ASMAC Announces George S. Clinton Master Class Feb 16, Golden ...

FILM MUSIC weekly 

ISSUE 47 • JANUARY 22, 2008 • Published weekly by Global Media Online, Inc. • Publisher: Mark Northam • www.filmmusicweekly.com 

ASMAC Announces George S. Clinton Master 

Class Feb 16, Golden Score Awards March 14 

n The American 

Society of Music 

Arrangers and 

Composers (AS- 

MAC) has announced 

a master 

class with veteran 

composer George 

S. Clinton on February 

16 from 10:00am to 1:00pm 

Garritan Releases 

Steinway Piano Software 

n Steinway & Sons and sample 

library and software instrument 

creator Garritan have announced 

the Authorized Steinway Piano, 

a new sample-based software instrument 

that accurately captures 

the sound of a Steinway & Sons 

concert grand piano. The new 

software instrument was demonstrated 

at the NAMM show. 

The library offers more than 

seven different listening perspectives, 

including a player perspective 

from the bench, a classical 

recording perspective, an under 

the lid perspective, and a 5.1 surround 

sound hall perspective. The 

library comes in three version: 

Professional, Standard and Basic. 

The Professional version priced at 

$399 offers five different listening 

SCORING NEWS: “Cloverfield” (Michael Giacchino), “Surfer Dude” (Blake Neely) and more 

CD REVIEW: 

at Professional Musicians Local 47 

auditorium in Los Angeles. 

ASMAC, long considered to be 

one of the industry’s most established 

and respected organizations 

for composers, orchestrators and arrangers, 

offers seminars and events 

that feature top industry professionals 

including their acclaimed Golden 

Score awards. 

perspectives, the Standard version 

that retails for $199 offers 

2 perspectives, and the $99 Basic 

version is a light version that 

offers a single perspective. The 

Basic version will be available in 

downloadable format. 

The library utilizes the new 

ARIA 64-bit Sampler/Synthesis 

Engine developed by Garritan 

in collaboration with audio 

software developer Plogue Art 

et Technologie Inc.“This was a 

very important project for Steinway 

& Sons”, said Gary Green, 

Vice President of Business Development 

and Customer Satisfaction. 

“We have long recognized the 

need for a Steinway sampled sound 

set that would best reflect the complex 

architectures (continued pg.3) 

Daniel Schweiger reviews “Cold Turkey” 

George S. Clinton is a professional 

songwriter, arranger, composer, 

and session musician, not to be 

confused with funk musician George 

Clinton. Clinton began his musical 

career in Nashville while earning 

degrees in music and drama at 

Middle Tennessee State University. 

After graduation, Clinton moved 

to Los Angeles and became a staff 

writer for Warner Brothers Music 

while also arranging and performing 

session work. He later recorded 

four albums for MCA, Elektra Records 

, ABC , and Arista Records. 

The critically acclaimed George 

Clinton Band attracted the attention 

of a movie producer, giving 

George the opportunity to score his 

first film, 

(continued pg.3) 

Academy Award Music 

Nominations Announced 

n The 80th Annual Academy 

Awards nominations for Original 

Score and Original Song were 

announced Tuesday by the Academy 

of Motion Picture Arts and 

Sciences. 

Achievement In Music 

Written For Motion Pictures 

(Original Score) 

Atonement – Music by 

Dario Marianelli 

The Kite Runner – Music by 

Alberto Iglesias 

Michael Clayton – Music by 

James Newton Howard 

Ratatouille – Music by 

Michael Giacchino 

3:10 to Yuma – Music by 

Marco Beltrami 

Achievement In Music 

Written For Motion Pictures 

(Original Song) 

“Falling Slowly” from Once - 

Music and Lyric by Glen 

Hansard and Marketa Irglova 

“Happy Working Song” from 

Enchanted - Music by Alan 

Menken, Lyric by Stephen 

Schwartz 

“Raise It Up” from August Rush 

Nominees to be determined 

“So Close” from Enchanted - 

Music by Alan Menken, Lyric 

by Stephen Schwartz 

“That’s How You Know” from 

Enchanted - Music by Alan 

Menken, Lyric by Stephen 

Schwartz 

THE CHART DOCTOR: “When Great Is The Enemy Of Good” by Ron Hess 

MUSIC TECHNOLOGY: “String Essentials 2 - The New Workhorse String Library: Part 1” by Peter Alexander

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FILM MUSIC 

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weekly 

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This Week on 

FMR 

FILM MUSIC RADIO 

ON THE SCORE 

BRIAN TYLER 

Film music journalist Daniel Schweiger 

interviews composer Brian 

Tyler, and directors Colin and Greg 

Strause, who do the monster mash 

for ALIEN VERSUS PREDATOR: 

REQUIEM. 

LISTEN NOW 

INSIDE THE BUSINESS 

CELLIST AND FI-CORE 

MUSICIAN JOHN ACOSTA 

Mark Northam interviews one of 

the leading financial core musicians 

about his journey to financial 

core status and his wife’s charges 

against local 47 

LISTEN NOW 

2 ISSUE 47 • JANUARY 22, 2008 FILM MUSICweekly

BMI’s 

dio. 

INDUSTRY NEWS Garritan 

lowship Sundance Composers Lab. winners 

ners of the Pete Carpenter Fellowship 

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ASMAC Announces George S. Clinton 

Master Class Feb 16, Golden Score 

Awards March 14 (continued. from pg 1) 

Cheech and Chong’s Still Smokin’, and later another Cheech and Chong 

film, Cheech and Chong’s The Corsican Brothers. His success scoring music 

for films continued as he composed scores for ninja movies for Cannon 

Films, television movies and miniseries, writing for a wide range of genres 

and musical styles, including Showtime’s Red Shoe Diaries. 

