[SCORE: Views Of Jupiter] Emotional, ethereal vocals start this cut accompanied by a women's chorus, but grow increasingly more off-balance and mysterious, as delayed and processed vocals begin to aggregate, leading to a cloud of delays that crescendo @:39, exploding into a bed of bells, ticking and processed hand/beaten percussion. @1:00 a simple pennywhistle solo plays against delayed vocals and percussion, broken by a violent percussion break @1:12. A simple, waltz-like flute/string-driven theme enters @1:31 and begins to slowly build in tenor and power. @1:55 brass and more percussion make it feel majestic and regal. There are two final hits, the first one @2:19 is simple and ends on a neutral, root note - while a later hit @2:25 is more sinister and dark, with delayed vocals trailing out.

[SCORE: Views Of Jupiter] A dramatic exploration of Jupiter's deadly magnetosphere. Starts with a reverbed hit and pad that slowly break up into glitchy radio chaos. @:14 the mood changes dramatically as an almost mechanical/hydraulic-sounding drum section starts spare, then after a hit @:25 the mood grows tense and suspenseful as more percussion and disorienting strings progressively enter and even-spaced dissonant string stabs start intensifying. @:38 the percussion calms to provide a bed of movement beneath a grand and proud string and horn theme @:48, as we view the colorful auroras of Jupiter's magnetic poles. But we get too close - and @1:30 a chaotic flurry of fluttering flutes and piccolos suggest confusion or danger as we plunge into a growing bed of percussion starting @1:36. Good for suspenseful dramas or beautiful, but dangerous, things.

[SCORE: Views Of Jupiter] A brief flyby of the beautiful but enigmatic surface of Europa - a moon thought to have twice as much water as Earth hidden 50 kilometers beneath its smooth icy surface. Delayed piano and metal percussion create an active, neutral pulsing bed against shifting synth pad washes. @:20 and :46 choral/orchestral swells suggest epic beauty or wonderous visuals. A descending piano line starting @:56 transitions to a slower, more dignified, proud orchestral/choir-driven theme @1:08. Good for suggesting mystery, fleeting memories and (in the second half) monumental pride.

[SCORE: Views Of Jupiter] Accompaniment for the largest and most destructive event ever witnessed in our solar system: the impact of several celestial objects (asteroids) with a planet. Starting with a solo delayed piano note that feeds back on itself amidst increasing background noise (starting @:10), the cut settles down to an atmospheric bed of tinkles, random musical artifacts and hash as the meteors approach the Jovian atmosphere. @:26 five impacts/hits begin, leaving washes of delayed electric guitar noise. An ominous (but pretty) boy's choir @:34 followed by more persistent and increasingly violent hits are slowly joined by more orchestral brass, strings, and winds until :47, when the feces hits the fan with a build to a dissonant, frightening climax. Two endings: a big hit @1:11 and a smaller impact @1:21. Good for the slow dissolution of order and the emergence of chaos and violence.

[SCORE: Views Of Jupiter] A dynamic, fly-through of Jupiter's debris-filled ring with huge musical contrasts. At first we approach from a distance and notice the shimmering, faint ring - suggested by delayed wooden/electronic percussion and processed vocals, which start atmospheric, but slowly build into a driving, hit-filled bed of staccato strings, hand percussion and tribal drums @:29, where we plunge into the rock-filled belt, the camera flying carelessly between asteroids the size of cars. The percussion gets bigger @:36, with a break @:52 and multiple, mysterious hits starting @1:02. @1:13 we abruptly exit the ring as a gentle piano/bell reiteration of the main theme begins against the subtle fed-back delays of the previous section's percussion, letting us know we're safe. Hit-filled drama good for tense confrontations and fast cutting - and any beating that ends with a positive, almost romantic feel.

[SCORE: Views Of Jupiter] A childlike, innocent bed of tinkling bells and piano create a feeling of peace and tranquility until :15 when a building bed of orchestra and piano crescendos into a piano- and string-driven, anthemic melody that features a percussion break @:51, but returns, this time even bigger and more majestic with strings and brass providing the melody and huge batteries of orchestral percussion and tribal drums providing driving movement underneath. @1:36 we return to the tinkling, lilting bed of gentle, positive activity, but this time it's given more of a dream-like quality by adding atmospheric, haunting vocals. We end on a fairy-tale-esque major feeling @2:12. Good for expressing wonder and suggesting strength and triumph.

