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chrissiddall
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The rumours are true! During our live stream tonight a teaser was indeed dropped!Whilst we're currently tightening the last few nuts and bolts and polishing The Iron Giant to a mirror shine, production on "Book 3" will be following hot on his heels as we attempt to keep to a gruelling schedule and target release date.Whatever happens, we will not go quietly into the night!
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Did you miss out on Omni Music Publishing's "Star Trek in Full Score"? Never fear, Chris Siddall Music Publishing is here sooth your full score blues!
Aliens in Full Score is back in stock and available to ship immediately.
www.chrissiddallmusic.com/aliens
- Jay and Jurassic Shark
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1 hour ago, Jay said:
The Iron Giant?
Certainly is!
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In case anyone still wants a copy of Aliens and missed the news - restock coming on week commencing 8th March. We're also doing a "deep dive" into the score on live stream this Sunday. And then there's this....
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2 hours ago, Maglorfin said:
Received mine yesterday after almost three months' wait - and Friday is one mighty fine day to receive such fine merchandise!
For anyone interested, here's my short first impressions "review": the score arrived perfectly packaged and protected. The book itself looks wonderful; engraving and printing are first-class. Since UK has left the EU, I had to pay import costs and Slovenian VAT, all of which raised the complete price of this score to almost 100 EUR, making it one of the more expensive scores I own - BUT I daresay it has been worth every cent since I'll now be able to finally enjoy studying full score of one of my all-time favorite soundtracks for many happy years to come!
I haven't yet had much time to spend with the score itself but in the coming days and weeks, I will definitely go through the whole thing (while listening to VS's Deluxe Edition ofc) very diligently and thoroughly and I'll report any comments I might have in this topic. So far, I've only noticed that - compared to the LSO recording - one or two slight rallentandi and fermatae could be absent from 1M1 Main Title, but that might well have been just because Horner's conducting/interpretation during recording sessions and it would be understandable that he (or McRitchie) didn't write every last little tempo change in the score and/or parts. (It also gives one the joy of being able to scribble and add his own marks and comments in the printed score itself.)
There is one difference though, at least from my (and my ears') point of view (still speaking of 1M1): according to the recording, the 2 × 2 tam-tams and sizzle cymbal/large suspended cymbal tremolos begin on the second beat of measure 11 (together with brass playing Horner's "alien chord") and not on the third beat of measure 10 (together with field drum motif) as printed. BUT that might have also been just a decision made only at the Abbey Road at the time of recording this cue back in April 1986.
All in all, I wish to offer both thanks and congrats to Chris for undertaking this doubtlessly difficult project and bringing out this amazing score to all Horner/Alien/film music fans and musicians around the world. I'm already very much looking forward to the next one, whichever it may be!
Thanks for your feedback (and I'm going to have to check out that tremolo now - honestly we try to catch everything but with such a complex score it's almost inevitable that something may slip through. Will have to check that one though)!
I'm a bit upset to hear you were charged import tax. I shipped all the books on the specific commodity code for printed music, which is flagged as 0% tax, duty free. Regardless of the Brexit situation, nobody should have had any additional charges unless they were unfortunate enough to catch an over-zealous customs agent (which apparently you were).
I'll do a bit more research to see if there's anything else I can do to ensure this doesn't happen again but once it leaves my hands, we're in the lap of the gods a bit!
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17 hours ago, karelm said:
Will I eventually get my score? I think I purchased this two months ago and still no score.
Hi, sorry if you've not seen the numerous updates I've sent to make sure everyone knew what was going on. You may have seen people receiving them this week and yours is on the way.
It was shipped on Tuesday 26th Jan. You should have received an email. Please PM me your email address if it has changed from the one on your order.
Delivery target is 5-7 days to USA. According to the tracker it is:
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Anyone here received theirs yet? I'm seeing that a few have arrived today.
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Eagle-eyed customers may spot a change in the shipping cost. Due to a technical error (i.e. the pink squidgy bit in the system: me), I failed to spot that Royal Mail made a change to their world zones and pricing in September, which had a significant impact on shipping prices to the US (doubled). That's now rectified so sorry to anyone who hasn't purchased a copy yet who wonders where the $15 option has gone, and congrats to the lucky "early adopters" who saved themselves $15!!
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21 hours ago, lemoncurd said:
It's great to be able to do transcriptions by ear...
Actually it was done by eye (using scans of the original sheets for reference, same as Aliens), so would be interested to know where you're hearing errors so I can take another look!
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47 minutes ago, Spider-Fal said:
They might have been from a seperate "cue sheet"/log... or came up with later.
