Cover image for The reel world : scoring for pictures
The reel world : scoring for pictures
Rona, Jeffrey C. (Jeffrey Carl), 1957-
Publication Information:
San Francisco : Miller Freeman Books ; Milwaukee, WI : Distributed to the music trade in the U.S. by Hal Leonard Pub., [2000]

Physical Description:
xi, 272 pages : illustrations ; 24 cm
General Note:
Includes index.
Format :


Call Number
Material Type
Home Location
Item Holds
MT64.M65 R66 2000 Adult Non-Fiction Non-Fiction Area

On Order



This book details violations of international law authorized by secret memos and orders of the Bush administration. In particular, it describes erroneous executive claims, illegal authorizations, interrogation tactics, and transfers and secret detentions. It provides the most thorough documentation of cases demonstrating that the president is bound by the laws of war; that decisions to detain persons, decide their status, and mistreat them are subject to judicial review, and that the commander-in-chief power is subject to restraints by Congress; and that the military commissions at GTMO have serious legal defects.

Author Notes

Jeff Rona is a composer whose scores include the film White Squall and the television shows "Homicide: Life on the Street," "Chicago Hope," "Profiler," and "High Incident."

Table of Contents

Introductionp. ix
Section 1 The Creative Process
Introductionp. 1
Chapter 1 Music for Filmp. 3
The Door: Shaping the Overall Character of a Film Scorep. 3
Hitting the Spot: Putting Music Cues in Their Placep. 4
Making a Subtle Entrance: Beginning A Cuep. 5
The Hit: Underscoring Crucial Momentsp. 6
Continuity and Contrast: Sustaining Interest with Variations in Tonep. 6
Economy: When Less Means Morep. 7
Transition: The Composer's Response to Changesp. 8
Tempo: The Pacing of the Scorep. 10
Style: Is Film Music Different from Other Kinds of Music?p. 12
Graceful Exit: When to End a Cuep. 12
Case Study: White Squallp. 13
Chapter 2 Music for Televisionp. 21
Doing TV: Music for the Small Screenp. 21
A Case of Homicide: Scoring a Network Cop Show (on Short Notice)p. 22
Changing Channels: Chicago Hopep. 29
Titles: Intro Music for TV Showsp. 35
The Main theme: Is There a Doctor in The House?p. 35
Chapter 3 Developing a Stylep. 40
Critique: Learning by Doingp. 40
Over The Top: Melodramatic Musicp. 43
The CD Is in the Mail: Analysis of a Problematic Demop. 44
Workshop: More Thoughts on Demos, Plagiarism and Conservative Choicesp. 47
House of Style: Cultivating a Unique, Identifiable Soundp. 50
The Art Film (aka Working for Peanuts)p. 53
Chapter 4 New Directions in Scoresp. 60
Found Sound: Improvising and Misfit Soundsp. 60
NetForce: The Electronic Scorep. 63
The Art of Documentary: Scoring a Nonfiction Filmp. 66
Looking Forward: Film Music in the 21st Centuryp. 69
Conclusionp. 72
Perspectives: John Williams, Carter Burwell, James Newton Howardp. 73
Section 2 Technology
Introductionp. 81
Chapter 5 Setting Up a Studiop. 83
Staying Ahead of the Curve: How Much Gear Is Enough?p. 83
Computers: Essential Operating System Savvyp. 83
Sequencers: The Most Important Item in Your Studiop. 85
Samplers: An Orchestra (and More) at Your Fingertipsp. 86
Synthesizers: An Arsenal of Electronic Soundsp. 87
Timecode: The Heart of Synchronizationp. 88
Mixing: The Art of Balancep. 88
Plugging It All Inp. 89
Is It Enough? Spending on Your Studiop. 92
Getting a Studio Tan: The Importance of a Comfortable Workspacep. 95
Chapter 6 Writing the Scorep. 98
The Paper Tiger: Generating a Printed Scorep. 98
Conduct Yourself Accordingly: How to Control an Orchestrap. 103
