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