Breezy and atmospheric, with a nice combination of strings and woodwinds that deliver ostinato figures and create a bed for a piano solo theme in the middle section. It is somewhat excited and relentless, with a sad tone and melancholy lurching around. Definitely not standing still, will suit running scenes, possibly nature shots and short form adverts. Period dramas a la Atonement welcome here.
Delicate and light, no frills piano solo theme that falls into romantic and emotional domains. It changes to a mildly more playful accent in the middle sections, but overall keeping an overarching melancholic feeling. Performed with a truthful and honest human touch.
Magical and crisp, with woodwinds, balzato strings, and a light orchestral arrangement that create a cohesive yet delicate sense of progression. Confident and pleasing with a mysterious edge, will suit fairy and dreamy worlds, nature related footage, short form adverts.
Sparse plucked Cello, calm and slightly wry, anticipating something, a note of unease. Then out of nowhere urgent and plaintive bowed cello and violin. Rhythmic at first then suspending itself with long drawn out notes. At 4:14 there is a unified statement, uneasy and dissonant. It feels like someone is valiantly struggling to pull themselves up but can’t do it. They try harder and more desperately but the forlornness of the situation overtakes them, they pause, then after a last effort they fall to their doom. If you were ever narrating an Edgar Allen Poe story, this would be the soundtrack to it.
Soothing and contemplative, with swirling high pitched strings that evoke a sense of uneasiness on a solid and reassuring base of long cello drones. Orchestral percussion brings in tribal and epic reminders. Feels like Macbeth, or a classy Braveheart. “In the frosty air, the lonesome warrior reaches the summit of the mountain and beholds the grandioseness of a burning war field”.
Dissonant and cloudy, a crying lament of strings that successfully combines early classical 1900s influences with modern day film scoring. It has four definite sections that alternate relaxation with excitement. It will suit period dramas with complex characterisations but also possibly otherworldly and supernatural settings. Atonement. Downton Abbey if it had more balls.
Reflective, dark and searching, with deep repetitive timpani and a sorrowful piano performance that play in the low range of frequencies to deliver a poignant feeling of inevitability. Something big is happening. It steadily grows in intensity as a compelling string ensemble builds and builds. Our protagonist is finally ready to accept the consequences of an inevitable, dramatic reality.
Ethereal and delicate, a relaxing episode of synths and organs that is both looking at the inner and outer side of your character. Blissful and gently flowing up in a sky made of pink streams of consciousness, will suit utopian sci-fi and fantasy settings.
Playful with a dreamy edge, a delicate ensemble of synths that evoke a sense of futuristic exertion and in some sense an inevitable acceptance of the randomness of events. Like a child of Rutger Hauer’s Nexus 6 playing with its toys in a semi dark sitting room.
Slow and intense, a solo piano tune with a long reverb that conjures images of dreamy, haunted angels. It has a somewhat plasticky feeling that hits somewhere in the middle of being for real or just daydreaming. As it progresses the mood shifts into epic territories using long form drones and high pitched synth instances. We are probably watching passers-by from the top of an evanescent skyscraper.