PARMA recordings is just about ready to start manufacturing of “Prisma Vol. 3”—the orchestral compilation album that my “Dark Glass Sinfonia” will appear on! I love the little blurb they came up for it in the liner notes; so perfect!
”Next comes Dark Glass Sinfonia by Sarah Wallin Huff, in which crumpled dissonances flower into exuberant tonality, capitalizing on the full dynamic range of the orchestra.” (PARMA Recordings)
I’ll let you know when it’s released!
Now available on all your favorite platforms is the single, “La Partita Electronica”!
J.S. Bach gets groovy!
Based on an unaccompanied violin partita variation from the eighteenth century by Bach, layers of electronic elements breathe new life into this classic. Also appearing on this release is “Sonata Moderna (Remastered)” from 2010. “Sonata Moderna” is based on a piece from the seventeenth century (“Sonata sopra la Monica” by Biagio Marini). It was the May 2016 Akademia Winner for Best Ambient/Instrumental Song. Featuring two violins and cello with rock rhythm and chords, the past is united with the present in this driving work.
Enjoy this little amuse-bouche of mashed-up music! 🙂
Check out this glowing review for my latest album, Legend Seekers!
You can always read more reviews here.
I don’t know if you happened to catch a glimpse of a certain Super Bowl promotional video that aired about an hour and a half before the start of the game. But if you did, you might have caught a glimpse of me playing with the CMG Music Recording orchestra on site at Warner Bros. Studio, at the famous Eastwood Scoring Stage, where all the famous composers of the Golden Age of film recorded their music!
It was a unique experience and I am so honored to have been asked to participate. 🙂
Check out the full video below, and enjoy not only the video screenshots but a few backstage shots as well!
Enjoy this official Press Release with info about “Leviathan…” and the rest of this adventurous album! Please share this pdf with anyone else you think might be interested in learning about Legend Seekers!
These past few months have been indescribably fulfilling, yet chaotic, as these things usually go, lol. 😉 I’m nearly through my first semester as a music professor for Cal Poly Pomona; I’ve spent nearly every waking moment setting up and teaching my new classes! I’ve really been enjoying this adventure, and I look forward to each following experience with this wonderful school.
Naturally, as the semester draws toward a close, I’ve been itching to get back to composing and completing my upcoming album, “Legend Seekers” – I’ll be able to start getting back to these projects in just another few weeks, yay! In the meantime, I’ve been meaning to set up this blog post to showcase some of the photos and videos documenting our recording sessions for “Intrepid” and some of the other works that will appear on this upcoming album… Enjoy the gallery and impromptu videos below!
Don’t forget… if you’d like to be a Backstage Supporter of this and other future projects, visit the Backstage Community to see what perks are available–like autographed copies of scores and albums as well as your name listed on the albums you support!
A very special thanks to everybody who has patiently worked with me to make this become a reality!! <3
Welcome to #NewTuneThursday!
“The Elusive Everyman and Her Majesty” represents our main character, forced to live everyday with his mental illness, unsure who is real and who is not… Though that’s not entirely true– all the characters are very real to him.
Here’s how I put the work together; it’s really my most formulaic of the whole suite, which I think suits the mental state of our character…
This track represents one part of the two-fold heart of the main character’s ultimate saga, in my musical interpretation of it. Essentially, this track is comprised of an increasing hodge-podge of melodic fragments — ripped violently from the original works in which they are first found (from “I Know What Death Sounds Like,” “Faces in Foam,” and The Everyman and Her Majesty themes at the beginning of this present track) — that swirl into an angry and frustrating mass of sound and angular textures, up until the very end, when they merge together into The Whiteness of Teaston’s mind. My next track will strive to illuminate musically the flip-side of Teaston’s disjointed thoughts, and the ways in which he attempts to come to terms with his schizophrenia….
Technique-wise, I assembled these fragments by first labeling them both alphabetically and numerically, then, taking seven of Teaston’s own chaotic fragments of thought from random places in the book (“Ever will I?”; “Can I?”; “Consumption”; “Hello Blood”; “The Cliff, Thanks”; “And the Water”; “Even My Face”), I used the letters and syllables of these phrase-lets to “spell” out and overlay the musical phrases.
How many of the phrases from these earlier tracks can you recognize, rushing and overtaking Teaston’s poor troubled mind?
I am fascinated with this work but I have yet to be happy with a performance of it… it’s just such a wickedly tricky work!
There are two versions you can listen to at this point: a live version that’s not entirely accurate but has a lot of heart, and a digital rendition that is spot on as far as accuracy goes but is missing a little bit of the humanness to it… See what you think! 😉
Listen on Amazon Music
Listen on YouTube Music
Listen on Amazon Music (Live Version)
Listen on YouTube Music (Live version)
“The Elusive Everyman and Her Majesty” can be performed by an advanced ensemble. Get the sheet music here! And stay tuned for our new work…
Today until midnight, get everything at our store on TeePublic up to 30% off!!
We have rocking tees, phone cases, notepads, stickers and more. Get some swag today and help support the upcoming album!
Coming up soon in these next couple of months, we’ll be recording the epic Fantasy for Oboe/English Horn Soloist and Chamber Orchestra, “Intrepid“! It will be an amazing compliment to the Leviathan E-Violin Concerto on the upcoming album! <3
To prep the upcoming strings-only session — to make the process as easy as possible on my dear friends helping to make this possible — I decided to record myself playing the 2 violin parts and viola part ahead of time. It’ll give me a lot more flexibility in mixing the tracks, and give my players a really solid footing when reading through this together.
One of the things I love about a process such as this, is getting to hear a larger piece broken up into its basic layers–getting to hear what components interact to create the overall effect–and it never ceases to amaze and thrill me! I love music that weaves in and out of itself like a sonic tapestry…
You can get a sense for the intricacy of this work by listening to the following two segments of this prep-recording. Enjoy! 🙂
Want to contribute to this recording? There are several ways you can help:
Welcome to #NewTuneThursday!
I composed this odd little quartet in 2014 for the Chamber Music Institute of So Cal, at the request of its president and founder. Specifically, she wanted something she and I could play with our electric fiddles, while two others played acoustic strings. You know how I love unusual combinations! 😉
For Acoustic Violin, Acoustic Cello, Electric 5-string Violin (with octave drop pedal), and Electric 6-string Violin (with delay and chorus pedals).
“Organic Circuitry” is a unique string quartet, pitting the acoustic violin and cello against electric 5- and 6- string violins with effects. It evokes a futuristic state of being, merging ancient instruments with new technology.
I also used the opportunity to start playing around with various combinatorial processes… You know me– I like to see how weird and yet still melodic I can get! 😀
See what you think of it below!
Listen on Amazon Music
Listen on YouTube Music
“Organic Circuitry” can be performed by an intermediate-to-advanced ensemble. Get the sheet music here! And stay tuned for our new work of next week…