I did actually make a request to see any cue sheets or similar that may show the names of the orchestra members who played on the recording as I wanted to credit them, but nothing could be found. I also asked the LSO archivist but as we have the joy of 2020 messing with "the arts", I haven't had any joy there either yet.
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1 hour ago, Jay said:
Horner's cue names are used on the Blu Ray with Matessino's isolated score track
https://docs.google.com/spreadsheets/d/1x3GBJHftmOQpaC8r5Zx6h2sHW9KxbpDThTrMgWYSXVs
That's a cool spreadsheet, thanks for sharing. I've not seen it before! Are they definitely all intended cue names by James and not sometimes action/hit points (like "alright I'm in")? It's actually really quite common for his cues to be nameless, having seen a number of his scores.
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Hey great to see a thread here about this, thanks @BrotherSound!
In answer to a few queries here:
Alien and Alien 3 are on my to do list "one day". I need something lighter between now and then!
Yes it is fully licensed, and I am aware of the headaches. I am waiting on 6 more licenses right now which have been in progress for over a year. I've not given up on them yet since I had one approved after exactly a year and a day. They just take that long to hammer out!
Apollo 13 launch was great to work on but may well contain a few bum notes. I was under the 50th anniversary deadline and didn't do a full cross check against the recording. Feel free to point out anything you spot and I'll fix it up!
I'm based in the UK, so Europeans may rejoice at slightly reduced shipping charges vs. some of the other full scores that are available. Know though that all we do is pass on the actual costs to ship, and we try really hard to find the best options.
Any other questions feel free to ask!
Oh I forgot. The cue names in the book are to sync with the recording so it's easier to know what you're following along with. As mentioned, there are none on the original score sheets, only cue numbers.
- Demondm810 and BrotherSound
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1 hour ago, bollemanneke said:
I will preorder something the day they finally allow these things to be released in a format that allows the buyer to listen to individual parts.
Not in this specific case, but I am actually exploring something close to this at the moment in terms of audio; both individual parts, and the reverse with a single part removed (so as to serve as a "play along" track). I think I infer correctly that you're talking about them being released in a notation software format. I'm afraid that is extremely unlikely to happen due to the amount of control you would have to manipulate the work. You wouldn't for example expect a book publisher to release a novel in Word format.
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Out of interest, would anyone consider "pre-ordering" a score, to help mitigate the upfront cost/risk that one faces from licensing and print costs?
Since the licensing fee is closely tied to the volume of the print run (the size of which is entirely publisher's choice), it would also be helpful in gauging the size of said required print run.
I've had a copyright application to publish one of James Horner's major scores accepted, and whilst it's almost a certainty that the interest will be strong, the upfront cost is pretty daunting!!
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On 9/7/2019 at 4:28 PM, bollemanneke said:
Just out of interest, if licensing sheet music is so expensive (I can't even be bothered to ask if there's a reasonable explanation for that), how does it work with Hal Leonard and the JW Signature Series? Do they need to give houses as collateral?
HL have the exclusive publishing rights on JW music so pretty sure they have a manageable arrangement. HL also administrate the licences for 90% of everything ever it seems!
On 9/6/2019 at 6:26 PM, Nick Parker said:Shame about Star Trek, that's probably top of the list for me.
Not in a rude way, but how in demand is Shadows of the Empire? What's your company?
Probably not very, but I would only do a very limited run (I can always apply for an extension if necessary). It's a curiosity/obscurity, but it is Star Wars so I would think it would generate some interest on that fact alone.
www.chrissiddallmusic.com is my website although it needs a bit of updating. I'm most active on www.facebook.com/chrissiddallmusic and my youtube channel at the moment (please subscribe - I need over 100 subs to change the URL from the default nonsense)!! https://www.youtube.com/channel/UCbNEpAhHB7JyCuzd-QJAcWQ
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On 10/30/2014 at 7:53 PM, tedfud said:
would love to see any classic goldsmith. ST TMP being very desirable .
A bit of "threadomancy" here! I've recently attempted to acquire the rights to publish TMP, and I know Tim (Omni) has looked into Star Trek before as well. At the moment though, I'm afraid it's like anything Williams - a hard "no".
Licensing is a really painful process, and it can seem pretty random as to whether it will be granted or not. My most recent request, put in almost as a "this'll never get approved, but I'll ask just in case" received a response almost immediately (rare to begin with), and even more surprisingly was an affirmative. Especially surprising as it contains the Star Wars Main Title and partial statements of The Force Theme, Imperial March and Carbon Freeze cues!
