Jai Meghan’s recent Open Forum Friday article on “getting organized” got me thinking about a different way of organizing: How composers organize their ideas within a piece of music. According to Wikipedia the word “composer” comes from the Latin compônere, meaning “one who puts together”. In a sense, composing a piece of music is really about organizing—organizing notes into themes and melodies, melodies into phrases, phrases into coherent sections, and so on.
The Classical forms like Rondo, Sonata, Compound Ternary, etc. all serve as extremely useful road-maps for developing musical material. The Rondo form, for example (ie. Abaca), gives us a blueprint for balancing a main theme with contrasting sections. After the main theme we have a contrasting section, and after every contrasting section we return to the main theme. Thus, the perfect sense of coherence and unity by repetitions of the main theme, balanced by variety and interest from the contrasting sections.
The Classical forms like Rondo, Sonata, Compound Ternary, etc. all serve as extremely useful road-maps for developing musical material. The Rondo form, for example (ie. Abaca), gives us a blueprint for balancing a main theme with contrasting sections. After the main theme we have a contrasting section, and after every contrasting section we return to the main theme. Thus, the perfect sense of coherence and unity by repetitions of the main theme, balanced by variety and interest from the contrasting sections.
- 11/5/2010
- by Ryan Leach
- SCOREcastOnline.com
It took them a year, but the Society of Composers and Lyricists has come out in support of the proposed Composers Union, spearheaded by the Association of Music Composers and Lyricists (Amcl) and the Teamsters Union Local 399.
As Jon Burlingame first reported in Variety, the decision came down when the Scl board recently voted to endorse the effort.
The Amcl is expected to formally announce the Scl’s endorsement at their next organizing meeting at 7 p.m. Monday, Nov. 15, at the Writers Guild Theater.
Since last April’s addition of several Amcl steering committee members (including composers Mike Post, Sean Callery, Rick Marvin, Richard Gibbs, and others), the Scl is the most recent organization to come out in support of the Amcl’s retooled campaign for a “benefits only” union for composers. Earlier this year, organizations including WGA, SAG, AFTRA, Afm, and the Recording Musicians Assn. (Rma) formally endorsed the effort by the Amcl.
As Jon Burlingame first reported in Variety, the decision came down when the Scl board recently voted to endorse the effort.
The Amcl is expected to formally announce the Scl’s endorsement at their next organizing meeting at 7 p.m. Monday, Nov. 15, at the Writers Guild Theater.
Since last April’s addition of several Amcl steering committee members (including composers Mike Post, Sean Callery, Rick Marvin, Richard Gibbs, and others), the Scl is the most recent organization to come out in support of the Amcl’s retooled campaign for a “benefits only” union for composers. Earlier this year, organizations including WGA, SAG, AFTRA, Afm, and the Recording Musicians Assn. (Rma) formally endorsed the effort by the Amcl.
- 10/29/2010
- by SCO Staff
- SCOREcastOnline.com
No, I’m not referring to Deane’s post from yesterday about Notational Velocity (although it was pretty cool!).
I have been given the rare opportunity to hijack the Open Forum Friday for today, so I figured since nobody else in town seems to be talking about it, I’d try to drag the topic of the proposed “union” back from the dead and see if there was still any blood to leech from it. (Speaking of leeching blood, who else is eagerly awaiting The Walking Dead on Halloween night?)
In all seriousness, there are interesting arguments both for and against a Composers Union in La. But is one even feasible? Is it worth it? Is it too late? Is it necessary? Are we longing for the past when we should be facing the reality of the future? These are all questions that are, frankly, still unanswered. God bless the guys on the dais,...
I have been given the rare opportunity to hijack the Open Forum Friday for today, so I figured since nobody else in town seems to be talking about it, I’d try to drag the topic of the proposed “union” back from the dead and see if there was still any blood to leech from it. (Speaking of leeching blood, who else is eagerly awaiting The Walking Dead on Halloween night?)
In all seriousness, there are interesting arguments both for and against a Composers Union in La. But is one even feasible? Is it worth it? Is it too late? Is it necessary? Are we longing for the past when we should be facing the reality of the future? These are all questions that are, frankly, still unanswered. God bless the guys on the dais,...
- 10/22/2010
- by Jai Meghan
- SCOREcastOnline.com
Can you believe that July is already upon us? What happened to the first half of 2010?
This month at SCOREcastOnline.com, we are focusing on “Marketing and Branding.”
I’m excited about finally bringing this topic to the forefront of our discussions at Sco, as many of you have been asking us to cover this topic for a long time.
As a possible timely stroke of genius(!), we are hosting our first-ever Official SCOREcast Mixer here in Los Angeles on July 18th. We will release details on how you can be involved before the weekend, so stay tuned for more on this special event.
