FILM ,
TELEVISION & CONCERT MUSIC
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| TITLE |
MP3 |
WINDOWS
MEDIA |
REAL
AUDIO |
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| A Secret Part | |||||
| This piece was written as a testament
to my ability to survive and thrive in Los Angeles and be a part of its
vibrant musical landscape as a composer of television and film music. The piece is a relatively simple AABA form that uses the twelve tone technique as a means to an end. The rules are not strict but conceptually the technique helped me to push forward. |
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| Bank Transition | |||||
| This cue was written for a Bob Mardis film that I did for BET entitled Midnight Blue. This piece flows out of the preceding scene where the two stars are sharing a tender moment. | |||||
| Half & Half Theme | |||||
| Talk about near misses. I was invited to submit a theme for this Yvette Lee Bowser UPN television show. They went another way. This happens in the world of entertainment. | |||||
| Anna Finds Eden | |||||
| This piece is a cue from a picture I scored for Wesley Snipes’ company. It is entitled Nature Boy. It is the story of how Eden Abez got Nat Cole to record his song. This particular cue follows Eden’s love interest as she scours the Hollywood Hills in search of Eden. The landscape is lush and green. When the two eventually find each other the moment is rich, tender, and gratifying | |||||
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| Score Tag | |||||
| Another cue from Midnight Blue. | |||||
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| Sports Illustrated Billboard | |||||
| This cue is taken from the Sports Illustrated Sportsman of the Year television show which I scored last year. It is supposed to invoke strength, power and that which is bigger than life. | |||||
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| The Chase | |||||
| Just what the title suggests and it is taken from Midnight Blue. | |||||
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| Transition | |||||
| Just what the title suggests and it is taken from Midnight Blue. | |||||
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| Boat Woman | |||||
| The antagonist in Midnight Blue owns a boat. This cue represents her thematic material and lets the audience in on the fact that she is ‘not quite right’ in her head. | |||||
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| Stroll | |||||
| This is a definite Quincy Jones ‘Juke Joint’ vibe with some Stevie Wonderesque melodic work at the helm. | |||||
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| Peace | |||||
| I love this cue because in it I have explored two vital approaches to the idea of what peace sounds like and how it feels. The first part of the piece is probably a more traditional sparse approach contrasted against the second part of the cue which achieves peace too through forward motion that is not bogged down by fast harmonic progression. It achieves peace through floating. There is melody but the harmonic movement is static. | |||||
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| Ciro's Inside | |||||
| Legendary Ciro’s is the club where Nat Cole would perform. This cue taken from "Nature Boy" departs from Nat’s usual trio of guitar, bass, and piano and instead uses piano, bass, and drums to depict the opening band before the main show. Ndugu Chancler plays drums, Adrian Rosen is on bass, and yours truly on piano. | |||||
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| Meditation | |||||
| This excerpt is taken from a larger work that I composed. The piece in the larger context is fifteen minutes in length and is to accompany a book of meditations written by Pat Ricard. Darleen Koldenhoven covers all vocals except the intro (which is not included here) vocals which are performed by Ava Dupre. We have David Neal on the guitar, Stephanie Fife on cello and I am playing the piano. Soothing, reflective, and meditative. | |||||
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| The Beast (Excerpt) | |||||
| This is taken from a nine minute work I composed to show the duality that exists in being a human being. I wanted to paint a picture of the base animalistic human being who is flawed, tempted and self loathing juxtaposed to the basic good that is at the core of every human being that cries out to be acknowledged. | |||||