Copyrighted Production Music
ScoreHelper:Disc 05
VHSH05 Number of tracks：35 Track(s)
Introduction：Five more scores from this increasingly popular VideoHelper off-shoot.
Label Name：VHSH
Album tracklist
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[SCORE: Welcome To Metro City] [BIG CITY HUSTLE AND BUSTLE] This classic cue captures all the hustle and bustle of the big city circa 1950. Opens with blaring horn hits and then jumps straight into the Gershwin-esque main theme which lets you practically see - in vibrant black and white - everything from the neon signs of Times Square to the glittering shop windows and awe-inspiring skyscrapers. A lighter, bouncy daydream bed begins @:37 while everything sinks in, until 1:18 when a noisy trumpet blasts us back to reality with the theme. Great for retro intros, or any "look at the big city" moments.
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[SCORE: Welcome To Metro City] [PLAYFUL / HAPPY RETRO 50'S INDUSTRY] Peachy-keen 1950s suburban/shopping music. Positive, bouncy pizziCato (ASCAP)s, light piano and eager woodwinds create a sunny, almost pastoral, atmosphere that suggests things are happening and time is passing. Main theme gets played by tuba @:50 for a more obvious comic effect, then returns to daisies and sunshine @1:08. Gets sappier with strings @1:47. @2:03 we've included a separate pasteable stand-alone ending. Try it straight - it's perfect for retro product spots and animated bunnies picking flowers. Or in new 'ironic' scent- for sucky jobs, dates going wrong or for moms who are anything but motherly.
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[SCORE: Welcome To Metro City] [RETRO REFLECTION / SADNESS] Reminiscent of a Broadway theater cue circa 1962, this lonely, slightly brooding piece features contemplative piano, solo flute and french horn. Evokes b/w images of a trench-coated man walking alone in a deserted downtown at 3 a.m. Tilts toward the melancholy side of things, with notes of hope around 1:03 - only to fall right back into pensive sadness @1:17. Useful for lost loves, regrets and quiet reflection.
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[SCORE: Welcome To Metro City] [DARK URBAN NOIR] Tense, climbing, suspenseful feel that suggests Urban gothic-noir or people in fedoras doing very bad things. Like wearing fedoras. Equally appropriate for gangsters or crooked officials, this low-brass-heavy track evokes images of dimly lit rain-slicked streets, muddy wingtips and lots of money changing hands. A fast-moving ride cymbal keeps things moving throughout while big percussion/orchestral hits provide dramatic accents. A pulsing build starts @:27 suggesting rising tension. @:53 the cut slowly builds to the denouement with fluttery strings, brass swells and constant movement upwards in both pitch and tenor until a final climactic hit @1:45. Good for stalkers, conspiracies and 40s detective movies.
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[SCORE: Welcome To Metro City] [MOVEMENT-FILLED, BOUNCY / PLAYFUL 1950'S COMMUTING MUSIC] Straight-faced "Honey, I'm off to work" music, complete with bouncy strings and winds. Featuring constant motion with train-like strings and woodwinds "chugging" beneath the entire piece (even musically interpreted train whistles @:40). positive cut brings to mind the movies of the 50s where we'd see a man kiss his family goodbye, get into his spotless car, read the paper on the train and put his feet up on the desk by the piece's final notes. Although primarily a cut suggesting busyness and industry, @:50 we have some softer, wistful, romantic themes over the constant motion. Good for cartoons, commuting and conveying domestic hustle and bustle.
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[SCORE: Welcome To Metro City] [SUSPENSEFUL 30'S / 40'S CHASE MUSIC] Caped crime-fighters run through the six train in this frenetic chase through the subway tunnels of Metro City. Chugging, churning low strings start us off, joined by brass/wind "subway horns" @:10. Pauses for breath @:41, then resumes with racing piano and supporting drums/cymbals. The last 17 seconds - starting @1:18 - have great, blaring horn hits and builds like crazy to the last big hit @1:35. Shadowy, frenetic and dark, this one's good for any action/chase/fight scene - animated or otherwise - set in the 30s or 40s.
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[SCORE: Welcome To Metro City] [SOLO BLUESY CLARINET] Solo Bluesy clarinet good for retrospectives, folksy American pieces or evoking a golden bygone era, replete with various b/w photos showing how good the "good old days" were - straight out of some Ken Burns documentary.
