Film Music Cliches
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<li>Action music&nbsp;</li>
<li>Fantasy music</li>
<li>Suspense and Horror music</li>
<li>Comedy music</li>
<li>Mood and Drama music</li>
</ul>
<p>Sometimes within each style, there will also be a number of sub-styles. For example, the Action category consists of High Intensity, Action Hero, Action Villain and Action Adventure which are similar in some ways but very different in others.</p>
<p>The aim of this course is to&nbsp;<strong>help you quickly and confidently get composing no matter what style is called for</strong>.&nbsp;</p>',
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Learn how to compose an edge-of-your-seat High-Intensity Action cue.

Super Anyone?
Bring an Action Hero to life with a bold cue.

Tap into the Dark Side
Uncover the secrets to getting an audience to fear and despise an Action Villain.

Hold On To Your seats
Discover how to score an Action-Adventure blockbuster.

Somewhere Out There
Help your audience lose themselves in the Fantasy world.

Somebody Please Turn On The Lights
Keep your audience guessing with Suspense and Horror.

Knee Slapping Fun
Uncover the tips for writing quirky Comedy.

Things Just ain't Quite Right around Here
Keep the pot boiling with effective Mood and Drama cues.',
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<ul>
<li>Action music&nbsp;</li>
<li>Fantasy music</li>
<li>Suspense and Horror music</li>
<li>Comedy music</li>
<li>Mood and Drama music</li>
</ul>
<p>Sometimes within each style, there will also be a number of sub-styles. For example, the Action category consists of High Intensity, Action Hero, Action Villain and Action Adventure which are similar in some ways but very different in others.</p>
<p>The aim of this course is to&nbsp;<strong>help you quickly and confidently get composing no matter what style is called for</strong>.&nbsp;</p>',
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Learn how to compose an edge-of-your-seat High-Intensity Action cue.

Super Anyone?
Bring an Action Hero to life with a bold cue.

Tap into the Dark Side
Uncover the secrets to getting an audience to fear and despise an Action Villain.

Hold On To Your seats
Discover how to score an Action-Adventure blockbuster.

Somewhere Out There
Help your audience lose themselves in the Fantasy world.

Somebody Please Turn On The Lights
Keep your audience guessing with Suspense and Horror.

Knee Slapping Fun
Uncover the tips for writing quirky Comedy.