Pete 

His 

Carpenter 

most recognizable 

Fellowship 

scores 

winner 

include 

James 

Austin 

Woodward 

Powers: 

(c) 

International 

is congratulated 

Man 

by 

of Mystery 

Post and 

and 

Livingston. 

its sequels, and the martial arts fantasy Mortal Kombat and 

its sequel Mortal Kombat: Annihilation . His awards include a 2002 Grammy 

nomination and six BMI Film Music Awards. Clinton has also written 

several concert works and three musicals, and serves as an advisor for the 

Reservations for the event are preferred but not required, however 

space is limited. The cost for the event is $15 for ASMAC members and students, 

and $25 for non-members and walk-ins. Call 818-994-4661 or reserve 

enjoys via email surfing to asmac@theproperimageevents.com 

off the Southern in 1985 to support the creation, 

California For more coast. information on ASMAC, performance, including the and 2008 study Golden of music Score 

Awards The which BMI Foundation, will honor Alan Inc. is Silvestri, a through Bill Holman awards, and Diane scholarships, Warren, 

not-for-profit visit http://www.asmac.org 

corporation founded commissions and grants. mn 

FILM MUSICweekly 

Announces Authorized 

Steinway Piano Software Instrument 

(continued from pg 1) 

of the Steinway sound. We also understand the importance of quality 

samples and their use by amateur music enthusiasts, as well as, prominent 

producers, composers, recording studios and other venues. We were 

extremely lucky to have Gary Garritan work with us on this technically 

and musically complex project.” 

“Steinway pianos have set the bar of excellence in pianos,” said 

Gary Garritan. “Our goal is to develop with Steinway & Sons the highest 

quality piano sample library ever produced, one that will once again 

set the standard in quality and innovation.” 

For more information on Garritan, visit http://www.garritan.com 

Mindseed and Vividas Announce 

New PPV Streaming Service 

n International post production house Mindseed Entertainment and video 

streaming company, Vividas have announced a licensing arrangement 

which will give film producers a new distribution channel for their products. 

Mindseed Entertainment has developed a portal, which will allow 

consumers to view a range of films on a pay per view basis using Vividas’ 

streaming technology. These films will be delivered in full screen, high 

definition format, to the viewer’s computer without the need for software 

downloads. 

Vividas says that unlike other online formats, their solution allows millions 

of concurrent viewers without loss of vision quality, so delivers greater 

global reach and viewer satisfaction. 

According to Mindseed founder and CEO, Ed Anderson, 97% of films 

produced will never be seen by a wider public audience and the new portal 

will provide a means of distribution for these films, as well as many other 

popular titles screened in the past. 

“Film distribution companies and their networks have been forced to 

rely on film festivals and the Internet via sites such as MySpace and You- 

Tube and other methods of video streaming, to move their films,” Anderson 

says. “Poor picture quality, small image area, long download times and considerable 

storage and bandwidth problems for the end user have limited 

the success of these methods.” 

The new portal, Mindseed Theatre, will be launched internationally 

next month and will offer full length feature films, foreign language films, 

television shows, documentaries and comedy; as well as live concert footage 

of well known recording artists – all in the highest quality available to its 

global audience. 

The site will also offer a “Classics” page, where older films already 

screened in cinemas, will be available. 

The new site offers the consumer several options including two streaming 

rates (ADSL broadband and 256MB), depending on their computer and 

provider’s capacity, as well as pause facilities of up to 48 hours should the 

viewer need to come back to the program later. In these instances, the system 

remembers the exact point that the viewing ceased and continues on 

until the end of the program once reactivated. 

For more information, visit www.vividas.com 

ISSUE 47 • JANUARY 22, 2008 3 

ISSUE 2 • FEBRUARY 12, 2007 FILM MUSIC weekly

SCORING NEWS by 

THIS WEEK’S MAJOR 

SCORING ASSIGNMENTS 

Michael Giacchino: 

Cloverfield Mirroring the unusual 

and mysterious 

PR campaign for the 

movie itself, the information 

about the 

music in Cloverfield, 

the monster movie 

directed by Matt 

Reeves and produced by J.J. Abrams, 

has been kept under tight control by 

the studio. With the film now out in 

cinemas, we know the details. There 

is no underscore throughout the film, 

which is highly unusual for a big action 

movie. Instead, composer Michael Giacchino 

has composed a big orchestral 

piece which is featured during the film’s 

end credits. 

Christopher Young: 

A Tale of 

Two Sisters 

Christopher Young 

has been hired 

to score another 

Hollywood remake 

of an Asian horror 

film, the multiple 

award-winning South 

Korean 2003 film A 

Tale of Two Sisters, which was directed 

by Ji-woon Kim. The U.S. version is 

directed by Charles and Thomas Guard 

and produced by Dreamworks. Cast 

members include Elizabeth Banks, 

Arielle Kebbel, Emily Browning and David 

Strathairn. Christopher Young, who 

scored last year’s number one movie at 

the U.S. box office, Spider-Man 3, has 

recently scored thrillers Untraceable and 

Sleepwalking. The original version of A 

Tale of Two Sisters featured a score by 

Byung-woo Lee. 

William Ross: 

Our Lady of Victory 

William Ross adds 

another sports drama 

to his filmography: 

Our Lady of Victory, 

a basketball movie 

directed by Tim 

Chambers. The film 

tells the story about 

a basketball coach at a 1970s all-girls 

Catholic college who is determined to 

get her team to its first national cham- 

pionship. Cast includes Carla Guginom, 

Marley Shelton and Ellen Burstyn. William 

Ross, who is repped by Gorfaine- 

Schwartz, previously scored the 2005 

sports movie The Game of Their Lives, 

and his other recent scoring credits 

includ Driftwood and September Dawn. 

He is known also as one of Hollywood’s 

most experienced conductors and 

orchestrators, having worked extensively 

for composers such as Alan Silvestri and 

Klaus Badelt. He won an Emmy last year 

for his music direction of The 79th Annual 

Academy Awards. 

Heitor Pereira: 

South of the Border 

Walt Disney Pictures’ 

new live-action 

comedy in which animals 

talk, featuring 

the voices of Drew 

Barrymore, Andy 

Garcia and Salma 

Hayek, will get an 

original score and songs composed by 

Heitor Pereira, according to the Gorfaine- 

Schwartz Agency. South of the Border is 

directed by comedy specialist Raja Gosnell, 

who is best known for Never Been 

Kissed, Scooby-Doo and Big Momma’s 

House. The film tells the story about a 

posh chihuahua who gets lost while on 

vacation in Mexico. Heitor Pereira, who 

has been a long-time member of Hans 

Zimmer’s scoring team writing additional 

music and performing the guitar on 

numerous scores, has increased his 

number of solo gigs lately – his latest 

scores include Illegal Tender and Suburban 

Girl, and among his other upcoming 

films are the documentary Running the 

Sahara and thriller The Canyon. 