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[SCORE: Forsaken Island] [FAST PERCUSSIVE BED >> " ATMOSPHERIC HORROR " >> FAST PERCUSSIVE BED] Ultra-fast percussion suggests a chase through the jungle, coming to a dead stop @:35 as washes of looped noise, bowed metal, and the wet, unsettling sounds of eating and flesh ripping from bone create an aural picture of a quick succession of scenes showing zombies eating the slower, clumsier members of the escaping party. @:45 a simple percussive figure begins, growing in tenor until a drop-out @1:24, followed by two more crescendos-to-hits as the zombies suddenly realize there's more meat close by. @1:45 we return to the frenetic percussion bed as the chase begins again, building to a huge final hit @2:11. Good for fast cutting, showing scenes of horror or graphic violence.
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[SCORE: Forsaken Island] [MEASURED PERCUSSION / PULSING / WAVE-LIKE WASHES OF EVIL] The film's opening credits. A heartbeat-like electronic kick drum immediately suggests tension. @:12 ethereal, twisted snippets of metal stress, choir, distorted snippets and orchestral pads/crescendos swell and recede like waves or passing trucks, suggesting titles slowly dissolving in and out. @:59 measured, almost tribal percussion enters and the mood gets slightly more foreboding. A final, disorienting, cacophonous build leads to a drum hit @1:50. Great for mysteries, nightmares and the feeling that something is watching you - and thinks you'd be delicious.
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[SCORE: Forsaken Island] [CREEPY, SPARE >> INTENSE PERCUSSIVE BUILD >> CREEPY AGAIN] After a bed of shifting intermittent, looped radio transmissions, string pads and ambient bowed metal, clock-like ticking and looped sound fragments enter @:39 - suggesting that the cut is breaking down. @:50 an uptempo, busy percussive bed starts, using a processed ensemble of small hand percussion. @1:02 slashes and swells of dissonant and unpleasant pads all grow in intensity until a climax @1:24, where the insanity stops abruptly, leaving the creepy, desolate-feeling radio transmissions and ambient metal pads. The beginning and ending are good for mysteries, suggesting isolation and paranoia - while the central percussive build is great for chases, aggression or montages of shocking images.
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[SCORE: Forsaken Island] [PROCESSED PERCUSSIVE BEDS WITH STABS OF HORROR] We witness the transformation from simple tribal celebration into an all-you-can-eat human salad bar of cannibalism. Starting as a straightforward midtempo percussion bed, the cut becomes more menacing and evil as an atmospheric, dissonant men's choir enters @:16, followed by shocking flashes of cacophony and disorder, until the percussive rhythm abruptly ends @:48, replaced by disorienting, nightmarish assaults of reversed metal, vocals and orchestral noise. @1:11 we return to the percussion, but this time it's heavily processed, growing more disorganized and random, with stabs of insanity returning @1:37. A processed vocal yell builds up to the final hit @1:58. Good for suggesting the fall from order to complete chaos and instability.
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[SCORE: Forsaken Island] [MAJESTIC, PROUD WASHES >> DISCORDANT / EVIL] The discovery of something overwhelmingly beautiful, grand - and evil. Swells of strings and men's choir create a feeling of awe and wonder against tinges of discord and unrest, as suggested by dissonant, processed rattling bells, metal stress and scrapes. @:43 simple, spare, slow percussion enters, giving the cut both a sense of majesty and tension. A chord change @:58 suggests the complete change from positive to negative as the music gives way to atmospheric metal sound design by 1:18, leaving an eerie, desolate feeling. Good for suggesting the corruption of anything beautiful or good.
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[SCORE: Forsaken Island] [FAST, BUILDING PERCUSSION] Starting with an ambient metal hit, various beds of metal and wooden percussion build in tenor, dissonance and complexity until :47 when a series of metal hits increases in frequency and intensity until a final hit @1:09. Good for action and escalating tension.
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[SCORE: Forsaken Island] [SUSPENSEFUL ATMOSPHERIC BEDS / NIGHTMARISH STABS] Need to establish tension and then suddenly intercut scenes of horror or violence? This cut uses groaning string/choir pads, washes of dissonant brass and metal scrapes to create a palette of watercolor suspense - and then slaps the listener awake with flashes of unexpected hits and abrupt drop-outs. Nightmarish and brooding, this cut works for shocking scenes, horror flashbacks and any time you need an emotional jump cut.
