FS341DRAMATICSCORING2Fall2016

Instructors:
TimHulingx2445

thuling@berklee.edu
Office:PWDHallrm235/Mailbox:MS150FILM

ClaudioRagazzix8067

cragazzi1@berklee.edu
Office:265/MailboxMS150FILM

Officehours:Postedindept.andathttp://www.berklee.edu/film-scoring
CourseChair:AlisonPlante
Course Description: The technical and aesthetic aspects of composing and recording
music for picture using various synchronization methods: using a MIDI sequencer
both with and without a click, and to a studio clock or stopwatch. Film and Video
formats, measurements, and conversions. Scoring procedures and rehearsal
techniques. Students compose and record four projects: sequenced, sequenced
combined with live players, a source cue, and a free timed to clock project using a
live ensemble.
CourseObjective:Uponsuccessfulcompletionofthiscourse,youwillhaveattainedaworkingknowledge
ofconceptsandskillsinmechanicalfilmscoringapplicationsandstudioproductionskills(rehearsing,
listening,reacting,leading),andwillhavecompletedprojectsinvolvingtheactualscoringofvisual
sequencesunderprofessionalconditionsandrestraints.
RequiredTextbook:None.Handoutmaterialswillbedistributedasnecessary.
Homework,Projects,OutofclassPreparation:Extensivehomeworkassignmentscoveringa
comprehensiveapplicationofrelevantmechanicalscoringtechniqueswillgiven.Twoprojectswillbe
recordedandscreenedutilizingthescoringstage.Inordertomaintainsatisfactorystandinginthis
class,approximatelythreetofourhoursperweekofoutofclasspreparationarerecommended.
ImportantDates:

Midtermexamweek:Oct.2428
Finalexam:weekofDecember1216

Projectduedateswillvarybetweensectionsandwillbeannouncedbytheinstructor.
GradingCriteria:
A(90100)
B(8089)
C(7079)
D(6069)
F(below60)

Superior,Exceptional;controlofcoursematerialenablesexcellentproduction.
Good;graspofmaterialenablesaboveaverageproduction.
Average;assimilationofmaterialenablesacceptableproduction.
BelowAverage;exposuretomaterialenablespoor,butpassableproduction.
NotPassing;assimilationofmaterialinsufficienttodemonstrateacceptableproductivecapacity.

FinalGradeDetermination:Yourfinalgradewillbedeterminedbyconsideringthefollowingcomponents
attheindicatedweights:

20%
30%
50%

Assignments
Exams
Projects(3)

AttendancePolicy:ItisthepolicyoftheFilmScoringDepartmentthatattendanceinallclassesismandatoryandthat
unexcusedabsencesandtardinessaretobefactorednegativelyintocoursegrades. See Dept. policy handout at

http://www.berklee.edu/film-scoring/fs-policiesprocedures
Academic Dishonesty: The Film Scoring Department has a zero-tolerance policy.
See Dept. policy handout at http://www.berklee.edu/film-scoring/fs-policiesprocedures
DeadlineforCourseWithdrawal:5:00pmThursday,Nov.10,2016.You may withdraw from this class by
completing a Student-Initiated Withdrawal from a Class form at the Office of the Registrar.
The withdrawal form must be submitted to the Office of the Registrar before the end of the
9th week of classes in Fall and Spring semesters, or the end of the 8th week in the 12week Summer Session. If you submit the withdrawal form by the deadline, you will receive
a grade of W for the class. Withdrawing from a class cannot be done after the deadline.
The instructor will not withdraw you from the class for any reason (including absence) or
submit the form for you. It is your responsibility to withdraw from the course. If you
withdraw from this class, you continue to be nancially responsible for the class and are
not eligible for a tuition refund or replacement course. Please be aware that withdrawing
from a class may affect scholarship, nancial aid, and/or international student visa status.
If you receive nancial aid or veterans benets, your eligibility for aid may be reduced by
withdrawing. If you are an international student, you may jeopardize your F-1 visa status.

Note: If you fail to officially withdraw from a class that you stop attending or never
attend, you will automatically receive a grade of F.
DisabilityAccommodation:TheleadershipandmembersoftheFilmScoringDepartmentareanxioustohelpensure
thattheeducationalneedsofallBerkleestudentsarebeingmet.Anystudentwhofeelss/hemayneedan
accommodationbasedontheimpactofadisabilityisurgedtocontactDisabilityServicesintheCounselingand
AdvisingCenter(CAC)toprivatelydiscusshis/herspecificneeds.Formoreinformationpleasevisit:
http://www.berklee.edu/counseling/specialservices.html,visitthegreetingcounterintheCAClocatedin939
BoylstonStreetbuilding,orcall6177472310.
Berklee College of Music is a diverse community composed of individuals with different life experiences,
viewpoints, belief systems, and identities. A welcoming and inclusive culture is essential to maintaining the colleges
role as a leader in music education and Berklee highly values the dynamic environment that results when students,
faculty, administrators, and staff from diverse backgrounds come together to learn, live, and work. The Equity Policy
and Process prohibits and addresses sexual misconduct, as well as other forms of discrimination and/or harassment
based on legally protected characteristics and provisions covered under Title IX of federal law. If you have
concerns about a possible violation of the colleges Equity Policy, please contact Dr. Christopher Kandus-Fisher
at ckandusfisher@berklee.edu. For additional information regarding the Unified Equity Policy and Process, please
consult the Unified Equity Policy Website, which has the most up to date information and resources
at www.berklee.edu/equity.

FS-341 (Scoring Techniques for Film and Video) Weekly Topical Outline
1. Course introduction. First scoring project assigned: sequenced in Digital
Performer. Review of proper MIDI/audio signal routing techniques. Interpreting
the story being told and creating musical form based on visual/dramatic form.

2. Working with temp tracks. Determining tempo and pulse, and techniques in
hiding it. Ostinato development: Layers, rhythmic development, modulations,
harmonic vocabulary. Composing a sketch. Finding appropriate weight for
orchestration.
3. First project completed and screened in class. Project #2 assigned: sequenced
combined with live players. Composing to dialogue. Using space effectively.
Scoring comedy.
4. Techniques and considerations in combining live and sequenced instruments.
Score and parts layout. Rehearsal techniques. Scoring session procedures.
5. Adapting to editorial revisions. SMPTE time code: frame rates, drop frame,
non-drop. Film formats and conversions, film frame click tempos, beat sync
calculations.
6. Midterm Exam
7. Project #2 recorded and screened. Composing Source Music: Situational
requirements. Length requirements. Style. Source / underscore transitions.
Source scoring. Guide tracks and playbacks. Project #3 assigned: Source cue(s)
with a temp as a model.
8. Project #3 recorded and screened. Free Timing introduced. Composing and
recording to a stop watch (analog). Advantages and disadvantages compared to
click. Sync Point timings and reference timings. Written click. Safety valves.
9. Project #4 assigned: Free timing using stopwatch or studio clock and a live
ensemble. Building suspense. Negative accent. Composing to sound effects and
determining available musical space.
10.
Sequenced free timing: sequencing without a click and adjusting beats
to fit performance.
11.

In-class free timing conducting exercises.

12.

Project #4 recorded and Screened. Final Exam.