[SCORE: City Of Industry] Fast tempoed and positive, this cut begins with a bed of ostinato piano that gradually builds in grandeur and importance by progressively allowing a swirling bed of orchestral activity (starting @:10) to enter. Although the central rhythmic and melodic ostinato continues throughout, the mood shifts between moments of pride (@:37, for example) and subtle hints of mystery and intrigue. Good for news and suggesting the machinations of politics.

[SCORE: City Of Industry] Starting with a lonely, sterile bed of distant marimba and percussive synth lead, The cut is humanized and warmed by pretty orchestral winds and strings (entering @:20 and @:34, respectively). Although one of the slower-tempoed cuts in the score, it still offers plenty of movement and subtle activity, with a wide variety of dynamics. The beginning is good for suggesting mystery and intrigue while the later in the piece you go, the more of a positive and beautiful picture it suggests. Good for reminiscing, medical mysteries and when a sterile background transforms into a warm, serene feeling. Like bedwetting.

[SCORE: City Of Industry] Imagine watching a street corner in Manhattan for 24 hours compressed into two minutes. Starting fast and light with ostinato strings and trumpet accents, the cut gains gravity and importance @:26 with low brass swells, suggesting a transition - such as from day to night. @:54 a half-time feel suggests time slowing down, allowing a slower and sweeter string melody to create a feeling of tranquility and importance. Slowly the fast-tempoed string bed sneaks underneath again (@1:21), with a more reserved (but still busy) bed of string activity. Good for time-lapse shots, suggesting time passing and the growth/maturation of beautiful/important things. Sounds like an intelligent PBS-esque news theme for a political roundtable show for the highly caffeinated.

[SCORE: City Of Industry] A shimmering bed of dream-like watercolor sound that vacillates between sadness, mystery and danger. Starting (and ending) with discordant low harp hits (suggesting a high noon-ish clock-like striking of the hour), the cut uses washy cymbals, string/synth beds, low brass, plaintive winds and processed phrases from other cuts in the score to create a mental image of walking alone in a dense fog, lost in dark thoughts - being followed closely by some asshole with a harp. A subtle build of processed ostinatos start softly @1:19 and climax slightly louder @1:32. While this score's other cuts suggest the quick passage of time, this track suggests time passing - and slowing to the point of stopping.

[SCORE: City Of Industry] Something dramatic is slooooowly evolving. A pulsing mid-tempo marimba-driven rhythm subtly drives this neutral, shifting bed of call-and-answer phrases, primarily exchanged between piano and low brass. @:34 a brief brass passage introduces a moment of positivity and/or grandeur, only to fade back into the background by :51. Imagine short, static shots of city streets at night, with steam rising from manholes and dim streetlights. @1:23 the piece takes a turn for the romantic as a melodic string/choral "call" enters, only to dissolve into a simple piano "answer" @1:35. Good for neutral/newsy backgrounds and an all-snail chase scene.

[SCORE: City Of Industry] Harp, gamelan, bell trees, hand percussion and pizziCato (ASCAP) strings create a bed of warm, human movement that starts dreamy and light but incrementally grows in size and momentum. @:38 the feeling grows slightly tense as metallic and wooden percussion give the piece a feeling of forward movement and industry. A build to a fake-out ending @1:32 pauses the track only to have a brief percussion-only mix start back up @1:35. Good for news, nature documentaries, politics or time passing.

[SCORE: Remix America] Cartoon Country Gypsy. Starting with an attention-getting staccato figure, acoustic guitar and violin play the main theme, which is a bouncy, positive melody that brings to mind satiric Halloween music. A brief guitar solo @:11 gives the cut a lighthearted, playful feel. Returns to the main theme @:20.

[SCORE: Remix America] A darker, more dramatic track based around a light-hearted vintage swing piece. Using samples from a swing cut featuring acoustic guitar and violin, it starts with a heavily reverbed figure and hit - with a brief unadulterated glimpse of the original swing track. @:14 driving electronic/acoustic drums and delayed electric bass enter, creating a pulsing background. @1:51 a sad string passage provides a brief respite from the drama, only to crash back into a full, dramatic mix @2:09 that begins a climactic build to a restatement of the main swing sample @1:35 and the final hit @2:44. Good for cartoon-ish activity and suggesting a comic take on something scary, like Halloween.

[SCORE: Remix America] Several acoustic guitars start the piece with a lilting bed of countrified strumming while a dobro solos over them, giving the impression of the open road, clean country air and poor dental insurance plans. A pause @:10 allows a fiddle and mandolin to enter, giving the piece an even more Bluegrass feel. Positive and upbeat, this cut would work for any outdoors spot, travelogues or any situation where you find people wearing chaps, with the exception of the Village People or David Lee Roth.

