Performance by Dae-Young Kim and Lies Braakman(on two full-size Steinways) in a concert in the Music Hall at Guildhall School of Music and Drama, 27th September, 2013. (Recording by GSMD Audio-Visual dept.)
A piece for 2 pianos, written for and performed by Lies Braakman and Dae-Young Kim, September 2013, as part of a 2 pianos project at Guildhall School of Music and Drama. This piece explores juxtapositions and relationships between different musical aspects drawn from the same source material, which is a folk-influenced re-telling of the opening of Xenakis’s ‘Embellie’. I was also concerned with the idea of doubles – of divergence and convergence of sounds from two supposedly identical instruments.
Fascinating, feature documentary, with a soundtrack by the incredible Chris Bangs (Talk in Colour), which includes me playing and improvising on tenor sax. Opens 26th June, 2013.
A set of four movements, for oboe and piano, which explores relationships between acoustical phenomena, the inner details of sound, and musical ideas intended to evoke mysterious, distorted and often disjointed or transitory visions. In this piece, I sought to create a dramatic range of musical characters from the same pool of musical material, from which the four inter-related movements are all drawn.The oboe part makes use some alternative fingerings, which I experimented with whilst composing, used to create specific, unusual timbres.
I performed and recorded the oboe part live (with extensive editing, post-recording), while the piano part was made by editing MIDI data, which in turn was played (through the Ivory plug-in) on a virtual Fazioli.
Amazing episode of this hilarious web-series, written and directed by Tom Melia (for which I composed the music). Please visit Notebook Films for more episodes and info. There are currently seven episodes, with more on the way shortly.
The opening of an incredible short film, written by Sotiris Tsacpounidis and co-directed by Sotiris and Eric Omani, for which I am creating the music. The first of the cues which I wrote begins at 1:24. The film is currently in post-production and is due for completion by the end of November. Please watch this space for more info.
The first two cues of a soundtrack I’ve created for a fantastic, forthcoming short film. These two cues are those featured in the opening of the film in the link above. Watch this space for further details.
My soundtrack uses a number of sounds that I created by recording objects close-mic (a plucked elastic band over a box, tin and pots; a struck metal coil; hitting a resonant tin etc). I edited and processed these recordings to create virtual instruments, that I could play using virtual samplers and my controller keyboard.
A piece for two pianos which explores aspects of transience. Evolving melodic shapes of ambiguous, shifting tonality are suspended above repeating patterns.
The opening episode of a web-series by Tom Melia for Notebook Films. I composed and performed the music for the opening title sequence and the closing credits, scored for glockenspiel and Hammond organ. If you enjoyed this episode, please support the team behind this film by visiting the Youtube page and clicking the ‘like’ button:
For more episodes and info, please visit:
Notebook Films can be followed on Twitter as @Notebook_Films
A piece that attempts to evoke a sense of wonder and growing, for oboe, descant and treble recorders and piano (recorded multi-track). This combination of instruments (especially the recorders) to me seems to help lend the piece a sense of nostalgia for innocence and times past.
A piece I composed through multi-track improvisation (recording one layer at a time), for an imaginary scene, for oboe, descant and treble recorders, and tenor saxophone.
This composition is based on a libretto by David Cottis. Thank you to Ellie Lewis-Nunes and Robin Burlton for their sublime singing! The instrumental parts (oboe, tenor saxophone, recorders, piano and synthesizers) were performed by me. Much of the creation of this piece came out of multi-track improvisation (recording one instrumental layer at a time), followed by extensive editing.
Documentary produced by Berta Barcia, music by Joe Lewis-Nunes. The Ligeti-influenced, experimental music I created occurs at 2:17-2:49, 3:08-4:48 and 5:48-6:50. Berta placed the music relatively low in the mix, in order for the narration to come accross clearly. For this same reason, I restricted a lot of the sounds within the music to lower frequencies, so listening on headphones or speakers capable of reproducing sounds in the bass-range at a clearly audible volume is recommended.
A musical snippet intended to evoke transitory, other-worldly happenings.
A piece I wrote and performed (multi-track recording) for 2 pianos, for documentaries.
A piano piece I composed and performed for documentaries.
A piece I composed and performed (multi-track recording) for 2 pianos, for documentaries.
A little piece I composed and performed (recording multi-track), for oboe, descant recorder, tenor saxophone and piano.
A little piece I wrote for a pilot for a comedy series, called ‘The Art of Awkward Conversation’, by Tom Melia. This musical sting features under the opening title sequence.
A piece of music I wrote for an advert, for a book on Amazon.co.uk, pictures by Martin Usborne.
Scene from an animation by Robb Ellender, music composed by Joe Lewis-Nunes.