Composing Music for Film II (Beginner Level)

1. Intro: Do you have a short film coming up that you need to compose the music for and you're freaking out about where to start. Hi, my name is Jordan. I'm a teacher here on Skillshare. I am a composer and producer from Australia, and I will help you out getting started on your short film. This is the second scoring fulfilling course here on Skillshare that I have done. The first one tackled and Animated Short Film and went through some different moods and some little character leitmotifs that we came up with. Today's one is a live-action in the short film that I found online. Am I going to be scoring a short scene between two characters where they don't get along. It's gonna be a nice situational motif. And it's gonna be something that's appropriate for the genre and for the type of film that it is, which is small and indie and quirky and weird. This film is very strange because characters talk to camera a lot. And they have some very odd situations. And it's made by clearly only a couple of people and very little money. So I think it's the perfect film for us to play with and make some music and build some good habits and try out some things together. I'll be using some music that is not free, but is inexpensive. The last one used only free plugins, and today we're using inexpensive plugins. So if this is the perfect course for you and your situation, please join in. Let's have some fun together, and let's score a short in the live action film. 2. Starting a Score: Thanks so much for joining in on our second film composing or film scoring class here on Skillshare. Today, we're scoring a interesting little indie short film that I found online. And I've chosen it because it's very interesting. It's clearly very low budget. And in this particular scene, there isn't a score already there. So we can add where there isn't already. We don't have to take away. Today. We're just going to focus on the absolute core basics of scoring, which is to get a chord progression, to get a baseline underneath that chord progression, to get a evolving melody that goes along with those codes. And then maybe some interesting sounds as well or some interesting variation on that. I won't be doing anything more than that. That's a pretty great way to start. If you're somebody that needs to start scoring a film and doesn't know where to start. That's exactly what we're doing here today. I'm starting a score can be very intimidating, especially if you haven't done it much before. That. Putting that first chord down is absolutely terrifying. What you may feel compelled to do is start with just a chord that you feel good with, or start with a key, and then start with any old code within that key and then build from there. I have done that before. I'm not saying it doesn't work. That's not what we're gonna do today though. I've found that over time I have listened to and found connection with certain chord progressions that have turned up in music and then written those progressions down. Then what I do is when it comes time to compose our start with that progression and build from there. So today we'll be starting with the progression that I like. And each chord I build from that will be from that initial full chord progression. But I'll have to, I'll start with the first four. So I wouldn't have to think about the first floor. I can feel inspired by what comes up, what gets birthed out of that. So what I recommend you doing is thinking one chord progression to you already like. And how can you make music out of that, something that's completely original, but uses the chords that was present in the music that inspired you already. If you don't know, maybe you might want to go back and listen to music that you already like. And listen out for what that progression is and figure out why do you like that music? Why does it stick with you? Particularly where composing a film today, maybe you want to go and watch a film that you really like, that you really like specifically for the soundtrack. And figure out what are the codes being used by that composer. I'm not saying you want to Robin entire film of every code that it uses, but grab a simple progression that you can use as a starting point. When it comes to the music industry. There are only really for four chord progressions that make up almost 99% of pop music, it's not theft to use a four chord progression that other people have been using for years. Rather, it's a great jumping off point. So grab a full chord progression that you feel comfortable with and start with that. That's what I'll be doing in my school today. I'll keep going from there, but yeah, from there, you're going to want to make a melody which is simple enough. It's kind of breaking the code up into its parts and then moving everything around based on feel. That's what we'll be doing today for the melody that I'll be making. And then I'll just be playing with effects, just simple effects. After that. For our plugins today, we're using inexpensive plugins. With the last film composing class, we used free plugins. But for today's one, I think we can make the jump to inexpensive. The Spitfire originals are what I'm using that $15 a piece and half that if you're a student. And I'll be using Valhalla, which I live for, which is free Valhalla. Supermassive. So good, I never, I have other stuff that supermassive is my favorite and it is no cost. Yeah. The first thing we're gonna do though, after having just watched the scene again, we're going to have to clean up the horrific street noise on the film that's currently there. So that's what's going to have to that's what's going to have to come first. And then we'll work from there, so we'll clean up the street noise. Then we'll make some chords and melodies at baseline and then see what we have. So get your Ableton ready or whatever else you can posing with doesn't have to be able to think of a chord progression that you already like. Yeah, compose along with me. Let's make something together. 