Film Music Cliches
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<li>Comedy music</li>
<li>Mood and Drama music</li>
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<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>
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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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<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>
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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>This is the end of our journey through film music clichés course. We hope you enjoyed it and that studying the work of famous film composers got you inspired to dive further.&nbsp;</p><p><span style="letter-spacing: 0.1px;">As a way of wrapping up, let’s review what we went through.</span><br></p><p><span style="letter-spacing: 0.1px;">We first defined and elaborated on <b>eight different categories/styles of music</b> as it relates to its primary function in a given type of movie cue. We saw that ‘mood/drama’ music was designed to depict the inner thoughts and emotions of the characters while all the other styles were designed to describe the physical world around them and how it should affect them emotionally. &nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">We then discussed how each style should be approached and constructed to achieve its goal. We used<b> thirteen real life examples from AAA movies</b> to show how the music was composed to support the scenes.&nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">And finally we zeroed in on <b>eight techniques commonly used by composers</b> as found in our examples:</span><br></p><ol><li><span style="letter-spacing: 0.1px;">How to write around <b><a href="/courses/viewTopic/973">ostinatos</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to use nonconventional <b><a href="/courses/viewTopic/973">modes</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to write <b>different types of melodies</b> for <b>different purposes</b></span></li><li><span style="letter-spacing: 0.1px;">How to write around harmonic sequences made of seemingly three <b>unrelated <a href="/courses/viewTopic/973">triads</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to <b>move melodic material</b> around the orchestra</span></li><li><span style="letter-spacing: 0.1px;">How to create <b><a href="/courses/viewTopic/973">abstract</a></b> interesting sonic <b><a href="/courses/viewTopic/973">textures</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to organize <b><a href="/courses/viewTopic/973">dissonances</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to use <b><a href="/courses/viewTopic/973">symmetrical scales</a></b></span></li></ol><p><br></p><p>Thanks again for journeying with us and we hope to keep contact through our platform and FB groups. We’d love to hear your music and we encourage you to keep studying and exploring this marvelous world that we love and that so many dedicated their life and talent to.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">Thanks for participating in this course and happy composing!</span><br></p><p><br></p><p><span style="letter-spacing: 0.1px;">Martial Besombes</span><br></p><div><br></div>',
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<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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	'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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	'content' => '<p>This is the end of our journey through film music clichés course. We hope you enjoyed it and that studying the work of famous film composers got you inspired to dive further.&nbsp;</p><p><span style="letter-spacing: 0.1px;">As a way of wrapping up, let’s review what we went through.</span><br></p><p><span style="letter-spacing: 0.1px;">We first defined and elaborated on <b>eight different categories/styles of music</b> as it relates to its primary function in a given type of movie cue. We saw that ‘mood/drama’ music was designed to depict the inner thoughts and emotions of the characters while all the other styles were designed to describe the physical world around them and how it should affect them emotionally. &nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">We then discussed how each style should be approached and constructed to achieve its goal. We used<b> thirteen real life examples from AAA movies</b> to show how the music was composed to support the scenes.&nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">And finally we zeroed in on <b>eight techniques commonly used by composers</b> as found in our examples:</span><br></p><ol><li><span style="letter-spacing: 0.1px;">How to write around <b><a href="/courses/viewTopic/973">ostinatos</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to use nonconventional <b><a href="/courses/viewTopic/973">modes</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to write <b>different types of melodies</b> for <b>different purposes</b></span></li><li><span style="letter-spacing: 0.1px;">How to write around harmonic sequences made of seemingly three <b>unrelated <a href="/courses/viewTopic/973">triads</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to <b>move melodic material</b> around the orchestra</span></li><li><span style="letter-spacing: 0.1px;">How to create <b><a href="/courses/viewTopic/973">abstract</a></b> interesting sonic <b><a href="/courses/viewTopic/973">textures</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to organize <b><a href="/courses/viewTopic/973">dissonances</a></b></span></li><li><span style="letter-spacing: 0.1px;">How to use <b><a href="/courses/viewTopic/973">symmetrical scales</a></b></span></li></ol><p><br></p><p>Thanks again for journeying with us and we hope to keep contact through our platform and FB groups. We’d love to hear your music and we encourage you to keep studying and exploring this marvelous world that we love and that so many dedicated their life and talent to.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">Thanks for participating in this course and happy composing!</span><br></p><p><br></p><p><span style="letter-spacing: 0.1px;">Martial Besombes</span><br></p><div><br></div>',
