As a provider of educational opportunities for students, The Pacific Northwest Film Scoring Program does not offer services for professional productions, filmmakers or composers. Student musicians who perform on the scores do so for the educational experience of working in a recording studio environment.

Name:

Film Scoring I: An Overview of Film Scoring

Prerequisite:

Some knowledge of music is helpful, but not required.

Cost:

$425.00

Schedule:

Ten weeks, 2 hours a week

Instructor:

Hummie Mann

Description:

The first in a 3-course series on Film Scoring, this class offers an overview of the process of writing dramatic music for motion pictures, television and videos.

Topics include:

• Roles of the music editor, music supervisor, contractor, copyist, orchestrator, and booth supervisor.
• Composing dramatic underscore - the creative process, introduction to “writing to timings”
• Interacting with the director and producer
• Music/film synchronization techniques
• Synthesizer vs. acoustic scoring
• Budgeting both time and money for scoring sessions
  
  Many video and audio examples will be used to demonstrate the concepts discussed in this course.

Although there are many technical aspects to this class, it is an excellent overview of the process of film scoring from the composer’s perspective.

NOTE: This class is designed for anyone interested in better understanding the composer's role in the filmmaking process. Advanced musical training is not required; however, students interested in completing the entire program should have a strong background in music theory/composition and will be required to complete an assigned project and pass a music theory test as a prerequisite to Film Scoring II.

Next Offering:

Fall 2008

Name:

Film Scoring II:
Composition Techniques for Writing Dramatic Music

Prerequisite:

Film Scoring I (including all assignments) and demonstrated competence in knowledge of music theory by passing music theory test administered at the end of Film Scoring I.

Cost:

$450.00

Description:

This class primarily examines how to use the many individual aspects of music (for example: Melody, Harmony, Rhythm, Instrumentation, Orchestration, Register, Voicings) to compose music that creates a particular dramatic effect—sadness, triumph, suspense, comedic, and so on.

Other topics include:

• Composing and methods of developing themes
• Using background textures to convey emotion
• Use of counterpoint in contemporary writing
• Techniques for controlling dissonance to create tension

Format:

Ten weeks, 2 hours a week
Thursday evenings starting January 3rd, 2008

Next Offering:

Registration Now Open

Name:

Film Scoring III: Orchestration and Composing to Timings

Prerequisite:

Film Scoring II (successful completion of all assignments) and permission of instructor.

Cost:

$500.00

Description:

In this class, orchestration is covered as applied to writing for the recording studio environment. Most other orchestration classes deal with live performance/concert venues.

Topics include:

• Instrumentation/orchestration - one class meeting will be devoted to each orchestral group, as well as to discussions of special orchestration techniques particular to studio recording.
• Writing dramatic music that supports the action on screen, controlled by “timings” and not by standard musical forms.

Students will receive copies of actual scores and explore the creative “thought process” and technical aspects involved in scoring particular scenes from a variety of film projects. Students will be given relevant assignments such as developing themes and working with specific timings.

Format:

Ten weeks, 2 hours a week
Thursdays; 7:30PM-9:30PM
Courses start March 27, 2008

Next Offering:

Registration Now Open

Name:

Film Scoring IV: Dramatic Composition Lab

Prerequisite:

Film Scoring I, Film Scoring II, Film Scoring III (successful completion of all assignments).

Cost:

$575.00

Format:

Class and individual meetings arranged with the instructor.

Instructor:

Tim Huling.

Description:

The focus of this course is completing composition assignments that meet specific dramatic, compositional and orchestrational requirements. Students will present their compositions to the class and get feedback from the instructor and the other students.

Students will create a portfolio of works that will be submitted for review as part of the application for Film Scoring V.

There will be multiple sections of this class meeting at a variety of times during the week. Each section will have a maximum enrollment of 5 or 6 students.

This course is open to students who have successfully completed FS1, 2 and 3.

Next Offering:

Fall 2008

Name:

Film Scoring V: Directed Study in Film Composition

Prerequisite:

Successful completion of all Film Scoring IV writing assignments and submission of a portfolio of works to the instructor of Film Scoring V. These works are reviewed and entrance to Film Scoring V and entrance to this course is by invitation from the FS5 instructor only.

Cost:

$950.00

Format:

Class and individual meetings arranged with the instructor.
NOTE: This is a two-semester course.

Instructor:

Hummie Mann.

Description:

In this course, students who have successfully completed all other core courses will compose and record the scores to student films using a studio orchestra. Students will take on the duties of composer, orchestrator, music editor, contractor and booth supervisor. After initial group meetings as a class, students divide into teams to work on specific films and collaborate to develop themes before being assigned individual “cues.” Students then meet with the instructor one-on-one to review their progress. Once sketches are approved, students then orchestrate and copy their cues. The final projects are recorded at a professional recording studio using 32-35 musicians, and the final scores are then "married" to their films. Students share in the composing screen credit and will receive video copies of the final film as well as a CD recording of all of the scores.