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On Saturday 13th May 2017 at 7:30pm Burgess Hill Symphony Orchestra will present their Spring Concert at St. Andrew’s Church, Junction Road, Burgess Hill, RH15 0LG.
Music to include:
- Indiana Jones and the Raiders of the Lost Ark - Raiders March
- Schindler's List - I Could Have Done More
- The Terminal - Viktor's Tale
- Hook - The Flight to Neverland
- Jurassic Park - Theme from Jurassic Park
- Superman - Prelude & Main Title
- E.T. The Extra Terrestrial - Flying Theme
- Munich - A Prayer for Peace
- Memoirs of a Geisha - Sayuri's Theme / The Chairman's Waltz
- Star Wars Suite...plus a few surprises!
This concert will be narrated by BBC Proms presenter Katie Derham.
This year we mark the 85th birthday of John Williams. Directed by Mike Wood BEM, the orchestra will celebrate this event with an exciting series of pieces from the many acclaimed film scores that he composed during his life. The programme has been expertly planned to showcase a wide spectrum of musical styles and emotions, from the tear jerking Schindler’s List ‘I Could Have Done More’ to the magical Flight to Neverland from Hook, and the perhaps less well-known jaunty theme from The Terminal. Fans of the Star Wars films are in for a treat too. This programme will appeal to all ages. Accompanied children are free.
Tickets are £14 on the door or £12 for tickets purchased in advance. Accompanied under 16’s free (ticket required). Purchase from the Burgess Hill Help Point, or call 01444 232067, or buy your ticket quickly and easily online at http://www.bhso.org.uk/box-office/.
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Hi Alain
Great idea, and enjoying your series a lot so far!
When you mentioned "mrbellamy"'s question about string voicing in Yoda's Theme my initial thought, being a violinist and composer myself, was that the "inter-locking" would have been for "mechanical" reasons. Violins (violas, celli and double basses) are tuned in fifths, and whilst close intervals are possible, the mechanics of getting your hand into the correct position to "double stop", or play both notes simultaneously on two adjacent strings tuned a fifth apart can be tricky.
When I looked at your video again though, I noticed that in the HL score it is marked "divisi", meaning that half of the players take the upper note and the other half take the lower (usually split per desk). This would make sense in terms of trying to achieve the throbbing legato effect that you want to achieve in the opening. Getting that same tone whilst double stopping would be challenging. It did get me wondering though, and when I looked at the original score, it is NOT marked divisi, so the mechanics of double stopping may have been a consideration after all.
Sorry, I know that doesn't really shed any more light on that passage than your answer, but it struck me as a conscious decision rather than "he just felt like being clever"!!! I think the "balance" argument is blown too; the HL parts set provides eight 1st and 2nd violin parts equally, then six violas, cellos (assume 1 part per desk pair), and six double basses (assume 1 part each).
James Horner - ALIENS in full score (Chris Siddall Publishing)
in General Discussion
Posted
Hi, sorry for the slow response to the recent posts on this thread. I've had my head down editing and proofreading The Iron Giant, which is coming along very nicely (see below)!
You're right about having access to the original manuscript, and also about podium changes. I did try to catch everything but if you have any specifics you want to let me know about, please drop me a PM and I'll review them for any future reprints.
With regard to the Engine Room sound in 9m1 it is there, but it's just a low rumble.
With regards to shipping prices, both Tim at Omni Music Publishing and myself are well aware of that being a deciding factor for some, though the potential "solutions" aren't really that great either. It's unfortunate that a combination of the book size, paper weight and retail value (for import tax if it is charged where you are) can lead to a high total price. Neither of us add anything to the shipping price, you're paying what it costs and unfortunately that may mean a test of how much you want the book. Both of us have worked hard to find solutions that keep the costs as low as possible.
The alternatives of printing or shipping stock overseas and storing/fulfilling "local" orders from these locations would still incur a cost to us that we would have to pass along to you. It might be different if we were selling in the kind of volumes that big online retailers do, that we could absorb that cost, but this is a very niche market and we are essentially "boutique" publishers.
Finally, with regards to publishing Star Wars, it'd be a dream, but publishing full scores by John Williams is simply off the table at the moment due to licensing restrictions. That's true of a few specific composers and specific film franchises. Thankfully there are enough other interesting, beautiful and exciting scores out there to keep the like of Tim and I busy for a very long time! Personally, I have The Iron Giant and Independence Day coming over the Spring/Summer, with other titles that I'm not ready to announce yet lined up right through to the end of 2022.