Tim DeLaughter: 

The Assassination 

of a High School 

President The Assassination 

of a High School 

President, the Yari 

Film Group’s upcoming 

black comedy 

starring Bruce Willis, 

Mischa Barton and 

Michael Rapaport, 

will get music 

composed by Tim DeLaughter, according 

to the composer’s agency, Gorfaine- 

Schwartz. DeLaughter, who is best 

known as the music director of excentric 

pop group The Polyphonic Spree, got his 

break in the film business with a song 

featured in Eternal Sunshine of 

the Spotless Mind and has subsequently 

written music for Mike Mills’ Thumbsucker 

and recently completed the score 

for Jared Drake’s comedy Visioneers. The 

Assassination of a High School President 

is directed by Brett Simon, and is scheduled 

to premiere in August. 

Blake Neely: 

Surfer Dude 

Upcoming comedy 

Surfer Dude, 

produced by and 

starring Matthew 

McConaughey, will 

get an original score 

composed by Blake 

Neely. The film is 

directed by S.R. 

Bindler, whose only other feature film 

directing credit is the 1997 documentary 

Hands on a Hard Body: The Documentary. 

The film has been described as “a 

wave-twisting tale of a soul-searching 

surfer experiencing an existential crisis,” 

with Alexie Gilmore, Jeffrey Nordling and 

Sarah Mason joining McConaughey in 

the cast. Blake Neely’s other recent scoring 

projects include Elvis and Anabelle 

and The Great Buck Howard, and he 

also worked as an orchestrator on Alan 

Menken’s Enchanted and conducted 

Hans Zimmer’s scores for Pirates of 

the Caribbean: At World’s End and The 

Simpsons Movie. 

Søren Hyldgaard: 

Red 

Danish composer 

Søren Hyldgaard, 

who came to prominence 

in the film 

music community 

ten years ago with 

his big orchestral 

scores for Eye 

of the Eagle, Isle 

of Darkness and Angel of the Night, 

has composed the music for Red, an 

independent U.S. thriller starring Brian 

Cox, Tom Sizemore and Noel Fisher. The 

film is based on Jack Ketchum’s novel 

and directed by Danish director Trygve 

Allister Diesen, with whom Hyldgaard 

previously worked on Isle of Darkness. 

Red opens at Sundance next week. 

THE SCOREBOARD 

Panu Aaltio: The Home of Dark Butterflies. 

Tree Adams: Emilio • Farewell Bender. 

Eric Allaman: Race. 

MIKAEL CARLSSON 

mcarlsson@filmmusicweekly.com 

John Altman: The Master Builder. 

Marco D’Ambrosio: Say Hello to Stan 

Talmadge. 

David Arnold: How to Loose Friends 

and Alienate People • Bond 22. 

Alexandre Azaria: L’auberge rouge. 

Niclas Baby: Cortex. 

Luis Bacalov: L’uomo privato. 

Angelo Badalamenti: The Edge of Love 

• Secrets of Love. 

Klaus Badelt: Heaven and Earth • 

Killshot • Dragon Hunters. 

Roque Baños: Las 13 Rosas • The 

Oxford Murders. 

Lesley Barber: A Thousand Years of 

Good Prayers. 

Nathan Barr: Watching the Detectives 

• Tortured. 

Tyler Bates: Day of the Dead • Doomsday 

• Watchmen • The Day the Earth 

Stood Still. 

Kyle Batter: Secret Society (co-composer). 

Jeff Beal: Where God Left His Shoes 

• Salomaybe? • The Deal • The Pixar 

Story. 

Christophe Beck: Drillbit Taylor. 

Marco Beltrami: In the Electric Mist 

with Confederate Dead • The Eye. 

Jean-Michael Bernard: Be Kind Rewind 

• Détrempoez-vous. 

Charles Bernstein: Tenebrous. 

Doug Besterman: Exit Speed. 

Scott Bomar: Maggie Lynn. 

Simon Boswell: Bathory. 

Jason Brandt: Something’s Wrong in 

Kansas. 

David Buckley: Town Creek • The Forbidden 

Kingdom (co-composer). 

Kenneth Burgomaster: Garfield’s Fun 

Fest • Hero Wanted. 

Mickey Bullock: Sportkill • Orville. 

Carter Burwell: In Bruges. 

Edmund Butt: The Waiting Room. 

Niall Byrne: How About You. 

Brian Cachia: Gabriel. 

Peter Calandra: The Sickness. 

Paul Cantelon: The Other Boleyn Girl. 

Jeff Cardoni: Save Me • American Pie: 

Beta House. 

Jamie Christopherson: Ghost Image. 

Nigel Clarke & Michael Csányi-Wills: 

The Grind. 

George S. Clinton: Harold and Kumar 2. 

Elia Cmiral: The Deaths of Ian • Missionary 

Man • Tooth and Nail. 

Chandra Cogburn: Fiesta Grand • Orgies 

and the Meaning of Life • The Bard: 

The Story of Robert Burns. 

Graham Collins: Black Kissinger. 

Juan J. Colomer: Dark Honeymoon. 

Eric Colvin: Mariposa. 

Normand Corbeil: Ma fille, mon ange • 

Boot Camp • Emotional Arithmetic. 

Jane Antonia Cornich: Solstice. 

Bruno Coulais: Max & Co. 

Burkhard Dallwitz: The Interrogation of 

Harry Wind • Chainsaw. 


Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources. 

The list is limited to feature film scoring assignments. New additions are highlighted in red print. 

Jeff Danna: Lakeview Terrace (cocomposer) 

• The Imaginarium of Doctor 

Parnassus (co-composer). 

Mychael Danna: Lakeview Terrace (cocomposer) 

• The Imaginarium of Doctor 

Parnassus (co-composer). 

Carl Davis: The Understudy. 

Erik Desiderio: He’s Such a Girl. 

Marcello De Francisci: The Butcher. 

Wolfram de Marco: The Tribe. 

Jessica de Rooij: Postal • Tunnel Rats • 

Far Cry • Seed. 

John Debney: Big Stan • Bachelor No. 

2 • Starship Dave • Swing Vote • Old 

Dogs • Sin City 2. 

Tim DeLaughter: The Assassination of 

a High School President. 

Alexandre Desplat: Largo Winch. 

Ramin Djawadi: Fly Me to the Moon • 

The Tourist • Iron Man. 

Pino Donaggio: Colpe d’occhio. 

James Michael Dooley: Bachelor Party 

2 • Little Mermaid III • Impy’s Island 2. 

Patrick Doyle: Nim’s Island. 

Ludek Drizhal: Life Goes On. 

