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!
Legend Seekers, featuring the concerto for 6-string electric violin, “Leviathan of the Ancient Deep,” is planned to be released April 5!
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! 😉
“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…
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!
“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…
Welcome to #NewTuneThursday!
“You’re not really listening. Can you hear the angular melodic twists?”
“That’s what death sounds like, I know… It’s like a leitmotif; it keeps coming back to my mind.”
This track from Music for The Book of I was actually the first track I completed when working on this OST. So in this work for string orchestra and solo violin is where I birthed all that would comprise the themes of our main character, Teaston, and his trials.
I sought out a sense of haunting poignancy and drama in this work… angular in shape, mysterious, beautiful and grotesque, all at once… it’s truly a unique piece and one that speaks well to the main character, I think.
Enjoy both the video and the audio track below!
“I Know What Death Sounds Like” can be performed by an intermediate-to-advanced ensemble. Get the sheet music here! And stay tuned for our new work of next week…
Welcome to #NewTuneThursday!
I am fascinated by the lessons the study of counterpoint can teach us! Combining this love for the rules of counterpoint with my nature to set up systems of patterns and let them run (to see what happens…) I embarked on a creative experiment using three violins…
Completed in 2011 for the Rosé Violin Trio of Los Angeles, this complex and experimental work consists of three movements:
I. Intervallic Structure (Andante con moto)
II. Tone and Color (Meno mosso)
III. Urban Rhythm (Allegro ma non troppo)
Based upon a strict and unvarying formula of patterns that are passed equally between the three violin parts, all three movements utilize this same precise structure of “A, B, C, and Ostinato” phrases, which were developed and plotted out meticulously by Wallin Huff prior to the actual composition of any one note. Each movement, however, while still based upon the same formulaic set of patterns, is then varied by the compositional material of the four phrases themselves. The phrases’ material is each based upon very different scalar patterns, depending on the particular movement’s character: Intervallic Structure is an exploration of pitting certain intervals against each other; Tone and Color is a wash of purely tonal and consonant patterns; Urban Rhythm strictly focuses on the pitting of rhythmic patterns of two’s versus three’s against one another in a “sterile” pentatonic tonal environment.
Counterpoint Invariable is a successful thought-experiment, turned to driving and evocative emotional artwork, highlighting Wallin Huff’s ongoing fascination with the logic of mechanical structure giving way to outward beauty. It is a true, fulfilling reward to perform and explore this work in its entirety.
Enjoy the recording of these three movements below…
“Counterpoint Invariable” can be performed by an advanced ensemble. Get the sheet music here! And stay tuned for our new work of next week…