New western style motif music from Charlton Moore
Porcelain by Jenny Hollis
Writing Music To Video
Writing music to video refers to the practice of composing new music that has been written to complement a visual medium like a movie, TV show, or video game. It’s not easy to get the score just right for a film or TV show, as it needs to serve not only the visuals but also the plot and the emotions being conveyed. Composers employ a wide range of strategies and methods in order to make music that works well with moving images.
Knowing the story and the feelings the filmmakers or artists wish to evoke in the viewer is crucial when composing music for a video. Composing music that works well with a film or TV show requires the composer to have a firm grasp on the story’s characters, tempo, and overall mood. The composer also needs to know whether the film or show calls for an orchestral score, electronic score, or something else else.
The use of leitmotifs, or recurrent musical themes that are connected with particular characters, locations, or events in the film or show, is another crucial part of composing music to video. These motifs can be utilized to unify the narrative and make the movie or TV show flow more smoothly. The feelings and personalities of the characters can be communicated through leitmotifs as well.
Video game music composers need a firm grasp of the ins and outs of music production. Music editing and mixing skills are essential to ensure that the final product complements the images. This may entail doing things like fine-tuning the volume of individual instruments, bringing in sound effects, and making sure that the audio matches the video.
Aside from that, adaptability and flexibility are essential qualities in scoring a video. Composers may need to make modifications to the score as the film’s or show’s visual aspects evolve. The final cut of a film or TV show often requires certain musical adjustments made at the request of the filmmakers.
Composing music for a film or TV program is an involved process that necessitates familiarity with not just the technical aspects of music creation, but also the story, characters, and emotions of the film or show. Using leitmotifs and a flexible mindset, composers can weave their music seamlessly into the narrative of a film or TV show, enhancing the emotional impact and realism of the production and giving viewers a more complete sense of immersion. For composers, contributing to a video’s success in conveying its story and its viewers’ feelings is a creative and satisfying endeavor.
Form and structure of cinematic film scores.
The score of a film is extremely important in creating the mood and atmosphere of the film. They contribute to the audience’s sense of immersion and heighten the story’s emotional impact. Film compositions usually have a predetermined shape and structure that adheres to particular norms so as to accomplish this.
Commonly, a film score will have a number of distinct “cues,” or parts, each of which has a unique function. Main titles, cue music, underscore, and credit sequences are the four cornerstones of each film score.
One of the most recognizable aspects of a film is the primary theme song, which plays during the opening credits. This is typically instrumental music that serves to introduce the film’s theme and mood to the audience.
Films utilizing “source music” have musical cues that sound as though they were produced by characters or events in the film’s fictional setting. Live music, recorded music on a character’s phone, or anything else that serves as ambience in a bar or club all qualify.
The film’s score, or “underscore,” is the music that plays in the background and complements the on-screen action and dialogue. This score was composed specifically to heighten the audience’s emotional investment in the story’s events.
Last but not least, the film’s end credits are accompanied by a musical score. This score, which is typically instrumental, serves to wrap up the film’s plot and leave the audience feeling fulfilled.
Film scores typically include other structural elements, such as theme repetition and leitmotifs, that complement these primary portions. In film, a leitmotif is a recurrent musical motif that represents an important scene, character, or location. With their employment, these motifs can unite previously unrelated scenes and establish a feeling of cohesion throughout the film.
Cinematic film scores also make use of orchestration, which is the combining and arranging of several instruments and vocals to achieve a specific sound and effect. Film scores may feature string, brass, woodwind, percussion, and electronic instruments, among others, in their orchestration, but this will depend on the film’s style and genre.
The score of a film is extremely important in creating the mood and atmosphere of the film. They usually have a certain format, like incorporating leitmotifs or repeated themes, and are separated into distinct parts like main title, source music, underscore, and end credits. Orchestration, the practice of combining and arranging various musical instruments and vocalists, is also employed. All these factors work together to make a picture more compelling and emotional for the viewer.
ASCAP
When it comes to getting paid for their work, songwriters, composers, and music publishers need the help of ASCAP (American Society of Composers, Authors, and Publishers), a performance rights organization. ASCAP was founded in 1914, making it a historic institution among US performing rights organizations.
Some of the most well-known names in the music business are ASCAP members, and the organization’s main function is to collect and distribute royalties to them. About 11.5 million copyrighted works are represented by ASCAP’s 700,000 members. They do this by keeping tabs on how music is used in various media, such as movies, shows, radio, concerts, and online videos. As a result, ASCAP is responsible for collecting royalties from third parties who make use of its members’ music and then allocating those revenues to the appropriate ASCAP members.
