The Last of Us - How to compose music for games & film (EXPLAINED) 

Same here. It goes way too fast and too far to me. xD

Yes, thanks. That’s the whole point, a good composer captures the idea in 5 seconds, this is a video to show everything that goes into the composer’s mind in 5 seconds, be it intuitive or not. The analytic approach is useful when you encounter a sound you’ve never heard before or to develop ideas when you get stuck intuitively, just like a tool you can use to take a screw you can’t just unscrew with your hands.

SineEyed 2020 I believe the voiceover was done by the daughter of the composer. 😉

Totally the same thing I thought right now :-)

The theme for this video was "writing for a temp track". It's in the intro, though not the title of the video. In the given scenario, the writer is being approached with an example of a piece of music that already has the feeling, emotion, energy built in. It's "make me something that sounds like this, but isn't this". I think it requires and informs a good understanding of how music can be used to capture those aspects to be able to reproduce them like this, which is why deconstructing music is important.

Yamaha p90, but the sounds are from native instruments

You bet! And it is so hard to remove that impression from their minds! 2001 Space Odyssey is a great example. After they've used Strauss - "Thus Spoke Zarathustra", Alex North could not change their minds no matter what he did.

mDecks Music (Ariel J. Ramos) It's really too bad. It's unfortunate also that it's a predictable side effect of overused temp tracks, but others don't seem to notice/care enough. I wonder if things are a bit more lax for developers/studios that are more interested in creatively interesting works. Makers of big budget Hollywood films are often petrified of straying off the beaten path.

I guess it all depends on their desire or capacity to take the risk. Remember certain formulas are proven to work... until they don't work any more :)

Certainly true, but what a tragedy when it becomes about a successful formula instead of a compelling, expressive, or meaningful piece of work. This is just as true in music as elsewhere, and why there is such an endless sea of moderately successful but extremely forgettable "product" floating around the radio and elsewhere in other artistic genres.

Mapping Tonal Harmony Pro

check Tessitura Pro is all about scales and modes. mdecks.com

+Viet To check the description

Versión 7 is coming. We are skipping version 6 altogether. If you want to sign up for the pre-release will be posting a video with the instructions soon

+Sylar Sun Planning on releasing on January

yay! thx !

I've just received all 7 of the workbooks, can't wait for the Mac version of MTHP6 to be released!!

Still working on it.

Awesome, Thx, approx when? can't wait!! Thanks in advance Sir!

Ha ha. I think you are right, this is meant to give you an idea of the process. But it would be better slowly

Version 6 is only for iPads. The Mac, Windows and Android version are still in version 5 (version 5 does not include some of the features but the map is exactly the same with the same levels and functions)

+Nikolay G very true for this one theme. But it is the exercise of thinking about these things that will eventually make us better composers, where we will not depend only on finding things by pure luck to write something. I think it is worth putting the effort of trying to understand why things work. It is also important not to be driven only by this way of thinking when writing music and tap into the unconscious as well.

I agree with what you're saying, however, I think this line of thinking (relating everything to a particular mode) could be very cumbersome to a composer. I was taught "jazz theory" in music school as well and a lot of emphasis was put on modes and playing over changes and from experience I can say it definitely held me back as a composer more that it should have. Not true for everybody, obviously. I don't personally see the need to explain every departure from the key centre and what mode that chord is borrowed from, as long as you understand the fact that you've left the key and that produces a certain sound which in turn attracts attention to that spot in the music. As long as you are aware of what you're doing. For example, I know if I play a major chord and then play an augmented chord six semitones higher it will sound tense and I know exactly what context to use that move in. I haven't given any thought to where that Aug chord comes from, I just know it's an "outside" chord and I know what that chord change sounds like. :) Just my 2 cents, not claiming I'm 100% right.

+Nikolay G sounds good. I agree. I like the work of thinking about music when analyzing it. I think it is crucial not to mistake analyzing with composing, so in some sense you are right that some musicians will take one for the other and that is not the way to go

I though that was the joy of making music :) When you know it well enough that in five seconds you can try a hundred possibilities in your head and then embark in materializing what you've already heard.

I do it all by ear and it works out just fine.

+Braun Haus Media, LLC By ear means you can hear all this. You know your stuff then, and that's ok too. Music theory is just a tool to organize what you can hear and an approach to develop your ears to hear things you cannot hear yet. But I agree music theory won't help you be more creative, that's probably what you mean when you say it is not fun. One of the benefits of using theory is that you can use a common language to share your musical thoughts or concepts, such as I try to do in this video, and also to understand when others are sharing their thoughts. It is not essential but it is useful.

Don't mind me, I'm just being an ass. Different people approach creative endeavors differently. If you derive fun from the mathematics of music, who am I to judge? To each his own. And I apologize for dumping on you in the first place.

:D