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CONTENTS Foreword by John Williams Preface to the 1st Edition Preface to the 2nd Edition Acknowledgments for the 1st Edition Acknowledgments for the 2nd Edition How To Use This Book I PRELIMINARIES Introduction 1 The Filmmaking Team Meeting the Filmmakers. The Director. Communicating With the Director. Support and Guidance. Two-Way Dialogue Between Director and Composer. The Producer. The Producer's Power. Communicating With the Producer. The Film Editor. The Music Editor. Music Executives and Supervisors. 2 The Script, Meetings, and Screenings The Script. The First Meeting Before Screening the Film. The First Screening. First Cut, Fine Cut, and Assembly. The First Discussion After Screening the Film. Composing Before the Film Is Finished. 3 Role Models and Temp Tracks Specific Film Scores or Cues as Role Models. Specific Film-Scoring Styles Used as Role Models. Specific Classical Pieces or Styles Used as Role Models. The Composer's Use of Role Models. Evoking a Role Model Inadvertently. Role Models and Plagiarism. Temp Tracks. Music Editors and Temp Tracks--How It's Done. Why Filmmakers Use Temp Tracks. How Composers Work With Temp Tracks. 4 Spotting the Film Talking It Over. Making Decisions. When To Use Music. Starting a Cue. Ending a Cue. Short Cues, Transitions, and Long Cues. Short Cues, Transitions, and Long Cues. The Importance of the Acting. The Director Communicates. Spotting Notes and Timing Notes. Changes in the Spotting After Scoring. Score Lengths. 5 Budgets and Schedules Cost Factors. Figuring Costs. Working With a Small Budget. Scoring Union or Nonunion. The Assumption Agreement. Working With the Contractor. Composing Fees. Budget Estimates. Time to Compose. Copying Time. II CONCEPTUALIZING 6 Developing the Concept Characterization. The Central Character. The Single Dramatic Theme. Two Dramatic Themes. Ethnic/Geographic Considerations. Musical Styles. Combining Two or More Stylistic Elements. The Process of Elimination. Scores For Study. 7 Demonstrating the Score: Mockups and ElectronicsElectronic Mockups. Mockups for Communication. Changes. III TIMINGS 8 Timings and Clicks I Free Timing. Using Clicks and Clock. Metronome Equivalents. When Timings Don't Sync. Requirements on Extremely Accurate Hits. Ritards, Fermatas, Accelerandos. 9 Timings and Clicks II Music Editors. Cut Back Cues and Split Chases. Tempo and Mood Changes Within Cues. Meter Changes Within Cues. Timings With a Calculator. Using Videorecorders, Digitized Video and SMPTE Time Code. Drop-Frame or Non Drop-Frame? Avoiding Confusion In Math Problems. Hardware and Software. IV COMPOSING 10 Playing the Drama Audience Expectations. Don't Tip the Story. Tone. Main Titles. Whose Point of View to Play? Playing the Overview. Playing What the Scene is Really About. Getting Inside the Character's Feelings. Playing the Environment or Location. Playing the Situation. How Intensely to Play the Drama. Less Is More/Understating the Drama. Avoiding Emotion. De-emphasizing a Scene. The Power of Silence. Playing Through the Drama. Hitting the Action. Highlighting. Red Herrings. Scoring the Film Like a Ballet. Underscoring the Dialogue. Scores For Study. 11 Genres and Source Music Genres. Action. Comedy. Documentaries. Historical and Period. Horror. Source Music. Interweaving Source and Score. Scores For Study. 12 Composing CREATIVE CONSIDERATIONS: Work Process. Intuition and the Subconscious. Writer's Block. PREPARATION: Planning the Score. Organizing the Score. Unity and Variety. Research. Tempo and Pulse. Personal Taste and Style. Beginning the Sketch. 13 Using Melody Motifs. Multiple Motifs. Unaccompanied Melody. Two-Voice Texture. Giving the Melody Character. Adapting a Theme. Hit Records. Scores For Study. 14 Using Harmony Harmonic Languages. Harmony Resulting From Linear Writing. Using Harmony for Characterization. Using Harmony As a Theme. Tension. Scores For Study. 