3. Noise Gating the Film: Okay, Let's have a look at the short film that will be scoring today. Timit, next bus doesn't come for 45 min. Huge gap here where we can put a score and to help with the storytelling. Maya, I really am sorry. Are you I know that in your head wife is just some like big circuits, but people are actually affected by your actions. Okay, So one side character, one angry character, angry at the side, one, side, one's clearly done something very wrong. So that's the mood and the tone we're going with. We're going to need some codes that accentuate that mood and tell a bit of a story. We can make a melody that help us with that story. See how we feel. But first, goodness gracious, listen to that noise. Timit. Next bus doesn't come for 45 min. It's gonna keep questioning everything I say. Man, they've recorded everything. The whole street is there. Luckily, ableton has a noise gate already in it. Here it is. Under dynamics is a noise gate, which is awesome. So drag it on. And then we just need to work out which parts of the sound waves so we want to keep him it doesn't convert minutes. That's rarely quiet with the Ghaidan actually affected by your actions. Can okay. Mom, I know that. Let's put a maximizer on that using a plugin such as ozone nine. Loved this plug-in for mastering. What do you think about it? And I mean, really think about it. I lost more than you did. I mean, I don't have pairs to pay for my renters insurance or my Netflix account, or my Adderall in which I'm not even entirely convinced that you actually really need. But alright, it's much more controlled now. But it is really quiet. Which may be a problem. But we got rid of all of that environmental noise. So I guess that's gonna be that's gonna be the toss up. Like, Are you okay with having a disquiet because you cut out so much in the gating or not the deep need that volume until I make videos about how to fall in love with me and not have to go to work like they're risky adult world to a job that I ain't really makes a difference there, your head, but not hearing that horrible, horrible sound, less doesn't cover 45 min. Alright, cool. So now that we have it sound gated, we can think about what kind of codes we want to know what kind of chord progression we want to go with. 4. Laying Down Chords: Alright, let's lay down some chords. So for me, I've lately been really obsessed with what did I put down? F major, C major, a minor. A minor. In my notes. I just, I've been hearing a lot of that chord progression lately. And it's, it's a pretty common one, but pretty awesome, pretty emotional. Which is good for the same. Yes. It's the perfect the perfect level of emotion for the same. So I'm gonna do those codes. I don't have a really good reason for it. I know people have commented before that they'd like that they'd like more explanation for the chord progressions that I go with other codes that I end up choosing. And I wish I had a better answer than I go with the chords that feel right at the time or all that I've written into my notes that I'm I've heard and I've written into my notes that I like I go to the gym, workout and feel inspired. And feel inspired by something. Feel inspired by a sudden chord progression. Like it'll get me through the gym. And then I'll write it down. Like what was that chord progression that made me feel good. That's what I end up using later and something that I'm making. So that's about as complicated as it gets, as it gets for me. I'll hear it while I'm working out, feel inspired, write it down, use it later. I could also see it in a film like C and emotional scene. I'll see something incredible and a film. And then be inspired by the codes that may be feel something in that film. Think about any Pixar movie. Those codes are really unexpected and very amazing. What do I want? I don't have any instruments on here yet for this class. I'm using I'm using instruments that you do have to pay for. I haven't done that before. Usually I use free ones. You do have to pay for these ones, but they're very inexpensive. That I have. The original series by Spitfire H1 is $15 or half that if you are a student and got out, I really like this. So I did another class for composing fulfillment with free instruments already. So you can have a checkout of that one. But if you have 15 bucks, I'm using this grand piano and it's a joy to work with him. It looks like minutes. Okay. I think the code that I had put as second is better for that. The line that she opens up with, again, it just would feel better. Timid. See, I say that but it doesn't, it doesn't work musically. Timit. Next five-minute limit. Maybe I'll start a later time. It just me or does she sound like Meg from Family Guy? Just like the timbre of our voice. Timit. Next bus doesn't cover 45 min. Alright, I like those cards. At that greater distance. I loved the mix of major and minor like them. I think major and minor chords work so well in tandem in a chord progression. As opposed to going all minor. Maya, I really am sorry. Tim, it next bus doesn't cover 45-minute. Alright. This is a classic for me. I love me. Some Valhalla. This is completely free. It's