Do you dream of becoming the next Ennio Morricone, Rachel Portman or Hans Zimmer? Learn how composers score film music and how you can start too.
The best film music composers create work that is recognised across the globe. Unmistakable compositions, like the haunting whistles of ‘The Good, The Bad and The Ugly’ motif by Ennio Morricone, John Williams’ ‘Duel of The Fates’ or the breathtaking Hans Zimmer score for Interstellar, are the culmination of years of practice, dedication and training.
At dBs Institute, we train students to become film composers through our BA (Hons) Music & Sound for Film & TV degree, taught at our Bristol and Manchester campuses. This degree, alongside our other sound and audio courses, educates our students in the technical and ‘soft’ skills needed to forge successful careers as film composers. And, they’re taught by industry professionals who have had successful careers and can share that knowledge, experience and some of the contacts they have nurtured over the years with our students.
The film-music industry is difficult to break into, but like all creative disciplines, there are always routes for people with perseverance, determination and passion. If composing film music is your dream career, explore how composers score film music and how you can get started here.
‘Film music’ is a broad term encompassing most of the non-dialogue audio we hear in films, including the original score, soundtrack and diegetic and non-diegetic music in a movie.
The recognisable music featured in a movie is known as its ‘soundtrack’. If the music in a soundtrack already exists, it must be licensed by the producers. For example, music biopic soundtracks, like those in Ray or Walk The Line, usually include licensed music appearing in the order they appear in the film.
However, the word soundtrack has a broader meaning. In films where a composed score takes centre stage, like Interstellar, the segments of that score constitute the soundtrack. In this context, the soundtrack may also include parts of dialogue and sound design and the term ‘soundtrack’ refers to the commercial audio product released to the public shortly after the film first screens.
A film’s ‘score’ is always a bespoke piece of music, composed and performed specifically for the movie. ‘Cue points’ (points in a film that require musical accompaniment) are outlined by directors, who commission composers to create the music.
Composers are provided with a cue sheet and excerpts from the film which they can use to help direct their composition. They will then work with orchestras, instrumentalists, and professional music producers, or produce the music independently, to create all the music cues for the film.. The composition always has to ‘sync’ to the scenes and will likely pass through several review stages before approval.
Watch the guest lecture below to learn how dBs Institute alumni Jamie Bird and George Ramsden created the score, sound design and Foley for the award-winning short film Muntjac.
Diegetic sound is music that is audible to characters in a film. It is part of the story’s fictional world. For example, diegetic music could include music playing through a car radio or at a gig the protagonist attends.
Music, sound effects or sound design that are not heard by the characters and do not exist within the fictional world of the film, are called non-diegetic. Usually, a film’s score and sound effects, such as the iconic high-pitched violin shrieks during the shower scene in Alfred Hitchcock’s ‘Psycho’, are non-diegetic.
Sound design isn’t technically ‘film music’. However, it is a vital element that ties together everything we hear at the cinema.
Foley art, a creative discipline used to reproduce footsteps, creaking doors and other environmental sounds that aren’t captured by microphones during filming, and object noises, like ray guns or lightsabers, all come under the umbrella of sound design.
Here's how one of the most iconic film sounds in cinema history was created.
Film music composers portray so much emotional meaning in their work and their function in developing the narrative and atmosphere of a film is broad. To help navigate the role of a film music composer, Hans Hess, an award-winning film composer and our Music & Sound for Film & TV Course Leader, shared the guidance he often passes to his dBs students when assessing their work.
“A composer’s job is not just to underscore scenes but to add layers of interpretation. The music often provides subtext, guiding the audience toward a deeper emotional understanding of the narrative. For example, in a tense scene, the music might emphasise a character’s inner turmoil or foreshadow an event that isn’t explicitly stated on screen. This creates a parallel narrative that runs through the film, giving added depth and sometimes even shaping how the story is perceived.”
“As listeners, we all come to music with different emotional histories and personal contexts, which can shift how a soundtrack is interpreted. A successful composer anticipates this by creating music that speaks universally but allows for individual experiences. Some may feel nostalgia, fear, or sadness from the same piece of music based on their experiences. Thus, a composer’s role extends to tapping into a collective emotional language while leaving space for personal interpretation.”
