From Score to Screen: Sequencers, Scores, & Second Thoughts the New Film Scoring Process

by Sonny Kompanek

Overview

Scoring for film hsa changed dramatically over the past 20 years. With the advent of MIDI sequencers and low-cost recording gear, just about any composer anywhere can score a film. Well-known composer Sonny Kompanek teaches this new film scoring process at the prestigious New York University and now he shares his secrets with the pages of From Score to Screen. Learn about the cast of professionals you'll work with as a film composer. Find out how to meet people in the business, network, and create a promotional demo. Learn how to compose themes and battle writers' block. And know how to make a director happy with your work. With this book, you'll gain practical knowledge that you can put into action immediately. This is the only book that discusses the new film scoring process which utilises the latest technology.

Product Details

ISBN-13:	9780857125118
Publisher:	Schirmer Trade Books
Publication date:	08/01/2011
Sold by:	Barnes & Noble
Format:	eBook
Pages:	172
File size:	3 MB

Table of Contents

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