just the best reverb. ******. Just go to, you can set it yourself, you can study is that you don't have to use the presets like I'm using TIMIT. Next bus doesn't come from larger than that. Consider yourself or you can play with the presets like I'm dying. Timess. Plus doesn't come for 45 min. All right. Sounds good. Let's have a look. Next Plus doesn't come for 45 min. All right. It doesn't line up with the visuals, but otherwise it's fine. So let's align these up better with the visuals. ******. Next bus doesn't come for 45 min. I'm going to need a longer clip. The rest of you here. So yeah, that was a Control Shift. M, by the way, to make a new Miniclip. Timid. Next bus doesn't come for 45 min. So that needs to care for a little bit, like the second one is scaffold longer, but otherwise the first one is fine. Next bus doesn't come for 45 min. Roughly here. Yeah. If you if you're doing it to the shots, if you're clipping it to the shots, you're not gonna be able to put it perfect, like how each chord the same length. That's going to drive, that would die some people crazy. They would want to make every chord the same exact length. But it depends if you want to cut to the shots or not. I generally like to. I really am little bit longer. I kinda wanna do it like kind of without speaking. I really am sorry. Are you right after I USE we should go again. Are you not that close? They're a little bit farther than that. Like more breathing room. Are you are you living in your head life is just some lake big circuits, but people are longer. So yeah, so this is just tinkering at this point. You're not going to want to use the same chord progression the entire time. Probably. In your head. Wife is just some like big circus. People aren't actually affected by your actions, Kinsey, okay? Okay, yeah, here, here, here's, here's a good chance to, to switch up the chords. Maybe go down. In your head. Wife is just some like big circus. People are actually affected by your actions, Kenzie, okay, mom, I know that it's a little too dramatic. I know that you like, are we actually going to have a conversation? Are you just going to keep this point? We need to get these codes better organised. Such as, what key should it be in? Given the codes that we have? We might want to put this into F minor. That'll help us come up with a new code and not have it sound so off-putting by dragging this quarter around and not feeling like anywhere. I don't know until you choose a heart, but you can, you can start it off without annoying, without knowing what the chord, without knowing what the key is. No problem, because you just work with a chord progression that's classic and that works. You're following in the footsteps of giants. You use the chord progressions that work has a great jumping off point. But making new chords that follow on in the progression from your own mind. If it doesn't have a home, it's just going to sound just consistently wrong. So let's let's stick with F-minor. Your actions. Kenzie, Hey, Mom, I know that. You like are we actually going to have a conversation? Are you just going to keep questioning everything I say. Mri with that little bit of a redemption. It's pretty dramatic. This is a very dramatic chord, but what they're saying is very dramatic. So it may be, alright. And are we actually going to have a conversation? Are you just gonna keep questioning everything I say. Maybe that cut her off. In your head. Wife is questioning everything. I say. Fine. Go ahead. I'm listening. Yes. Okay. So we can stretch that caught out and then start it again. I know that in your head. Wife is just go ahead. I'm listening. Okay. Okay. Right on the end on No. Go ahead. I'm listening. Okay. Maybe not until we see our face. Okay. Maybe after the case. Okay. When you think about it, ah, darkness, I missed the start of it. I'm gonna have to just drag this whole thing. Okay? When you think about it and I mean, really think about it, I lost more than you did. I mean, I don't have my renters insurance or my Netflix account or my Adderall in which I'm not even entirely convinced that you actually really need. It doesn't line up as well obviously, but it's alright. Because we've got a tube two-part progression here that we can repeat. What we're going to need is some sort of melody, something that's pretty simple. It's representative of both characters and that evolves and evolves as the compensation does. So let's get going on that. 5. Making a Melody: Alright, time to start thinking about a melody. So I'm going to create 8 bar right here and try to pay sign together. That works for the scene and matches the way I'm not gonna do that. I'm just going to copy this down. That works with the scene and works for each of the characters, fits the mood. Man, you really want to have your key nail down one by the time, he can make a melody. Can you imagine trying to like drag notes everywhere and put them all over the place and you haven't got a key, figure it out. You wouldn't know where you want to. For those of you watching and you don't know what I'm talking about. A key is kind of the harm of notes. And it's what you need worked out to avoid your music just sounding wrong. When it comes to a melody like what we're doing right now. You can have notes outside of the key. Of course, of course you can. The trouble just comes when there's too many outside of the key or when they don't go out of the key and then come back again. When they stay out too long. Stay out too late. Then, then, you know, good. Say Look, this chord has a note right here that's outside of F minor and the cord