A national association of professional music composers and producers for film, television and media

Cue Notes

Vol.2 No.2 Summer 2014

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VIEW FROM THE PODIUM

with Marvin Dolgay

Now that summer has finally arrived, I, for one, start to come out of my cocoon, pack away layers of protective and oppressive clothing and venture outdoors with my head up and shoulders back, to once again become more aware of all the new life that surrounds me.

It is with this spirit that I find myself inspired to write this offering of the VFP. Keeping us all up to date with the many important and sometimes complicated issues and action items of the SCGC is of course paramount, but for this installment, I would like acknowledge the maturing vitality of the next generation (from mine) of SCGC members and the continuing, unprecedented passion and power of our community.

From the wisdom and openness of all who contribute to our Discuss List, (still the“best thing ever,” said with a committed Valley Girl inflection), to all who pitch in to make our events successful, to our committee members, and of course, to our Board of Directors, I’d like to convey a heartfelt thanks to you all. Our small but mighty Guild is an endless loop of inspiration.

I also want to thank our staff, Maria, Tonya, Cindy and Nicholas, who, even though they are not technically volunteers, all clock in time beyond their contracts. Their continued passion for the SCGC has earned them a firm place in our community.

It is amazing to see what we are achieving together.

As we are now past our post-CAP transition, we are secure and have still managed to effectively serve our very wide mandate on all fronts. And now, with all of that behind us, we can once again start to build with a vision towards the future. And speaking of that future …

One of the huge strengths and a vital measure of success that our“more senior” composers have identified for the SCGC, is the need to maintain a high level of  engagement by the“not so senior”composers. I am thrilled beyond words to report that the effort put into the candidates list for the last election and the subsequent appointments of directors, to that end, is really paying off.

We now have a confident, engaged and brilliant group of younger directors who are taking up positions of responsibility on committees and on our Board’s executive, bringing new energy and a vital perspective on behalf of all screen composers who are building their careers. The balance between the changing landscape of opportunities and the historic understanding of value at every level of the SCGC has now matured and is jelling like a score full of emotion and hitting all its marks.

I think it safe to say that every single“not so senior” member  (I really can’t use the word “emerging”, as many are now starting to build solid relationships and catalogues) has privately come to me and declared that they truly feel that their growing success can be directly related to their engagement with the SCGC. On behalf of all the Old Farts I’d like to say,“You’re Welcome”, and take the credit, but we can’t. The truth is, these members all understand one important thing. They truly do understand that doing something for their careers is not just about getting their musical and technical chops together. They realize that being a professional means taking personal responsibility for, and an understanding of, how one turns the passion of being a screen composer into a sustainable living.

I have watched some of these composers start to have some real success in the last few years, and to me, that further verifies that the SCGC is absolutely the most valuable career resource there is for a screen composer in Canada. I truly hope that many more composers, present and future, start to see the SCGC not only as a voice acting on their behalf, but as a vehicle that can offer them a better understanding of, and a competitive advantage to, their careers.

I’d like to wish you all a safe and happy summer as we Canadians take this seasonal window to slow down a bit, take a breath and enjoy some time with family and friends.

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Recording an Orchestra Remotely
by Erica Procunier

Earlier this year, I was selected to be composer on an advertisement with a budget to record an orchestra. Here is what I learned through my experience of choosing to do it remotely over the internet.

The Orchestra:
I booked a 2hr session with Musa Prague Filmharmonic at Smecky Music Studios, located in Prague, Czech Republic. The minimum call time for the orchestra was 2 hours and since I was only recording a total of 1.5 mins of music, I was fortunate to be able to split the 2 hour session with another composer.

Smecky Music Studios

Materials needed:

  • Conductor score and musicians’ parts in pdf format, ready 1-2 days beforehand
  • Your own copy of the conductor’s score in paper format
  • Click tracks if necessary
  • A computer with an internet connection and browser
  • Studio Monitors
  • A separate device (such as a smart phone/tablet/laptop) with Skype

What they give you in advance:

  • the web browser address for the source-live connection
  • the ftp server address and password where your files will end up
  • the web camera browser address and password

Preparation:

Once you have agreed upon the number of musicians and scheduled the session with Petr (Musa Prague’s recording manager and contractor), the session is assigned a conductor, sound engineer and librarian. I emailed the scores and parts in pdf format to the librarian by the deadline requested, and sent the click track to the engineer to they could prepare the Pro Tools session.

