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This short film was a treat to score. I discovered it after researching the original composer Christophe Beck and realising how much work he has been doing and with such great quality. The film is a wonderful story told through animation and very little dialog. My work takes a different approach than Christophe's by using a purely orchestral score. Due to the lack of FX I found myself carefully applying some mickey-mousing and even some musical onomatopoeic devices - I hope they are not too much. I wrote the piece with the intent that it could be played by an orchestra without any overdubs or striping, composed completely within my notation package.
I wrote this score for the 12th International Film Music Competition 2024. A very interesting project indeed and based on a true story apparently. There were lots of interesting dramatic and musical problems to solve in this and I tried to stay away from some of the more obvious solutions. I hope you enjoy it.
I had an opportunity to write some music for a family movie and this is what I came up with over two days. This type of music really challenges a composers techniques in finding the right melodic line - probably one of the most difficult tasks a composer has. The music came quickly and was pretty much all done in a day and orchestrated the next. I hope you enjoy it.
This was a very difficult short piece to write against for me, though I am very happy with the results. The new compositional processes I used to write this worked quite well and I will be using from now on, at least for purely orchestral scores. It was tricky to balance the tone of the piece so that it did not fall into the trap of being overly "mickey mouse" but yet synchronised to the images. In the end I treated the material reasonably seriously (well, most of the time) and let the images play the comedic role. I am beginning to realise what a great challenge it is to create a full story film purely in the realm of animation.
This is such a beautifully shot film with wonderful sound FX and atmos I can understand why the director chose to use very little music. The cinematography especially is just georgous and extrordinarily expressive. I decided to rescore a small section of the film as I wanted to see if I could highlight some of the dramatic structure of the narrative without destroying the beautifully sparse asthetic of the original. It's a bit of a slow burner so sit back and take your time.
Here is a rescore of a Netflix short anime film. Netflix released this under a creative commons license and I was able to extract the existing music and replace it with my own. I found this anime quite challenging since the story is being told done purely through the visuals with no dialogue. It took some time to make sure the story was being told through the music as clearly as possible.
Here is a rescore of the opening scene from Gravity. Man, this was a lot of fun. Since there was very little FX available in the source tracks I used a lot of musical elements to perform that role which works quite well to my mind. The harmonic material was very simple, just transposed sets of minor 2nd and minor 3rds. There was a strong focus on texture using modern orchestral techniques to achieve the desired goal. I have done a Dolby Atmos mix and is available on request.
This was quite a difficult scene to rescore - very busy and with a lot of hit points. I used mostly untuned percussion with some pulsing synths below the surface and some brass.
This was my entry into the 2022 Spitfire Bridgerton competition. Lots of quick changes and a big risk of mickey mousing if you're not careful. A terrific series - great fun to watch.
This was a very rewarding scene to score. In the first section I created a duel between two musical elements, the trombones and the horns, and it all fell into place after that. I integrated a lot of "hybrid" instruments into this score and found it worked quite well no doubt due to the supernatural nature of the material. I crossed the line into sound design a couple of times but I felt that their origin from musical elements worked very well.
For this into-the-forest scene, we need intrigue, with some wonder and some menace. As an animation, the film required (judicious!) use of musical "mickey-mousing" - synching the music with actions on screen, especially with regard to rhythm. I was careful not to pre-empt the emotional journey of the character. I use some modern orchestral techniques: yes, that is the wind players' spittle bubbling (lovely!); some aleatoric techniques, polychords, melodic modes. Listen for an unusual brass instrument, the cimbasso - created in the 19th century to be warmer than the trombone but not as heavy as the tuba.
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