Summertime, and the living's...

busy.
I forgot to mention it on here before I shipped off to the land of sugar-beets and soy, I'm going to be pretty busy working the next couple months, so posts here my be a little more sporadic than they are usually.
I've gots ta work, so I can afford to go to the PNW film scoring program.
So for this week, I hope you are doing well.

I'm on the Podcast

The Chronicles of the Nerds invited me onto their podcast this week.
So i told a short anecdote about the inception of their intro song, and contributed overall to their stream of consciousness conversation.
Go check it out, and if you haven't yet, you should subscribe!

A graduation gift?

I don't know how you all feel about this, but it makes me very, very happy.
I just read that there is going to be a Star Trek Deluxe Edition score release that includes:
...over an hour of additional, unreleased music and sequences it into a chronological presentation of nearly 100 minutes of music from the film, including the final film version of the Main Title.
The elaborate and beautiful, 2-CD packaging includes a 28-page, full-color booklet (in the dimensions of a Blue-Ray disc case), with new liner notes by Starlog Magazine founder Kerry O'Quinn.
This is being (edit: the offering is from Varese Sarabande, but can be ordered from SAE) offered by SAE, and will be released on June 17th. This may just become a graduation gift to myself. Thank you 8 lb. 6 oz., newborn infant Jesus.
While I'm here, don't forget to contribute to the Curtain Call Kickstarter Fund. Help support this effort, and feel good that you're helping me gain experience.

The Climax of 4 years

The last couple weeks have been hellah busy. Lots of rehearsal for my senior recital. The Ruth and I went to San Francisco for our friends' wedding (congrats Greens!).

Then we got back from San Fran and had to clean the house in order to create a clean space for my parents impending visit.
Next is more practice for my recital, and rehearsals for the Bloch Sacred Service choral concert.
Then on Thursday, my Senior Recital, which was pretty awesome... more on that later. Then on Friday, my friend Stella had her recital, in which she played one of my compositions. Then on Saturday, my friend Matthew had his recital. Sunday, the last concert I will be involved in as a student at PSU.
Whew. That was a lot of stuff.
But now I'm done (for all intents and purposes), and ready to let my brain rest for a second.
Next up: go to North Dakota and build some railroads to earn money to pay for the PNW Film Scoring program.
But now for the recital. I loved it. And why shouldn't I? I wrote the music. But seriously, I was really happy with it, and my professors seemed pleased as well. Even better though, I think my friends who performed enjoyed it as well.

Curtain Call to Arms

Alright. Not really to arms. But, Curtain Call (17 episode murder-mystery web series) does need your help. Michael Stromenger (director, writer) has started a "kickstarter" project to try and get some financial backing for the project.
Kickstarter is an online program for people to make donations (small through large). The goal in this case is $2500. If you could help out, that would be spectacular. There aren't many days left to reach the goal, and we aren't that far away from it. If the goal isn't reached, you won't be charged your donation. If it is reached, you won't be charged until June 11th.
here is Mike's video on facebook
and here is the kickstarter page.
In other news, I got an email from PSU telling me that I will be graduating summa cum laude. Is that good?

They like me, they really really like me (my money)

Nah, but seriously, I am so excited. I've been accepted into the Certificate Program at the PNW Film Scoring Program. It seems like a logical next step for someone getting their Bachelor's in music composition, and who wants to score films, videogames, and TV shows.
The program lasts from September through the beginning of July. Location: Seattle. This means huge life changes coming up. Stay tuned.

Another week closer

Here is the cover for my finished Senior Recital Music book. It's thick (about 3/4 of an inch) and heavy... and honestly, pretty cool.
Now that that step is done, I'm working on the program notes and the program.
Also, working on the logistics for rehearsals, which is kind of stressing me out. Anyways, back to it. Have a good week everyone!