Clint Eastwood: Grace Is Gone. 

Randy Edelman: The Mummy: Tomb of 

the Dragon Emperor. 

Jonathan Edwards: The Golden Boys. 

Steve Edwards: Finding Rin-Tin-Tin 

• The Neighbor • The Intervention • 

Sharks in Venice. 

Cliff Eidelman: He’s Just Not That Into 

You. 

Danny Elfman: Wanted • The Sixth Element 

• Hellboy 2: The Golden Army. 

Stephen Endelman: Redbelt. 

Paul Englishby: Miss Pettigrew Lives 

for a Day. 

Tom Erba: Chinaman’s Chance. 

Ilan Eshkeri: The Virgin Territories. 

Evan Evans: The Mercy Man • You’re 

Nobody ‘Til Somebody Kills You • The 

Poker Club • Jack Rio. 

Nima Fakhara: Lost Dream. 

Guy Farley: The Flock • The Christmas 

Miracle of Jonathan Toomey • Knife 

Edge • Dot Com • The Broken • Dylan. 

George Fenton: Fool’s Gold. 

Chad Fischer: The Babysitters. 

Robert Folk: Kung Pow: Tongue of Fury 

• Magdalene • Vivaldi. 

Jason Frederick: Good Chemistry • 

Bears. 

John Frizzell: Careless • First Born. 

Michael Giacchino: Speed Racer • Star 

Trek XI. 

Vincent Gillioz: The Appearance of 

Things • Portal. 

Scott Glasgow: Toxic • The Gene Generation 

• Bone Dry • Lo • The Bridge to 

Nowhere. 

Philip Glass: Les animaux amoreux. 

Erik Godal: The Gift • Ready Or Not 

• Irreversi. 

Jonathan Goldsmith: Tenderness. 

Jeff Grace: Trigger Man • I Sell the 

Dead • Liberty Kid. 

John Graham: Long Flat Balls 2. 

Harry Gregson-Williams: Jolene • The 

Chronicles of Narnia: Prince Caspian 

• G-Force • Wolverine • The Forbidden 

Kingdom (co-composer). 

Rupert Gregson-Williams: You Don’t 

Mess With the Zohan • Made of Honor. 

Andrew Gross: Forfeit • National Lampoon’s 

Bag Boy • Diamond Dog Caper. 

Larry Groupé: Love Lies Bleeding • The 

Hungry Woman • Straw Dogs. 

Andrea Guerra: The Accidental Husband. 

Robert Gulya: Atom Nine Adventures. 

Steven Gutheinz: Rothenburg. 

Richard Hartley: Diamond Dead. 

Paul Hartwig: Holiday Beach • Tyrannosaurus 

Azteca. 

Richard Harvey: Eichmann • Les Deux 

Mondes. 

Paul Haslinger: Prom Night • Make It 

Happen. 

Paul Heard: Clubbed. 

Alex Heffes: My Enemy’s Enemy • 

State of Play. 

Christian Henson: Zomerhitte. 

Eric Hester: The Utopian Society • Lost 

Mission • Frail. 

Tom Hiel: A Plumm Summer. 

David Hirschfelder: Shake Hands With 

the Devil. 

Ben Holbrook: Kiss the Bride. 

Trevor Horn: Kids in America. 

James Horner: The Spiderwick Chronicles 

• The Boy in Striped Pyjamas 

• Avatar. 

Richard Horowitz: Genghis Khan • 

Kandisha • The Whisperers. 

James Newton Howard: The Happening 

• The Dark Knight (co-composer). 

Terry Huud: Plaguers. 

Søren Hyldgaard: Red. 

Alberto Iglesias: The Argentine • 

Guerrilla. 

Mark Isham: Pride and Glory • The 

Express. 

Corey Allen Jackson: Idiots and Angels. 

James Jandrisch: American Venus. 

Adrian Johnston: Sparkle • Brideshead 

Revisited. 

Bobby Johnston: American Fork • 

Stuck • Hotel California • Happiness 

Runs. 

Evan Jolly: Tonight Is Cancelled. 

Tim Jones: Cryptid. 

George Kallis: Antigravity. 

Tuomas Kantelinen: Quest for a Heart 

• Arn: The Knight Templar • Mongol. 

Yagmur Kaplan: The Elder Son • The 

Lodge • Broken Windows. 

Laura Karpman: Out at the Wedding. 

Rolfe Kent: Spring Break in Bosnia • 

Sex and Death 101. 

Wojciech Kilar: Black Sun. 

Mark Kilian: Before the Rains. 

David Kitay: Shanghai Kiss • Blonde 

Ambition. 

Harald Kloser: 10,000 BC. 

Abel Korzeniowski: Terms. 

Penka Kouneva: The Third Nail • Richard 

III • Midnight Movie. 

Ivan Koutikov: Wanted Undead Or Alive 

• Living Hell. 

Aryavarta Kumar: The Rapture • 

Greater Threat. 

Nathan Larson: August • Choke. 

Jim Latham: Greetings from the Shore 

• Swishbucklers • Parental Guidance 

Suggested. 

Christopher Lennertz: The Perfect 

Christmas • Meet the Spartans. 

Craig Leon: Maestro. 

Geoff Levin: Triloquist • The Rat Thing • 

Agenda • The Fallen. 

Michael A. Levine: Adrift in Manhattan. 

Christopher Libertino: Off the Grid 

– Life on the Mesa • The Forgotten 

Kingdom. 

Gary Lionelli: Oswald’s Ghost. 

Jason & Nolan Livesay: Bounty • 

Limbo Lounge • Little Iron Men. 

Andrew Lockington: Step • How She 

Move • Journey 3-D. 

Joseph LoDuca: Bar Starz • My Name 

Is Bruce • Boogeyman 2. 

Henning Lohner: Kleiner Dodo. 

Helen Jane Long: Surveillance. 

Erik Lundborg: Absolute Trust. 

Deborah Lurie: Spring Breakdown. 

Vivek Maddala: They Turned Our Desert 

Into Fire. 

Nuno Malo: Mr. Hobb’s House. 

Mark Mancina: Sheepish • Camille • 

Without a Badge • Like Dandelion Dust. 

Aram Mandossian: The Last Resort. 

Harry Manfredini: Black Friday • iMurders 

• Impulse • Anna Nicole • Dead 

and Gone. 

Clint Mansell: Definitely, Maybe. 

David Mansfield: Then She Found Me 

• The Guitar. 

