UA

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A few months back I got some plug-ins from Universal Audio and man, they are something. Sonically and visually, just fantastic. And now that they have native versions through their Spark platform that don’t require specialized hardware to run, things just got even better.

I’m still getting familiar with each plug-in’s feature set so as to find the right settings for the right situation, but I love what I’m already able to do with them. To help things out, UA has some fantastic tutorials on their YouTube channel, I particularly like their quick tips series.

Thanks, UA!

Talk About It

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One of the highlights of the Spring 2022 Term was a collaboration I did with fellow Berklee Online students Brianna Bernhard and Myrone Davis as part of the Songwriting for Film and TV course we were in.

The song features Brianna’s amazing vocals, Myrone’s keyboard parts and me handling the rest of the production. We each added bits to the melody and lyrics, but it was Brianna who brought it all together in the final version. I really like this and think it turned out well.

Thank you, Brianna and Myrone, for making something this cool with me!

Photo by Wilhelm Gunkel on Unsplash: unsplash.com/@wilhelmgunkel

Berklee Online – Reflection

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The one thing, perhaps more than anything else, that I have learned from taking these Berklee Online courses is that they are not the “end all be all”. Meaning, it’s not “take this class and afterwards you’ll be able to do all this cool stuff, just like the pros.” It’s more like “here’s this area of interest/study and this is how to start learning how to do it.” It then is up to each of us to continue on our own once the course is over.

That is the part that I am struggling with. How do I create a sustainable practice routine that is easy to do in terms of time and effort, reinforces and develops the areas that are important to me and can be maintained regardless of what else is going on in my life.

I’ve written about the value of doing something 5-10 minutes a day, and have had some success continually doing something regularly over the span of a few months. Yet, the number of things I try to focus on for 5-10 minutes expands into multiple subjects and ends up taking 1-2 hours to get through. This is often where it ends. Other parts of my life start to require more of my energy and attention in terms of time, these daily routines drop off, get neglected and are soon forgotten.

I think if I can develop a dead simple plan and say “this is it, this is the only thing that I will commit to doing on a daily basis for x amount of time, no matter what” then I might have a chance.

If my Ear Training for Live Performance instructor Allan Chase can still be doing the same ear training exercises he started doing in 1978 then I can do something on a daily basis, too!

Berklee Online – Term 10

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This was really a good term for me, which is pretty remarkable given the fact that I really didn’t enjoy the previous term and that I doubled the number of classes taken.

This time around I took Contemporary Techniques in Music Composition 2, Ear Training for Live Performance, Introduction to College Writing, and Songwriting for Film and TV.

Each course was very challenging, yet rewarding, in their own ways. I will go into detail on each class in separate posts.

Thanks for another great term, Berklee!

Contemporary Techniques in Music Composition 2

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I actually really enjoyed Contemporary Techniques in Music Composition 2, much more than CTMC1. Perhaps I already had an idea of what to expect this time around, or maybe it was due to the way the material was presented or just the type of material that was covered.

In any event, this course ended up being a highlight of the term for me and I really enjoyed the pieces that I came up with for it. I’ve added a SoundCloud playlist highlighting some of the pieces towards the end of this post.

Here’s what was covered in the twelve weeks.

Week 1 – “Extended Techniques for Strings, Winds, and More”, Apr 2 – Apr 8
Introduction, Meet and Greet, Writing for Strings: Expanding Harmonics, Glissando, Seagull Effect, Exercise 1.1: Transcribe a Melody with Harmonics, Discussion 1.1: Gyorgy Ligeti’s String Quartet No. 2, More String Effects: Pizzicatos, Bow Techniques, Beyond the Fingerboard, Bow Techniques, Extended Techniques on Violin, Discussion 1.2: Lachenmann’s “Pression”, Extended Techniques for Winds, Quiz 1.1: Identify the Extended Techniques, Extended Techniques for Harp, Extended Techniques for Accordion, Assignment 1: Compose Using Extended Techniques, Recap

Week 2 – “Microtonality and Tunings”, Apr 9th – Apr 15th
Introduction, Temperaments and Tunings, Equal Temperament and Just Intonation: a Brief Explanation, Workshop: Equal Temperament and Just Intonation, The Microtonal Pioneers, Ben Johnston and La Monte Young, Harry Partch and John Luther Adams, Alois Haba, Charles Ives, Ezra Sims, Enno Poppe, Jon Catler, Workshop: Microtonality Perception, Notation and Instrumental Limitations, Workshop: Order the Standard Notation Microtone Accidentals, Workshop: Order the Sims-Maneri Accidentals, Discussion 2.1: Limits of Microtonal Composition, Microtonality and Notation Software, Assignment 2: Microtonal Composing, Recap

Week 3 – “Writing for Voice”, Apr 16th – Apr 22nd
Introduction, How Our Voice Works, Vocal Registers and Ranges: A Quick Review, Vocal Registers, Bel Canto, Writing for Voice Today, Discussion 3.1: Vocal Techniques, Text Setting: Playing with Meanings, Discussion 3.2: Text Setting, Text Setting in Practice, Twentieth Century Text Setting, Exercise 3.1: Text Setting, Assignment 3: Vocal Composition, Recap

Week 4 – “Serial Music”, Apr 23rd – Apr 29th
Introduction, Historical Context: The Need for Something New, Discussion 4.1: Atonal Music, The Core Concepts of Serialism, Expanding the Row: Transposition and Canonic Transformations, Exercise 4.1: Transposition, Inversion, Retrograde, and Retrograde Inversion, Transformations and the Magic Square, Exercise 4.2: Twelve-Tone Row, Series as a Theme, Rhythmical Devices and Serial Counterpoint, Other Serialisms: Total Serialism and Beyond, Discussion 4.2: Serial Music, Assignment 4: Serial Techniques, Recap

Week 5 – “Process Music/Textures and Soundscapes”, Apr 30th – May 6th
Introduction, What is a Texture?, Monophonic, Homophonic, Heterophonic, Polyphonic, Quiz 5.1: Identify the Texture Type, Texture in the Twentieth Century: The Context, Composing with Texture/I: Morphing, Composing With Texture/II: Stratification, Micropolyphony, Discussion 5.1: Texture and Your Listening Experience, Assignment 5: Texture-Based Piece, Recap

Week 6 – “Minimal Music”, May 7th – May 13th
Introduction, Core Concepts/I: Silence, Limited Material, Repetition, Core Concepts/II: Texture and Tonality, Core Concepts and Techniques/I: Phasing (Steve Reich), Motive Transformation (Philip Glass), Workshop: Clapping Music, Core Concepts and Techniques/II: Motive Transformation (Philip Glass), Other Minimalists: Rzewski, Adams, Laurie Anderson (2.40 Glass), Discussion 6.1: Your Perception of Minimal Music, Assignment 6: Composing Minimal Music, Recap

