chrissiddall

The books are here (and looking rather lovely)! Orders will start shipping from tomorrow. Go get 'em kid!

As mentioned, Braveheart is next, but then we'll give Mr. Horner a little rest (but not for too long)! Sssshhhhh!!

Did you save the "poster"?

I think you will (and that's not a hint). The Rocketeer is Disney...but I know that's not quite what you meant. I really want to (because they're exciting), but I don't want to draw attention away from The Rocketeer (and Braveheart, which yes, is next). Although it gets people excited for what's coming in the future, it also becomes frustrating that it's not here "now"! It's a tough one with pros and cons. I can say though, that there will be two from composers who haven't had a full score release before, and two who have...! It's quite possible that I'll slip in another digital release or two (a la Testament) as well. Smaller titles that aren't necessarily viable for a full print run (too short, or too small of a market) but are worthy of finding an alternative solution.

Yes to Troopers. I have 2024's releases already locked in, but this one's certainly on my radar for a future release. JW is currently off the table for licensing. It would be fantastic if that were to change at some point. You'll know if it does!!!

No, but you need to register on the link above so you get sent a Zoom link.

It will be, but in order to watch the recorded version (in full at least) you'll need to become a member of ASMAC. They may clip out some highlights at a later date to show freely. Membership is good value though, there are a ton of similar previous sessions in their archive.

Excited about the upcoming release of THE ROCKETEER in Full Score? Join us on Saturday for this sure to be amazing ASMAC event (it's free and online - register on the link below). Co-hosted by Chris Siddall Music and Dan Redfeld, we'll be joined by director of The Rocketeer; Joe Johnston, music editors Jim Henrickson and Joe E. Rand, and special guest Sara Horner as we discuss James Horner's scoring process and take a closer look at the music. We will also have a special message from orchestrator Conrad Pope, who sadly can't be with us on Saturday, but was able to sit down for a chat with us last week. e-Tickets available on the link below. In the words of Eddie Valentine; "Go get 'em, kid!" https://www.eventbrite.com/e/composerdirector-relationship-film-scores-of-james-horner-wjoe-johnston-tickets-688985202287

It's very similar to a Benny Goodman recording (see below), but it's definitely in Billy May's hand, and arranged specifically for The Rocketeer as I've got scans of the manuscript.

Oh they were certainly recorded. You can hear portions of all of them in the picture, but they don't feature vocal, and aren't "featured" like the two that are on the album. Disney sent me the isolated score track from the movie, but it's literally the music as heard in the picture (i.e. dips in volume, filtered to sound like it's coming from another room to match camera cuts etc.), so it's not possible for me to share a clean version of the recordings. I will put the Sibelius playback versions on my Youtube channel though so people have some audio reference when reading the book.

What do you mean? The OST track 18 on disc 1 represents 2 cues (9m6a and 9m6). 9m6a is the intro part (which plays over 9m4, which is heard diegetically in that scene).

They're just numbered on the manuscript and the orchestra breakdown. I don't have the separate cue sheet so couldn't say for sure if they were named on that. Here's how the cues are numbered in the book vs. the OST tracks (using the 2016/2020 Intrada release): 1m1 Main Title 1-1 1m3 The Gizmo 1-2 2m1 Finding the Rocket 1-3 2m3 Neville and Eddie 1-4 3m1 Testing the Rocket 1-5 3m4 Lothar Gets Wilmer 1-6 4m3 The Helmet 1-7 5m1 The Laughing Bandit 1-8 5m3 Neville Eavesdrops 1-9 6m1 The Flying Circus 1-10 6m2 A Hero is Born 1-11 7m1 Bye Bye Bigelow 1-11 7m2 Begin the Beguine (arr. May) 1-12 8m2 Jenny's Rescue 1-13 8m5 Cliff to the Club 1-15 8m6 In a Sentimental Mood (arr. May) -- 9m1 Cliff the Waiter 1-16 9m2 When Your Lover Has Gone (arr. May) 1-17 9m3 Night and Day (arr. May) -- 9m4 Easy to Love (arr. May) -- 9m6a South Seas Send Up, Pt.1 1-18 9m6 South Seas Send Up, Pt.2 1-18 10m1 Neville Sinclair's House 1-19 11m1 Cliff Caught 1-20 11m3-12m1 Rendezvous at Observatory 1-21 13m1 The Zeppelin 2-1 14m1 End Credits 2-2 Love Theme 1-14

