TV & Film Music
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Production music used in tv/movies
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A tune cooked up to underscore a baking montage.
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Scenes Scored Three Ways
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Forest Scene - "Scored Three Ways"
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Man Walking Away - "Scored Three Ways"
(video, www.vectreezy.com) |
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Pasta Maker - "Scored Three Ways"
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Four selections from Joel Abbott's ongoing series of variations on the "All Things Considered Theme"
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#1 is the Carl Stalling / Loony Tunes / Merrie Melodies variation.
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#2 is the Also Sprach Zarathustra / 2001 variation
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#3 is the Piano Sonata version
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#4 Is a the Jazz Piano version
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Theatre Music
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The Mousetrap at St. Michael's Playhouse. The composed music is all transitional, spooky, and mysterious. I played with the theme of "Three Blind Mice."
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The text of Marcus; or the Secret of Sweet is filled with water imagery. To support this, Joel recorded sounds of water, and created instruments from the drops and swishes, and used a variety of odd digital processing of the water sounds as the source of his sound design.
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Lady Macbeth and Her Lover wanted an edgy disturbing score to support the violence of the play. Both the content of the play, and the venue itself (FringeNYC) seemed to support a punk electronica feel.
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A Comedy of Errors needed a sound design informed both by Vaudeville and by modern dance and hip hop music. So, here we have some old-timey loops (some were made to sound old), beat-matched with contemporary drums and production techniques.
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Around the World in 80 Days required extensive musical composition to support all the different locations Phileas Fogg visited. Filled with action, romance, humor, and heroism. The score is several strong melodic motifs that could be varied to fit each new global destination and dramatic tone.
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The sound design of Titus Andronicus was filled with heavy rock guitars and drum kits. The glam-rock sound design supported the show's transitions, raised the stakes during the action scenes, and underscored the moments of heartbreak.
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Edward Bond's Have I None at the Yale Cabaret required a futuristic, yet earthy soundscape. All of the composed transitions are sound-collages of real objects played live. The primary sounds of the show were all played on Yale's collection of Baschet Sound Sculptures, bowl gongs, and bones.
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Unnecessary Farce, a silly police stakeout farce set in adjoining hotel rooms, required many zany sound effects and lighthearted music. This selection is the top of show overture, which set the stage for the hilarity, wherein each door slam was punctuated by a flash of light on one of the seven doors on stage.
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Here I am explaining the live Foley effects from Gulfshore Playhouse's glorious production of It's a Wonderful Life, A Live Radio Play.
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