The reel world: scoring for pictures
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Milwaukee, Wis.
Hal Leonard
2009
|
| Ausgabe: | rev. and expanded 2. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVI, 312 S. Ill., Notenbeisp. |
Internformat
MARC
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| 100 | 1 | |a Rona, Jeffrey C. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a The reel world |b scoring for pictures |c Jeff Rona |
| 250 | |a rev. and expanded 2. ed. | ||
| 264 | 1 | |a Milwaukee, Wis. |b Hal Leonard |c 2009 | |
| 300 | |a XVI, 312 S. |b Ill., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 650 | 4 | |a Motion picture music / Scores | |
| 650 | 4 | |a Television music / Scores | |
| 650 | 4 | |a Composition (Music) | |
| 650 | 4 | |a Motion picture music |x Instruction and study | |
| 650 | 4 | |a Television music |x Instruction and study | |
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Datensatz im Suchindex
| _version_ | 1804138815827214336 |
|---|---|
| adam_text | Contents
Introduction
to the Second Edition
......................xiii
Section One The Creative Process
.................
ι
Introduction
..................................... 1
CHAPTERONE MusicforFilm
..........................5
The Door: Shaping the Overall Character of a Film Score
..........5
Before the First Note: Thinking About Music
.................. 6
Hitting the Spot: Putting Music Cues in Their
Piace
.............7
Making a Subtle Entrance: Beginning a Cue
..................9
The Hit: Underscoring Crucial Moments
.................- . 10
Continuity and Contrast: Sustaining Interest with Variations in Tone
. . 10
Economy: When Less is More.
........................ .
Π
Transition: The Composer s Response to Changes
............. 12
Tempo: The Pacing of the Score
........................ 14
Graceful Exit: When to End a Cue
....................... 16
Style: is Film Music Different from Other Kinds of Music?
......... 17
Case Study:
WhiteSąualł
............................ 18
CHAPTERTWO Music for Television
...................... 27
Doing TV: Music for the Small Screen.
.................... 27
A Case of Homicide: Scoring a Network Cop Show (on Short Notice)
. . 28
Changing Channels: Chicago Hope
...................... 34
Title Music: Intro Music for TV Shows
..................... 40
The Main Theme
................................. 41
CHAPTERTHREE Developing a Style
..................... 47
Critique: Learning by Doing
. ...................... . . . 47
Watching Movies
........■........................ 50
Flexibility
..................................... 53
Film Music: Voxels, Walking, and Chewing Gum
............... 56
Over the Top: Melodramatic Music
...................... 58
The CD is in the Mail: Analysis of a Probiematic Demo
.......... 60
Workshop: More Thoughts on Demos, Plagiarism,
and Conservative Choices
......................... 62
House of Style: Cultivating a Unique, Identifiabie Sound
......... 66
The Art Fiim: Walking on Eggshells
...................... 69
CHAPTERFOUR New Directions in Scores
.................. 77
Found Sound; improvising and Misfit Sounds
................ 77
Contemporary Scoring: The Electronic Score
................ 78
The Art of Documentary: Scoring
a
NonfictionFüm............ 83
AThousand Roads
................................ 86
Looking Forward: Film Music for the Future
................. 90
Conclusion
...................,................ 93
Perspectives: John
Williams,
Carter Burwell, James Newton Howard,
Wendy and Lis8(ajka Wendy Melvoin and Lisa Coleman)
....... 94
Section Two Technology
........,...............107
Introduction.
...................................107
CHAPTERFIVE Setting Up a Studio
......................109
Staying Ahead of the Curve: How Much Gear Is Enough?
......... 109
Computers: EssentiaJ Operating System Savvy
...............
HO
Sequencers: The Most Important Thing in Your Studio
......... . .
Ill
Samplers: An Orchestra (and More) at Your Fingertips.
.......... 114
Synthesizers: An Arsenal of Electronic Sounds
...............
Π
5
Effects: improving What You Have.
......................115
Synchronization: Making the Parts Work Together
............. 116
Mixing: The Art of Balance
............,.............. 116
Putting it
Ali
Together
..............................
П7
Is it Enough?: Spending on Your Studio.
......,............ 121
CONTENTS
Getting
a
Studio
Tan: The Importance
of a Comfortable Workspace
. . . 124
CHAPTERS« Writing the Score
........................ 127
The Paper Tiger: Generating a Printed Score
................. 127
Conduct Yourself Accordingly: How to Control an Orchestra
....... 134
Sounds Just Like the Real Thing: (Until You Listen to the Real Thing)
:
The Synthetic Approach to Orchestration
................ 138
General Notes on the Character of Orchestral Sound
........ 139
Winds and Brass
............................. 141
Strings
................................... 141
Percussion.
................................142
Harp
.................................... 143
Putting Things Together
............................. 144
Loop the Loop: The Rhythms of Electronic Scoring.
............ 145
Organization: The Unique Language of the Cue Sheet
........... 147
Sync Up
...................................... 150
When Your Music is Married to Film
................. 150
Playback
..................................
Ì50
Timecode
................................. 151
Delivering Your Final Mixes.
...................... 153
The Etiquette of Reel Changes
..................... 153
CHAPTERSEVEN Recording the Score
....................155
Working with Actual (Not Virtual) Musicians.
................ 155
The White Squall Recording Sessions
.................156
Keeping the Musicians in Time.
,...................156
Making the Transition from Home Studio to Pro Studio
. ..... 157
Recording the Orchestra
.........................158
Making Repairs
..............................160
Tracking Completed
...........................160
Editing and Mixing White Squall
....................163
On to the Dub Stage
...........................165
Samples Run Through it:
Creating Samples and Loops for Mark isham
..............166
Walk like an Egyptian; Working with Exotic Musicians
...........169
in the Mix: Beyond Stereo to Surround
................... . 172
CONTENTS
Smells like Team
Spirit:
The Music
Editor.................. 174
Sounds Good to Me: The Film Score Mixer.
