Well, I hoped to get all of my new music posted – but sadly, I didn’t get to everything. I’ll be off the net until about Wednesday – hopefully, I’ll get some new things posted then. I did did 19 new pieces up this week – so, I don’t feel too bad.
More to come! I’ve got some 8-bit, some waltzes, some medieval, more film music… and that isn’t counting anything that I do over the weekend. Cheers, all!
When The Wind Blows – Several wind instruments play lilting melodies that are slow and meander through the piece, sometimes bordering on being slightly out of tune. The calm music has an edge of solemnity about it. The ever-present acoustic guitar is methodical and resembles a pulse – it exists but is forgotten, except when the guitar draws out the length of a note.
Eastminster – The constant reverberating sound of rain and the perfect-fifth drone of the strings are calming, but have an air of suspense and tension about them, as if a drama is about to unfold. The koto plays a near continuous refrain, at times forcefully. Evoking pre-colonialist East Asia, the piece is beautiful and stoic in tone, especially as the koto asserts its dominance in the sixth minute and at the end.
Silver Blue Light – Sparse in it’s instrumentation, Silver Blue Light is quiet and pensive with atmospheric synthesized chords and guitar.. There isn’t much of a melodic line to this piece until well into the fifth minute. In the third minute the guitar plays a few high notes, and the key changes briefly, which occurs again in the final twenty seconds as well.
The Hive – Cymbals and synthesizers evoke swarming insects, as whirring and clicking noises abound with heavy reverb
Redletter – High-pitched strings play above a low drone, while fuzzy noises and cymbal rolls flow throughout. The high strings crescendo and quickly cut out as if a knife sliced their throats. A somber melody plays in the final minute, and the noises crescendo and come at you from every angle, symbolic of an attack and a gruesome finale.
The House of Leaves – A simple harp refrain plays a child’s melody, but is torn apart by discordant screeching noises, thumps, growls, and mechanical noises.
Right Behind You – Breathy noises make the hairs on the back of your neck stand, while screeching strings and high-pitched noises are distracting and spine-tingling.
Sweeter Vermouth – Jazz – The jaunty bass line keeps this short piece moving at a solid pace, while the vibraphone and saxophones play the swinging melody, until the bright, thump of an ending. Use this piece as a slick transition between scenes or for the background to a short scene of drinking, gambling, or dancing.
Whiskey on the Mississippi – Blues (with copious help from GarageBand) – With a jumping bass and off-beat syncopation, this is straight from Memphis’ Beale Street. The Hammond organ and electric guitar play together as longtime friends, while the melody changes hands from guitar to organ to electric piano
Porch Swing Days – Faster and slower versions – Acoustic guitars play a constantly flowing feel-good melody, enhanced by an airy chorus that enters early in the piece. The music is bright and evokes a carefree attitude towards life and the troubles of the world.
Finding the Balance – This is one of my new favorite pieces to listen to. It always ends too soon.
Grammophone Taps – Just a little utilitarian recording – if you need it, then you need it.
Ibn Al-Noor – In the third minute the piece changes to a heavy, dangerous string and tribal drumming that builds until all of the instruments come together in a fitful way, until the abrupt ending.
Split In Synapse – A short piece that mixes the symphony with frenzied electronica elements and a dance beat. The horns are blasting and discordant, the synthesizer is manic, the effects disorienting, and the final cresecendo push is loud and forceful.
Clenched Teeth – Timpanis and strings battle with a snare drum and horns throughout this epic piece, slowly building and rising to chaos. The music is high-action and only includes a few short dramatic interludes.
For the Fallen – Beginning with beautiful symphonic chords accentuated by a glockenspiel, For The Fallen builds gently and with emotion. At the mid-point, marching drums build in and the music strikes a more serious tone, retaining its dramatic passion.
My version of the Fig Leaf Rag by Scott Joplin.
Both clear recording, and a slightly different distressed recording.
This is partially “new music”, and partially a “sighting”.
I’m a pretty big fan of Paulrex’s Originz program, so I wrote a piece of music for it.
For Originz was included in the most recent episode (number 96) – and it was included so quickly, that I didn’t even get it up on my site!
So, I rushed it up today, and will revise it in a bit.
In the most bizarre sighting I have ever witnessed… Jason Calacanis has my music queued up on his laptop… TWiST “Interview with 100 Things” minute 48.
Mistake the Getaway – I wrote this one a few days ago after several weeks of intense cartoon scoring. Mucho brass, rock percussion.
Nerves – Also written between episodes late one night. 1:47 to the end is the big part.
Orion 300XB – An interesting thing. There are no single words for this kind of piece. It is calming, distracting, unnerving, visceral, cerebral… But if we had words for things like this – we wouldn’t need music.