[SCORE: Remix America] Light acoustic/electronic drums and Jazzy acoustic bass (in @:10) create a laid-back mix of old school Hip Hop beats and Country Folk. Progressively adding more acoustic guitars and dobros, the cut goes through various permutations of combining beats with processed Bluegrass instrumental phrases, allowing each element to be featured both alone and in concert. Although the tenor of the piece remains relatively constant, frequent drum/instrumental breaks and builds provide a multitude of transitions and edit points. Good for travelogues, comedies and old, OLD school Civil War raps.

[SCORE: Remix America] Blues is great when it's gritty and loose. Stool - not so much. This 1950s Blues cut starts with a shuffling bed of Leslie'd electric guitar and harmonica, creating a feeling of movement and activity, getting grittier and more attitudinal when a lead electric guitar and electric bass enter @:15. A positive but no-nonsense cut that works for road trips, beer commercials or anything that requires some musical testosterone.

[SCORE: Remix America] This cut takes a 1950s Chicago Blues cut, slices it up, processes it and contrasts it against Hip Hop beats and a brushed snare "train" rhythm, creating a bed of attitudinal sections that are divided by a multitude of breaks, transitions and hits. The beats give the cut a harder edge and more of a dramatic tenor. Works for sports (like NASCAR or Birthin' For Distance) and investigations.

[SCORE: Remix America] It's impossible to feel depressed after hearing this - although in writing this description I have heard the cut more than 40 times and only mildly feel like killing myself. An uptempo Swing piece featuring playful clarinets soloing over walking acoustic bass and electric guitar. Starts with a hit-filled introduction and builds into a fast Swing shuffle @:14 that introduces a fun, rollicking feel. This cut works well for comedies, scenes of busy activity or forward movement.

[SCORE: Remix America] Hip Hop beats create an insistent, driving element beneath snippets of 1930's Swing music, featuring clarinet, acoustic bass and electric guitar. The cut combines both elements together and also gives them space to breathe on their own, although the Swing samples are usually processed and stylized, creating a more contemporary feel. @2:08 both styles slowly merge together, creating a progressively thicker mix of sound and attitude, ending with a series of hits starting @2:20. Good for comedies, big events and for subjects that don't take themselves too seriously.

[SCORE: Remix America] Down-home, downtempo Blues/Country shuffle that suggests traveling on the open road, dusty plains, animal husbandry, going canoeing with Burt Reynolds or anyone who replaces the 'd' in "old" with an apostrophe. Starting slow and laid back/lazy, a slide acoustic guitar and harmonica jam together on some backwoods porch. Good for slow, hot days in the bayou or sitting around a campfire or swamp.

[SCORE: Remix America] Good for suggesting mystery and danger - with a hint of atmospheric synth and string pads creating a dark bed beneath (ironically) positive-sounding delayed harmonica and slide guitar phrases. @:22 a hit mix heralds in a pad-free section, then reintroduces dark pads and trap drums @:44. The mix continues to switch moods and mixes, adding more drums, piano, wooden percussion and more atmospherics with each successive hit (which also grow progressively more evil and threatening) @1:08, 1:18 and 1:28. By 1:33, the cut reaches its climax and darkest moment, with distorted harmonica caterwauling over sinister piano, driving drums and strings. Good for murders, missing people and violent confrontations.

[SCORE: Remix America] 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 Films end-of-the-year wrap ups music. Good for epic battles and journeys.

[SCORE: Remix America] Mid-tempo, clock-like Dub Reggae remix of a guitar duet. This cut features processed electric guitars, processed electronic/acoustic drums and delayed synth bleeps. Alternates between moments of positive, upbeat movement and spare, atmospheric mystery with several pauses and fake-out endings.

[SCORE: Remix America] From the first rhythmically manipulated fiddle/guitar snippets and the accompanying beat (in @:14), the cut delivers an edgy, almost lightly dramatic mid-tempo Hip Hop feel that mixes in various Country Jazz, Blues and Swing phrases. The whole cut is one constantly-changing amalgam of moods and sounds - but remains at the same tempo and is driven by the same beat throughout. Periods of cloud-like mystery begin @:43 and 1:31 - with washes of processed winds and synths - but return again to the beat-driven remix. The piece features two endings: one @2:09 with an atmospheric, mysterious feel, and a woosh leading to a more percussive, abrupt hit @2:28. Good for investigative stories, gritty urban scenes and Amish buggy-bys.

