DAY TWO-HUNDRED AND TWENTY-NINE
It’s funny how events in your life lead you to people who introduce you to people who introduce you to other people and so on. I met a man through a girl I performed at Puppet Playlist with in New York who creates web documentaries who was looking for music to add to his films. She put me in contact with him, and he recently contacted me to do some work for him creating instrumental pieces. He doesn’t really ever need anything longer than 1.5-2 minutes, so it’s really nice, but also challenging to fit what he needs in that space of time. He’ll send a request saying: (This isn’t an actual request, but they kind of sound something like this), “This is going to go into a short documentary about an art collector from the Sao Paulo, Brazil. There will be voice overs, so something minimal but moody and moving forward and building to a climax at the end.” I really like him. He’s patient, enthusiastic but honest and straightforward. He’ll tell me straight away if it’s not working. It’s great working with him.
This piece was created from his request that I either compose or improvise something over a drum track he sent me (which you can hear a solo section of in the beginning). He gave me specific direction on mood and what he was looking for, but not so specific that it was limiting. I ended up creating 4 different trial tracks for him to use. This being the second one, it wasn’t until he sent me an actual clip of the scene I was writing for that I understood what needed to happen. This version was much too busy and chaotic especially considering there was to be quite a bit of voice over. I need to finesse the end as well. He ended up liking the 4th, much more Philip Glass-inspired, composition I sent him. Ever heard of Philip Glass? I highly recommend him – look him up and have a listen.
I’ll be honest and tell you that this is largely an improvisation – responding to each of the three cello voices as they were added on top of each other. For those of you who have followed the 365, you know this is my preferred M.O. a lot of the time, but I enjoy traditional scoring as well. In this case, where I was sent a drum track that ebbed and flowed within itself, it was easier to feel it out improvisationally rather than a formal score.
1. Original drum track sent to me
2. 3 cello tracks
I moved to Brooklyn last year into a very small apartment, and I’m still trying to find the sweet recording spots hidden within it. This recording was done a little hastily as I was leaving for tour and wanted to get something out as soon as possible. Someone should publish a book on how to build a quickly collapsible recording space into the tiniest apartment - because you still have to walk around, cook dinner, and play with your dog while tripping over all of your recording equipment in the corner of the room.
Here you go: Hope you’re doing very well. Thanks for listening, reading and sharing.
The Art Film Cello Trio (trial #2)