Somber and ethereal, with a piercing violin, a mellow vibraphone, and a classical piano that dialogue in a very physical and earthy performance in the vein of mid 1800s classical sonatas. Structured in 4 parts, the violin acts as a connector between all the sections and bridges firstly the vibraphone and then the piano, before returning solo for the coda. High quality execution that will fit dramas with a sense of sadness and longing with a seethed edge.
Delicate yet jumpy and surprising, with a structure that spans through 4 different musical ideas and arrangements throughout the piece. A classical and poignant orchestral start followed by a paced, urged second section. After that, a solid rhythmical element enters the scene and takes the piece at its maximum level of complexity. The last part is left to a somber and saturnine piano with the help of rarefied woodwinds inserts. Overarching all these shifts, a feeling of melancholy and yearning, a flower full of hope.
Tender and melancholic, featuring an arpeggiated piano wrapped by a strings arrangement that make use of modern day film scoring techniques to deliver a short theme, and develop it in just 1 minute and 20 seconds. Starts with piano, and after second 40 the strings take over. It will suit short form advertising and film trailers where the music is needed to help sustaining the emotional arch of your story.
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.
Full on in your face hip hop. It’s big, it’s bad and brash. Recommended for rapid cut promos, or waking up the neighbours. This guy knows what I’m talking about. I’m nodding my head as I type this. Imagine Busta Rhymes ‘Ante Up’ mixed with a little bit of Missy Elliot and some chipmunks, but like, hip hop chipmunks. All samples cleared.
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.
Hugely passionate, an intense dialogue of strings intertwined beautifully to create a beautiful, varied and dynamic piece. A stream of playfulness and longing, with determined and delicate sections. This feels like an emotionally charged dance, a passionate love-making session, a frenetic game, a storm ravaging the sea. Not This Day takes us through many different states, and eventually rests with a triumphant positive end.
Sneaky and playful, with pizzicato strings, brass accents and an alluring theme embodied by woodwinds and violins. Somewhere in between a big orchestra and a folk band, it steadily increases in tempo as it progresses. Great for light and quirky advertising.
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.