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"Composer Chapter of the Week" Club


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I have an idea for a series of threads geared toward composers that I hope will generate a lot of participation.

 

Let's call it the "Composer Chapter of the Week" club, or CCW for short. Similar in concept to the "Book of the Month Club," forum members who choose to participate will read and discuss a chapter per week of books that cover the technique and/or business of composing for film and television.

 

I've created a suggested list of books below, and I've ordered them in a way that alternates focus between technique and business, while progressing from introductory to more advanced levels.

 

This is an opportunity to approach the "Expert Forums" concept this MusicPlayer site espouses from a new perspective: we choose the experts and read and discuss what they have to say.

 

So who's interested? Examine the list below and tell me what you think. Your comments and feedback are encouraged.

 

My top picks:

"The Reel World: Scoring for Pictures" by Jeff Rona

Jeff Rona is a working composer and a contributing editor for Keyboard magazine.

 

"From Score To Screen: Sequencers, Scores, And Second Thoughts: The New Film Scoring Process" by Sonny Kompanek

This is the most recently released of the overview books. According to the back cover, author Sonny Kompanek has "scored over 60 major films."

 

"Film and Television Composer\'s Resource Guide: The Complete Guide to Organizing and Building Your Business" by Mark Northam and Lisa Anne Miller

Perhaps the best book available on the business side of composing for film and television.

 

"The Guide To MIDI Orchestration" by Paul Gilreath

Paul Gilreath actually posted in a Keyboard Corner thread about his book. Sound On Sound magazine gave it a good review in the current issue. This new edition is much more thorough and up to date than the original edition.

 

"On the Track: A Guide to Contemporary Film Scoring" by Fred Karlin and Rayburn Wright

Perhaps the most respected guide to scoring for film and television, this textbook contains both technical exercises and quotes from many film experts.

 

Additional material:

"Complete Guide to Film Scoring" by Richard Davis

Richard Davis is a composer and faculty member at Berklee.

 

"How to Make Money Scoring Soundtracks and Jingles" by Jeffrey P. Fisher

Helpful ideas for self-promotion and other business tips.

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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Geoff,

 

I think you've got a great idea, and I hate to make your first response a negative one, BUT:

 

Do we have to discuss writing to picture? I'd rather simply discuss composition and orchestration on it's own. Why? As I understand it, most music written for picture is composed very differently than a composition written to stand on it's own. Usually in soundtrack music, the music takes a subservient (sp?) roll to whatever is happening on screen. Also, when reading discussions about soundtracks and listening to peoples results, most of them are extremely deriviative, as if "lifted" from the most well known film composers of our time. They sound like they all went to the same school and learned how to do "a Hans Zimmer" or "a John Williams" or "a Danny Elfman". My personal preference would be to discuss composition and orchestration in and of itself. (I know virtually nothing on the subject.) If I'm the only one that feels this way, I'll not argue any further. I'm just offering my own opinion. Thank you for taking the initiative.

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cnegrad, thanks for your reply.

 

I think if this concept generates enough interest, then perhaps we can start two simultaneous threads that accommodate both those who want to read about scoring and those who want to read about composing and orchestration.

 

As for myself, I'm more interested in scoring since that's the career path I'm presently on. However, composing and orchestration are both relevant to that path; and I might participate in a CCW for that focus as well if I can find then time.

 

I'll add that Paul Gilreath's book, "The Guide To MIDI Orchestration," I suggested above should appeal to both camps. Another option might be to choose that as a starting point and then split into separate groups for the next books.

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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cnegrad, if I may, I'd like to add my perspective on a couple of things. My last post reacted to your request, but I'd also like to respond to your remarks.

 

Originally posted by cnegrad:

As I understand it, most music written for picture is composed very differently than a composition written to stand on it's own. Usually in soundtrack music, the music takes a subservient (sp?) roll to whatever is happening on screen.

It can be. At the very least, music written for picture should factor in what the movie is about. Sometimes it supports and enhances the power of the scene. Other times, it provides a contrast and another perspective for the emotion of the scene. (Cartoonish music accompanying a violent visual, for example.) Occasionally it's composed first, and the scene is then shot and edited to the music.

 

Originally posted by cnegrad:

Also, when reading discussions about soundtracks and listening to peoples results, most of them are extremely deriviative, as if "lifted" from the most well known film composers of our time. They sound like they all went to the same school and learned how to do "a Hans Zimmer" or "a John Williams" or "a Danny Elfman".

Being derivative is always a peril of any creative process. It's important to remember that the film industry already has a Hans Zimmer, a John Williams, and a Danny Elfman. What they don't have is you.

 

...Yet! ;)

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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That's a good idea, Geoff, and I'll have to check these books out on my own. Not sure how easy or hard they are to locate around here.

