Have you stopped to think about what makes music funny? What makes a good action score? And what can a composer do to suck the life out of their composition? In today’s episode, we’re talking to Composer Matt Novack. We discuss all of this and really get into the details, so if you want to learn about how to write music like this, this is the episode for you.

Matt Novack is a classically trained composer and percussionist whose intuitively smart scores have created indelible moments in (mostly) comedy projects across series and film. Matt’s music supports performances by many of today’s greatest comedic actors, including Amy Poelher, Paul Rudd, Rob Corddry, Megan Mullally, Henry Winkler and Will Arnett. Some of his notable credits include working cult favorite Children’s Hopsital, Netflix’s a Murderville, as well as award-winning Dog Days and spots for Assassin’s Creed Valhalla. His most recent work can be heard on TBS’s Miracle Workers: End Times.

Topics include:

• Matt’s background and education as a percussionist/composer

• What makes good “action” music

• Scoring a comedy

• Absurdist comedies vs sitcoms

• What I wish I learned in school

• Working with a temp track while staying original

• Using and manipulating digital samples to create analog synth sound

• Nothing kills the music of a scene like trying to be funny

• The project Matt learned the most from

• Advice for aspiring composers/musicians

https://www.mattnovack.com/

Music featured in this episode (and shared with permission):

Better Than Heroes Overture Composed by Matt Novack

I Regret Lots of Things from "Harley Quinn" composed by Jefferson Friedman, Matt Novack, Christopher French

I Like it Here from "Miracle Workers" Composed by Matt Novack

Sad Sid from "Miracle Workers" Composed by Matt Novack

The Enchanted Workshop Composed by Matt Novack

End Times Main Title From "Miracle Workers" Composed by Matt Novack