is still fine. Then would still be alright, outside of key, I don't know. Let's give it a try. But it's not a hard and fast rule. It's just a good guideline to follow that. A chord is just where the notes live. So we started out chord progression and we didn't know a k. It was fine because we were following a really classic chord progression that works fine on its own. But then we wanted to keep going. With going rogue. We needed the key to guide us. Anyway. Same with the melody. We need the key to guide us on our melody. Going to put that piano back on that same one From Alia, the intimate piano. Where are the intimate setting? Let's make it ambient this time. And let's see how it sounds. It doesn't convert. Minutes. Sounds alright. Bit low. Plus doesn't come from to him. It doesn't convert minutes. Right here. Plus doesn't convert minutes. This is actually a time where the cord spacing is a problem because now I can't anchor the melody to it. Because so much extra code over here and I was banking on the melody kind of resolving with the chord. That's okay, that's okay, that's okay. I am going to put a bit of a lid. I know what I want a little reverb. I want the bras one severity like flattening sound. Mix bus doesn't come for four to 5 min. Just kinda resolves a little bit too fast. It's going to need to move it. If you're wondering, this looks random. It is random. It's just how does it sound? Does it sound good? Does it sound bad? And then just change it. If it sounds bad and leave it if it sounds good. Doesn't come for four to 5 min. That's not good. That's not good. Mix bus doesn't come for four to 5 min. Not going to have that happen. It's plus doesn't come for 5 min. Put that right here. I don't want that clashing. I think it just, it's moving over. My goodness. Needs like kinda like a flower, you know, like needs to dance and needs to dance. I really am sorry. The dialogue there is quite useful. Can you use that? Really helped my, I really am sorry to jump on. My I really am sorry. Are you I really am sorry. Are you okay? Let's see that with the visuals. Tim, it doesn't come for free, 5 min. Timid. Next bus doesn't come for food, 5 min. But ******, next bus doesn't mix. Bus doesn't come for 45 min. Next bus doesn't come for 45 min. Maybe. More of a more of a stronger reverb would help on that. 6. Refining the Melody: So I've decided that I'm going to have the code more organized and they were following the shots are a little less closely and have the shots punctuated with little moments like this code. Well, this note here I like. So I'm going to put it on its own down here so that it's going to hit with a stronger pant. And it's the piano. Amy into one and worked with. And I'm gonna give it a stronger reverb because it's on it's own. Kind of the moment where she looks back. I really am sorry. Are you I like it. I just need that. The melody quiet on. Next Plus doesn't come for 45 min. My, I really am sorry. Are you I know that in your head wife is just some like big circus. People aren't. Let's lead into those notes. Couture in an art here, and it will change from one color to the next. I know that in your head life is just some like big circuits. But people are at maybe this one. I know that in your head wife is just some like big circuits people are actually doing affected by your actions, Kinsey. Okay, mom, I know that you like are we actually going to have a conversation? Are you just going to keep maybe the sun? Similarly the ones that give it small personality. I know that in your head wife is just some like big circuits. What people are actually affected by your actions, Kinsey. Okay, mom, I know that you like are we actually going to have a conversation? Are you just going to keep questioning everything I say? It's almost the same chord. And are we actually going to have a conversation? Are you just going to keep questioning everything I say? Fine, Go ahead. I'm listening. Alright, let's keep that pot free of the melody and then bring the melody back after it. And go ahead. I'm listening. Okay. Maybe the same melody, maybe an octave higher. Okay. A little bit different. Maybe up here. Because, you know, she's explaining herself. She she's she's going into the why of whatever it is that's going on here. So it's a little more redemptive. When you think about it. I mean, really think about it. I lost more than you did. Either delayed or not at all. Okay. Well, when you think about it, really think about it. I lost more than you did. That caught it. Think about it. I lost more than you did. Nothing. Nothing more than you did. I mean, I don't have pairs to pick them are renters insurance, or my Netflix account. More than you did? I mean, I don't have pairs to pay for my renters insurance or my Netflix account for my Adderall in which I'm not even entirely convinced that you actually really need. But my work save how it goes, switching to that longer reverb. Think about it. For that part, I lost more than you did. I mean, I don't have pairs to pay for my renters insurance or my Netflix account for my Adderall in which I'm not even entirely convinced that you actually really need. But what was the last time you want a family data plan? Like I wish I could use my mom's Amazon Prime, you know, like maybe about. All these things I could sit at home too. I make videos about how to fall in love with me and not have to go to work like they're risky adult world to a job that I hate. ******. Next bus doesn't come for 45 min. My I really am sorry. Are you I know that in your head wife is just some like big circuits that people are actually