 

I do agree with cnegrad, as well - while I think writing to picture is a good topic to address, it's not the only compositional endeavour. I think we could accommodate both desires in one thread - a sole composition chapter of the week thread. Not everyone has to participate each week.

 

Also, Terence Blanchard gave a workshop here a few weeks ago and I asked him about his film scoring work. He said to check that tradition out the way one would investigate the jazz tradition. As a footnote, he said "Please check out more than just The Rite of Spring. EVERYONE rips that off!"

 

David

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Nord Electro 5D, Novation Launchkey 61, Logic Pro X, Mainstage 3, lots of plugins, fingers, pencil, paper.

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Geoff,

 

Occasionally it's composed first, and the scene is then shot and edited to the music.
Really? I was unaware of that. Are you aware of any real world examples of that?

 

At the very least, music written for picture should factor in what the movie is about. Sometimes it supports and enhances the power of the scene. Other times, it provides a contrast and another perspective for the emotion of the scene.
Agreed. What I'm trying to convey, is that I want my music to "be the movie". In other words, I want the listener to close his/her eyes and feel what I'm trying to convey, via my own "musical plot line", so to speak. For me, the music should tell the whole story, without the aid of picture. That's not to preclude you or anyone else in being interested in it and discussing it here. It's just not my cup of tea.

 

Being derivative is always a peril of any creative process. It's important to remember that the film industry already has a Hans Zimmer, a John Williams, and a Danny Elfman.
I know that, and you know that. Now I just wish that someone would tell the aspiring soundtrack composers on those other websites that. (You know the sites I mean.)

 

What they don't have is you....Yet!
Thank you; I appreciate that. But my path will (hopefully) be more in the direction of Claus Ogerman, Vince Mendoza and perhaps a little bit of Don Sebesky. But I'll continue to monitor all the composition threads for any techniques that we have in common.

 

Thanks,

-Mark

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Originally posted by cnegrad:

Geoff,

 

Occasionally it's composed first, and the scene is then shot and edited to the music.
Really? I was unaware of that. Are you aware of any real world examples of that?
Sure, Mark. Here are two such examples recently cited in an article published in The New Yorker magazine:

 

Originally published in The New Yorker, June 27, 2005, page 102:

The greatest filmmakers have all understood the complicating significance of music, and one measure of their greatness is their willingness to delegate power to composers. When Eisenstein made "Alexander Nevsky" and "Ivan the Terrible," he had Prokofiev as his house composer, and he would sometimes wait until Prokofiev had finished a certain segment before filming the corresponding scene. He wanted to chain the camera to the notes. Orson Welles followed Eisenstein's practice on "Citizen Kane," hiring the young New York composer Bernard Herrmann. For the final sequence of the film, which shows the destruction of Rosebud in the fireplace of Kane's castle, Welles had Herrmann's cue playing on the set. He later said that the score was fifty per cent responsible for the film's success.

Of course, the most common cases would be in movies that feature dancing and singing. Then, the music almost must come first. But, the music can come first under other circumstances. It all depends on the director's vision.

 

Originally posted by cnegrad:

What I'm trying to convey, is that I want my music to "be the movie". In other words, I want the listener to close his/her eyes and feel what I'm trying to convey, via my own "musical plot line", so to speak. For me, the music should tell the whole story, without the aid of picture. That's not to preclude you or anyone else in being interested in it and discussing it here. It's just not my cup of tea.

 

(snip)

 

my path will (hopefully) be more in the direction of Claus Ogerman, Vince Mendoza and perhaps a little bit of Don Sebesky. But I'll continue to monitor all the composition threads for any techniques that we have in common.

Mark, I very much get where you're coming from. Let's create a space for everyone! :thu:

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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Ric, thanks for expressing your interest! :thu:

 

You may be jumping ahead, however, as we have yet to reach a consensus. Also, Gilreath's book is one of the more expensive ones under consideration, and I forgot that Mark didn't seem too interested in it when we discussed it in the Keyboard Corner last year. To find out more about the book, feel free to read that thread:

 

Paul Gilreath\'s "The Guide to Midi Orchestration" 3rd Edition

 

Of course, it's possible that with this book, we may be able to actually get the author interested in joining the conversation, since he took the time to post in the thread above.

 

It's up to you guys whether or not we start with the MIDI Orchestration book.

 

At least it does seem like this idea is slowly beginning to generate interest. Although linwood has yet to post here, he has expressed interest elsewhere :

 

Originally posted by linwood:

Hey Geoff,

I was going to post over at mp, but since I'm here... I'm into it. I don't know if I can do a chapter a week, as lame as that sounds, but I'll do my best. My life is nuts. I don't even get the morning paper any more.

That makes five of us so far. Not a bad start, if we can all agree upon the first book. ;)

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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Geoff,

 

Please clarify something for me: Is this book more about choice and combination of instruments or how to use virtual instruments? In other words, I'm not a newbie to vsti's so their use isn't really something that I need to learn about. But if it gets into orchestration (ie, combinations of woodwinds, strings, articulations, to achieve various tone colors, etc), then I'm interested. TIA!