Dario Marianelli: Shrooms • Far North 

• The Soloist. 

Anthony Marinelli: Grizzly Park. 

Gary Marlowe: Los Pereyra • Das echo 

der Schuld. 

Phil Marshall: Live. 

John McCarthy: The Stone Angel. 

Mark McKenzie: The Redemption of 

Sarah Cain. 

Joel McNeely: The Tinkerbell Movie. 

Nathaniel Mechaly: Sans moi • Le 

Dernier gang • La Chambre des morts. 

Matt Messina: The Least of These. 

Guy Michelmore: Doctor Strange • 

Bono, Bob, Brian and Me. 

Randy Miller: Last Time Forever • 

Shanghai Red • Second Chance Season. 

Robert Miller: The Key Man • Trumbo 

• On the Hook • Wherever You Are. 

Sheldon Mirowitz: Renewal • Operation 

Filmmaker. 

Richard G. Mitchell: Almost Heaven. 

Charlie Mole: Fade to Black • I Really 

Hate My Job • St. Trinian’s. 

John Morgan: The Opposite Day (cocomposer). 

Paul Leonard-Morgan: Popcorn. 

Trevor Morris: Matching Blue • Krews. 

Mark Mothersbaugh: Quid Pro Quo • 

Cloudy with a Chance of Meatballs. 

Sean Murray: The Lost • Clean Break. 

Peter Nashel: Wedding Daze. 

Javier Navarrete: His Majesty Minor 

• Mirrors • Inkheart • Fireflies in the 

Garden. 

Blake Neely: Elvis and Anabelle • The 

Great Buck Howard • Surfer Dude. 

Roger Neill: Take • Scar. 

David Newman: Welcome Home 

Roscoe Jenkins. 

Joey Newman: Safe Harbour. 

Randy Newman: Leatherheads • The 

Frog Princess. 

Thomas Newman: Nothing Is Private • 

Wall-E • Revolutionary Road. 

David James Nielsen: Reclaiming the 

Blade. 

Marinho Nobre: Left for Dead. 

Adam Nordén: Everybody’s Dancing • 

Wolf • De Gales hus. 

Julian Nott: Heavy Petting. 

Paul Oakenfold: Victims. 

Dean Ogden: Oranges • Knuckle Draggers 

• A Perfect Season • The Sensei. 

John Ottman: Valkyrie. 

John Paesano: Shamrock Boy. 

Heitor Pereira: Suburban Girl • The 

Canyon • Running the Sahara • South of 

the Border. 

Mark Petrie: The Road to Empire • Lake 

Dead • Mr. Blue Sky • Valley of Angels • 

Farmhouse. 

Leigh Phillips: War Made Easy • Still 

Life. 

Martin Phipps: Grow Your Own. 

Nicholas Pike: It’s Alive • Parasomnia. 

Nicola Piovani: Odette Toulemonde. 

Douglas Pipes: Trick r’ Treat • City of 

Ember. 

Steve Porcaro: The Wizard of Gore • 

Cougar Club. 

John Powell: Horton Hears a Who • 

Jumper. 

Michael Price: Sugarhouse Lane • 

Agent Crush • Wild Girl. 

Trevor Rabin: Get Smart. 

Didier Lean Rachou: How to Rob a 

Bank • An American in China. 

Brian Ralston: Graduation • 9/Tenths. 

Jasper Randall: Me & you, Us, Forever 

• The Secrets of Jonathan Sperry. 

Joe Renzetti: 39 • Universal Signs. 

Graeme Revell: Pineapple Express • 

Days of Wrath • The Ruins. 

Graham Reynolds: I’ll Come Running. 

Zacarías M. de la Riva: The Last of the 

Just • The Anarchist’s Wife. 

Carmen Rizzo: The Power of the Game. 

Matt Robertson: The Forest. 

Douglas Romayne: In Zer0: Fragile 

Wings. 

Philippe Rombi: Bienvenue chez les 

Ch’tis. 

Brett Rosenberg: The Skeptic. 

William Ross: Our Lady of Victory. 

Laura Rossi: The Cottage. 

David Glen Russell: Contamination. 

Hitoshi Sakamoto: Romeo x Juliet. 

H. Scott Salinas: Strictly Sexual • What 

We Did on Our Holidays. 

Anton Sanko: Life in Flight. 


ISSUE 47 • JANUARY 22, 2008 5

Film Music Weekly’s “The Scoreboard” only lists scoring assignments that have been confirmed to us by official sources. 

The list is limited to feature film scoring assignments. New additions are highlighted in red print. 

Gustavo Santaolalla: I Come With the 

Rain • On the Road. 

Brian Satterwhite: Cowboy Smoke • 

Maidenhead. 

Mark Sayfritz: Sake • The Shepherd. 

Brad Sayles: The Bracelet of Bordeaux. 

Dominik Scherrer: Good Morning 

Heartache. 

David Schommer: War, Inc. 

Misha Segal: Lost at War • Shabat 

Shalom Maradona. 

Marc Shaiman: Slammer. 

Theodore Shapiro: The Mysteries of 

Pittsburgh • The Girl in the Park • Semi- 

Pro • Tropic Thunder • The Heartbreak 

Kid • Nowhereland. 

George Shaw: Victim • Sailfish. 

Edward Shearmur: Passengers • Bill • 

College Road Trip • Righteous Kill. 

Ryan Shore: Numb • Jack Brooks – 

Monster Slayer • Shadows. 

Vince Sievers: The Source. 

Carlo Siliotto: La Misma Luna • The 

Ramen Girl. 

Alan Silvestri: G.I. Joe. 

Emilie Simon: Survivre avec les loups. 

Marcus Sjöwall: Dreamkiller. 

Cezary Skubiszewski: Death Defying 

Acts • Disgrace. 

Damion Smith: Stompin. 

Jason Solowsky: 110%: When Blood, 

Sweat and Tears Are Not Enough • L.A 

Takedown • Unemployed • North by El 

Norte. 

Maarten Spruijt: The Seven of Daran - 

Battle of Pareo Rock. 

Marc Streitenfeld: Body of Lies. 

William T. Stromberg: TV Virus • Army 

of the Dead • The Opposite Day (cocomposer). 

Jina Sumedi: Sextet. 

Johan Söderqvist: Walk the Talk • Let 

the Right One In. 

Joby Talbot: Son of Rambow. 

Frédéric Talgorn: Asterix at the Olympic 

Games • Dragon Hunters. 

