Thus a modulation to D feels incredibly natural and satisfying. We would expect it, and having our expectations met feels good!

We land without doubt on a solid D major chord immediately after the line, and D major has become our home key. The mood is much warmer and nobler to accompany Wallace’s sense of purpose.

Notice an important distinction with what’s happening here. Marking the line “Sons of Scotland” is a hit, but modulating to D major is a significant shift in mood. Horner could have just as easily hit the end of the line “Sons of Scotland” with an A major chord and kept the music humming along in the same key. It’s the modulation that carries the story forward.

Modulation #2 – D Major to D Dorian “In defiance of tyranny”

Our next modulation comes in at 1:00, under the line “..here in defiance of tyranny.” The modulation is a change from one key of D to another, and so to make the transition as smooth as possible Horner ends the D major section with a perfect cadence, holds nothing but the pitch D, and then introduces new material in the minor mode.

Moving from the major to the minor mode (ionian to dorian) gives us a much stronger sense of minor than simply using a diatonic minor chord from the key of D major. If we had just moved to B minor we would still feel the pull of D major.

It’s sadder, but not necessarily much more tragic.

Instead, a move to the parallel minor (in this case with raised 6th degree) feels like an actual change in mood, like things have taken a turn for the worst. It’s more than a hit, it’s a shift.

Also make sure to notice that the shift is accompanied with changes in orchestration and texture. All of these elements help us feel like we have moved to a different place in the story.

So why Dorian and not natural minor? One reason might be that the Dorian mode has a certain Scottish flair to it (often associated with Ireland, but the feel is similar). Another might be the very same reason to use Mixolydian instead of Ionian; the raised 6th makes Dorian a “softer” minor key. It needs to be sad, respectful and noble, but it’s not a funeral.

Modulation #3 – D Dorian to D Major “Run and you’ll live. At least a while.”

Our final modulation comes at 1:40 when Horner moves back to D major around 1:30, after the line “Run and you’ll live. At least a while.” William Wallace has reached the hearts of his audience and captured their attention. Seems like we’re due for a shift!

Yet again notice that the shift occurs after an authentic cadence. The minor “tyranny” section has come to a complete close before Horner makes a shift to the major feeling for the rousing speech. And just like before, he holds out the note D for a moment without any other pitch before moving into D major. It makes for a very smooth transition.

Modulation with an authentic cadence is not a requirement, and surely should be used on a case-by-case basis, but obviously we can see here that it’s quite an effective technique.

Lastly, notice that Horner has done the exact same thing as the previous modulation only in reverse. Before he moved from major to the parallel minor, which feels more “minor” by being non-diatonic. Now he’s gone from minor to the parallel major, thus feeling more “major” by being non-diatonic.

And why parallel? My best guess is that it’s extremely smooth. We get a significant shift in mood from major to minor to major, without actually pushing the energy or intensity into extremely new heights. A raise in a half step would feel like we all of a sudden had much more urgency (that’s a topic for another day!).

Where To Go From Here

• Plan modulations into your cues. Zoom out your perspective and find the moments that are not just hits but actual distinct sections. You don’t have to modulate every single time (which would become tiresome if you did it too often), but you should at least consider a modulation every time you want to rouse a new feeling in your audience and push the story forward.
• Expand your approach to include shifts, not just hits.
• Take advantage of the heightened feeling of major or minor from non-diatonic chords, especially with the ways to use them for deceptive cadences and modulations.

Have a different interpretation of the Braveheart clip? Or want to share your tips and tricks for modulating from a film composer’s point of view? Let’s hear it in the comments!

Here are 5 books that lay down the foundations of scoring video games.

The Complete Guide to Game Audio

by Aaron Marks

Aaron Marks is a highly influential industry leader who remains active in all aspects of game audio. Marks won Best Game Audio Article, Publication or Broadcast – Game Audio Network Guild Awards – 2002; and he is also an award-winning composer and sound designer (2004 Game Tunnel – Best Sound in an Independent Game of the Year Award – I of the Enemy). His knowledge is sought after and can help any game audio specialist grow in his/her field.

• Exhaustive, Indispensable resource for Game Audio – so that game audio professionals can do things like learn how to set up a studio, make a demo reel, find the work, bid on contracts, negotiate deals with clients and win the contracts.
• Technical considerations explained in detail so that game audio professionals can make sense of complicated systems, learn about the highly involved programming elements, and create high quality audio without a hitch.
• DVD includes audio samples, demos, interviews, and Dolby’s latest Sound Development Kit so that game composers and sound designers can benefit quickly and easily by porting to their own work.

