The Reel World

by Rona, Jeff

• ISBN13: 9780879305918
• ISBN10: 0879305916
• Format: Paperback
• Copyright: 2000-12-01
• Publisher: Miller Freeman Psn Inc

Summary

This how-to guide takes you inside the world of creating music for film and television, focusing on key concerns such as: ensuring musical aesthetics, using the most effective technology and techniques, and understanding the business side of things. Packed with case studies and insider's tips, this book lets you learn by example. Also teaches how to nurture positive relationships with music editors, directors, producers, recording engineers, musicians, music executives and more. Visit the book's companion website - www.reelworld-online.com - for updates, additions, resources and more!

Author Biography

Jeff Rona is a composer whose scores include the film White Squall and the television shows "Homicide: Life on the Street," "Chicago Hope," "Profiler," and "High Incident."

Table of Contents

Introduction	ix
SECTION ONE: The Creative Process
Introduction	1	(2)
Music for Film	3	(18)
The Door: Shaping the Overall Character of a Film Score	3	(1)
Hitting the Spot: Putting Music Cues in Their Place	4	(1)
Making a Subtle Entrance: Beginning A Cue	5	(1)
The Hit: Underscoring Crucial Moments	6	(1)
Continuity and Contrast: Sustaining Interest with Variations in Tone	6	(1)
Economy: When Less Means More	7	(1)
Transition: The Composer's Response to Changes	8	(2)
Tempo: The Pacing of the Score	10	(2)
Style: Is Film Music Different from Other Kinds of Music?	12	(1)
Graceful Exit: When to End a Cue	12	(1)
Case Study: White Squall	13	(8)
Music For Television	21	(19)
Doing TV: Music for the Small Screen	21	(1)
A Case of Homicide: Scoring a Network Cop Show (on Short Notice)	22	(7)
Changing Channels: Chicago Hope	29	(6)
Titles: Intro Music for TV Shows	35	(1)
The Main Theme: Is There a Doctor in The House?	35	(5)
Developing A Style	40	(20)
Critique: Learning by Doing	40	(3)
Over The Top: Melodramatic Music	43	(1)
The CD Is in the Mail: Analysis of a Problematic Demo	44	(3)
Workshop: More Thoughts on Demos, Plagiarism and Conservative Choices	47	(3)
House of Style: Cultivating a Unique, Identifiable Sound	50	(3)
The Art Film (aka Working for Peanuts)	53	(7)
New Directions in Scores	60	(23)
Found Sound: Improvising and Misfit Sounds	60	(3)
NetForce: The Electronic Score	63	(3)
The Art of Documentary: Scoring a Nonfiction Film	66	(3)
Looking Forward: Film Music in the 21st Century	69	(3)
Conclusion	72	(1)
Perspectives	73	(8)
John Williams
Carter Burwell
James Newton Howard
SECTION TWO: Technology
Introduction	81	(2)
Setting up a Studio	83	(15)
Staying Ahead of the Curve: How Much Gear Is Enough?	83	(1)
Computers: Essential Operating System Savvy	83	(2)
Sequencers: The Most Important Item in Your Studio	85	(1)
Samplers: An Orchestra (and More) at Your Fingertips	86	(1)
Synthesizers: An Arsenal of Electronic Sounds	87	(1)
Timecode: The Heart of Synchronization	88	(1)
Mixing: The Art of Balance	88	(1)
Plugging It All In	89	(3)
Is It Enough? Spending on Your Studio	92	(3)
Getting a Studio Tan: The Importance of a Comfortable Workspace	95	(3)
Writing the Score	98	(25)
The Paper Tiger: Generating a Printed Score	98	(5)
Conduct Yourself Accordingly: How to Control an Orchestra	103	(4)
Sounds Just Like the Real Thing (Until You Listen to the Real Thing): The Synthetic Approach to Orchestration	107	(5)
General Notes on the Character of Orchestral Sound	108	(1)
Wind & Brass	109	(1)
Strings	110	(1)
Percussion	111	(1)
Harp	111	(1)
Putting It Together	112	(1)
