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Hi all,

There's been a wealth of great music shared here the past week, so thank you to fellow composers for your contributions!  I've been sharing some of my chamber works, but wanted to share with you a contemporary orchestral soundtrack piece I wrote, called Dance of the Devilish Demons.  It was designed to accompany the closing credits of an action/thriller type film, although it was not scored with a specific picture in mind, but is rather a "speculative" composition.

Anyway, hope you will enjoy the more aggressive harmonies, driving rhythms, and orchestral colours.

Dance of the Devilish Demons by David Carovillano

Cheers!

Dave

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Well done in every respect - adept scoring, fulfils the brief absolutely

The only problem I had is that it almost makes a concert piece in its own right and would make an excellent ballet piece. Certainly streets ahead of most of the soundtrack music I'm assailed by on telly!!

(In fact I often wish these broadcast committees and people would put the music on a separate sub-channel so it could be turned off.)

Hey Bob,

I definitely agree with your analogy re. novel vs poetry.  Well stated.  For sure, I'll share something in the near future that uses more percussion.  


Cheers!

Dave

Bob Porter said:

David,

I had to end my last post before I had a chance to properly finish my thoughts.

I think I would liken writing a symphony to writing a novel, and certain film score to writing poetry. One has and takes time to develop. The other must be more compressed. Both require skill. 

I would be interested in hearing something from you in this genre that uses more percussion.

Your comment about putting music on a sub-channel is hilarious, Dane.  Whenever I watch anything that my wife doesn't enjoy, she provides me a second audio track that drowns out the original...but at least she listens to my music voluntarily and with focus :)

Thank you for your kind words.  As I said, even though I try to find places in media for some of my music, I really do compose the music to stand on its own, which is why I didn't do well when I tried to write background/corporate commercial music for a while...Really interesting hearing several suggestions re. the ballet setting.  I hadn't considered that, but it definitely makes sense...perhaps a collaboration and/or commission opportunity will arise one day to expand on this.  Who knows?  Anyway, thank you for listening and taking the time to comment!


Dave

Dane Aubrun said:

Well done in every respect - adept scoring, fulfils the brief absolutely

The only problem I had is that it almost makes a concert piece in its own right and would make an excellent ballet piece. Certainly streets ahead of most of the soundtrack music I'm assailed by on telly!!

(In fact I often wish these broadcast committees and people would put the music on a separate sub-channel so it could be turned off.)

Great sounding piece David, the orchestration is wonderful.  I wouldn't necessarily think of percussion here but I'm sure you could add some nice features with it if you wanted. Just out of curiosity have you worked with hybrid or electronic orchestras at all?   There was a sound at 2:40 that I could not identify, sounded a bit like an electric bass but my hearing is not reliable.

Yes. Cinematic music may get the composer's name on the credits but in most cases it has to be subservient to the film. That was the trouble Villa-Lobos had with his "Green Mansions" score and why it had to be taken out of his hands. He later and rightly adapted it into his wonderful "Forest of the Amazon" Suite. It stood as music in its own right. I'm sure he hasn't been alone. On rare occasions film is set to music (one I can think of is Honegger's Pacific 231). 

That's why I commented on your work as I did. And I really don't think you need add much percussion. The bite of your strings sfz's is mostly enough - for me, anyway.

:)

David Carovillano said:

Your comment about putting music on a sub-channel is hilarious, Dane.  Whenever I watch anything that my wife doesn't enjoy, she provides me a second audio track that drowns out the original...but at least she listens to my music voluntarily and with focus :)

Thank you for your kind words.  As I said, even though I try to find places in media for some of my music, I really do compose the music to stand on its own, which is why I didn't do well when I tried to write background/corporate commercial music for a while...Really interesting hearing several suggestions re. the ballet setting.  I hadn't considered that, but it definitely makes sense...perhaps a collaboration and/or commission opportunity will arise one day to expand on this.  Who knows?  Anyway, thank you for listening and taking the time to comment!


Dave

Dane Aubrun said:

Well done in every respect - adept scoring, fulfils the brief absolutely

The only problem I had is that it almost makes a concert piece in its own right and would make an excellent ballet piece. Certainly streets ahead of most of the soundtrack music I'm assailed by on telly!!

