Background
This page provides a historical record of my composing and recording activities for the period 1987 to 1994 - which covers late high-school to the end of my first university degree (Bachelor of Creative Arts (in Music)).
Some of my compositions were recorded for University Media Department videos, some were candidates for radio ad submissions (nothing too significant)... but often, I just composed for myself.
Equipment
All of the compositions on this page were arranged and/or composed and then recorded by myself using various electronic and acoustic instruments and equipment.
Basically, I used a computer with sequencer software called 'Notator' (an old EMagic Product now known only on Mac as Logic) to mix and manage the individual parts.
The mp3 files below are not direct digital recordings but are recordings of mix-downs onto standard audio tape. Some tapes were quite old when I finally found them (2001-2002) and some recordings may exhibit less-than-optimal quality as a result of this.
Recordings
Sonata in Eb minor (1:07)
My arrangement of a segment from Beethoven's Piano
Sonata in Eb minor - complete with electric guitar and other interesting
instrumentation decisions. This is not how Beethoven would have
envisaged it, but I have been careful to maintain the essence of
the composition.
Volleyball Ad (0:30)
Originally composed for a radio commercial, this ad is backing music
only (ie. without the vocals) but is entertaining nevertheless.
This ad was not submitted for final mixing and was recorded for an
Indoor Volleyball Centre ad.
Emu of Eternity (3:06)
This was my first instrumental recording effort. I performed Emu of
Eternity without any sequenced parts - it's all human (me).
The instruments I played are drumkit, saxophone (tenor) and the
ubiquitous keyboard.
The recording studio used here was low quality but I couldn't afford anything else. As you will hear, my style is to chop and change amongst various styles and I was fond of squeezing in the odd time-signature change (just to impress my music teacher).
The recording studio used here was low quality but I couldn't afford anything else. As you will hear, my style is to chop and change amongst various styles and I was fond of squeezing in the odd time-signature change (just to impress my music teacher).
Guitar Sonata no. 2 (1:45)
Despite a questionable classical-guitar technique (for this
instrument I remained self-taught) I managed to scratch out a few
little classical-like pieces on my nylon-string.
Power-tool Ad (0:30)
This piece is meant to invoke the impression of solidity, steel, power and ...
well, you get the idea... It was recorded for a hardware store ad.
Elabana (3:09)
A 'nice' mellow arrangement. This is a smooth, melodically appealing
piece with some pleasant sounds and instrumental effects.
Elabana features a simulated acoustic guitar lead (played on keyboard). This piece was reject as background music for a particular project I was working on. You might notice that I recorded each individual high-hat strike on the drumkit sound to ensure an authentic performance (I didn't really like the sound of canned drum machines)
Elabana features a simulated acoustic guitar lead (played on keyboard). This piece was reject as background music for a particular project I was working on. You might notice that I recorded each individual high-hat strike on the drumkit sound to ensure an authentic performance (I didn't really like the sound of canned drum machines)
SlapBack (0:30)
An interesting use of 'slapback echo' effects is employed in this
composition which incorporates a groovy baseline and ethereal keyboard
interludes.
She's Dutch (Dance Mix) (2:22)
Based on a recurring theme (the note-sequence A-G-E-D), this
arrangement incorporates a medley-like structure which progresses
through various harmonic transitions and musical styles.
The song She's Dutch was written by my good friend Owen Jolly, who was a member of the band Halfday
This arrangement bears little resemblance to the original work, but incorporates some of the main melodic phrases.
The song She's Dutch was written by my good friend Owen Jolly, who was a member of the band Halfday
This arrangement bears little resemblance to the original work, but incorporates some of the main melodic phrases.
Spasamistic (2:26)
This was my final Opus. Spasamistic is interesting, especially in its
state of somewhat 'incompleteness'. This composition chops and changes
with some groovy percussion and smooth chromatic chordal progressions.
This is my favourite... The cool groove feel in the intro section makes
me regret that I haven't done anything since.
Eyes that See the Wind (2:40)
I find the 'relaxation music' available in post offices and
environment shops really 'boring'. This is my attempt to prove that a
composition can be relaxing and soothing but still musically interesting.
Spozart (2:30)
This might be classed as a Neo-Classical work. It's something I
arranged for an orchestral-type ensemble with a genuine almost pure
classical harmonic basis. The structure is a little more varied than
might otherwise be expected and the instrumentation is custom-made for
electronic sounds - but with a piano eventually taking the leading role.
Sort of a Neo classical quasi-piano-concerto-ensemble for alternative
electronic instruments
Pan Jam (0:39)
A $500 keyboard/sound module with flute, bass and drumkit sounds is all
I needed to inspire this little piece-ette. It's something yet not much...
I really like it as it is compositionally 'tasty' (to me), making do with just a
few basic sounds and a porridge-like imagination.
One of the first things I created with my electronic setup.
Piano Improvisation (1:36)
For a deeper insight - some video footage of
me on piano (I recorded this to test the video feature on my digital
camera). I play some blues and some ... non-blues tidbits in this
short, improvised jam session.
Sound and video quality is not great