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		'content' => '<p style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><u><font color="#333333">Orchestration:</font></u><span style="letter-spacing: 0.1px;">&nbsp;&nbsp;</span></p><p></p><p></p><p><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">When the&nbsp;<u>mood is intimate in nature</u>, the orchestration generally uses the following structure:</span></font></p><ul><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">The melody is&nbsp;<b>placed in a solo instrument that's naturally lyrical</b>. Common choices include a solo woodwind (e.g., flute, clarinet, oboe, and English horn), solo horn, or solo piano. Additional common solo instruments include celesta, solo violin, or solo cello.</span></font></li><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">When a slightly&nbsp;<b>larger <a href="/courses/viewTopic/973">texture</a></b>&nbsp;is desired, the melody can be placed in a single&nbsp;<b>string section</b>&nbsp;or the single string section can double the solo instrument. Most commonly, the string section used is violin I, but violin II, viola, and upper-register cello can also be used.</span></font></li><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">The&nbsp;<b>harmony is placed in the string section</b>. The harp, typically performing arpeggios of the chords, often supports the strings.</span></font></li></ul><h5><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><br></span></h5><p><b style="color: rgb(51, 51, 51); letter-spacing: 0.1px;">James Newton Howard's "Snow White and The Huntsman"</b><span style="color: rgb(51, 51, 51); letter-spacing: 0.1px;">&nbsp;- &nbsp;Sanctuary (measures 1-16)</span><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><br></span></p><p><span style="color: rgb(51, 51, 51); letter-spacing: 0.1px;">[audio=/uploads/topics/snow-white-and-huntsman-1-16-5b2492b79c010.mp3]</span><br></p><p><span style="letter-spacing: 0.1px;">[img=/uploads/topics/snow-white-and-huntsman-1-16-rs-5b249b68304b6.jpg]</span><br></p><p><font color="#333333"><span style="caret-color: rgb(51, 51, 51);"><br></span></font></p><p><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51); letter-spacing: 0.1px;">When the&nbsp;</span><u style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51); letter-spacing: 0.1px;">mood is very intense</u><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51); letter-spacing: 0.1px;">&nbsp;in nature, the orchestration typically follows the following structure:</span><br></p><ul><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">The melody is&nbsp;<b>placed in multiple upper string sections</b>, doubled in unison or&nbsp;<b>octaves</b>. This includes some combination of violin I, violin II, viola, and upper-register cello.</span></font></li><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">The melody can be (but need not always be) doubled in the high woodwinds, possibly flute, oboe, English horn, and/or clarinet.</span></font></li><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);"><b><a href="/courses/viewTopic/973">Countermelodies</a> are common</b>&nbsp;in this context. Typically, they are placed in&nbsp;<b>multiple unison horns.</b>&nbsp;It is common to use 4–6 unison horns on a countermelody.</span></font></li><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">Other mid-range instruments, including English horn, low-register clarinets, viola, or upper-register cello can double countermelodies.</span></font></li><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);"><b>Harmony is placed in the low strings</b>&nbsp;(viola, cello, and bass), low brass (trombones and tuba), and low woodwinds (bassoons and bass clarinet).</span></font></li><li><font color="#333333"><span style="caret-color: rgb(51, 51, 51);"><b>Upper woodwinds can be used for "ear candy</b>"—scales and runs that conform to the underlying harmonies and function as background "<b>flutte</b>r."</span></font></li></ul><h5><font color="#333333"><span style="caret-color: rgb(51, 51, 51);"><br></span></font></h5><p></p><p><b style="letter-spacing: 0.1px; color: rgb(51, 51, 51);">James Newton Howard's "Snow White and The Huntsman"</b><span style="letter-spacing: 0.1px; color: rgb(51, 51, 51);">&nbsp;- &nbsp;Sanctuary (measures 23-30)</span><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51);"><br></span></p><p><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51); letter-spacing: 0.1px;">[audio=/uploads/topics/snow-white-huntsman-sanctuary-m23-30-5b2492ccad582.mp3]</span><br></p><p><font color="#333333">[img=/uploads/topics/snow-white-huntsman-sanctuary-m23-30-rs-5b249c6d7a069.jpg]<br><br><span style="caret-color: rgb(51, 51, 51);">When the&nbsp;</span><u style="caret-color: rgb(51, 51, 51);">mood is sad in nature</u><span style="caret-color: rgb(51, 51, 51);">, the orchestration generally uses the following structure:</span></font></p><ul><li><font color="#333333"><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">Fairly&nbsp;<b>limited</b>&nbsp;orchestration, more <b>intimate</b> setting</span></font></font></li><li><font color="#333333"><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">Usually the focus is&nbsp;heavily placed<b> </b>on the <b>string family.</b></span></font></font></li><li><font color="#333333"><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">The strings were typically supplemented by a few instruments from other families.</span></font></font></li><li><font color="#333333"><font color="#333333"><span style="caret-color: rgb(51, 51, 51);">Melody placed on Oboe, Clarinet, English horn and Cello tend to add a sentiment of nostalgia.&nbsp;</span></font></font></li></ul><p></p><h5><font color="#333333"><span style="letter-spacing: 0.1px; caret-color: rgb(51, 51, 51);"><br></span></font></h5><p><b style="color: rgb(51, 51, 51); letter-spacing: 0.1px;">John William's "Schindler's List"</b><span style="color: rgb(51, 51, 51); letter-spacing: 0.1px;">&nbsp;- I Could Have Saved More (measures 1-16)</span></p><p><span style="caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51); letter-spacing: 0.1px;">[audio=/uploads/topics/schindler-s-list-could-have-saved-1-16-5b2492e9be3e3.mp3]</span></p><p><font color="#333333">[img=/uploads/topics/schindler-s-list-i-could-have-saved-1-16-rs-5b32a91010f82.jpg]</font><br><br></p>',
