[SCORE: Cartoonigans] [A CORNUCOPIA OF CARTOON CLICHES] Animated playfulness. Big opening fanfare starts us off followed by just strolling along' music @:05. It's morning over the fields @:20. Trouble starts brewing @:30. More horns and strolling carry us to the end. This 30s and 40s-style medley is great for parodies, fish-out-of-water stories and animated clichés.

[SCORE: Cartoonigans] [FRANTICALLY ANTIC CHASE MUSIC] Animated playfulness created by a whirling tornado of strings and winds with an almost swing vibe. Gets more positive and whimsical @:15, with a few expertly-placed pauses in the action @:23, :27 and :30, returning to full-speed ahead ridiculousness @:32, then running in ever-expanding circles all the way to the final hit @:45. Good for cartoony chases, running in circles or sports bloopers. Somehow manages to hybridize classical, jazz and hoedown.

[SCORE: Cartoonigans] [CARTOON SADNESS ] The tiniest violin in the world is so very, very sad for you. Stereotypical "My ice cream cone fell, I dropped my money in the well, I got shot in the head" music. Sarcastic strings and woodwinds underscore your exaggerated misery. You take a quick trip and fall @:15 then pull yourself up by your elastic suspenders and continue on your not-so-merry way to the final hit @:36.

[SCORE: Cartoonigans] [SLIGHTLY DARK CARTOON ACTION] A train careens towards a cliff and only our tiny hero can stop it! A slightly dark train-like motion with a hint of danger begins this orchestral piece. Perfect damsel in distress moment @:14. Gets very serious @:27 and esp. @:42 with French horns and strings blaring that someone better do something soon. Is tense all the way to the end, when a positive-sounding flourish lets you know the super mouse / chihuahua / ferret has caught and tied up the villain in wrapping paper with a big bow. Good for cartoony chases, elusive adulterers, and animation.

[SCORE: Cartoonigans] [OVER-THE-TOP CARTOON TANGO] This is the scene where the hero and villain tango with each other while also sword fighting and wooing a damsel all at the same time. Swashbuckling and action-packed, this cut is good for expressing dramatic passion, suave pirates, and, um, tangos. Starts off big, has a bungled step @:17, but keeps on hoofin'. Takes a dramatic turn @:45 to :58, when piece gets more romantic. Heat turns up again @1:17 until final climax @1:38.

[SCORE: Cartoonigans] [CARTOON WALTZING] Classical Viennese-style waltz with a slightly cartoonish sensibility. Good for classing up the joint, this cut is so straight, it's practically sarcastic. Useful for clueless / oblivious heroes, ironic situations or playing on audience expectations (e.g. football players at the ballet). Gets delicate @:33, but quickly builds up again.

[SCORE: Cartoonigans] [MAGICAL AND MYSTERIOUS] Closer to wizards and castles than bunnies and mice, this track opens with a sorcerer's flourish, mystical chimes and just a hint of menace. This cut easily conjures up witches stirring a pot or magic spells being cast. One could also start piece @:36 for a more otherwordly ÔøΩentering another dimension' effect. Section starting @1:03 is downright scary, implying someone is caught in mortal peril of some kind or other. Also great for Halloween.

[SCORE: Cartoonigans] [PLAYFUL MISCHIEVOUSNESS] Not so much a composition as a series of stereotypical segments that can be cut and pasted wherever you need them. Sneaking pizziCato (ASCAP) strings begin the piece interrupted by clarinet calls. Hits @:23 announce a new section. Starts over @:45 with slowed-down boogie-woogie pizziCato (ASCAP) strings, then becomes very busy @:55 with lots of start-stop action. Good for animation, interstitials or transitions.

[SCORE: Cartoonigans] [SNEAKING -> FRANTIC ANTICS] Deceptively still intro leads to one crazy chase. Typical sneaking pizz strings begin with start-stop actions, but real piece begins @:12. Really takes off @:29 in a rushing, whirling frenzy of orchestral activity. Has big finish @:45. Great for chases, cartoons and cartoon chases.

[SCORE: Sorry for Your Loss] [QUIET DRAMA -> BIG DRAMA] Smart, taut dramatic music that starts small with reserved piano and ticking, then steadily intensifies. Adds textured electric guitar effects, bowed metal and an effected human scream. Multiple nylon string guitars through various delays create layers of pulsing rhythm. A sound-design break @:19 leads to a haunting cello theme @:21. Big orchestral percussion and a tambourine hit against an empty fire hydrant enter @:50 raising the dramatic stakes significantly. There's an edit-friendly rhythmic section starting @1:08 that leads to the final hit @1:31. Good for human-scaled dramas with a sense of loss, procedurals, and provocative documentaries.