ASCAP plays a crucial role in protecting the interests of its members. This includes both combating copyright infringement and piracy and advocating for improvements to copyright law that would better protect the rights of songwriters, composers, and music publishers. The Association of Songwriters, Composers, and Authors (ASCAP) provides its members with a wealth of benefits, such as opportunities for personal and professional growth, access to useful resources, and access to an active and supportive community.
ASCAP also runs outreach and education programs aimed at inspiring the next generation of music industry professionals. Many of these groups also hold annual award ceremonies to recognize the outstanding contributions of their members and to spread the word about the great job that they do.
The American Society of Composers, Authors, and Publishers (ASCAP) is an indispensable organization that safeguards the interests of songwriters, composers, and music publishers by ensuring that they are paid appropriately for the use of their work. It’s a nonprofit group that looks out for its members’ best interests and provides resources so that they can keep doing music. ASCAP is an organization that strives to help the music industry and its members by advocating for them and providing opportunities for them to learn and share their talents with the public.
Get signed up!
Modern Music Licensing
The licensing of musical works is a crucial part of the music business, and it has evolved greatly in the digital age and with the advent of streaming services. There are benefits and drawbacks to the current system of music licensing, which is very different from the licensing of decades past.
The transition to digital distribution has been one of the most significant transformations in the music licensing industry in recent years. Digital music consumption has increased dramatically as a result of the popularity of services like Spotify and Apple Music, which has had a major effect on the music licensing industry. Because to digital distribution, not only can music be accessed more easily by consumers, but also by independent artists who can now reach their audience more directly.
Nonetheless, the rise of music piracy can also be traced to the rise of digital distribution. The music industry has taken a major hit due to the proliferation of unauthorized music downloads as a result of the proliferation of digital distribution platforms. Digital music distribution has also devalued songs since streaming services pay far less in royalties to musicians and record labels than do more traditional methods of distribution like CD and vinyl sales.
An further development in the field of music licensing is the rising popularity of sync licensing. The term “sync licensing” is used to describe the legal process by which songs can be used in visual media such as movies and video games. Since the proliferation of streaming services has increased the demand for content, sync licensing has become increasingly common. Those that create music on their own have benefited from this because it has opened up new avenues for them to monetize their work. However, it can be challenging for independent artists to grasp the sync licensing procedure due to the complexity of the rules and regulations.
In sum, the advent of new technologies and the popularity of streaming services have brought about fundamental shifts in the way music is licensed in the current era. While digital distribution has improved consumer access to music and provided fresh chances for independent musicians, it has also increased music piracy and lowered the value of music. The use of sync licensing has also increased, which may be both helpful and frustrating for solo performers. The music industry needs to figure out how to move with the times and still pay creators and owners of intellectual property what they’re owed.
Modern Film Score
In recent years, electronic and experimental elements have been included into current cinema soundtrack composition, replacing the more typical orchestral arrangements. This change has resulted in some fascinating and original soundtracks, but it has also caused some worry for the future of cinema scores featuring orchestral music.
The use of electronic and experimental elements in film scores has, on the one hand, allowed composers to explore new musical territory, producing some genuinely remarkable and unforgettable tunes. The incorporation of electronic elements can give a film a sense of modernity and edginess, and can be employed to create atmosphere or tension that would be difficult to produce with traditional orchestral arrangements. In addition, it paves the way for filmmakers to experiment with other musical styles, instruments, and styles of collaboration, all of which can add new dimensions to the storyline.
However, the future of orchestral music in film is uncertain due to the rising use of electronic components in film compositions. It has been speculated that traditional orchestral scores may become extinct due to the lower production costs of electronic music. Additionally, there is a possibility that the usage of electronic elements can lead to a standardization of cinema scores, as many films begin to use identical electronic sounds and approaches, which can make it impossible for films to stand out from one another.
Last but not least, while electronic and experimental aspects in film soundtracks have allowed for some interesting and original music, it is vital to remember that there is still a place for classic orchestral arrangements in movies. Both electronic and orchestral music have their own particular qualities and talents to enhance storytelling, and it’s crucial to create a balance between the two. Remembering the classics and the significance of retaining conventional orchestral music in film is also important, as is remembering that films are an art form in which diversity, various, and sometimes contentious forms of scoring are always welcome.
Overtone Series