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		'content' => '<ul><li><u><b>Abstraction or Abstract art:</b></u> artistic form that expresses itself by representing mostly shapes and colors. At its essence this art form tries to avoid representing any object from the real world.</li><li><span style="letter-spacing: 0.1px;"><b><u>Aleatoric music:</u></b> music in which some parts of it are left to chance. In this genre, the performers are given some instructions as to how approach randomness</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Ambitus:</u></b> Refers to the actual ranger of a melodic segment. Not to be confused with register which refers to the total range of an instrument&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Atonilism:</u></b> or atonal music. Music that does not concern itself with the restraints of tonality.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Cluster:</u></b> a chord containing at least three adjacent notes from a scale</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Chord-tones:</u></b> (or harmonic tones) Note that belongs to the chord. Can be referred to as consonance.</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Chromatic interval:</u></b> two notes separated by a semi-tone.</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Consonance and dissonance:</u></b> con-sonance [sounding together] &nbsp; / &nbsp;dis-sonance &nbsp; [not agreeing in sound] &nbsp; &nbsp;a cultural construct that differentiates pleasant intervals/chords from unpleasant ones.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Countermelody:</u></b> a secondary melody played in counterpoint with the primary melody</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Diatonic Interval:</u></b>&nbsp;dia-tonic – [through the tone]. Refers to any interval between two notes belonging to the same scale (or mode)</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Figurativism</u></b>: artistic form that express itself by representing objects from the reality in partial forms. It can be a deformed expression of reality but it’s broadly speaking a subjective interpretation of the object. Since it’s attached to objects from the real world it can not technically be abstract in nature.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Incipit:</u></b> beginning sequence of notes in a musical phrase.</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Mode:</u></b> equivalent to a scale, but attach its meaning to a cultural context. It is usually implied that a mode involves specific melody types and express specific colors or moods. &nbsp;The term has been used for more than a millennium in western music and it’s understanding has evolved over time, making a contemporary definition confusing.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Non-chord tones:</u></b> (or non harmonic tones) a note that doesn’t belong to the chord structure. There are nine commonly described types of non-chord tones: Anticipation, Escape tone, Passing tone, Neighbor tone, Suspension, Appoggiatura, Changing tones, Non harmonic bass, Pedal point.</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Modulation:</u></b> process of changing from one key to another. It usually involves a pivot chord, but it’s not always necessary.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Ostinato:</u></b> a constantly repeating motif</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Polytonality:</u></b>&nbsp;(or polyharmony)is the use of musical material belonging to different keys simultaneously.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Register:</u></b> The total range of a given instrument (or vocalist). Not to confuse with 'Ambitus'</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Scale:</u></b> an ordered set of pitches where notes are organized in ascending or descending order. In western music it is strongly attached to the concept of tonality.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Scale Degrees:</u></b> position of a note in a scale. Traditionally identified by a Roman numeral and/or a name as follow: I- Tonic, II- Supertonic, III- Mediant, IV- Subdominant, V- Dominant, VI- Submediant, VII- Leading tone.</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Serialism:</u></b> method of composition that exclusively uses a repeated series of pitches.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Spectral music:</u></b> a sub-genre of electro-acoustic music that concerns itself in the manipulation of the spectral features of a sound. In film music it could be considered &nbsp;a part of sound design, but the access to powerful modern plugins have made it more accessible for composers to practice as a musical form.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Symmetrical scales:</u></b> there are a total 35 symmetrical scales. None of them are heptatonic (7 notes scales). The most commonly used are: 1- the chromatic scale (12 notes) 2-the whole tone scale (6 notes) 3- the diminished scales (8 notes – 2 types)</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Texture:</u></b> how music elements (rhythmic, melodic and harmonic) are combined in a composition. &nbsp;The quality of a texture is usually described in terms of density (or layers) and range (or width). A musical piece can be segmented in the following elements: primary melody (PM), secondary melody (SM), parallel supporting melody (PSM), static support (SS), harmonic support (HS), rhythmic support (RS), and harmonic and rhythmic support (HRS). How those elements relate to each other will define the type of texture. We traditionally use six classifications: Monophonic, Biphonic, Polyphonic (or Contrapuntal), Homophonic, Homorhythmic and &nbsp;Heterophonic.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Tonality:</u></b> Hierarchical relationships of notes that define a central tone as being the most important – usually referred to as the key or tonic.&nbsp;</span></li><li><span style="letter-spacing: 0.1px;"><b><u>Triad:</u></b> a set of three notes distant of a third with each other.</span></li></ul><p>&nbsp;&nbsp;</p><div><br></div>',
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Conclusion and Glossary

Summary

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Langdon's Birthday

Frodo Updated His Profile

Nora Joined Mailing List

Cron Job 254 Executed