About a month to go

In a little over four weeks, the time of my senior recital will be upon us.
Am I scared... no. Am I nervous... maybe a little.
I've finished the first draft of my last piece for the concert, so I don't have to compose any "new music" per se. Overall it turned into about 9 pieces, with a couple sets. Here's the list in tentative order:
1. The Wooden Sonata (for clarinet and marimba)

• I.     Come i denti dentellati (like serrated teeth (the piece is mainly in 5/8))
• II.   Adagio
• III. Allegro con gusto

2. No More, America (for men's choir)
3. Silence (Vocal pieces for mezzo voice and piano)

• I.   EA Poe
• II.  JW Riley

4. Seduction of a Spanish Supervillan (Trio for piano, violin, and cello)
5. Hero's Humble Home (fiddle and santur)
6. The Shanty Set

• I.     Katy on the Shore (mandolin, fiddle, two baritone voices)
• II.   The Fiddler's Hook (2 fiddles)
• III. The Assassin's Flight (2 guitars, fiddle, banjo, mandolin, bass, and voice)

In other news, I've put links for the maelstrom soundtrack on the right... so send your friends there, the rich ones.
Did you guess the model we based our recital poster on? Well, here it is:

The Schumanns

Maelstrom on iTunes!!!!

Does this mean that we've made it?
Maelstrom - The Zombie Opera is now on iTunes. Go here to check it out.
It is also available on Amazon.com here.
And the best deal can be had by purchasing it from CDBaby.com here.
Help support the next opera by getting a copy of this soundtrack.

Maelstrom... back from the dead

Although the title of this post would make for a great title for a sequel to Maelstrom - The Zombie Opera, I'm actually referring to Maelstrom's soundtrack, which is now available for purchase on CDBaby.
Check it out HERE. Each purchase goes toward the next opera. It's so good...er, it will be.
It has take a long time and countless hours of laziness, but finally, with the help of my friend Dan (of Chronicles of the Nerds fame, and an employee at CDBaby) we finally have an offering for people to purchase and listen to the music from Maelstrom.
Also, if you haven't bought a DVD yet, they are still available HERE.
Also, in honor of this occasion, we've put up a couple videos from the show on YouTube for your enjoyment.

Not much school left

7 1/2 weeks left of school. That's a little scary.
Things are starting to fall in place, however, so that's a good thing. Although, my composition professor suggested I write two more songs than what I had originally planned for.
So what do I have left? 2 songs, and I have to find a men's choir to sing one of my pieces.
Here is the playlist in no particular order:

• Clarinet and Marimba Sonata -- 15'
• Piano Trio -- 10'
• Men's Choral Piece -- 3'
• Vocal piece for Mezzo and Piano -- 5'
• Violin and Santur Folksong -- 5'
• Shanty for Bluegrass band and baritone-- 5'
• Shanty for Mandolin, Fiddle, and 2 Baritones -- 5'

• 2nd Vocal Piece -- 5' ??
• Shanty Intelude -- 3' ??

So there you have it. An hour's worth of music. The trickiest thing will be rehearsing the bluegrass band (I think). I heard the first rehearsal of the piano trio, and was really impressed. They're going to rock it for sure.
What will I be doing? You mean, besides having written all of this? Well, I'll be playing rhythm guitar and singing for the Bluegrass Shanty, and I'll be playing Mandolin for the 2nd shanty.
Also, a poster is in the works, so watch out for that. June 3rd at the Old Church. Get your plane tickets now...

A big Easter

It began last night with the witnessing of some of the best Rock and Roll I've ever seen. MUSE! (turn down the volume before you play the video. It's loud.)

The show was so good. Those guys definitely know how to rock!
Then, I received from the easter bunny (in the form of a greeting card my mom sent) 20 iTunes dollars. I've been eyeing Garry Schyman's score for Dante's Inferno, and I know that the score for Fringe is being released on April 20th. Assuming that I will get those 2 anyway, do you have any suggestions for an iTunes score/soundtrack that I should get? And Why?
Oh yeah... Happy Easter everyone.

