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Alex Shapiro, composer email
Commercial Scoring

Alex Shapiro
 

Prior to shifting the focus of her career in 1998 to concert music, Alex Shapiro worked for many years in the commercial music world. Below are examples from a variety of past projects-- and she's always available for new ones.

 

Information about Alex's concert music can be found throughout other pages on this site. Have a look!

 
Quick links on this page
 
 

Film scoring

 

TV and documentary scoring

  Pop Songs
shoreline
Commercial Music Bio overview A woman composer, a female composer, women

 

 

As featured in Reporter
     
 
Reporter articleReporter article
  Among Alex's scores from the 1990's are the feature film Horses and Champions, starring Timothy Bottoms (The Last Picture Show); the film The Last Job, for Force Majeure Productions and The Medicine Show, a one-hour dramatic pilot for Columbia Pictures Television and NBC starring Jon Cryer (Pretty in Pink). She has scored projects for Emmy Award winning producer Arnold Shapiro (Rescue 911; Scared Straight; no relation), Sony Television, Turner Broadcasting Network, Churchill Films, the American Film Institute, and many other clients.  
 

Film and TV Music Special Issue of
The Hollywood Reporter, 1994
(Alex, top right)

 

     
     

In addition to her work for broadcast media, Shapiro also scored several Telly award-winning films for the accounting firm of Price Waterhouse, and has composed music for interactive CD-ROM projects for companies including Warner New Media and Philips Interactive Media. Alex has written and produced many jazz tunes, pop songs and commercials, and has worked extensively as both a producer and a recording studio engineer. Between 1996 and 1998 she was a booth recording supervisor for Paramount Pictures' Star Trek: Voyager and Star Trek: Deep Space Nine television series, and assisted in the music production of the Las Vegas Hilton's interactive ride, Star Trek: The Experience. Alex has numerous credits as recording supervisor and music producer of feature films, TV shows and documentaries, and has been hired on sessions recorded at studios including Capitol Records, Paramount Stage M, O'Henry Studios and the Sony scoring stage, among others.

Reporter

Reporter article

Film and TV Music Special Issue of
The Hollywood Reporter, 1995

Odds and Ends...
 

Along with her film and TV scoring, Ms. Shapiro worked as a recording engineer at Prime Track Studios in North Hollywood, CA., a studio known for hosting everyone from unknown local metal rock bands to Van Halen, and she later partnered with L.A. lyricist Melanie Kanon Frey in several songwriting ventures, including writing and producing a rap tune, In the Marathon, performed live on site for the 1993 Los Angeles Marathon.

 
   
Shapiro chaired the Public Relations committee for Women In Film's 1993 Crystal Awards, among whose honorees were Julie Andrews, Jack Lemmon, Mike Farrell and then Paramount Pictures President Sherry Lansing. Alex produced music for the annual Razzie™ Awards in Hollywood and served as a Finalist Judge for the music award categories in the 15th Anniversary CableACE® Awards. In both 1993 and 1994 Ms. Shapiro was profiled in articles in The Hollywood Reporter that featured women composers and new technology.
 

 

Ms. Shapiro served three terms as a member of the Board of Directors of The Society of Composers & Lyricists, including two years as Vice President. As Chairperson of the 1996, 1997, and 1999 Film & TV Music Conferences, co-presented in Los Angeles at The Directors Guild of America by the SCL and The Hollywood Reporter, she brought artists and industry professionals together to explore creative and business issues in seminars which featured composers such as Jerry Goldsmith, Elmer Bernstein, Randy Newman, Bruce Broughton, Alf Clausen and Marc Shaiman, filmmakers including James Cameron, Roland Joffe, Michael Bay, Mark Rydell, and Daniel Melnick, and songwriters such as David Foster, Diane Warren and Alan and Marilyn Bergman, along with over seventy other distinguished participants.

Alex moderated the 2004 seminar, Launching Your Film Scoring Career, co-presented by The American Composers Forum of Los Angeles and The Society of Composers & Lyricists. Held at the Musicians Union Local 47 (Los Angeles), over 200 attendees gained insight from industry pros on the latest developments in the film and TV scoring business. To listen to the panel discussion, click here:
Part 1
hear
Part 2
hear

Alex Shapiro
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For complete information about Alex Shapiro, visit Biography more

 

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Jazz tunes...
 
Title
Listen

Alex at the piano
Alex Shapiro is featured on piano
in each audio clip.

Music is available
for these and many other tunes.

For leadsheets, email Alex.

 

Here are some short demo versions of a few of Alex's full length tunes:

 

 
Dorian Mood (excerpt; 2:23)
MP3
Longing for You (2:00)
MP3
Hot Mud (1:51)
MP3
Point Lobos (excerpt; 1:21)
MP3
Rain Walk (2:21)
MP3
Waltz for Parker Wilson (1:37)
MP3
Without You (1:42)
MP3

 

 

Film scores...

movie poster

The Last Job

(1994; Force Majeure Productions)

Piano, electric guitar,
upright bass,drums
and metal percussion.

A dark film about a handful of
small-time armed robbers
who pay the ultimate price
for their choice of profession...

Guitarist Ira Ingber is featured
in these audio clips from the film.