[SCORE: Iconoclast] One long and varied build to progressively positive and headstrong movements. In this scene we see an artist begin work on a painting by starting timidly and cautiously, suggested by pizzicato strings, ostinato high piano and light percussion. @:13 the artist's brushstrokes get more definite as incisive marcato strings and piano enter, suggesting a building sense of positivity. The piece grows in tenor adding marimba and @1:22 staccato cello and bass create a driving feel. The cut gets more upbeat, positive and active @1:49 as piano arpeggios reflect the brash and explosive colors splashing on the canvas. Good for suggesting growth and tons of movement.

[SCORE: Iconoclast] What more could we possibly do to suggest mystery, covert action and espionage/spies? We have the processed percussion. The pizzicato, tentative strings. The low, percussive piano hits. We have the clock-like ticking of low pizzicato strings (in @:38), not to mention the scraped cymbals and tremolo violin swells. What else can you possibly ask for? Gamelans? Fine - we included those @1:07 to add an air of mysticism and weirdness. Plenty of ways to suggest there's something tense going on - and that something's really, really not right. @1:36 the piece begins a build to a pseudo-climax as a climbing, ticking bed of staccato string activity fakes us out, calming @1:55 into a more sedate, but considerably more clock-like bed. Also good for news, suggesting the passage of time or building intensity.

[SCORE: Iconoclast] Lullaby-like, intimate, downtempo piece that feels sad, innocent, and yet not quite ready to take its own life. A cut reflecting the sadness of the artist as he struggles with loneliness and the breakup of his marriage after his adulterous affair. Shifting, sad string quartet lines play against a clock-like piano figure. No subtlety here - good for expressing loss, isolation, death of hope and if played loud enough, driving your neighbors to kill themselves.

[SCORE: Iconoclast] A walk through a gallery exhibition of several artists' work. Measured, subdued, almost clock-like track that uses a small string ensemble and percussion to create an almost mechanical backdrop for plaintive piano and solo violin that represents our artist's work - contrasting with an almost sterile feel starting @:38 where the whole motif changes as processed drum loops, piano and arpeggiated marimba, represents other artist's work. @:51 we return to the work of our artist, brighter and more positive in comparison, reflected by the return of the strings. @1:04 both motifs combine, creating an amalgam of both the bright and the cerebral worlds. Good for suggesting the passage of time or problem-solving.

[SCORE: Iconoclast] Plucky, upbeat piano, bongo, tambourine and delayed violin (in @:13) create a quirky, playful cut that seems slightly less precise than the other cuts in the score and more random and human. With various sections (like the hit-filled section @:39) that offer a variety of takes on this new attitude, we see the artist's new works reflecting carefree randomness. This cut is useful for suggesting frivolity and joy, while still maintaining a sense of intelligence and control. Good for happy montages, suggesting positive industriousness or the promise of new beginnings.

[SCORE: Iconoclast] Get out the hankies, people. Starting with slow, hesitant George Winston-esque solo piano, the cut suggests that something really sad has happened. @:16 an equally despondent solo violin and string ensemble enter, creating a beautiful, melodic accompaniment for slow dissolves of family photos, flashbacks to happier times or just slowed footage of bunnies, puppies and kittens exploding. But, have no worries: the last chord @1:48 suddenly becomes major, suggesting that everything has become alright - or the piano player misread the music. Either way, because of the many low pauses in the cut, there's an abundance of last notes to choose from. I need a hug.

[SCORE: Iconoclast] A shaker, processed wooden percussion and small string stabs against a slightly tense background create the impression that something is odd or askew. @:13 marimba and piano build the feeling of motion. The cut starts major and optimistic, but as the cut progresses, it becomes more minor and dissonant, suggesting greater difficulty and tension. @1:23 a steady bed of tension-inducing staccato strings begins, with an off-kilter, discomforting feel that brings to mind someone with a severe stroke trying to sing something pretty. Various breaks give the cuts convenient in- and-out points.

[SCORE: Iconoclast] Time for those thinking caps! PizziCato (ASCAP) violin, viola, cello and rainstick create a clock-like background for an inquisitive solo violin part, giving the impression that someone is making a decision or is about to lose the Jeopardy "Daily Double." As the piece progresses, a shaker part gets incrementally faster and more complex. @:44 a triangle and pizziCato (ASCAP) strings all combine to create a delicate plucking, ticking bed of activity with a sporadic piano and vibe lead, giving the impression of time passing. Good for time-lapse photography, visually busy material, or even news/neutral subject matter, including surveillance, mysteries and/or investigations.