Sounds Just Like the Real Thing (Until You Listen to the Real Thing): The Synthetic Approach to Orchestrationp. 107
General Notes on the Character of Orchestral Soundp. 108
Wind and Brassp. 109
Stringsp. 110
Percussionp. 111
Harpp. 111
Putting It Togetherp. 112
Loop the Loop: The Rhythms of Electronic Scoringp. 113
Organization: The Unique Language of the Cue Sheetp. 115
Sync Up: When Your Music is Married to Filmp. 118
SMPTE Timecodep. 118
Delivering Your Final Mixesp. 120
The Etiquette of Reel Changesp. 121
Chapter 7 Recording the Scorep. 123
Working with Actual (Not Virtual) Musiciansp. 123
The White Squall Recording Sessionsp. 124
Keeping the Musicians in Timep. 124
Making the Transition from Home Studio to Pro Studiop. 125
Recording the Orchestrap. 126
Making Repairsp. 128
Tracking Completedp. 129
Editing and Mixingp. 130
On to the Dub Stagep. 133
Samples Run Through It: Creating Samples and Loops for Mark Ishamp. 134
Walk like an Egyptian: Working with Exotic Musiciansp. 137
In the Mix: Beyond Stereo to Surroundp. 140
Theatre in the Surroundp. 141
Smells like Team Spirit: The Music Editorp. 145
Sounds Good to Me: The Film Score Mixerp. 151
Perspectives: Hans Zimmer, Mark Isham, Basil Poledouris, Marc Shaimanp. 156
Section 3 Career
Chapter 8 Beginning a Careerp. 170
How Do I Get Started in Film Scoring?p. 170
Live Where You Workp. 170
How Important is a Music Degree?p. 171
Windows of Opportunityp. 171
Apprenticing with a Successful Composerp. 172
The Demop. 173
The Makings of a Good Demo Tapep. 174
Genre Showcasep. 174
Melodies: Concise, Focused and Memorablep. 175
Variety: The Spice of a Diverse Sequencep. 175
Plagiarists Need Not Applyp. 176
Including Appropriate Materialp. 176
Your Demo Reflects Your Abilitiesp. 176
Credits Where Credit Is Duep. 177
Be Yourselfp. 177
Judging a Book by Its Coverp. 178
The List: More Advice on Getting a Start in the Film Worldp. 178
Learning By Doing: 10 Things Film Composers Taught Mep. 181
Agents: Having a Representative on Your Sidep. 185
Chapter 9 Career Challengesp. 187
Orchestral Maneuvers in the Dark: My First Score for a Live Orchestrap. 187
Sizing Up "The Critic's" Needsp. 188
Working on a Tight Schedulep. 189
At the Studiop. 191
Making the Producers Happyp. 192
Fired: When Bad Things Happen to Good Composersp. 193
Letting Go: Two Examples of How NOT to Deal with Film Producersp. 197
So, Are You Up to Speed? How to Get a Lot Done in a Very Short Timep. 201
Explaining Impossible Deadlinesp. 201
The Politics of Dancing: The Diplomacy of Scoringp. 204
Other Peoples' Problemsp. 205
Someone to Watch Over You: The Lawyerp. 206
In Which I Say "Yes" to Sundance: Scoring The House of Yesp. 207
Composing the Scorep. 208
A Disappointing Mixp. 210
Attending the Sundance Festival: Mecca for Independent Filmsp. 211
Return to L.A. (and Some Bad News)p. 213
Getting to Know...Who?: Determining Your Suitability for a Projectp. 215
On the Other Handp. 216
A New Director, a New Relationshipp. 217
Chapter 10 Making a Livingp. 219
Dollars and Sensep. 219
How Composers Make Moneyp. 220
Calculating Expensesp. 221
Joining the Unionp. 222
Royalties and Collection Agencies (the Good Kind)p. 222
Who Signs the Composer's Check?p. 226
Television Music Fees and Budgetsp. 228
Contracting Music (Don't Worry, You'll Live): An Interview with David Low, Music Contractorp. 229
Agents of Change: An Interview with Cheryl Tiano, Composer's Agentp. 234
I Pick the Songs: An Interview with Chris Douridas, Music Supervisorp. 241
The Executive Suite: An Interview with Robert Kraft, Film Studio Music Executivep. 247
Epilogue: The Day the Earth Didn't Stand Stillp. 258
Appendix Thinking in Reel Timep. 262
Resourcesp. 267
Indexp. 270