Which books have you used in your Composing career ? I use “On the Track” for reference now.
Guerrilla Film scoring … I’ve read almost all the way through.
I recently Learned of “creative strategies in film Scoring”, by Ben Newhouse.
I know it’s Better to do,and make music, though thought I would ask this group.
My humble beginnings now entering early 60’s means better focus and learn from all the other seasoned composers and engineers within this industry.
Have a great weekend !
K. Kennard
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I discovered when I chose a book many years ago that it only gave me a very brief introduction to mostly the business end of film scoring. Also the business end discussions made an assumption that one was involved scoring a studio feature in one of the film city hubs such as LA, NY, or Atlanta. Often it assumes a career path that starts with working as an apprentice to an established 'name composer'. It discusses in detail composing and developing music through a team and workflow software and much about spotting and spotting session. Yes - all of this is useful to know about but in my opinion: (1) many indie film composers work alone and with whatever software (and samples) they have. Those who watch the film as well as the filmmaker, directors, etc. are interested only in the music deliverable and little to no interest on what was used to create it. (2) that book information is not necessary for those who score indie films in non-hub cities such as those here in Texas. Less than 20% of my filmmaker/directors have heard about spotting and oftentimes I have had to recommend 'keyframe' settings (audio volumes for mixing) to editors who have little to no experience audio mixing. I have scored 35 indie films and not a single filmmaker and/or their production companies have had any idea what a spotting sheet is or the process of submitting it to a PRO (not to mention most never heard of a PRO). And finally the types of informal and formal agreements/contracts done for small indie films (most of which generate little to no revenue) differs widely imho from the types of agreements described in the 'work for hire' approach often discussed in books. (2) Books provide very little guidance or actual significant detail on how to create a specific cue for a particular scene, how to decide whether a cue is necessary or even how to recognize what the hit points are and what to do about them. I surely agree that one way to learn about exactly how to write a cue for a chase scene or a shooting scene is to look at, listen to, and then analyze what the 'masters have done'. But indie film music doesn't always require a full orchestra or a multi-percussion instrument section and analyzing a 10 to 15 staff sophisticated Williams or Zimmer score is educational but likely provides little guidance to the composer working with a keyboard synth, a piano, a guitar and/or a drumset.
So reading a film composing book is a good start as is listening and studying film scores. And I admittedly have not recently looked online for books for composers of indie film or outside the film hub cities (though I have recently found one dated "audiobook" on Amazon). From my vantage point, books and scores/soundtracks need to be augmented with course work starting with the basic - 2 years of theory and ear training followed by courses in midi/DAWs/VST options, learning one of the three notation software for live scoring, getting music performed live and then one or more courses on how to score for film. Taking one on one composing classes of one on one composing would also be useful. As would be scoring a live large ensemble. When I first started, there wasn't an orchestra available so I wrote original music as well as arranged pop and jazz music for a 'big band'. Taking songwriting classes and writing songs (solo or with a lyricist) also provides useful knowledge and techniques though depending on your scoring 'style' you may find songs to be more melodic than is often written for film scores.
Another thing not really learnt from the book is understanding and experiencing the difference between casual film composing and composing under pressure as is very common in tv and online episodic composing. Try scoring a 7 minute short completely in 3 hours or a 30 minute short in 2 or 3 days or less. what do you score differently? How is your choice in the arrangement different?
With that said, the book I purchased back in 2010 (so it can be dated) is:
Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TV Paperback – Illustrated, May 1, 2010 by Richard Davis
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Joel Irwin , the Berklee Press above was my first book as well.
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thank you for the healthy look into Indie world of film music. A friend tells me stories what’s needed, etc. it’s hard to believe production companies don’t know about Cue sheets. I use to deliver them when I worked at BMI a few months.
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Kerry - in the world I come from, I have worked with many filmmakers who have never interacted with a professional film composer. So they are expectantly totally ignorant about everything include cues and cuesheets. There are also filmmakers who have worked with first time or few time composers who (with all due respect) come from the midi/DAW world where they created music without any guidance or restrictions and decided it would be 'nice' to have their stuff used in a film such as a 48 hour competition.
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I've got lots of books and scores. The Equal Interval books were life changing for me. I still look through them often and always will. Another one that's been within arms reach for many years is the Nestico book. I had to reach for it yesterday. Good ole Sammy....
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Linwood Bell - Hmm, Nestico ? By Sam ?
So, Equal Intervals life changer ?
Who is the other of this book?
A lot of pages ??
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The Complete Arranger by Sammy Nestico. Great book and I still reference it. The Equal Interval books were written by Spud Murphy. There are 12 of them. You have to study the course in order to get the books. so you can't just go out and buy them on Amazon. Lots of folks studied with Spud. Oscar Peterson, Herbie Hancock, Q, Gerald Wiggins, Bennie Maupin, Dave Blumberg, Dell Hake, etc. You've heard Spud your whole life....he did Three Blind Mice for The Three Stooges. :) He had a great harmonic sense and understanding of all things music. He did lots of movies back in the day that required a unique set of chops. Crazy good composer/arranger......
https://www.youtube.com/watch?v=WUhhKELUxB0
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I still try to learn from books as much as I can, but my brand of neuro-spicy makes it tough. I’m just a little bit jealous of those who absorb books like drinking water. Makes theory tough too, found a groove learning my own way. I can keep up when looking at a score, but don’t ask me to analyze it with traditional terminology.
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Brian, I hear you !! Neuro- Spicy ... ohh nice ! We all have our own writing styles. [from this one collab., we have been calling it, Neo-Classical (Piano) and Contemporary / percussion.
Sometimes when I'm writing, I think like you do, if I understand your style, no theory really needed or analyzing - as we go for how it works with the scene / film / short or long form. I don't absorb books like drinking water, lol :~) but I did read a lot of the Guerilla Film Scoring book in almost a year. Most chapters (near beg.) has a video on Vimeo - kind of nice to have access to some of this (general) information.
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Kerry Kennard nice! Haha. I think I’ve heard of the “Guerilla Film Scoring Book”. May have to check it out! I like to read, but apparently my “style” is retention adverse to the page.
Like I’ll read a script and love it! But I won’t retain it. Chopping it up (digitally