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Music for New Media: Composing for Videogames, Web Sites, Presentations and Other Interactive Media

by Paul Hoffert

Videogames, web sites, and other new media are creating more opportunities for contemporary music writers than have ever existed before. In this book, you will learn to write effectively for these new forms, mastering the devices, sounds, and techniques for supporting stories and responding to user actions. It details the technical and dramatic requirements necessary for each type of new media. In engaging language, illustrated by countless real-world examples and practical workshops, writers at all levels will find ways to create music for new markets, and find new opportunities for creative expression. Guided hands-on projects will help you create music in all these forms. A CD of examples and practice files illustrates all concepts and lets you practice the techniques.

Readers will learn to:

• Score videogames, developing music for different characters, addressing the standard types of scenes and cues, and the formats required by game publishers
• Develop music for web sites, including HTML and Flash code
• Use sound technologies within mobile devices to create distinctive ringtones and other sounds
• Create demos and portfolios for getting clients.

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Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design

by Karen Collins

A distinguishing feature of video games is their interactivity, and sound plays an important role in this: a player’s actions can trigger dialogue, sound effects, ambient sound, and music. And yet game sound has been neglected in the growing literature on game studies. This book fills that gap, introducing readers to the many complex aspects of game audio, from its development in early games to theoretical discussions of immersion and realism.

In Game Sound, Karen Collins draws on a range of sources–including composers, sound designers, voice-over actors and other industry professionals, Internet articles, fan sites, industry conferences, magazines, patent documents, and, of course, the games themselves–to offer a broad overview of the history, theory, and production practice of video game audio. Game Sound has two underlying themes: how and why games are different from or similar to film or other linear audiovisual media; and technology and the constraints it has placed on the production of game audio. Collins focuses first on the historical development of game audio, from penny arcades through the rise of home games and the recent rapid developments in the industry. She then examines the production process for a contemporary game at a large game company, discussing the roles of composers, sound designers, voice talent, and audio programmers; considers the growing presence of licensed intellectual property (particularly popular music and films) in games; and explores the function of audio in games in theoretical terms. Finally, she discusses the difficulties posed by nonlinearity and interactivity for the composer of game music.

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Creating Music and Sound for Games

by G. W. Childs

Get ready to step into the mysterious world of the video game sound designer and composer. Creating Music and Sound for Games examines the responsibilities associated with each of these roles and offers tips and insight for breaking into the business. With focused sections for each of these important roles, this book offers an insider’s look into how the sound designer and compositor fit into the game production team and how these roles interact with one another.

You’ll cover the essential tools of the trade and will examine sound design and compositional tips that can save you time and make you more efficient.

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The Game Audio Tutorial: A Practical Guide to Sound and Music for Interactive Games/

by Richard Stevens & Dave Raybould

Design and implement video game sound from beginning to end with this hands-on course in game audio. Music and sound effects speak to players on a deep level, and this book will show you how to design and implement powerful, interactive sound that measurably improves gameplay. If you are a sound designer or composer and want to do more than just create audio elements and hand them over to someone else for insertion into the game, this book is for you.

You’ll understand the game development process and implement vital audio experiences-not just create music loops or one-off sound effects.

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Share Your Recommendations

Is there a book that’s super awesome that I’ve missed? Maybe you’ve read a book above and want to share your experience with it? Why don’t you post about in the comments below.

There’s no shortage of cinematic loop libraries for percussion, instruments, sections and soundscapes all at reasonable prices. If you’re on a tight budget or timescale you might consider using them.

But, Is it cheating?

The big question of todays ‘Your View’ is:

Given the time constraints of composers, is it unreasonable to use loop libraries in your music? If so how and where is it appropriate?

Leave a comment below and let me know what you think.

Here are just a few things you’ll learn:

• The most important thing Trevor looks to accomplish when working on a score
• How Trevor landed a job with James Newton Howard and then Hans Zimmer
• What’s the one decision Trevor made early on that’s helped him massively in his career
• And what Trevor would consider his musical superpower

And trust me, there’s much more in this interview.

Hi Trevor, It’s a great privilege to be able to talk to you. I’m a great fan of your work, I’m currently following the latest series of The Borgias which has been fantastic so far, so awesome work!

Thanks so much for that.

What was your first paid commission? How did it feel?

Well, my first first was believe it or not when I was 13, my music elementary school commissioned me to write a piece for piano and 4 part choir, to be sung by my graduating class that year. My fee was $50, which when you’re 13 years old is a fortune !