The way it works:

Very simply, the studio will stream the recording session in a stereo mix to you wherever you happen to be in the world. Musa Prague has software called Source Connect, which lets audio professionals work with clients in real time over an internet connection.  As the client of Musa Prague, I did not need access to a studio that was Source Connect-enabled to access the audio stream. I only needed my own internet connection and a browser (and monitors). You would only need your own copy of Source Connect if you were interested in hearing something other than a stereo mix.

Before the session:

I connected to the audio of the session via the source-live web address that was given to me and I could immediately hear the musicians warming up with great, clear audio quality. What a relief! Petr set up a Skype chat session, which included himself in the engineer’s booth, the conductor in front of the orchestra, and myself in Toronto. I chose to use my iPad to connect to Skype so as to not interfere with the main computer. Unfortunately, Skype would not let me connect with video. It seems that the iPad version of the program does not allow video when there is more than one other person in the chat. The good thing was that it wasn’t a necessity to see them. Another disappointing technical issue was that the webcam in the Smecky studio in Prague was broken at the time of our recording so I could not see the musicians playing, which I would have really liked to do!

connection textDuring the session:

Once the recording began, we turned off the audio on the Skype chat so that our voices would not interfere with anything or be distracting. We mainly used the typing functions in the Skype chat to communicate. This was one of the things that I was the most surprised about! All of the sudden I was texting my instructions and feedback to Prague instead of speaking it. It actually worked very well. I was hearing the conductor instantly translate my requests into Czech before each new take. I found the orchestra to be of excellent performance quality, and the players nailed every note of the first take. Most of my suggestions happened to be for moments where my instructions in the score were lacking.

Managing Clients:

I invited the producer and director of the ad to join me in the studio while I produced the recording session. Their client (who we were making the ad for) was based overseas and was really interested in the music process, so we gave him the browser address to access the audio session. Unfortunately on the day of the session, for some unknown reason he was unable to get his connection to the stream working.
He ended up Skype chatting with the producers in the same room as us, listening to our session over the laptop microphone. It was definitely not an ideal situation!!!

After the session:

The files are all instantly uploaded in Pro Tools format to the Musa Prague FTP for you to download. I recommend not scheduling your mixing session immediately after you record, as you will have to download the large session files from Prague and it will probably take several hours, depending on the duration of the recording session. Musa Prague requests payment via wire transfer in USD. I found it very easy to complete with all the company’s bank information and a simple phone call to my bank.

In conclusion:

I would have 100% preferred to have been in Prague in person instead of recording remotely, but I decided that for just a 1-hour recording session, it wasn’t worth the cost or the travel time. Despite a few hiccups in some of the video technology, everything I needed to actually get the job done worked perfectly. The orchestra sounded amazing and I was very happy with the quality of the recording session files that I received.

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Teaching Film Music in Elementary School
By Suad Bushnaq

The first thing that came to my mind when I got a call earlier this year from a school asking me if I’d be willing to replace the music teacher for two weeks was: I hope the teacher did not leave any lesson plans. The second thing was: I hope they’ll allow me to do what I want.

kids in classroom For all substitute teachers jumping from one school to another on very short notice, walking into a classroom with no lesson plan left behind by the absent teacher is an absolute nightmare. I’ve done it while teaching math and English and believe me, it is not fun when you have to improvise on the spot and divide the school day into sessions so that the kids learn something by the end of the day. This time, however, I had a concern: One of the main reasons I did not accept the Bachelor in Music Education offer when I decided to go back to school after my music composition degree, and opted instead for the Kindergarten-Elementary Education degree, is because I did not want to get stuck teaching students keyboard techniques, woodwind techniques, brass techniques, and string techniques–pretty much what this degree is all about according to the McGill course calendar. As a composer, I really do not enjoy teaching a group of students in a classroom how to play an instrument; I find it too static, and borderline boring. This is why I was crossing my fingers and toes, hoping I would not be stuck with a lesson plan that would restrict the movement of my imagination.