Things Just ain't Quite Right around Here
Keep the pot boiling with effective Mood and Drama cues.',
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		'content' => '<p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><u style="letter-spacing: 0.1px;">Melody:</u><span style="letter-spacing: 0.1px;">&nbsp;&nbsp;</span><br></p><ul><li>Both major and minor scales can be used.&nbsp;</li><li>Using scales like Harmonic Major, Lydian Diminished or Double Harmonic &nbsp;are a great way to have both Major and Minor in the same scale.&nbsp;</li><li style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);">If minor key is used, it is common to alter some <a href="/courses/viewTopic/973">degrees</a> or use some more obscure form of minor scales (Hungarian mode for example)&nbsp;</li><li>Melodic structure in &nbsp;fantasy music varies a great deal. &nbsp;</li><li>In some cases, the melody is extremely&nbsp;<b>prominent</b>&nbsp;and&nbsp;<b>structured</b>.</li><li>At other times the melodic material is entirely&nbsp;<b>subordinate</b>&nbsp;to the underlying&nbsp;<b>harmonic structure</b>.</li></ul><p><b style="letter-spacing: 0.1px;"><br></b></p><p><b style="letter-spacing: 0.1px;">Themes and Motifs</b><br></p><p>Fantasy themes are often fully developed. They are more complete than just short motifs. They are proper tunes, and while their genesis is very likely in a motif, the full theme is compelling and draws the audience further into the story.&nbsp;</p><p><b>Repetition = memorability</b>: That doesn’t mean simply repeating the same notes and rhythm over and over. It means taking your motif and using the basic movement or rhythmic element in a variety of forms. Keep in mind, rhythmic repetition is often even more effective than melodic.&nbsp;</p><p><b>Step movement or leap followed by step movement in the opposite direction</b>: Balance is key here in constructing your theme in order to make it interesting. Where there is a larger leap, almost invariably the theme moves back a step in the opposite direction.&nbsp;</p><p><b>Structure A A B A</b>: Common AABA structure (A motif followed by A motif with slight change to the resolution, then a B idea – something completely different and back to the main A motif again) has been widely used in all genres of music in the past century. Probably one of the most common form.</p><p><b>Other melodic form: </b>Since fantasy music largely pulls from classical music, it is important to take a look at the melodic approach of classical composers. The concept of melodic form, &nbsp;structure and aesthetic was heavily emphasized and discussed by theoreticians of the past. Treatises from the 16th -20th century can instruct and show us of how classical masters were taught the art of melody writing. Let's use Paul Dukas' theme to show a basic framework of a classical melody devellopment.</p><p><br></p><p>[audio=/uploads/topics/2-3-fantasy-music-and-melody-5b332ae1a7bc3.mp3]</p><p>[img=/uploads/topics/2-3-fantasy-music-and-melody-5b3bd68c55b7d.jpg]<br></p><p><u>Here are the guidelines we can observe:</u></p><ul><li>A fully expressed theme is referred to as a&nbsp;<b>period</b> or a sentence, and it has to have clear resolution.&nbsp;</li><li><span style="letter-spacing: 0.1px;">It is structured in two parts: an </span><b style="letter-spacing: 0.1px;">antecedent</b><span style="letter-spacing: 0.1px;"> and a </span><b style="letter-spacing: 0.1px;">consequent</b><span style="letter-spacing: 0.1px;">. </span></li><li><span style="letter-spacing: 0.1px;">The antecedent is usually centered around the tonic of the chosen scale and usually ends on a major <a href="/courses/viewTopic/973">degree</a> (I-III-V). </span></li><li><span style="letter-spacing: 0.1px;">The consequent is a modified version of the antecedent. </span></li><li><span style="letter-spacing: 0.1px;">The beginning of the sentence or </span><b style="letter-spacing: 0.1px;"><a href="/courses/viewTopic/973">incipit</a></b><span style="letter-spacing: 0.1px;"> is here to introduce the first motif. Therefore it should have the basic elements of the given motif. &nbsp;</span></li><li><span style="letter-spacing: 0.1px;">The <b>motif</b> will be <b>repeated</b> but will require <b>variations</b> </span>to avoid monotony<span style="letter-spacing: 0.1px;">.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;">Variation being a necessity, it is important to not endanger comprehensibility.&nbsp;</span></li><li><span style="letter-spacing: 0.10000000149011612px;"><b>Symmetry</b></span><span style="letter-spacing: 0.1px;">&nbsp;is desired, but study of aesthetics demonstrate that we prefer a <b>slightly modified</b>&nbsp;version of pure symmetrical forms&nbsp;</span></li></ul><p><br></p><p>As a final thought on Paul Dukas' theme, let's point out that although he wrote his piece in <b>3/8</b>, his motif shows it could have been written in <b>9/8. </b>Writing it this way<b>&nbsp;</b>reveals&nbsp;the ternary nature of his melody. We can clearly see that the sentence (or full theme) is constituted of 9 motifs of 3 measures organized in a kind of displaced symmetrical form of 4 sections.</p>',
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<ul>
<li>Action music&nbsp;</li>
<li>Fantasy music</li>
<li>Suspense and Horror music</li>
<li>Comedy music</li>
<li>Mood and Drama music</li>
</ul>
<p>Sometimes within each style, there will also be a number of sub-styles. For example, the Action category consists of High Intensity, Action Hero, Action Villain and Action Adventure which are similar in some ways but very different in others.</p>
<p>The aim of this course is to&nbsp;<strong>help you quickly and confidently get composing no matter what style is called for</strong>.&nbsp;</p>',
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Learn how to compose an edge-of-your-seat High-Intensity Action cue.

Super Anyone?
Bring an Action Hero to life with a bold cue.

Tap into the Dark Side
Uncover the secrets to getting an audience to fear and despise an Action Villain.

Hold On To Your seats
Discover how to score an Action-Adventure blockbuster.

Somewhere Out There
Help your audience lose themselves in the Fantasy world.

Somebody Please Turn On The Lights
Keep your audience guessing with Suspense and Horror.

Knee Slapping Fun
Uncover the tips for writing quirky Comedy.

Things Just ain't Quite Right around Here
Keep the pot boiling with effective Mood and Drama cues.',
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	'name' => 'Film Music Cliches',
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	'intro_video_url' => 'https://vimeo.com/646341728',
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	'problem_text' => '<p>Whether you're an experienced composer or someone who's just starting out on your journey, if you listen carefully you'll notice tha<b>t the world of film music has its own language and conventions</b>.</p><p>There are a set number of composition styles or <b>cliches</b> that almost all <b>cinematic music</b> falls into. Of course, every project will have its own direction but wouldn't it be nice if there was a place you could turn to get you started no matter what your director is asking for?</p>',
	'solution_title' => 'Getting Started - The Easy Way',
	'solution_text' => '<p>At Cinematic Composing, we analyzed the different styles or cliches and presented them in one <b>easy-to-follow course</b> that gives you the <b>jump-start</b> you need to <b>get going quickly and easily</b>.&nbsp;</p><p>This course is incredibly helpful and lays out everything you're going to need to compose music for almost any type of cue.&nbsp;</p>',
	'curriculum_text' => '<p>There are 5 main styles or cliches used in film and game music:&nbsp;</p>
<ul>
<li>Action music&nbsp;</li>
<li>Fantasy music</li>
<li>Suspense and Horror music</li>
<li>Comedy music</li>
<li>Mood and Drama music</li>
</ul>
<p>Sometimes within each style, there will also be a number of sub-styles. For example, the Action category consists of High Intensity, Action Hero, Action Villain and Action Adventure which are similar in some ways but very different in others.</p>
<p>The aim of this course is to&nbsp;<strong>help you quickly and confidently get composing no matter what style is called for</strong>.&nbsp;</p>',
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	'learning_topics_list' => 'Edge of their seats.
Learn how to compose an edge-of-your-seat High-Intensity Action cue.