Students who successfully complete Film Scoring I-IV are invited to participate in scoring additional student films submitted to the program throughout the year.

NOTE: This class is extremely time-intensive. Students MUST be prepared to invest the time necessary to complete their assigned workloads.

Next Offering:

Winter/Spring 2008

Name:

Practical Music Theory for the Contemporary Composer

Prerequisite:

None. Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$350.00

Format:

Ten weeks, 2 hours a week

Instructor:

Tim Huling

Description:

This course gives students important and practical knowledge, tools, and approaches to writing music in the professional world and prepares students for entrance into Film Scoring II.

Recommendation:

This course is strongly recommended for students who may wish to take Film Scoring II, III and IV but may require additional background in music theory in order to pass the music theory placement exam.

Topics include:

• An in-depth study of scales and modes, chord structures and voicings, harmonic progression and analysis, correct notational practices, and ear training.
• "Tricks of the trade" that working composers use to create more colorful, emotive music.
• The theoretical underpinnings of a variety of styles of music and discussion of how to incorporate those concepts into new music.

Upon completion of this course students will have gained the skills necessary to notate their musical ideas in a clear and accurate written form, have a more thorough understanding of contemporary harmony and voicings, and have new skills and approaches to composition that will bring color and emotion to their music.

Note that the entrance exam for Film Scoring II will be administered at the end of Practical Music Theory for the Contemporary Composer, and successful completion will allow entrance into Film Scoring II. This is an alternative for students not able to pass the exam at the end of Film Scoring I.

Next Offering:

To be announced

Name:

Songwriting for Film, Part I

Prerequisite:

None. Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$400.00

Instructor:

Sue Ennis

Description:

Designed for songwriters of all levels, from beginners to pros, this course examines the craft of writing a song.

We investigate how structure, melody, and lyrics function together to create a well-written song. We consider sources of inspiration for a song and the fundamentals and tools for turning the inspiration into a fully-realized song. Along the way, we take a look at the history of American songwriting and focus on great songwriters and their classic work, including Tin Pan Alley writers and The Beatles, Dylan through contemporary writers like Rufus Wainwright.

We also will examine the ins and outs of writing songs for films, including how to tailor a song for a scene and what constitutes a successful End Credit song. Students are encouraged to bring works-in-progress to “workshop” with the instructor and other class members. For the final project, each student will be asked to write (or collaborate on) an original song.

This course requires a minimum enrollment of 9 students to run.

Format:

Ten weeks, 2 hours a week
7:30PM-9:30PM
Tuesdays, starting April 1, 2008
    Apr. 1, 8, 15, 22, 29;
    May 6, 13, 20, 27
    June 3

Next Offering:

Registration Now Open

Name:

Songwriting for Film, Part II

Prerequisite:

Successful completion of 'Songwriting for Film, Part I'. Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$400.00

Instructor:

Sue Ennis

Description:

A continuation of Songwriting for Film, Part I.

Instead of studying the film songs of other writers, the second part of this class will focus on your songs. Each week is a workshopping opportunity to share your songs within a supportive community of other songwriters. There will be weekly writing exercises, to help you practice writing to specific assignments. We’ll practice writing songs for characters, specific situations and more general “end credit” songs. We’ll also do short exercises to help you write tighter, more original songs. Completion of Songwriting for Film, Part I is strongly recommended. However, if you are already a seasoned songwriter and feel you have songwriting basics under your belt, talk to Sue to greenlight your enrollment in this class. (Use the Contact page and indicate that the message is for Sue.)

This course requires a minimum enrollment of 9 students to run.

Format:

Ten weeks, 2 hours a week

Next Offering:

To be announced

Name:

Music Notation: Finale

Prerequisite:

None. Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$375.00 ($325.00 + $50.00 lab fee)

Description:

Learn to notate music in the premiere professional music notation program: Coda Music's Finale.

Topics include:

• Creating effective scores, parts, lead sheets, and more
• Notating music correctly for the studio orchestra

Format:

Ten weeks, 2 hours a week
Wednesdays: 7:30PM-9:30PM
Wednesday evenings starting January 9th, 2008
   January 9, 16, 23
   February 6, 13, 20, 27
   March 5, 12, 19

Next Offering:

Registration Now Open

Name:

Classic Movie Scores: Concepts and Case Studies

Prerequisite:

None. Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$350.00

Format:

Ten weeks, 2 hours a week

Instructor:

Antony John

Description:

From classics like Bernard Herrman's score for "Psycho" to newer film music like Thomas Newman's score for "Shawshank Redemption," come take part in an in-depth examination of what makes great film music great.

Why does music accompany film? What does music contribute to film? What makes a successful film score? In this course, a series of case studies spotlights the evolution of the film score over the past half-century through analysis of technical, structural, and aesthetic issues.