Francois Tétaz: Rogue. 

Mark Thomas: Tales of the Riverbank. 

Gregory Tipri: Secret Society (cocomposer). 

tomandandy: The Koi Keeper. 

John van Tongeren: War Games 2 - The 

Dead Code. 

Pinar Toprak: Blue World • Dark Castle 

• Serbian Scars • Say It In Russian • 

Ocean of Pearls. 

Jeff Toyne: Within • Late in the Game. 

Michael Tremante: If I Didn’t Care. 

Gregory Tripi & Kyle Batter: Dark 

Storm • Termination Point. 

Ernest Troost: Crashing. 

Brian Tyler: Rambo • The Heaven 

Project. 

Shigeru Umebayashi: A Simple Love 

Story. 

Cris Velasco: Prep School. 

Waddy Wachtel: Strange Wilderness. 

Reinhardt Wagner: L’Heure zéro. 

Michael Wandmacher: The Killing Floor 

• Train • Never Back Down. 

Stephen Warbeck: Flawless • Miguel 

and William • The Box Collector. 

Matthias Weber: Silent Rhythm. 

Craig Wedren: Little Big Men. 

Richard Wells: The Mutant Chronicles. 

Cody Westheimer: Benny Bliss and the 

Disciples of Greatness • Hysteria. 

Alan Williams: For the Love of a Dog • 

Act Your Age • Snow Princess • He Love 

Her, She Loves Him Not • The Velveteen 

Rabbit. 

David Williams: The Conjuring. 

John Williams: Indiana Jones and the 

Kingdom of the Crystal Skull • Lincoln. 

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Patrick Williams: Mikey and Dolores. 

Tim Williams: Afterthought • The Passage 

• Starcrossed. 

Austin Wintory: Captain Abu Raed 

• Mr. Sadman • Grace. 

Debbie Wiseman: Amusement • The 

Hide. 

Chris Wood: Zombies Ate My Prom 

Date. 

Lyle Workman: Forgetting Sarah 

Marshall. 

Alex Wurman: Bernard and Doris • Baggage 

• Quebec. 

Gabriel Yared: Manolete • The No. 1 

Ladies Detective Agency • Adam Resurrected. 

Christopher Young: Sleepwalking • Untraceable 

• A Tale of Two Sisters. 

Geoff Zanelli: Delgo • Outlander • 

Ghost Town. 

Marcelo Zarvos: What Just Happened? 

Aaron Zigman: Home for Christmas • 

Step Up 2 the Streets • Smart People 

• Lake City. 

Hans Zimmer: Frost/ Nixon • Casi Divas 

• Kung Fu Panda • The Dark Knight (cocomposer). 

Atli Örvarsson: Vantage Point • Babylon A.D. 

Alexander University: Training that gets results. 




CD REVIEW 

Randy Newman Smokes ‘em in 

his Film Scoring Debut 

Title: Cold Turkey 

Composer: Randy Newman 

Label: Percepto 

Suggested Retail Price: $19.95 

Grade: B+ 

When it comes to playing America, few 

composers can bring on the string-andbrass 

wheatfield with a feeling that at once 

salutes the heartland while thumbing its 

symphonic nose at it. And whether its through 

scores like The Natural and Pleasantville, or 

such songs as “I Love LA” and “New Orleans,” 

Randy Newman has been having it in both 

ways with style and acclaim to spare. With 

his satirically melodic bite, you could say that 

Randy was the first member of the Newman 

clan to truly reach out to a new, counterculture 

generation of pop and film music fans. 

But if people thought that Randy’s movie 

career started with 1981’s Ragtime, then they 

should get a listen to his first score for 1971’s 

Cold Turkey. It was a smoking satire that 

showed Newman hit it right off the bat – then 

somehow took nearly a decade to get another 

inning. And for the composer’s admirers, it’s a 

discovery that’s on the league of coming across 

the first Ark of the scoring Covenant. 

Cold Turkey proudly continues Percepto’s 

tradition of releasing such oddball babyboomer 

favorites as Cyril Mockridge’s Miracle 

On 34th Street to Vic Mizzy’s score to The 

Ghost And Mr. Chicken. In some ways, Cold 

Turkey ranks as one of their coolest discoveries 

at showing an A-list talent starting off at the 

top of the musical alphabet. And as you listen 

to how wonderful Cold Turkey is, the biggest 

question that the composer’s fans might ask 

is why it took him so darn long to do another 

score. Even Newman can’t give an easy answer, 

as Jeff Bond details in his terrific liner notes. 

Though he’d done episode work for the likes of 

Voyage To The Bottom Of The Sea and Lost In 

Space, it seemed that Newman was destined 

to make his mark as a brilliantly acerbic songwriter. 

If any film could have lured him into his 

family’s footsteps, then it’s easy to see how it 

would have been Cold Turkey, a film chock full 

of blistering potshots at the tobacco industry 

and its small town pawns, who decide to ditch 

the smoking habit for 30 days in hopes of a big 

payday for their town of Eagle Rock. 

Though Newman can be brilliantly snarky 

at taking down sacred cows, what stops him 

from being just another liberal a-hole with 

a musical axe to grind is that he lampoons 

his subjects with real sympathy. And right 

from the start with his beautiful piano and 

vocal rendition of “He Gives Us All His Love,” 

Newman lets us know that he’s rooting for 

the underdogs who accept whatever corporate 

America tells them. Upon listening to his ultramelodic 

sound for strings and brass, you might 

think you’re in Mayberry RFD (or Pleasantville 

for that matter). It’s a poetic apple pie and 

picket fence sound that mostly plays it straight 

through the smoke-addiction shenanigans. 

Aaron Copland would be proud to call this 

score home before discovering the dogshit on 

his shoe. But it’s precisely this kind of melodic 

earnestness that makes Cold Turkey’s score so 

hilarious. It’s genuinely sweet as it goes about 

by DANIEL SCHWEIGER 

dschweiger@filmmusicweekly.com 

its targets, with a real, understanding emotion 

that socks the humor home. 

Like most political satires, Nixonian greed 

was the target of Turkey’s sour eggs. Many 

pieces here yearn to break out into “The Battle 

Hymn of the Republic” – and sometimes do. 

If anything, Cold Turkey also has the most 

“western” feeling of any Newman score before 

Maverick came along, a brassy, hoedown you 

could rope a cow to. Almost half of Cold Turkey 

is comprised of these kind of band “source” 

cues, as Newman didn’t score the last third of 

the film – probably for fear of the Hollywood 

game that he’d gotten himself into. But Randy 

shouldn’t have worried, as even this oompa 

tunes don’t wear out their welcome. 

