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Dramatic Scoring Chapter Twenty-One
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Start Thinking . . . It has been said that “the musical score is the glue that holds much of a movie together.” In what way is this true? How does music enhance a movie, TV show, or video game? Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Chapter Goals Become knowledgeable about motion picture music history and changing musical styles. Learn how music for film, TV, and games is created, recorded, and synchronized to events on the screen. Gain awareness of how musicians and technicians are used in the motion picture music field. Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Background Silent films First music on a movie sound track
Accompanied by small orchestra or organist First music on a movie sound track The Jazz Singer in 1927 Initially, music borrowed from other sources Then, classical composers scored original music Major studios in the Golden Age Salaried, full-time composers Staff orchestras Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Background Changing Styles
After World War II tastes changed Musical clichés abandoned Experimentation with contemporary American sounds Composers initially influenced by cartoon techniques In early comedies, the entire movie was underscored with the same song Beginning in the 1930s, professional composers were hired to write musicals Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Background Changing Styles
Value of popular songs discovered in 1949’s The Third Man Composers developed into three groups Those able to underscore drama on film (1950s) The pop songwriters (1950s) Artists able to underscore film drama appropriately and also invent attractive pop melodies (1960s) Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Background Changing Styles
Jazz Found its place in film scoring Given impetus by TV shows such as Peter Gunn Instruments Some experimentation with synthesizers Return to late-19th-century neo-romantic music with full orchestra Native instruments for films with strong ethnic element Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Background The Emergence of Sound Tracks
Song scores now prominent in movie sound tracks Songs and sound track albums have potential for tremendous profits for film producers and composers Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Background The Emergence of Sound Tracks
Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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The Craft of Movie Underscoring The Process
Film shot completely and visuals edited at least once Temp score put together by music editor Sometimes, the temp score is preferred 2001: A Space Odyssey The Exorcist Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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The Craft Spotting the Film
Composer, producer, director, film editor, music editor watch the film together Director and composer “spot” the film Music editor makes spotting notes Composer receives first part of fee Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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The Craft Spotting the Film
Scene breakdowns SMPTE technology Click tracks Tempo Video tape “striped” with SMPTE code, or DVD is slaved in Quicktime Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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The Craft Composition Once familiar with the film, composer composes score Composer receives another payment Tight deadlines expected Composer composes orchestral sketches Instrumentation indicated Orchestrator renders full score Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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The Craft Recording to Film
Music is recorded Some composers prefer conducting using streamers and punches Feature films Recorded “live” all at once Recorded on movie scoring stages Producers and directors may throw out score or demand changes Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Rerecording sets relative sound levels
The Craft The Final Mix Dubbing sessions Music combined with dialogue and sound effects Composer, music cutter, sound effects person, engineers, and film directors attend Rerecording sets relative sound levels Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Music Scoring for TV Less money and less time than with feature films
Faster pace Producer makes music decisions TV dramas Use original and library music Music use varies from show to show New shows Composer composes 2 to 3 weeks of music to create feel Music editors cut required bits for later shows Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Music Scoring for TV Styles TV series composer
Same wide range as feature films Music cutter lays in various musical sources as appropriate for new timing and dramatic situations TV series composer may be a one-man band usually has assistants and music engineer Original theme music typically commands the highest pay But trend is away from longer theme songs Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Music Scoring for Video Games
Process very similar to film and TV Composer’s objective = catch a game’s personality and emotional heart in music Audio content is mostly original to “brand” the game Composers are hired on a freelance basis Popular music is also licensed Fixed-sum buyout that caps developers’ music rights expense Music-based games act as aggregators of music Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Production Music Libraries
Library music tracks Used for educational films, documentaries, and films for business and industry Low cost Includes all clearances and licenses Music often prepared by composers with MIDI studios Synch Fees A significant source of revenue for many independent music artists Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices AFM Contracts
AFM does not set scales for composition AFM does set scales for other personnel Musicians working in film Additional income once a year AFM Film Musicians Secondary Markets Fund Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Package Deals
All musicians and support personnel hired on freelance basis Producers negotiate package deals with independent contractors Producers like package deals Transfers all financial risk to independent contractor AFM has a multitier scale for motion picture work Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Composers
Many employment opportunities in scoring Few agents Composer should be aggressive to secure employment Must achieve several scoring credits to secure an agent Additional opportunities for breaking in: Top composers need assistants Orchestrators work as ghostwriters Career tip: be an advanced student of a busy composer Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Music Supervisors
Responsibilities of a music supervisor: Find songs and music to support and enhance the film Act like an A&R executive—a key gatekeeper Could be in charge of everything from the song to hiring the composer Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Music Supervisors
Potential duties of a music supervisor Draw up budget and make deals Place existing songs in appropriate spots of the movie Oversee a musical movie Be in the studio when a performer is recording a song Prepare people for the set, including lip-synching Assist the director and the choreographer in designing shots that will work with the music Explain “score design” to investors Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Copyists
Engaged by the composer or orchestrator Copyists work under intolerable time pressures Head copyist may engage a music preparation service Most copyists now use computer music programs such as Finale Allows for instant changes of key and time signature Supervising copyist attends film and TV recording sessions Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Orchestra Musicians
Instrumentalists most often members of AFM Nonunion musicians increased MIDI studios and computer one-person bands High-paying work for small pool of musicians only Auditions very rare Prove abilities to inside pool of players Teachers are often orchestra musicians Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Orchestra Musicians
String players Brass players Woodwind players Studio percussionists Keyboard players Guitarists Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Music Editors
Music editing can make or break a film’s score Copies and cuts cues Job of a music editor: Ensure music is cued to the right spots in the action Understanding of SMPTE code, click tracks, and Pro Tools essential Music editors usually acquire skills on the job Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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Hiring Practices Organizations
Society of Composers and Lyricists Members work exclusively in TV and films SMPTE serves as an information exchange Attempts to standardize recording and synchronization techniques Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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For Further Thought . . . What are some of the subtle differences between scoring for a feature film, a television show, and a video game? Prenegotiated fees in packaged deals provide what comfort to producers and put what pressure on composers? Music Business Handbook and Career Guide, 11th Ed. © 2013 Sherwood Publishing Partners
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