[SCORE: Sorry For Your Loss] [ANGRY, DRIVING PERCUSSION] Brutish, tense and full of attitude, this percussive cut is great for dramatic conflicts or any situation where something is bashing the crap out of something else. Opens with tense pads and processed percussion that steadily gets more intense until :23. Deep, low strings enter @:29, providing heft and dramatic weight, as well as another good starting point. New section starts @:51 that's big sounding, but a little beddier. Has good double endings @1:36 and 1:44. Production note: percussion is a combo of bamboo sticks on a wooden stool, empty Diet Coke bottles against a wooden floor, tambourine against an empty fire hydrant, percussive electric guitar textures, throwing around various metal products, effected taiko and frame drums. These processed organic sounds give the piece a believably modern or even futuristic bent, without sounding cheesy or synthy.

[SCORE: Sorry For Your Loss] [EMOTIONAL GRIEVANCE -> HOPEFUL DETERMINATION] This piece evolves in two parts as a sense of sadness and loss gives way to a feeling of release and hope. Muted percussion, de-tuned Bolivian charango, Turkish oud + cello establish a mood of mounting grievance until :51, when a break in the clouds appears followed by string chords floating over a bed of percussive ticking @1:00. Here, you can almost see someone's face going from tearful to determined.

[SCORE: Sorry For Your Loss] [CREEPY -> DEVELOPING MYSTERY -> UNSETTLED EPILOGUE] Deepening intrigue and emotion pull you along a chain of events slowly spiraling out of control. Massive hits @1:44 are miles away from the spare, mysterious rock-like sounds (actually a filtered frame drum and 808 kick) beginning the piece. Hammer dulcimer, piano and strings around :29 slowly introduce another layer of complexity to the track with a break @:45 setting up the thematic strings @:51. Things really start getting hairy around 1:12 with slightly dissonant subcurrents of percussion, strings and French horn. Reaches climax @2:12, followed by more cool stone percussion and a surprising hit @2:24. Good for espionage, mysteries or documentaries.

[SCORE: Sorry For Your Loss] [MEDIUM DRAMA -> BIG DRAMA / THRILLER] After fourteen seconds of setup, the piece jumps into big drama / thriller mode with driving percussion, textured and percussive electric guitar effects and a classical-feeling string section. Hits a new gear @:43, getting bigger along the way. A good cut for dramas, thrillers, tense situations and global espionage. Also has a bit of film-trailer vibe.

[SCORE: Sorry For Your Loss] [SOUL-SEARCHING -> GLOBAL ACTIVITY -> INTROSPECTIVE] Thoughtful guitar and subdued percussion create a tone of dramatic introspection. Useful for examining the road of unintended consequences - how decisions made with good intentions can have unexpected consequences. Also good for following a money trail, breaking down corporate bad-doings or political treachery. Bigger percussion (including several brushed snare drums) and a stronger melody enter @:31, breaking down to a solo, thoughtful piano @:59. Begins growing again @1:39, then finishes itself off with a big hit @2:26 to guitar and solo cello, with an expressive coda at end.

[SCORE: Sorry For Your Loss] [INEXORABLE MOTION -> EPIC DRAMA] Events are set in motion with grave consequences. Slightly mysterious opening yields to a sense of import and gravitational pull around :20 when strings enter. Gets bigger and more positive / emotional @:48 with more strings and gripping cello melody. 1:07 sees the piece step up once more to a big hit @1:14 followed by a dramatic pause. Builds up again to a forceful climax @1:55. Great for news, anything of global consequence, even triumphant sports stories. Also has "against the odds" qualities.

[SCORE: Sorry For Your Loss] [NASTY PERCUSSION -> BUILDING ACTION] Driving, dramatic and dark. Distorted guitars and massive percussion (including effected mop bucket hit, metal pencils struck against a glass vase, bamboo sticks on a Grand Piano lid and snare drums) combined with coursing strings create a sense of danger, action and menace. Builds to a big hit @1:06 then dissolves in a sea of bowed metal. Slowly gathers steam, esp. with guitars @1:46, and powers all the way to another climax @2:11. Good for drama, chases, and espionage.

[SCORE: Sorry For Your Loss] [EMOTIONAL AMBIGUITY / SENSE OF REGRET] Slightly sad and introspective, this cut is a glimpse into the inner life of someone who did bad things for good reasons. Acoustic guitars, de-tuned charango and modest percussion create a deliberately beddy cut that never blows up. Takes slight percussion break @:48, but otherwise exists to provide a backdrop for psychological explorations, tragic recounts of child abuse, domestic violence, etc., or whenever you need music to be slightly sad / dark without going over the top.

