The Reel World

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  • Edition: 2nd
  • Format: Paperback
  • Copyright: 2009-02-01
  • Publisher: Hal Leonard Corp
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This updated how-to guide takes you inside the world of creating music for film and television. Packed with case studies and insider's tips, The Reel World - 2nd Edition lets you learn by example how to ensure musical aesthetics, use the most effective technology and techniques, understand the business side of things, and nurture positive relationships with music editors, directors, producers, recording engineers, musicians, and music executives. The author uses his real-world experience working as a composer in television and film to show you what it takes to do the job, how it's done, and how you can do it, too. If you want to work as a composer, scoring for film, television and other visual media, The Reel World - 2nd Edition is just the guide you've been looking for to help you get started in this fascinating and rewarding industry. The books's companion website, www.reelworld-online.com, lists updates, additions, resources, and more!

Table of Contents

Introduction to the Second Editionp. xiii
The Creative Processp. 1
Introductionp. 1
Music for Filmp. 5
The Door: Shaping the Overall Character of a Film Scorep. 5
Before the First Note: Thinking About Musicp. 6
Hitting the Spot: Putting Music Cues in Their Placep. 7
Making a Subtle Entrance: Beginning a Cuep. 9
'The Hit: Underscoring Crucial Momentsp. 10
Continuity and Contrast: Sustaining Interest with Variations in Tonep. 10
Economy: When Less Is Morep. 11
Transition: The Composer's Response to Changesp. 12
Tempo: The Pacing of the Scorep. 14
Graceful Exit: When to End a Cuep. 16
Style: Is Film Music Different from Other Kinds of Music?p. 17
Case Study: White Squallp. 18
Music for Televisionp. 27
Doing TV: Music for the Small Screenp. 27
A Case of Homicide: Scoring a Network Cop Show (on Short Notice)p. 28
Changing Channels: Chicago Hopep. 34
Title Music: Intro Music for TV Showsp. 40
The Main Themep. 41
Developing a Stylep. 47
Critique: Learning by Doingp. 47
Watching Moviesp. 50
Flexibilityp. 53
Film Music: Voxels, Walking, and Chewing Gump. 56
Over the Top: Melodramatic Musicp. 58
The CD is in the Mail: Analysis of a Problematic Demop. 60
Workshop: More Thoughts on Demos, Plagiarism, and Conservative Choicesp. 62
House of Style: Cultivating a Unique, Identifiable Soundp. 66
The Art Film: Walking on Eggshellsp. 69
New Directions in Scoresp. 77
Found Sound: Improvising and Misfit Soundsp. 77
Contemporary Scoring: The Electronic Scorep. 78
The Art of Documentary: Scoring a Nonfiction Filmp. 83
A Thousand Roadsp. 86
Looking Forward: Film Music for the Futurep. 90
Conclusionp. 93
Perspectivesp. 94
Technologyp. 107
Introductionp. 107
Setting Up a Studiop. 109
Staying Ahead of the Curve: How Much Gear Is Enough?p. 109
Computers: Essential Operating System Savvyp. 110
Sequencers: The Most Important Thing in Your Studiop. 111
Samplers: An Orchestra (and More) at Your Fingertipsp. 114
Synthesizers: An Arsenal of Electronic Soundsp. 115
Effects: Improving What You Havep. 115
Synchronization: Making the Parts Work Togetherp. 116
Mixing: The Art of Balancep. 116
Putting It All Togetherp. 117
Is It Enough?: Spending on Your Studiop. 121
Getting a Studio Tan: The Importance of a Comfortable Workspacep. 124
Writing the Scorep. 127
The Paper Tiger: Generating a Printed Scorep. 127
Conduct Yourself Accordingly: How to Control an Orchestrap. 134
