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There's an EPIC, HYBRID ORCHESTRAL INSTRUMENTALS listing due on Friday that includes this description:

“The structure of your piece can be the typical “three act” structure found in many Film Trailers, but this company is also open to a more straight ahead structure, which is commonly found in a lot of today’s Video Game trailers. Depending on the structure you choose, be sure your piece builds tension throughout, and ends with a big climactic finish.”

I found a thread with this related comment:

TAXI Tip: Film Trailers almost always happen in three “acts,” or sections. Trailers typically last about 2 to 2.5 minutes in total length. Act One starts at the beginning. Act Two usually comes in around one-minute (could be a bit earlier or later), and Act Three usually comes in about 30 seconds later and ends with a big build/crescendo leading to a buttoned or stinger ending.

Can anyone musically elaborate on the style of each of the three acts, or perhaps point to an example that best typifies the concept? For example:

Act 1: Pensive, start with sustains, increase tension for the first minute to a big climax. (think Ben Kenobi's Theme)
Act 2: Romantic, strings or an instrumental break down like solo piano w/strings, build tension to lead into the final scene. (think Leia's Theme)
Act 3: Final battle scene, percussion, cymbal crashes, big hits, dissonance, resolution... the "wow" factor.

Am I close?

Nick Murray gave a great panel on trailer music at the last rally. He created a YouTube video giving the same info he gave at the Rally:

How To Create EPIC Music

https://www.youtube.com/watch?v=GgT2oKurtk4

Hope this helps.

Steve

Thanks Steve!

Great Post

Thanks

This is great stuff, but I also notice most action trailers have music in fits and starts, not one long build, but segments with gaps in them (to be filled with ominous dialogue etc). Lots of stingers.

In fact act one seems to be just a short atmospheric quote or two... at least that is all that gets used.

I actually am not noticing a continuous theme in most of them. At least I'm not noticing much relationship between acts one and three.

It's not unusual for them to use three different pieces of music, sometimes even a song or two included. BUT, publishers still like 3 act pieces because they do get used in total pretty often. They can also be sliced and diced to be used with other music. It's notable that many of the crash, bang, booms, drum hits, swooshes, growls, and braamps are actually SFX that are cut in, and not part of the music. I'm addicted to watching trailers and studying the music. Too ban I'm not a composer myself

Michael

It's really fun and informative to study screenwriting.
They talk about everything from 3 acts to 7 acts, plot points and character themes. You'll find anything from Aristotle to Shakespeare to Gustav Freytag.

Combine that knowledge with genre idioms for producing epic and trailer cues and you're set for a lot of inspirational tools.

There's a great thread at ViC that could be added as a ressource here: http://vi-control.net/community/threads ... etc.46982/
Examples at page 3.

Paulie wrote: Act 1: Pensive, start with sustains, increase tension for the first minute to a big climax. (think Ben Kenobi's Theme)
Act 2: Romantic, strings or an instrumental break down like solo piano w/strings, build tension to lead into the final scene. (think Leia's Theme)
Act 3: Final battle scene, percussion, cymbal crashes, big hits, dissonance, resolution... the "wow" factor.

Am I close?

Ways to think of it:

Smallest -> Medium -> Biggest
Big -> Bigger -> Biggest
Minimal -> Solid -> Massive

These are always relative to the style but in general:

Intro: sets scene, sparser or minimal relative to the rest of the cue, might introduce thematic element
Middle: solid, story supporting, need clear grooves to establish and support pacing of trailer, harmonic/thematic ideas fleshed out
Final: largest/densest/busiest section, driven, powerful, OTT orchestrations desirable, strong percussion

Breakdowns are best avoided if possible but are not prohibited. Clear edit points, gaps between sections with rebuild sound design (whoosh to hit, rise, etc) make life easy for editors.

Don't forget the tail

hummingbird wrote:Don't forget the tail

+1

Cruciform wrote: Breakdowns are best avoided if possible but are not prohibited. Clear edit points, gaps between sections with rebuild sound design (whoosh to hit, rise, etc) make life easy for editors.

But but! These are the ones that make you hold your breath for a moment.. when you go to extreme heights, and then silence. I love these parts.