Thanks! "AT" is Angel Trancon. He also did the cover for my "Alien" full score book. Angel Trancon Studio (@angeltranconstudio) • Instagram photos and videos

Dear Film Music Fans, Chris Siddall Music Publishing is proud to announce that the Rocketeer study score is ready for pre-ordering. Reuniting with director Joe Johnston, following 1989’s Honey, I Shrunk the Kids, James Horner finally achieves his goal of scoring a motion picture about flying. Until 1991’s The Rocketeer, Horner had always managed to “miss out” on projects relating to his passion for flight. The Rocketeer presented the perfect vehicle for him, and the resulting score is one of the finest he ever wrote. Bristling with energy and exuberance, the score is almost Wagnerian in its use of motifs. As well as the orchestral score featuring exquisite orchestrations by John Neufeld, Elliot Kaplan and Conrad Pope, this edition also includes the unique opportunity to study five jazz standards which were specially arranged and orchestrated for The Rocketeer by the legendary Billy May. Please visit ChrisSiddallMusic.com and be the first to own this classic masterpiece today. 390 pages, 9x12 inches. Paperbound, printed in the U.K. $85.00 Available Worldwide Note: Shipped from the UK. Please check with your country for import tax before ordering. This charge will be in addition to the item cost and shipping cost and varies by country. THE ROCKETEER in Full Score (chrissiddallmusic.com) Orders including The Rocketeer are expected to ship week commencing 2nd October 2023.

Yes, send me an email before you order. I used to offer a "pickup" option openly, but people started abusing it/accidentally selecting that to order without paying any shipping (it then creates a load of hassle to add it after the fact) so now it's more "by request". I'm actually a little south of London, but if I can combine it with other errands I'm happy to jump on a train. One other consideration is that if your 3 titles become 4+, check out or "Ordering Policies" on the store!

You're very welcome. I can neither confirm nor deny whether any that have been mentioned in this thread are on my active radar, so please keep the wish lists coming - it's always great to see where strong passions lie. Personally speaking I'd like to have an alternating schedule where a tentpole "guaranteed hit" (they're never guaranteed in my experience!) allows for a more "niche" choice/passion project. I've got a couple of those coming up, so will be very interested to see how well they're received!

Nice thread, and list! You can guarantee that myself and the other publishers have at least considered 99% of the scores you'd expect to see in this kind of thread, but as you suspected there are several factors, not least licensing to consider. Locating the original full score manuscript is not as straightforward as one might expect, even then gaining access to it is another hurdle. Then there is the matter of its condition, completeness both in terms of missing pages or cues, as well as elements not notated within it (overdubs, prelays, soloists, post processing effects, cuts and edits made at the session etc.), and lastly legibility. If you've ever seen Dimitri Tiomkin's handwriting you'll know why the last one is important!! Of course, one other important consideration is the likelihood that the score will at least cover its own costs (break even). It's almost a shame that that is a consideration at all, because there are some beautiful "less well-known" scores out there that deserve to see the light of day, but we all have bills to pay and families to support! Find us the audience, and we'll gladly put them on the list! CSMP has titles secured that will take us through to next summer, with more exciting things cooking which we can't wait to reveal in due course (Testament next week, The Rocketeer targeting late August, Braveheart targeting late November and more to come). The last piece of the "planning" puzzle when it comes to wish lists is to know that it takes around 3-4 months to produce each book depending on complexity and length of score, so even a "top 10" would take around 3 years to produce. There are at least 100 scores that I could rattle off right now that I'd like to see in print someday, so now we're talking 30+ years of work! Even if your favourite score appears to get pre-empted by something "lesser", there may be a multitude of reasons why everything managed to align to mean another title got released first. CSMP is based in the UK, so slightly less painful than shipping from the US. Omni now has some titles stocked by Schott which come from Germany.

It's not, but I do know where the sketch score is. Even so, a reconstruction project from the sketches would be a huge task, and even with a skilled and experienced orchestrator, not necessarily completely faithful to the original full score.

I'm sure it'd be a popular release, but there's the small matter of finding the (widely believed to be) lost full score manuscript to use as reference (aside from the other usual requirements like licensing).

What Richard said! Out of interest, what are #s 1 & 2?

I've just picked up the books (which look so cool!), so will commence shipping pre-orders a little ahead of schedule!