My Newest composition

Hi everyone. Last night marked the finale of the PSU 2010 Composition Competition. All three pieces in contention were played well. Patrick Csak was chosen as the winner this year.
Despite not being chosen as the winner, I was very proud at the quality of the ensemble after only four rehearsals. If you would like to hear the recording, go here, where I have put up the mp3 and a PDF that you can follow along with.
Too bad I can't have the piece played on my recital. That would save me an extra five minutes of writing. Hah.
Also, in light of it being April fools day, NPR ran a spot about classical music that included jokes. If you'd like to hear it, check it out here, and click on the "listen to this story" link.

Clash of the Titans: Rosenthal vs. Djawadi

I'll admit that the title of my post is a bit deceiving. Rosenthal and Djawadi are not comparable... unless you're willing to consider Hans Zimmer the Nadia Boulanger of our times (which he very well may be... a much more superficial and shallow Boulanger). Nor are either of these men titans among film scorers, although one is closer to that than the other.
But I'm not here for that, I'm here to write a little bit about the new Clash of the Titans film score. Which was released today; 7.99 on Amazon.com, and 9.99 on iTunes.
The original was scored by Laurence Rosenthal, a product of the Eastman School of Music. He has had two Academy Award Nominations, 12 Emmy Nominations (winning 7), and two Golden Globe Nominations. The newer score is by Ramin Djawadi. He is a composer of Iranian descent who has scored a few films (Mr. Brooks, and Iron Man to name a couple). He has also worked as an orchestrator for Zimmer on films like Pirates of the Carribean and Batman Begins.

Clash of the Titans by Ramin Djawadi
First off, I'll say that the Media Ventures (Hans Zimmer Studio) sound is very prominant here, and why not... Djawadi is a disciple of Zimmer. A lot of percussion, strings that are pretty simple. Tons of rhythmic and melodic ostinatos. Big Brass. This score is definitely a product of Zimmer alumn.
This 'flavor' comes through almost right away in the third track "Perseus." It starts with a string section melody and soon adds in a santoor. Soon, it begins to build up to a more epic sound, extending the range of the strings and adding in some percussion. Then enters the choir and a string ostinato. Now another string line to weave into the rest while adding in even more, louder percussion.
Sidebar: I will say that I really appreciate the Santoor (as I have written two pieces that include that instrument, and am fortunate enough to have a friend who is awesome on the Santoor. So awesome in fact that she won a concerto competition and will be debuting with the Metropolitan Youth Symphony in June!)
Another track that is massive: "Scorpiox." I think we've all seen the trailer with the huge scorpions running around and stabbing the ground trying to kill some people... well, this cue fits the bill perfectly. Huge in sound combining a big string texture with pounding percussion and beefy brass sounds.
In other tracks the heavy metal influence isn't even disguised as the distorted guitar is layered on top of the pounding strings. Other cues have a less epic, huge sound. A cue that falls under this category would be "Pegasus." The magical side of this fantastic story is easily perceived with the metallic percussion sounds and the tremelo strings. Also the Oud (wind instrument) and female voices lend themselves to a very otherworldly and majestic feeling. If this plays during the Pegasus' entrance in the film (which it should... I mean look at the title), I think it will work very well... and not a bad way to be introduced either.
A track that caught my attention immediately was "Djinn," which begins with a Tuvan throat singer. This was such a brilliant choice, because a djinn is essentially a genie, or more specifically a supernatural being able to take a human or animal form and who can exercise influence over people. The sound of the singer and the other instruments totally make me feel a supernatural vibe and make me want to see this djinn!
Most of the other cues follow suit to to those already discussed, and are, I imagine, very complementary to what they'll be underscoring on film. These cues are definitely orchestral heavy metal. Unfortunately, with that come a sense of shallowness. It doesn't mean I don't like it, because I do. But I think it means that the amount of material to study is not comparable to a score by someone else (like Goldsmith or Williams). The nuance seems to be surface level (if any exists at all), and although it makes for great ear candy, it doesn't satisfy the need of having been touched deeply by a piece of music. It's funny, but I found that this score is making my appreciation of what James Horner did with Avatar grow.
I think one can attribute this scoring attitude to the times, and the general attitude of what sells. Big, epic things; bright lights, huge 'splosions, and huge, in your face, instrumentation (which can potentially lead to a lack of orchestration). To me the obvious reason why Djawadi was brought on to this film was because he proved he could do things like that from Iron Man. But I must say that I find this score superior to Iron Man as I feel it has a little more depth (if even just a little.)