To kick off the month, we’ve already read two Killer articles on the subject. Last week, Heather Fenoughty weighed in with an incredible article about Personality Branding, where she essentially lays out how to best promote yourself and run your business through understanding your personality type.
This month at SCOREcastOnline.com, we are focusing on “Marketing and Branding.”
I’m excited about finally bringing this topic to the forefront of our discussions at Sco, as many of you have been asking us to cover this topic for a long time.
As a possible timely stroke of genius(!), we are hosting our first-ever Official SCOREcast Mixer here in Los Angeles on July 18th. We will release details on how you can be involved before the weekend, so stay tuned for more on this special event.
To kick off the month, we’ve already read two Killer articles on the subject. Last week, Heather Fenoughty weighed in with an incredible article about Personality Branding, where she essentially lays out how to best promote yourself and run your business through understanding your personality type.
- 7/1/2010
- by Deane Ogden
- SCOREcastOnline.com
I don’t spend a lot of time online. I’m sure I should, and I bet there is some self-appointed social networking “expert” out there that would scold me for my lack of attention to online marketing. I don’t have a “dot com” and I don’t (think?) I have a “brand.” In fact, I barely have a business card. You should see it—it’s a simple white card in black Arial Bold that says, “Jai Meghan : Scoring Assistant”, with my phone number. Problem is, the phone number is not in service anymore, so underneath the crossed out phone number (in Sharpie, of course!) is my new Gmail address that was only set up a few months ago. By the time I finally remember to log in and check my Facebook messages—and honestly, I’m not even sure that’s what Facebook is really for...
- 6/21/2010
- by Jai Meghan
- SCOREcastOnline.com
Editor’S Note: This article was first published at Film Music Magazine in response to Bruce Broughton’s comments published with Chris Alpiar’s article “What I Hope, Want and Expect from a Composers Union”.
Follow The Thread:
Jai Meghan: Are You “Pro”, Union? Bruce Broughton: An Amcl Response
——————
We need to make plain one fundamental fact and then let’s start the debate:
The WGA Agreement Has Nothing To Do With AMPTP Negotiations — They Are Completely Separate.
The Amcl committee does its supporters no good by confusing the WGA with the AMPTP and this must stop.
This parsing of words hides a potential cancer which can eat up what we have worked 4+ years to help organize. When we parse words instead of explaining positions, we sow the seeds of disloyalty and mistrust.
We must create a union that does what is right, not merely what is convenient.
Follow The Thread:
Jai Meghan: Are You “Pro”, Union? Bruce Broughton: An Amcl Response
——————
We need to make plain one fundamental fact and then let’s start the debate:
The WGA Agreement Has Nothing To Do With AMPTP Negotiations — They Are Completely Separate.
The Amcl committee does its supporters no good by confusing the WGA with the AMPTP and this must stop.
This parsing of words hides a potential cancer which can eat up what we have worked 4+ years to help organize. When we parse words instead of explaining positions, we sow the seeds of disloyalty and mistrust.
We must create a union that does what is right, not merely what is convenient.
- 5/24/2010
- by SCOREcast Team
- SCOREcastOnline.com
Editor’s note: The following is a response to Jai Meghan’s editorial posted on Tuesday, May 18th, by Bruce Broughton for the Amcl.
———————————
In spite of appearing “somewhat confusing . . . ill-prepared . . . scatter-brained . . . misinformed . . . [although] moderately victorious,” I’ll try to clarify some of the points that Jai Meghan brought up in an article that apparently resonated with many others, judging by the list of comments published subsequently.
In order to request recognition as a collective bargaining agency on behalf of composers, the Teamsters will be dealing with those production companies who come under the aegis of the AMPTP. This will, for the time being exclude game composers, commercial composers and composers of library music, not because the composers are inherently unworthy or unwanted, but because these groups have little or nothing to do with the AMPTP, an association of over 350 motion picture and television producers.
The “working composer” phrase should not...
———————————
In spite of appearing “somewhat confusing . . . ill-prepared . . . scatter-brained . . . misinformed . . . [although] moderately victorious,” I’ll try to clarify some of the points that Jai Meghan brought up in an article that apparently resonated with many others, judging by the list of comments published subsequently.
In order to request recognition as a collective bargaining agency on behalf of composers, the Teamsters will be dealing with those production companies who come under the aegis of the AMPTP. This will, for the time being exclude game composers, commercial composers and composers of library music, not because the composers are inherently unworthy or unwanted, but because these groups have little or nothing to do with the AMPTP, an association of over 350 motion picture and television producers.
The “working composer” phrase should not...