How did you get started scoring for media?

I began scoring TV & Radio commercials in my native Toronto in my 20′s, which wet my appetite for the magic that happens when music and images meet together in a meaningful way. That lead to my desire to have longer than 30 seconds to say what I had to say musically, so TV and Film was what followed.

I understand you moved to Los Angeles to pursue TV and Film. How did you land working with James Newton Howard and Hans Zimmer?

I got a job working as a pick up assistant for James through his then engineer Jim Hill, who remains a friend and does a lot of mixing for me. I asked James to work for him full time but he didn’t have a position for me then, but Hans had something open up and it just flowed from there.

Scoring The Tudors was your breakthrough project and reinvented the costume drama in every production aspect. At what stage were you brought in and how did you approach working on it?

I was brought in late in the game, so the train was very much on the tracks at that point. I won’t lie, it was really tough on me at first. So my approach was both playing catch up to the rest of the production, and at the same time embracing what we now know, which is that
we were reinventing costume drama in every way. I was too busy at the time to let the gravity of that hit me, I was so buried I didn’t have time for that to sink in. So I just did the work.

But my approach was an extension of how I always work, which is to start by writing melodies. I wrote 6 or 8 themes before I started in hardcore. Some lived, some died, but it was my setting of the tone for my approach to everyone on the show, which is a melodic frame of mind.

Did the producers already have a brief for you or were you given full creative control?

You are never given full control! It was a lot of us trying to figure out the tone, it was the toughest part to be sure. We were reinventing the wheel really.

You said it was tough at first, could you go into more detail about the challenges? (Was the sheer amount of music, the style, the instrumentation?)

Mostly again about time frame, and the pressure to create something completely new, and yet still fit and tell the story properly.

You begin by writing melodies. When you’re stuck for ideas, where do you turn to?

Classical music I guess, though the blank page syndrome isn’t as big an issue anymore. It’s more a young composer’s hang up (as it was for me when I was younger). Now ideas flow, it’s just more about fishing for the best one.

Were you already familiar with historical music and instruments or did you research to inform the score? Was the historical accuracy something that you considered?

I never claim to be nor want to be a musicologist. But my knowledge of the instruments of the period is pretty good, but I use them my way. So historical accuracy was not a concern at all for me. I never let anything constrain me in that regard.

What was the creative process like for The Tudors? Are you a pen and paper kind of guy?

Definitely not, I am born of the computer generation. I am surround by this unreal world of high technology, which is how I like it. But at the end of the day, they’re just tools to help me realize what’s in my head. That’s the point. Though I do have lots of acoustic instruments around me too, a beautiful piano, some Dulcimers and stuff like that.

But the process is somewhat the same, I conjure ideas and just pound away at them alone in my studio until they are perfect.

Was the music of The Tudors recorded, sampled or somewhere in-between?

Originally all samples with a solo violin on the tune, we later re-recorded the strings and choir live. You can really hear the difference from season 1 and 2, to season 3 and 4 if you listen to them back to back.

How did you establish the ‘sound’ of The Tudors.

That question would take an entirely different interview! But the long and the short of it is, I just did it as I did it, I just let myself flow with what I was feeling until it happened.

What’s the most difficult aspect of scoring a project of this magnitude. A TV series is a huge amount of music!

There are many of many facets. But getting into the story and its subtext, of which there is a lot, is always the primary goal and challenge. I truly believe I serve the Story, I am its slave and it my master. So the better the story, the harder I have to work, if that makes sense.

Your latest historical score The Borgias has been a great success netting yourself another EMMY win for the title music. You’re making a name for yourself as the ‘historical drama guy’. Did you ever think you would acquire such an accolade?

The Historical notoriety I find funny, as I was so NOT that guy before The Tudors. I was more the action guy. But I am nothing but grateful for being known for something, it’s a tremendous gift that is not lost on me. Winning the EMMY was up there with the great moments of my life for sure, and no I didn’t think I would win, I was truly just happy to be invited to the party.

Did your experience with working on the Tudors apply to The Borgias?

All my experiences “inform” my other experiences, so yes.

The Immortals released last year has been one of your biggest big screen projects. How was working on the score?

It was one of the great experiences of my career on many levels. Beyond being such a huge movie, the director and I got along well and the process was very smooth and positive. I got to conduct the best players in London UK at one of my favorite scoring stages, a renovated church in Hamstead London owned by Sir George Martin. How cool is that?

