In this tutorial, I'm going to show you my process for taking a simple piano sketch of a trailer cue and fleshing it out into a full cinematic piece.
Rather than just having the piano playing alone, I'll show you how to fill up the sound and create the landscape you really want the listener to hear.
The Foundation: A Simple Chord Progression
This sketch started with a very simple descending baseline: D - C - B♭, then returning up to C. It's a very common chord progression in trailer music, especially when you want that dramatic feel.
Here's what's happening harmonically:
- D minor (root chord)
- C major (flattened 7th degree)
- B♭ major (flattened 6th degree)
- Back to C major
It's a versatile sequence that I use all the time, particularly in my piano writing. I've kept a little ostinato that hints at the chords without giving too much away. The working title for this piece is "Penance."
My Vision: A Slow Burn Cue
I could take this sketch in many directions - fast-paced action, pure piano development, or something else entirely. But for this demonstration, I want to make it a slow burn cue. That means long, slow chords that breathe and swell like the sea, with uncomplicated melodies that give room for the visuals to take over.
Step 1: Creating Space and Atmosphere
When I think of slow burn, I think of space - huge, vast expanses and twinkling stars.
I want to get those twinkling stars in first, which means creating a very distant hint of movement that hints at the true scale of the piece.
The Marimba Trick
One of my favourite tricks is loading up a marimba. I know what you're thinking - marimba sounds happy and bright, like advertising music. But here's the key: I'm going to add effects to transform it.
I add:
- Delay to make it less straight and clean
- Long reverb for large, outdoor spaces (I use Mountain echoes)
- Use a low-pass filter on the output EQ to hear more of the higher details
The result is this nice shimmer that hangs in the air and creates atmosphere.
One important note: I'm careful about implying tonality too early. If you throw in the third of the chord right away, it immediately colours whether the piece sounds major or minor. Sometimes, with an intro, you want to keep it ambiguous so it could potentially be used across different genres.
Step 2: Introducing the Orchestral Elements
Using Track Stacks for Workflow
Here's a workflow tip: I've pre-saved groups of instruments as track stacks. Instead of loading a massive template, I can just pull up my "Trailer Strings Legato Stack" or "Trailer Brass Stack" when I need them. This gives me:
- First violins
- Second violins
- Violas
- Cellos
- Double bass
It's a simple way to improve your workflow without feeling constrained by a full template.
Building the Brass Foundation
I start by introducing the chord sequence using brass. My vision is for the intro to quietly state the chords, gradually building and bubbling. I particularly like using Spitfire Albion brass for this - it has a really nice, soft, subtle sound that's perfect for choral writing (or what we call "soft pad writing").
The Swelling Technique
One trick I love: I have the brass swell into chord changes, then swell back down for the next one. I often draw my modulation curves in rather than recording them with a mod wheel. This gives me very clean, controlled swells.
I also think about realistic performance. If a player were performing this, they'd play the first two notes legato, then cut the second note short to take a breath. It's a tiny detail, but nice if you want realistic brass.
Step 3: Adding the String Section
I start by taking the bass line and copying it down to the double bass, just padding things out. Then I explore different registers:
- Violas in their low register have a really nice texture. I often use violas for the third degree of the chord.
- Cellos join the double bass to create weight
- Second violins come in playing thirds
- First violins eventually take over the melody
The wonderful thing about this chord sequence is that you can have an ascending melody line over it. I can go from D (root), up to E (third of C), up to F (fifth of B♭), up to G (fifth of C), and so on. It creates this beautiful sense of building hope.
Step 4: Avoiding Common Mistakes
Leave Room to Grow
A common mistake composers make is not leaving enough room to grow - in this case, harmonically. I don't want everyone playing the same chord voicings in the same way from the start. I want to add flavour gradually.
For example, I might start with just root notes in the horns, then add thirds on the second run through the sequence. By the time we get to what would be the third act, I'm ramping the swells up to 127 and really letting the full orchestra shine.
Managing the Mix
When things get full, you need to make adjustments. For instance, if the trombones are too raspy when swelled up, I'd ease them back in the mix using volume automation.
This way, the rasp is more present during swells but less obvious during entrance notes.
The Result
What started as a simple piano sketch now feels cinematic. By spreading the chords into brass and strings, thinking carefully about note placements and how the chords move, and playing with modulation to let things grow and build in weight and scale, we've created something much bigger.
Your Turn
Here's what I'd like you to do:
- Write a simple chord sequence with piano
- Spread it into your brass
- Add it to your strings
- Think about the note placements and how the chords are moving
- Play around with modulation
- Let it grow and build in weight and scale
You'd be amazed at how a simple idea can sound very effective this way. The key is taking your time, building gradually, and always leaving room to grow.
If you're interested in learning more about writing trailer music, check out my courses, or join a VIP member for bi-weekly group calls with me inside The Composer Academy.