Super Anyone?
Bring an Action Hero to life with a bold cue.

Tap into the Dark Side
Uncover the secrets to getting an audience to fear and despise an Action Villain.

Hold On To Your seats
Discover how to score an Action-Adventure blockbuster.

Somewhere Out There
Help your audience lose themselves in the Fantasy world.

Somebody Please Turn On The Lights
Keep your audience guessing with Suspense and Horror.

Knee Slapping Fun
Uncover the tips for writing quirky Comedy.

Things Just ain't Quite Right around Here
Keep the pot boiling with effective Mood and Drama cues.',
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	'id' => (int) 4093,
	'name' => 'Melody',
	'color' => '',
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	'content' => '<p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><u style="letter-spacing: 0.1px;">Melody:</u><span style="letter-spacing: 0.1px;">&nbsp;&nbsp;</span><br></p><ul><li>Both major and minor scales can be used.&nbsp;</li><li>Using scales like Harmonic Major, Lydian Diminished or Double Harmonic &nbsp;are a great way to have both Major and Minor in the same scale.&nbsp;</li><li style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);">If minor key is used, it is common to alter some <a href="/courses/viewTopic/973">degrees</a> or use some more obscure form of minor scales (Hungarian mode for example)&nbsp;</li><li>Melodic structure in &nbsp;fantasy music varies a great deal. &nbsp;</li><li>In some cases, the melody is extremely&nbsp;<b>prominent</b>&nbsp;and&nbsp;<b>structured</b>.</li><li>At other times the melodic material is entirely&nbsp;<b>subordinate</b>&nbsp;to the underlying&nbsp;<b>harmonic structure</b>.</li></ul><p><b style="letter-spacing: 0.1px;"><br></b></p><p><b style="letter-spacing: 0.1px;">Themes and Motifs</b><br></p><p>Fantasy themes are often fully developed. They are more complete than just short motifs. They are proper tunes, and while their genesis is very likely in a motif, the full theme is compelling and draws the audience further into the story.&nbsp;</p><p><b>Repetition = memorability</b>: That doesn’t mean simply repeating the same notes and rhythm over and over. It means taking your motif and using the basic movement or rhythmic element in a variety of forms. Keep in mind, rhythmic repetition is often even more effective than melodic.&nbsp;</p><p><b>Step movement or leap followed by step movement in the opposite direction</b>: Balance is key here in constructing your theme in order to make it interesting. Where there is a larger leap, almost invariably the theme moves back a step in the opposite direction.&nbsp;</p><p><b>Structure A A B A</b>: Common AABA structure (A motif followed by A motif with slight change to the resolution, then a B idea – something completely different and back to the main A motif again) has been widely used in all genres of music in the past century. Probably one of the most common form.</p><p><b>Other melodic form: </b>Since fantasy music largely pulls from classical music, it is important to take a look at the melodic approach of classical composers. The concept of melodic form, &nbsp;structure and aesthetic was heavily emphasized and discussed by theoreticians of the past. Treatises from the 16th -20th century can instruct and show us of how classical masters were taught the art of melody writing. Let's use Paul Dukas' theme to show a basic framework of a classical melody devellopment.</p><p><br></p><p>[audio=/uploads/topics/2-3-fantasy-music-and-melody-5b332ae1a7bc3.mp3]</p><p>[img=/uploads/topics/2-3-fantasy-music-and-melody-5b3bd68c55b7d.jpg]<br></p><p><u>Here are the guidelines we can observe:</u></p><ul><li>A fully expressed theme is referred to as a&nbsp;<b>period</b> or a sentence, and it has to have clear resolution.&nbsp;</li><li><span style="letter-spacing: 0.1px;">It is structured in two parts: an </span><b style="letter-spacing: 0.1px;">antecedent</b><span style="letter-spacing: 0.1px;"> and a </span><b style="letter-spacing: 0.1px;">consequent</b><span style="letter-spacing: 0.1px;">. </span></li><li><span style="letter-spacing: 0.1px;">The antecedent is usually centered around the tonic of the chosen scale and usually ends on a major <a href="/courses/viewTopic/973">degree</a> (I-III-V). </span></li><li><span style="letter-spacing: 0.1px;">The consequent is a modified version of the antecedent. </span></li><li><span style="letter-spacing: 0.1px;">The beginning of the sentence or </span><b style="letter-spacing: 0.1px;"><a href="/courses/viewTopic/973">incipit</a></b><span style="letter-spacing: 0.1px;"> is here to introduce the first motif. Therefore it should have the basic elements of the given motif. &nbsp;</span></li><li><span style="letter-spacing: 0.1px;">The <b>motif</b> will be <b>repeated</b> but will require <b>variations</b> </span>to avoid monotony<span style="letter-spacing: 0.1px;">.