About This Site
Getting the Score was created to shed light on all aspects of film scoring for film makers and musicians alike. It is written by composer Alain Mayrand.
-
-
-
-
Recent Posts
Categories
- Aesthetics
- Budgets
- Business
- Case Studies
- Composer Relations
- Composition
- Concert Music
- Definitions
- Director's POV
- Job Descriptions
- Music and Story
- Personal Posts
- Post Mortem
- Rants
- Recording Sessions
- Scene Analysis
- Scheduling
- Score Works
- Scoring Process
- scoring sessions
- Sound vs Score
- Spotting
- temp tracks
- Timings
- Uncategorized
- Updates
Blogroll
Archives
- May 2013
- April 2013
- July 2012
- March 2012
- February 2012
- January 2012
- December 2011
- January 2011
- November 2010
- October 2010
- July 2010
- May 2010
- March 2010
- January 2010
- December 2009
- October 2009
- September 2009
- August 2009
- July 2009
- June 2009
- May 2009
- April 2009
- March 2009
- February 2009
- January 2009
- December 2008
- November 2008
- October 2008
- September 2008
- August 2008
Popular Posts
- The Spotting Session – definition (4,510)
- Tips for Getting Into Film Scoring (1,962)
- Principles of Film Music (1,478)
- Functions of the Score: Foreshadowing (1,144)
- Jobs: Music copyist (958)
- Timings Part I: Breaking it down (508)
- Beauty is in the Details (456)
- Four-Part Stupidity (380)
- Tarrantino on composers (355)
- How Big? (335)
Monthly Archives: May 2009
When does music come in?
During the spotting session it is time to decide where music cues start and end. There are many reasons to bring in music, many points of entry. From on “The Track: a guide to contemporary film scoring.” by Fred Karlin and Rayburn Wright. In general, music starts most effectively at a moment of shifting emphasis. [...]
Principles of Film Music
From Claudia Gorbman’s “Unheard Melodies: Narrative Film Music”. 1987, Indiana University Press. I. ‘Invisibility’: The technical apparatus of nondiegetic film music must not be visible. II. ‘Inaudibility’: Music is not meant to be heard consciously. As such it should subordinate itself to dialogue, to visuals – i.e., to the primary vehicle of the narrative. III. [...]
Pick Two
Pick any two when hiring the composer for your score. Good Fast Cheap If you want it good and fast, it won’t be cheap. If you want it good and cheap, it won’t be fast. If you want it fast and cheap, it won’t be good. Alain
HR’s Top 100 Scores
The Hollywood Reporter posted their top 100 movie scores. The commentary on each score is also quite enlightening, not surprisingly written by Jeff Bond of Film Score Monthly. This could almost be a list of the top 100 movies as well, which makes me wonder about the impact the musical score has to a film’s [...]