Hello! Welcome to my library, a collection of spec scores I made in the last month and 1/2 that demonstrate some new musical tools I’ve developed this year. Each one is an attempt to create a unique pallet and sonic identity. If you like any of them, feel free to reach out (info A.T. martincrane D.O.T net)! All of this music has not been used and can be molded to what you need.
Maximal - This is a modern, sweeping orchestral score inspired by hollywood action movies. It’s closest to Hans Zimmer in texture and size, but it has a different harmonic sensibility. I think of Hans Zimmer as a brutalist version of minimalism. His textures are monumental and his harmony is forceful in its simplicity. Current action sequences are so visually complex that there really isn’t that much room for melody. Though this is a large sounding, expensive score, it could be rerecorded with a smaller string section, as the rest of the sounds are custom sampler instruments I designed.
Holland Tunnel - This is a dark, driving soundtrack for a documentary. I wanted it to feel at home in an Alex Gibney movie. Action in docs can be tricky because, with the exception of vérité docs, language is the primary vehicle of the action. How do you communicate that drama without overpowering it? I think this one keeps it suspenseful and low key. The more percussion based tunes are toward the end, but Holland 3 hits that magic, cerebral sweet spot.
Woodsy - This is my take on a comforting, domestic story. The pallet is acoustic guitar run through a proprietary effect I designed I’m calling The Chutes that makes the familiar sound feel more modern. There is now a whole tradition of indie dramas that use acoustic textures as a way of communicating an unrefined authenticity, and as it’s entered the film vocabulary, it’s lost its meaning. This is my attempt to make that sound feel vital again.
Percolate - This began as drum soundtrack meant for a long chase. I love how Johnny Greenwood creates percussive songs that feel lilting and menacing at the same time. The rhythm hits are off the beat, and it’s as if each hit is like a sneak attack even when you expect it. I used a proprietary effect I designed I’m calling The Chutes to stack melodic layers of percussion, trumpet, and sampler instruments I created. I came upon a sweeping melodic theme halfway through that feels like it came out of an alternate universe New Hollywood film set in Brazil.
Windy - I called this windy because it is a straightforward score using clarinet, cello, and piano that reminds me of Chicago architecture for some reason - austere and elegant and maybe a little bit conservative. I was watching the 30/30 OJ doc at the time, and this definitely has that influence... a kind of masculine seriousness that has a shadow of combat. Mine is a little more delicate. I thought the OJ doc was one of the most amazing docs I've ever seen and had the sweep of a great American novel. That Ezra Edelman could mine the story for all its richness and still keep within the genre conventions of sports doc makes him a total slayer. Windy would be relatively inexpensive to record these arrangements live.
Solo Piano - These are, you guessed it, solo piano pieces. I start almost all my harmonic writing on piano because it focuses attention on the fundamentals. There’s nothing to hide behind. And once the melody and harmony arrive, translating them to other textures always makes for a pleasant surprise. These can be rerecorded and adjusted as well as moved to other textures. I love Gonzales’ record “Solo Piano” (hence the title).
Droplets - This is my version of a more textural horror score. I used a proprietary effect I call The Chutes as well as another one I designed to get a menacing, microtonal drone. I also digitally transcribed the a rhythmic bursts of fireworks as well as parabolic curves and ran them through a sequencer. There are some throwback 80’s synth sounds that echo the pallets of the currently popping off new arthouse horror like Stranger Things and It Follows.