SUPERNATURAL GRANDEUR
COMPOSITION
Tempo and Rhythm Harmony
N
Tempo would range from 60 to 100 BPM Frequent uses of open fifth
O
Slow without much rhythmic accompaniment. Frequent use of triads
½ notes being the fastest rhythm is common
Frequent uses of suspended harmonies: sus4,
I
When a more lyrical tone needs to be achieved, 7sus4, 9sus4 and stacked 4th/5th
faster subdivisions - ¼ notes and ⅛ notes -
T
will help support the melody Mostly in major (or minor when dark) keys.
Frequently utilizes homophonic chord
I
progressions
N
Frequently utilizes non traditional chord
progressions. Tritone, minor/maj third
I
relationships in the bass line is common
F
Melody Orchestration
E
Melody-dominated homophonic texture Frequently uses a choir
D
Frequent use of perfect intervals— perfect Commonly place the melody in the high Brass
5th/4th and 8ves (Tr - Hn)
Commonly uses countermelodies to bring Utilizes a very large instrumentation
E
variety to the homophonic texture (optional)
Predominantly built around the brass section,
L
Minor 7th and Major 9th can occur when one utilizing the string family for support. This helps
uses stacked 4th and stacked 5th keep a certain cinematic feel to the music.
Y
Light ‘brass’ percussions such as timpani, tam-tam,
T
and tubular bells are common.
S
S U G G E S T E D T R A C K S T O H A V E
This style is relatively easy to synthestrate. This style is relatively easy to synthestrate.
You may wanna have some “long notes You may wanna have some “long notes
ensemble patches” (strings, woods, brass). ensemble patches” (strings, woods, brass).
I N Y O U R T E M P L A T E
A horns section legato patch, trumpets A horns section legato patch, trumpets
S T E P
section legato, and some basic orchestral section
percussion will come handy so have that legato, and some basic orchestral percus-
ready as well. sion
B Y
will come handy so have that ready as well.
S T E P
c i n e m a t i c c o m p o s i n g . c o m
SUPERNATURAL GRANDEUR
COMPOSITION
Start with the “Direction” layer and Re-orchestrate the ensemble patches if you need
think melody and harmony at the more definition and clarity
T R I C K S
same time.
Add subtle percussion if the melodic parts need
S T E P
You may wanna use big ensemble
support
patches first and then add
individual instruments (or inner Add a strong low-end bass support
sections) for definition
B Y
No need to focus on the Background layer,
Add some subtle low hits. This will the homophonic texture of the music is already
&
help with the next step. enough
S T E P
T I P S
You may wanna add the “Ear Candy” layer if
Create the “Movement” layer
needed: Strings or Woodwinds runs for the most
(if needed)
dramatic moments
Any musical passage can have up to five elements. These are not layers. They are more like musical components.
They can either be combined or not. The five elements are:
I N S P I R A T I O N
1. Direction 2. Movement
Anything that creates a tendency. Something An aspect of the music that creates flow or
that leads from point A to point B (a melody, a action (a rhythmic pattern, ostinato, harmonic
harmonic progression that creates more progression that repeats/modulates, call and
tension as it progresses, increasing/decreasing response between instruments or families, etc).
orchestration density or thickness, etc). This element creates motion and also aids in
This element makes the listener feel like the music creating direction.
is progressing from one point to another.
3. Background (Glue) 4. Enhancer
A N D
Anything that sits behind in the mix. It will usually Something that intensifies, augments or develops
be something that is not obvious, but it is there, a musical idea, helps connect sections, or adds
and you can tell when it is missing. This element sparkle and “ear candy” (textural flourishes like
M O M E N T U M
fills in the gaps and helps join the different runs, scales, and trills, woodwinds fluttering
musical ideas together. around behind a soaring melody, cymbal or
timpani roll swells, etc).
5. Bass
Anything that adds an extra low end. The contemporary modern orchestral sound requires an extra layer
of a solid, compact and controlled low end. It is important that you are able to create it. We have many
resources available like low synths, electric basses, sub-boom percussion hits, and well-recorded or
sampled double basses.
c i n e m a t i c c o m p o s i n g . c o m
