Compositional Voice Development in Film Scoring
Authored by Ben Newhouse
Course Code: OCOMP-590
Level 5 (Proof of a Bachelor's Degree Required)
Compositional Voice Development in Film Scoring provides the student with methods and exercises for expanding their compositional voice. You will learn to refine your artistry and focus on yourself as the “whole” composer. You will explore the compositional voices of other established composers and how they played out in their careers. You’ll also complete a series of structured exercises to explore your own musical and cultural background and learn how that might inform your own unique compositional identity.
The course will be structured in three sections. First, we will discuss the relevance and application of compositional voice in the film scoring industry. This discussion will bookend the course, occurring in lessons 1 and 12. Lesson 1 will define composer’s voice and discuss its role in the film scoring industry. Lesson 12 will discuss strategies for applying one’s compositional voice in a collaborative environment. Lessons 2 and 3 will focus on composer biographies. These lessons will detail successful composer’s life stories and provide examples of their music. The student will identify what musical characteristics constitute that composer’s voice. Lessons 4-11 will focus on compositional exercises to expand the student’s compositional voice. The lessons will discuss melody, harmony, rhythm, tone color, form, workflow, recording techniques and performance techniques, with the goal of experimenting with new ideas.
During each lesson, there will be reading and discussion threads. There will be a graded assignment at the end of each lesson that requires the student to apply the lesson concepts in a new composition or essay. Each lesson will include a graded quiz based on the lesson’s reading.
By the end of the course, you will be able to:
- Study successful composers, their biographies, and their music. Be able to identify their compositional voice and what makes their music unique.
- Identify one’s own compositional voice as it exists today by reflecting on one’s musical influences and life experiences.
- Experiment compositionally to develop and expand one’s compositional voice.
Lesson 1: Composer’s Voice
- Compositional Voice Definition
- Your Personal Definition of Good Music
- Composer’s Voice in Film Scoring
- A Market-based Definition of Compositional Voice
- Assignment 1: Definition of Good Music
Lesson 2: Composer Biographies I
- John Williams
- Rachel Portman
- A R Rahman
- Danny Elfman
- Assignment 2: Original Music and Reflection
Lesson 3: Composer Biographies II
- Thomas Newman
- Philip Glass
- Trent Rezner and Atticus Ross
- Hans Zimmer
- Composer Biography Takeaways
- Assignment 3: Personal Experience Composition
Lesson 4: Expanding Your Melodic Voice
- Common Scales
- Additional Scales
- Altering Common Scales
- Brainstorming New Scales
- Melodic Phrasing
- Opportunities for Experimentation
- Assignment 4: Melodic Writing
Lesson 5: Expanding Your Harmonic Voice
- Most Common Chord Types
- Additional Chord Types
- Assignment 5: Progression Writing
Lesson 6: Expanding Your Rhythmic Voice
- Rhythm and Perceived Tempo
- Syncopation and Expectation
- Rhythm and Phrasing
- Increased Rhythmic Complexity
- Assignment 6: Rhythmic Writing
Lesson 7: Expanding Your Tone Color Voice
- Orchestra and Choir
- World and Rare Instrumentation
- Synthesizers, Samples and Software
- Popular Musical Styles
- Creating your own Sounds and instruments
- Assignment 7: Instrument and Tone Color Writing
Lesson 8: Expanding Your Form Voice
- Compositional Structures
- Linear, Circular, and Static Evolutions
- Common form tricks
- Assignment 8: Multiple Sections Writing
Lesson 9: Expanding Your Compositional Workflow
- Composing at the Piano
- Composing with a Guitar
- Composing with a Notation Program
- Composing with a DAW Program
- Miscellaneous Workflows
- Assignment 9: Compositional Workflow
Lesson 10: Expanding Your Recording Techniques
- Samples and DAW Software
- Recording Musicians
- Combining Musicians and Software
- Effects Processing
- Assignment 10: Recording Technique Writing
Lesson 11: ExpandingYour Performance Techniques
- Assignment 11: Performance Technique Writing
Lesson 12: Applying Your Voice within Project Constraints
- Find Inspiration in the Story
- Find Inspiration in Client Feedback
- Cultivate Relationships with Like Minded Collaborators
- Offer Clients Multiple Musical Solutions
- The Value of Personal Projects
- Take a Long View to Your Compositional Voice
Proof of a Bachelor's Degree
Ready to submit an unofficial copy of your transcript?Submit Transcript
Prerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
- Have a basic understanding of music theory and be able to read notated music.