Selected cues

Listen

"The Last Job"
Main Title theme
(1:51)

MP3

"The Last Job"
1M2
(1:00)

MP3

"The Last Job"
End Title credits
(1:58)

MP3

B    

movie poster

 

Horses and Champions

(1995; Augusta Grace Productions)

Nine piece chamber ensemble.

A touching story
of a teenage girl's love for
competition show horse riding
and one young man,
in a world of people
who support her dreams
and challenge her ideals...

Selected cues

Listen

"Horses and Champions"
Main Title theme
(2:38)

MP3

"Horses and Champions"
3M4
(2:05)

MP3

"Horses and Champions"
Two cues: 1M2; 2M3
(1:10)

MP3

The San Juan Islands

Other Film, TV and documentary scores...
Selected cues
Listen

 

 
Main Title from "Most Wanted"
(TV; action; :56)
MP3
Main Title from "The Medicine Show"
(TV; comedy; :26)
MP3
Main Title from "A Delicate Balance"
(Film; film noir; 2:59)
MP3
Main Title from "Courthouse"
(TV; drama; :50)
MP3
Main Title from "Behind the Scene at People Magazine"
(TV Documentary; :23)
MP3
Main Title from "Dream Vista"
(TV; drama; 1:37)
MP3

Main Title from "Asylum"
(Film; suspense; 1:24)

MP3
Some Pop tracks...
Selected clips
Listen
Alex Shapiro: vocals, guitars, keyboards, music, lyrics, everything.
 
"Falling in You"
(indie pop ballad; excerpt; 1:15)
MP3
"Your Wildest Dream"
(uptempo blues rock; excerpt; 1:38)
MP3
"On Thanksgiving"
(country power ballad; excerpt; 2:12)
MP3
"Addiction"
(uptempo blues funk; excerpt; 1:27)
MP3
"Found Out Hard"
(indie country rock; excerpt; 1:30)
MP3
"Time"
(indie pop ballad; excerpt; 1:50)
MP3
"Just Call"
(rap/hip hop track; track only; excerpt; 2:15)
MP3
"Tell Myself the Truth"
(pop mid tempo ballad; excerpt; 2:12)
MP3
"Each Star"
(pop mid tempo ballad; excerpt; 2:15)
MP3
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Musings from Alex...
happy...
happier...
really happy!

Musings...

waves

There are many composers who work fluently— and, most happily— with a wide variety of musical styles, and I'm definitely one of them. Just as we don't necessarily eat the same type of food each evening, there are some days in which we're driven to complete our five movement "Concerto Suite for Violin, De-Tuned Ocarina and Three Euphoniums," and then there are days when we're compelled to write a rock ballad or a screaming blues tune, followed by a little musical theater number that just came to mind after we finished up a jazz chart that had been rattling around in our head.

Or something like that.

     
We're the same person each time we sit down to compose, but from time to time we hear and create in different idioms. Stylistic diversity shouldn't cause a composer to be taken less seriously in his or her primary field of pursuit. Rather, it points to broad interests that are positive influences on a musician's sensibilities. Even within individual pieces of music, as the distance between countries appears to shrink with new technology, voices and inspirations from other nations filter seamlessly into one's own work. The 21st century has brought with it a global melting pot of sound, with endless choices for composers and players. It's about time!

waves at Zuma

     

Alex Shapiro

There's a tendency to pigeonhole composers into easy-to-digest categories: "film composer" or "concert composer" or "world music," etc. Sometimes there's not much overlap between the different musical worlds; the people pursuing pop songwriting or jazz don't usually attend the same events as the folks in what some people call "serious" or "legit" music (a term that's an unintentional insult to those who write "popular" music, and a hilarious misnomer of a lot of the concert music I know, much of which is anything but serious).

But all music shares a common history and language, regardless of genre. In fact, when asked about the nature of my concert music, I refer to myself as a "pan-genre composer."

 
     

I love seeing more connection between some of the musical worlds that often appear sonically segregated. There's a wealth of great material out there, coming from all sorts of writers. A lot of audiences would appreciate concerts that offer a mixed bag of music within a single evening's program: a couple of concert chamber music quartets, a couple of jazz quartets, perhaps a song from a new musical. And wouldn't it be interesting if some of these diverse pieces were composed by the same person.

I was treated to such a concert of my music during a 2010 residency at Capital University in Columbus, Ohio. The evening began and ended with a variety of my acoustic and electroacoustic chamber works, and in the middle, the resident jazz quartet performed a fabulous set of seven of my tunes. Not only was I thrilled, but the audience loved the whole event. It was proof that music is music, is music.

waves at Zuma

     
 

Offering an integrated array of music within a concert, composers might reach a broader base of potential fans— listeners exposed to music that moves them, which they otherwise might not have ventured out to hear. I think it would be terrific to celebrate everyone's musical diversity— that of the composers', and that of our audience. Here's to a little musical schizophrenia!

So, if you've read this far, I invite you to click on any of the buttons below and see what work I've been doing the past few years. You're also invited to read a few more of my essays about music, nature and life in general by clicking here. Enjoy!

—A.S.

inside the wave back to top

Feel free to contact Alex...
Cousin It?...
...as a gardener...?
Nope!


Alex Shapiro, composer email2

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