Composing Music for Film [Jack Smalley] on *FREE* shipping on qualifying offers. Film composer Smalley offers discussion and examples for the. You better know basic music theory and composing before taking on this book– i am on my second read through it. Dense with techniques and Jack Smalley’s. Title, Composing Music for Film. Author, Jack Smalley. Edition, 3, illustrated. Publisher, Independent Publisher, ISBN,
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Not to be content with a “bag o’ tricks”, but to have in one’s musical arsenal some useful generalizations about musical form. Thus you get like a “greatest hits” versions of each technique, not a comprehensive treatment with assignments.
Smalley’s “Composing for Film”-Short Review
Yes, my password is: The musical examples are basically muusic to get the point across, and most people will not be intimidated by them. He encourges you to take the techniques further on your own. Jack believes that there are basically 7 emotions to be covered in scoring. Well, I foe confirm that he’s right. And none of this is intended to argue with Jay: For the intermediate it will fill in some blanks and show a different way of approaching problems you may already have solutions for.
Composing Music For Film – Jack Smalley – About the Book
For the relative beginner it will introduce many techniques in a non threatening way. I have now had Jack Smalley’s book for a bit under 2 weeks and have been through the book. Hey Mike, While not a a dictionary of ideas it covers this topic fairly well. Scott RogersJan 1, smalkey Craig SharmatDec 29, Was just about to consider buying this book and this helps a lot!
You must log in or sign up to reply here. ComposerDudeJan 1, It also means that what sometimes seems like a complicated subject, such as polytonality, serialism etc, are actually eased down so a novice can copmosing most of the concepts.
Thanks for this review. Oh, Craig already splaned.
Smalley’s “Composing for Film”-Short Review | VI-CONTROL
Thanks Craig and rJames for the reviews. Nick BatzdorfDec 31, The comppsing comes from a different place in that it suggests 3 basic themes as examples through the whole book and proceeds to show you smallfy to jcak them.
The scale you refer to is a mjor scale with a raised 4th or lydian mode btw. No, create an account now. Jay, if I may gratuitiously add to your list Thank you Jay – I certainly appreciate your voice of experience.
It is all about approach, having a tool chest and getting organized which this treatment certainly is. The organizing of “writing a cue” section makes it look quick and easy and is laid out in an almost follow the dots fashion.
Does this book cover basics like that? While books like “On the Track” are far more thorough on things like budget considerations and dealing with directors etc, “Composing for film” is more about the mechanics and tools of scoring to picture.
Frederick RussDec 31, ThonexComposign 1, AshermusicDec 31, I think continual study of the craft of writing is essential which is why I’m eventually going to be dusting off the books again and restarting my EIS lessons next year as well when time vomposing. Mike GreeneDec 29, One note to all, though he is known to be a great orchestrator this book contains very little about the subject.
Thanks for sjalley review, Craig! I’ve started writing professionally in so subsequently have been getting a lot of helpful ideas and advice from Craig and others regarding harmony and instrumentation. Jack Smalley’s Composing for Film from my perspective. Ifor one, can’t put a price on this kind of invaluable information.
That is really where the book shines, concise, simple explanations and yet comprehensive in covering it’s subject matter. The book is really a tool chest of how to deal with the music in scoring.
There are really no planned assignments though.
I will not make a comment on the price page ratio issue. Having the mksic to recreate and expand upon approaches is a key help so I’m looking forward to checking out Jack Smalley’s new book as a further leg up to help out when mired in crunch time.
I just bought Smalley’s book based on Craig’s recommendation. I’m also leaning upon Principles of Orchestration and end up listening to countless scores to get ideas as to why things work they way they work. Mike, that would be Lydian – the fourth of the seven Greek modes, i.
He explains also how he goes about choosing emotional material being a love theme or a villian theme etc.
Much if not all that is in here has been in other books, but maybe with not with such brevity and clarity, and probably focus toward film. I am judging the book on it’s own merit, price excluded.
Personally I see nothing wrong with attaching emotional labels to techniques – as long as they’re seen as what they are: Smalley can stop in and say hi sometime. If there is theory involved, Jack touches on it not because he wishes to teach you classical methods, but as tools specific to scoring for picture.