- 5/22/2010
- by SCOREcast Team
- SCOREcastOnline.com
Groucho Marx famously said, “I don’t want to belong to any club that will accept people like me as a member.” I tend to agree with that sentiment, and it’s a good thing I do… because I don’t think that the Amcl wants me very much.
Although the actions of the Amcl Steering Committee—the eleven men who have taken it upon themselves to spearhead the effort to unionize composers in Los Angeles under the Teamsters Local 399 banner—have run a somewhat confusing gamut from ill-prepared to scatter-brained to misinformed to moderately victorious, one thing is particularly clear: The Amcl and the Teamsters Union have zero intentions of unionizing All composers. They only want the “working ones”.
What does that mean? Amcl Steering Committee member Mike Post, one of the most successful (if not The most successful) composers in television history, said at the last Amcl meeting...
Although the actions of the Amcl Steering Committee—the eleven men who have taken it upon themselves to spearhead the effort to unionize composers in Los Angeles under the Teamsters Local 399 banner—have run a somewhat confusing gamut from ill-prepared to scatter-brained to misinformed to moderately victorious, one thing is particularly clear: The Amcl and the Teamsters Union have zero intentions of unionizing All composers. They only want the “working ones”.
What does that mean? Amcl Steering Committee member Mike Post, one of the most successful (if not The most successful) composers in television history, said at the last Amcl meeting...
- 5/18/2010
- by Jai Meghan
- SCOREcastOnline.com
***Note — What started out as an article about the role of assistants in the spotting process turned out to be a little more than that. I'll cover some aspects of spotting from a composer assistant's perspective, but you'll find more of an overarching description about what assistants should and shouldn't do overall in this particular column. End disclaimer. ;-)
When you assist a composer, which I have spent the majority of my time in La doing, it's hard to get excited about the "spotting session". It is only on Spotting Day that I know several things are about to take place for me: I'm going to be fetching a hell of a lot of coffee and I'm going to repeating the phrase, "Can I get you anything else?" a whole helluva lot, too.
Oh yes… as an assistant, Spotting Day is all about making people comfortable. You are responsible for setting up the room,...
When you assist a composer, which I have spent the majority of my time in La doing, it's hard to get excited about the "spotting session". It is only on Spotting Day that I know several things are about to take place for me: I'm going to be fetching a hell of a lot of coffee and I'm going to repeating the phrase, "Can I get you anything else?" a whole helluva lot, too.
Oh yes… as an assistant, Spotting Day is all about making people comfortable. You are responsible for setting up the room,...
- 3/24/2010
- by noreply@blogger.com (Jai Meghan)
- SCOREcastOnline.com
...Or do they?
I found these comments on the score for this film intriguing, and even though I'll probably see it anyway, the author's words now have me wincing at the thought of the "thrum, thrum, Thrum!" of those cellos!
What's your take, SCOREcasters? Not necessarily on the "score" for this film, as that may be entirely subjective... but what is your take on the "noticeability factor" of film music in today's modern movie? Apparently, what we do is Not so lost on the movie-going public. As in this example, when it doesn't work for some people — it really doesn't work, and they notice that it's not working.
How can this be avoided when you are being told by a director "what is right"? How would you handle knowing that what you are doing will not work in the film, yet the producers are breathing down your neck to "get it finished,...
I found these comments on the score for this film intriguing, and even though I'll probably see it anyway, the author's words now have me wincing at the thought of the "thrum, thrum, Thrum!" of those cellos!
What's your take, SCOREcasters? Not necessarily on the "score" for this film, as that may be entirely subjective... but what is your take on the "noticeability factor" of film music in today's modern movie? Apparently, what we do is Not so lost on the movie-going public. As in this example, when it doesn't work for some people — it really doesn't work, and they notice that it's not working.
How can this be avoided when you are being told by a director "what is right"? How would you handle knowing that what you are doing will not work in the film, yet the producers are breathing down your neck to "get it finished,...
- 2/21/2010
- by noreply@blogger.com (Jai Meghan)
- SCOREcastOnline.com
I cherish "verbal economy". Getting to the bottom of something — to the core level of it — while utilizing the smallest amount of verbiage possible is something that I am profoundly fascinated with. It drives me crazy when someone is trying to make a point, and instead of stating the main crux of their position, they wax on with twenty minutes of preamble.
So, I'll try my damnedest to make this intro quick and to the point.
I am supposed to talk to you today about "competition", but I don't want to, so I'm not going to. Instead, let's talk about what the very core of the word "competition" boils down to: winning and losing. And there's a lot to talk about.
Here's the deal: Right this very second, as you sit wherever you are and read this post, one of two things is taking place in your life. You are...
So, I'll try my damnedest to make this intro quick and to the point.