Loop the Loop: The Rhythms of Electronic Scoring	113	(2)
Organization: The Unique Language of the Cue Sheet	115	(3)
Sync Up: When Your Music is Married to Film	118	(2)
SMPTE Timecode	118	(2)
Delivering Your Final Mixes	120	(1)
The Etiquette of Reel Changes	121	(2)
Recording The Score	123	(47)
Working with Actual (Not Virtual) Musicians	123	(11)
The White Squall Recording Sessions	124	(1)
Keeping the Musicians in Time	124	(1)
Making the Transition from Home Studio to Pro Studio	125	(1)
Recording the Orchestra	126	(2)
Making Repairs	128	(1)
Tracking Completed	129	(1)
Editing and Mixing	130	(3)
On to the Dub Stage	133	(1)
Samples Run Through It: Creating Samples & Loops for Mark Isham	134	(3)
Walk like an Egyptian: Working with Exotic Musicians	137	(3)
In the Mix: Beyond Stereo to Surround	140	(1)
Theatre in the Surround	141	(4)
Smells like Team Spirit: The Music Editor	145	(6)
Sounds Good to Me: The Film Score Mixer	151	(5)
Perspectives	156	(14)
Hans Zimmer
Mark Isham
Basil Poledouris
Marc Shaiman
SECTION THREE: Career
Beginning a Career	170	(17)
How Do I Get Started in Film Scoring?	170	(3)
Live Where You Work	170	(1)
How Important is a Music Degree?	171	(1)
Windows of Opportunity	171	(1)
Apprenticing with a Successful Composer	172	(1)
The Demo	173	(5)
The Makings of a Good Demo Tape	174	(1)
Genre Showcase	174	(1)
Melodies: Concise, Focused & Memorable	175	(1)
Variety: The Spice of a Diverse Sequence	175	(1)
Plagiarists Need Not Apply	176	(1)
Including Appropriate Material	176	(1)
Your Demo Reflects Your Abilities	176	(1)
Credits Where Credit Is Due	177	(1)
Be Yourself	177	(1)
Judging a Book by Its Cover	178	(1)
The List: More Advice on Getting a Start in the Film World	178	(3)
Learning By Doing: 10 Things Film Composers Taught Me	181	(4)
Agents: Having a Representative on Your Side	185	(2)
Career Challenges	187	(32)
Orchestral Maneuvers in the Dark: My First Score for a Live Orchestra	187	(6)
Sizing Up ``The Critic's'' Needs	188	(1)
Working on a Tight Schedule	189	(2)
At the Studio	191	(1)
Making the Producers Happy	192	(1)
Fired: When Bad Things Happen to Good Composers	193	(4)
Letting Go: Two Examples of How NOT to Deal with Film Producers	197	(4)
So, Are You Up to Speed? How to Get a Lot Done in a Very Short Time	201	(3)
Explaining Impossible Deadlines	201	(3)
The Politics of Dancing: The Diplomacy of Scoring	204	(3)
Other Peoples' Problems	205	(1)
Someone to Watch Over You: The Lawyer	206	(1)
In Which I Say ``Yes'' to Sundance: Scoring The House of Yes	207	(8)
Composing the Score	208	(2)
A Disappointing Mix	210	(1)
Attending the Sundance Festival: Mecca for Independent Films	211	(2)
Return to L.A. (and Some Bad News)	213	(2)
Getting to Know...Who?: Determining Your Suitability for a Project	215	(4)
On the Other Hand	216	(1)
A New Director, a New Relationship	217	(2)
Making a Living	219	(39)
Dollars and Sense	219	(10)
How Composers Make Money	220	(1)
Calculating Expenses	221	(1)
Joining the Union	222	(1)
Royalties and Collection Agencies (the Good Kind)	222	(4)
Who Signs the Composer's Check?	226	(2)
Television Music Fees and Budgets	228	(1)
Contracting Music (Don't Worry, You'll Live): An Interview with David Low, Music Contractor	229	(5)
Agents of Change: An Interview with Cheryl Tiano, Composer's Agent	234	(7)
I Pick the Songs: An Interview with Chris Douridas, Music Supervisor	241	(6)
The Executive Suite: An Interview with Robert Kraft, Film Studio Music Executive	247	(11)
Epilogue: The Day the Earth Didn't Stand Still	258	(4)
Appendix: Thinking in Reel Time	262	(5)
Resources	267	(3)
Index	270