Action & Adventure
Indie & Comedy
Tension & Suspense
Uplifting & Inspirational
Written by Scott Peterson. Produced by Scott & Diane Peterson. Directed by Andrew Hunt. From the creator’s of the multiple […]
Fire City: End of Days is a “demon noir thriller” directed by Academy Award winning creature designer Tom Woodruff, Jr. […]
Additional music for Patron Saints of Music. Original series from Screen Junkies, the creators of the hit YouTube series Honest […]
Star Wars fan film directed by Noel Braham and Pokey Spears. Click “Videos” to the right to watch the film!
Original homepage music and orchestral arrangements of Disney classics for the official Disney Princess website.
Directed by Edwin Marshall. Co-starring Danny Trejo (Machete, From Dusk Till Dawn). Available on DVD from Amazon, Netflix, Blockbuster, and […]
He recently scored the Ben Shelton comedy Candy Jar starring Academy Award winning actess Helen Hunt, Christina Hendricks, and Uzo Aduba. Other recent projects include Fire City: End of Days, directed by Academy Award winning creature designer Tom Woodruff Jr., and Rudy Dobrev’s short film The Emissary, starring Emmy award winning actress Margo Martindale, Law & Order: SVU’s Diane Neel, and edited by Richard Marizy (Academy Award and Golden Globe Award winning film La Vie en Rose).
He has scored over a dozen feature films including Pastor Shepherd starring Danny Trejo (Robert Rodriguez’s Machete), Serbian film Skinning co-starring Bojana Novakovic (M. Night Shyamalan’s Devil), and Anacapa by writer/director Nicholas Tolkien. Ryan won Best Original Score from the Maverick Movie Awards for his score to Devils Racecourse; previous winners include Philip Glass and Radiohead’s Thom Yorke.
Other credits include library placements in Pawn Stars, So You Think You Can Dance, Keeping Up With the Kardashians, and The Colbert Report, score assistance on Bee Movie, The Simpsons Movie, and The Dark Knight, and additional music for Cold Case, Close to Home and the Val Kilmer film Columbus Day (scores by Michael A. Levine).
Berklee College of MusicBachelors of Music in Film Scoring
Remote Control Productions
Assistant to Michael Levine at Hans Zimmer’s studio.
Credits include assistance for The Simpsons Movie,
Cold Case and The Dark Knight
Best Music – Short Film for Carry On
Wild Rose Independent Film Festival
Best Original Score for Devils Racecourse
Maverick Movie Awards. Previous winners include
Philip Glass and Radiohead’s Thom Yorke
Honorable Mention – Best Original Score for
Descendants of the Past, Ancestors of the Future
Asians On Film Festival
August 7, 2017
Photo by Simon Zirkunow I focus on writing good music with my students. We work on motivic development, form, orchestration, […]
July 24, 2017
Photo by Kai C. Schwarzer I recently discovered a lovely Latin quote: Ars poetica est non omnia dicere. It roughly […]
July 10, 2017
I have been knee deep in a huge (and truly awesome) project these past few months, so I’m just taking […]
Studying music is a lifelong pursuit and the best way to learn is under the guidance of an interested teacher. I have helped students from all backgrounds develop their composition skills, knowledge of music theory and overall musicianship.
Although composing original music and scoring films make up the majority of my work, I do take on a handful of students at a time. Not only does it keep my skills sharp, it’s fun!
Lessons are $75/hour and conducted over Skype.
If you are interested in lessons, e-mail me at firstname.lastname@example.org or call (310) 405-1582.
You can also read my tutorials and articles at Audiotuts and SCOREcast.
What topics do you cover?
How can someone “teach” composition?
The best way to learn how to compose is simply by composing. The more you write, the better you get. The next step is to work under the guidance of an experienced teacher who can help bring your attention to your strengths and weaknesses, and guide you on how to develop and improve your craft.
When I first started teaching I would try to create worksheets and specific lesson plans, but it never ended up working. Everyone has a completely different background and level of experience, so there is no one-size-fits-all program.
My teaching method now is very practical. We begin by assessing the student’s current levels and develop a lesson plan according to their individual interests and needs. In general I give a specific writing assignment, and then we spend the lesson critiquing it, ripping it apart, and studying other music in response. People have a lot of ideas about what they think they need to work on, but the music never lies!
How often are the lessons?
As often as you want. If you want to do once a week or once a year, that’s entirely up to you. In my experience the best schedule is every other week, which seems to be the right amount of time for people to do the assigned writing or analysis, and is regular enough to see steady growth. When lessons are every week people inevitably fall behind when school/work/life gets in the way.