April In Paris (Live)
Back To The Predator
Cycle of Life (Excerpt)
Extra-Vehicular Activity (Excerpt)
Race For Time
Sensei Porter Dies
Take Me With You (Excerpt)
The Desert (Excerpt)
Yes, There Is A Santa Claus
Together At Last!
April In Paris - This cue was one of my writing assignment for live orchestra, while studying classical orchestration at UCLA. The cue describes two lovers meeting in a cafe on a rainy day in Paris. In writing the cue, the class was asked to emulate the orchestration and compositional style of French composer Claude Debussy (1862 - 1918). Being a big fan of Debussy, this was my favorite writing assignment. Recorded and mixed at Private Island Audio, Los Angeles, CA.
Back To The Predator - I composed this cue as a demo, when I was asked if I could write in the action-genre style of Alan Silvestri. This cue is reminiscent of his Back to the Future (1985) and Predator (1987) film scores.
Cycle Of Life - This excerpt is from a short orchestral score I wrote for the ASCAP Rudolph Nissim Composition Contest. All contestants were provided with the same three-minute film, which was very abstract in nature, much like the first sequence in Disney's Fantasia (1940). If you're familiar with the work of French composer Maurice Ravel (1875 - 1937), you'll find this excerpt similar in style to the Daybreak movement from his ballet music to Daphnis et Chloé. Although I did not win the contest, I enjoyed writing the music.
Extra-Vehicular Activity - This excerpt marks my first departure from acoustic compositions to electronic ambient music, and is part of a 40-minute work entitled Aural Journey. I was hired to write this work as background music for a gallery of paintings, done by a local artist in Long Beach, CA. The music was well-received, and I was hired again to compose background music for a Valentine's Day art exhibit at the same venue.
Race For Time - I was inspired to write this cue after watching an outer-space action sequence in an episode of The Outer Limits (1990).
Sensei Porter Dies - This cue is from the 20th Anniversary Edition of the soundtrack for Law of the Ninja, an early film venture, produced and directed by William Joseph Hill of Four Scorpio Productions. This film marks our first collaboration as director and composer. Sensei Porter's Theme is led by the oboe, beginning at 1:17, while the main title theme is played in the background by the first violin section.
Take Me With You - This excerpt, is a cue that was originally composed to underscore a romantic scene between a male and female character. The project was scrapped and the cue was never used.
The Desert - This excerpt was a film cue that describes a woman wandering the desert, looking for an artifact of importance. Sparse orchestration was used to convey the arid and barren landscape. For those of you familar with American composer Ferde Grofé (1892 - 1972), the beginning of the cue was influenced by the Painted Desert movement from perhaps his most famous work, Grand Canyon Suite.
Yes, There Is A Santa Claus - I wrote this short cue for fun, several years ago, over Christmas. The theme is taken from a film cue, which I wrote while studying film scoring at UCLA. The piano solo sounds a bit "tinny", since I didn't have a real piano at the time of the recording.
Venus - One of my favorite movements in classical music is Venus from The Planets (Opus 32) by English composer Gustav Holst (1874 - 1934). This piece was recorded while studying orchestration at UCLA, as an exercise.
Together At Last! - This is the opening track to a series of pieces, which I composed for a Valentine's Day art exhibit in Long Beach, CA. Here, I tried to musically capture the euphoria that comes with spending time with the one person in your life that changes everything. Recorded and mixed in Reason 6.
Lost Saucer - This track has the least in common with the rest. It wasn't composed under deadlines - just a catchy little electronic dance track written for fun. Recorded and mixed in Reason 6.