The overtone series, or harmonic series, is a progression of natural frequencies related to a fundamental frequency in whole-number ratios. If you listen to a musical chord or sound, the lowest and most dominant tone is the fundamental frequency, and the higher-pitched tones are the overtones. Physics relies heavily on the overtone series to describe the resonances and vibrations of everyday objects, including musical instruments.
Each overtone in the overtone series is the next whole-number multiple of the fundamental frequency. If the fundamental frequency is 100 hertz, the first overtone would be 200 hertz (the second harmonic), the second overtone would be 300 hertz (the third harmonic), and so on. The term “harmonic series” is used because each overtone in the sequence is likewise called a “harmonic.”
Sound waves and their interactions with various materials can be better understood by looking at the overtone series. The shape and length of a tube, like the body of a wind instrument, affect which overtones are enhanced and which are suppressed by the passage of a sound wave through the tube. As a result, the instrument’s tone will change. The natural resonances of a guitar string can also be explained using the overtone series, as can the way a singer’s formant resonances affect the sound they produce.
In addition to its use in physics, the overtone series has important applications in music theory and composition. One type of consonant chord is the harmonic chord, which consists of tones from the overtone series rather than the traditional chord notes. It’s also possible to make melodies and chord progressions by using the interplay between various harmonics.
Fundamental to acoustics, music theory, and physics is the idea of the overtone series. It’s useful for understanding the physics behind things like musical instruments’ innate resonances and vibrations. A more complete appreciation of music, from the construction of musical instruments to the writing of songs, can be gained through a better grasp of the overtone series.
This is Us – Charlton Moore
Short Motif from Charlton Moore
Encroachment – Charlton Moore
New Music From Jenny Hollis
Watch us on the Guitar Pirates Podcast!
Our owner Charlton sits down with the Guitar Pirates Podcast to discuss industry stuff and everything Tonal!
V.5 is out now!
Our 5th annual compilation album is out on all streaming platforms!
New song from Jenny Hollis!
New EP from Bennett Watson!
Alex chooses samples for the stream
New Music from Charlton Moore
This piece was made with a pickaso bow among other original sounds.
Beef Stewdio makes a B section live on Twitch
Beef Stewdio puts a TA sample through Studio One Auto Filter
Alex makes a BWB beat
Alex gets started with a TA arp and vocal sample live on Twitch! www.twitch.com/tonalautonomy
Molly – Zenfii
final mix and master of a piece made live on Twitch
Alex from Beef Stewdio goes through the final mix and master of a piece made live on Twitch!
Coi – Zenfii Lofi
Editing Tonal Autonomy samples with Bend Marker and iZotope Stutter Edit
Michael Francis tracks lead guitar on Addicted for V.5
Zenfii – Shi Shi
Panning Orchestral Frequencies
Zenfii V.3 out now!
Flipping a vocal sample live on Twitch
Alex works out a bassline on a lofi beat live on twitch
Using a Sax sample as a riser