Week 7 – “More Rhythmic Devices”, May 14th – May 20th
Introduction, Expanding Meter/I: Polymeter and Charles Ives, Expanding Meter/II: Metric Modulation and Elliott Carter, Expanding Meter/III: Metric Modulation in Practice, Exercise 7.1: Metric Modulation, Other Uses in the Twentieth Century: Serial Rhythm, Accelerando/Rallentando Patterns, Rhythm and Meter/I: Polyrhythm, Rhythm and Meter/II: Hemiola, Rhythm and Meter/III: Polyrhythm and Non-Western influence, Discussion 7.1: Rhythm and Pitch, Exercise 7.2: Compose a Polyrhythm, Assignment 7: Rhythm, Recap

Week 8 – “Postmodernism, Musical Quotation, and Appropriation”, May 21st – May 27th
Introduction, What is Postmodern Music?, Quotations and Classical Music: a Never-Ending Idyll, Quotation in the Twentieth Century/I: The Early Years, Quotation in the Twentieth Century/II: After 1945, Exercise 8.1: Identify the Quotations, Pushing to the Limit: Multiple Quotes and Humor, Quotation vs. Music Appropriation: Imitating Style, Discussion 8.1: Quotation, Assignment 8: Past as Present, Recap

Week 9 – “New Tonality, New Spirituality”, May 28th – Jun 3rd
Introduction, Looking at the Past, Hinting at Tonality, Discussion 9.1: Neo-Tonality, Tonality as Spirituality: Pärt, Tavener, Discussion 9.2: New Spirituality, Assignment 9: New Tonality, Recap

Week 10 – “Spectralism”, Jun 4th – Jun 10th
Introduction, What is Spectralism?, The Precursors: Proto-Spectralists, The Spectral Composer at Work: Basic Techniques and Terminology, Discussion 10.1: Grisey’s “Partiels”, More Techniques and Terminology, Software Tools: Preparing for your Assignment, Assignment 10: Sound Analysis Composition, Recap

Week 11 – “The Early Pioneers of Electronic Music”, Jun 11th – Jun 17th
Introduction, Noise, Electricity, and Experimentalism: Electronic Music and Sonic Arts, The Early Electronic Instruments: Theremin and Ondes Martenot, Discussion 11.1: The Role of Technology, The US: Minimalism and other Experimentalisms, Germany: Elektronische Musik, France: Pierre Schaeffer and Musique Concrète, Hands-On: The Key Techniques of Early Electronic Music, Workshop: Composing Tape Music Today, Assignment 11: Compose a Collage Piece, Recap

Week 12 – “Looking Ahead”, Jun 18th – Jun 24th
Introduction, Tape, Instruments, and Live Electronics, Composing with Live Electronics, Music and Multimedia, Music Installation, Beyond Spectralism and Minimalism: Saturiation Music and Totalism, Discussion 12.1: The Future of Composition, Assignment 12: Write for String Quartet, Recap

Ear Training for Live Performance

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Ear Training for Live Performance was the class that I was looking forward to taking the most for Term 10. It was an excellent course with a lot of information (sometimes felt like too much).

I feel very fortunate to have had the course author, Allan Chase, as our instructor. He always gave thoughtful and meaningful feedback, sometimes in great detail. It was clear that this class and the subject matter being covered was very important to him.

For my part, there were some days where it felt as if I had never done any ear training before, and then other days where I could “hear” most things clearly and accurately in my mind. Perhaps the biggest challenge I’m facing at this point will be coming up with a regular practice routine that continues to strengthen what I’ve developed up until now.

Here’s what we covered over the twelve weeks.

Week 1 – “Building Connections: Inner Hearing, Voice, and Instrument”, Apr 2 – Apr 8
Introduction, Meet and Greet, Singing Basics for Ear Training for Live Performance, Workshop: Pitch Matching, Major Scales, Solfege, Your Voice and Inner Hearing, Workshop: Reviewing Movable-Do Solfege, Solfege and Inner Hearing, Workshop: Solfege and Inner Hearing, Workshop: Call and Response with Voice and Instrument, Rhythmic Vocabulary: Recognizing, Reading and Writing the Building Blocks of Rhythm, Conducting Primer, Workshop: Performing Basic One-Beat Rhythms, Quiz 1.1: Identifying One-Beat Rhythms, Discussion 1.1: Playing what You Hear, Assignment 1: Playing and Singing Major Scale Material and Composing Rhythms, Recap

Week 2 – “Major Scale Interval Exploration”, Apr 9th – Apr 15th
Introduction, 3/4 and 2/4 Conducting Patterns, More Major Scale Intervals: Indirect Resolutions, Bass Lines, and Leaps, Indirect Resolutions with V7 to I Accompaniment, Using Songs to Identify Intervals, Workshop: Major Scale Intervals and Patterns, Diatonic Major Scale Bass Lines, Identifying Common Major-Key Bass Lines and Patterns in Music, Workshop: Which Bass Line Is It?, Expanding Our Rhythmic Vocabulary, Workshop: Rhythms and Rests, Workshop: Sight Singing Melodies, Discussion 2.1: Identification Techniques, Assignment 2: Melodic Phrases, 3/4 Transcription, Recap

Week 3 – “Minor Keys and Cut Time”, Apr 16th – Apr 22nd
Introduction, Minor Keys and Scales, Natural and Harmonic Minor Scales, Tendency Tones in Minor, Workshop: Solfege Ladder Warm Up, Workshop: Minor Key, 2/2 meter: Cut Time, Workshop: Samba Rhythms, Discussion 3.1: Minor vs. Major, Assignment 3: Minor Key and 2/2 Rhythms, Sight-Singing Performance, Recap

Week 4 – “More Minor Scales”, Apr 23rd – Apr 29th
Introduction, Le vs. La and Te vs. Ti in Minor, Workshop: Identify the Type of Minor Scale, Line Clichés, Workshop: Identify the Line Cliché, Workshop: Sing a Mixed Minor Warm-Up Routine, Discussion 4.1: Ear Training Challenges and Practice Routine, Assignment 4: Minor Scales, Recap

