From Score To Screen : Sequencers, Scores, And Second Thoughts : The New Film Scoring Process

Acknowledgments viii About the Author ix Foreword xi Introduction xv The Cast 1(18) The Composer 2(2) The Orchestrator 4(3) The Conductor 7(1) The Musicians 7(1) The Director 8(2) The Music Editor 10(1) The Mixer 11(2) The Contractor 13(1) The Music Copyist 14(2) The Studio Executives 16(3) Getting Started 19(10) Meeting People in the Business 21(1) Success Stories 22(1) Networking on the Net 23(1) Promotional Demos 23(2) What To Do With Your Demo 25(1) Agents 26(3) Composition 29(14) Trust Your Instincts 29(1) Listen to the Silence 30(1) Themes 30(1) Harmonic Language 31(1) Writer's Block 32(1) Musical Baggage 33(1) How Much to Write 33(2) Less is Better 35(1) Sequencer Short-Comings 36(1) To Click or Not to Click 37(1) Orchestrators 38(1) ``Mr. Mockup'' 39(4) From Midi to Live Orchestra 43(14) The Midi Orchestra 44(1) Choosing Your Midi Orchestra 44(2) Why Midi Files Look So Strange 46(1) Quantizing 46(1) Import Filtering 47(1) Tapping-in Beats 47(1) Too Many Tracks? 48(1) Standard Midi File Format 49(1) Midi Can Do the ``Impossible'' 50(2) What Midi Cannot Do 52(5) Orchestration 57(10) Color 58(1) Picking the Band 59(1) Using Your Sequencer at the Session 60(1) Unusual Instruments 61(1) Slurs and String Bowings 61(1) Clefs and Transposing Instruments 62(1) Printed Scores 63(1) Modulations 64(1) Tempo Changes 64(1) Synth Pitfalls 64(1) Big Sound, Small Band 65(2) Conducting 67(8) Know the Film 69(1) Communicating With the Director 69(1) Planning the Recording Order 70(1) About Batons 70(1) Prepare the Orchestra Before Playing 71(1) Headsets 71(1) Prepare the Percussion 72(1) Player Lists 72(1) Mistakes Along the Way 72(1) A Problem in the Booth 73(2) Fix It 75(14) It Doesn't Work 76(1) Changes at the Recording Session 77(1) The Music Sounds Too Big 77(1) Thinning the Orchestra 78(1) The Music Sounds Too Small 78(2) Quickly Fixing Wrong Notes 80(1) Correcting Balance By Overdubbing 81(1) Dialog 82(2) Use Rhythm Section for Quick Changes 84(1) Fixing Difficult Ensemble Rhythms 84(1) Fixing Sync Points With the Film 85(1) Fixes After the Session 85(1) Contemporary Techniques as Coloristic Effects 86(1) Fixing the Film 87(2) Recording 89(8) Choosing the Right Mixer 90(2) Where to Record 92(1) The Studio Assistants 92(1) Recording Order of Cues 93(1) Percussion 93(1) Overdubbing 94(1) Vocals and solo instruments 94(1) Synth Pre-records 95(2) Score and Parts 97(12) Basics 98(2) Printing the Score 100(2) Chord symbols 102(1) Transposed vs. concert scores 102(1) Meter and Key Signatures 103(1) Accidentals 103(1) Proofing Parts 104(1) PDF Scores 104(1) Copies of Scores for the Session 104(1) Percussion Parts 105(1) Bowings and Slurs 106(1) Changing Instruments 107(1) Harp 107(2) Practice 109(6) Film Schools 109(1) Animation 110(1) Friends in the Business 110(1) Features With No Music 110(1) Smpte Timecode 111(1) Digitizing Video 111(1) Making Your Own Digital Video 111(1) Editing Pre-existing Feature Films for Scoring 112(3) Study 115(8) Recording Session as a Learning Experience 115(1) Things to Test at a Recording Session 116(1) What To Do If You Have No Access to Big Sessions 117(2) Studying Film Scores 119(1) Tension and Motion 120(1) Other Elements 121(1) Analyze an Entire Film Score 121(1) Film Scoring Study Programs 122(1) Business 123(6) What to Charge 124(1) Clients 125(1) Package Deals 125(1) Contracts 126(2) The Musician's Union 128(1) Credits 128(1) Final Notes 129(4) Ask Questions in Advance 129(1) Assume Nothing 129(1) Do Not Cut Corners 130(1) Be Concise and Focused 130(1) Have Opinions 130(1) Take Your Time 130(1) Be Calm and Courteous 131(1) Be Prepared for Rejection 131(1) Keep Moving 131(1) It's All Good 132(1) Resources 133(18) Film / Music Schools 133(9) Professional Societies and Organizations 142(3) Suggested Scores to Study 145(2) Suggested Reading 147(2) Web Sites 149(2) Glossary 151(16) Index 167