“Music acts as a bridge between the viewer and the visual narrative, creating an immersive environment. It not only helps us relate to the characters and plot but also provides emotional cues that might otherwise remain unsaid. This dynamic relationship between music and visual storytelling means that the composer often plays a pivotal role in how a film is ‘read’ emotionally by the audience. A well-crafted score deepens moments of suspense, passion, or grief, turning a passive viewing experience into an active emotional engagement.”
“There are certain emotions and concepts that are difficult, if not impossible, to articulate through dialogue alone. Music, with its abstract nature, has a unique power to evoke feelings and convey themes that words might limit. For example, think of Inception's score by Hans Zimmer; the deep, reverberating brass sounds create a sense of time distortion and weight, capturing the film’s complex themes without a single spoken word. Composers work in this space, where they can express the ineffable and elevate a film’s impact.”
“The concept of music as an “invisible character” is compelling because it reflects how essential music can be to the film’s emotional and narrative flow. This character is always present, subtly influencing the viewer’s perception, yet rarely acknowledged. A well-scored film can make the audience feel emotions without consciously realising the source of those feelings. A sudden silence in the music can be as impactful as a crescendo, signalling that something significant has changed in the story.
“In essence, a film composer acts as a co-storyteller. They must not only understand the plot, characters, and emotional beats of a film but also translate those elements into a musical language that complements the visual medium. The goal is to be both powerful and invisible—to shape the audience’s experience without overtly drawing attention to the music itself.”
Film composers score film music in several ways. From composers who work completely ‘in the box’ - i.e. using only music production software on a computer - to those who hire orchestras or those who write, play and perform all of the music themselves, the ways film composers score film music are innumerable.
Exploring the types of music production software, hardware and instruments film music composers use can help you understand their purpose and how you can use them in your work.
In the 21st century, it’s unlikely that you will find a film music composer who doesn’t use a Digital Audio Workstation (DAW). DAWs are software programmes composers use to record, produce, arrange, edit, sample and manipulate sound for their work. They are fundamental in the modern era of music creation and the most popular include:
Discussing where to start with DAWs, Hans Hess says, “Logic Pro is excellent for beginners due to its user-friendly interface, while Cubase and Pro Tools are industry standards for film music, offering strong video and post-production integration.”
As well as DAWs, composers will also use virtual instruments (VSTs), softsynths, libraries and music notation software that can assist through the composition process. For example:
Music composition doesn’t always involve the exclusive use of virtual instruments. There’s almost always an analogue element to the composition process, whether using modular synths, a live orchestra or a solo instrument. Although virtual instruments are invaluable in helping composers create film scores, incorporating live players adds a realistic and expressive dynamic to the music.
Depending on the style of composer and composition needed for the project, a range of instruments and music hardware might be used to create the sounds that are sharpened later inside a DAW.
Libraries are great tools for composers, but they can also be a great source of income. Learn how in this guest lecture with pro composer Paul Honey.
Our BA (Hons) Music & Sound for Film & TV Degree and other sound and audio courses help you learn all the skills, knowledge and techniques you need for a career as a film music composer. However, there are some broad tips to consider as you start your journey.
It’s important to work with the director, not against them. Your job is to improve and elevate the work of the director in an elegant and sometimes subtle way. “Stay flexible with your compositions,” says Hans Hess, “Film scoring is collaborative, and being adaptable to the director’s vision is essential.”
Don’t rush into the technicalities of what you are creating. Start with broad brushstrokes and primary colours. What is the mood you want to set? What are some of the broad themes that you want to convey through the score? How can you translate such narrative elements of the film into music? These are the main questions to consider initially.
When writing your score, write with the particular skills of the musicians you are using in mind. For example, if you are the musician performing and composing the score, write to your strengths and the style you most enjoy playing; within the brief from the director.
Always produce the music you’re creating with the listening environment in mind. Think about where people will listen to your work and make sure that it will have the impact you imagine it having in that setting.
Spotting is, “The process of observing the entire film or scene while asking key questions,” says Hans. “Questions like: When does the music come in and out? What’s the function of the music? What’s the BPM & Time Signature? What are the main hit points and developmental sections? Does the tempo need to change? What’s the story about, and what mood or genre fits? What instrumentation is needed? These questions are crucial in aligning the music with the film’s emotional and narrative arc.”