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[SCORE: Forsaken Island] [FAST PERCUSSION >> ATMOSPHERIC TENSION >> PERCUSSION >> DESOLATION] Intense dynamics and mood shifts. Pounding hand drums, processed contrabass hits, metal percussion and the grisly sound of dismemberment (produce being ripped, stabbed and gnawed) suggest action or tension. @:35 the mood abruptly changes to spare mystery/horror as a dream-like heartbeat, vocal pads and menacing metal sound design create a brief respite that dramatically wanes/ebbs in intensity and volume. @1:05 another, more aggressive percussion bed starts, using Doppler-shifted screams, metal stress and processed noise to create a nightmarish mood of confusion and fear. A crescendo leads to an abrupt drop to spare creepiness @1:28 as distant metal scrapes and pads shift and swirl beneath.
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[SCORE: Forsaken Island] [TRANQUIL, POSITIVE FLOATING WITH UNDERTONES OF DISCORD AND TENSION] The closing credits. Washes of orchestral strings, tinkly/distant piano and a heartbeat-like electronic kick create the feeling of floating serenely in calm water. @:24 a simple, slow tempo, distorted/processed drum beat and hand percussion enter. @1:15 evil, Ligeti-like choir falls and creepy sound design impart the feeling that things are going wrong and evil has returned. @2:01 the drums stop, but the ethereal, slightly dark pad remains. Good for slow dissolves and gauzy, romantic images that slowly become corrupted and rotten.
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[SCORE: The Battle For Avalon] [MUSCULAR PRIDE >> FOREBODING] Broad-shouldered french horns and hefty drums announce the commencement of something important. A transition to the strings @:33 lays the framework for the more emotional parts of the story (told in other cues). @1:04 the camera pans to enemies yet-to-be-faced and the music gets dark and foreboding, punctuated by twisted horn calls @1:12 & 1:28. Ends with ambient voices and flute noises over a low drone. Good for setting up conflict.
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[SCORE: The Battle For Avalon] [RESTRAINED HONOR >> SWEEPING MAJESTY / RESOLVE] Inspiring and ennobling. Grows from gentle, string melody into big, swelling pustule of positivity and strength. Gets slightly bigger @:40 as men's choir enters, but really goes into full-strength majesty and pride @:57 as larger-than-life drums and lofty brass melodies evoke aerial shots of vast mountains, endless seas or wondrous lands undiscovered. Feel the goosebumps @1:36 as choir and forceful midtempo drums drive home a powerful brass-led melody, climaxing with a last hit @1:57. Close your eyes and see the slow motion shots of touchdowns, marching soldiers or perilous ocean crossings.
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[SCORE: The Battle For Avalon] [MOURNFUL / REFLECTIVE] A plaintive solo French horn (gently supported by understated, swelling low string pads) honors the dead and instills courage for the road ahead. Slow-tempoed and dignified, this cue's appropriate for burials, memorials and/or poignant flashbacks.
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[SCORE: The Battle For Avalon] [PROUD ADVENTURE / FRENETIC ACTION] Classic fantasy/adventure music also good for superheroes and football (and maybe even pirates). The French horn theme @:19 is classic Hollywood followed by propulsive, fast-paced percussion @:34 that leads to a bunch of swashbuckling hits starting @:58. Driving strings and hand drums @1:32 create an undercurrent of tension and impending conflict. The climactic showdown happens @2:20 with the orchestra reaching a flurry of activity. @2:40 the orchestra climbs in tenor and pitch as it builds to a final climactic flourish @2:57. Suggests overcoming odds, tense sports matchups and proud victories.
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[SCORE: The Battle For Avalon] [ATMOSPHERIC LONGING / SADNESS] A pre-dawn departure and loved ones left behind are the inspiration behind this emotional cue. A far-off, mystic, processed voice slowly fades in, joined by low strings and violin figure @:22. @:55, a beautiful solo violin takes up the main theme in a heartfelt, melancholy manner. Slow, measured pace perfectly creates a feeling of isolation and sadness. A final scraped hit in the distance lends a pastable punctuation mark for quick endings or transitions.