Dear Film Music Fans, Chris Siddall Music Publishing is proud to announce that the Gremlins study score is ready for pre-ordering. Written during a period when Goldsmith was experimenting with combining electronic synthesizers with the orchestra, Gremlins is a lot of fun, and is packed with fascinating compositional and orchestration details. From the tender and sweet "The Little One" to the creepy and tense "The Pool" to the chaotic "Kitchen Fight", every note of Jerry Goldsmith's mischievously subversive score is presented in stunning detail. Please visit ChrisSiddallMusic.com and be the first to own this classic masterpiece today. 194 pages, 9x12 inches. Paperbound, printed in the U.K. $85.00 Available Worldwide Note: Shipped from the UK. Please check with your country for import tax before ordering. This charge will be in addition to the item cost and shipping cost and varies by country. https://www.chrissiddallmusic.com/store/p101/Gremlins_In_Full_Score.html Orders including Gremlins are expected to ship week commencing 22nd May 2023.

Several cues are marked "consisting of [song element] and [repeated cue title]", so contain edited segments of songs (like Danger Zone), the "Top Gun Anthem" or "Memories" (the unedited piece which one would associate with "Goose's death theme"). Because it looked a bit messy on the post, I "tidied" it to say "includes [song element]".

Top Gun (1986) Harold Faltermeyer Source: Cue Sheet 1m1 Main Title 1m1a Main Title (w/ melody) (not used in film) 1m2 Carrier Takeoffs & Landings (includes Danger Zone - Giorgio Moroder/Tom Whitlock) 1m3 First Shot of Mav and Goose (not used in film) 1m4 Two MiGs, Not One 1m5 Cougar Chased by MiG 1m6 Mav Flips the Bird 1m7 Cougar's Troubled Landing 2m1 Mav Goes to Fightertown (includes Danger Zone - Giorgio Moroder/Tom Whitlock) 2m2 Lead Me On (Giorgio Moroder/Tom Whitlock) 3m1 You've Lost That Lovin' Feeling (Barry Mann, Cynthia Weil, Phil Spector) 3m2 Hot Summer Nights (Michael Jay, Alan Roy Scott, Roy Freeland) 4m1 Jester Flying (includes Mighty Wings - Harold Faltermeyer, Mark Spiro) 4m2 Tower Flyby 4m3 Through the Fire (Giorgio Moroder/Tom Whitlock) 4m4 Viper Comes Down on Mav 4m5 Mav and Goose in Room 5m1 Playing with the Boys (Kenny Loggins, Peter Wolf, Ina Wolf) 5m3 Dinner at Charlie's (includes Take My Breath Away - Giorgio Moroder/Tom Whitlock) 5m5 (Sittin' on) The Dock of the Bay (Otis Redding, Steve Cropper) 5m6 Mav Says Goodbye to Charlie (includes Take My Breath Away - Giorgio Moroder/Tom Whitlock) 6m1 Heaven in Your Eyes (John Dexter, Paul Dean, Mike Reno, Mae Moore) 6m3 Love Scene (includes Take My Breath Away - Giorgio Moroder/Tom Whitlock) 6m4 Mav vs. Viper 7m2 End Locker Room and Photo 7m4 Great Balls of Fire (Jack Hammer, Otis Blackwell) 7m5a Aerial Sequence (includes Danger Zone - Giorgio Moroder/Tom Whitlock) 7m7/7m8 Goose's Death - Parts 2&3 8m1/8m2 Mav Reflects in Goose's Room/Board of Inquiry 9m1 Charlie and Mav in Airport Bar 9m2a Viper's House - Part 1 9m2b Viper's House - Part 2 9m3 End of Graduation (not used in film) 9m4 Destination Unknown (Franne Golde, Jake Hooker, Paul Fox) 10m1 Carrier Ready Room & Takeoffs 10m2/10m3 Mav is Launched/Mav Bugs Out 10m4 Mav Returns to Battle 11m1 Return to Carrier 11m2 Radar Radio (Giorgio Moroder/Tom Whitlock) 11m3 You've Lost That Lovin' Feeling (Barry Mann, Cynthia Weil, Phil Spector) 11m4 Mighty Wings (Harold Faltermeyer, Mark Spiro)

It's really not! Both Braveheart and Rocketeer took a lot of hands on effort to get approval, and even then they took almost exactly three years to receive a green light. By that measure, just imagine what titles I'm still waiting on!!