 |
|
|
|
|
|
|
|
|
|
|
Buying a book with nothing but sheet music is like buying a book with nothing but Egyptian hieroglyphics to me.
Well yes and no. While you might not appreciate the melodic or harmonic content, you can still get an appreciation for the orchestration and which instruments were used for what part.
These scores are not meant to be coffee table books for thumbing through. Some hints on getting started:
1. If you don't read music, learn how to do it.
2. Study harmony and its many facets.
3. Start by reading and listening to a recording of the piece. at the same time. Start with something that isn't too complex. A string quartet for example.
4. Study instruments, their ranges, capabilities, transpositions, their function and how they blend with other instruments.
5. There are many texts on arranging and orchestration on the subject.
I could go on but I think this is a good start. All this takes time and remember that patience is a virtue.
|
|
|
|
|
|
|
 |
Posted: |
Jan 20, 2021 - 4:59 PM
|
|
|
|
By: |
connorb93
(Member)
|
Buying a book with nothing but sheet music is like buying a book with nothing but Egyptian hieroglyphics to me.
Well yes and no. While you might not appreciate the melodic or harmonic content, you can still get an appreciation for the orchestration and which instruments were used for what part.
These scores are not meant to be coffee table books for thumbing through. Some hints on getting started:
1. If you don't read music, learn how to do it.
2. Study harmony and its many facets.
3. Start by reading and listening to a recording of the piece. at the same time. Start with something that isn't too complex. A string quartet for example.
4. Study instruments, their ranges, capabilities, transpositions, their function and how they blend with other instruments.
5. There are many texts on arranging and orchestration on the subject.
I could go on but I think this is a good start. All this takes time and remember that patience is a virtue.
well said! For me, owning this score serves two functions. One, as you said, I get to SEE just what great orchestration looks like. So many times I'll hear a sound from the orchestra and think"well what could that be?" and getting your hands on a legible score helps with that!
Secondly, these are wonderfully meaningful if you have a loving attachment for a particular score. I don't have an affinity for Broughton's Silverado, so reading through it while listening wouldn't be nearly as engaging. So when Total Recall and Basic Instinct came out I jumped at the opportunity. I didn't even know there would be thematic analysis in those. It's appreciated, but if you already know what's there from liner notes and other sources, it's not a necessity.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
What I love about the Omni books is that they note what's happening on screen at each phase of the written music. I'm not a composer but I do love looking at scores to identify the combinations of instrumentation, descriptions of playing techniques etc. that Goldsmith's scores are particularly rich in. It's too bad that I would think Omni is limited to doing these only for the most obvious, popular and iconic scores and films due to the expenses they incur--I would kill to see Omni books for scores like The Mephisto Waltz, The Illustrated Man or other works of that period--I could see one being done for Planet of the Apes though...
Very well put. Even the most casual musically informed fan see appreciate the density in the orchestration for certain parts of the score. I would think visual artists could key in on this as well (funny that most composers I know also have some skill in drawing/painting, not a coincidence methinks).
The Omni scores are delightful because they have these references to the action/events in the film as they relate to the music.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Are the sketches made any more legible for the specific instrument? I know the pros of sight-read, but I didn't think about sight-reading AND having to translate an orchestrator's script.
The orchestra gets a printed score not handwritten. So does the conductor. These handwritten examples are earlier in the process. Members of the orchestra do mark up their scores during a recording session and last-minute changes do happen but everyone starts out with a very legible part. Otherwise, the costs for recording sessions would be significantly more.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've never understood why pocket scores of film music have never been available. Surely they would sell well?
Pocket film scores would be great but maybe there isn’t any money in it for the powers that be. And don’t call me Shirley!??
I have a number of classical works in pocket score format.
If it's a large orchestra the print is small and not very easy to read. I prefer the large format scores.
|
|
|
|
|
|
I've never understood why pocket scores of film music have never been available. Surely they would sell well? Anyway can anyone tell me who wrote my favourite cue from the score which is Disc 1 Track 6 "Malfunction". I'm hoping it was Goldsmith himself not one of the other composers who assisted with the score.
Also could we ever see the Star Wars scores published in this format? I'd pay the money for that. Definitely. I would be fascinated to see the full scores.
Since Omni hasn't released any John Williams yet, I'm guessing his estate has been unwilling to give the rights.
Hal Leonard Music publishes many Williams scores under the banner "John Williams Signature Edition".
"Jaws", "Star Wars" and many others. I purchased my copies from sheetmusicplus.com.
|
|
|
|
|
|
|
|
|
|
Are the sketches made any more legible for the specific instrument? I know the pros of sight-read, but I didn't think about sight-reading AND having to translate an orchestrator's script.
The orchestra gets a printed score not handwritten. So does the conductor. These handwritten examples are earlier in the process. Members of the orchestra do mark up their scores during a recording session and last-minute changes do happen but everyone starts out with a very legible part. Otherwise, the costs for recording sessions would be significantly more.
But you are talking about the scores of today. Back in the day of Star Trek the Motion Picture etc, everything was hand copied..... parts and orchestrated scores. No finale or sibelius in those days.
I prepared music for many years for composers and publishers.
fair but there were teams of copyists who had very good penmanship who would prepare those parts. I was only responding to the OP of the issue of legibility.
I've done some copying gigs though I've been lucky to work with Finale and Sibelius. But it was still challenging working off handwritten scores. some parts entailed phone calls to ask what they were after...
|
|
|
|
|
|
|
|
|
|
|
When will this be available to order? Looking forward to it. I have seven of Omni's scores so far.
We are all waiting for anticipation! I'm sure this one will sell out quicker than you can say "beam me up Scotty!"
|
|
|
|
|
|
|
|
|
|
|