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[SCORE: The Battle For Avalon] [DARK SUSPENSE >> GOTHIC WONDER / TENSION >> RESOLUTION] A look at the enemy as his armies prepare for battle. Abstract orchestral sounds over a low drone provide fragmented glimpses of something dark, big and unsettling. A sampled choir @:24 provides a soft, calming passage that starts building to an atonal climax @:43. A hit @:52 sets up a wider perspective of the evil, provided with wondrous Gothic voices and low, building "marching" orchestral strings, giving the impression that something evil is being built. A gong @1:33 announces the start of phase two - with more marching, tense held strings, and a minor bell melody. @2:01 the somber main theme returns but with a slightly menacing air - including the lowest-pitched last note in history @2:18.
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[SCORE: The Battle For Avalon] [BUILDING INDUSTRY / PRIDE] One long, gradual build to a hopeful, positive climax. Starts slow and measured with the high strings picking up the theme over a slightly threatening bed of busy low strings, mechanical metal and hand percussion. @1:02 busier drums and full orchestra enter, providing a sense that help will be coming soon, and possibly victory. @1:40, stirring horns foretell some big moment about to happen, which it does with a big triple hit @2:19. Brings to mind NFL Film's music for their end-of-the-year wrap ups. Good for epic battles and journeys.
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[SCORE: An Eclipse Of Trust] [TIME PASSING / CONSPIRATORIAL >> FLOWING, CIRCUITOUS STRINGS] Intriguing machinations begin. For the first 1:00, basic rhythmic electronics and subtle string pizziCato (ASCAP)s create a slightly unsettling air of mystery and anticipation until the string quartet enters @:35. The track then transforms into a sinuous, Tango-like, almost seductive piece with a hint of danger. An emotional string phrase @1:29 raises the dramatic stakes a little. Good for conspiracies, cover-ups and creating a sense of the inevitable.
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[SCORE: An Eclipse Of Trust] [DRIP-LIKE PASSAGE OF TIME >> ATONAL UNEASE] The musical representation of people beginning to understand that they've entered a dark cloud of collusion, manipulation and obfuscation and that they might be in over their heads. Begins with simple, off-kilter metallic percussion and complex pizziCato (ASCAP) strings that slowly pick up mental steam, all the while suggesting the passage of time. Cello in @:37 connects us more humanly to the thought process as it develops slowly but steadily. Glockenspiel @1:37 provides some contrast and sets up the next section @1:52, where a high violin creates an uneasy tension. Becomes more atonal around 2:16 as we realize events are more serious than previously imagined.
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[SCORE: An Eclipse Of Trust] [REPETITIVE NEUTRALITY >> RESTLESS PENSIVENESS] Circular percussion and winding, processed string ensemble figures create a repetitive bed of neutral- to slightly dark emotion. @1:14, the percussion drops out and the strings meander over a low, pulsing drone. The full mix resumes @1:57 with the percussion adding a little more color than before. @2:08 the percussion is out again, leaving viola and cello to play plaintive figures over a repetitive violin loop, ended abruptly by a percussion/bell hit @2:40.
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[SCORE: An Eclipse Of Trust] [SENSE OF LOSS / MYSTERY >> DETERMINATION >> HOPEFUL JOURNEY] A string lament evolves into a story of determination and hope. Heavy-hearted strings introduce this downtempoed piece through :45 when a flowing "bridge" allows for a shift in mood from sad to decisive. A resolute musical figure @:58 announces that a new journey begins. The cue becomes more hopeful @1:43 with a soaring melody, but the clouds come back @2:07 with a Middle Eastern-tinged melody leaving the story unresolved and a bit mysterious. Useful for small-scale stories of redemption, mystery and determination.
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[SCORE: An Eclipse Of Trust] [POIGNANT QUESTIONING >> REFLECTIVE SADNESS] Someone close to you is now distant, and you don't know why. Processed strings provide a setting for a slightly plaintive and questioning melody. A transition to strings-only @1:01 provides an opportunity for a montage or reflection of shared memories. Gets darker @1:31 with low drums and glockenspiel and slightly sadder/darker @2:02. Good for broken relationships or unhappy reflections.
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[SCORE: An Eclipse Of Trust] [REPETITIVE POSITIVITY] The mostly-happy ending. String chords and background ticking set the stage for an almost-festive waltz section starting @:20 where happy violins and analog synths percolate, giving the cut a feeling of childlike innocence. Electronic percussion enters @1:16 further enforcing the "joyful sterility" of the cut. This uptempo cut sounds like an electronic approximation of carnival/carousel music and could be used for positive closure, non-sappy reunions and closing credits.
