Film scoring/More musical theory

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More film scoring theories

 * Here are some theories that will be important to you.


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Music behind the dialog
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Never step on the dialog

 * When not to use foreground music
 * You must never play foreground music (loud music) when the actors are talking. This is called "stepping on the dialog".


 * What happens to loud music
 * If you step on dialog, the sound mixer guy will happily turn down ALL your music.


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Too many notes
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Too many notes

 * King's rule : Don't use too many notes
 * The king is correct. You can have too many notes when you create a film score.


 * The most confusing theory of film scoring
 * Here is the most important theory of motion pictures.


 * A motion picture conveys the most information in the least amount of time. A motion picture (or television drama) shows a continually changing picture (a new shot every 3 to 5 seconds) and has as many as 100 tracks of sound.  All of this the audience eagerly absorbs.


 * Every available method of conveying information is used in a motion picture.


 * The same is true for a symphony. It transmits enough information to completely occupy the listener.


 * The same is true for people who drive cars while talking on the cell phone, eating a hamburger, and drinking a large Pepsi. The driver's mind is so occupied, the driver cannot focus on the road.  Not good!


 * Limit your film score
 * The rule is your film score must not completely occupy the mind of the viewer of the motion picture. The viewer must also absorb the visual information from the picture.


 * Your music must not be so full and absorbing that the audience forgets entirely about the rest of the motion picture.


 * A simple example
 * If you want to use a piece of a symphony to score a motion picture, remove some of the tracks from the midi score and it will actually sound better. Keep your music thin.




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The next page

 * Next, you have fun with midi. Exercise : Butchering Midi


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