# Applying to ASCP Scoring Workshop



## Revphase (Jan 30, 2012)

Hi Everyone,

I am starting to put together my submission for this year's workshop and would like some advice. 

What music do you submit given that you can't submit the video the music was scored to?

I have scored several indie movies, and some of the most effective music I've written, is also the most subtle. 

For example, they have a category call "romantic comedy", I've heard everything in romantic comedy, lyrical themes with full strings and horns, pizz strings and winds,
and big band arrangements. They all can work... or not depending on what's on screen.

Should I take the music that "worked well" to picture even if simple, or should I go with the "flashy", almost obvious stuff. For example if I submit for the "Thriller" category, should the piece "shout" look at me I'm a thriller, or does the single violin line with the percussive effects that were so effective on screen work? 

Thanks,

rev


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## Aaron Sapp (Jan 31, 2012)

Just send your best stuff. But you're right - you should send more obvious examples. Very few of the movie clips they assign their composers are subtle.


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## Brobdingnagian (Feb 1, 2012)

As a past attendee and someone who is still involved with this fabulous programme, showcase your ability to write for an orchestra IN A CINEMATIC sense (not concert music, in case I am not being subtle enough). Also, make sure the production level is world-class - whether it is MIDI, live players or both. Lastly, make sure everything is labelled properly and shows you are fastidious and can thrive in this work environment. Good luck!


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## John Rodd (Feb 19, 2012)

Every year for the past 9 (or so) years I give a lecture "How To Avoid Common Technical Mistakes In Scoring" to the participants of the ASCAP Scoring Workshop here in LA. I have a blast doing it, as the participants are always very bright, and ask tons of great questions.

Everyone who runs this workshop is fantastic, and the participants do seem to get a LOT out of the experience.

I do know that MANY people apply... so if you don't get accepted the first year - then try, try again. It can sometimes take years to get accepted. 

There seems to be a bit of a focus in the program of writing to picture (and that is one of the things that participants do as a part of the workshop) so maybe let that guide you a bit in terms of what to submit? Just a thought.... 

Good luck!  

John


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## eschroder (May 26, 2012)

Hey Rev,

How'd your submission go? mine was a no go for this year. Not sure if my reel sucks or maybe I don't have enough experience on my resume. Oh well, 3rd times a charm maybe!


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## Revphase (May 28, 2012)

Hi eschroder,

No go for me either! I'm OK with the news though because I just got all of my cues approved on a movie that already has national distribution, with a seasoned indie director!

He said that my score took the entire movie up many levels!

I look at it this way, if that is the type of feedback (and he isn't the only director, or only project) that I am getting, I must be doing something right!

My main issue with the submission process is that you're not "scoring" for a "scoring" workshop. I would love to see .mov clips to score to as part of the submission.


Rev


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## eschroder (May 29, 2012)

Nice! Congrats on the movie. 

I wish there was a way to get feedback on the pieces. I know hundreds apply so I get why they can't do it... I'm just saying it would be nice. Something that is tricky for me are the categories. Obviously Romantic Comedy is pretty straight forward... but Main Title, that could literally be anything. And imo, no matter how you look at it, each judge has a personal taste so if I write an action cue like Brian Tyler they could love it yet hate my action cue if it is in the vain of JNH.

Oh well, next year!

Congrats again.


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## Jimbo 88 (May 29, 2012)

This gets at the heart of an issue in this biz not only with this program, but clients in general. Everyone wants to hear the big stuff on demos, the stuff with all the sizzle. But what actually works in a film or on a project is much more "subtle" music and underscore.

I wish i new the answer to this question and could say to the OP and others "do this..." We all suffer with this issue hunting down jobs. I guess this situation mimics the real world.

I'm not convinced people judging us composers have a very good ear for music anyway.

I guess we all just keep plugin away and you never really know when something we do will hit the right person just the right way.


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## mikebarry (May 29, 2012)

I did the program in 06 I think - some advice, though I am not really familiar with the requirements anymore. It is a great program and some of the people you meet there may be able to help you get work in the future. 

I talk a lot with patrick kirst who is a judge for incoming USC students and we kind of generally talked over good ideas for submissions. 

1) When submitting sheet music make sure the notation and presentation are professional quality for these judges are rather used to looking at professionally tended scores and if it doesn't stand out that is a good thing. 

2) Agree with above, show your cinematic side - this may immediately give you one leg up on half the applicants.

3) Double check your gain settings for your mixes. Too loud is very bad, too soft is quite bad as well. Just right is just right. I imagine these folks listen to them back to back to save time so having just the right gain for your tracks may not set any of the mental warnings for the judges. Take care to fade ins and fade outs and your trimming. Make them not move the dial on the speakers. 

4) I would suggest submitting an atypical, yet not concert/rock, film score cue - I remember in my class at USC one of the three winning scholarships was a "ska" tune ala Sublime. It was just so fun and different that you couldn't let it slip by it trumped many well produced JG style cues. 

5) Remember that the first 20 bars are probably going to be the decision makers. Make sure they are your best, make sure that the setting is musical. I always remember Jack Smalley saying that he never wanted to hear 8 bars of contrabass low notes to grab his interest. Try a solo trumpet, try the violas and celli - try something musical that shows you are creative. 

6) Try to avoid submitting anything that is changing all the time - it should have a thread of conscienceness - a shared motif for example. Make it sound like one cue. 


Good luck - Mike and I would be happy to offer some feedback next week if any of you want to pop down to El Segundo.


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## José Herring (May 29, 2012)

Mike has good advice.

I did the program some time ago. Way too long ago so everything has changed, but perhaps not.

The year prior to me being accepted I was rejected. I had put a bunch of stuff on the reel I sent, and upon hearing it again, I realized that I put what I thought they wanted to hear rather than what I thought was my best stuff.

The year I was accepted, I just put my best foot forward and was accepted almost immediately after sending my reel.

So my advice is simple. Just put anything that you think honestly represents what you feel is the best you can do. 

The only other advice is that if your stuff is sampled based, make sure you present it in a way that sounds like you know what you're doing. I'd avoid putting any big string uber drums cue that everybody in the world is doing. Try to make something that is more original than that.


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## eschroder (Jun 2, 2012)

Mike, check your pm.

Thanks


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