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[SCORE: Sicaria] [MYSTERIOUS / ATMOSPHERIC SOUND DESIGN >> HEAVY DRAMA >> INTRIGUE] A journey from the rain forest to the concrete jungle introduces us to a dangerous and seductive underworld. Feral, primitive sound design kicks us off through :21 when the piece becomes much more musical as orchestra and pan pipes/other Peruvian instruments introduce an aura of intrigue and mystery. A smaller, movement-filled break @1:06 provides respite for a return of the full, prouder orchestral theme @1:27, featuring big dramatic drums & percussion, percolating synths and sweeping strings. @1:37 the cut starts winding down, getting progressively smaller in mix and tenor until the final, distorted pad @1:59. Good for travel documentaries, humid techno-thrillers and Latin American investigations.
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[SCORE: Sicaria] [DARK PASSION] A track that's half wonderment and half mystical/foreboding. We find ourselves alone in the jungle at night with deep drones, animalistic noises, processed droning vocals, waves of strings/synths and a solo, fearful flute for companionship - forced to brave the various crescendos and sound design swells around us. Spare percussion @1:49 suggests greater tension, with a steady electronic beat providing rhythmic underpinning @1:28. Good for mysteries, dark passions, or ancient civilizations with uneasy secrets.
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[SCORE: Sicaria] [SEDUCTIVE SOUTH AMERICAN TRANCE] Drug-fueled ethno-trance with a bright sheen of moral decay. Starts off alluringly ethereal and gradually builds into a full-blown club workout. Dreamy blockflutes and synths merge with processed guitars. Becomes very sleek and Euro around :48 when the machines take over and a four-on-the-floor beat provides propulsion. A percussion fill @1:08 brings the Colombian elements back into the mix for a more sensual vibe. Takes a breather from 1:42 to 2:10 when a long whoosh and percussive fills set up the beats that will carry us through till the end. Fitting for montages of the rewards of sin - hot bodies, exotic cars, cigarette boats, etc. - all seen through a slightly detached perspective.
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[SCORE: Sicaria] [DARK MYSTERY >> DRAMATIC ACTION] Chase music broken up by mysterious dramatic pads. Sunless, humid sounds and synth pads anticipate some impending threat, like a secret assassination or lurking car bombs, until a big, climbing low brass-heavy orchestral intro @:10 creates a sense of important drama. @:24, drums, edited acoustic guitars, burbling synths, strings and a host of other busy, disorienting elements create a neutral bed of four-on-the-floor-driven activity, suggesting fast cutting and adventure. @:52 the beat stops, receding into a dramatic collection of shifting pads, delayed synths, electronic percussion and sound design. @1:27 we return to the activity, only to have it begin to disintegrate @1:42. Good for surveillance, mysteries, investigations and visually busy material.
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[SCORE: Sicaria] [DESOLATION / SOLO FLUTE >> SUSPENSE / TENSION] A piece in two parts: a) a beautiful, longing South American blockflute solo, and b) vaguely sinister sound design with musical fragments. Begins with a solitary, yearning flute, supported subtly by soft strings suggesting the comingling of two souls destined to be together but pulled apart by circumstance. String figures, in @1:02, suggest things aren't always going to be so lovely. The second half of the piece, starting @1:26, combines foreboding wind sounds and oppressive, moist, sound design with minor-key music phrases that foretell unhappy events ahead. The first half is good for intimate moments, childhood flashbacks or meditative reflection. The second half is a suitable prelude to violence, conveying menace or mystery.
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[SCORE: Sicaria] [REFLECTION / INTRIGUE / SADNESS] One long death scene comprised of several short sections that tie together various elements from the rest of the score. An emotional, blockflute-centric section looks back over the arc of Rosario's life until :36, where the guitar- and synth-driven intrigue music brings us back to the present. @:57 a sadder, more plaintive segment (based on processed guitar and keyboards), implies regret and isolation. Other instruments (orchestral strings, piano, sound design) help to subtly build to a low-key climactic death knell @1:54 (& more faintly @2:00). Good for character retrospectives and deaths of complicated Latin American characters.