And I was super lucky.

There was no lesson plan, and I had complete freedom to teach students in grades four, five, and six whatever I want (as long as it was music, of course). Rubbing my hands in excitement, I knew this would be an amazing experience.

I decided to do something right up my alley and give a two-week introductory mini-course on music in film, but I looked everywhere for readily available lesson plans and couldn’t find anything. I consulted the Screen Composers Guild of Canada’s Discuss e-mail list, and got some valuable feedback from a good number of composers. I thought to myself, ‘You know what? I will create my own mini-course and carry it out.”

Planning this mini-course was fun, but teaching it would prove to be one of the most rewarding experiences I have ever had during my double life as a ‘film composer  slash schoolteacher’. The entire lesson was conducted in a way that was imaginative and humorous. Most importantly of all, however, I employed a method I use when teaching math and science: ‘Learning by Discovery’, or ‘Inquiry Based Learning’. What this method entails is having the students reach conclusions on their own, as opposed to ‘feeding’ them information. It works wonders and is considered one of the best teaching techniques today.

Flute and Musical NotationBefore the students came into the classroom, I had to explain some ground rules for them. I happen to be a very strict, military-style educator (but rely heavily on humour to balance things out). So, while the students were lined up outside the classroom, I had to explain to them that unlike what some of them might think, music class is not a free period. Music is as important as science and math; it’s the essence of civilizations and if they don’t agree then they would still have to respect this class whether they like it or not. The second thing I told them was that they were to walk into the classroom in absolute silence. They will be hearing some music, but they should not say a word even if they recognize the melody.

“Capiche?”

“CAPICHE!”

I had them walk in silently. On the laptop, I had the theme from Home Alone playing. Since it is spooky, I decided that the lights would be dimmed when they walk in, just to add to the atmosphere…you know, make it different and memorable.  Meanwhile, I was observing their faces and a few of them lit up with grins as they recognized the melody.

Some of them mumbled with anticipation, “I know this!”

“I said no talking!”

“SORRY MISS!” Their faces were now glowing with excitement.

Some of them seemed confused – they knew they’d heard this somewhere, but couldn’t remember where. It was still amusing to observe them.

Others were clueless, which is totally fine. Not everyone had seen the movie, and not everyone easily recognizes music. And not everyone who walks is necessarily awake (something commonly seen in the early hours of the school day).

I left the theme playing for a minute or two until all students were seated, then asked to see if anyone recognized the music: “Look scared if you know the music, and grin if you have no clue what it is, ” I said . Once I got a feel for how many did, I asked them to shout out the answer, then asked if anyone knew who the composer was. I was pleasantly surprised to see that  in each of the classrooms I taught, at least one student was able to name the composer.

(Can you name the composer, dear readers?)

Rear view of class raising hands

I then proceeded to ask them questions about how important they think music is in a film. “Would you have enjoyed the film as much as you did had it not had a soundtrack? What did the music add to the film?” I took as many answers as I could from them, never rejecting any, until words such as ’emotions’, ‘atmosphere’, and ‘mood’ started appearing. I wrote those on the board, then moved on to my next step.

I sat at the keyboard, and made sure to choose the student who seemed to be the most trouble-making. As teachers, we can spot that student from the first couple of minutes. S/he’s usually the class clown who wants attention. I always ‘use’ these students by involving them in the lesson–basically giving them the attention they crave in a way that is conducive to my own lesson. So I chose Adam. I asked the students to look at me. As I played a romantic melody with the piano setting, I was looking at Adam and smiling at him with exaggeration. The students were laughing because of the way I was being serious with my acting. He, of course, was blushing from all the attention, but amused and focused on the lesson.

“OK, so what do you think is happening here?” I asked. “What were the emotions you could feel…and what is the story?”

