EPIC ORCHESTRAL TRAILER
COMPOSITION
Structure Tempo and Rhythm
Try to write in 4, 8 or 16 bar phrases Always write in simple time signatures.
4/4 works the best but 3/4 can also work.
Aim to include clear sections such as an
Introduction, A section, B section, Bridge Aim for tempos of between 80 and 160bpm.
and Outro.
Try to keep your melodies simple - either
Try to incorporate breaks such as a based on quarter, eighth or half notes.
silent bar, in order for your music to be
edited easily by a video editor if needed. Ostinatos often work well to add movement
and drive to the track. Try adding 16th or
Usually not longer than 2min 8th note patterns.
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Harmony Melody
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Action pieces can be in either major or minor Keep the rhythms simple for the melodic
keys. material.
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Harmony is normally based upon diatonic A repeating melodic pattern, both in terms of
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triads - chords that are made up of notes found pitches and rhythms, whilst changing chords
in the major scale of the key. If the track has an underneath can present strong melodies.
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element of suspense then you can also try non
diatonic notes to add dissonance. Aim to use the notes of the corresponding
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chords often.
Switching inversions on some chords can add
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variation to the harmony e.g. the occasional 1st Try to avoid big melodic jumps of more than
inversion or 2nd inversion chord. a 5th.
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It is OK to use the same chord progression over Counter melodies are also good way
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and over as more variation can be provided by to add variation.
orchestration.
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Orchestration
Short Strings are often heavily used
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especially for Ostinatos
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Long String patches are good for harmonic
accompaniment and melodic writing
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Epic, bombastic percussion is often used
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to add rhythmic detail and movement.
Experiment with both high and low
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percussion sounds
Brass can also be extremely effective for
melodic material (French Horns) and harmonic
accompaniment (Trombones)
A choral element is useful to add an extra layer
of detail.
Pulsing synth basses often help to fatten up
the low end of frequency spectrum
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ACTION MID INTENSITY
COMPOSITION
...to come up with a good Trailer
Soft percussion (bring up volume)
Record the staccato strings layer
(1. Low 2. High) Write down the chord progression (and
voicing
T R I C K S
S T E P
2. Record long notes on top evolution) so you can repeat it in the
(str, brass, choir) different layers
Once you have the sketch, come up Re-record parts as needed as you’re
with the structure. orchestrating a section (ie. short strings
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cover horns melody)
3. Optional - low pulsing synth
&
If you don’t know what to do with the
S T E P
4. Optional - percussive instrument
T I P S
percussion (or have fear of simplicity)... star
that doubles staccato strings (snare?)
with something that’s very simple but that’s
low in volume... so it’s not that obvious... and
then you’ll start building on top of that
Orchestral Orchestral (Outro)
Staccato Strings Staccato Low Brass
I N S T R U M E N T A T I O N
Long Strings Staccato Low Strings
Trem Strings Violins - Glissando Cluster Up
Horns (12 or more) - Long Notes Violins Harmonics
Trumpets (4 or more) - Long Notes Low Brass - Long Notes (adding
Epic Trumpets - Staccato Triplets character to the Braams)
(last two beats of the section)
Low Brass - Long Notes
Note: There are no Low Strings in the Climax section
(adding character to the Braams)
because the synths & perc stems are already very
Choir - Long/Short Notes
thick. The Low Strings come back for the Outro,
doubling the Brass Staccato Hits
Percussion (Climax)
S U G G E S T E D
Decimator Ensemble Drums
Epic Toms Ensemble (two separated
patches: Low & High)
Taikos Ensemble
Epic Snare Ensemble
Sub Boom Hits
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