Week 5 – “Minor Pentatonic Scale and the Minor Blues Scale”, Apr 30th – May 6th
Introduction, Minor Pentatonic Scales, Workshop: Minor Pentatonic Scale, Blue Notes and the Minor Blues Scale, Workshop: Sing and Play Blues Scale Melodies, Syncopated Eighth Notes, Ties, and Anticipations, Workshop: Syncopation, Swing Feel and Syncopation, Workshop: Sing Syncopated Rhythms in 4/4, 3/4, and 2/4 while Conducting, Discussion 5.1: Provide Examples, Assignment 5: Pentatonic and Blues Sounds, Recap

Week 6 – “Major Pentatonic and the Melodic Language of Blues”, May 7th – May 13th
Introduction, Major Pentatonic Scale, Workshop: Major Pentatonic Call and Response, Major Blues Scale, Workshop: Major Pentatonic and Major Blues Scale Melodies, Mixed Blues Scales: Minor and Major, Workshop: Chromatic Solfege Ladder, Workshop: Identify the Scale, Exercise: Mid-Term Sight Singing Exam Preparation, Discussion 6.1: Blues Tonality, Assignment 6: Major Pentatonic Sounds, Recap

Week 7 – “The Mixolydian Mode and More Syncopated Rhythms”, May 14th – May 20th
Introduction, Mixolydian Melodies, Workshop: Warm Up Using Solfege Ladder, Exercise: Call-and-Response, Tied Sixteenth Notes and Sixteenth-Note Syncopations, Workshop: One-Bar Examples with a Metronome, Discussion 7.1: Mixolydian Mood, Assignment 7: Mixolydian, Timed Video Assessment Technology Test, Midterm: Sight-Singing Performance, Recap

Week 8 – “The Lydian Mode”, May 21st – May 27th, Introduction, Lydian Tendency Tones, Workshop: Lydian with Solfege Ladder, Workshop: More Lydian Melodic Work-Out, Workshop: Lydian Juke-Box, Mixed 8th- and 16th-Note Syncopations and Ties, Workshop: Syncopated 8th- and 16th-Note Duet, Discussion 8.1: The Brightest Mode, Assignment 8: Lydian, Recap

Week 9 – “The Phrygian Mode, Flat II and Ra, the Spectrum of Modes”, May 28th – Jun 3rd
Introduction, Phrygian Activity, Workshop: Melodic Recognition and Inner Hearing Using the Solfege Ladder, Exercise: Call-and-Response, The Spectrum of Modes, Workshop: Identify The Mode, Mixed 8th-Note and 16th-Note Syncopations in 3/4 and 2/4, Discussion 9.1: Modal Spectrum, Assignment 9: Phrygian, Recap

Week 10 – “Mixed Modes”, Jun 4th – Jun 10th
Introduction, Singing, Playing, and Recognizing Mixed-Mode Melodies, Workshop: Solfege Ladder Warm-Up with Mixed Major and Minor Modes, Workshop: Sing and Play Phrases in Mixed Major and Minor Modes, Workshop: Recognizing the Sounds of Mixed Modes, Eighth-Note Triplets, Workshop: Sight-Read Triplet, 8th- and 16th-Note Rhythms, Getting Ready For Next Week’s Sight-Singing Final, Workshop: Sight Singing Practice, Discussion 10.1: Inner Hearing in Mixed-Modes, Assignment 10: Mixed Modes, Recap

Week 11 – “The Spectrum of Modes and Polyrhythms”, Jun 11th – Jun 17th
Introduction, Mixed Modes and All Twelve Notes, Melody with All Twelve Notes, Exercise: Solfege Ladder Warm Up, Sight-Singing through the Spectrum of Modes, Mixed-Mode Call and Response with Longer Melodic Ideas, How to Improvise a Modal Spectrum Warm-Up, Exercise: Improvise a Melodic Warm-Up, Quarter-Note Triplets and 3:2 Polyrhythms, Workshop: Mixed Triplet Performance, Introduction to Polyrhythms, Discussion 11.1: Final Project, Assignment 11: Spectrum of Modes and Rhythmic Study, Final: Sight-Singing Performance, Recap

Week 12 – “Practice Techniques and Final Project”, Jun 18th – Jun 24th, Introduction, Ear Training Review: Recognizing all Twelve Notes, All the Intervals, Workshop: Solfege Ladder, Workshop: Chromatic Call and Response, Rhythm Review, Further Horizons, Discussion 12.1: Continued Study, Assignment 12: Design and Share an Ear Training Exercise and Final Project, Recap

Introduction to College Writing

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I took Introduction to College Writing as part of the general education requirements for the degree program that I am in. Overall, I thought the course was really well done, with useful and helpful information.

I particularly liked how each week built on the previous. Instead of trying to cover a big topic in one week’s lesson it was spread over 2-4 weeks. I also thought the instructor did a good job, often providing meaningful and timely feedback.

Here’s what was covered during the twelve weeks.

Week 1 – “Getting Started/The Basics”, Apr 2 – Apr 8
Introduction, Meet and Greet, Writing and Speaking in Different Contexts, Words That Are Commonly Confused, Discussion 1.1: “Everyday I Write the Book” and “Everyday” Lyrics, Workshop: Commonly Confused Words, Editing Commonly Confused Words, Workshop: Proofreading, Writing a Basic Letter, Basic Letter Example, Workshop: Basic Letter Practice, Workshop: Week 1 Terms, Guidelines for Assignment Posts, Assignment 1: Letter Introduction, Recap

Week 2 – “Writing Contexts”, Apr 9th – Apr 15th
Introduction, Understanding Different Rhetorical Contexts, The Five Components of “Clueless”, Discussion 2.1: “Clueless” Analysis, Applying These Rhetorical Elements to Written Texts, Discussion 2.2: Taylor Swift Letter, Generating Ideas, Exercise: Letter Response, Understanding the Components of a Sentence, Practice Exercise: Sentence Completion, Organizing and Drafting a Response, Practice Exercise: Outlining Your Letter, Workshop: Week 2 Terms, Assignment 2: Letter Response, Recap

Week 3 – “Recording and Developing Ideas”, Apr 16th – Apr 22nd
Introduction, Recording Ideas, Discussion 3.1: Recording Your Ideas, Diaries, Anne Frank’s Diary, Discussion 3.2: Journal or Diary, Workshop: Start a Journal or Diary, Concision vs. Lengthiness, Exercise: Diary Excerpts, Understanding Commas, Quiz 3.1: Using Commas, Understanding Verbs and Subject-Verb Agreement, Workshop: Verb Practice, Workshop: Week 3 Terms, Assignment 3: Letter Response Writing, Recap

