The more composers train their ears, the faster they can understand what’s required of them, and the faster they can focus on the writing part. The composer must be able to tell what scales/modes/time signatures/instruments are being used, how and why they’re working with the picture as well as what elements need to be highlighted musically from a dramatic point of view. It allows the composer to breakdown the ingredients that characterize the reference within seconds in order to understand how to create an original piece of work that has the same qualities. I can’t stress enough on the importance of extensive ear training. We live in an era where we’re often asked to write a full soundtrack to picture in 4 to 6 weeks including rewrites, revisions, recording, conforming and final mix.Ĭomposers are often working with a temp track that dictates a mood and style as a guide and to help editors cut the film. They help shape the story and characters the same way a cinematographer or costume designer would. Film composers are storytellers and are part of the filmmaking crew. Study music and filmmaking as much as you can and learn the tools inside out. What are your top tips on writing/composing faster when on a tight deadline? Today, all of my work comes from repeat clients and referral, and the productions I worked on have been played on major networks across the world such as CBC, BBC, Teletoon, France Television and ARTE. Over the years of scoring student films and games, some of the people I worked with started getting hired on bigger productions and brought me on board to work on their feature films and television productions. I kept on reading books, attending film music masterclasses, listening to film scoring podcasts, and even enrolled in Berklee’s Masters in Film Scoring online program to sharpen my scoring, orchestration, and production skills. The more I gained experience, the more I felt the urge to learn and improve my skills. I started scoring student films while I was in college and after graduating, I went to the University of Montreal to study Digital Music where I leaned about acoustics, psychoacoustics, music technologies and interactive game audio. He taught me how to write music to picture as well all the essentials I needed to kick‐start my career in composition for media. In college, I studied pop and jazz composition and arrangement and took a film scoring class with composer James Gelfand (ABC, NBC, Discovery). This allowed me to discover great composers such as John Williams, Bernard Herrmann, Michel Legrand, Henry Mancini, Danny Elfman and Hans Zimmer (just to name a few). I started going to the public library and borrowed every single soundtrack album I could get my hands on. I first noticed the power of music in film and its impact on storytelling when I saw the first Harry Potter movie. I started studying classical piano at age 4 and enjoyed all genres of music growing up. I’m a music composer for film/TV/games from Montreal, Canada, and I also work as an arranger and orchestrator for different artists in the pop world. Hello Medhat, who are you, and what is your story as a composer? Today I have the honor to interview Medhat Hanbali, a professional composer who is used to working with deadlines, and will share his personal best tips for improving your workflow and creative productivity when composing. Well, let’s learn some tips and tricks right now! How do you compose music for projects when you are on tight deadlines? You need to be able to write and produce your music as fast and efficient as possible.
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