Topics to be covered include: Tracing extra-musical motifs in Herrmann's scores for Hitchcock; An in-depth analysis of John Williams' use of thematic development in his scores; The dichotomy of popular vs. classical and pre-existent vs. original music in the contemporary film score.

In addition, weekly readings will introduce students to film theory, and various approaches to film and film music analysis. A written assignment will offer students the opportunity to explore a film score in greater detail.

Next Offering:

Registration Now Open

Name:

MIDI Technology: Logic

Prerequisite:

None. Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$375.00 ($325.00 + $50.00 lab fee)

Format:

Ten weeks, 2 hours a week

Instructor:

Doug Zangar

Description:

Get a thorough overview of MIDI and its use in the music industry; an in-depth, hands-on experience with the many facets and tools of the Apple software program Logic; tricks and techniques for sequencing effectively, especially as it relates to music for film; and an introduction to the Digital Audio recording and editing capabilities of Logic.

Throughout the entire course the students will work with Macintosh G3s running Mac OS X and the latest version of the software. Class time will be split into lecture / directed use of the software and "lab time" where the students will hone their skills with the software through guided use.

Note: Apple's Logic software program, formerly known as Logic Audio, now comes in two versions, Logic Pro and Logic Express. Unless otherwise noted, this course will use the Logic Express version of the program, which "provides the same working environment as Logic Pro 7 with scaled-back features for students and hobbyists." For more information, see Apple's Logic Pro and Logic Express product pages.

Next Offering:

To be announced

Name:

MIDI Technology: Digital Performer

Prerequisite:

None. Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$375.00 ($325.00 + $50.00 lab fee)

Description:

Get a thorough overview of MIDI and its use in the music industry; an
in-depth, hands-on experience with the many facets and tools of the
software program Digital Performer; tricks and techniques for sequencing effectively, especially as it relates to music for film; and an introduction to the Digital Audio recording and editing capabilities of Digital Performer.

Throughout the entire course the students will work with Macintosh G3s running Mac OS X and the latest version of the software. Class time will be split into lecture / directed use of the software and "lab time" where the students will hone their skills with the software through guided use.

Format:

Ten weeks, 2 hours a week

Next Offering:

To be announced

Name:

Game Scoring

Prerequisite:

Some knowledge of MIDI sequencing helpful.

Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$350.00

Description:

Topics include:

• Scoring for non-linear vs. linear media
• A survey of non-linear scoring techniques
• Historical background of game scoring
• The composers’ role on a game development team
• The business of game scoring
• Various file formats and music delivery methods
• Game genres: their differences, and specific scoring needs
• Tools of the trade
• The future of game scoring

Game examples will be shown in class to illustrate scoring in action. Students will have the opportunity to experiment with scoring techniques, and will come away with a better understanding of what goes into creating a contempory game score.

Format:

Ten weeks, 2 hours a week

Next Offering:

To be announced

Name:

Audio for Interactive Games

Prerequisite:

None: Please note that this is an optional elective to the Film Scoring Sequence.

Cost:

$350.00

Description:

Objectives:

Familiarity with the technical and aesthetic considerations of implementing audio for video games. This course covers all of the major production areas for games: dialog, sound effects, ambience, and music. By the end of the course, students should feel comfortable with the concepts of game audio, as well as familiar with the various creative and technical challenges involved in creating a rich and appropriate soundscape for a video game.

Concepts:

After an introduction into the basic shared tools used for linear audio production, focus is placed on game-specific considerations. Topics include: developing non-repetitive sound effects and score; building sounds that intelligently respond to game state; use of real-time multichannel technologies to create an immersive soundscape; the challenges of scheduling, organizational, and hardware resource constraints (and related compression/streaming techniques); and creative uses of sound that are specifically suited to gameplay. Throughout the course, students will be creating and implementing their own audio for a game to better apply these techniques.

Course Overview:

Week 1 – An Introduction to Game Audio concepts

Week 2 – Sound Synthesis and Reproduction on Computers

Week 3 – The game audio production process / game audio tools

Week 4 – Sound Design and Dialog for Games

Week 5 - “3D” and Surround Sound in Video Games

Week 6 – Music for Games

Week 7 – Interactive sound design and musical scores

Week 8 – Bringing it all together: The “Final” Mix

Week 9 – Game audio implementation case studies

Week 10 – Advanced game audio concepts

Format:

Ten weeks, 2 hours a week

Next Offering:

To be announced

Name:

Summer Program

Prerequisite:

None.

Cost:

To be announced

Description:

To accomodate students who either do not live in the Seattle area or who wish to take the program's training in a more compressed time period, the Pacific Northwest Film Scoring Program provides an Intensive Summer Training Program in the month of July.

This two-week program includes some of the courses from the one-year program, as well as a number of electives and other learning activities.

For complete information on this program option, refer to the Intensive Summer Training Program page.

Format:

Two week intensive training program.

Next Offering:

Summer 2008