How was it different from the TV work you had done previously.

TV, Films and Interactive all share commonalities, and at the same time are all different. But a film of the size and scale of “Immortals” is by nature the big difference. Which is something I embraced and thoroughly enjoyed. I have worked on many many feature films before Immortals, so it wasn’t like my first rodeo.

The structure of working in a film music department has always baffled me. Could you shed some light for myself and my readers on how much involvement you have in managing and directing the other team members?

Managing is a big part of it, and is a learned skill, as opposed to talent which you naturally have. You’re the composer, so your point of view is why you got hired, so it’s a lot about getting everyone on board that view and aligning things to head the right direction. Sometimes it’s easy, sometimes it’s a never ending uphill battle.

You’ve worked on the soundtrack for various games (Need for Speed, The Sims, Army of Two), how does your approach differ to scoring for TV and Film.

TV & Film share a lot in common, but interactive is its own beast. NFS was my first game, and I credit the great gang at EA for being patient with me as I “learned” how to write for games. It’s too large a subject to go into in this interview, but suffice to say it’s a completely different way for your brain to think and organize. More like a Rubik’s cube then a painting, if that makes any sense.

What sort of studio/technology setup do you use on a daily basis?

My studio is very state of the art, a highly technology based environment. I am surrounded by many many computers and devices and peripherals. Which is the way I like it, I am big on technology. Its an enabler in a great way, not for everyone but it is for me. But on some level it comes down to my sequencer as composing tool, which is called Cubase, and a program called Pro-Tools for recording mixing. That’s the cliff notes version of it all.

What projects have you got on the horizon?

Doing an action packed movie called “Death Race,” which is brilliant for me because it is SO different than The Borgias, it’s Rock n Roll ! The Borgias is back for Season III in the fall which is great too.

And hopefully a vacation in there somewhere to recharge the batteries.

What’s the one decision you made early on that’s helped you exponentially in your career.

Work harder than everyone else. There is no, absolutely no substitute for hard work.

What’s the most important thing you look to accomplish when working on a score?

Something that stands the test of time, that is not ephemera, that I can sing along with and still moves me emotionally. I get it right sometimes, and not on others, but I always look to accomplish it.

Here’s a fun one, what would you consider to be your musical superpower?

Bionic hearing. It’s a blessing and a curse. Though I’m not sure super power hearing is going to save the world anytime soon… but it’s helpful for me.

My readers are aspiring composers, what advice could you pass on to them?

Learn, persist, apprentice if you can, and above all, you have to work harder than the guy beside you. There really is NO substitute for ridiculously hard work, nothing makes up for it. Not talent, not personality, nothing. Its is the one and only key to success that I have seen proven true time and time again.

It’s proven true for me.

Thank you Trevor

My pleasure, thanks for having me.

Over to you

Please leave a comment below and tell me the best thing you learned from this conversation. I’d also love to hear your feedback on the interview.

How did you get started scoring for games?

I had a great passion for both music and games from an early age. I started learning piano and saxophone at age 8, later studied music theory and composition as a teenager, and earned Bachelor’s and Master’s degrees in composition at Brigham Young University, as well as studying film scoring at UCLA. My goal after graduation was to begin scoring games. I started with smaller projects, including mobile games, as well as a lot of big action and trailer music for production music companies. When I got the chance to score Transformers: Dark of the Moon, it was a very exciting opportunity for me. Shortly thereafter I demoed for I Am Alive and was selected to score that project, which was also a great experience.

Describe your compositional process when working on I Am Alive. What were your aims?

My primary goals were to create a soundscape that would immerse the player in the post-apocalyptic world, as well as induce the key emotions of fear, desolation, and also hope that the main character of the game experiences. It was essential for the music to support the environment, in a non-obtrusive but engaging manner.

What were the biggest challenges working on the score?

The biggest challenge was very carefully selecting the instrumentation and sounds that were used in crafting the ambient score for the game. The music of I Am Alive relies primarily upon sound, texture, and rhythm (as opposed to the more traditional reliance upon melody and harmony). As such, the sonic colors themselves were crucial. It was important to create interesting sounds that would blur the lines between music and sound design.

Is there a particular element of the soundtrack you are fond of?

One particular music cue I am fond of is found in the final area of the game, where you find yourself in a crumbling pier park. For this area, the music uses interesting materials such as creaking metals, ambient bells, and tonal ambiences that blend well with the visual imagery. I’m also fond of the emotional music and themes that are used to convey the connection the protagonist has with the child Mei, whom he finds and protects.

