Learn the composition, NOT the unnecessary technicalities!
This course does not contain FMOD, WWise, or any other middleware. Game composers do not need to know how to use these softwares. The sound designers or developers of the game will integrate your music for you. The only reason a composer would ever need to know how to use these softwares (and why you see so many articles telling you to “LEARN FMOD”) is because you need to understand the logic and principles behind how game audio actually works. You just need to understand how music is implemented into a game, not actually implement it yourself. Developers just want to make sure you know how, and what they mean when they ask you to compose ‘adaptive music for trigger zones’, or ‘music tags for each loop’. This course will give you all of that knowledge, without the need to learn any additional softwares!
“Familiarity with audio middleware is a useful skill. At the very least, it affords us valuable insight into the process by which our music is incorporated into game projects. In my experience, most development teams prefer to handle their own audio implementation.” – Winifred Phillips (God of War, Assassin’s Creed, Little Big Planet, et al.)
What will you gain from completing the course
•Psychological music theory secrets to manipulate players into feeling specific emotions
•The game composer’s job, mindset, and approach to composing for games
•How the orchestra works, and how to set up a virtual orchestra in your DAW
•Compositional guidelines for writing melodies, basslines, harmonies, chords, and rhythms
•How to score for emotion, setting, and mood/atmosphere
•Game-specific compositions like stingers, main titles, pause menus, multiplayer menus, character music, etc.
•How to ensure your music is immersive and doesn’t become distracting at any point
•How adaptive music works, and which audio-integration techniques game developers may ask you to compose for
•How to compose for various genres of video game, including Linear, Non-Linear, and Interactive
•Essential techniques to mix and master orchestral music, and get your music sounding balanced, wide, and professional
•Exporting the files, and what audio format game developers are looking for
•Various downloadable PDFs and links to additional reading/study
•Projects throughout so that I can see your progress, and offer feedback on your work
•Additional lecture hidden into the course wrap-up
•An ENTIRE section dedicated to in-depth mixing techniques, taken from my EDM course to give you all the tools you need to achieve a modern, wide, and full sound – it’s almost as if you’re getting two courses for the price of one!
I share everything I know with you
Everything I teach you in this course has taken me years to learn. You’re gaining 10+ years of game music composition knowledge in one complete course.
The game industry is growing astronomically each year. It’s going to need some talented composers to provide music for every new game!
What’s in it for me?
Honestly, the gratification of seeing students succeed and learn. I am very passionate about teaching, and I truly believe that we should all be helping each other grow as composers and music producers. Musicians are extremely tight-lipped, and secretive about their techniques. I simply don’t understand this. Which is why I am sharing this course with you to teach you the secrets behind why some game scores are so emotionally powerful, and why others just fall flat.
•You will need to have a DAW (FL Studio, Ableton, GarageBand) and an ability to use the software to practice the techniques I teach you.
•You will also need to have a very basic understanding of music theory. Throughout the course, I am talking about notes, chords, minor, and major. I have tried to simplify everything as best as I can, but you will need this basic theory to be able to understand the concepts!
So if you’re ready to learn professional game music composition, music theory secrets, mixing, and mastering, buy the course and take your skills to the next level. There is a 30-day money back guarantee, so if you dislike the course (or me), you can receive a full refund. There really is nothing to lose!
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Orchestral Music Composition & Music Theory for Video Games
Learn orchestral video game music composition & game composer music theory secrets to compose music for any video game!
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This course contains:
Table of contents
Learn the composition, NOT the unnecessary technicalities!
You will learn
✓ The game composer’s job, mindset, and approach to composing for games
✓ How the orchestra works, and how to set up a virtual orchestra in your DAW
✓ Compositional guidelines for writing melodies, basslines, harmonies, chords, and rhythms
✓ How to score for emotion, setting, and mood/atmosphere
✓ Game-specific compositions like stingers, main titles, pause menus, multiplayer menus, character music, etc.
✓ How to ensure your music is immersive and doesn’t become distracting at any point
✓ How adaptive music works, and which audio-integration techniques game developers may ask you to compose for
✓ How to compose for various genres of video game, including Linear, Non-Linear, and Interactive
✓ Essential techniques to mix and master orchestral music, and get your music sounding balanced, wide, and professional
✓ Exporting the files, and what audio format game developers are looking for
• Understand basic music theory (note names, chords, major/minor, etc)
• An ability to create music from scratch (EDM, pop, film scores, traditional music, etc.)
• A desire to compose amazing music for games
This course is for
• Intermediate composers who are looking to branch into game music, or further their skills
• Expert composers just looking to learn new tips and techniques
How much does the Orchestral Music Composition & Music Theory for Video Games course cost? Is it worth it?
Does the Orchestral Music Composition & Music Theory for Video Games course have a money back guarantee or refund policy?
Are there any SCHOLARSHIPS for this course?
Who is the instructor? Is Benjamin Lynott a SCAM or a TRUSTED instructor?
I’ve sound engineered innumerable concerts and worked on stage with artists such as Sam Fender (Really cool dude, uses a bong to steam his vocal-cords before performances!), Maverick Sabre, and Little Green Cars. From these experiences, I’ve been able to go on and work in Theatre, designing sound effects and ambiences to be used in pantomimes and musicals… Then operating QLab to run the show.
I’ve also composed game music for Indie Developers, and helped with foley and sound design on their projects. An interesting experience which has helped me to produce and mix sound for film and documentary.
I don’t claim to be an expert – nobody is. But I do believe that I can teach you some of the knowledge I’ve gained over the years. I hope you enjoy my courses!