The Simpsons Take The Bowl – Part 1

Right around August 1st, 2014 Alf called me to say that he had been asked by Al Jean to participate in the upcoming THE SIMPSONS TAKE THE BOWL concert being planned for The Hollywood Bowl to celebrate the 25th anniversary of the show. The producers wanted Alf to conduct some of his music and they wanted to bounce various ideas around to pick which music they would use. By this time it had already been announced in the press that various cast members and guest stars would be singing in the show with The Hollywood Bowl Orchestra conducted by Thomas Wilkins. Alf was being invited to present some of his music in a segment paying tribute to his musical legacy on the show.

Alf called to tell me about it and to ask for my input on possible cues or songs that he could conduct. We talked through a few possibilities and Alf said he would sleep on them and decide soon. Then on August 7th, I got a very unexpected call from Alf. He said that after giving the invitation thoughtful consideration, he was going to bow out of conducting at the concert.

A few years back, Alf came down with a case of “frozen shoulder“, a mysterious ailment that orthopedic doctors don’t fully understand. The main symptom is exactly what it sounds like – your shoulder locks up, limiting range of motion in the arm to around 20% of normal. No one seems to know exactly what causes it and there is no cure other than time for it to “thaw”. Thawing can take 18-24 months. While Alf’s shoulder isn’t “frozen” any more, it hasn’t fully “thawed” either. As a result, he hasn’t been conducting at scoring sessions these past few years. Orchestrator Dell Hake has been handling that job beautifully and Alf has moved into the control room, listening to takes and giving notes as we record the sessions. Alf felt that a week of conducting that would include rehearsals and performances was just a bit much given his shoulder condition. He asked Al Jean to keep the tribute segment in the program and recommended that I conduct the orchestra in his place. Al ran the request up the chain of command, everyone approved, and I got the gig.

Oh. My. God.

Alf was vary aware of my conducting education and ambition. I was so honored that he would entrust me with this once-in-a-lifetime privilege. We talked some more and settled on a medley of some of his well-known themes combined with instrumental arrangements of some of his songs from various musical episodes. I assembled a medley that would run about six-and-a-half minutes. Alf and Al approved the music and next came working out the preparation of the score with the music library and the music supervisor for the show, Jim Dooley.

Some of the music we selected dated back to the third season of the show, but our fabulous music library – JoAnn kane Music Service – has everything saved and stored at their facility and they were able to pull all the scores I needed, convert the older, hand-written ones to a digital format, and combine them with the newer, already digital scores into one, fantastic, beautiful score.

The first rehearsal was scheduled for Sunday, September 7th starting at 7:30PM. This would be a “walk-through” rehearsal for the purpose of everyone learning their entrances and exits, running through the dialogue, and learning the choreography for the “Do the Bartman” finalé – no orchestra, no singing during this rehearsal. The rehearsal ran longer than expected and we finished around 11:00PM. On my way home I received an email from Al Jean saying that the medley needed to be cut in half. I was very surprised and a bit heartbroken that such a change would be made before I even had a chance to rehearse it with the orchestra, but the medley wasn’t the only casualty. Jokes and dialog got cut, some animation specially created for the concert got cut, one of Beverly D’Angelo’s and one of John Lovitz’s songs got cut. The changes made for a more fast-paced, vaudeville-style musical review show.

So Monday morning I started re-editing the medley and sending it off for approval. Once approved, all the orchestra parts had to be revised to reflect the new version. Then I arrived back at the Bowl on Wednesday evening, September 10th to lead my first rehearsal. The medley was scheduled for the second half of the second half of the show, so I had quite a bit of time to cool my heels and wait my turn. Finally, around 9:20PM, Master of Ceremonies Hank Azaria introduced me, I walked onto the legendary Bowl stage, and performed the small comedy bit that had been written for me. I was supposed to walk onto the stage in regular street clothes, looking a bit bewildered at what I was doing there. Then a couple of the Duff Girl Dancers ripped off my street clothes revealing my fancy tux underneath, magically transforming me into a ready-to-go conductor. Our costume designer for the show, Kathryn McRitchie had worked for a couple of weeks preparing the breakaway clothes and fitting it perfectly over my tux so that I didn’t look too “puffy” in the over-sized shirt and pants. They ripped away perfectly and the bit went exactly as planned – and then it was cut for time. I felt so bad for Kathryn after all the work she did, but she was very well represented with all her other costumes in the show.

My first rehearsal was amazing. It was everything I could have ever hoped for leading the world-class group of musicians that they are. For those of you not familiar with The Hollywood Bowl Orchestra, in its current incarnation it is an orchestra made up primarily of studio musicians whose day job is working on the movies, TV shows, and records that you all know and love. The orchestra was formed in 1991 to play the weekend “pops” concerts leaving the “legit” classical concerts during the week to the Los Angeles Philharmonic.

The rehearsal went off without a hitch thanks to the combined efforts of JoAnn Kane’s people and Stephen Biagini’s crew with the Los Angeles Philharmonic’s library services. Amazing. Without their help, I would have spent all my rehearsal time telling the orchestra what cuts had been made. I am totally indebted to them for their über-professional work.

We ended rehearsal on time, then went home to have Thursday off before one last rehearsal on Friday afternoon, just a few hours before the first performance on Friday evening. All the details on the weekend coming soon … stay tuned.

A Dream is About to Come True

Regular readers of this blog may remember my post from November, 2011 which tells how I got started in music as a child and my ambition to conduct professionally. Well, you can file this post under “Good Things Come To Those Who Wait” (and learn, and show up for work on time, and do their jobs correctly).

I will be conducting The Hollywood Bowl Orchestra for a small but important portion of THE SIMPSONS TAKE THE BOWL on September 12-13-14, 2014. While, of course, much of the music to be performed those evenings was composed by Alf Clausen, my part of the concert will be devoted exclusively to Alf and his contributions to the musical legacy of THE SIMPSONS.

Alf asked me to do this for him. Honored, humbled, and excited are three words that come to mind to describe how I feel about this privilege, and they are woefully lacking in descriptive power. I cannot thank Alf enough for this opportunity and for the trust he has placed in my hands to represent him and his music.

It goes without saying that my whole musical life has lead up to these three nights. It also goes without saying that any further details about the shows have to go without saying – I wouldn’t want to spoil any surprises!

I can’t believe I’ll be musically representing the greatest cartoon of the past 25 years at the same historic venue where cartoon greats Bugs Bunny and Tom & Jerry have conducted before me!

So spread the word and if you are in the Los Angeles area any of those three nights, please come to one of the concerts and tweet me @mxedtr to let me know you’re there. Tickets can be purchased by clicking here.

Of course, I’ll be documenting the experience as much as I can and will post a long, gushing, self-congratulatory blog when it’s all in the rear-view mirror.

Simpsons Marathon Starts Today

It’s so exciting to see so many people so excited for the marathon.

To any of you new to the blog, thank you for finding me. To my readers who have been missing my posts of late, I can only say I’m sorry for the small trickle of words this past year, but I attribute it to a combination of being very busy with the show from February to May – we scored and aired 12 shows in 11 weeks owing to the Olympics, Grammys, and Oscars all preempting us – and needing a little blog break after producing many more posts than I thought I had in me.

I awoke this morning to a Twitter feed ablaze with posts mentioning and celebrating the marathon. I also found a twitter link to this article from NPR’s Deceptive Cadence blog. What an honor and thrill to know that NPR is reading my blog! Many, many thanks to NPR and to the readers who have found their way here thanks to the article.

Sidebar: The official Twitter account for the marathon is @EverySimpsons and my account is @mxedtr. I’ll be live-tweeting here and there throughout the 12-day event (can’t possibly be there the ENTIRE time, but I’ll be adding anecdotes when I can).

This post has to be a brief one this time around because I’m getting ready for tomorrow’s scoring session for SABF20 CLOWN IN THE DUMPS, our Season 26 premier episode which is set to air on Sunday, September 28, 2014 on FOX.

I’m also working on The Simpsons Take the Bowl concert performance. I can’t reveal any details now, but to be sure, there WILL be a blog post (or two) about it when it’s over. If you are in the Los Angeles area on September 12-13-14, 2014 try to attend the live concert. It will be a pretty amazing night of music, guest stars, and Simpsons-style fun.

Enjoy the marathon!

Thank you, Gene

 

So, it’s been MANY weeks since my last post (it’s been a very busy 2014 on THE SIMSPONS, but more on that in another post), and I’m bummed that my “comeback” post has sad news in it.

Music Editor Gene L. Gillette passed away this past January, but I only learned of it today reading CineMontage, the magazine published by the Motion Picture Editors Guild for its members.

My first blog post – and the motto of my career – is titled “Luck is When Preparation Meets Opportunity”. I tell students and aspiring show bizzers ALL THE TIME: “Your number-one job is to study, and learn, and ask questions, and do everything in your power to be ready to seize an opportunity when it comes your way. You have no control over the opportunity, but you have total control over the preparation.” Gene was my second, but my best, opportunity.

When I was a tour guide at Universal Studios Hollywood back in 1984-1986, I would spend all my free time down on the scoring stage (sadly, Universal no longer has a scoring stage – the spot where the stage used to sit now holds the Jurassic Park ride) observing scoring sessions and pestering any music editor who would give me the time of day with questions about the craft. Many of the music editors did share time and wisdom with me, but Gene shared the most. Then, one day, Gene left Universal after many years at the studio. I didn’t know where he went.

My first big break (opportunity) came in 1986 when Dan Carlin, then owner and President of Segue Music helped me get into the Editors Guild (union) and gave me my first job. For more detail on that story, click here. For a variety of reasons, that job only lasted one year. Just when I thought I was headed back to the tour full-time, I got a call from another music editing company, Music Design Group. The owner of Music Design Group, Roy Prendergast, asked his music editors if they knew of any new, up-and-coming music editors who wanted to jump in and learn the new music editing techniques that were coming down the line. Film was on the way out and editing on audio and video tape – this was still a decade before digital would take a firm hold of our industry – was on the way in. Roy wanted to expand his staff with editors who would be flexible and willing to take on the challenge of learning the new media. Little did I know, Gene had landed at Music Design Group when he left Universal and he thought of me.

When last we spoke, I was still a tour guide trying to get into the union and land my first job. When Gene called me to tell me about Roy’s search for new music editors I had accomplished both. I came in for an interview on Gene’s recommendation and got the job. Two years later it was Roy who assigned me to work on the final season of “The Tracey Ullman Show” with the understanding that when “Tracey” wrapped, I would just transition over to the “little cartoon show” from “Tracey” that FOX was planning to launch as its own series later that year. Needless to say, the rest is history.

About the time “The Simpsons” started, Gene retired and I never saw him again. As I write this I’m trying to remember if we ever spoke again. I don’t think we did. A few years ago, I stumbled across a blog he had been writing and I left him a comment saying hi and thanking him for all he had done for me so many years ago. I didn’t get a reply for a long time, but eventually did just last year through LinkedIn.

That was my last correspondence with Gene.

He was a patient, gentle, thoughtful man who always had time for me and my annoying questions. I am forever grateful that he saw some smidgen of potential in me and, more importantly, that he acted on his belief and made a phone call that changed my life.

Thank you, Gene.

Music Ville

During summer hiatus I received an email from Film Roman with a link to a video file and a request for me to watch the video, to make some musical suggestions, and to polish and edit the temp music track. When I opened the file, the entire sequence was still in the animatic stage, but I immediately recognized what it was that we were doing and I was very excited to get to work on this new project.

Sidebar: I don’t think I’ve ever mentioned what an animatic is. The simplest explanation is that it’s a film (or digital video these days) version of the storyboard. What’s a storyboard? OK, animation fans & geeks can skip ahead … for the rest of you, a storyboard of each episode is created before full animation begins. The storyboard resembles a comic book version of the episode, with the images roughly drawn in pencil and the dialog and action taken from the script and written into the drawings.

With the storyboard the director, writers and animators, Al Jean & Matt Groening can get a feel for the look of the episode before full blown animation. Once the storyboard is approved, then the images are cleaned up and filmed (or videoed) with the actual dialog from the actors’ recording put in as well as some temporary sound effects and music. Sometimes, there might even be some rough animation thrown into an animatic so that everyone can visualize a particularly tricky or complex sequence. Based on the animatic screening, rewriting and editing begins and then color animation commences.

When I saw the animatic, I immediately recognized that we were doing a large-scale parody of a Disney “Silly Symphony” cartoon from 1935 entitled “Music Land”. The Disney cartoon was a reimagined telling of the “Romeo and Juliet” tale through music. Instead of the Montagues and the Capulets, our star-crossed lovers are a violin from the Land of Symphony (Juliet) and a saxophone from the Isle of Jazz (Romeo). The entire story is told through music with no dialog and minimal sound effects. It’s a very clever take on the Shakespeare play with beautiful animation and blending of music that was still five years ahead of Fantasia at the time of release.

Our version would be similar, but not a love story. Rather, it’s a story of censorship versus freedom of expression. “Music Ville” is ruled by Mr. Burns the Bassoon and he demands that only classical music be played. Lisa the Baritone Saxophone promotes musical diversity, especially where her beloved jazz is concerned. Her “crime” gets her and her entire family – Bart the Trumpet, Marge the Trombone, Homer the Tuba, and Maggie the French Horn – arrested and chained to the wall in a dungeon where they are forced to listen to classical music until Lisa & Bart break into a joyous jazz improvisational duet which breaks their chains. All the other types of music in Music Ville overthrow Burns and all the instruments of the land celebrate with a rousing, jazzy version of The Simpsons theme to close out the sequence.

Before coming to work on THE SIMPSONS 25 years ago, I was (and still am) a huge fan of the art of animation. Around the age of 15 I discovered that the classic “cartoons” of Disney, Warner Bros., and MGM were also great works of art. As a hobby I started reading books about animation technique, the artists who created the amazing characters and backgrounds and special effects, and the histories of the various studios that produced them. Two of the best books I can recommend on the subject are “Of Mice and Magic” by Leonard Maltin and “The Illusion of Life” by Frank Thomas and Ollie Johnston.

Of course the names that received the big credit up front at the beginning of each cartoon – Walt Disney, Fred Quimby, Leon Schlesinger – were not the artists doing the work, but the figureheads who ran the animation departments at each of the studios. In fairness, Walt Disney did have some drawing talent and was certainly the driving creative force behind everything that came from his studio, but he was never a top animator at his own studio for any of the shorts or features he produced.

The “Silly Symphony” series from the Disney Studios were the first cartoons to be filmed in Technicolor and the first to integrate music into the story-telling process, not just adding plunks and booms to emphasize slapstick action. “Music Land”, directed by Wilfred Jackson, used music as the sole sound for telling the story. Not just long stretches of classical and jazz music, but clever solo violin and saxophone sounds to emulate spoken words coming from the main characters.

Our version, “Music Ville”, directed by Mark Kirkland, also uses wall-to-wall music, a handful of sound effects, and no dialog to tell the story. It also very cleverly casts the citizens of Springfield as their appropriate musical instrument alter egos – Apu the Sitar, Barney the Tubby Drunk Tuba, Disco Stu the DJ, Cletus’s family as a hillbilly jug band, Willie as Bagpipes, Sideshow Mel as a Slidewhistle, etc.

Here are a few of the images I saw when I first opened that animatic video this past summer and saw those characters for the first time…

I was so excited to see this work-in-progress and appreciated its own artistic statement as well as the homage to the Disney short. I did my usual re-editing of the existing music track plus made a few suggestions of my own to make Mr. Burns the Bassoon more menacing. The picture went back and forth between me and Film Roman a couple more times and then I didn’t hear anything more until early October when I was sent the color animation. Seeing the finished animation in full color and high definition was so gratifying and sensational. I immediately emailed Al Jean congratulating him and the team for producing this stand-out sequence. Then I followed up with the usual important question: “Is this locked?” The answer, of course, was “no”. But, there were only two very minor tweaks and then it was locked for good.

Time to loop Alf Clausen into the conversation. Well, actually, I wish Alf had been looped in long before. I have mentioned elsewhere on this blog that we do things a little backward most of the time here on THE SIMPSONS when it comes to music. All those classic cartoons from Warners and Disney and MGM had their musical score composed and recorded before animation so that the timing of the picture to the music was spot on and so that some of the characters’ emotions were motivated by the music. But remember, those classic cartoons were produced one at a time, with many weeks of work going into them, so they had the luxury of a longer schedule. We produce 22 episodes per year, so our schedule is very compressed. So, instead of Alf composing and recording the music based on the storyboards so that the music could be included in the animatic, it was all done with temp music – first edited by Film Roman, then by yours truly. I filled Alf in on all the particulars and advised him that if we could fit it in, it would be in all of our best interests to start recording the music ASAP and to not wait for the scoring session for that episode. That turned out to be a good idea.

It ended up that we recorded over 40 different bits of music over 3 different scoring sessions for “Music Ville” ranging from 30-second passages of Mozart and Grieg, to 15-second stretches of original jazz music by Alf, down to 1 second bursts of brass, bagpipes, drums, accordion, sleigh bells, and other assorted musical sounds. On the final of those 3 sessions, we spent nearly 3 hours of recording and playback time on just “Music Ville” before we could move on to the rest of the score for episode SABF02!

Once again, I took over the timing and editing (on paper) of the classical music that would be in “Music Ville”. We used Mozart’s 28th Symphony, and a passage from Grieg’s “Peer Gynt” (a favorite of Matt Groening’s and used at his request). I cut an existing recording of these pieces into the picture, then told Alf what bars and what tempo to use so that they would sync to picture properly. Alf went off and composed some new jazz tunes plus the various solo instruments that would “over-lay” the jazz (the sitar, the tuba, etc.).

We were even able to sneak in a motif we have used in the past on the show known as “Release the Hounds”. Whenever Burns sets his hounds on any intruders, this music plays during the ensuing chase. In “Music Ville” the hounds are a pack of angry vibraphones, so Alf used his motif with the orchestra as usual but with vibraphones leading the way as they chase Lisa into a dark alley.

All in all, I am very proud of “Music Ville” and the part I had in helping shape it. I even got a nice congratulatory shout-out from our Director Emeritus, David Silverman.

Also, David tweeted out some of his original model sketches for “Music Ville”. What a treat that he shared these!

As I wrap up this post, I leave you with both cartoons for your enjoyment. First, “Music Land”, then “Music Ville”. I hope you enjoy them and can appreciate them for the wonderful works they are. Kudos to everyone involved from 1935 to 2013!

The (Nearly) Annual Halloween Party

Here are some  photos and a video taken by me at our Season 25 kick-off party celebrating Tree House of Horror XXIV.

One other quick note, I told you in my last post that we were working on another big  musical sequence – probably the biggest in the history of the show. As I write this post, the composing, recording and editing of that sequence is all finished. Dubbing starts tomorrow (11/18/13) and finishes on Tuesday (11/19/13). It will air as the Main Title for episode SABF02 on Sunday, November 24, 2013 on FOX. I’m very excited for you to hear and see it and for me to tell you about its creation in a future post.

As always, thanks for stopping by!

(click on any photo to enlarge it in your browser)

Tree House of Horror XXIV

Longtime fans of THE SIMPSONS will probably remember that “Tree House of Horror” was the first episode Alf Clausen scored back in 1990. After Richard Gibbs had scored the first 13 episodes of the series, the producers wanted to make a musical change and went on a search for a new composer. After trying three other composers, Alf was given his “shot” at becoming the new composer. He was assigned the first-ever Halloween episode. The episode was, of course, unlike any of the others that had come before and would require three different scores for the three different stories being told. It would also require a slightly larger orchestra than we had used up to that point, and a 6-hour recording session instead of the standard 3-hour session. The producers agreed to everything and Alf went on to compose and record one of the iconic scores in the show’s history. Alf was awarded the permanent role of composer. 23 years, 23 “Tree Houses”, and 514 episodes later, we’ve added another chapter in the long musical history of the show.

In the last couple of years, the show has invited other artists to produce, design, or animate a couch gag for our Main Title sequence. For “Tree House of Horror XXIV” feature film director Guillermo del Toro (“Pacific Rim”, “Pan’s Labyrinth”) joined our list of guest artists. While everyone has been calling this a special “couch gag”, it really is a full-blown Main Title sequence PLUS the couch gag. It is a total reimagining of our full-length HD Main Title dressed up with classic horror/sci-fi/fantasy characters from movie and television history.

As for the music for this fantastic Main Title, it traveled an interesting road to the final version. Back in late June of this year, I received an email from Animation Co-Producer Richard Chung telling me that the del Toro Main Title would be part of a surprise screening at Comic Con 2013 and my job was to edit a temporary score for the clip. The cut I was sent had temp music already in it, mostly pulled from the movies “Frankenweenie” and “Beetlejuice”. I got a list of all the specific cues that had been used, then went to work reworking, re-timing, and generally polishing the existing temp music. I thought the temp score created at Film Roman was quite good, it just need a little “smoothing around the edges”.

I sent my version back to Film Roman and got positive feedback. Then it was forwarded over to Al Jean and he approved it as well. Job done – so I thought. A couple of days later I hear from Supervising Producer Larina Adamson that FOX says we cannot use the temp score with the “Frankenweenie” and “Beetlejuice” music in it because they were not going to license the music. At first I was rather surprised by this because it was a “temp score” for a “work in progress” that was being screened for what was essentially a private audience at Comic Con. If you live in Southern California, you have most likely attended – or been invited to – a test screening of a movie still in the editing stage. At these screenings it is explained to the audience that the film is being shown in a unfinished form, with some scenes possibly missing, most visual effects either missing or still in their temporary form, and with a temporary music score. It has been a common practice in Hollywood for many years now to use any music the director or film editor or music editor wants to put into the film as temp for test screenings. Everybody does it, so everybody gets away with using this music for free during the test screening process. Once the movie is final and released to the paying public, all music is paid for, either by hiring a composer and musicians or licensing existing music or both.

