All licensing and permissions of copyrighted material are the sole responsibility of the purchaser (you) and not Chris Creswell or Chris Creswell Music and Design. Permission to arrange and print licenses must be obtained from the copyright holder and copied to Chris Creswell Music and Design before leasing arranged music. Licenses can easily be purchased from the publishers and assistance will be provided upon request. Original compositions do not require licensing. 

John Mackey – Licensing is $500.00 per selection and paid directly to Osti Music. CCMD will coordinate securing the license directly with John Mackey. (Vita Pulses, Wings of Icarus)

Frank Ticheli – Any shows using the music of Frank Ticheli requires licensing through Manhattan Beach Music. Licenses can be purchased online and cost $300.00 for each composition included in the show. (Shows: Impressions of Light, Hope Springs Eternal, The Bravest Girl In The World.) 

David Holsinger – Any shows using the music of David Holsinger require licensing through TRN Music Publishers. Licenses can be purchased online and cost $310.00 for each composition included in the show. (Shows: Urban Journey and Over:THRONE) 

Phillip Glass – Handled exclusively by Dunvagen Music Publishers. CCMD will coordinate. (1000 Airplanes on a Roof, Canyon)

Mark Surovchak – CCMD will coordinate directly with the composer. Price TBD. (Letting Go)

Tresona Music Licensing Exchange – Most other shows consist of music owned and published by Hal Leonard. Licensing can be acquired through Tresona Music  which is the licensing organization for Hal Leonard. Prices vary. 

If you have any licensing needs that cannot be met through the above means please let us know and we will be happy to assist. 

A few tips for those licensing music for custom arrangements:

1. Before you fall in love with a piece of music check the licensing availability first. This needs to be an early process, not after the fact.

2. For concert/orchestral music check with the publishers/composers first before going through Tresona. Tresona works well for pop/rock music but can often be sidestepped for concert works and at a lower cost. And some composers refuse to work with Tresona. Tresona will say it’s not available when actually that just means it’s not available through them. For example, Philip Glass does not have his music available through Tresona and if you try through Tresona you get a red denied notice, but in fact he has a licensing link directly on his website and is very accommodating.

3. If the source music you want to use is not super iconic or critical to the concept I would suggest doing custom music that “sounds like” and avoid licensing altogether. This might not be an option for an entire show, but something that can cover a good chunk of it. Sometimes a show only needs one or two recognizable melodies and we can massage the rest of the show around it.