If there’s one score that shows great music 

runs straight away in the Newman blood, then 

Cold Turkey is it. Though the likes of Toy Story, 

Parenthood and Avalon may have been years 

off for Randy, their lush, Americana presence is 

immediately heard here in spades. And whether 

he’s making fun of this great land, or giving 

it a 21 gun orchestral salute, Randy Newman 

shows that perhaps no composer better understood 

its patriotic, melodic pulse – even he 

delighted in making its beat screwy. n 

BUY THE CD HERE: 

•www.percepto.com/projects/024/ 




THE CHART DOCTOR 

by RON HESS 

rhess@filmmusicweekly.com 

When Great Is The Enemy Of Good 

There is a well-known but seldom-discussed 

truism in philosophical circles 

concerning when headlong pursuit of the 

optimum is a barrier to the successful 

achievement of even the minimum. In some 

quarters it’s called “analysis paralysis,” the 

mental block built out of oppressive expectations, 

perhaps traceable to our traditional institutions 

which cradled our career training. 

They fill our minds with awe for the achievements 

of past giants (and dreams of following 

in their lofty footsteps) without first drilling 

into our psyches the wiser reverence for successfully 

(even if less brilliantly) getting a job 

done at all. 

This is particularly a problem for those 

in the “musical-industrial complex” which, 

if we’re honest with ourselves, takes in 

practically all of us. How many of us honestly 

march in the footsteps of Charles Ives, 

perhaps America’s greatest compositional 

iconoclast, a man and an artist so fiercely 

independent that he turned his considerable 

mental powers to pioneering the development 

and marketing of life insurance in its early 

years, both out of reverence and concern for 

his fellow citizens as well as to underwrite 

his freedom to compose the music he craved. 

All of us to some degree must march to 

another’s drumbeat (in order to receive another’s 

paycheck,) so we have to get comfortable 

with the cadence. Simply put, unlike 

the aforementioned Ives, we almost always 

have to knuckle under to some external 

timetable, direction, style, marketing plan, 

etc. Some of us discover too late that the 

“freedom” we perceived in the recordings of 

our heroes was, in actuality, an illusion, and 

consequently sew discontent and unhappiness 

in our own careers. 

The wise citizen-musician, whose real 

contentment depends on freedom from worries 

about mortgage payments, health insurance, 

retirement plans, etc., knows that in 

order to be a hero to “the butcher, the baker, 

and the candlestick maker,” he must first and 

foremost, over and over and over again, meet 

a deadline. Brilliance is optional; competence 

is not. Your clients (and your reputation) will 

not appreciate your genius if you fail to get 

all the cues sketched, written, orchestrated, 

recorded, mixed, and/or archived. 

How does one ensure that his job gets 

done, on budget and within deadlines? A 

good strategy involves the following: 1) 

Organization: Arrange all the details of your 

project as details (spreadsheets are great) 

and think art only when you tackle them 

individually) 2) Intuit, then polish. Get in 

the habit of quickly throwing all your ideas, 

snippets, motifs, melodic or rhythmic inspirations, 

etc., onto the paper, sequence, sketch, 

score, what-have-you, and then polish them 

with the short strokes; don’t fine-tune as you 

go, 3) Plan your work and then work your 

plan (self-discipline, pure and simple) This 

includes the wisdom to give yourself temporal 

and mental escape routes like self-imposed 

deadlines in advance of the real ones, 

helpful associates on call, in advance, (just 

in case,) backup and contingent hardware 

and software strategies (extra storage media, 

printer paper, toner cartridges, Internet connections, 

alternate printer service bureaus, 

actually-implemented backup strategies, etc.). 

Aside from the practical benefits, think how 

much more clearly your mind will create 

when it isn’t turning to Jell-O due to stress. 

Now, unless you are a seasoned professional 

who has done this many times, you 

might want to skip right through the above 

strategies and get right to being brilliant. 

Bad idea. He who looks too far ahead or too 

high up eventually trips on his own shoelaces. 

The histories of Hollywood, Nashville, 

and New York are littered with the aborted 

careers of people who did just that and had 

important projects fail. (Funny how they 

never teach that stuff back in music school...) 

Put yourself in your client’s shoes. With 

a client of your own to satisfy, when given 

a choice between a subordinate’s job done 

competently and thoroughly or one done 

brilliantly but incompletely, which would you 

choose? If you picked the former, “ding!” You 

live to work again. If you chose the latter, go 

home, you’re fired. 

The bottom line for all of this is simple: 

don’t ever let “great” get in the way of “good.” 

They don’t give prizes for being way ahead 

of the pack if you don’t finish the race. And 

when you do get in the comfortable habit of 

delivering “good,” eventually “great” comes 

along for the ride. 

n Ron Hess works as a studio conductor, orchestrator, 

copyist and score supervisor in Los Angeles, where he’s 

well-known for his quick ability to ferret out the most hidden 

performance problems and spot score glitches rapidly. 

He holds a Master’s Degree from the New England Conservatory, 

and is considered one of the top Finale experts 

in Los Angeles. Email your questions to Ron at 

rhess@filmmusicweekly.com 


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people in your area to locate 

you quickly and easily! 

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* U.S. RESIDENTS 

DEPARTMENT OF MUSIC AND 

PERFORMING ARTS PROFESSIONS 

Lawrence Ferrara, Director 

2008 NYU/ASCAP 

Foundation Film 

Scoring Workshop 

in memory of Buddy Baker 

Exclusive East Coast workshop: 

May 16-23, 2008 

Participant fee: $1,150 (auditors, $350) 

Limited space. Apply early. 

Housing available. 

Application deadline: 

April 14 (auditors, May 5) 

Also, Music & the Moving Image 

Conference: May 30-June 1, 2008 

Visit www.steinhardt.nyu.edu/film2008 

or call 212 998 5424. 


ISSUE 47 • JANUARY 22, 2008 11 

NEW YORK UNIVERSITY IS AN AFFIRMATIVE ACTION/EQUAL OPPORTUNITY INSTITUTION.

