Epic Orchestral Music. An incredible full length Powerful score by a 22 year old composer that fuses Beautiful Melodies with Crushing Roars. It's been described as 'Danny Elfman meets John Williams'.
His two singles 'TLM' and 'Wounds' are sweepin [+]Epic Orchestral Music. An incredible full length Powerful score by a 22 year old composer that fuses Beautiful Melodies with Crushing Roars. It's been described as 'Danny Elfman meets John Williams'.
His two singles 'TLM' and 'Wounds' are sweeping the world. All old music was new at one point!
The CD cover depicts the main melody throughout the score: E-E-F-E. The first track 'Prelude' sets up all 11 melodies of the powerful score.
FROM THE LINER NOTES
From the time I strummed my first chord on the guitar, I remember being fully convinced that this is what I wanted to do. That feeling was something I couldn’t explain, but had me from the start. Long before my understanding of theory, or ear training, all I was going on was the feeling I got when I played that first chord. I used to sit in my room for hours practicing, listening to CD’s, transcribing - anything so that I could improve.
As the years passed I promised myself that every day I would learn something new. There’s something about classical music that allows the listener to sit, relax, and take in every note, every crescendo, and every breath. It is incredible, and naturally, a CD is an intimate experience, where one can shut their eyes and listen for hours. From the strings to the winds, there are so many emotions and ideas one can create with the orchestra.
Everything about this was tedious. There were many times when I would spend hours on one short section, only to learn from it, scratch the new result, and start over again. This is a project that I have spent a lot of time over. It consumed all of my time all the time of nearly the last two years. As for the recording, I wanted to keep every dynamic the way it was intended - the pianos softer than a whisper, and the fortissimos louder than a roar.
I.I is meant to be listened to from start to finish, but that each piece can stand on its own, too. It consists of several melodies introduced in ‘Prelude’ that I develop throughout the entire score. In all, there are 11 compositions, with a cyclical technique that I use to interweave each composition throughout the other compositions, creating an ‘adhesive’ transition from work to work. When morphing these melodies I use many techniques - diminution, key change
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