Action Loop 1 - Music for brawling, racing, or some other such video game level designed to over-stimulate the adrenal glands. Download here.
moopaloop asked: I heard your clip of the orchestral version of AEH, and I think it's amazing. What program do you use to write it? I have Finale PrintMusic 2010 (which sucks balls) and was thinking of upgrading.
Thank you! I’m using EWQL Symphonic Orchestra (silver edition). I compose with it through Cubase and/or FL Studio (the latter has no score editor, though; you’d be stuck with a piano roll editor).
Royalty free fantasy music loop. Ideal for a horse adventure. Use at your will, and download it here.
Watched Trainspotting again after a good decade’s absence from it. There still has yet to be a movie since that has made me paradoxically a) want to try something really bad, while b) making me vow that I never, ever will.
As Halloween approaches, Danny Elfman’s twisted-yet-beautiful pieces infect more and more of my playlist. Listening to Beetlejuice and Batman in particular, I’m reminded once again of the lush and unique orchestration of his music. But, where Elfman himself is celebrated for his musical vision, I feel it necessary to point out the creative talents of his orchestrator/arranger Steve Bartek (also lead guitarist for Oingo Boingo).
I’m not for one minute trying to rob the praise from Danny, but I do feel that orchestrators, particularly within the film score community, are poorly recognized by audiences. As I listen to the opening track of the “Batman” soundtrack, the melody and chords are half of my enjoyment, as I suspect it is for most listeners. The instrument dynamics and composure are the other half: the building and climax of a movement; the power and force behind the action movements; the tenderness and mystery behind the brooding movements. The combined work of both these artists is what creates such a memorable, moving piece of music.
I don’t know how much their dynamic has changed in recent years, but it looks like Bartek is still working alongside Elfman, being involved in almost every major film score he has done. Just about all film and television composers, where an orchestra is needed (even if the TV show uses composing software instead of a live orchestra), employs an orchestrator or arranger alongside the composer. As far as I’m concerned, orchestration is every bit as creative and expressive as composition (it’s much harder for me to tastefully arrange a melody with my orchestra program than it is to conceive it).
So, while I sit here with goosebumps, revisiting my favorite themes, I’d like to thank both Danny Elfman and Steve Bartek, and any other vital personnel who are still being overlooked, for making it all possible.
I write happy music. Because I’m such a happy person. Clearly.