For additional tips on composing music for film, our friend Adiescar Chase, who composed the incredible Netflix show Heartstopper, delivered a guest lecture at our Bristol campus.
Film directors and film score composers need to have a close relationship. This means that they have to trust one another, be willing to take criticism and understand what each other is looking for.
In the past, it was common for composers to receive a detailed cue sheet once the film was completed, outlining where the music should enter, its style, and what it needed to sync with. However, in today's filmmaking process, the approach is often more collaborative and flexible.
Composers are frequently brought into the project much earlier, sometimes during the editing or pre-production phase. They might work closely with directors and sound designers to develop a musical palette that evolves alongside the film, rather than waiting for a fully completed cut. While cue sheets are still used, they serve more as a reference for specific scenes rather than dictating the entire score upfront. Modern film composers often have to balance their compositions with evolving sound design and effects elements, requiring a more adaptive approach as the audio landscape of the film develops throughout production.
For some tips and tricks on workflow for film score composition, check out this guest lecture with Paul Honey.
Finding success as a film music composer involves much more than making arresting music. It’s about developing your style and learning the soft skills required to find work.
Being a successful film composer requires stylistic and technical flexibility. However, every great composer will have an aural identity through the instruments they like to use, their processes and the treatment of the sounds they create in the production phase.
Finding that style requires experimentation. If you prefer to create compositions that work in a horror context, experiment with music that would fit better in a fantasy or romantic comedy film and vice versa. You can discover what sonic elements are consistent across these different genres through experimentation. Lean into your style and create work that sounds distinctly like you but can still apply to other contexts.
Practice makes perfect when honing any creative discipline. For film composers, this also includes hands-on experience, serious study and dedication to mastering their craft. Through repetition and a deep understanding of music theory, composition techniques, and film scoring principles, you'll refine your skills, expand your knowledge, and accelerate your workflow. These critical skills enable you to meet tight briefs and deadlines when working in the industry after your studies.
Learn how professional composer Adiescar Chase started her career in this part of her guest lecture at dBs.
At dBs Institute, we provide industry-standard, degree-level training for a wide range of creative disciplines. Our BA (Hons) Music & Sound for Film & TV Degree, alongside other sound and audio courses, can help kickstart your career as a film music composer. Our expert tutors will teach you the technical skills required and open up industry experience opportunities to make new connections and find work.
Students who graduate from our Music & Sound for Film & TV often go on to work in the industry, and many of our graduates have composed scores for feature-length and short films, documentaries and TV series.
“dBs is a really supportive community,” says graduate Lulu Thompson, who was an Assistant Composer on the Apple TV show ‘Constellation’, “It feels very personal with your tutors; you know them and they know you very well. It feels amazing coming to a uni where we all started out in the same place and we’ve all watched each other build and grow as composers and really flourish. It’s been amazing.”
One of the most important things to work on to become a professional film score composer is your portfolio. Building a portfolio of work, whether your compositions have been used for film, TV or game projects or not, is a crucial part of showing directors what you are capable of.
Building a portfolio is a long process and you must curate it in a way that shows off your strengths and captures your identity as a composer. One of the great things about studying for a specialist degree in Music & Sound for Film & TV is that most of the work you produce throughout your degree can also be used for your portfolio!
As you cut your teeth and learn the techniques and skills required, you will also be learning how to build a portfolio, what to include, what not to include and how to produce the work that can populate it.
Networking is vital for almost every part of the creative industries, but especially the music industry. Meeting other composers, filmmakers, directors, producers and writers is essential to get your foot in the door.
Networking can feel like a dirty word, but it doesn’t have to be; not all networking is disingenuous or forced. Think of networking simply as building relationships and meeting like-minded people. The more people you know, the better your chances of being able to start a project.
Networking was crucial for the team behind the award-winning short film Muntjac; learn how here.
The connections made during university can be some of the most valuable for music professionals. You never know where your fellow students will end up and we know from experience that many of our students have gone on to work together after they graduate.
Want to kickstart your career as a film music composer? Learn more about us and our sound & audio courses on our website or at an Open Day!