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;">Variation being a necessity, it is important to not endanger comprehensibility.&nbsp;</span></li><li><span style="letter-spacing: 0.10000000149011612px;"><b>Symmetry</b></span><span style="letter-spacing: 0.1px;">&nbsp;is desired, but study of aesthetics demonstrate that we prefer a <b>slightly modified</b>&nbsp;version of pure symmetrical forms&nbsp;</span></li></ul><p><br></p><p>As a final thought on Paul Dukas' theme, let's point out that although he wrote his piece in <b>3/8</b>, his motif shows it could have been written in <b>9/8. </b>Writing it this way<b>&nbsp;</b>reveals&nbsp;the ternary nature of his melody. We can clearly see that the sentence (or full theme) is constituted of 9 motifs of 3 measures organized in a kind of displaced symmetrical form of 4 sections.</p>',
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		'id' => (int) 4092,
		'name' => 'Rhythm and Tempo',
		'color' => '',
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		'content' => '<p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><u>Rhythm:&nbsp;</u></p><ul style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><li>Tempi can range from 40 BPM to 168BPM&nbsp;</li><li>Even though we can find examples of standard meter for fantasy music, it tends to gravitate towards&nbsp;<b>3/4 and 3/8</b></li><li>The amount of rhythmic activity can vary widely. We can see examples with&nbsp;eighth, triplet-eighth, and sixteenth note subdivisions</li><li>Will often build from simple rhythmic motives that get&nbsp;developed&nbsp;&nbsp;over time&nbsp;</li></ul>',
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		'content' => '<p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><u>Harmony:</u></p><ul><li><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);">Mostly</span><b style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);">&nbsp;<a href="/courses/viewTopic/973">triadic</a>&nbsp;</b><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">in nature</span></font></li><li style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><b><a href="/courses/viewTopic/973">Dissonances</a></b>&nbsp;are occasional and desired but to be handled wisely.&nbsp;</li><li style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><b><a href="/courses/viewTopic/973">Chromaticism</a></b>,&nbsp;sequence&nbsp;of diminished chords</li><li style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);">Often plays with the illusion of&nbsp;<b><a href="/courses/viewTopic/973">poly-tonality</a></b>&nbsp;by sequencing two or more chords pertaining to the same scale. &nbsp; &nbsp;<u>For&nbsp;Example:</u>&nbsp; &nbsp; &nbsp;Cm~D&nbsp; &nbsp; &nbsp;G~A&nbsp; &nbsp; &nbsp;Am~Fm&nbsp; &nbsp; &nbsp;Em~C~F# &nbsp;&nbsp;</li></ul><p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><br></p><p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);">In the excerpt from Hellboy II, we found ourselves wandering between many minor chords. &nbsp;Mainly&nbsp;<b>two sequences</b>&nbsp;emerge: &nbsp;&nbsp;<u><i>[Bbm - Am - F#m]</i></u>&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;and &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<i style="text-decoration-line: underline;">[Ebm - F#m - Gm]</i>. &nbsp;Even though we have the impression to switch between keys as each chord changes, the sequences actually belong to the same&nbsp;<b>Double Harmonic Minor scale.</b>&nbsp;Danny Elfman has skillfully weaved each phrase with each other, even inserting a third chromatic sequence in between, leaving us with a feeling of a never-ending fall.&nbsp;</p><p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><br></p><p><font color="#333333">[audio=/uploads/topics/2-1-fantasy-false-poly-tonality-5b2d5d0e8d476.mp3]</font></p><p><font color="#333333">[img=/uploads/topics/2-1-fantasy-music-false-poly-tonality-5b3765f29a632.jpg; max-width:100%]</font></p><div><font color="#333333"><br></font></div>',
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