Where you given complete creative control over the score?

I was given a lot of creative control when composing the music. There certainly was no dictate to make it sound like existing music scores – rather, because the game is very original, we wanted the music to be so as well. The audio director Zhang Lei gave me very helpful feedback as I composed, and helped guide me in the direction that would best support the game.

How do you structure your music for the video game medium?

In game music, interactive layers are often used that fade in and out of one another based on the gameplay. For example, in I Am Alive, we have an ambient exploration layer (for when the player is exploring, without combat), and a tension layer, that fades in on top of the exploration layer when the player approaches a dangerous situation. When engaged in combat, new music cues are used, with increased rhythm and intense sounds. Also, there are musical layers that play when you have low health or low stamina. So, each game is different, depending on the music implementation system.

What’s the creative process like for you?

When I compose music, before writing any notes, I like to have an overall idea of what I’d like to achieve. When an artist paints, he starts with a general sketch of the form, then tightens this form, and later adds the colors and shadings. Likewise, when I compose, I start with the macro elements such as form/arrangement, overall instrument choice, and harmonies/scales that will be used. I also will write out any main themes or motifs at this time. After that, I begin composing all the specific instrument parts, and finally tighten up the composition and mix with the details.

You definitely will need a good and solid drum performance (and also a good and clear recording signal) to get good overall results afterwards. But a good recording does not equal good sound necessarily. The first important thing is that you record your drums on separated audio tracks. Make sure that there are individual tracks for kick drum, snare drum, hihat, overheads and ambience (if you want to catch the sound of the recording room as well).

Listen to Sample 1. These are the naked drum tracks with no editing at all.

Sample 1

Then, please switch to Sample 1. This is the result I got after doing the steps I explain below.

Sample 2

The Kick Drum

The kick drum is the basis of every groove and therefore very important. Make sure that it has its own place in the mix without competing with other instruments (e.g. the bass guitar). I would like to show you my chain of insert effects to let you know what I’ve done.

1) UAD Studer A800 (Tape recorder)

The Studer is a great tool to get an analog vibe. It is designed to be put on every single audio channel in your song. I picked the preset for kick drum and adjusted the input and output levels. In order to run the Studer on your own system you will need a UAD-2 DSP card. Obviously, it’s a matter of taste and whether or not you like the sound of a tape recorder but I use it on almost every song.

The Studer usually should be used in the very first slot of your effect chain because its tape saturation adds some color to the sound.

2) UAD 1176LN (Compressor)

To give some stability to the kick drum we need to compress it. I could have used any other compressor but I like the 1176 because it offers very fast attack and release times that give you the possibility to shape the sound of the kick.

Furthermore, the 1176 allows you to really overdo the compression. This will make the sound become dirty and a bit distorted – this can be a useful effect if you were looking for a lo-fi drum sound.

3) Studio-EQ (Equalizer)

Using the equalizer I support the low pitch of the kick to give it a bit more low-end and also more sharpness by increasing the frequencies at around 7.6kHz.

Every kick drum has its own frequency points that are important for the sound characteristics. But in general there are two important spots to look at: a) the low pitch (see band2) and B) the snap (see band4). Find those spots and you are ready to shape the
sound properly.

4) Gate

The only purpose of the gate is to get rid of noises and sounds other than the kick drum. This is important because I am going to use the signal of the kick drum to trigger another signal afterwards (see No.6). I suggest finding the quietest hits of the kick and adjusting the threshold to make sure those hits get through the gate.

As you can see, I started with a preset. But I highly suggest experimenting with the settings because especially the attack time and the release time have much influence on the sound of the kick.

5) UAD Precision Enhancer Hz (Special processing)

This tool provides different modes for different sound sources. Mode D is designed especially for kick drums. It creates the illusion of more and a deeper bass due to the processing of harmonics. This is often associated with the term “phantom bass”.

Always trust your ears and also keep an eye on the volume meter when using bass enhancers in general. On the one hand, it can be pure magic but on the other hand they certainly have enough potential and power to mess up your mix totally. Therefore, my beloved knob on this tool is “effect” to find the right amount of phantom bass and original bass. That is the best way to find a good balance between both signals. Again, it can be a great effect (and also sound) if you just used the phantom bass signal in your
mix.

6) Sub bass (via side-chain)

This last step probably has the biggest effect on the sound. I recorded a simple sine tone and put it on a separate audio track (listen to Sample 3). I used a frequency that cut through the song (unfortunately I can’t tell anymore what frequency that was). Next, I used a gate in side-chain mode on the sub bass audio track.