Week 4 – “Exploring Personal Narratives”, Apr 23rd – Apr 29th
Introduction, Key Elements of a Personal Narrative, Workshop: Starting Your Journal, Analyzing a Personal Narrative, Darryl McDaniels Interview, Discussion 4.1: DMC’s Story, Understanding Pronouns, Pronoun Challenges, Workshop: Pronouns, Grammatical Tools to Best Express Ideas, Workshop: Using Pronouns, Coordination and Subordination, Workshop: Coordination and Subordination, Workshop: Week 4 Terms, Assignment 4: “Moth” Story Hour Assessment, Recap

Week 5 – “Writing a Personal Narrative”, Apr 30th – May 6th
Introduction, Opening Sentences, Survey: Opening Lines in Films, Organizing a Personal Narrative, Basic Narrative Structure, Exercise 5.1: Journal Excerpt for Personal Narrative, Developing Paragraphs, “This Is How Music Can Change Your Brain”, Exercise 5.2: Personal Narrative, Opening Paragraph, Connecting Paragraphs, Workshop: Article Analysis, Choosing the Right Words, Figurative Language, Discussion 5.1: Favorite English Idioms, Workshop: Week 5 Terms, Assignment 5: Personal Narrative, Recap

Week 6 – “Talking about Literature”, May 7th – May 13th
Introduction, Literary Vocabulary, Exercise 6.1: Literary Devices of “Believer”, Editing Sentences, Workshop: Fixing Faulty Lyrics, Reading a Text, Quiz 6.1: First-, Second-, or Third-Person Narrators, Analyzing a Text, Analysis and Structure of “Skin”, Discussion 6.1: BBC Story and “Skin”, Analyzing Literature Interview with Michelle Sterling, Discussion 6.2: Creative Non-fiction, Workshop: Week 6 Terms, Assignment 6: Personal Narrative Analysis, Recap

Week 7 – “Thesis Statements”, May 14th – May 20th
Introduction, What Is a Thesis?, Quiz 7.1: Thesis Statements, Analyzing a Text, Structure of “The Last Leaf”, Discussion 7.1: Literary Techniques of O. Henry, Analyzing Literature Interview with Victoria Large, Quiz: Victoria Large Interview, Developing a Thesis Statement, Exercise: Create a Thesis Statement, Writing a Literary Analysis, Workshop: Week 7 Terms, Assignment 7: Thesis Statement and Outline, Recap

Week 8 – “Exploring Poetry”, May 21st – May 27th
Introduction, Poetry, Quiz 8.1: Poetic Terms, Analyzing Poems in Verse, Poem Structure, Workshop: Stanza Analysis, Analyzing Poems in Verse, Part 2, “Caged Bird” Analysis, Word Choice, Discussion 8.1: “The Weary Blues” by Langston Hughes, Poetry Writing Interview with Beth Platow, Workshop: Poem Types and Visual Presentation, Quoting, Inserting a Quote into Your Work, Parenthetical Citations, Workshop: Quoting Practice, Workshop: Week 8 Terms, Assignment 8: Thesis Outline to Essay, Recap

Week 9 – “Making an Argument”, May 28th – Jun 3rd
Introduction, Elements of Argumentation, Workshop: Ella Fitzgerald Radio Story Analysis, Analyzing a Text for Argumentation, Analyzing a Text for Counter-Arguments, Discussion 9.1: College Scorecard Article, Finding Sources, Quiz: Source Evaluation, Applying the Concepts, Analysis through the C.R.A.P. Test, Discussion 9.2: College Scorecard Analysis, Workshop: Week 9 Terms, Assignment 9: Thesis Essay Versions, Recap

Week 10 – “Finding and Documenting Sources”, Jun 4th – Jun 10th
Introduction, Finding Sources Part 1: Keywords, Maximize Your Search, Discussion 10.1: Web Searches, Finding Sources Part 2: Databases, Workshop: Searching the Databases, Style Guidelines, Practice Exercise: Cite the Article Practice, The Chicago Manual of Style, Quiz 10.1: The Chicago Manual of Style, Workshop: Week 10 Terms, Assignment 10: Studying Music or the Arts Essay, Recap

Week 11 – “Other Texts: The Critique”, Jun 11th – Jun 17th
Introduction, Art Criticism, Review Example: Forrest Gump, Discussion 11.1: Movie Review, Paraphrasing, Paraphrasing Examples, Workshop: Paraphrasing Practice, Critiquing a Recorded Cultural Product, Writing Your Critique, Wonder Woman Critique Example, Exercise 11.1: Movie Review Summarization, Critiquing a Live Cultural Event, Observation, Rolling Stone Review, Workshop: Recent Experience Review, Critiques Interview with Rob Hochschild, Workshop: Week 11 Terms, Assignment 11: Revised Thesis Statement and Final Essay First Paragraph, Recap

Week 12 – “Other Texts: Proposals and Reports”, Jun 18th – Jun 24th
Introduction, The Proposal, Proposal Plan, Clear and Persuasive Text, Review Carefully, Exercise: The Proposal Review, Discussion 12.1: Project Need and Description, The Report, Quiz: Jazz Standard Workshop, The Abstract, The Abstract: Important Tips, Practice Exercise: Abstract Article on an Artist of Your Choice, Grant Proposals and Reports Interview with Danielle Parillo, Exercise: Future Projects Ideas, Bringing It All Together, Moving Forward, Discussion 12.2: Writing Skills Self Reflection, Workshop: Week 12 Terms, Assignment 12: Final Essay, Recap

Songwriting for Film and TV

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I took Songwriting for Film and TV largely due to an enthusiastic recommendation from one of the teachers at Berklee Online that I respect quite a bit. I have to say that it was my least favorite class of the term.

The materials were rather dated and the class felt like a low priority to our instructor. Perhaps if the course author was our instructor I might have enjoyed this one more. For what it was, it was an okay class. Just not as good as many of the other courses that I have taken with Berklee Online.

The highlight was collaborating with a couple of my classmates. They were super nice, responsive and professional. I think we came up with some really nice pieces.

Here’s what we covered over the twelve weeks.

Week 1 – “Historical and Current Use of Songs in Visual Media”,
Introduction, Meet and Greet, History of Songwriting for Films, Synchronized Sound and Picture: The Jazz Singer (1927), Movie Musicals: The Wizard of OZ (1939), Movie Musicals: The Sound of Music (1965), Movie Musicals: 1980-1990s, Movie Musicals: High School Musical 3 (2008), Songs by the “Reel:” WKRP in Cincinnati (1978-1982), Song by the “Reel:” Friends (1994-2004), Cover Songs: Ally McBeal (1997-2002), Cover Songs: Grey’s Anatomy (2005-Present), Animated Film: Snow White (1937), Animated Film: Pinocchio (1940), Animated Film: Little Mermaid (1989), Animated Film: Beauty and the Beast (1991), Discussion 1.1: Technology Impact, Media Path of a Song in Film, Media Path of a Song in TV, Animation, and Video Games, Exercise 1.1: Project a Potential Media Path, Simple Is Effective, Examples: Mystic River, Examples: The OC, Examples: Grey’s Anatomy, Assignment 1: Write a Short Song, Recap

Week 2 – “Songwriting ‘On Demand'”, Apr 9th – Apr 15th
Introduction, Discipline of Writing on Assignment, Tips When Discussing Assignment, Revising an Assignment, Discussion 2.1: Scenario, The Song Has to Have Bassoon and a Reggae Beat!, Dealing with Unusual Requests, “Temp Love”, Communication, Song Characteristics, Identifiable Genre, “Temp Love” Example, Exercise 2.1: Identify Foreground and Background Elements, Remakes, Sound-Alikes, and Copyrights, Copyrights, Assignment 2: Write a Draft of a 2-minute Custom Song, Recap

Week 3 – “Writing a Visual Media Friendly Song”, Apr 16th – Apr 22nd,
Introduction, Melody Elements, Workshop: Is the Melody Distracting?, Harmonic Colors, Workshop: Is the Harmony Distracting?, Discussion 3.1: Harmony, Rhythmic Elements, Workshop: Is the Rhythm Distracting?, Intros, Vamps, and Endings, Intros, Endings, Assignment 3: Revise Song Draft, Recap

Week 4 – “Writing for Music Libraries and Song Catalogs Part 1”, Apr 23rd – Apr 29th
Introduction, Library Music, What is It?, Who Do Music Libraries License To?, Exercise 4.1: Song Catalog Search Party, What Do Music Libraries Want from Their Writers?, Intros, Stylistically Focused, Song Forms, Lyrics, Have a Real Ending, Tell Me What You Are!, Exercise 4.2: Orchestration Consistent with Genre, How Do I Stack Up!, Musical and Performance Quality, Midi Instruments (samples) versus “Live” Players, Mix Quality, Exercise 4.3: Evaluate a Song, Assignment 4: Research Music Libraries, Recap

Week 5 – “Writing for Music Libraries and Song Catalogs Part 2”, Apr 30th – May 6th
Introduction, How Much is My Time Worth?, Cash Flow, Volume, What Year and Place Was the Song From?, Guitar, Keyboard, Bass, Drums, Vocalists, Trumpet, Saxophone, Quiz 5.1: Musicians and Instruments, How Do We Make Our Songs More Flexible?, Expand the Era, Alternate Mixes, Alternate Edits, Exercise 5.1: Accentuate the Positive and Collaborate, Assignment 5: Write a Song, Recap

Week 6 – “Background Source Music Not Sync’d to Picture”, May 7th – May 13th
Introduction, What Is Source Music?, Why Can’t I Hear My Song?, Pesky Dialogue, Audio Manipulation, Electronically “Futzed”, Discussion 6.1: Source Music, Special FX on Your Source Music Song: Mono and EQ, Special FX on Your Source Music Song: Reverb and Delays, Special FX on Your Source Music Song: Specialized Effects, Quiz 6.1: Special FX, Make Your Song “Editor-Friendly”, Song Recorded without a Click Track, Song Recorded with a Click Track, Song Recorded Replacing a Loop or Bad Drum Track, Smart Use of Key Changes, Use of Interlude, Chorus to Chorus and False Ending, Orchestrative Changes, Exercise 6.1: Find Your Success Formula, Assignment 6: Background Source Music, Recap

Week 7 – “Foreground Source Music Sync’d to Action”, May 14th – May 20th
Introduction, How Do I Know When the Music Should Start and End?, Visual Time Code, Pre-Roll, Sonic Impact, Creating Pre-Roll from Nothing, Audio Layout, Exercise 7.1: Ask the Right Questions, Quiz 7.1: The 10-Second Method, Quiz 7.2: The 16-Beat Method, Quiz 7.3: The 16-Bar Method, Different Approach, Variable Click, What If …., Visual Continuity of Instruments and Sound, Guitars, Basses, and Other String Instruments, Keyboards, Drums and Percussion, Structure of the Song Based on the Scene, Quiz 7.4: In Time of the Butterflies Story, Assignment 7: Write a Song, Recap

Week 8 – “Collaboration Part 1”, May 21st – May 27th
Introduction, Why Collaborate?, Work Opportunities and the Spin-off for Future Success, Discussion 8.1: A Few Questions, Strictly Business?, Business Matters, Songwriter Splits, Collaboration – Tools of the Trade, Audio Formats, MP3s, Creating an Audio Footprint, Full Audio Formats, File Naming, MIDI Conductor Track Tutorial: Part 1, MIDI Conductor Track Tutorial: Part 2, File Storage and Access, Staying on the Same Page, Assignment 8: Collaborate, Recap

Week 9 – “Collaboration within the Production Phase”, May 28th – Jun 3rd
Introduction, Importing Digital Audio Tracks from a Collaborator’s Studio, Establish Effects and Recording Guidelines, Mixdown Guidelines, The MIDI Musician Collaborator, Exercise: Identify Contacts, Manipulate the Data!, Replacing Sounds and Editing MIDI data from Your Collaborator, Changing the Song Structure, Cleaning Up the Audio Data, Which Track Are You Using?, Vocal Tracks, Instrumental Tracks: Drums and Bass, Instrumental Tracks – Guitars and Keyboard, Exercise: Identify Your Classmate’s Strengths, Contributions Deserving of Wider Recognition, The Tracks, Deal, and Who did What?, Exercise 9.1: Reharmonizing Melody, Discussion 9.1: “Production Phase Scenario”, Assignment 9: Collaborate, Recap

Week 10 – “Featured Songs”, Jun 4th – Jun 10th
Introduction, TV Theme Songs, Sit-Coms – I Love Lucy, Sit-Coms – Gilligan’s Island, Sit-Coms – All in the Family, Sit-Coms – Family Ties, Sit-Coms – Seinfeld, Sit-Coms – Murphy Brown, Sit-Coms – The Office, Talk Shows – The Tonight Show, Talk Shows – The Late Show, Talk Shows – The Ellen DeGeneres Show, Cartoons, Drama Series, Daytime Drama (Soap Operas), Discussion 10.1: Research a Genre, The Montage – Six Feet Under, The Montage – The Wire, The Montage – Other Examples, Discussion 10.2: Which Song Aired?, Film Feature – Easy Rider, Film Feature – Animal House, Film Feature – Day Off, Film Feature – Titanic, Film Feature – Slum Dog Millionaire, Film Feature – Juno, Film Feature – Falling Slowly, End Credits, Assignment 10: Final Project, Recap

