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ChrisAfonso

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Posts posted by ChrisAfonso

  1. Finally got this CD! After my initial euphoria about its release was tempered a lot by the reported issues, I kept holding out hoping for a corrected pressing, but I guess that will remain futile for the forseeable future, so the release of Aladdin was as good an opportunity as any to order it at last (and save a bit on shipping costs).

    Enough has been posted here about the shortcomings of the release, so I won't dwell on that here. But the expanded score is a joy to listen to! (Just the prepending of score tracks at the beginning of several songs is a headscratcher...) And I really enjoy the multiple stages of demo tracks (piano demo + synth demo), which, as in several previous LC releases, allow a great glimpse behind the process of creation - especially regarding later replaced/refined sections of familiar songs!

  2. 1 hour ago, Chen G. said:

    Its sad to think the downfall of Numenore won't be scored with a version of the main nature theme: think how powerful it would have been that this theme we associate with the Eagles and the Moth and the Rohirrim coming to the rescue would also be attached to the great cataclysm of Numenore.

     

    Those two go really well together, actually:

     

     

    (thanks for the idea ;))

  3. On 13/09/2022 at 4:19 PM, TolkienSS said:

     

    You are the hero who made those Return Of The King transcriptions last decade that I still use, right? :D

     

    Its Been A Long Time Reaction GIF

    Nice to hear it's been useful, though :)

     

    On 14/09/2022 at 1:04 PM, Chen G. said:

    Its very hard to make those connections stick because Shore's scores are so big that he invariably uses a great number of basic musical building-blocks for his score, and so its absolutely inevitable that some of them should end in Bear's score, but because the overall style is so different, the context isn't there to hear those resemblences as more than incidental.

     

    There are only so many basic intervals!

     

    As much as I still love the original LotR scores, by creating a myriad of very rudimentary motifs, Shore definitely made it very easy to now find them everywhere, intended or not ;). But put it this way: Not every repeated minor second is a quote from Jaws, but if it's played by the bass and you see a fish on screen, you might be on to something.

    For now I'm enjoying a lot of the RoP score, although for my taste the themes could have been introduced more gradually and less fully-formed - but who knows, for all we know there are still things tucked away in there that come to bloom later :)

  4. 13 hours ago, Poor_Man_S_HirschFeld said:

    Wasn't one of the biggest motivators for John Williams to start releasing official sheet music exactly the plethora of bad arrangements that started circulating after the success of Star Wars?

    I believe musicians call these 'take downs' and I remember reading somewhere that Williams is not very happy with the practice.

     

    This was mentioned by a member of the LSO in one of the "Legacy of John Williams" episodes. "John has a horror of takedowns, so he prepares the Signature Editions to make sure the real music is available" or something like that ;)

     

     

    19 hours ago, Drew said:

    Like I was saying earlier, several sheet music publishers now have self-publishing. There is no way the copyright holders can approve each arrangement. It's legal because the music is licensed beforehand. Like, the copyright holders send them cue lists that can be arranged. It's not stealing.

     

    JW was surely getting royalties from licensed third party arrangements before the takedown.

     

    21 hours ago, Drew said:

    There are two ways to get copyright clearance. One is to pay a fee and get a license. The second is to ask the copyright holders. You can get a license, legally sell something, but then the copyright holders send takedown notices anyway. That's what happened here.

     

    This is how distributing cover songs works. You pay a distributor to get the license. But at any time, the copyright holders can take down your music.

     

    13 hours ago, Poor_Man_S_HirschFeld said:

    I can understand the frustration in seeing a lot of 'crowd-sourced' sheet music disappearing (either when it's shared for free or for money), but I think it's a prerogative of the publishers and authors to keep a good degree of control. The ease of access that digital technology allowed kind of spoiled us into thinking we are owed to find anything we desire.

     

    2 hours ago, Drew said:

    No one should care about the bad transcriptions made by 13 year olds. Having those is a consequence of being a famous composer.

     

    I have the impression that a lot of different things get thrown together here (quotes as examples).

    • No one (usually) *does* care about *performed* transcriptions (as audio) on youtube.
    • Releasing (paid) "covers" (as audio) of officially released tracks is (afaik) covered (:P) by a "compulsory" license (-> the copyright holder can't prevent it, but gets a mandatory royalty).
    • For live performance you need to pay the composer's performance rights organization, in addition to buying or renting (often for a hefty fee) the official materials (I'm unsure if they can prevent a performance based on an "accurate" transcription? This may fall in a similar case as aforementioned straight *covers* are generally allowed, but "derivative works" like medleys, mashups, lyrics changes etc. need an explicit individual license).
    • Sharing (for free) self-made arrangements informally seems to be some kind of a gray area (as long as it's not on a large scale) (?)
    • *Selling* unauthorized arrangements (as sheet music) is the crucial case here - and I was generally under the impression that, at least until a few years ago, this was not allowed at all without individually requesting and getting a license (like Marc P. back in the day describing unsuccessfully trying to get his awesome JW horn medleys published). But on that point I do agree that the composer/publisher are fully in their rights to control/allow/disallow others from profiting off their work (without compensation) as they see fit.
      Regarding the recent "blanket license" some online sheet retailers seem to have for publishing arrangements - when I looked into the conditions for sheetmusicplus's service (something like 2 years ago), they indeed had a long list/database of tracks from all kinds of composers that they have an automatic royalty sharing deal with (and note, the deal is: you get 10%, the authors get the rest!). Bear McCreary, for example, was in there, among many others I searched - John Williams, though, was not.