“You’re in love with him Miss Suaaaaaad!!!!!!”  some started teasing.

“Hmmm, I’m not sure I am, because I’m probably his mom’s age, you see.”

I  kept playing and smiling at Adam as I asked,  “What do you hear in the music, and how does that reflect on my face? Why am I smiling at him?”

The students started describing what they heard for me, saying things such as the melody was sweet, happy, and calming. I taught them the word ‘consonance’ and explained what it means. We finally reached the conclusion that one reason I was smiling at him could be that he’s my long-lost son. And so it happens, throughout the entire two weeks I would be referring to Adam as my long-lost son, and he would call me ‘Mom’ whenever we’d bump into each other in the corridors…. talk about bonding over music!

“Now, you will watch and listen to me play again.”

I kept the same exact facial expression, smiling at Adam with exaggeration, but instead of the romantic piano melody, I used the strings setting on the keyboard and played the creepiest tune imagineable, exploiting dissonances and long held notes.

The kids burst laughing this time.

“Miss Suaaaad!!! It looks like you’re going to kill him!!!”

“Exactly. I have the same facial expression, but the music changed dramatically. See how important film music is?”

After discussing what it is exactly that they heard in the music and teaching them a few terms, the next step involved showing them a few short videos on the Smart Board. I had collected a bunch of them from YouTube, and asked them to pay attention to both the music and the visuals.

The first video showed a sequence of a silent scene, followed by the same scene with music. We discussed how music made a scene more powerful and helped in creating the story. The second video was more fun because it showed one scene that repeats, each time with a very different soundtrack. We got to discuss the different atmosphere each scene got as a result of the chosen music. Some of these videos were absolutely funny, because they were from movies that the kids recognized. They were fascinatedat how a scene they were so used to watching with its own soundtrack is now appearing with music of a completely different mood, sometimes changing the story to an almost ‘too-ridiculous-to-be-related-to-the-whole-film’ situation. All this served to show how important music is in a film. I told the students, “Had this scene not been from a film you recognize, maybe you wouldn’t have thought this music wasn’t a good fit after all.”

As an evaluation for this lesson, I decided to quiz the students on four different videos which were basically the same scene set to four different soundtracks. They had to write down the emotions and probable story of each of these scenes, then explain in musical terms what it is that they heard in the music that helped in it providing the specific emotions they mentioned.

Brother and Sister Playing the Piano TogetherThe second lesson in this mini-course, which was conducted during the second week, involved having the students improvise an original soundtrack. I set up an area in the classroom and put all the instruments there–including the keyboard, xylophones, recorders, and percussion–then had students come up in groups of four or five at a time. I played a silent scene from a movie on the Smart Board in front of them, and had them play what they think suits the scene. It was amazing to see them collaborate and use the instruments wisely, making sure they were choosing sounds that complement and bring out the mood of the visuals playing in front of them.

My two weeks ended faster than I thought they would, and my last day with my students was bittersweet. What I loved the most about this experience was that the feedback I got from my students was priceless. The looks on their faces and their occasional “Miss Suaaaaaaad! Why don’t you stay longer??!!” made me feel confident that I did a good job. In my lesson evaluations, where I get students to rate my lesson anonymously and give feedback, many of them thought the mini-course on music in film was amazing. Others would write me small notes saying what a cool and funny music teacher I was, wishing I would teach them until the end of the year.

I am sure my students had a memorable experience, yet I have to ask myself why that is the case. Is it because I was passionate about the topic? Or because I made it fun and humorous? Is it because I employed the Learning by Discovery techniques, or because I used movie clips that were relevant to them? Is it a combination of all of these factors, or is it simply because film music just happens to be such a fascinating world that tends to captivate children and adults alike?

No matter what the answer is, there is one thing that is certain: I cannot wait to teach this mini-course on music in film again!