Week 11 – “How Do I Get Paid for My Songs in Film/TV?”, Jun 11th – Jun 17th
Introduction, Should I Give Up My Rights, Research the Music Library Company, Green Light?, Two Music Library Deals, Exercise 11.1: Research Potential Libraries, The New Publishing Model, Exclusive Publisher, Nonexclusive Publisher or Third-Party Publisher, How Do Nonexclusive Publisher Work?, Ownership Splits, Writer and Publisher Split Sheet, Work-for-Hire, License Request, License Confirmation, Screen Credits and Cue Sheets, Getting to Yes, Five Action Items, Negotiating Call Example, Discussion 11.1: “The Negotiation”, Quiz 11.1: Getting Payed, Assignment 11: Final Project, Recap

Week 12 – “Final Projects and into the “Reel” World”, Jun 18th – Jun 24th
Introduction, Get Your Songs Ready for Work, Create Cd Quality Full Mix, Create Mix with “Vocal Down”, Judicious Use of Reverb, Prepare and Archive Alternate Mixes, Finishing Touches, Check your Mix in Mono, Quiz 12.1: Into the “Reel” World, Delivery of The Material, Demo Specifications, Full Audio Files, Exercise 12.1: Make a List, and Check It Twice, Demo Reel!, Choose Your Best Songs, Prepare for Delivery, Prepare a Cover Letter or E-Mail, Assignment 12: Final Project, Recap

Music Composition for Film and TV 2

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Music Composition for Film and TV 2 was the other class that I took during the Fall of 2021. As with other courses authored by Ben Newhouse, this was a great class that went over everything in a clear, logical and methodical progression. It was nice having Ben as an instructor again as he always provided useful, helpful, and thoughtful feedback.

Here’s what we covered during the twelve weeks.

Week 1 – “Slow Drama”, Sep 27 – Oct 1
Introduction, Meet and Greet, Course Structure, Slow Drama Cue: Deadline Main Title, Harmony in Deadline Main Title, Melody in Deadline Main Title, Rhythm and Tempo in Deadline Main Title, Orchestration in Deadline Main Title, Score Analysis: “Giza Port” from The Mummy, Slow Drama Cue: “Wreckage” from Alien 3, Melody in “Wreckage”, Harmony in “Wreckage”, Rhythm and Tempo in “Wreckage”, Orchestration in “Wreckage”, Discussion 1.1: Analysis “The King Dies” from Atlantis, Slow Drama Cue: “Mr. Gateau” from The Curious Case of Benjamin Button, Melody in “Mr. Gateau”, Harmony in “Mr. Gateau”, Rhythm and Tempo in “Mr. Gateau”, Orchestration in “Mr. Gateau”, Exercise 1.1: A Dramatic Progression, Slow Drama Cue: “Run to the Church” from The Sixth Sense, Harmony in “Run to the Church”, Melody in “Run to the Church”, Rhythm and Tempo in “Run to the Church”(Page 4), Orchestration in “Run to the Church”, Slow Drama Cue: “Tender Dismay” from Women Warriors: Voices of Change, Harmony in “Tender Dismay”, Melody in “Tender Dismay”, Rhythm in “Tender Dismay”, Orchestration in “Tender Dismay”, Slow Drama vs. Sad, Slow Drama Template, Quiz 1.1: Slow Drama, Assignment 1: Score a Slow Drama Scene, Recap

Week 2 – “Playful Comedy”, Oct 2nd – Oct 8th
Introduction, Comedy Cue: “Toy Store Jam” from Mr. Magorium’s Wonder Emporium, Tempo and Rhythm in “Toy Store Jam”, Harmony in “Toy Store Jam”, Melody in “Toy Store Jam”, Orchestration in “Toy Store Jam”, Exercise 2.1: Write a Comedy Vamp, Comedy Cue: “Triscadecaphobia” from Mr. Magorium’s Wonder Emporium, Tempo and Rhythm in “Triscadecaphobia”, Harmony in “Triscadecaphobia”, Melody in “Triscadecaphobia”, Orchestration in “Triscadecaphobia”, Activity: Score Analysis of “Mr. Magoriums Wonder Emporium”, Score Analysis: Mr. Magorium’s Wonder Emporium, Comedy Cue: Alf Clausen’s Car Scene, Tempo and Rhythm in Alf Clausen’s Car Scene, Harmony in Alf Clausen’s Car Scene, Key Movement in Alf Clausen’s Car Scene, Melody in Alf Clausen’s Car Scene, Orchestration in Alf Clausen’s Car Scene, Discussion 2.2: The Simpsons, Comedy Cue: “A Note from the Teacher” from Peter Pan, Melody from “A Note from the Teacher”, Harmony from “A Note from the Teacher”, Tempo and Rhythm from “A Note from the Teacher”, Orchestration from “A Note from the Teacher”, Comedy Template, Quiz 2.1: Playful Comedy Music, Assignment 2: Score a Comedy Scene, Recap

Week 3 – “Moderate-Intensity Action 1”, Oct 9th – Oct 15th
Introduction, Moderate Intensity Action Cue: “The Myrmidons” from Troy, Melody in “The Myrmidons”, Modes in “The Myrmidons”, Harmony in “The Myrmidons”, Rhythm and Tempo in “The Myrmidons”, Orchestration of “The Myrmidons”, Exercise 3.1: Listening and Discussion of “Tunnel Chase”, “Helicopter Ride” from “Underworld: Evolution, Harmony in “Helicopter Ride”, Rhythm and Tempo in “Helicopter Ride”, Melody in “Helicopter Ride”, Orchestration in “Helicopter Ride”, Exercise 3.2: Add Rhythm to a Chord Progression, “High Wire Stunts” from Jurassic Park, Melody in “High Wire Stunts”, Harmony in “High Wire Stunts”, Modulation in “High Wire Stunts”, Rhythm in “High Wire Stunts”, Orchestration of “High Wire Stunts”, Score Analysis of “Helicopter Ride”, Score Analysis: “Helicopter Ride”, Moderate-Intensity Action Cue: “Hook-Napped” from Hook, Melody in “Hook-Napped”, Harmony in “Hook-Napped”, Tempo and Rhythm in “Hook-Napped”, Orchestration in “Hook-Napped”, Assignment 3: Score a Moderate Intensity Action Scene, Recap