I am supposed to talk to you today about "competition", but I don't want to, so I'm not going to. Instead, let's talk about what the very core of the word "competition" boils down to: winning and losing. And there's a lot to talk about.
Here's the deal: Right this very second, as you sit wherever you are and read this post, one of two things is taking place in your life. You are...
- 2/15/2010
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
Happy Holidays, SCOREcasters!!
As we enter the year-end news slowdown, we are looking forward to bringing you even greater in-the-trenches film music content as 2010 cranks up. We'll also be introducing even more new features to the site towards Namm time, so keep your eyes peeled and your ears open!
Thank you for visiting SCOREcastOnline.com throughout 2009 and for making Sco a regular part of your daily reading. Have a killer weekend, and we'll see you on Monday where we'll present the rest of "Gear Month" to round out the year!
- Deane Ogden, Lee Sanders, Jai Meghan and the rest of the Sco Crew...
As we enter the year-end news slowdown, we are looking forward to bringing you even greater in-the-trenches film music content as 2010 cranks up. We'll also be introducing even more new features to the site towards Namm time, so keep your eyes peeled and your ears open!
Thank you for visiting SCOREcastOnline.com throughout 2009 and for making Sco a regular part of your daily reading. Have a killer weekend, and we'll see you on Monday where we'll present the rest of "Gear Month" to round out the year!
- Deane Ogden, Lee Sanders, Jai Meghan and the rest of the Sco Crew...
- 12/25/2009
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
November’s Sco theme is The Creative Process. Most of the articles this month this will likely focus on various aspects of film or TV processes. But since Diy Studio focuses more on starting up, I’d like to broaden the scope of the definition, recognizing how diverse we may all be in where we are in our journeys. As such, this month’s Diy Studio edition is more about The CreativITY Process. The great thing about the Creative Process is that, at its most fundamental, it’s free.
The Creative Process is a process- a method to get something done. It’s a thought process. There are of course tools, techniques, classes, theory, etc, to help you “be creative”, and many people take advantage of these. But doesn’t the very nature of creativity lie in people thinking in ways no one has before? For this edition of Diy Studio,...
The Creative Process is a process- a method to get something done. It’s a thought process. There are of course tools, techniques, classes, theory, etc, to help you “be creative”, and many people take advantage of these. But doesn’t the very nature of creativity lie in people thinking in ways no one has before? For this edition of Diy Studio,...
- 11/9/2009
- by info@jamesomusic.com (James Olszewski)
- SCOREcastOnline.com
Just yesterday, I had a conversation with a director friend of mine who I just finished a film for. We were talking about work ethic and perseverance in our industry, and we found that we had quite differing views on certain aspects of how hard you have to work to sustain a healthy career making movies.
My view has always been — and I've stated this here before — that since I am a film composer to the bone, there is nothing else that I will ever do, or could do. How hard I am willing to work to maintain what I have achieved in the time that I've been actively pursuing my composing career as well as the work it is going to take to get me where I want to be in 10 years is something that I am willing to undertake no matter the cost, immediate family notwithstanding.
I believe...
My view has always been — and I've stated this here before — that since I am a film composer to the bone, there is nothing else that I will ever do, or could do. How hard I am willing to work to maintain what I have achieved in the time that I've been actively pursuing my composing career as well as the work it is going to take to get me where I want to be in 10 years is something that I am willing to undertake no matter the cost, immediate family notwithstanding.
I believe...
- 9/28/2009
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
If you do this thing for a while, here's what's eventually going to happen. You stumble into your studio early one morning and there's a Hard Truth perched on top of your computer monitor, smirking at you: There is not enough time to do everything.
Stealthy beads of flop-sweat reconnoiter your forehead, scouting the terrain for a full-scale assault later in the afternoon. Your fingers go a little numb. You remember to breathe—deeply, slowly, methodically—but it's too late to do anything but call the production company and beg for mercy.
Don't say you weren't warned. If you're lucky enough to have a gig, chances are you're intimately familiar with this scenario already.
Welcome to Crunch Time… a.k.a. Standard Operating Procedure in the wild and wonderful world of 21st-century filmmaking, where it's always a rush job and always a panic.
Executives nowadays are in the habit of...
Stealthy beads of flop-sweat reconnoiter your forehead, scouting the terrain for a full-scale assault later in the afternoon. Your fingers go a little numb. You remember to breathe—deeply, slowly, methodically—but it's too late to do anything but call the production company and beg for mercy.
Don't say you weren't warned. If you're lucky enough to have a gig, chances are you're intimately familiar with this scenario already.
Welcome to Crunch Time… a.k.a. Standard Operating Procedure in the wild and wonderful world of 21st-century filmmaking, where it's always a rush job and always a panic.
Executives nowadays are in the habit of...
- 7/22/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
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