[SCORE: Tomb Of Pachacuti] The opening scene: 800 years ago. We start flying high above the Peruvian coast, with swelling strings and horns suggesting the majesty of the mountains far off in the distance and beauty of the land. @:36 lilting woodwinds, gentle celeste and gentle string arpeggios play (and get progressively louder) as we descend towards the thick forest canopy. @:47 the music swells and builds to a more dramatic, mysterious feel with gothic-esque choir and orchestra signaling coming danger as we crash though the treetops, into the darkness. @1:05 we fly into a clearing, where we see hundreds of workers. The music builds as we rise up, showing many hundreds of workers, then thousands. Then, by 1:24 we're besieged by an orchestral storm of activity as we see many thousands of workers all creating a series of buildings and tombs. The cut has a fake-out ending @1:42, as the strings slowly descend back to calmness and serenity, only to be broken by the final hit @1:56. Good for action, Halloween and dramatic revelations.

[SCORE: Tomb Of Pachacuti] The date: 1923. A variety of different orchestral builds depicts a man going through pages of ancient texts and scrolls - and slowly, the terrifying secrets unfold. Starting serenely with a gentle harp figure, the mood slowly grows more tense and dark as waves of tremolo strings, choir, brass and rumbling percussion progressively enter. @:53 a pulsing string ostinato creates a growing sense of tension and activity, almost suggesting time passing. The largest and final build starts @1:50 with low, booming brass and tremolo strings that cascade down to a calmer, gentler section @2:11, ending with a surprising last hit @2:23. This cut is good for any kind of suspenseful revelation/mystery and offers a plentitude of choices.

[SCORE: Tomb Of Pachacuti] One seriously long build to a seriously big, positive payoff. A montage of our hero's trip through the wonders and beauty of the forest to find the entrance to the tomb. A cut that starts small, with strings, harp and a featured oboe that builds in tenor and size as we see more impressive elements of nature: colorful birds, exotic fruits, feces-throwing monkeys, etc. @1:00 ostinato low strings and slow wave-like orchestral swells begin, slowly building up. @1:25 we see our hero scaling a wall, with a whirlwind of activity that climbs in pitch and excitement - until @1:40 the orchestra explodes into a positive, celebratory swell of pride and wonder as we see, for the first time, the far-reaching ruins of the city beneath which Pachacuti lay buried. Perfect for expressing the wonders of nature or important/emotional reunions.

[SCORE: Tomb Of Pachacuti] Inside the dark catacombs. Tremolo strings, low brass and harp suggest that something evil and hungry is going to pop out anytime and kill everyone within listening distance. @:47 the piece begins the slow, uneven ascent into a climax as the brass and strings crescendo into an impossibly loud cacophony of tension. @1:11 the mood slowly grows calmer and dissipates as the strings descend back to a subtle suspenseful bed by 1:41. An extra, threatening swell ends the piece @2:02, to provide an alternate ending. An old-school orchestral suspense piece good for stalkers, psychos and Halloween.

[SCORE: Tomb Of Pachacuti] Alternating between frenzied activity and low, dark, foreboding pauses, this cut details our hero's escape from the millions of insects that guard Pachacuti's tomb and the resultant chase through the narrow halls of its catacombs. This section offers plenty of hits and climaxes, and results in a narrow escape starting @1:32 with the mood of the music slowly becoming more heroic and slightly positive. @1:49 wave-like orchestral and choral swells detail the slow crumbling of the catacombs as the music also suggests a sense of loss and devastation. @2:17 the music reaches its heroic peak, letting us know he's escaped the crushing death - but has also left his life's research forever buried beneath the rubble.

[SCORE: Tomb Of Pachacuti] The final shot of the film, as our hero's boat leaves the shores of South America to begin his long journey home empty-handed. Starting mysteriously with waves of swelling tremolo strings and harp, the cut becomes more melodic and sad @:16 with a string line over ostinato winds and glockenspiel, suggesting the loss of childlike innocence. @:49 the camera suddenly flies away from our hero's face, back across the water and returns into the dense jungle with the mood slowly becoming more uplifting and positive as the orchestra and choir build to a crescendo @1:05, as the camera widens out to show the devastation of the destroyed tomb, now safe from man's intrusion. But as the camera gets closer to the rubble, the sad string pads return with a plaintive oboe solo as the camera rests on one gold statue of Pachacuti, lying exposed on the rocks, within easy reach - never to be found. Good for momentous and overcoming adversity.