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There's a Focal Press book I haven't been able to find that's the best explanation of how to do the math I've ever seen. The thing to understand about scoring is that it's always done in a panic at the last minute.
My old film buddies tell me that most contemporary scoring really sucks because it's "ear candy" that conflicts too much with the dialog. Underscoring needs to have much thicker harmonies than a stand-alone instrumental composition would have. In fact most of the classic "sound track" albums were rewritten to sound better without dialog since the musicians' union was going to make the labels pay for another session anyways.
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