Train Wreck – Jenny Hollis

Train Wreck – Jenny Hollis
New music from Jenny!
Changing the BPM with the Bend Marker tool in Studio One

Changing the BPM with the Bend Marker tool in Studio One
Charlton shows a tasteful way to modulate within a progression

Whiskey on Wine – Emily Kenyon

Looking Forward – Wes Murdock

A Very Tonal Christmas

Out now!
A Jazzhop and hip hop inspired Christmas album!
Charlton Moore
BoVice
Michael Francis
New Release! Miami – Charlton Moore FEat Rhema2020

Singer songwriter type song this time. A little different from what we are used for from Charlton
Unhappy Halloween

Our Halloween piece this year comes from Wes Murdock and Charlton Moore! Stream it here: https://open.spotify.com/track/5I8gjjskvkPpL0N0BrrvkR?si=657ea63650804abb
Our Halloween piece this year comes from Wes Murdock! This quirky tune was so fun to make. Halloween is Wes’s personal favorite holiday and literally walked into the studio in costume to write and record this song! This song has everything from the eerie low synth, to the crunch guitars and lyrical storyline, to our favorite vocal harmony stacks. Produced by Charlton Moore and published by Tonal Autonomy.
New The Haunting of You Synth Loop/Sample pack now avialble

The Haunting of You loop/sample pack made with real analog synth! Use the programed drums, lead arpeggios, bass tones or, my personal favorite, the one shot pads. Put one of the one shot pads in a sampler, assign the root to the note in the file name, and then just play cinematic pads as if the synth was at your own fingertips!
Check out this twitch stream where Mozie and BoVice play around with some of the sounds:
Jared Aguirre is a talented artist of all stripes. Here he offers pieces of his truly original sound. Follow Jared on Instagram @thehauntingofyou
This pack includes:
6 Analog synth drum beats (which is actually more like 12 because there are differing beats in one single file)
5 Melody bass synth loops
3 Melody lead synth loops
10 harmonizing pad one shots with note name so that you can just place the sample adjust the root note to the sample and begin playing some of the signature lush cinematic sounds from The Haunting of You.
Cows listening to Zenfii V.2

Follow us on Twitch!

We are about to start regularly streaming our sessions, tutorials and the making of sample packs.
Wes Murdock How am I supposed to change out now!

Producer: Charlton Moore
Artist: Wes Murdock
New release from TA artist, Wes Murdock!
Tonal Autonomy V.4

Out now!
The Haunting of You
Wes Murdock
Charlton Moore
Chi McClean
Daniel John Schafer
Jenny Hollis
Charlton Moore
Michael Francis
BoVice
Zenfii Lofi V.2

Our lofi project featuring Charlton Moore and Alex Shockley
Aboo – Irish War Cry

Composed and performed by Charlton Moore
lake tazawa – lofi beat with Kojo

Charlton Moore
SyFy music from Mozie

Unfinished beat with cool nylon guitar tone

Charlton Moore
Carousel

A new piece featuring three contributors. This piece will be on Volume 4!
Wes Murdock – Guitar
BoVice – Composition/Keys/Production
Charlton Moore – Production/sound design
Volume 3 out now!

Backseat

Vibey piece we’re working on for Bennett Watson
Composer/Producer: Charlton Moore
Glitter FActory

an original piece from BoVice
This one was a lot of fun
Face mask

quick scene score from Charlton Moore
Zenfii Lofi v.1 out now!

Wavering

new film piece
featuring
Jenny Hollis
Michael Francis
Charlton Moore
Miami

Acoustic piece by Charlton Moore and Rhema
Jelly Doll

12 string guitar based beat!
Michael Francis
Charlton Moore
FLight Lesson

New music from our newest contributor Bovice Productions with Charlton Moore on guitar
Alive

New spacey tune from Charlton Moore and Michael Francis
Don’t You – new lofi hip hop beat

Full length #lofi album coming in a couple weeks. This has been so fun it will probably end up being an annual thing 🙂 Contributors on this one are:
Alex Shockley
Greg Lancaster
Charlton Moore ✌️
Optic

New guitar based tune from Michael Francis and Charlton Moore
The panned guitars are why Charlton love two takes of the same part. The minor inconsistencies make it sound wide and entertaining.
Lofi hip hop full ALBUM coming

This is just a quick progression showing what’s to come for TA’s first full lofi only album. Charlton Moore and Alex Shockley will curate this album and release in March!
Problems & Progress

new tune featuring Rhema on vocals
Michael Francis & Charlton Moore on composition and beat.
Bad Luck Brian