15 Using Rhythm Tempo and Pulse. Sketching the Rhythms. The Percussion Section and Electronics. The Orchestra as Rhythm. Rhythm as a Thematic Idea. Uneven and Changing Meters. Polyrhythms. Scores For Study. 16 Using Orchestration Characterizing the Film's Dramatic Theme. Suggesting Locale With Color. Symphonic Orchestration. Fresh Sounds and Interesting Combinations. Change the Color, Change the Emotion. Orchestral Effects. Small Budgets. To Orchestrate or Not to Orchestrate? Sketches. MIDI Sketches. Transposed or Concert Pitch Scores? The Art of Orchestration. The Composer/Orchestrator Relationship. Orchestrating from MIDI Sketches. Using Synths and Orchestra Together. Typical Orchestra Setups. Know the Instruments. Short Cuts. Orchestration Schedules. Changes. Other Practicalities. The Business Aspects of Orchestration. Scores For Study. 17 Technical and Practical Considerations TECHNICAL CONSIDERATIONS: Timings. Streamers. Recording. PRACTICAL CONSIDERATIONS: Keeping Healthy. Writer's Cramp. Running Finished Cues in Sequence. Music Preparation. Preparing to Record. Save Your Music. CHECK LISTS: Music Contractor. Music Editor. Orchestrator(s) and Copyist. V RECORDING 18 Recording: The Scoring Stage The Scoring Stage. Underscoring, Prerecording, and Set Recording. Scoring Primarily or Completely With Electronics. Prerecording Electronic Tracks. Prerecording Acoustic Tracks and Soloists. Planning. The Mixer. Producing the Music. Conducting. Conducting Aids. Film Sound. Recording Format. Headset Mixes. Rehearsal Protocol. Creative Responses. Working With the Director. Changes on the Scoring Stage. Recording. Working With the Mixer. Playbacks. Overdubbing (Layering or Stacking). Prerecording on On-Screen Performance. Time Pressures on the Stage. Recording Away From Home. Timing Corrections While Recording. Postmixes and Sound Processing. Using Samples in Final Mix. Remixing for a Soundtrack Album. 19 Dubbing: The Final Mix The Composer on the Dubbing Stage. The Dubbing Stage and the Participants. Preparing the Music for Dubbing. Predubbing. The Music Mixer. Dubbing Stage Sound. First Adjustments During the Mix. Overall Music Levels. Changing/Losing Cues. As the Director Sees It. Dubbing Stage Protocol. Dubbing With Dialogue. Losing a Score. Dubbing Schedules. Previews. Scores For Study. VI ELECTRONIC AND CONTEMPORARY SCORING 20 Using Electronic Music Electronic Instruments as Acoustic Re-Creations. Electronic Instruments for Unique Sounds. Blending Electronic and Acoustic Instruments. Scoring With Electronics. Recording Electronic Music. Scores For Study. 21 Using Contemporary Music Using Contemporary Rhythm Sections. Contemporary Scores. A Closer Look at Three Contemporary Scores. Scoring With a Solo Artist. Scoring With a Group. Contemporary Source Music. Scores For Study. 22 Scoring for Television Television Series. Main Title Themes. Composing. Working With the Producers. Dubbing. Scoring With Orchestra. Scoring Long Form. The Use of Songs. Television/Film Differences. VII SONGS 23 Musicals and Prerecording Prerecording (Prescoring). Prerecording Grease and Fame. Postrecording (Postscoring). The Classic Musicals. 24 Songs The Functions of a Song. Content. Songwriting Collaboration. Syncing the Lyric to the Visuals. Rewriting, or Writing Another Song. Demonstrating the Song. The Artist. Footloose: An Original Compilation Song Score. Yentl: An Original Song Score by One Team of Writers. VIII THE BUSINESS 25 The Business Getting the Job. Moving from Television to Films. Demos. Being Heard. Agents. Film and Television Deal Points. ASCAP and BMI. Music Budgets. Licensing. Soundtrack Albums. Music and Business. Epilogue On the Track The Interviewees Appendix A. Questions for Review Appendix B. Footage/Timing Conversions Appendix C. Calculator Method for Timings Appendix D. Drop-Frame Glossary Music Excerpts End Notes Bibliography Web Sites Index
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