Holdings: The reel world :: THWS Bibkatalog

The reel world: scoring for pictures

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Bibliographic Details
Main Author:	Rona, Jeffrey C. (Author)
Format:	Book
Language:	English
Published:	Milwaukee, Wis. Hal Leonard 2009
Edition:	rev. and expanded 2. ed.
Subjects:	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
Online Access:	Inhaltsverzeichnis
Physical Description:	XVI, 312 S. Ill., Notenbeisp.

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MARC


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Record in the Search Index

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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
work_keys_str_mv	AT ronajeffreyc thereelworldscoringforpictures

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