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Music For Film and Television
The Patron "Main Title" (2019)
Cartoon Music Demo Reel (2014/2008)
Death of a Snowbird (2013)
Hometown Dearborn (2008)
Music for Theatre
CHARLOTTE'S WEB
For my 2016 score to Charlotte's Web, most cues were a bluegrass-inspired mix of acoustic guitar, banjo, and mandolin to enhance the imagery of life on the farm. This style was juxtaposed with classical violin, piano, and harp to represent Charlotte's mysterious and melancholic wisdom. This cue is a variation of Charlotte's Theme as she spins her first web for Wilbur.
A CHRISTMAS CAROL
Scored in the Winter 2015, this music underscores the point at which Ebenezer Scrooge sees his own tombstone and collapses to the ground in despair.
SNOW WHITE AND THE DWARVES
I scored this mini-musical in 2014. This was another very enjoyable project because it was another excuse to dive into a style of music I had not yet had an opportunity to work in. The approach that I took was a blend of contemporary Broadway with 1990s-era Disney animated films. Notably, I had The Little Mermaid and Beauty and the Beast on my mind. This overture is a medley of themes from songs sang by the main characters. To hear demo recordings of the songs, click here!
The other audio samples are exmples of my work for other theatre productions at Henry Ford Community College. Here is a bit of the story behind them. Scroll to the bottom for links to music for film.
MOVEMENT MACBETH
For my 2016 score to Charlotte's Web, most cues were a bluegrass-inspired mix of acoustic guitar, banjo, and mandolin to enhance the imagery of life on the farm. This style was juxtaposed with classical violin, piano, and harp to represent Charlotte's mysterious and melancholic wisdom. This cue is a variation of Charlotte's Theme as she spins her first web for Wilbur.
A CHRISTMAS CAROL
Scored in the Winter 2015, this music underscores the point at which Ebenezer Scrooge sees his own tombstone and collapses to the ground in despair.
SNOW WHITE AND THE DWARVES
I scored this mini-musical in 2014. This was another very enjoyable project because it was another excuse to dive into a style of music I had not yet had an opportunity to work in. The approach that I took was a blend of contemporary Broadway with 1990s-era Disney animated films. Notably, I had The Little Mermaid and Beauty and the Beast on my mind. This overture is a medley of themes from songs sang by the main characters. To hear demo recordings of the songs, click here!
The other audio samples are exmples of my work for other theatre productions at Henry Ford Community College. Here is a bit of the story behind them. Scroll to the bottom for links to music for film.
MOVEMENT MACBETH
In 2012, I was given a wonderful opportunity to score the music to a very special production of Shakespeare's Macbeth. Directed by Gerry Dzuiblinski, the entire work was conveyed through movement and music alone. There was no dialog, therefor the music had to communicate a great deal. This clip is the famous scene where the three witches cast their evil upon Macbeth, chanting the words "Double, double, toil, and trouble," and evoking a collection of disturbing imagery. At request of the director, much of the music was synth based, and very dark.
I particularly enjoyed scoring this play, as the music was far outside my element. It has horror film undertones, unearthly sounds, and an unrelenting darkness that is all certainly atypical of my music.
ROMEO AND JULIET
I particularly enjoyed scoring this play, as the music was far outside my element. It has horror film undertones, unearthly sounds, and an unrelenting darkness that is all certainly atypical of my music.
ROMEO AND JULIET
This clip is a synthesized realization of several themes for my personal favorite Shakespeare play. Romeo and Juliet. Though not a true overture, I have orchestrated a few different moods that would be experienced throughout the course of the work.
This medley begins with the "love" theme that would continue to come up in various forms in the performance. It's followed by an underscore for the mysterious Apothecary, toiling with his medicines and potions. Next is the quasi-period music to be used for the dance. Note the waltz variation on the love theme, meant to occur at the point in which the two lovers meet. Finally, an atonal soundscape that would be heard during the most tragic scenes of the play.
WISDOM AND WONDER
This medley begins with the "love" theme that would continue to come up in various forms in the performance. It's followed by an underscore for the mysterious Apothecary, toiling with his medicines and potions. Next is the quasi-period music to be used for the dance. Note the waltz variation on the love theme, meant to occur at the point in which the two lovers meet. Finally, an atonal soundscape that would be heard during the most tragic scenes of the play.
WISDOM AND WONDER
Wisdom and Wonder is a children's play written by Kate Ulrey and premiered at Henry Ford Community College. It tells several stories from Greek Mythology with the intent of teaching the audience. The audio clip presented here is the tone poem "Pandora's Box," meant to accompany a dance which depicts the story of the plagues brought upon the earth by Pandora's vice of curiosity. Directed by Gerry Dzuiblinkski.
The music to this play currently exists only in pre-recorded form, though a concert piece based on the themes is currently in the works.
ODYSSEY
The music to this play currently exists only in pre-recorded form, though a concert piece based on the themes is currently in the works.
ODYSSEY
Gerry Dzuiblinski directed Derek Walcott's adaptation of Homer's Odyssey. The clip here is the "Siren's Song." The script describes haunting flute-like voices that distract the sailors. What was done here was perfectly blending synthesized flutes with vocalist Bonnie Schippling, then washing it in a sea of reverb to achieve the omnipresent sound of the Sirens.