Clash of the Titans by Laurence Rosenthal (1981)
This score is very 1950's with it's orchestral sound. Honestly, it sounds like a scaled back Lawrence of Arabia. When I listen to it, without having seen the movie, I imagine lots of fantastic things happening in a desert-like place.
I wouldn't imagine there being a lot of action in this film as the music isn't always epic in its grandeur, but rather subtle in its narrative. I presume that this follows how films were also made at the time. With less shaky cams and fast cuts and a lot more character.
The cues he writes depend a lot more upon the orchestra to create the sounds. I'm not saying the Djawadi's didn't (but he was able to use samples and create a much more precise sound through the ability to EQ everything bigger). What I am saying is that everything Rosenthal wrote is within the achievable dynamic of the orchestra. There aren't any electronic elements, and there aren't any exotic instruments. The exoticism comes from the themes he wrote and the orchestration of those themes. Quite brilliant really. Where I would expect to hear Djawadi's score in a Rock venue, I would expect to hear Rosenthal's in the concert hall.
My favorite thing to do, was to combine the scores in a playlist and listen to them together on shuffle. What was amazing (or not amazing at all) was that they work so very well together. Where one was lacking in subtlety, the other made up for, and while that one didn't contain the expected high octane action cues, the other covered. It seemed as if each score was a different side to the Clash of the Titans coin. Together, they are awesome. Apart, they are almost incomplete, however... they each respectively get the job done!

How to Train Your Dragon to have kick ass music!

Last week I got the score to How to Train Your Dragon (iTunes Link), written by John Powell.
This is the score I didn't know I was waiting for. I knew that I'd been craving a score that was a little epic and full of brass and percussion, with themes that are quite heartwarming. I didn't realize that this movie's score would provide that.
This isn't Powell's first animated movie venture; he's also composed Shrek (with Harry Gregson-Williams, Ice Age, Kung Fu Panda (with Hans Zimmer), and Robots to name a few, and I think that an animated sound can be heard through the music, at least a Powell animated sound can be heard. Because of this I expected a score that was lovable and quirky. And although this score does provide that, it is also so much more.
The story (from what I've gathered from the trailers) is about a boy living in a Viking society who befriends a dragon much to the chagrin of his elders. I would be willing to say that the musical arc on this album imitates that.
Right away, the score opens with a slow brass motive that becomes the woodwind quirkiness I hinted at earlier. It then quickly morphs into a large orchestral gesture with pounding percussion and brassy fanfare playing through a main motif. Very fun and epic, especially when you add in the chorus.
Other cues on the score really help the overall sounds and feelings of what (I imagine (from the cue names)) they're underscoring onscreen. For instance "Dragon Battle" starts with a very weighty and ominous sound in the brass and percussion. Eventually more layers are added on and it becomes very huge in scope.
But there are also songs like "Forbidden Friendship" which use instruments that are not necessarily normal, like tibetan prayer bowls and steel drums, and aren't epic, but very sparse. This cue is also one of the heartwarming ones where you can feel the relationship between the boy and the dragon begin to grow and blossom.
Powell also does a great job of blending very folky tunes into the full orchestral sound he's delivering. Some are downright influenced by the instrumentation, whether it be bagpipes, or flute, or a great fiddle passage. This seems a great technique for really bringing this score into the world the characters are in.
Through it all, the sound is very John Powell. The sweeping themes and orchestrations are very similar to styles he has composed before. Whether it reminds me of older scores of his like Paycheck, or bits of Shrek, I don't really mind, because I feel this score is really awesome, and fun!