SCGC member Suad Bushnaq can be reached on her website, Facebook page, and Twitter at the following links:

www.suadbushnaq.com
www.facebook.com/suadbushnaqcomposer
www.twitter.com/suadbushnaq

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Surviving the 2014 ASCAP Film Scoring Workshop at NYU
by Sean James Boyer

Summertime in any major city can be eventful and filled with adventure but to say the same about Manhattan is an understatement. In the heart of the city that never sleeps is New York University, home to the ASCAP Film Scoring Workshop (in memory of Buddy Baker).

This workshop is held every summer and composers from all over the world apply to take part in a ten-day curriculum of composition, orchestration, analysis and critique. The end result is a professional demo reel and invaluable advice and expertise from award-winning, seasoned composers and orchestrators and the opportunity to make new connections.

ASCAP film scoring
This year’s participants had the privilege to share their work and be critiqued by Sean Callery (24, Elementary, Bones), Mark Snow (The X-Files, Millenium, Blue Bloods), Ira Newborn (The Naked Gun, Ferris Bueller’s Day Off, Ace Ventura: Pet Detective), Sonny Kompanek (The Fifth Estate, Three Kings, The Big Lebowski), Mike Patterson (JAG, Scooby-Doo on Zombie Island, Squanto: A Warrior’s Tale) and Mark Suozzo (American Splendor, The Nanny Diaries, The Notorious Betty Page).

As one of two Canadian composers among the 2014 participants, I was fortunate enough to be accepted into the workshop. Upon arriving in New York City and jumping into a cab from JFK Airport bound for Manhattan, the city’s atmosphere was immediately apparent. Amongst the car horns, pedestrians and street hecklers stands NYU’s own Founder’s Hall, which would become my home over the next ten days.

It is here that I met my incredibly talented roommates, Breffni O’Byrne, an Irishman from Dublin, Michael-Alexander Brandstetter of Vienna, Austria and Justin Ward Weber, an American from Florida. All of these gentlemen are highly skilled composers and I hit it off right away with these new friends. It became apparent that this was an elite group of composers and the skill level was quite high, as was the course workload, I would soon find out.

The workshop began it’s first session the afternoon of June 4th, 2014. The participants were met by the program’s moderator, Ron Sadoff who presented the group with a series of film clips to choose from. The film clips comprised six scenes cut from the movies Bruce Almighty (2003), Accepted (2006) and Serenity (2005). Composers had to choose right then what clips they were going to score as the next day’s session called for the critique of mockups. As the participants were choosing their clips, in walked Sean Callery to meet the group for the first time and begin spotting each clip so that composers could get a feel for what they were about to compose.

Sean Callery is an intelligent, sympathetic and a down to earth guy who was easily approachable and always willing to help. It was surprising and refreshing to see that from a composer of his status. The film clips included comedy, action and suspense. I chose to score a comedic and quirky scene from the film Accepted as most of my experience composing has been in action, drama and suspense and I wanted to try something new. Taking in all the notes from the spotting session with Sean Callery, I followed his advice and went off that night to compose.

elementary

One of the best parts of the workshop took place the evening the program began. This was a session where Sean Callery scored a scene from scratch from the show Elementary in an auditorium of curious onlookers and eager aspiring composers. Mr. Callery used a seemingly endless template of pre-built instruments and sounds carefully chosen and designed to fit the show. The session began with the explanation of how to time the scene, add flavors and accents to build an arc for the scene, and pay specific attention to the development of the story. I was amazed at how quickly Sean Callery was able to map out parts and get the right feel for the material. I was witnessing an artist with an incredible talent effortlessly churning out a cue and nailing it in every capacity.

