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.

The principles of orchestration have been presented in several classic texts by Kennan, Adler, Piston and others. In what ways do these principles apply when considering the virtual orchestra?

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.

Danny Elfman is one of the most prominent film composers of the last thirty years. He is one of those rare composers who’s music is widely popular not just among film music fans but film and music lovers in general.

Thankfully, despite the crippling budgets and restrictions of the modern media scoring climate, some composers still get the amazing privilege of working with a live orchestra to record their work. While the excitement and transcendental sound makes it completely worthwhile, the process also adds some steps to your workflow.

No modern action score is complete without a rousing percussion section hammering away beneath the rest of the instruments. Yet despite being one of the most important elements in the score, many media composers take the easy way out with their percussion, resorting to some tired loops.

If you’re sick of sounding like everyone else and have run out of ways to layer your loops over each other to sound “fresh”, then keep reading as I give you a quick look at what it takes to program your own percussion, …

For many young film composers, including myself, John Williams is the guy when it comes to orchestral film music. His scores are lush, complex and exciting. Although we all strive to have a unique voice in our music, there is plenty to be learned by taking a close look at the techniques Williams uses to achieve his orchestral sound.