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While SCL seminars and events are now available for download as mp3 files, many older items are abridged versions of the full-length seminars avaailable on CD. Time was cut out by omitting long pauses, applause, general announcements, etc. However, some content has also been omitted, and those interested in the most complete version may prefer to buy the CDs.

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#8001 Agents: A Necessity or An Alternative

  • Bruce Broughton moderated this discussion about the pros and cons of having an agent, how to get an agent, the difference between agents and managers, and typical commission rates. The panelists were agents Stan Milander and Larry Marks, and composer Joe Conlan. This seminar took place on May 15, 1990.

#8002 Alan Silvestri

  • October 15,1997 Director's Guild Of America Hollywood, California Alan Silvestri begin his presentation by showing excerpts from "Forrest Gump" and "Contact". With both examples he first screens the scene without music, followed by the same scene with his score. This provides a basis for him to discuss his approach to scoring a specific scene, how he makes choices, the emotional map of a musical cue, and the need to support the character in a dramatic film.
  • Mr. Silvestri invites questions from the audience which concerns topics such as working with pianos and synthesizers, being clear about your choices, anticipating the final mix, and understanding directors.
  • Early in his career, Mr. Silvestri wrote for the TV series "CHiPs". He has since scored over 80 films, including "Cast Away" (2000), "Stuart Little" (1999), "The Parent Trap" (1998), "Volcano" (1997), "Grumpy Old Men" (1993), "Death Becomes Her" (1992), the "Back to The Future" films, "Who Framed Roger Rabbit" (1988), and "Romancing the Stone" (1984). In 1994 Alan Silvestri received an Oscar nomination for Original Score for "Forrest Gump".

#8003 Danny Elfman

  • February 17, 1999 Director's Guild Of America Hollywood, California This is an opportunity to hear Mr. Elfman's story and experience in his own words, told with engaging honesty and philosophical humor. The interview was conducted by SCL member, Jerry Grant.
  • Mr. Elfman touches upon subjects such as how he approaches a new film, working with temp scores, the importance of setting the tone of the film at the very beginning, communicating with directors, his transition from the acoustic world to the MIDI world, and the "non-process" of writing the score. Many lively anecdotes include his edgy experiences on the scoring stage and the horrors of the dubbing process.
  • Danny Elfman's scores include "Sleepy Hollow" (1999), "Good Will Hunting" (1997), "Men in Black" (1997), "Mars Attacks!" (1996), "Mission: Impossible" (1996), "Dead Presidents" (1995), "The Nightmare Before Christmas" (1993), the "Batman" movies and "Beetlejuice" (1988). In 1997 he received Oscar nominations for "Good Will Hunting" (Original Dramatic Score) and "Men In Black" (Original Comedy or Musical Score).

#8004 Elmer Bernstein

  • 1993 Director's Guild Of America Hollywood, California Elmer Bernstein begins his presentation by giving a personal account of his life that led to scoring films, tracing his steps from a young concert pianist, through his time in the Air Force during World War II, to writing radio music and eventually getting to score his first film, "Saturday's Hero" in 1951. As his presentation continues he gives advice to composers starting out in their careers, emphasizing how important it is to make an effort to meet film makers, to present oneself well, and to insist on personal representation. He then spoke about the relationship between the composer and the director. The seminar concluded with a question and answer session.
  • Mr. Bernstein has scored over 200 films. In 1967 he won an Academy Award for Original Score for "Thoroughly Modern Millie". He also received nominations for "The Man With The Golden Arm" (1955), "The Magnificent Seven" (1960), "Summer and Smoke" (1961), "Walk On The Wild Side" (1962, song), "To Kill A Mockingbird" (1962), "Return Of The Seven" (1966), "Hawaii" (1966, score and song), "True Grit" (1969, song), "Gold" (1974, song), "Trading Places" (1983) and "The Age Of Innocence" (1993).