The workshop continued the next day with the introduction of music editor Michael Jay, who would work with every composer ensuring their click tracks and Pro Tools sessions were up to par for the recording dates. Michael Jay spoke on his experience working in the business as a music editor and explained how the job of a music editor is to come up with the temp music for the film long before a composer has been selected (which was a surprising revelation to me). Mr. Jay’s attention to detail and organizational skills were impressive. I soon realized that a music editor is a composer’s best friend because their job is really to lay out the road map for the composer and then assume responsibility for the technical aspects of the recording date and the editing of the final music itself – an incredibly daunting collection of tasks, to say the least.

conductor

As the progress of scores continued, composers were introduced to Mike Patterson and Mark Suozzo. This incredible panel devoted their time to introductions and further critiques of works to date. Nervous, I sat at a table with these panelists for another critique in front of the class. Although they were impressed with my work considering the time constraints, they still had constructive criticism that proved to be beneficial to the end result. It was an experience for which I could not be more thankful. It was now time to get the score drafted for the next day’s orchestration workshop. This workshop began with introductions to Mark Snow, Ira Newborn and Sonny Kompanek. Ira Newborn’s witty sense of humor had the audience in stitches. A mash up of the X-Files Theme song interlaced with the opening credits for Downton Abbey was presented from a YouTube viral video and Mark Snow’s acknowledgements followed.

Following this, Mark Snow and Sonny Kompanek once again critiqued composers before tackling the orchestration of each score. Composers each presented the draft of their scores for advice and suggestions and hashed out all the orchestration, taking notes and reviewing so that all was in check for the orchestra on the recording date. The big day finally came where the 28 piece orchestra, comprised of players from the New York Philharmonic, set up in New York University’s Frederick Loewe Theatre. Overwhelmed with excitement and nerves, I sat patiently waiting to have my name called to go up on stage and conduct the orchestra during the allotted 15 minute recording time. This was a first for me. There is a lot you don’t realize you have to be aware of while conducting; not only are you keeping the tempo, but you have the click in your ear, you have visual cues you need to provide the players, and you must pay attention to each instrument to ensure each part is played properly, without error. This is a lot to handle in 15 minutes, yet this orchestra was the best of the best. As soon as the first note was played, it was an experience that no sampler or virtual instrument could ever re-create.

Sean Boyer conducting

Although the workshop was crammed with activity, it was a surreal experience that I will never forget. The intent of this workshop was not only to give aspiring composers a great demo reel and invaluable advice, expertise and experience, but also to give the future composers a taste of what to expect in the business. At the end of it all, participants had the pleasure of hearing an insightful talk from Richard Bellis about his experience in the business. More specifically, Bellis explained how to handle the working relationships with directors and producers and how to win over the key players one might have to deal with on a project.

Overall, there was so much to be gained from this workshop; a fantastic demo reel, long lasting connections and wisdom from an elite panel of award-winning composers and orchestrators that no book could ever teach.

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Composer Spotlight – FishFry
with Chris Pauley

Spotlight-fishfry

 

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SCGC Member News

 

 

SCGC Member News

compiled by Janal Bechthold


APPEARANCES:

Directors Guild of Canada: Creative Dynamic
Amin Bhatia, Rob Carli, and Jeff Toyne appeared on panels during a collaborative day of discussing the challenges and craft of filmmaking with directors, composers, picture and sound editors.

HotDocs:
Bruce Fowler appeared on a panel at Hot Docs entitled “Music of the Real” where he discussed the process of collaboration with filmmaker John Kastner and editor Michael Hannan. Moderated by Adrian Ellis.

John Welsman represented the SCGC in a special roundtable opportunity for industry attendees. John was part of the “rent-an-expert” initiative this year.

TO Webfest:
Adrian Ellis spoke on two panels at TO Webfest: the Web Series Soundtrack, and Represent, a panel on working with unions and guilds

AWARDS:
Order of Canada to Victor Davies, C.M., B.Mus., LL.D.(Hon.), Toronto, Ontario.
“A fierce supporter of Canada’s creative music community, his compositions have broadened the appeal of Canadian contemporary music, and he is regularly commissioned by arts organizations and laypeople alike. As an advocate who has advanced the legal rights of Canadian creators, he regularly shares his industry expertise with fellow musicians.”

