100 Books Like From Score to Screen

I love this book because it’s a fantastic reference book on basic techniques for arranging for brass, woodwinds, strings, and voices. There are numerous practical and professional music examples that illustrate the text. I used this book for years as my bible for practical arranging techniques and basic information on all the instruments.

I always kept a copy of it on my piano when writing for quick and easy reference. Don Sebesky was a seasoned and successful arranger with a talent for organizing the material in a manner that’s clear, musical, and easy to understand.

I love this book because it provides essential practical knowledge of jazz arranging techniques through an in-depth analysis of 8 familiar arrangements by three of the most successful jazz arrangers, Thad Jones, Sammy Nestico, and Bob Brookmeyer.

The musical analyses are particularly valuable because of the way the author presents the analyzed scores with a condensed, concert analysis of the form and structure of the music below the score. In addition to being a successful New York arranger, Ray Wright was an accomplished educator having spent many years directing the Jazz Studies and Contemporary Media Program at the Eastman School of Music.

I love this book because it provides many musical examples from the author’s own voluminous repertoire. The examples illustrate various arranging techniques, presented in condensed concert scores for ease of sight-reading. I love the relaxed, conversational tone of the book, which illustrates the musical techniques in the music itself without resorting to academic lists and charts.

I love the way Sammy presents the material in an informal, easy-going manner which has the effect of making the reader feel like they’re sitting in a room with the author listening to music, while various techniques and styles are illustrated from within the music.

I love this book because it is a truly comprehensive textbook on contemporary film scoring, covering invaluable sections on musical techniques, the relation of music to film, the technology of film scoring, and the business and lifestyle of film composers. It features references to 150 films as well as interviews with many film composers.

The extensive practical information on musical techniques and technology, as well as the relation of music to picture and drama, are timeless and still valid in today’s world. I also love the way this book presents a wealth of information on the relation and interaction of the composer and filmmaker. 

After filling my head with theories and practices, it was time for me to break everything down, which this book does brilliantly, and start writing my own melodies and harmonies.

Designed almost like a workbook, these very thoughtful and insightful steps helped me understand the fundamental process of writing. They started with exercises such as creating a simple five-note melody and built until I was crafting entire songs.

This encyclopedia is a brilliant, deeper dive into many instruments. There’s a selection of more unconventional ones from all over the world too. It includes a range of vocal voices and even the computer as an instrument!

Each instrument is given a gloriously characterful illustration of an animal playing it and is accompanied by a description and interesting facts alongside. You can even scan a QR code that links to a short video meaning you can hear the instrument too, so you can listen and learn at the same time. 

My last choice is about a musical girl who finds a very different kind of “instrument” to play!

Twelve-year-old Emmy just moved from Wisconsin to San Francisco for her dad’s big break as a pianist. Emmy wants to be a musician, too, but can’t find the right instrument to play (I can relate!).

Notes and classical terms are in her head, but not her fingers in this novel-in-verse. Instead of music as an elective, Emmy ends up in computer science and makes friends with a quiet girl named Abigail.

Emmy learns java script, and the reader learns along with her. In the end, Emmy finds a way to make her own kind of music through computer coding.

I wanted to learn how to write melodies and countermelodies from the best, and Fux is the legend who taught the greats. Bach, Mozart, Haydn, and Beethoven all carefully studied these sage lessons.

Even though it was written in 1725, the book is enormously approachable, written in a series of conversations between a teacher and student. And yes, you don’t have to read it in Latin; it’s been translated into modern English. 

Mancini wrote "Moon River," "Days of Wine and Roses," the Pink Panther theme and, for TV, music for Peter Gunn, Newhart, and The Thorn Birds.

He was the first film composer to become a household name in the 1960s and '70s. His cool jazz for Peter Gunn was so popular and influential that every cop and detective for the next 20 years was accompanied by "crime jazz," as it became known.

This is less about Mancini's personal life than about his career (the composer covered that already in his autobiography, Did They Mention the Music?), but I was captivated, particularly with Caps' ability to convey the essence of Mancini's music in descriptive words and phrases.

And it's a thorough chronicle of the work.

Lehman brilliantly explores how recent film scores are constructed and why they are so effective in conveying a sense of wonder.

While he goes deeply into music theory (specifically a branch of theory called Neo-Riemannian) it is all lucidly explained and illustrated with score examples. There is also a comprehensive website with recordings of the examples, so you don’t necessarily have to read music to make sense of what Lehman is saying.

This is one of the most ambitious books on film music, as Lehman is trying to come up with a whole analytical system to explain how film music works. The book is informative and provocative, and it will lead you to re-think some favorite scores of composers like Howard Shore and Danny Elfman.