Week 4 – “Moderate Intensity Action II”, Oct 16th – Oct 22nd
Introduction, Moderate-Intensity Action Cue: “Duel of the Fates” from Star Wars: Episode I, Melody in “Duel of the Fates”, More Melody in “Duel of the Fates”, Harmony in “Duel of the Fates”, Tempo and Rhythm in “Duel of the Fates”, Orchestration in “Duel of the Fates”, Exercise 4.1: Write an Ostinato, Moderate-Intensity Action Cue: “Capitol Hill”, Harmony in “Capitol Hill”, Tempo and Rhythm in “Capitol Hill”, Melody in “Capitol Hill”, Orchestration in “Capitol Hill”, Score Analysis: “Bible Study” from Yuma, The Moderate-Intensity Action Template, Sneaking Around Example: “Stealing the Game” from Zathura, Harmony in “Stealing the Game”, More Harmony in “Stealing the Game”, Melody in “Stealing the Game”, Tempo and Rhythm in “Stealing the Game”, Orchestration of “Stealing the Game”, Discussion 4.1: Analysis “The Package” from Psycho, Sneaking Around Cue: “Huh?” from Flight of the Phoenix, Melody in “Huh?”, Harmony in “Huh?”, Tempo and Rhythm in “Huh?”, Orchestration in “Huh?”, The Sneaking Around Template, Quiz 4.1: Terms and Concepts, Assignment 4: Moderate-Intensity Action, Recap

Week 5 – “Lyrical Grandeur”, Oct 23rd – Oct 29th
Introduction, Lyrical Grandeur Cue: “Flicka” from Flicka, Melody in “Flicka”, Perfect Intervals in “Flicka”, Harmony in “Flicka”, Rhythm and Tempo in “Flicka”, Orchestration in “Flicka”, Discussion 5.1: Analysis “Grow to Hero”, Lyrical Grandeur Example: “Camelot” from First Knight, Melody in “Camelot”, Harmony in “Camelot”, Tempo and Rhythm in “Camelot”, Orchestration in “Camelot”, Score Analysis: “Fanfare for the Common Man” by Copland, Lyrical Grandeur Example: “American Hero”, Melody in “American Hero”, Harmony in “American Hero”, Tempo and Rhythm in “American Hero”, Orchestration in “American Hero”, Exercise 5.1: Compose a Lyrical Grandeur Melody, “Light of Olympia” Trailer, Melody in “Light of Olympia”, Harmony in “Light of Olympia”, Rhythm and Tempo in “Light of Olympia”, Orchestration in “Light of Olympia”, Orchestration in “Light of Olympia”, Lyrical Grandeur Template, Quiz 5.1: Lyrical Grandeur, Assignment 5: Score a Lyrical Grandeur Scene, Recap

Week 6 – “Action Heroes and Villains”, Oct 30th – Nov 5th
Introduction, Action Hero Theme: Indiana Jones, Melody in Indiana Jones, Harmony in Indiana Jones, Tempo and Rhythm in Indiana Jones, Orchestration in Indiana Jones, Activity: Score Analysis of “Going After Rourke” from Atlantis, Score Analysis: “Going After Rourke” from Atlantis, Action Hero Theme: Star Wars, Melody in Star Wars, Harmony in Star Wars, Rhythm and Tempo in Star Wars, Orchestration in Star Wars, Exercise 6.1: Compose a Heroic Chord Progression, Action Villain Theme: “Imperial March” from Star Wars, Harmony in “Imperial March”, Tempo and Rhythm in “Imperial March”, Melody in “Imperial March”, Orchestration in “Imperial March”, Orchestration in “Imperial March”, Activity: Score Analysis of “Evil Doers” from Hellboy, Score Analysis: “Evil Doers” from Hellboy, Action Villain Theme: “The Mummy” from The Mummy, Melody in “The Mummy”, Harmony in “The Mummy”, Tempo and Rhythm in “The Mummy”, Orchestration in “The Mummy”, Action Hero Template, Action Villain Template, Discussion 6.1: The Hero/Villain Dichotomy, Quiz 6.1: Action Heroes and Villains, Assignment 6: Score Action Hero and Action Villain Cue, Recap

Week 7 – “Action Adventure I”, Nov 6th – Nov 12th
Introduction, Action Adventure Theme: Jurassic Park Theme A, Melody in Jurassic Park Theme A, Harmony in Jurassic Park Theme A, Rhythm in Jurassic Park Theme A, Orchestration in Jurassic Park Theme A, Exercise 7.1: Compose a Heroic 8-bar Phrase, Action Adventure Theme: Jurassic Park Theme B, Harmony in Jurassic Park Theme B, Melody in Jurassic Park Theme B, Rhythm in Jurassic Park Theme B, Orchestration in Jurassic Park Theme B, Key Points in Jurassic Park, Activity: Score Analysis of “Crimson Gump” from Forrest Gump, Score Analysis: “Crimson Gump” from Forrest Gump, Action Adventure Theme: “Flight to Neverland” Theme A, Melody in “Flight to Neverland” Theme A, Harmony in “Flight to Neverland” Theme A, Rhythm in “Flight to Neverland” Theme A, Orchestration in “Flight to Neverland” Theme A, Exercise 7.2: Orchestrate a Heroic 8-bar Phrase, Action Adventure Theme: “Flight to Neverland” Theme B, Harmony in “Flight to Neverland” Theme B, Rhythm in “Flight to Neverland” Theme B, Melody in “Flight to Neverland” Theme B, Orchestration in “Flight to Neverland” Theme B, Discussion 7.1: Listening, Beethoven Symphony #3, Assignment 7: Compose an Action Adventure Theme, Recap

Week 8 – “Action Adventure II”, Nov 13th – Nov 19th
Introduction, Action Adventure Theme: “Back to the Future” Theme A, Harmony in “Back to the Future” Theme A, Melody in “Back to the Future” Theme A, Tempo and Rhythm in “Back to the Future Theme” A, Orchestration in “Back to the Future” Theme A, Score Analysis: “Main Title” from Zathura, Action Adventure Theme: “Back to the Future” Theme B, Melody in “Back to the Future” Theme B, Harmony in “Back to the Future” Theme B, Tempo and Rhythm in “Back to the Future” Theme B, Orchestration in “Back to the Future” Theme B, Exercise 8.1: Compose a Lyrical Theme B for an Action Adventure Cue, Action Adventure Theme: Star Trek Theme A, Harmony in Star Trek Theme A, Melody in Star Trek Theme A, Tempo and Rhythm in Star Trek Theme A, Orchestration in Star Trek Theme A, Discussion 8.1: Listening, Polar Express, Action Adventure Theme: Star Trek Theme B, Harmony in Star Trek Theme B, Melody in Star Trek Theme B, Tempo and Rhythm in Star Trek Theme B, Orchestration in Star Trek Theme B, Exercise 8.2: Orchestrate a Lyrical 8-bar Phrase, Action Adventure Template Theme A, Action Adventure Template Theme B, Quiz 8.1: Action Adventure, Assignment 8: Score an Adventure Scene, Recap

