Abstract
This article is, a part of a larger chapter, which treats the analysis of also other drama soundtracks , with various plots, directing visions and kinds of typologies in order to draw a line between the conventions and codes in music. Still, it is hard, since the final result is mostly an eclecticism between program music, large types of audio layouts, applied accordingly to the script and the personal craft of the composer. I identified some general approaches in drama film music, such as: the large usage of strings, or the highlight of melodic parameter, the minor keys and so on. I believe, for a composer it is essential to know the tools one needs to choose before writing music for a film. Even more, the codes found in an soundtrack are necessary because of the fact that they „talk” about the composer s style, his trademark.
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