Sample 3

The original kick signal feeds into that gate and functions as a trigger. Every time the kick hits the gate will open and the sine tone is audible until the release time closes the gate.

The Snare Drum

In my opinion, the snare drum is equally important to the kick although there are some different schools of thought. Some say the snare drum is the most important thing in a good mix and therefore it has to be the loudest source.

1) UAD Studer A800 (Tape Recorder)

As mentioned before, I usually put the Studer on every audio channel and the snare drum is no exception. Since you will not find a preset for the snare drum, I used the settings for “saturation” to make sure it has enough punch and presence in the mix. Again, this will change the tonal color of the original recording so make sure to use the Studer in the first slot of your effects chain.

To give the best emulation of the hardware device, Universal Audio even included the noises of the machine. This is good for realism but sometimes you would want to get rid of them. Just click on “open” and change the settings according to your needs.

2) Gate

As we did with the kick drum, we will separate the snare drum signal and get rid of crosstalks. Since we use the signal to trigger some other sounds it is important that you make sure, every snare drum hit breaks through the gate. This won’t be as easy as with the kick drum because the snare usually is much more dynamic but this also depends on the musical style and the drummer.

Most gates allow you to define a center frequency that opens the gate.

3) Studio-EQ (Equalizer)

Next, I have shaped the sound using an EQ. The presets are a good starting point. You might want to adjust some setting depending on the sound of your snare.

I would like to point out the most important band is the low cut. You might want to leave most of the low end to the kick drum and the electric bass. This prevents your mix from sounding muddy.

4) White noise (via side-chain)

Now, the snare drum sounds are already satisfactory, but still not expensive. Therefore, I am going to add another audio track to trigger a white noise signal with the snare hits. Listen to Sample 4, this is the signal that I am going to layer on top of the snare drum. I am using the same signal flow like on the sub bass channel for supporting the kick drum.

Sample 4

5) Some fancy noise (via side-chain)

To let the snare drum appear a bit more aggressive, I am adding another noise to the hits. Listen to Sample 5. If you own a copy of Spectrasonic’s Omnisphere you are going to find many extremely cool sounds that serve that purpose (not only that purpose, it really is one of my go-to plugins for almost everything).

Sample 5

Here you have an overview of all active drum tracks. The first two from above are the kick drum, followed by three tracks for the snare drum. The rest is a separate track for the hihat and two overheads (left and right). The last track was intended to catch the sound of the room and therefore it adds some depth and ambience. There are literally endless possibilities to manipulate and edit the sounds of each track. The only important thing is that you find a sound setting you like best. Most of the time, you will find those settings by experimenting.

Reverb

The last step is adding some reverbs. I set up an effect channel (send-return) and loaded the Altiverb 6 from AudioEase on that channel.

I am not giving too much reverb to the kick drum because I want to leave it in the foreground of the song. The snare drum gets more reverb. It is important to keep an eye of the tempo. The slower a track the more reverb you can put on the instruments. This is a general rule of thumb. You can also experiment with different reverbs for different tracks. This way you can create more depths in the drums that can make them more transparent at times. It is all about experimenting.

When you were first approached to do this project, what was your initial reaction to the game’s concept and your role in helping to create its atmosphere?

I was really thrilled to be asked to score this franchise because it was known to be a high profile project from a great developer, BioWare, and it featured the elements I really enjoy writing for. In this genre I can contribute a lot in my style to complement the game. It was a great match for me and I came on board with lots of enthusiasm. Right away I met with the team and we started to discuss and create the dramatic scope for the music.

How much interaction did you have with the developers as far as direction went? Did you have a lot of freedom to create or was it more of a joint collaboration between yourself and the developer’s audio team?

It was a very close collaboration with a lot of creative freedom. We were fine-tuning ideas all the time, with new ideas swirling and daily conversations about what we wanted to do for different sections of the game. In short, I had creative freedom but involvement with the audio team was constant.

What aspects of Dragon Age were you most influenced by and what most impressed you by the game itself?

More than anything it’s the story that influences me when I’m writing. The story in Dragon Age was very effective and worked very well. As a player you are immersed in the gameplay but you can also be immersed in the story. What I wanted to do is help the story be told. I was impressed with the way BioWare weaved the story in and out, brought in new characters, building the story steadily until the climax. There are lots of human elements, none of the characters are perfect, even the hero. The dramatic story was my main influence.

