A good film score doesn't distract from the film. It intensifies the emotional content, clarifies the film's rhythm, and provides a bit of "glue" to unify the action. If you want a score that will help you win awards at festivals and contests, please contact me. I can help.

On this page are examples of main titles and cues for various film genres. At the bottom of the page, there are actual clips from films I've scored as well as some short nature videos that I made and set to my own music. You may find these useful for evaluating my approach to film scoring.

NOTE: If you don't find what you're looking for on this page, you might want to visit my "Catalog" page. Although it doesn't represent my entire catalog, it does contain about three hours of music tracks. There are also over 30 videos on my YouTube Channel. Some of these are scenes from videos I've scored, some are live concerts, some are film scoring demo tracks, and some are my own nature videos set to my music.

Credits:

The Spy Within (Luigi Benedetto, Director)
A Broken Rib (Gregory Gallop, Director)
Kylander in Hollywood (Jetsetters Flyin', producers)

Testimonials:

Regarding John's "Totem" film score (Modern Music Festival 2000 international film scoring prize): "It's a beautiful score."
- John Corigliano (1997 Oscar - best film score for The Red Violin; Grawemeyer prize - 1991; Grammy - 1992; more)

"John was great to work with. Through our conversations and the visual of the footage, he was able to capture the exact feeling I wanted portrayed on screen through his music. He was easy to collaborate with, bouncing ideas back and forth, and did his work in a timely manner. My only hope is that he'll be available to work with me on my next project."
- Gregory Gallop, Director, "A Broken Rib"

Title

Description

"Jeremiah's Gold"

Action/Adventure - Main Title

"Tommy and Meg"

Romantic Comedy - Main Title

"Shadow Hunter"

Mystery - Main Title

"Snatcher"

Horror - Main Title

"Revolution"

History/Documentary - Main Title

"It's Saturday!"

Childrens' Sitcom - Main Title

"Winds of War"

War Drama - Main Title

Baroque Fugue

Baroque Fugue - Style Demo: This is simply a brief demonstration of my ability to write in historic western art music styles. Although it is only an example of Baroque music, I can write in any style from the 16th Century to the present.

Jeremiah's Gold Cue #1
("Treasure Map" )

It's 1910. Jake's debts will soon cost him his ranch. While cleaning out the attic, he finds a trunk. Inside, there's a Confederate cavalry uniform, pistol, personal effects, and a diary. He begins reading and spots the words "Union gold… buried …map…" He pulls everything out of the trunk and finds its false bottom - and a map.

Jeremiah's Gold Cue #2
("Found…")

Discouraged and exhausted from digging, Jake climbs out of the hole and tosses his shovel into it. When it lands, it strikes wood. Suddenly alert, he digs frantically and opens a large box, which is full of gold ingots. He starts lifting them one-by-one out of the hole.

Jeremiah's Gold Cue #3
("…and Lost")

Jake has loaded the gold onto his buckboard and he's heading home peacefully. Suddenly, two armed men jump in from the rocks above, beat him up - scaring the horses into a gallop. They shove him off the wagon. He struggles to his feet, dusts himself off, and limps hopelessly in the direction of the wagon as it rapidly pulls away.

Tommy and Meg Cue #1
("Longing")

Department store clerk Tommy rearranges the display window every morning at precisely 8:50 AM. He knows that Meg will walk by soon. He pauses in anticipation when each of two girls pass by. When Meg finally appears, he waves. Then he stands still - daydreaming. At first, he doesn't hear Mr. Crabbe talking. Finally, Crabbe shouts, "Tommy! Get moving!" Startled, Tommy returns to work.

Tommy and Meg Cue #2
("Disappointment")

Tommy plans to ask Meg out. He's waiting outside as she approaches. They greet. Just as Tommy begins to speak, another man arrives and gives Meg a big hug. Tommy doesn't know he's her brother, Mike. Meg asks Tommy what he wanted. He replies, "Never mind." Meg and Mike stroll off together.

Tommy and Meg Cue #3
("First Kiss")

Tommy and Meg chat on their way to her front porch after their first date. There's an awkward pause, then Tommy says "Good night" and turns to leave. Meg lunges into his arms and kisses him. Ecstatic, Tommy returns the kiss.

Shadow Hunter Cue #1
("The Connection")

Newly retired detective Langston reads about a murder in the newspaper. It reminds him of a cold case that he worked on 30 years before. He goes to the library to look through old newspapers and discovers several similar cases.

Shadow Hunter Cue #2
("The Chase")

Langston spots the strangler and gives chase. The strangler crosses the railroad tracks and a train prevents Langston from following. After the train passes, the strangler is gone and Langston stands alone, sighing.

Snatcher Cue #1
("Billy is Taken")

Mom calls to Billy, but he doesn't answer. Mom begins to worry. She keeps calling as she opens doors throughout the house. Finally, she finds him. Suddenly, the snatcher shoves her aside and grabs Billy. Mom tries to stop him, but he slams her into a wall, knocks her out with a candlestick, and leaves carrying Billy.

Snatcher Cue #2
("Not Detective Williams")

The doorbell rings. Mom comes to the door. A man introduces himself as Detective Williams. He says he's here to discuss Billy's abduction. We see that he's wearing the snatcher's shoes. Mom invites him in. He sits on the sofa while she goes to the kitchen for coffee. We see a squad car and Detective Williams, who has been brutally murdered. We return to the living room, where Mom brings coffee to the snatcher.