We wanted a piece with a arpeggiated synth and this sound we designed felt perfect for it. Charlton Moore – Keys/Production/Sound Design
Michael Francis – Drums/Production/Guitar
Major Truly

Trap beat featuring Michael Francis on acoustic guitar/co producer & Charlton Moore on Piano/sound design/producer
I Never Listen

A rainy day piece from Charlton Moore
Experimenting with sampling his own vocals
silent night

Our lo-fi twist on a Christmas classic. Be sure to check out our Tonal Autonomy Christmas EP coming soon!
Leave This Place

Michael Francis and Charlton Moore playing around with vocal samples. Full song coming out soon!
Joy To The World

Joy To The World Jazzhop rendition by Charlton Moore
Pumpkin

Halloween based piece featuring The Haunting of You (Jared Aguirre) on synth, Michael Francis on guitar and production, Daniel Schafer on drums and Charlton Moore on Piano and sound design. Shout out to Rhonda Moore for the cool footage.
Ride Off

Folk rock based instrumental.
Rhythm guitar, drums and bass by Michael Francis
Lead guitar by Chi McClean
Production, sound design and piano by Charlton Moore
Quick Music Video feat rhema

Quick post for Instagram. Came out pretty cool so we thought we’d share!
Vocals – Rhema
Production – Charlton Moore
Blinding – Rhema

Quick tune by Rhema and produced by Mozie
Piano based score – Lights

Cinematic piano based score by Charlton Moore
Drift

An instrumental that was selected for Songtradr’s featured playlist for September 19′
Keys/Production/Sound Design by Charlton Moore
Guitars/Bass/Drums by Michael Francis
“Drift” to be featured on Songtradr’s september playlist!

Our song “Drift” was selected for the September “Latest and Greatest” playlist on Songtradr. Contact Mozie@tonalautonomy.com for licensing and buy out rates!
Check out the playlist here: https://www.songtradr.com/user/playlist/vzpltleqfzgusftk
Contributors:
Charlton Moore and Michael Francis
Trap Hop Beat

Showcasing what you can do with some of our Tonal Autonomy sample content, this preview features samples from both our guitar based sample pack, and our “That’s What I Call 808’s” sample pack.
Contributors:
Charlton Moore and Fibonacci Beatz
Tonal Autonomy Promo

While not especially lengthy, this is our most exciting piece to date due to the contribution of so many different members of the Tonal Autonomy team. Charlton on piano, Daniel on drums, Greg on guitar and bass, and Fibonacci Beatz with the trap beat and 808 production.
Contributors:
Charlton Moore, Daniel Schafer, Greg Lancaster and Fibonacci Beatz
Trailer Score

Initially written and performed for a movie trailer score, this instrumental piece features a pensive and pondering piano piece, surrounded by swirling volume swells, and ambient instrumentation.
Contributors:
Charlton Moore and Greg Lancaster
Fin

Initially written and performed for a video game score, “Fin” is a unique piece born out of access to a 140 year old grand piano.
Contributors:
Charlton Moore
See Me Now

Full Version of one of Tonal Autonomy’s initial tracks, “See Me Now”. This track features thick vocal layers along with pads, guitar, a subtle wood block beat and analog sub. Check it out below on Spotify, and be sure to like it and follow our page:
Contributors:
Charlton Moore, Michael Francis, and Rhema
Dash Cam piano score

After finding some cool dash cam footage of snow falling, Charlton decided to put together a quick score. We would give you a reason, but do you really need one?\
Contributors:
Charlton Moore
WALDEINSAMKEIT

A preview of an exciting roots piece named “WALDEINSAMKEIT”, featuring prominent use of dobro and acoustic guitar.
Contributors:
Charlton Moore and Michael Francis
Sunset

A snippet of our instrumental track “Sunset”. This piece began with the initial guitar progression and was built it out from there. Synth, drums, electric and acoustic guitar layers, bass guitar and analog sub are all including in the production.
Contributors:
Charlton Moore and Michael Francis
Haunting Happy Birthday Piece