#8005 James Newton Howard

  • 1996 Director's Guild Of America Hollywood, California James Newton Howard begins the evening by giving a sketch of how he found his way into film scoring, starting out as a classical pianist, playing in garage bands, and eventually getting a break playing and arranging music for Elton John. As the evening progresses, he responds to questions from the audience. He speaks about working with orchestrators, being close to getting fired, studying and learning from mentors, his reaction to the first time he was ever asked to rewrite a cue, and his views on 'spotting sessions'.
  • Mr. Howard's scores include "Snow Falling on Cedars" (1999), "The Sixth Sense" (1999), "Runaway Bride" (1999), "A Perfect Murder" (1998), "My Best Friend's Wedding" (1997), "Grand Canyon" (1991), "The Prince Of Tides" (1991) and "Pretty Woman" (1986). He received Oscar nominations for "My Best Friend's Wedding" (Original Musical or Comedy Score), "One Fine Day" (Original Song), "Junior" (Original Song), "The Fugitive" (Original Score) and "The Prince Of Tides" (Original Score).

#8006 Jerry Goldsmith

  • February 16, 2000 Director's Guild Of America Hollywood, California Jerry Goldsmith began his presentation by relating the story of his musical career. The centerpiece of the evening was showing the opening, the middle, and the final scenes from "Basic Instinct", and his discussion of his approach to the score.
  • ** The audio recording of this event is rather poor--however, we have made it available to those who are interested due to the important nature of the material**
  • In 1976 Jerry Goldsmith won the Academy Award for Original Score for "The Omen". He has received a total of 17 Oscar nominations for "Mulan" (1998), "L.A. Confidential" (1997), "Basic Instinct" (1992), "Hoosiers" (1986), "Under Fire" (1983), Poltergeist (1982), "Star Trek – The Motion Picture" (1979), "The Boys From Brazil" (1978), "The Omen" (1976, Original Song), "The Wind And The Lion" (1975), "Chinatown" (1974), "Papillon" (1973), "Patton" (1970), "Planet Of The Apes" (1968), "The Sand Pebbles" (1966), "A Patch Of Blue" (1965), and "Freud" (1962).

#8007 Leonard Rosenman

  • Taking examples from his scores to "The Bible" and "Crosscreek", Mr. Rosenman discusses two extremes in scoring drama: music under continuous dialogue, and music where there is no dialogue at all.

#8008 Music Supervision

  • The Art of Songs, Scores & Relationships – a timely discussion on the ever-changing dynamics of music supervision in film and television. The distinguished panel includes: Dan Carlin, Music Supervisor and CEO, Segue Music – Tim Sexton, Music Supervisor, Magstripe Entertainment – Dana Sano, Senior Vice President of Music, New Line Cinema -Harry Garfield, Senior Vice President of Music, Universal Pictures – Bill Ross, Composer

#8009 Performing Rights I

  • Jay Chattaway's first seminar as new president of the S.C.L. moderates a panel consisting of : Todd Brabec, Sr. V.P. ASCAP, Vincent Candilora ASCAP V-P. & Director of licensing, Michael O' Neill BMI ASS. V.P. for Media Licensing, Allison Smith BMI V.P. for Media Licensing, Pat Rogers SESAC Sr. V.P., Pat Collins SESAC Sr. V.P. of Licensing, Steve Winogradsky Music Attorney – A discussion of how source, direct and per-program licensing agreements with broadcasters can affect our careers.

#8010 Exotic Flavors: Steel Drums

  • March 13, 2003 Professional Musicians Local 47 Hall (AFM)
  • Through performance and discussion, this seminar featured the unique instrumental mastery of Joseph Peck onsteel drums.
  • The steel drum is popularly considered the national instrument of Trinidad. Fashioned from steel barrels, the "pans"—the common name for steel drums —are hand-hammered and tuned in several patterns including the rhythm, ping pong, second pan, cello, guitar, and bass patterns. Joseph Peck demonstrated a variety of pan types, covering both traditional and experimental uses of the instrument, with detailed discussion of the tunings, performance techniques, and notation. He also performed compositions for steel drum and jazz ensemble (performed with his quintet). Helpful handouts were provided.


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