Sounds Just Like the Real Thing: (Until You Listen to the Real Thing): The Synthetic Approach to Orchestrationp. 138
General Notes on the Character of Orchestral Soundp. 139
Winds and Brassp. 141
Stringsp. 141
Percussionp. 142
Harpp. 143
Putting Things Togetherp. 144
Loop the Loop: The Rhythms of Electronic Scoringp. 145
Organization: The Unique Language of the Cue Sheetp. 147
Sync Upp. 150
When Your Music is Married to Filmp. 150
Playbackp. 150
Timecodep. 151
Delivering Your Final Mixesp. 153
The Etiquette of Real Changesp. 153
Recording the Scorep. 155
Working with Actual (Not Virtual) Musiciansp. 155
The White Squall Recording Sessionsp. 156
Keeping the Musicians in Timep. 156
Making the Transition from Home Studio to Pro Studiop. 157
Recording the Orchestrap. 158
Making Repairsp. 160
Tracking Completedp. 160
Editing and Mixing White Squallp. 163
On to the Dub Stagep. 165
Samples Run Through It: Creating Samples and Loops for Mark Ishamp. 166
Walk like an Egyptian: Working with Exotic Musiciansp. 169
In the Mix: Beyond Stereo to Surroundp. 172
Smells like Team Spirit: The Music Editorp. 174
Sounds Good to Me: The Film Score Mixerp. 181
Perspectivesp. 187
Careerp. 201
Introductionp. 201
Beginning a Careerp. 203
How Do I Get Started in Film Scoring?p. 203
Live Where You Workp. 204
How Important Is a University Music Degree?p. 204
Windows of Opportunityp. 205
Apprenticing with a Successful Composerp. 206
Ghost of a Chancep. 207
The Demop. 208
The Makings of a Good Demop. 209
Genre Showcasep. 209
Melodies: Concise, Focused, and Memorablep. 210
Variety: The Spice of a Diverse Sequencep. 210
Plagiarists Need Not Applyp. 211
Including Appropriate Materialp. 211
Your Demo Reflects Your Abilitiesp. 212
Credits Where Credit Is Duep. 212
Be Yourselfp. 213
Judging a Book by its Coverp. 214
Online Demosp. 214
The List: More Advice on Getting a Start in the Film Worldp. 214
Learning by Doing: Ten Things I've Learned from Other Film Composersp. 218
Agents: Having a Representative on Your Sidep. 222
Career Challengesp. 225
Orchestral Maneuvers in the Dark: My First Score for Live Orchestrap. 225
Sizing up Needsp. 226
Working on a Tight Schedulep. 227
At the Studiop. 229
Making the Producers Happyp. 230
Fired: When Bad Things Happen to Good Composersp. 232
Letting Go: Two Examples of How Not to Deal with Film Producersp. 236
So, Are You Up to Speed?: How to Get a Lot Done in a Very Short Timep. 240
Explaining Impossible Deadlinesp. 241
The Politics of Dancing: The Diplomacy of Scoringp. 244
Other Peoples' Problemsp. 245
Someone to Watch Over You: The Lawyerp. 246
Who Are You: Are You the Right Person for the Project?p. 247
A New Director, a New Relationshipp. 248
On the Other Handp. 250
Making a Livingp. 253
Dollars and Sensep. 253
How Composers Make Money Fees, Packages, Licenses, and Royaltiesp. 254
Calculating Expensesp. 256
Sweetening the Potp. 257
Royalties and Performing Rights Societiesp. 259
Who Pays the Composer?p. 262
Television Musicp. 264
A Few Other Opportunitiesp. 265
The Musicians Unionp. 266
Contracting Music Groups: An Interview with David Low, Music Contractorp. 267
Agents of Change: An Interview with John Tempereau, Composer's Agentp. 272
Songs for Films: An Interview with Chris Douridas, Music Supervisorp. 277
The Executive Suite: An Interview with Robert Kraft, Film Studio Music Executivep. 283
Conclusionp. 294
Epilogue The Day the Earth Didn't Stand Stillp. 295
Appendix Thinking in Reel Timep. 300
Resourcesp. 305
Indexp. 309
Table of Contents provided by Ingram. All Rights Reserved.

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