affected by your actions, Kenzie, okay, mom, I know that you like are we actually going to have a conversation? Are you just going to keep questions and everything? I say. Fine, Go ahead. I'm listening. Okay. When you think about it and I mean, really think about it. I lost more than you did. I mean, I don't have pairs to pay for my renters insurance or my Netflix account for my matter, while in which I'm not even entirely convinced that you actually really need. But that comes back a little bit. Or my Adderall in which I'm not even entirely convinced that you have delay. There's insurance or minus that looks account or my Adderall in which I'm not even entirely convinced that you actually really need. But the last time you got a family data plan, like I wish I could use my mom's Amazon Prime, you know, like maybe if I had all these things I could sit at home till I make videos about how to fall in love with me and not have to go to work like the rest of the adult world to a job that I eat. Oh, no. That's the old version. You need to repeat that one. Weight. This one. But my work, What was the last time you got a family data plan? Here's my mom's Amazon. Like maybe if I had all these things I could sit at home to make videos about how to lay that out One little bit to go with the camera, work a bit more. There we go. Got to go with that camera. But what was the last time you got a family data plan? Like, I wish I could use my mom's Amazon Prime, you know, like maybe if I had all these things I could sit at home too. I make videos about how to fall in love with me and not have to go to work like they're risky adult world to a job that I hate. Really. Maybe we go with the melody here, without the courts. See how that sounds. All that stuff, all that stuff you just said, that's how you really think of the truth comes out. Like don't do that. I don't like that as much. Alright, Coco Coca-Cola. Now we can build some layers on top because that has some nice flow to it because they made quite well because of it, right? The melody kind of goes at the right kind of speed and pace. We kinda got a good mix that between cutting with the camera and also having some musicality. Unfortunately, you need those notes to move and dance a certain way. You need a certain rhythm to it. You need that constant motion where it's a little bit evenly paced so that the music doesn't feel like it's running and tripping and stumbling and falling over the entire time. So I think we strike a good balance there. So now let's introduce some other elements to make it sound a bit stronger and more full. 7. Adding Bass: Okay, First things first. Now, this melody does the job, but it is a little bit weak on its own. So let's copy it down into another. We go down here until another row and strengthen it out. So I think we put them same piano back on. Maybe we go with soft drama. And we put on a bit of a stronger reverb. And we get that volume down a little bit even past the one that was already there and possibly original one. Let's have a look. **** it. Looks bus doesn't come for 45 min. I really am sorry. Are you I know that in your head life is just some lake big circuits that people are actually affected by your actions, Kenzie, okay. To him it looks plus doesn't come for 45. Maybe we change the instrument actually because the chord sound really nice as piano. But there's something about the melody as the piano that's not working for me. Let's put labs on. Labs is the free one. By Spitfire. Maybe the mantle and the mantle is my favorite. I mean, I like it but it muddies arc, muddies up the message. Now you have to wonder, why does it sound like that? Tim, it doesn't come from for 5 min. Next Plus doesn't come for 45 min. Okay, that's not good. Obviously. Stop eating my cards. I need something else. ******. I pick brass and woodwind, another $15. My gosh. ******. Next bus doesn't come for 45 min. Next bus doesn't come for 45 min. I really am sorry. Are you It's quite interesting. That's kinda interesting. Let's put it on that, but the secondary back on, put it onto there. Same thing. Next bus doesn't come for 45 min. Change the Valhalla. I really am sorry. Are you I know that in your head, but ******, next bus doesn't cover 45 min. Maybe an actor. Next bus doesn't cover 45 min. Mix bus doesn't come for 45 min. I really am sorry. Are you I know that in your head life is just some big circuits. People are. Alright, that's interesting and weird and quirky. And it suits the film because the film is an indie and the film is a bit weird. I think it suits the mood and the type of film. Let's copy the codes down. Then. Well, we can do is create a base for it. So what I can do is just cut out everything except the lowest notes. For each of the chords. Then have a corresponding baseline going, which I will make. With, with my boy, my favorite, favorite plug-in. My gosh, theorem, of course. Oh my gosh. Ableton started organizing everything into folders like that. It started happening recently and it's made it said that I can't find anything quickly. Oh my god. Like nothing needs to be in folders like that. Everything was just out in the open. I loved it unless I did it, God, maybe Ableton didn't do it and I did it. That would be embarrassing if it was actually my fault. And I've been blaming able to in this whole time. What did I do to get that thing? Damage? Plus doesn't come for 45 min. Oh my God, what a difference. It sounds so much better now. It looks plus doesn't come for 45 min. I really am sorry. Are you I know that in your head, life is just some like big circuits that people