Looking for Trailer cue advice!

[MichaelS9]

Hello!

I decided to take a shot at a recent listing for neoclassical trailer cues. I've never done trailers before and wanted to try. I wrote 2, both of which were returned with (in my opinion) good feedback. Obviously there is a world of difference between score (my wheelhouse) and trailers, and I'm hoping to learn more about that.

I've revised one of the cues based on the screener feedback (which again I thought was great and am NOT complaining about), but after listening to more references, honestly the track is still not really hitting for me in the way that good trailers seem to.

I'm hoping for further feedback on the revised track (below), and specific/actionable advice from people with real world trailer success to help me bring my track(s) to the next level.
https://www.taxi.com/members/nxqUzpExTc ... re-revised

Thanks in advance for listening!

Michael



Full listing:

Lots of NEOCLASSICAL TRAILER-Style INSTRUMENTALS are needed by a BRAND NEW Music Licensing Company, led by a CEO with a strong track record of working with Major Clients and landing some very notable placements. They are currently looking to build up their catalog, and this is a great opportunity to get in on the ground floor with a Company that is poised to make waves in the industry!

This company is on the lookout for a bunch of Instrumentals in the general stylistic ballpark of the following references:

FAYE | Official Trailer

Elizabeth Taylor: The Lost Tapes | Official Trailer

'BECKHAM' Documentary Series | Official Trailer

Quoting the CEO: "3-Act Structures are required."

Please submit well-crafted Trailer-Style Instrumentals that deliver a captivating and dramatic sound, showcasing Neoclassical instrumentation and motifs. Three "acts" that build to a climactic crescendo are must-haves for this opportunity. Please craft your pieces around one central motif and create dynamics, interest, and forward motion by layering instrumentation in and out as the pieces progress. Emotionally, your tracks should evoke suspense and anticipation, drawing listeners into a world of intrigue and tension. Aim to create a visceral connection, making them feel the stakes involved and leaving them fully immersed in the narrative. Orchestral instrumentation that's in the general wheelhouse of the references will work best, such as chamber strings, cinematic piano, orchestral drums, etc. Please make sure that any virtual instruments or samples you use are high-quality, modern, and sound very realistic.

Submissions should be about 2 to 2.5 minutes long, give or take. Non-faded, buttoned/stinger endings will work best. Please do NOT copy the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and overall vibe. Do NOT submit any material with unauthorized samples of any other artists’ music, sounds, or any other form of media. Broadcast Quality is needed.

AI ALERT: This company does not accept or sign music that has been melodically composed using generative AI, nor does it accept backing tracks or full instrumental tracks created with AI.

This Library offers a NON-EXCLUSIVE, 50/50 Deal. You’ll get 50% of any sync fees and 100% of the Writer’s share. The Publisher will get 50% of sync fees and 100% of the Publisher’s Share. You’ll keep 100% of the original Copyright and Master Recordings. You must own or control your Master and Copyright to submit to this pitch. Please submit as many Instrumentals as you’d like, online or per CD. All submissions will be screened and critiqued by TAXI. Submissions must be received no later than 11:59 PM (PST) on Sunday, November 24th, 2024. TAXI # S241124NE

TAXI # S241124NE

[AlanHall]

(I'm not an expert here, but) I don't hear the well-structured 3-act composition that (typically) defines a trailer cue. It doesn't 'hit' the way a trailer cue does, with 3 sections, each a separate tableau that has its own mood and energy level. The build should be stepwise from 1 to 2 and 2 to 3, with very clear layers that are added to bring louder/bolder instruments into the arrangement. JM2C

[edmondredd]

Michael, you have a really nice cue here. And as you mentioned it, it feels more like a score rather than a trailer cue.
Few pointers, like Alan's 2 cents, the 3 act structure is still not there (in your revised version). The 3 acts serve a purpose and are not only structural.
In any movie trailer, in any story telling journey, there's a format that tend to work best:
1. Setting the mood
2. Presenting the characters in place and the tension between them
3. Presenting the tension in its full form
4. The dénouement, or how it ends

Based on this structure, trailer cues should reflect that, and that's the 3 act structure.
You need to feel that you're setting a mood in your first section, then start building some sort of tension in the second one.
Go big for presenting the tension in its full form, and halfway through that section go even bigger, to a cliffhanger.
Then, drop everything out, and finish, usually with a coda of your first section, slightly modified, and an ending low boom. Those are helpful for editors to announce the movie title, the release date, and the in theatre text they need to add at the end of a trailer.

Hope that helps, and if you have any other questions, feel free to ask them here or to reach out.