AMPIA “Rosie” AWARDS:
Best Original Musical Score (Drama)
Mike ShieldsBlackstone episode “Burn Baby Burn”, Prairie Dog Film + Television

Best Original Musical Score (Non-Fiction Under 30 Minutes)
Alec Harrison & Andrea Wettstein – Fly Over Canada, Six Degrees

Best Original Musical Score (Non-Fiction Over 30 Minutes)
Mike ShieldsThe Making of Blackstone, Prairie Dog Film + Television

Beau Shiminsky was also nominated for both Best Original Score (non-fiction over 30 minutes) and Best Original Score (non-fiction under 30 minutes).

ASCAP AWARDS:
Rob Duncan
was honoured as a composer whose combined works earned the highest number of performance credits on network, local, and cable tv for themes and dramatic underscore for 2013. Castle and Last Resort were also among the highest rated series of 2013.

BMI AWARDS:
Mychael Danna
was presented with the Richard Kirk Award for outstanding career achievement. The award honours composers who have made significant contributions to the realm of film and television music.

LA WEBFEST:
Adrian Ellis “Outstanding Score in a Drama” for Clutch: 2.5 

LEO AWARDS:
Best Musical Score – Motion Picture
Schaun Tozer No Clue

Best Musical Score – Animation Program Or Series
Daniel Ingram, Steffan Andrews Littlest Pet Shop episode “Lights, Camera, Mongoose!”

SCGC members nominated include: Chris Ainscough,
Christopher Nickel, Hal Beckett, and Terry Frewer.

SOCAN AWARDS:
Domestic Animated TV Series Music Award for 2013
Ari Posner (with Chris Tait and Ian Lefeuvre)  Johnny Test

International TV Series Music Award for 2012
Ari Posner and Amin Bhatia Flashpoint

Domestic Made for Television Film Music Award for 2012
Peter Allen Destination: Infestation

Domestic Made for Television Film Music Award for 2013
Michael Neilson Collision Earth

Domestic Feature Film Music Award for 2012
Mychael Danna Life of Pi

SCREENINGS
Canadian Film Fest:
Jeff Toyne The Privileged

Fantasia Festival 2014 Montreal: Steph Copeland The Drownsman and Ejecta (Upcoming)

Worldfest Houston:  Tristan Capacchione A Brand New You (scored and music edited) April 6, 2014

PREMIERES
Christopher Nickel enjoyed a premiere of his concert work Valor by the Gulf Coast Symphony of Gulport, Mississippi on May 24th and 25th.

Kevork Andonian enjoyed a performance of his piano trio by the Grammy-nominated Lincoln Trio in Chicago, June 8th.

TELEVISION PREMIERES
Megaspeed (Discovery) Greg Fisher and Derek Treffry

Hi Opie (Marble Media/Jim Henson) Angelo Oddi

Littlest Pet Shop Season 3 (The Hub) Daniel Ingram and Steffan Andrews

Erase the Pain Russell Soares scored the television PSAfor the Arthritis Society

OTHER
Amin Bhatia contributed to the OmniVerse 3 Sound Library Universe of Evil and the Aurora Borealis Light of Good.  This sound library is unique as it is based upon a sci-fi story and even has its own comic book.

Jeff Toyne has been invited to participate in the 17th Annual BMI Conducting Workshop Conducting for the Film Composer.

Suad Bushnaq released a live performance music video of her recomposed version of Lamma Bada Yatathanna as part of the Viva Voce Studio Sessions

Jihwoan Ahn created original music and sound effects for the game Dark Corridors, released by SEMS on Android systems

Schaun Tozer released the soundtrack for No Clue

Jeff Toyne released the Rogue Season 1 soundtrack on iTunes

A new trophy was unveiled at this year’s SOCAN Awards – a playable trophy that features 5 tuned SABIAN crotales.
SCGC member Geoff Bennett provided some initial thoughts and design ideas.

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We welcome your suggestions for story ideas!

Email the Guild: info@screencomposers.ca

Cue Notes:
Craig McConnell: Editor
Nicholas Stirling: Layout, Web
Admin: Tonya Dedrick, Maria Topalovich

 

 

“Taking Possession” is screening at the International Short Film Festival SHORT FORM, in Serbia! Congrats @federmusik! #composer @TakPo_1883

@SCREENCOMPOSERS • about 2 hours ago

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