are. Actually, I did by your actions kit sounds lovely. Maybe a little quiet. Doesn't come for 45 min. So really nice based on serum, people don't give them enough credit theorem makes everything better. You can make your own sounds. You can completely, I don't know, just totally make something unique to you. Whether it'd be a short little best sound effect or something long like this, or a baseline like what I just made. Oh my god, Sarah makes everything better. Okay, let's do the exact same thing, except we will make a secondary baseline an octave lower, and not have any anything. One, not have anything in the first oscillator and instead, just have the base on those. Same as before. Gosh, every time I drag, I'm always so scared, I'm going to forget what that first note was. Dragged to the wrong spot. Even though I made the codes myself, I still can never feel completely certain that I'm going to drag everything to the right place. Sarah, Megan, just the sub know oscillator. Next Plus doesn't convert to lie. I really am sorry. Are you in your head life is just some big circuits. Keep up. It doesn't always need it. Just sometimes. Mix bus doesn't come for 45 min. What a difference we've made from the original while we had no music. And all of the streets sounds. And now I've got this very quirky, weird that all sudden soundtrack going in. I just play with things you never know where you're going to make. Even if it's not official, this isn't for the actual film. The film makers have nothing to do with this. That's why just playing. They're just making things and we're getting better every time we every time we play. Next bus doesn't cover for 5 min. I really am sorry. Are you in your head? Wife is just some like big circuits. People are actually affected by your national without I know that you like, are we actually going to have a conversation? Are you just going to keep questioning everything I say? Fine, Go ahead. I'm listening. What do you think about it? Really? Think about it. I lost more than you did. That's sucks. The octave higher thing doesn't work once we've changed instruments. So that's no good. When you think about it. And I mean, really think about it. I lost more than you did. My God, oh my God, I'm sorry. Cut that. Funny how things work. And then they start the next part. I mean, really think about it. I lost more than you did. I mean, I don't have parents, my renters, insurance, my Netflix account, or mydriatic while in which I'm not even entirely convinced that you actually really knee doesn't come for 45 min? I really am sorry. Are you yeah, Cool. That sounds good. That sounds nice. I wouldn't say we've made a motif for either if the characters here, instead we've made a motif fit the situation. So this motif that we've made could come back in the film. Whenever they're in a tough situation. It would be probably a situational motif like that. When they're in a tough bind, when they're arguing with each other, when they're fallen out, when things are bad between each other. This is the motif that I would use for that, rather than a motif for the characters themselves. So this works totally fine for this situation. I think it's quite appropriate. And this type of film, I think it's, I think it's nice and weird and quickie and sets the tone of the film. 8. Our Film Before & After: Tim, it next bus doesn't come for 45 min. I really am sorry. Are you I know that in your head wife is just some big circuits that people are actually affected by your actions, Kenzie. Okay, mom, I know that you like are we actually going to have a conversation? Are you just gonna keep questioning everything I say? Fine, Go ahead. I'm listening. Okay. When you think about it and I mean, really think about it. I lost more than you did. I mean, I don't have pairs to pay for my renters insurance or my Netflix account, or might matter all in which I'm not even entirely convinced that you actually really need. But what what was the last time he was on a family data plan? Like, I wish I could use my mom's Amazon Prime, you know, like maybe if I had all these things, I could sit at home to make videos about how to fall in love with me and not have to go to work like the rest of the adult world to a job that I hate. Really. 9. Until Next Time: Well, that's it. I hope you very much enjoyed our time together. I hope you learned a couple of things that you can apply to the short film that you're scoring if that's what you're doing. If you've never done it before, I hope that that helped the whole process of putting your chords and then your melody, and then your base and all the other elements together. I hope that it helped with that. There's a lot more you can do in terms of adding harmonics and various ear candy, other types of things that can make it even better. And there's a lot of things that you can change depending on genre. So here on Skillshare will make, will probably skull quite a few more films across different genres. So we can see how horror would change our approach, how romance or change our approach, all kinds of things. There are a lot of different ways that you can approach keys and choice of instruments and phrasing. And yeah, we'll look into more elements and, and see how adding each of these things can make each skull unique and memorable. So please join us in future classes, but check out the ones that I already have. If you need help with music theory. I've got you covered with a Skillshare class on that and scoring video games, many other things. Please stick around. Thank you so much for joining me and I'll see you on the next one. Bye.