(In fact I often wish these broadcast committees and people would put the music on a separate sub-channel so it could be turned off.)

Hi Ingo,

Glad you enjoyed it and thank you as always for listening and commenting.  The extent of my non-acoustic instrument work, is to include some synthesizers in some of my pieces, including a few synths used in this piece as you noted.  I haven't done any significant sound design, beyond finding pre-done synths, tweaking settings to fit the music, and incorporating them in to larger orchestrations.  To be honest, going forward, I don't anticipate spending much more time in that direction.  There are already those that are so good/involved with synths/electro/hybrid stuff, that I figure it's better to focus on what I'm good at and what I enjoy.

Cheers,
Dave

Ingo Lee said:

Great sounding piece David, the orchestration is wonderful.  I wouldn't necessarily think of percussion here but I'm sure you could add some nice features with it if you wanted. Just out of curiosity have you worked with hybrid or electronic orchestras at all?   There was a sound at 2:40 that I could not identify, sounded a bit like an electric bass but my hearing is not reliable.

Hi Dane,

It definitely is a real struggle for composers that believe "music can be everything" to hold back when writing for the sake of maintaining a supporting role.  As for the percussion or lack thereof, I agree with you...the string szforzandi were the driving rhythmic element and I was satisfied with the approach of taking the less expected/obvious path by omitting percussion.

Dane Aubrun said:

Yes. Cinematic music may get the composer's name on the credits but in most cases it has to be subservient to the film. That was the trouble Villa-Lobos had with his "Green Mansions" score and why it had to be taken out of his hands. He later and rightly adapted it into his wonderful "Forest of the Amazon" Suite. It stood as music in its own right. I'm sure he hasn't been alone. On rare occasions film is set to music (one I can think of is Honegger's Pacific 231). 

That's why I commented on your work as I did. And I really don't think you need add much percussion. The bite of your strings sfz's is mostly enough - for me, anyway.

:)

David Carovillano said:

Your comment about putting music on a sub-channel is hilarious, Dane.  Whenever I watch anything that my wife doesn't enjoy, she provides me a second audio track that drowns out the original...but at least she listens to my music voluntarily and with focus :)

Thank you for your kind words.  As I said, even though I try to find places in media for some of my music, I really do compose the music to stand on its own, which is why I didn't do well when I tried to write background/corporate commercial music for a while...Really interesting hearing several suggestions re. the ballet setting.  I hadn't considered that, but it definitely makes sense...perhaps a collaboration and/or commission opportunity will arise one day to expand on this.  Who knows?  Anyway, thank you for listening and taking the time to comment!


Dave

Dane Aubrun said:

Well done in every respect - adept scoring, fulfils the brief absolutely

The only problem I had is that it almost makes a concert piece in its own right and would make an excellent ballet piece. Certainly streets ahead of most of the soundtrack music I'm assailed by on telly!!

(In fact I often wish these broadcast committees and people would put the music on a separate sub-channel so it could be turned off.)

Your usual stellar production skills are on full display here, David. Most of us can only dream of getting such sound from virtual instruments. You should be doing demos for Vienna Instruments (if indeed you are not already).

This would work beautifully as a ballet scene. In fact, many of your pieces seem to have that quality to them. Have you ever considered writing a full scale ballet? Do people still do that these days? Is Diaghilev still around?

I enjoyed the jarring rhythms, and the interplay of the orchestral groups, as always perfectly balanced and arranged. As others have said, one of your best pieces you have posted here. You seem to have an inexhaustible supply, so please, keep them coming!

Thanks, Michael.  You're too kind!

I don't know about a modern-day Diaghilev, but I saw his gravestone when in Venice :)

michael diemer said:

Your usual stellar production skills are on full display here, David. Most of us can only dream of getting such sound from virtual instruments. You should be doing demos for Vienna Instruments (if indeed you are not already).

This would work beautifully as a ballet scene. In fact, many of your pieces seem to have that quality to them. Have you ever considered writing a full scale ballet? Do people still do that these days? Is Diaghilev still around?

I enjoyed the jarring rhythms, and the interplay of the orchestral groups, as always perfectly balanced and arranged. As others have said, one of your best pieces you have posted here. You seem to have an inexhaustible supply, so please, keep them coming!

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