In memory of Ennio Morricone, a string orchestra arrangement of Cinema Paradiso, transcribed by me into Finale.
I love listening, playing and composing music.
My interests in music are broad, ranging from classical, jazz, contemporary to modern. My favourite composer of all time is probably Johann Sebastian Bach, but I also like many of the other classical composers. I listen to mostly Puccini and Wagner operas. In terms of jazz, I love Pat Metheny and Keith Jarrett. I also love electronic music, particularly Vangelis, Tangerine Dream and Jean Michel Jarre. My favourite minimalist composers are Brian Eno, Philip Glass, Steve Reich and John Adams. I listen to range of modern artists including Mike Oldfield, Pet Shop Boys, Madonna, Phil Collins.
I also like playing the piano and guitar, and composing music, which I do in my own studio complete with mixing and monitoring consoles, digital audio workstation, and various instruments including a stage piano.
I am also obsessed with synthesizers ever since I heard the music of Vangelis on the Cosmos TV series. I currently own a Kawai stage piano, several MIDI controllers (NI Komplete Kontrol A25 and S88MkII) and Maschine 3. I also own various virtual instruments (NI Komplete Ultimate, EastWest, SonicCouture, Sonokinetic, Korg, Roland, UVI). My favourite notation software are Notion and Finale, and I use Logic Pro X as my DAW.
First piano recording done using a metronome – Bach’s Prelude No 1. I have decided to play it at a slower tempo than usual, to highlight each note and to introduce micro rhythms within the bar and across bars. The piano is a virtual Bosendorfer 290 recorded at EastWest Studios, and the piece was played on a Kawai MP10 and then processed using Logic Pro X, QL Spaces and iZotope Ozone 8.
My first project in Maschine 3 – a dance arrangement of Roger Eno’s track from Between Tides album, with the speed doubled to 115bpm and the Focus kit from Prismatic Bliss.
Inspired by watching Twin Peaks The Return, here is a short electronic track, done in Logic Pro X and Native Instruments Komplete 11. All sounds are created by me using a combination of Monark, Absynth, Massive and Reaktor.
To celebrate the completion of the Jazz Improvisation class I am taking, I have arranged Olhos de Gato, by Carla Bley (one of the pieces studied in class) for orchestra. I have created a string backing for the melody, then added the melody from “Memories of Tomorrow” (another piece studied in class) as a counterpoint, and also my own melody as a further counterpoint. Finally, I created a new ending, based on a descending harmonic progression.
This is my arrangement of Chick Corea’s beautiful song for string quartet. I took the lead sheet and expanded it to four parts for string quartet, with each instrument (apart from cello) taking turns to play the melody, with the other instruments either providing counterpoint or harmony.
This my attempt at jazz arrangement and improvisation, inspired by an assignment from Gary Burton’s Jazz Improvisation course at Coursera. I took the original lead sheet provided in the assignment, then expanded to four parts that are polyrhythmic as well as polyphonic (based on Latin rhythms). I also added separate improvisations for piano and flute. Finally, I added open-voiced string harmonisation in the final section to indicate the guide tones and basis for future improvisation.
This is the same arrangement as previously posted, but this one is converted to MIDI, loaded to Logic Pro X, and revoiced using the EWQL Symphony Orchestra Gold. Final mastering in Logic Pro X and Ozone 5.
This is my attempt at transcribing and arranging one of the most beautiful melodies I have heard. The full name of this piece is Неизвестный автор XVI в. (Ave Maria). Often (incorrectly) ascribed to Guilio Caccini, this work was actually composed by Vladimir Fyodorovich Vavilov (Влади́мир Фёдорович Вави́лов) in 1970 and featured in his album “Lute music of the XVI-XVII cent.” (Лютневая музыка 16-17 веков) released on the Melodiya label. I have transcribed the melody by listening to the original recording, then harmonised, added counterpoint and arranged it in 12 parts for strings and woodwinds.
Incorrectly ascribed to Guilio Caccini, this work was actually composed by Vladimir Fyodorovich Vavilov (Влади́мир Фёдорович Вави́лов) in 1970 and featured in his album “Lute music of the XVI-XVII cent.” (Лютневая музыка 16-17 веков) released on the Melodiya label.
I listened to the original recording, transcribed it to Notion, then rearranged it for woodwinds, strings and harp, voiced using the EWQL Symphonic Orchestra.