What are some of the aspects of Dragon Age that have given you the biggest challenges to overcome as far as composing its score?

Dragon Age is a dark world, however, there’s a point when you’re painting a black canvas, going darker and darker, where it can lose impact. My challenge was to lift the score at times, for example where I could play more heartfelt music or even introduce comic relief then when you introduce a dark cue, it will have a bigger impact.

How did the music evolve between sequels?

Dragon Age: Origins was about creating the universe and Dragon Age II was like discovering one soul in this world. We are already acquainted with this world, now we’re creating a personal story within it. The evolution is from a huge cinescape to a more intimate, personal story. This influenced the choice of instrumentation and the way I approached writing the music to reflect a more human, personal emotion in the music.

What advice could you pass on to newer composers getting into the business?

Try to learn as much as you can before approaching composition. Listen to as many styles of music possible, try to do free compositions and also try to score films on your own just as a practice opportunity. Then, when you feel you are ready and your compositions sound as good as what you hear in TV and movies try to put yourself out there. Always be ready to work hard; it is a very competitive world, but also very rewarding so have a lot of faith in yourself.

You’re in very high demand as a composer. What’s coming up next for you?

My next release is The Lord of the Rings: War In The North which we recorded with the London Philharmonia Orchestra and Choir at Abbey Road Studios. I’m currently writing more music for the MMORPGs, RIFT: Planes of Telara and TERA Online. I’m also working on several new projects to be announced.

The Dragon Age 2 Soundtrack can be purchased from Amazon and iTunes.

Normally, getting a freelance job is a good thing. However, if you are tied up at the moment when a new client offers you a new job, you might lose a long-term project by turning it down. In fact, handling a project includes dealing with time management (deadlines), budget management (money), being a team-member and knowing your capacities and limitations (health).

Therefore, it might be a good idea to think about those topics before you run into any problems. Of course, this tutorial does not offer a complete manual about getting a project done (as every client and every project is different from each other), but it provides some relevant points to ponder.

An accurate/realistic offer

Before you get a freelance job, a client would normally ask for an offer. Since this offer is mandatory it is important to know your capacities. Here are some ideas about the first subject – time:

• What deadlines do you need to be aware of?
• What amount of time do you need to compose/produce/record the music?
• Do you need assistance (co-composer)?
• Are the musicians/sessions players/composers available during that time period?
• Do you need to book a separate recording studio?
• Don’t forget to include some work step buffer time (in case you fall ill or some technical problems with your machine occur)

Next, let us focus on money as the second subject here. It is obvious that both factors, time and money, are related to each other. It is harder to meet a very tight deadline because the whole production (and your creative work as well) needs to be finished at short notice. This includes more risks, such as the availability of your assistants, working on weekends, sleeping less or neglecting your family. Hence, shorter deadlines increase the costs. Here are some other things you may want to take into account:

• What is the overall budget for the music?
• What is your own fee?
• What is the fee of your assistants/session players?
• What is the fee of the recording studio?
• Do you need a mixing/mastering engineer? If yes, what is his fee?
• What rights of usage does the client need (non-exclusive, partial exclusive, exclusive worldwide)?

The last bullet point is very important. It determines whether or not you are allowed to use the song in other projects or as library music. If you need to give away the copyright, be sure to negotiate for the right price.

Note: There is always the option to refuse a project. Nobody forces you to say ‘yes’ and nobody became successful just by saying ‘yes’ to everything. If you are too busy to do the project by yourself maybe an assistant/co-composer will happily take care of that.

However, your life will become a lot easier if you wrote realistic offers in the first place. Since this offer is the foundation of your collaboration, it’s important to spend some time with it and take it seriously.

Get into a dialog with your client

Clients usually are not used to musical terms. They don’t know what a ‘major third’ is or what you need a counterpoint for. That means, you need to determine what kind of music the client asks you for. If it was a first-time client I would ask for some temp tracks. These tracks, along with his or her explanation will give you an idea to form a language the client understands.

A short story: Once I was asked to write some children’s songs. The client wanted me to compose some ‘cheerful/playful’ tunes. So, I incorporated many trills and many short but fast melody phrases. After I played that song to the client, he was totally unhappy with it. It turned out, he put ‘cheerful’ on a level with ‘wrong notes’. Without any doubt, this was a big misunderstanding, but I learned from it. So, it’s not always important what a client says, it’s important what he or she means!

Once you know how to talk to a client, it may be a good idea to get into an on-going dialog with him during the production process. Maybe provide some early sketches, some mock-ups or even musical ideas (like sounds or phrases) to be sure you hit the client’s flavor and ideas.

