(Ebook) On the Track A Guide to Contemporary Film Scoring 2nd Edition by Fred Karlin, Rayburn Wright ISBN 0415941369 9780415941365

(Ebook) On the Track A Guide to Contemporary Film Scoring 2nd Edition by Fred Karlin, Rayburn Wright ISBN 0415941369 9780415941365

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ISBN 10: 0415941369 
ISBN 13: 9780415941365
Author: Fred Karlin, Rayburn Wright

On the Track offers a comprehensive guide to scoring for film and television. Covering all styles and genres, the authors, both noted film composers, cover everything from the nuts-and-bolts of timing, cuing, and recording through balancing the composer's aesthetic vision with the needs of the film itself. Unlike other books that are aimed at the person "dreaming" of a career, this is truly a guide that can be used by everyone from students to technically sophisticated professionals. It contains over 100 interviews with noted composers, illustrating the many technical points made through the text.

(Ebook) On the Track A Guide to Contemporary Film Scoring 2nd Table of contents:

I Preliminaries
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.
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.
Planning Orchestra Sessions.
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 Electronics
Electronic 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.
Phrasing 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 or 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.
Harmonic Pedal Point and Ostinatos.
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.
Rhythmic Ostinatos.
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.
Streamers.
Recording.
Practical Considerations.
Preparing to Record.
Save Your Music.
Checklists
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 an 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 and Beyond.
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.
Hits and Big Business.
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.
Commercials.
ASCAP and BMI.
Music Budgets.
Licensing.
Soundtrack Albums.
Music and Business.

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Tags: Fred Karlin, Rayburn Wright, Track, Contemporary