{"id":2666,"date":"2011-07-26T23:58:58","date_gmt":"2011-07-27T06:58:58","guid":{"rendered":"https:\/\/mmusicmag.com\/m\/?p=2666"},"modified":"2011-07-27T00:00:47","modified_gmt":"2011-07-27T07:00:47","slug":"shortcuts-to-songwriting-for-film-tv","status":"publish","type":"post","link":"https:\/\/mmusicmag.com\/m\/2011\/07\/shortcuts-to-songwriting-for-film-tv\/","title":{"rendered":"SHORTCUTS TO SONGWRITING FOR FILM & TV"},"content":{"rendered":"

\"\"BOOK REVIEW<\/strong><\/p>\n

S<\/strong>HORTCUTS TO SONGWRITING FOR FILM & TV<\/strong><\/h2>\n

Robin Frederick<\/em><\/strong><\/p>\n

[TAXI Music Books]<\/p>\n

While Robin Frederick isn\u2019t a household name, she certainly has the street cred to call herself an authority on music acquisition for film and television. Starting her career as a New Age artist in the early \u201990s, she segued into a long and fruitful career as a writer and executive producer for countless kids\u2019 TV shows and albums (working on such varied projects as a Ronald McDonald sing-along and Bugs Bunny covering the Beatles) before moving up to director of A&R for Rhino Records.<\/p>\n

Her 344-page, exhaustively researched tome never gets too rudimentary (if you\u2019re not a practicing musician or songwriter and are looking for shorthand on how to get started in those areas, look elsewhere), instead diving right in with a brief overview of the film and TV industry and from there leaving no stone unturned. Of course, with two to three pages devoted to each of her 114 distinct \u201cshortcuts,\u201d a few here and there can\u2019t help but bleed together. For example, there\u2019s not much difference between \u201cCreate a Melody That Expresses Emotion\u201d and \u201cTake Your Melody to the Next Level,\u201d and even referring to some of these hints as \u201cshortcuts\u201d is a bit far-fetched. (\u201cPut Together a Basic Home Studio\u201d and \u201cMake Broadcast Quality Mixes\u201d aren\u2019t exactly smoke-break endeavors.) Shortcuts to Songwriting<\/em> may or may not get your name in lights. But with a focus on independence and productive exercises tacked on to each chapter, it at least provides a guiding hand to getting your name in the credits. \u2014J. Thompson<\/p>\n","protected":false},"excerpt":{"rendered":"

BOOK REVIEW SHORTCUTS TO SONGWRITING FOR FILM & TV Robin Frederick [TAXI Music Books] While Robin Frederick isn\u2019t a household name, she certainly has the street cred to call herself an authority on music acquisition for film and television. Starting her career as a New Age artist in the early \u201990s, she segued into a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[196,1269,1636,2113,2112,2114],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/2666"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=2666"}],"version-history":[{"count":4,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/2666\/revisions"}],"predecessor-version":[{"id":2670,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/2666\/revisions\/2670"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=2666"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=2666"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=2666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}