Important: Always try to support the client and his or her project as best as you can. This is professional and this is exactly what you’ve got hired for. And it does not mean to give up yourself in any way. Consider the client’s input as inspiration to create something fantastic. Although you work for hire, it’s still your very own work, your music, your passion.

Internal management

Sometimes the amount of work is too big to be done by one person only – meaning you. Therefore you want to consider bringing in some co-composers and splitting the work. Although clients talk to one reference person only, it’s often the case that many composers work on the same project behind the curtain. Be sure to keep track of internal deadlines your assistants have to meet. Always work with deadlines. Although it can be a bit stressful, they also set free ‘the magic’ you need to be innovative and creative!

Working as a composer in the industry can be very stressful since there are almost always very tight deadlines for projects. Working all day long (and additionally even at night) can become a high risk factor for your health. This subject is part of our “The Business – Part II” tutorial. Please check this out for deeper information.

Also, it’s important to keep track of different versions of a song as clients often change their ideas during a project.

Note: If the client asks for different versions of a song, it might be better to save (and backup) them in separate folders. Keep all versions until the job is done. Sometimes there are changes and edits in the final stage of a project and out of a sudden an older version supports the context much better than a newer one.

Handling a big project is a learning process (like everything). Make some notes about things which caused trouble during the project and try to get rid of them to improve your work and your service.

Feedback

Each time you finish a project it’s a good situation to ask for feedback. Many freelancers don’t have the courage to ask for feedback because of their ego. They think it’s not appropriate and it reduces their prestige. The truth is that your client will gladly give you feedback, because this makes you a pro who is open-minded and self-critical. Those are the guys others like to collaborate with. If you care about your work and your relationship with your clients, it probably will give you more prestige, not less.

Some further thoughts

Most of the time, every new project gives you the opportunity to collaborate with new people. This keeps the daily routine fresh, gets you connected and gives you a lot of inspiration for new musical material. Besides, you never know who of those guys will become one of the most sought-after guys in the industry in the future. It is very likely that one of them will hire you for his own project one day.

Every project you start from a blank project window in your sequencer gives you a new template you can use for new pieces. You can use this setup to create new songs. In the best case you even don’t need to mix the single tracks because you’ve done that already in the first project. This way you save a big amount of time.

Don’t forget that most often you (as a composer) are brought into a project very late and other people have spent month of work – or even years – so far. They give you the responsibility to make the whole project better. That is an honor and should be answered with respect!

One job leads to another. The work you do now will be the reason for many other projects you will get hired for in the future. Keep this in mind and deliver the best work you are capable of – always.

The Study of Orchestration – Samuel Adler

This work enables students to understand the basics of orchestrations by choosing the most appropriate instruments, instrumental combinations and instrumental techniques to write an effective orchestral score. It deals with orchestral writing for individual instruments, combinations of instruments, and full orchestra. - Available on Amazon

Principles of Orchestration – N.Rimsky-Korsakov

Rimsky-Korsakov, the great classical orchestrator, provides fundamentals of tonal resonance, progression of parts, voice and orchestra, tutti effects, and much more. This major document includes 330 pages of musical excerpts. - Available on Amazon

Instrumentation and Orchestration – Alfred Blatter

An accessible and complete introduction to writing and scoring music for each instrument of the orchestra. Clear explanations, vivid descriptions of various instruments, expert advice, and numerous musical examples to maximize the student’s understanding of concepts being presented. A valuable resource and reference for students in their future professional endeavors, this text maximizes its usefulness beyond the classroom. – Available on Amazon

Orchestration – W Piston

Orchestration is notable for the clarity and logic of its organization. From a consideration of the individual instruments and their technical problems the author skillfully develops his analysis of orchestration, covering his analysis of orchestration, covering instrumentation of primary and secondary melodies, part-writing, chords, and contrapuntal techniques. Finally, he discusses typical problems in orchestration together with some examples of their solutions. – Available on Amazon

Essential Dictionary of Orchestration – T Gerou

An orchestration book tailor-made for the classroom musician on a budget. Any teacher, student or professional musician, whether a composer, orchestrator, arranger, performer or enthusiast will find this thoroughly comprehensive dictionary full of the most needed information on over 150 instruments. Designed for quick and easy reference, the Essential Dictionary of Orchestration includes those much-needed instrument ranges, general characteristics, tone quality descriptions, technical pitfalls, useful scoring tips and much more! – Available on Amazon