- Be proficient in the composition software (this is not a technology course).
- No textbooks required
- Digital Audio Workstation (DAW), one of the following:
- Cubase Pro (recommended option)
- Logic Pro (recommended option)
- Digital Performer (limited support)
- Pro Tools 2018.12 or higher (First, Intro, and Artist editions are not sufficient)
- Note: While Pro Tools is required in certain Film Scoring Master's courses and can serve as your single primary DAW for the program, we recommend using Cubase or Logic for sequencing.
- Notation software, one of the following:
- Dorico Pro
- Sibelius Ultimate
- Finale (full version)
- Orchestral sample libraries (click here for list of approved options)
- Note: Orchestral Tools' Berlin Orchestra Created with Berklee is strongly recommended.
- High-quality algorithmic reverb, such as:
- LiquidSonics Cinematic Rooms
- iZotope Exponential Audio R4, Symphony, or Stratus
- ValhallaDSP Room
- Lexicon Native PCM Reverb Bundle
- Note: Altiverb (industry-standard convolution reverb) can be used in lieu of an algorithmic reverb.
- MIDI keyboard controller with at least 49 keys, mod wheel, and additional MIDI CC knobs/faders, such as Novation Launchkey 49
- Audio interface
- One of the following studio monitoring options suitable for mixing (both recommended):
- Studio monitors (pair), such as JBL 305Ps or better, as well as necessary cables. Monitors with 8-inch woofers are recommended, such as JBL 308Ps or better.
- Professional over-ear studio headphones, such as Sennheiser HD 600, beyerdynamic DT 770 PRO, etc.
Important Technical/System Considerations
- Your computer must be powerful enough to run large film scoring sessions smoothly. You should consider:
- At least 32 GB memory. 64 GB or more recommended.
- Recent Apple M-series Pro (e.g. M2 Pro), Intel Core i7, AMD Ryzen 7, or better processor.
- Note: The entry-level M-series Apple Silicon (e.g. just M1 or M2) is not sufficient, but we highly recommended a Mac equipped with an M-series Max or Ultra chip for this program.
- NVME M.2 SSD primary internal drive (or Apple Silicon)
- We recommend storing sample library content in a secondary internal or external SSD with 1 GB/s or higher read rates. Alternatively, you may opt for a Gigabit network solution, such as Vienna Ensemble Pro and secondary computer.
General Course Requirements
Below are the minimum requirements to access the course environment and participate in Live Chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course.
- Latest version of Google Chrome
- Zoom meeting software
- Speakers or headphones
- External or internal microphone
- Broadband Internet connection
Author & Instructor
Ben Newhouse's commercial music has been used in more than 3,000 episodes of television, including projects for ABC, CBS, NBC, and most major cable networks. Newhouse's music is the soundtrack for the Disney DVD logo, several independent films, and Las Vegas stage shows. Newhouse was awarded the BMI Pete Carpenter Fellowship in 1999.
The University Continuing Education Association awarded his Orchestration 1 course "Best New Online Course" in 2009, and Berklee awarded Newhouse a "Distinguished Faculty Award" in 2015. Newhouse has also guest lectured at Pescara Conservatory in Pescara, Italy and Sydney Conservatorium of Music in Sydney, Australia. He authored Producing Music with Digital Performer (Berklee Press), which has sold 15,000 copies, as well as the more recent Berklee Press book, Creative Strategies in Film Scoring. He has been quoted in multiple publications, including Electronic Music magazine and acousticmidiorchestration.com.
As a composer during his college years at Eastman School of Music where he received his bachelor of music degree, and graduated magna cum laude, his music was performed primarily by Eastman groups and groups along the East Coast. "Heat," a relentless overture for orchestra, received the Howard Hanson Award in the late 1990s and was premiered by the Eastman School Symphonic Orchestra. Newhouse is also a full-fellowship master's degree alumnus of the University of Southern California, completing an MBA and a Business of Entertainment graduate certificate program with the School of Cinematic Arts.
When taken for credit, Compositional Voice Development in Film Scoring can be applied towards these associated programs: