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).

Starting Season 25 (whodathunkit?)

Simpsons fans were treated to the start of our 25th season this past Sunday, September 29, 2013 but we folks in the music dept. were back at it starting on August 14. Of course, those of us fortunate enough to work on the music for the show enjoy having summer off – and I certainly did enjoy time spent travelling with my family this summer – but it’s nice to get back to work and a familiar routine and hearing some fabulous music performed by some of the greatest musicians in the world.

We kicked off the new season with episode RABF20 “HOMƎRLAND”. Written by Stephanie Gillis, it’s a parody of the popular, Emmy Award-winning Showtime series “Homeland”. The first cue of the episode is my edited version of the actual “Homeland” theme by Sean Callery, but for the rest of the episode Alf crafted his own take on Sean’s theme and that motif is woven throughout the rest of the episode. Alf is right at home writing and arranging jazz music – it really is his forté – and the musicians are always happy to sink their teeth into some great jazz charts. In addition to Alf’s original theme, he also arranged and recorded music by two legendary jazz artists: we covered Thelonious Monk’s “Straight, No Chaser” and “Terminal 7″ by Tomasz Stanko.

If you’d like to listen to the originals, here they are:

“Straight, No Chaser”

“Terminal 7″

I’ve already received a few inquiries about where to find and download Alf’s cues from this episode. Alas, as I have explained in other posts and comment replies on this blog, the only cues from the show that are currently commercially available are the ones that were released on our three CDs “Songs in the Key of Springfield”, “Go Simpsonic with The Simpsons”, and “Testify”. Until FOX can figure out a way to pay all the musicians and composers and publishers involved with the music from our show, don’t hold your breath for individual downloads from iTunes or the like. Maybe someday, but not just yet.

Kristen Wiig guest starred in “HOMƎRLAND” doing her very funny take on the Carrie character from “Homeland”. Another nice performance for our show where a guest star gets to play a part and not just do a quick, one-line “walk-on”.

For our first Main Title sequence of season 25, Lisa gets to play a different instrument in the band room: a harp. During music spotting a few seasons back, Alf suggested to Al Jean that Lisa could play a different instrument in the Main Title now and then. Al thought that was a clever idea and had Lisa animated playing a trumpet. Everyone really enjoyed it, but Al said we probably wouldn’t be doing that again because is was quite expensive to animate. Apparently, the scene was animated with all the elements in a single shot – Lisa, the other students, the band room, etc. It was quite time and labor intensive to re-create that scene. I asked Al why not animate a template background of the students and band room without Lisa in it so that she could be animated separately and then composite her into the background? That way, if we wanted to have Lisa play a different instrument, the crew over at Film Roman would only have to animate Lisa and her instrument and drop her in over the background. This is the same process we use each week for the “fly-by” when a different character or object flies by “THE SIMPSONS” title at the very start of the show. Al said he would think about it. Voila! A few weeks later, we’re at music spotting and there’s Lisa playing a tuba in the Main Title. Since then, Lisa has played classical violin, bluegrass fiddle, and now harp. I have no idea what’s next, but it’s always a pleasant surprise.

Lisa’s harp playing was provided by our magnificent harpist, Gayle Levant. Gayle has worked in Hollywood for many years and you have probably heard her playing on 9 out of 10 movie scores you’ve heard in the last 40 years. For an in-depth interview with photos (including one taken with Alf) click here for a PDF.

Late in the episode, there’s even music from The Grateful Dead. “Shakedown Street” is used as psychological torture against Homer, further solidifying the notion (at least amongst non-fans) that “Dead” music is reaaaaallllly boring.

Once again, my classical music training did not go to waste – at the very end of the episode, when Annie takes her mood-stabilizing meds, the world turns all unicorns and rainbows to the music of Beethoven’s First Symphony, Second Movement. Al wanted some soothing classical music for the scene, but was firm that he did NOT want to use the opening strains of Beethoven’s Sixth Symphony (The “Pastoral”) as we have used that motif on more than one occasion in the past. I told him I’d find him a more obscure but suitable substitute.

Finally, there was a surprise ending for us on the scoring stage the day we recorded the music for this episode. We were recording the music on a Sunday afternoon – rather unusual for us, but that’s the way the schedule worked out – so Al Jean dropped by the stage with his wife and daughter and some family friends of theirs – also unusual as we have recorded music for more than 530 episodes and a producer has stopped by the scoring session probably fewer than 25 times. They all sat in the booth and enjoyed the music, marveling at how it sounded and the kids ooh-ing and ahh-ing at all the cool knobs and buttons on the recording console. The original musical plan for this show was to start Act 4 (the final scene of the show when Burns and the other SNPP workers have to go through the new security check point) with one more iteration of Alf’s “HOMƎRLAND” theme that would end as the End Credits started, at which time we would switch to our usual “Simpsons” End Credit theme music. But when Al heard Alf’s “HOMƎRLAND” theme, he really loved it and thought it should be used for Act 4 as planned, and then continue all the way through the End Credits up to the start of the Gracie Films logo. We immediately went into a mode lovingly known in our business as “open chart surgery”. Alf and conductor/orchestrator Dell hake started figuring out musically how to extend the 18 second cue into a 58 second cue. They put their heads together, figuring out which bars to repeat, which instruments would play in some bars while “laying out” of other bars. Meanwhile, I’m calculating the timing. Each bar of the original cue had been timed to fit the original 18 second length. Now we were slightly more than tripling the bar count by repeating certain sections, but you can see that 3 x 18 = less than 58, so a little more adjusting had to be made – the tempo was slowed down slightly and a few beats were added. And there we had it! A new End Credits cue that sounded perfect and as if it had been planned that way all along.

It’s truly and blessing and a curse to have a producer show up on the scoring stage (and in this case not just any producer). One the one hand, we really enjoy our autonomy, not having to answer to anyone asking questions or making musical suggestions. We get our recording done quite efficiently week in and week out. On the other hand, what we were able to accomplish on the scoring stage by rewriting and re-timing the End Credits cue could not have been accomplished on the dubbing stage. The live performance had great nuance and variety and an emotional build from start to finish. The final trumpet solo even added a few improvised notes. I couldn’t have just “looped” the 18 second version 3 times and expect the same musical results. An edited version would have sounded repetitive and emotionless. Al’s suggestion was great; Alf’s, Dell’s, and my reworking of the cue was expertly crafted; the musicians’ performance brought it all to life. A day’s work well done.

Tree House of Horror XXIV airs tomorrow night (Sunday, October 6, 2013) on FOX and I’m anxious to tell you about that episode and in particular about working on the Guillermo del Toro Main Title.

BMI Conductors’ Workshop

THE SIMPSONS is currently on post-production hiatus until mid-August, so I get to work on other projects during the summer. For the past fifteen summers (and now a sixteenth this year) I have been the music editor for the BMI Conductors’ Workshop. The photo above is from the 2012 workshop.

BMI & ASCAP are the two performing rights societies in the U.S.A. that represent composers (film composers, song writers, lyricists, etc.) and their primary function is to collect performance fees from the major studios, TV networks, restaurants, elevators, any place where copyrighted music is played publicly. Then, in turn, they distribute those fees to their composer members in the form of royalties. In the world of TV scoring, this is the largest source of income for composers. They are paid a fixed fee (an ever-shrinking fixed fee) for composing the music, but when it plays on TV in first-run and in subsequent syndicated reruns, they receive additional royalty payments based on the number of minutes of music played. The royalty pay scales vary depending on a number of factors – network TV music pays more than cable TV; if a cue is “featured”, meaning that the music is the focal point of the scene (a dance scene, a live singer, etc.) it pays more than if the music were underscore. If you are an up-and-coming composer and want to learn more, click here to visit the BMI website or click here to visit the ASCAP website.

Besides collecting and distributing money, BMI & ASCAP offer their members all types of advice, classes, and workshops to help them advance their careers. Since 1998 BMI has offered its film composers the opportunity to learn orchestral conducting. This is a valuable skill for a film composer as many composers conduct their own music at the recording session, but many younger (and some veteran) composers have never stood on the podium in front of a symphony-sized orchestra. It can be a very daunting experience. Every year, BMI selects eight (it used to be ten, but they scaled back to give more personal instruction) composers to participate in the conductors’ workshop where they learn all the basics of conducting. Over the two-week course they start out conducting just a pianist. Then session by session, they lead larger and larger groups culminating with a final big session with a 40-piece orchestra. As I write this post, I am sitting on the Warner Bros. Eastwood Scoring Stage listening to and working with this year’s crop of students as they lead a fabulous studio orchestra.

The teacher of the workshop for all sixteen years of its existence is Lucas Richman. Lucas is currently Music Director for both the Knoxville Symphony Orchestra in Tennessee and the Bangor Symphony Orchestra in Maine. Two years from now he will be conducting full-time in Bangor. He’s a great teacher, inventive composer in his own right, and conductor extraordinaire who spent many years conducting film scores in Hollywood (“The Village”, “Se7en”, “As Good As It Gets” to name a few) before taking the job in Knoxville in 2003. I’m proud to call him a colleague and a friend. Read more about Lucas by clicking here.

The composer-students get to conduct all types of orchestral works ranging from chamber works by Copland and Mascagni to larger symphonic works by Beethoven and Rossini all the way up to big film scores by Jerry Goldsmith and Alan Silvestri.

I always have a lot of fun being a part of the workshop every year because I get to wear the dual hats of music editor and conductor. I coordinate all the film score cues by preparing the picture, the click tracks, and the Auricle programming. Lucas does all the conducting coaching and teaching, and I’m able to lend the perspective of a music editor with formal conducting training. It’s been a wonderful and fun opportunity for me to meet new composers and hear more fantastic live music played by the greatest musicians working today.

I took some photos during this year’s workshop for you to enjoy. Scroll down and click on any photo to see a larger view and to browse through the collection.

New episodes of THE SIMPSONS are scheduled to return in late September and I’m due back at the first music spotting of the 25th season in mid-August. I’ll be posting more musical musings between now and then.