Reel World Scoring for Pictures

ISBN-10: 1423434838

ISBN-13: 9781423434832

Edition: 2nd 2009 (Revised)

Authors: Jeff Rona, Jeffrey C. Rona

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Description:

This updated how-to guide takes you inside the world of creating music for film and television. Packed with case studies and insider's tips, The Reel World - 2nd Edition lets you learn by example how to ensure musical aesthetics, use the most effective technology and techniques, understand the business side of things, and nurture positive relationships with music editors, directors, producers, recording engineers, musicians, and music executives. The author uses his real-world experience working as a composer in television and film to show you what it takes to do the job, how it's done, and how you can do it, too. If you want to work as a composer, scoring for film, television and other visual media, The Reel World - 2nd Edition is just the guide you've been looking for to help you get started in this fascinating and rewarding industry. The books's companion website, www.reelworld-online.com, lists updates, additions, resources, and more!
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Book details

List price: $29.99
Edition: 2nd
Copyright year: 2009
Publisher: Hal Leonard Corporation
Publication date: 2/1/2009
Binding: Paperback
Pages: 328
Size: 7.25" wide x 9.00" long x 0.75" tall
Weight: 1.430
Language: English

Introduction to the Second Edition
The Creative Process
Introduction
Music for Film
The Door: Shaping the Overall Character of a Film Score
Before the First Note: Thinking About Music
Hitting the Spot: Putting Music Cues in Their Place
Making a Subtle Entrance: Beginning a Cue
'The Hit: Underscoring Crucial Moments
Continuity and Contrast: Sustaining Interest with Variations in Tone
Economy: When Less Is More
Transition: The Composer's Response to Changes
Tempo: The Pacing of the Score
Graceful Exit: When to End a Cue
Style: Is Film Music Different from Other Kinds of Music?
Case Study: White Squall
Music for Television
Doing TV: Music for the Small Screen
A Case of Homicide: Scoring a Network Cop Show (on Short Notice)
Changing Channels: Chicago Hope
Title Music: Intro Music for TV Shows
The Main Theme
Developing a Style
Critique: Learning by Doing
Watching Movies
Flexibility
Film Music: Voxels, Walking, and Chewing Gum
Over the Top: Melodramatic Music
The CD is in the Mail: Analysis of a Problematic Demo
Workshop: More Thoughts on Demos, Plagiarism, and Conservative Choices
House of Style: Cultivating a Unique, Identifiable Sound
The Art Film: Walking on Eggshells
New Directions in Scores
Found Sound: Improvising and Misfit Sounds
Contemporary Scoring: The Electronic Score
The Art of Documentary: Scoring a Nonfiction Film
A Thousand Roads
Looking Forward: Film Music for the Future
Conclusion
Perspectives
Technology
Introduction
Setting Up a Studio
Staying Ahead of the Curve: How Much Gear Is Enough?
Computers: Essential Operating System Savvy
Sequencers: The Most Important Thing in Your Studio
Samplers: An Orchestra (and More) at Your Fingertips
Synthesizers: An Arsenal of Electronic Sounds
Effects: Improving What You Have
Synchronization: Making the Parts Work Together
Mixing: The Art of Balance
Putting It All Together
Is It Enough?: Spending on Your Studio
Getting a Studio Tan: The Importance of a Comfortable Workspace
Writing the Score
The Paper Tiger: Generating a Printed Score
Conduct Yourself Accordingly: How to Control an Orchestra
Sounds Just Like the Real Thing: (Until You Listen to the Real Thing): The Synthetic Approach to Orchestration
General Notes on the Character of Orchestral Sound
Winds and Brass
Strings
Percussion
Harp
Putting Things Together
Loop the Loop: The Rhythms of Electronic Scoring
Organization: The Unique Language of the Cue Sheet
Sync Up
When Your Music is Married to Film
Playback
Timecode
Delivering Your Final Mixes
The Etiquette of Real Changes
Recording the Score
Working with Actual (Not Virtual) Musicians
The White Squall Recording Sessions
Keeping the Musicians in Time
Making the Transition from Home Studio to Pro Studio
Recording the Orchestra
Making Repairs
Tracking Completed
Editing and Mixing White Squall
On to the Dub Stage
Samples Run Through It: Creating Samples and Loops for Mark Isham
Walk like an Egyptian: Working with Exotic Musicians
In the Mix: Beyond Stereo to Surround
Smells like Team Spirit: The Music Editor
Sounds Good to Me: The Film Score Mixer
Perspectives
Career
Introduction
Beginning a Career
How Do I Get Started in Film Scoring?
Live Where You Work
How Important Is a University Music Degree?
Windows of Opportunity
Apprenticing with a Successful Composer
Ghost of a Chance
The Demo
The Makings of a Good Demo
Genre Showcase
Melodies: Concise, Focused, and Memorable
Variety: The Spice of a Diverse Sequence
Plagiarists Need Not Apply
Including Appropriate Material
Your Demo Reflects Your Abilities
Credits Where Credit Is Due
Be Yourself
Judging a Book by its Cover
Online Demos
The List: More Advice on Getting a Start in the Film World
Learning by Doing: Ten Things I've Learned from Other Film Composers
Agents: Having a Representative on Your Side
Career Challenges
Orchestral Maneuvers in the Dark: My First Score for Live Orchestra
Sizing up Needs
Working on a Tight Schedule
At the Studio
Making the Producers Happy
Fired: When Bad Things Happen to Good Composers
Letting Go: Two Examples of How Not to Deal with Film Producers
So, Are You Up to Speed?: How to Get a Lot Done in a Very Short Time
Explaining Impossible Deadlines
The Politics of Dancing: The Diplomacy of Scoring
Other Peoples' Problems
Someone to Watch Over You: The Lawyer
Who Are You: Are You the Right Person for the Project?
A New Director, a New Relationship
On the Other Hand
Making a Living
Dollars and Sense
How Composers Make Money Fees, Packages, Licenses, and Royalties
Calculating Expenses
Sweetening the Pot
Royalties and Performing Rights Societies
Who Pays the Composer?
Television Music
A Few Other Opportunities
The Musicians Union
Contracting Music Groups: An Interview with David Low, Music Contractor
Agents of Change: An Interview with John Tempereau, Composer's Agent
Songs for Films: An Interview with Chris Douridas, Music Supervisor
The Executive Suite: An Interview with Robert Kraft, Film Studio Music Executive
Conclusion
Epilogue The Day the Earth Didn't Stand Still
Appendix Thinking in Reel Time
Resources
Index
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