Week 9 “Practical Logistics in Film Scoring”, Nov 20th – Nov 26th
Introduction, Responsibilities of the Composer and Orchestrator, Examples of a Composer’s Sketch, The MIDI Orchestrator, Exercise 9.1: From a Composer’s Sketch to an Orchestrated Score, Music Supervisors and Music Editors, Exercise 9.2: Music Supervision and Editing, The Recording Session: The Musician, The Recording Session: The Engineer, The Recording Session: The Conductor, Exercise 9.3: Music Preparation, Timelines, Quiz 9.1: Practical Logistics, Assignment 9: Scoring Cops, Recap

Week 10 – “Long Term Form in Jurassic Park”, Nov 27th – Dec 3rd
Introduction, Leitmotifs in Film Scoring, Jurassic Park: Positive Action Adventure Theme, Positive Action Adventure Theme: Statement 1, Positive Action Adventure Theme: Statement 2, Positive Action Adventure Theme: Statement 3, Positive Action Adventure Theme: Statement 4, Positive Action Adventure Theme: Statement 5, Positive Action Adventure Theme Summary, Exercise 10.1: Theme and Variation I, Jurassic Park: Hymn Theme, Hymn Theme: Statement 1, Hymn Theme: Statement 2, Hymn Theme: Statement 3, Hymn Theme Summary, Exercise 10.2: Theme and Variation II, Jurassic Park: Moderate-Intensity Action Theme, Moderate Intensity Action Theme: Statement 1, Moderate Intensity Action Theme: Statement, Moderate Intensity Action Theme: Summary, Jurassic Park: Velociraptor Motive, Velociraptor Motive: Statement 1, Velociraptor Motive: Statement 2, Velociraptor Motive: Statement 3, Velociraptor Motive: Statement 4, Velociraptor Motive Summary, Discussion 10.1: Find a Leitmotif Statement, Recurring Musical Templates, Recurring Musical Template: Slow Drama, Slow Drama: Example 1, Slow Drama: Example 2, Slow Drama: Example 3, Slow Drama Summary, Recurring Musical Template: Mystery and Awe, Mystery and Awe: Example 1, Mystery and Awe: Example 2, Mystery and Awe: Example 3, Mystery and Awe Summary, Discussion 10.2: The End Credits, Recurring Musical Template: High-Intensity Action/Chase, High-Intensity Action: Example 1, High-Intensity Action: Example 2, High-Intensity Action: Example 3, High-Intensity Action: Example 4, High-Intensity Action Summary, Discussion 10.3: Additional Music for Special Circumstances, Jurassic Park: Long-term Form Summary, Assignment 10: Scoring Cops, Recap

Week 11 – “Long Term Form in Atlantis”, Dec 4th – Dec 10th
Introduction, Atlantis: Positive Action Adventure Leitmotif, Starting the Journey, Progressing on the Journey, Moments of Triumph, Emotional Triumph, Positive Action Adventure Leitmotif Summary, Exercise 11.1: Theme and Variation I, Atlantis: Awe Leitmotif—City of Atlantis, Discovering Atlantis, Learning the History of Atlantis, Atlantis Finale, Atlantis Leitmotif Summary, Atlantis: Awe Leitmotif—The Crystal, Crystal Leitmotif Scene 1, Crystal Leitmotif Scene 2, Crystal Leitmotif Scene 3, Crystal Leitmotif Summary, Exercise 11.2: Theme and Variation II, Recurring Musical Template: Playful Comedy and Mickey Mousing, Playful Comedy and Mickey Mousing – Example 1, Playful Comedy and Mickey Mousing – Example 2, Discussion 11.1: Listening, Mickey Mousing, Recurring Musical Template: Gamelan/Orchestra Hybrid, Gamelan/Orchestra Hybrid – Example 1, Gamelan/Orchestra Hybrid – Example 2, Exercise 11.3: Blending World and Film Music, Recurring Musical Template: High-Intensity Action Chase, High-Intensity Action – Example 1, High-Intensity Action – Example 2, Discussion 11.2: The End Credits, Atlantis: Long-term Form Summary, Assignment 11: Scoring Cops, Recap

Week 12 – “Long Term Form in Back to the Future”, Dec 11th – Dec 17th
Introduction, Back to the Future: Action Adventure Leitmotif, Action Adventure Scene 1 – First Time Travel Trip, Action Adventure Scene 2 – Escaping the Barn, Action Adventure Scene 3 – Return Trip, Action Adventure Summary, Discussion 12.1: Listening, Action Adventure Final Scene, Back to the Future: Action Chase Music, Action Chase Scene 1 – The Terrorists, Action Chase Scene 2 – The Terrorists Revisited, Action Chase Scene 3 – Skate Board Chase, Action Chase Scene 4 – Return Trip, Action Chase Summary, Exercise 12.1: Theme and Variation I, Back to the Future: Mystery Suspense, Mystery Suspense Scene 1 – Past Neighborhood, Mystery Suspense Scene 2 – In the Barn, Mystery Suspense Scene 3 – Town Square, Mystery Suspense Scene 4 – Uncovering the Car, Mystery Suspense Summary, Discussion 12.2: Additional Mystery+Leitmotif Cues, Back to the Future: Moderate Action, Moderate Action Scene 1 – Preparing for Time Travel, Moderate Action Scene 2 – Preparing for the Trip Home, Moderate Action Summary, Discussion 12.3: Listening. The Picture Motif, Back to the Future: Intimate Ballad Theme A, Intimate Theme A Scene 1, Intimate Theme A Scene 2, Intimate Theme A Scene 3, Intimate Theme A Summary, Back to the Future: Intimate Ballad Theme B, Intimate Theme B Scene 1, Intimate Theme B Scene 2, Intimate Theme B Scene 3, Exercise 12.2: Theme and Variation II, Back to the Future: Source Music and Songs, Source Music and Popular Songs – Example 1, Source Music and Popular Songs – Example 2, Source Music and Popular Songs – Example 3, Source Music and Popular Songs – Example 4, Source Music and Popular Songs – Example 5, Source Music and Popular Songs – Example 6, Source Music and Popular Songs – Example 7, Source Music and Popular Songs – Example 8, Discussion 12.4: The End Credits, Back to the Future Summary, Long-Term Planning in Film and TV Scoring: Tools and Techniques, Assignment 12: Scoring Cops, Recap