[SCORE: Golden Towers] [BIG ADVENTURE / EPIC SCALE] Traditional and timeless adventure music. Opens with the camera sweep of a magnificent city, resplendent in its glory. Full orchestra provides a majestic setting. Brassy fanfare opens things up with a blast followed by an epic theme that takes it down a notch @:24 as the adventure and intrigue develops. Section @:40 provides plenty of holes for copy, building up to a massive-sounding climax @1:02. By 1:24 we're back to intimate as we're shown images of the hero's family and history. Sounds very 50s / 60s in a cool way through 2:19. Has fake out ending @2:40 followed by big-ass final hit.

[SCORE: Golden Towers] [EMOTIONAL / PROUD] This proud, majestic cut is good for aerial sweeps of impressive monuments / epic landscapes as well as cataloging the deeds of warriors long gone. Horns, strings and choir (@:11) open this emotional tribute to duty. Begins slightly weepy and 40s / 50s-ish for the whole first minute, esp. when the voices become prominent again @:48. Big modern percussion finally enters @1:12 adding weight and meaning to the sacrifices. Good for WWII settings, and parodies.

[SCORE: Golden Towers] [BUILDING / EPIC COMBAT] From the fire of a thousand forges to the tip of warrior's sword. Beginning in the armory as muscular men hammer on anvils while we cut to the opposing army assembling outside the city. Low pulsing strings and blaring brass put you on the battlefield at the moment armies clash. A French horn call @:33 provides a medium-sized moment of triumph followed by a bigger rally @:58 with string ostinatos. There's a timeless quality to the writing and recording that makes this equally useful for combat in ancient Rome, WWI / II or fantasy settings. 1:42 becomes more martial with snare drums leading to final hit @1:54.

[SCORE: Golden Towers] [SADNESS -> RESOLVE] The aftermath of battle, with fallen bodies strewn about and ash lingering in the sky. Emotional and a little melodramatic. This track starts with slightly mushy 50s-ish strings leading to a moment of truth @:38, when the piece gets more resolved. Gets more determined @1:12 with insistent strings and percussion. French horn steels the hero up for some revenge served either hot or cold. Good for hinting at future revenge, dramas and parodies.

[SCORE: Golden Towers] [MARTIAL DRAMA] Important-sounding and cinematic, this cut uses full orchestra (strings, horn and big percussion) to paint a picture of big guns on the move, whether figurative or literal. Would work great for montages of generals directing the action from a bunker, infantry on the move and politicians making speeches. Great for war, sports or politics.

[SCORE: Golden Towers] [WARTIME DRAMA] The enemy has been spotted and soldiers take to their tasks quickly. This is just one blustery build to a big hit @:53. Straightforward percussion, brass and climbing strings make this one good for fantasy or historical battle setups. Horns in @:29 up the drama, while change-up @:35 provides contrast.

[SCORE: Golden Towers] [REFLECTIVE MOTION -> TRIUMPH] The musical equivalent of looking into a crystal ball and seeing both the past and the future. This cue starts mystical, with solo strings, nylon guitar and flute @:19 adding an element of magic and wonder. Turns positive and more wondrous around :53 when a choir joins in. Brass soon follows, putting a definitively positive stamp on the piece. Good for providing a sense of history, followed by triumphant wonder. Also evocative of those moments when long-abandoned cities / worlds are brought back to life.

[SCORE: Golden Towers] [BUILDING PERCUSSION] One big, driving, percussive build. Massive hits amid a pool of bowed strings and metal announce that something f-ing huge is coming your way to stomp over everything. Ever-growing percussion, insistent strings and rising sound design create a mood of heightened tension, chaos and conflict.

[SCORE: Mucho Gusto!] [COMEDIC TANGO] Saucy, effervescent Kitsch. This cheeky tango is an homage to 70s cruise-boat-style bubbly fun. Opens with big brass and string flourishes followed by just a dash of Latin intrigue. The tango is played sexily straight @:42 for the self-styled lover who is way too into himself and his moustache. Good for love gone wrong, faux romance, parodies, romantic comedies, and Valentine's Day.

[SCORE: Mucho Gusto!] [TROPICAL SWING] Sounds like the theme to a 70s game show set in Havana. This Latin Big Band / nightclub cue features swinging toms, blasting brass and ultra suave congas with just the right balance of "are you serious?" @:23 there's a nice series of hits. Section @1:36 provides some dramatic moments to cut to, while @1:52 offers up a cheeky rhythmic breakdown. Good for romantic comedies, hilarious sex and anytime Charo's on screen.