I couldn’t understand why FOX wasn’t treating this Comic Con screening the same way that they treated a test screening. But the more I thought about it, the more I understood it. This wasn’t a test screening where opinions were being sought. At Comic Con people were going to have cell phones with still and video cameras and would posting photos and video clips on social media. FOX just didn’t want to step on anyone’s toes so the Main Title got bounced back to me with instructions to dump the entire temp score and to replace it with music from our vast library of Clausen-composed Simpsons cues.

First I had a long conversation with Al Jean telling him that while I’d be happy to redo the score and would give it my best effort, I firmly asserted that the new score might not be as powerful and dramatic as the first temp score. Those scores from “Frankenweenie” and “Beetlejuice” were recorded with 90+ piece orchestras and choirs and had long melodic development. Our orchestra is about one-third the size and many of our cues are under 15 seconds long – this Main Title is 2:45, and would be the longest single musical sequence in the history of the show. Al said he understood, and trusted my judgment to produce a good temp score. Off to work I went.

In the end, I used snippets from eleven different scores going back twelve years in our show’s history. I submitted the new temp to Al, he had two small changes that I addressed, and that was that. That was the version of the temp score that the Comic Con audience heard on Saturday, July 20, 2013. Job done – so I thought.

Fast forward to music spotting for the final version of “Tree House of Horror XXIV” on August 22, 2013. At the session, I was fully prepared to discuss how Alf would now write a totally original score for the sequence, but instead Al Jean told me that he and everyone else really liked the temp and that they wanted Alf to recreate the temp with a few slight modifications.

SIDEBAR: The “temp score” in film & TV is a huge blessing and curse in our business. Ever since CDs and digital media made it very easy to put any music a director or producer’s heart desires into a soundtrack, they just grab anything by John Williams or Hans Zimmer or The Beatles or Lady Gaga and drop it in to a scene to “see how it plays”. When it plays great is when the problems begin. In the case of using an existing score, the composer hired to write the new score has now had a huge amount of their creativity stripped from them. Their job is now to compose something in the style of the temp that treads a delicate line between originality and plagiarism. In the case of using a song from a popular band or artist, the licensing of the song or artist may be cost prohibitive or simply unavailable because some artists don’t license their music for any reason. As a music editor, I’m often called upon to create a temp score and it always puts me in an awkward position. On the one hand, I am tasked with doing the best job possible, essentially “scoring” the film with existing cues – my main job is to please the producer or director in charge. On the other hand, the better the job I do at creating the temp score, the harder it becomes for the composer to lend his or her own voice to their score. The composer often ends up being a musical mimic, rather than an original contributor to the final product. There’s no good solution to this problem – it’s just the way things are done these days.

At least Alf was being asked to mimic himself in scoring the del Toro Main Title. So now I had to go back to my original edit of the temp score for Comic Con and reverse-engineer it. You see, when I was editing it, I did it all purely by sound. That means I listened to various cues, chose the ones that I thought would work for each scene in the sequence, then edited the music as need be to make it fit and highlight various moments. While I do all this with the greatest regard and respect for the music, I didn’t edit the temp score by referring to the printed music scores. Now I had to go back through the archives, pull the printed scores for each bit that I used, and try to figure out what I did editorially and translate it to bars and beats so that the score could be recreated on paper for our orchestra to record. That was a big task that took a few days, but I was able to do it. Alf & orchestrator Dell Hake then organized everything – which included writing a few new bits that Al Jean wanted to change from my temp score – and we broke it all down into 14 separate cues to be recorded then stitched together into one, seamless finished product.

All in all, I’m very proud of the final result. It plays beautifully, hit’s all the emotional notes perfectly, and sounds like it was recorded by a 90+ piece orchestra.

There’s no time for the music department to rest. No sooner did we finish this longest-most-complex-musical-sequence-ever than another, equally-complex-and-exciting-musical-sequence was presented to us. We’re working on it now and I’ll tell you all about it in the near future. Mark your calendars to watch for it when it airs on FOX on Sunday, November 24, 2013 (schedule subject to change).