     

    (disclaimer: I have read a lot about these topics, but am not in any way certain any of this is actually correct :P)

  5. On 08/09/2022 at 10:17 PM, Luke Skywalker said:

    I would love to hear an answer to that myself. I asked music emporium about tax (i made a mock order and in the theceipt it puts a line about tax.. amd the response from support is that that line is there to pay vat, so i dont have to pay vat at customs in spain. Which is totally what wont happen. If inpay in the US the spanish customs will make me pay me in spain… and it would be I who would have tonask to be returned the US tax from the seller… which wont happen either. Unless im getting international taxes wrong.

     

    I'm also no expert on this and post/tax/customs matters can (in my experience) be very hit and miss, but as far as I understand, the receiver has to pay the import tax, UNLESS the sender already paid it - which should be the case with big online retailers (aka Disney (?)) more than small shops (specialty labels etc.). But it's always a gamble...

  6. On 10/09/2022 at 8:09 PM, TolkienSS said:

    More like this:.

     

     

    On 11/09/2022 at 1:54 AM, TolkienSS said:

    Humor aside, if Bear thinks there is no Numenorean culture left in Lord of the Rings, both the books and the films, he clearly didn't look.

     

    This is of course most likely a complete coincidence, but the motif at 0:46 in the posted clip bears a striking resemblance to the beginning of Bear's Númenor theme:

    image.png

     

    image.png

     

    ---

     

    Quote

    That's like saying Durin IV doesn't appear anywhere in Lord of the Rings, so you can write for him a wacky pub dance ... oh wait

     

    I really don't understand this "wacky pub dance" or "hobbit music" comment regarding Durin's theme. It sounds much more like a baroque court dance, which given his noble status is quite fitting. Just because Shore used the "um-pa-pa-(rest)" accompaniment for hobbits doesn't make it a hobbit rhythm for all eternity ;)

  7. On 05/08/2022 at 3:48 PM, WampaRat said:

    This section in “Corellia Chase”  (1:34-1:55) is probably still my favorite moment in the score (in a score chalk full of favorite moments) The string counterpoint dancing all around the Solo theme is just pure adventurous bliss! (PS- I believe Batu Sener helped with this cue!)
     

     😊

     

    Not to forget that the String counterpoint itself Starts Off as a Variation of Han's Theme!

  8. On 14/07/2022 at 9:05 PM, Loert said:

    (...) Wagner, possibly the unfunniest composer in the history of music, (...)

     

    "Siegfried" would like a word with you ;)

    (Great example from Meistersinger, though)

     

    There's a nice talk by Leonard Bernstein on the Topic:

     

  9. 6 hours ago, Marian Schedenig said:

    Perhaps there's a correlation between used CDs and food.

     

    Well, combing endless shelves of moderately-sorted media in cramped basements makes one hungry...

     

    Great to hear it's going again, that store always was one of the fixed points of each "recent" London trip (along with Forbidden Planet, and tkts for some bargain hunting). Hopefully again soon.

  10. Just saw the film yesterday. Originally, when it was announced, I was indifferent to the concept (and in the "sure go ahead, but why remake a classic?" crowd). Approaching the release, I got a bit more excited about a new take on the material, especially after the reviews started coming out overwhelmingly positive.

    But I was not prepared how much a story (and score!) I know very well for a long time, would keep me anchored in my seat gripping the armrests, and needing quite some time to collect myself afterwards. A real masterpiece with quite a number of really inspired choices for a new perspective on the material that work really well (standout: "Cool").

    The sheer visceral quality of the filmmaking is amazing (and a real departure from the '61 film, as far as I remember it).

    I get Karol's view that the raw realism and the heightened musical drama sometimes don't completely mesh successfully (and occasionally thought so myself during the film), but IMHO that's a very minor point of concern - both the "movie" and the "musical" work so well, that it immediately pulled me back in each time I got momentarily tripped up by the contrast.

  11. Great book, Chris! This score had a significant place in my discovery of film music, being one of the first non-Williams soundtracks I got. Awesome to have the full score to study.

    Already the first cursory thumb-through yields lots of interesting details to discover (alphorn, wtf :D). Reading along with the recording, there seem to be a number of podium changes that are not reflected in the score (like the horns in Firestorm, bars 25-26) - do you have any insights on that?

  12. 10 hours ago, Richard Penna said:

    Remember it happened too with the temple scene in KotCS, directly lifted from WotW. Both may just have been director requests for all we know, but either way, he still nicked material from himself.

     

    Though it does go against the copypaste-principle, I can't hold this instance against him - while it starts as a direct lift, he continues the cue in a different way and leads into this glorious brass finish :) (and as both scores involve aliens, a case could be made for topical appropriateness)

  13. Thanks again Maurizio and Tim (and Sarah) for this very entertaining and enlightening interview! :)

     

    I was a bit confused about her comment about the E.T. horn part not having the "Bells up!" in it, as I remember it being in the Signature edition score - turns out, while it's in the "Adventures on Earth" S.E., it's missing in the otherwise identical ending in the "Flying Theme" S.E. (which was performed in Berlin)...

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