MUSIC TECHNOLOGY 

by PETER LAWRENCE ALEXANDER 

palexander@filmmusicweekly.com 

String Essentials 2 - 

The New Workhorse String Library: Part 1 

Now that NAMM 2008 

is over, we’re going to 

consider a really beautiful 

string library that’s been 

seriously overlooked since it’s 

initial release by Best Service 

in Germany, distributed by 

EastWest: String Essentials 2 

by Peter Siedlaczek. 

Peter’s work extends back to the Roland sampler 

days when he created a number of programs, 

often not bearing his name, but often used. He’s 

probably best known for creating Advanced 

Orchestra (although he’s done a number of other 

sampling CDs including Smart Violins, Orchestral 

Colours and Classical Choirs). 

With SE2, Peter has hit new territory in 

string beauty and usefulness packaged at an 

irresistible list price of $399. Compared to some 

other string libraries out there that are much 

higher priced, I have to say it, String Essentials 

2 is the new workhorse for independent string 

libraries. 

For this article, I tested SE2 with three works: 

• Princess In the Tower from the film 

Richard III by William Walton (available 

from iTunes) 

• Troyte from Elgar’s Enigma Variations 

(from Professional Orchestration 

Volume 2A) 

• The Lion’s Royal March from Saint- 

Saens Carnival of the Animals (from 

Professional Orchestration Volume 2A) 

Princess in the Tower is four-part harmony 

with the basses doubling the cellos. Troyte has 

Violins 1 and 2 in unison with a separate part 

performed by the violas and cellos in unison, 

doubled in places by the basses an octave below. 

With Carnival of the Animals, The Lion’s 

Royal March, violins 1 and 2 plus violas are in 

unison while the cellos and basses are in octaves 

on a separate line. 

How Recorded 

SE2 was recorded in a large studio with 

three different mic positions: 

Normal - According to the manual, Normal is 

recorded with neutral mic positioning 

Dry - recorded with a number of close spot mics 

Ambient - captured with two spaced apart mics 

capturing the studio ambience. 

Other than this, there’s no stage setup diagram 

to show you, nor is there a list of mics used. 

Nonetheless, what you have is a studio sound, 

not a hall sound. Something I like about the studio 

sound, which I’m looking forward to hearing 

EastWest do with the new string library they’re 

recording for 2009 release, is that it blends much 

easier with other independent libraries. And now 

that I’m doing more work in 2008 and beyond 

with vocalists, this is a real consideration. 

SE2 doesn’t limit you to a style of music. 

Some say library A is best with classical while 

library B is best for film. SE2 can work with any 

genre, including pop. 

Surround Sound. Surround sound can be 

created by using both the normal and ambient 

positions. I didn’t have time to try this for Part 1. 

Applications. Because it’s a studio sound, SE2 

should work well with Fab Four, Ministry of 

Rock, all the Vienna woodwinds and brass, WIVI 

brass and woods, and Synful, especially the solo 

strings. 

Repeated Notes. The manual goes into detail 

explaining how to set this up. 

How Panned. SE2 was recorded in the center 

stage position, giving you the freedom to create 

alternate seating arrangements. In each example, 

I set the strings with a European seating 

plan having violins 1 on the left and violins 2 on 

the right. I put violas and cellos between them 

and kept the basses centered. 

Setup 

I installed this on Power PC G5 with Logic 

7.1.1. SE2 is housed in a Kontakt 2 player. Unfortunately, 

the actual installation didn’t follow the 

manual, nor the PDF from Native Instruments. 

So, a lot of wasted time double checking. 

Once installed into Logic 7 (this condition, 

thankfully, no longer exists in Logic 8), you 

initially can use one instance of SE2 per track. 

If you want the program to work multitimbrally, 

you can package up to 

16 instruments to function 

as an ensemble. 

But to do this, you 

have to set up a multi 

instrument inside 

Logic. It’s not hard 

to do, just completely 

undocumented. Native 

Instruments does have 

a two-graphic tutorial 

in their Knowledge 

Base. To access it, you 

have to first register. 

Unfortunately, the tutorial 

needed a few more 

steps and screen shots 

to be really complete. 

So time was spent 

Googling, which for this 

feature seems a common 

thing to do. 

Each mic position 

has three components: Legato, Main Setup, and 

Staccato. A word about this; to set up a complete 

string section, you need all three. Main Setup 

has keyswitches. For staccato, you’ll either press 

A1 or A0 on the MIDI keyboard. But if you don’t 

have Staccato loaded, you won’t hear it. 

So you have to set the Staccato and the Main 

Setup to the same MIDI channel. In the setup 

below, I have the Legato violins on channel 1, 

Main Setup and Staccato on channel 2. In all, I 

have 15 instruments taking up 10 MIDI channels. 

(Continued pg 13) 


MUSIC TECHNOLOGY 

String Essentials 2 (continued from pg 12) 

Here it is in the Logic Arrange window. With this approach, I’ve set 

up a template that gives me a full string section inside Logic with access 

to string programs in a separate computer. 

Audio 

Logic is designed to have one virtual instrument per track. It will eat 

up resources to do it this way with SE2, but you do have easy control on 

audio routing. 

If you set up the way I did, you have a pair of stereo outs. This means 

that within a single instance of the K2 player, you’re submixing, potentially, 

an entire electronic string section. Again, this isn’t an issue for 

Logic 8, but if you haven’t yet upgraded, be aware. 

Also with this setup, any volume fader in a K2 track acts like a 

master fader for all the rest. So you have to do your volume settings (and 

panning) for SE2 inside the K2 player. 

For reverb, you have a full panoply within the K2 player. 

However, to route effects to each instrument, you do so through the 

Aux setting, which is virtually unfindable and unreadable. 

Once you click Aux on the unreadable white on gold background, 

the Aux Sends for that instrument appears. For fun, I selected the 

convolution reverb and set it at -10dB. I thought the convolution reverb 

served SE2 well. 

Using Other Reverb With String Essentials 2 

In Logic, I experimented with Platinum Reverb and maybe 60 different 

programs inside Logic’s Space Designer convolution reverb. One 

thing that’s apparent, is that you have to be very judicious in selecting 

reverb for SE2 because the right “verb” gives it a beautiful warm tone, 

while the wrong “verb” can create a really metallic-sounding string 

section. 

More next time. 

n Peter Alexander is preparing to score The Good Samaritan. His most recent books are 

How Ravel Orchestrated: Mother Goose Suite, and Professional Orchestration. He has 

also written White Papers on music education. 

Join the new online community where 

orchestrators and composers discuss the 

art, craft and technology of orchestration. 

www.OrchestrationForum.com

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