............... . . 181
Perspectives: Hans
Zimmer,
Mark Isham, Basil Poledouris,
MarcShaimen
.................■............. 187
Section Three Career
......................... 201
Introduction
............... . ■...................201
CHAPTEREIGHT
Beginning a Career
.....................203
How Do
í
Get Started in Film Scoring?
.................... 203
live Where You Work
...........................204
How Important is a University Music Degree?
............204
Windows of Opportunity
........................205
Apprenticing with a Successful Composer
.............. 206
Ghost of a Chance
............................207
The Demo
.................................... · 208
The Makings of a Good Demo
..................... 209
Genre Showcase
.............................209
Melodies: Concise, Focused, and Memorable
........... . 210
Variety: The Spice of a Diverse Sequence.
.............. 210
Plagiarists Need Not Apply
.......................211
Including Appropriate Material
....................211
Your Demo Reflects Your Abilities
...................212
Credits Where Credit is Due
......................212
Be Yourself.
................................ 213
Judging a Book by its Cover
...................... . 214
Online Demos
...............................214
The list: More Advice on Getting a Start in the Film World
........214
Learning by Doing: Ten Things I ve Learned from Other Film Composers.
. 218
Agents: Having a Representative on Your Side.
...............222
CHAPTERNłNE
Career Challenges
.......................225
Orchestral Maneuvers in the Dark: My First Score for Live Orchestra
. . 225
Sizing up Needs
.............................. 226
Working on a Tight Schedule
...................... 227
At the Studio
......................... ,.....229
Making the Producers Happy
......................230
CONTINT»
Fired: When Bad
Things Happen
to Good
Composers
...........232
Letting Go: TWo Examples of How Not to Deal with Film Producers
. . . 236
So, Are You Up to Speed?: How to Get a Lot Done in a Very Short Time
. 240
Explaining Impossible Deadlines
...................24
Ï
The Politics of Dancing: The Diplomacy of Scoring.
............ 244
Other Peoples Problems
........................ 245
Someone to Watch Over You: The Lawyer
.............. 246
Who Are You: Are You the Right Person for the Project?
..........247
A New Director, a New Relationship.
................. 248
On the Other Hand.
........................... 250
CHAPTERTEN Making a Living
. ........................ 253
Dollars and Sense
.................................253
How Composers Make Money
Fees, Packages, Licenses, and Royalties
................254
Calculating Expenses
..........................256
Sweetening the Pot
............................257
Royalties and Performing Rights Societies
.............. 259
Who Pays the Composer?
........................262
Television Music
............................. 264
A Few Other Opportunities
.......................265
The Musicians Union
..........................266
Contracting Music Groups:
An Interview with David Low, Music Contractor
............267
Agents of Change:
An Interview with
lohn
Tempereau, Composer s Agent
........272
Songs for Films:
An Interview with Chris Douridas, Music Supervisor
........ . 277
The Executive Suite:
An Interview with Robert Kraft, Film Studio Music Executive.
.... 283
Conclusion
.................................... 294
Epilogue The Day the Earth Didn t Stand Still
............... 295
Appendix Thinking in Reel Time
....................... 300
Resources
.....................................305
Index
........................................309
CONTINTS
|
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| spelling | Rona, Jeffrey C. Verfasser aut The reel world scoring for pictures Jeff Rona rev. and expanded 2. ed. Milwaukee, Wis. Hal Leonard 2009 XVI, 312 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Motion picture music / Scores Television music / Scores Composition (Music) Motion picture music Instruction and study Television music Instruction and study Musikwirtschaft (DE-588)4268614-3 gnd rswk-swf Tonstudiotechnik (DE-588)4135823-5 gnd rswk-swf Filmmusik (DE-588)4017129-2 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Filmmusik (DE-588)4017129-2 s Komposition Musik (DE-588)4133320-2 s DE-604 Tonstudiotechnik (DE-588)4135823-5 s Musikwirtschaft (DE-588)4268614-3 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017313171&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Rona, Jeffrey C. The reel world scoring for pictures Motion picture music / Scores Television music / Scores Composition (Music) Motion picture music Instruction and study Television music Instruction and study Musikwirtschaft (DE-588)4268614-3 gnd Tonstudiotechnik (DE-588)4135823-5 gnd Filmmusik (DE-588)4017129-2 gnd Komposition Musik (DE-588)4133320-2 gnd |
| subject_GND | (DE-588)4268614-3 (DE-588)4135823-5 (DE-588)4017129-2 (DE-588)4133320-2 (DE-588)4151278-9 |
| title | The reel world scoring for pictures |
| title_auth | The reel world scoring for pictures |
| title_exact_search | The reel world scoring for pictures |
| title_full | The reel world scoring for pictures Jeff Rona |
| title_fullStr | The reel world scoring for pictures Jeff Rona |
| title_full_unstemmed | The reel world scoring for pictures Jeff Rona |
| title_short | The reel world |
| title_sort | the reel world scoring for pictures |
| title_sub | scoring for pictures |
| topic | Motion picture music / Scores Television music / Scores Composition (Music) Motion picture music Instruction and study Television music Instruction and study Musikwirtschaft (DE-588)4268614-3 gnd Tonstudiotechnik (DE-588)4135823-5 gnd Filmmusik (DE-588)4017129-2 gnd Komposition Musik (DE-588)4133320-2 gnd |
| topic_facet | Motion picture music / Scores Television music / Scores Composition (Music) Motion picture music Instruction and study Television music Instruction and study Musikwirtschaft Tonstudiotechnik Filmmusik Komposition Musik Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017313171&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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