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Originally posted by cnegrad:

Geoff,

 

Please clarify something for me: Is this book more about choice and combination of instruments or how to use virtual instruments? In other words, I'm not a newbie to vsti's so their use isn't really something that I need to learn about. But if it gets into orchestration (ie, combinations of woodwinds, strings, articulations, to achieve various tone colors, etc), then I'm interested. TIA!

Mark, fortunately I've purchased the new, third edition since we discussed it in the Keyboard Corner thread. However, I haven't read it, so the best I can do is skim through it and give you my overall impression. Here it is:

 

The first 90 pages provide an introduction to orchestration. Gilreath then builds on that foundation by discussing how to best use orchestral libraries with DAWs: what types of articulations to use in templates, how to sequence using orchestration techniques and sample libraries in a way that achieves the most realistic result. Orchestration techniques appear to be featured heavily in this section of the book as well. (In my opinion, an advantage in learning orchestration this way instead of through normal textbooks is that one can hear the results of one's own practice attempts at orchestrating right away.) This part of the book is covered in about 130 pages.

 

At this point, Gilreath begins to cover gear: computers, MIDI interfaces, sound cards, samplers, and sample libraries. We discuss this stuff every day in these forums, so some or all of us may want to speed read or skip the 70 pages or so that cover this topic. The next 80 pages cover effects plug-ins with a particular emphasis on how they apply to orchestral instruments. Again, we cover this stuff a lot in forum discussions, albeit usually without the orchestral slant, so we may want to treat the 80 pages that fall within this topic as a review. The last of the gear topics is a 20 page roundup of the current software samplers on the market.

 

Following the gear section, the book briefly covers choral arranging and current choral sample libraries for about 30 pages and then covers the process of orchestral mixing for another 20 pages.

 

The rest of the book covers odds and ends: studio construction, interviews with sound designers, composers, and engineers, achieving specific moods through orchestration, capping it all off with a 150 page roundup and review of current orchestral and piano libraries!

 

In summary, I believe we would all find enough value in this book to make it a worthy first Composer Chapter of the Week selection. However, some sections will be of more value to some of us than to others. We may want to gloss over or skip some chapters entirely once we get to the gear section, or we may want to stop reading this book entirely and pick another at that point.

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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Geoff,

 

Thanks for your exhaustive reply! It's funny, I don't remember participating in that original thread, but there I am. :D Ironically, I was asking the same question back then as I did today. Is there a place to get this book at the cheapest possible price, or is everyone selling the 3rd edition for the same $69.95? Thanks.

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Great initiative Geoff ;)

I am not in the US at the moment so I may not be able to get my hands on all the books (will look for e-books versions). However I'll be happy to follow this thread as it evolves and post my comments.

 

Not sure if the J.P. Fisher book has beed reedited lately but it may be that his promotion techniques are now obsolete (I read it back in 1999). This business is changing and it's moving fast! There may still be good advice in there though.

The Mark Notham book is an unvaluable ressource too, great pick.

 

Looking forward to get CCW rolling!

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Regis, it's great to see you here.

 

At this point, the only book that's probably important from my list above is the one we all seem to be gravitating towards, and that's "The Guide To MIDI Orchestration" by Paul Gilreath.

 

I don't know how many we'll get around to of the other books I recommended, but Jeffrey P. Fisher's book was already pretty low on my list. Considering your valid point, we may choose to pass on that book altogether.

 

Thanks for your feedback, Regis. I hope your travels go well, and I look forward to your participation at whatever level that may be. :thu:

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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Originally posted by David Holloway:

so the MIDI orchestration book is the first one?

Yes, I see no reason why we can't make that official:

 

"Composer Chapter of the Week" club selection number one is: "The Guide To MIDI Orchestration" by Paul Gilreath.

 

Originally posted by David Holloway:

I will need to order soon given shipping times down here ;)

David, it'll be great to have you join us! :cool:

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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Looking forward to it ;)

 

I just ordered from Amazon:

 

"From Score To Screen: Sequencers, Scores, And Second Thoughts : The New Film Scoring Process"

SONNY KOMPANEK; Paperback; $12.57

 

"The Reel World: Scoring for Pictures"

Jeff Rona; Paperback; $16.97

 

The Guide To MIDI Orchestration"

Paul Gilreath; Hardcover; $69.95

 

Although the Amazon are quoting 5 weeks before the Gilreath one is available - anyone else notice this?

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Originally posted by RicBassGuy:

Bleh. My local libraries don't have the Paul Gilreath text.

At the rate of a chapter a week, can you imagine how long you'd have to keep that book checked out? :freak:

 

Even if we stopped at the gear section, you'd have The Guide To MIDI Orchestration checked out for almost three months! ;)

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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