[SCORE: Mucho Gusto!] [LATIN COMEDY] Casio Bossa Nova. A $9 keyboard (the Casio VL-Tone for us geeksters) lays down an awesome beat as a full Latin band - brass, vibes, strings, congas and live drums - tries to keep up. This Tropicalian gem plays it pretty straight and is useful for anything lame, ridiculous or sublimely snarky. It's also a good tropical scene-setter. Descending horns @:18 are useful for comedic tension. Section starting @1:55 has a surprisingly amazing drum solo.

[SCORE: Mucho Gusto!] [ISLAND CHA CHA] You are sipping something fruity or doing something really dorky. Or both. Vibes, guiro + cheesy synths @:32 combine with cheesy strings in a cheese showdown. Reprise of theme @1:03 includes subtle flugelhorn stylings, while the segment @1:20 is perfect for introducing special guest stars, like Susan Anton. @1:56 the cut has almost dramatic horns followed by a bed featuring big horn hits. Useful for happy endings on islands, 70s kitsch, and comedy.

[SCORE: Mucho Gusto!] [INTRIGUE -> ROMANCE -> DRAMA] The best theme music to a 70s show that never was. Funky guitar, strings and horns take you to primetime 1979 when this music would start right after an Aqua Velva commercial. This cue is one part danger, two parts romance with a side helping of beefcake, all set on a cruise ship or magical island. Flirts with you @:20, then gets sneaky and dramatic around :28 until main theme reappears @:45. More hijinx follow @:45 and @1:26 (picture a goon and the lead hunk wrestling with a gun). Good for 70s, early 80s parodies / homages, comedies, or really bad heroes.

[SCORE: Mucho Gusto!] [LAID BACK TROPICALIA] Remember those late 70s / early 80s comedies where the guy ends up in the Caribbean sipping daiquiris while surrounded by babes in DayGlo bikinis? This is the end-credit music to that movie. This Mambo-inspired cut features marimba, along with drums, strings, horns, flutes and Latin piano. Kicks in @:17 when you can practically see the camera begin its pullback over the island and the credits start scrolling. Rhythmic break @:59 sets up a high energy section of the piece. Great section @2:13 provides chill beds punctuated by big drum and horn hits leading up to the finale. Good for mambos, light romance, and laid-back good times.

[SCORE: The Battle For Eridian] [ADVENTURE -> MYSTERY] Timeless adventure and mystery music for the opening credits. Brass fanfare (@:06) announces that we are about to begin an amazing journey that takes a slightly darker turn @:20, building up the tension but not releasing it. Gets extremely mysterious, almost creepy @:47, with a softly conclusive strike @1:06. Good for old-school adventures, mysteries or even fantasy settings.

[SCORE: The Battle For Eridian] [DRAMATIC MELTDOWN -> ATMOSPHERIC MYSTERY] A piece in two parts. The first :45 or so feels like a dramatic descent through a massive vortex. Swirling strings, evocative sound design and bending brass suck you down until you have completely vanished by :50. Second half is very atmospheric, almost drone like, as if you've entered another dimension. Good for time or dimension-travel, mysteries or being sucked down a wormhole.

[SCORE: The Battle For Eridian] [MOURNFUL BEAUTY] This piece evokes longing, regret and subdued sadness in equal measure. Tremolo strings, soft celeste and solo French horn start you on a guided tour of the failings of man. Has more pathos around :35 as the horn moves to the foreground. @1:05 the sadness baton is passed to the oboe. Beautiful and sad, this cut is good for tragedies, regretful looks back or mournful glimpses of lost civilizations.

[SCORE: The Battle For Eridian] [GOTHIC VILLAINY] Classic cinematic villainy. From the opening brass + chromatic, dissonant strings, you can almost see the bad guy (Dracula? Nazi? Evil Beast?) in a tower plotting very, very bad things. Starts big and dissolves over time. Low muted trombones combined with eerie sound design in second half create a mood of impending conflict. Piece gathers steam again around 1:36 for the final shot of the villain. Good for introducing the bad guy, Gothic stories, and Halloween.

[SCORE: The Battle For Eridian] [WONDER -> TRIUMPH] This classic-sounding cinematic theme builds slowly but surely to a moment of triumph. Our favorite bit happens @1:38 when the brass opens up and the tympani joins in dramatically. Turns sweeping and lush around 2:02 and hits again @2:17, then peters out cinematically. Good for superheroes, finding the Holy Grail or finally escaping from a bad situation.

[SCORE: The Battle For Eridian] [INTENSE BATTLE MUSIC] Great for combat of any kind: wartime, political or sports (e.g. it's perfect for football). Towering brass and heavy snares instantly say clash of two mighty forces. Changes @:52 to faster feel - same tempo though - but with a superfast trumpet figure ratcheting up the drama quotient considerably. Has suspensefully held note @1:25, before finishing itself off with a self-contained ending filled with brass and snares.