Tartarughina (feat. Robert Sladeczek)

I challenged myself to write in the style of Lorne Balfe. I love his work on Mission Impossible: Fallout and I can't wait to hear what he's going to come up with for the next installment of the franchise. 

Libraries used:
Audio Ollie LA Modern Percussion
Audio Ollie TASTE
Audio Ollie Nashville Scoring Strings
Audio Ollie Scoring Synths
Spitfire Audio Abbey Road One: Orchestral Foundations
Spitfire Audio Abbey Road One: Legendary Low Strings
Spitfire Audio Symphonic Motions
Spitfire Audio Hammers
Spitfire Audio Ólafur Arnalds Composer Toolkit
Spitfire Audio Hans Zimmer Piano
Spitfire LABS
EW Hollywood Strings Diamond
EW Hollywood Brass Diamond
EW Hollywood Orchestral Woodwinds Diamond
Logic Pro's Built-In Patches

Rooftop Chase

Composing this piece was a rather frustrating process. In the procrastination phase, which lasted about two weeks, I gathered information about Stargirl and the characters in the series/comics. It really struck me to hear that Courtney Whitmore is essentially Geoff Johns tribute to his sister, who died in an unfortunate plane crash in the nineties.

Knowing about the relationship between Courtney and her step-father Pat Dugan, I immediately knew that their themes should sound similar, but with distinct differences: 

S.T.R.I.P.E.'s short theme is reminiscent of his past and all the experiences that shape him into the hero he is. He has a fanfare with a tutti that comes after the initial statement of the french horns. The solo horns symbolizing his confidence in his abilities. 

Courtney's theme however is much more adolescent, brash and overly eager to go all out. That's why I decided to give her the trumpet repetitions up high and orchestrated blocks of chords at fortissimo for the entire ensemble. 

The thing both share (kind of) is the marching rhythm. I figured that since they go through these adventures together, they begin to grow fond of each other. Since Pat is the older one, he acts sort of like a role model Courtney could be looking up to. Especially learning from his experience.  

For Icicle, I decided not to give him a distinct theme, but a mood instead. I felt that after rescuing the bus, Stargirl's and S.T.R.I.P.E.'s main concern is to look for Icicle. The key thing is that they don't know his whereabouts. This sense of mystery is portrayed by the harp and vibraphone, which play this pensive and calm ostinato. The waterphone gave Icicle the unique sound, which sets him apart in the score. The glassy texture felt fitting to his exterior. 


You can watch my official entry here:
https://www.youtube.com/watch?v=mOzah...

Libraries used:

Spitfire Audio Abbey Road One: Orchestral Foundations
Spitfire Audio Abbey Road One: Legendary Low Strings
Spitfire Audio BBC Symphony Orchestra Professional
Spitfire Audio Hans Zimmer Piano
EastWest Hollywood Strings Diamond
EastWest Hollywood Brass Diamond
Audio Ollie Nashville Scoring Strings

DC Stargirl Competition - Entry

This short piece is very much inspired by the captivating variety of landscapes in Iceland. The sense of grandeur, space and in the end overwhelming beauty are the main stages this piece goes through. 

The earthy sounding strings being as fresh and vibrant as the rich vegetation sprinkled all over Iceland. They build a dense wall that resolves just in time for the piano to give the listener the feeling of having arrived at home. The percussive and very dominant piano cuts through the mix like the rocks and mountains in the scenery. And last but not least the otherworldly sounding synths that mimic the icy parts of the landscape and its peculiar shapes. They do also insinuate a sense of sensory overflow, which I think I’d experience being surrounded by such breathtaking natural beauty. 

You can listen to the strings, the synths and the  vocal sound design in isolation, giving you a glimpse at how they might not stand on their own, but together create something that’s more than just the sum of its parts. 

Especially in the case of the vocal sound design I’m still surprised how the rather complex structure of my aleatoric singing flows into one singular texture. Although I have to admit, that it is a ghastly sound on its own. 

Libraries used:

Spitfire Audio Albion Solstice
Spitfire Audio London Contemporary Orchestra Strings
Spitfire Audio Alternative Solo Strings
Spitfire Audio Ólafur Arnalds Composer Toolkit
Spitfire Audio Abbey Road One: Orchestral Foundations
Spitfire Audio LABS
SA Recording Alev Lenz - 3
SA Recording Raven Bush Moonglades
Audio Ollie Nashville Scoring Strings
Audio Ollie Scoring Synths
Teletone Audio Postcard Piano
Pianobook Kristiansand Piano
Native Instruments Una Corda

New Heights

This is an end title tune I composed for the audio play "Schund & Schmutz" produced by Audible.

Schund & Schmutz (Main Theme)

Prophecy

Hidden In Plain Sight

ISTINA (Truth)

Oj Ružice Rumena (Film Version)

All My Care

A Fearless Journalist

Farewell

My submission to Ryan Leach's July Composing Competition.

Goldrush and Gunsmoke

Chrisna Lungala is a self-taught Munich-based composer for film and media, known for his collaborative approach in crafting unique sonic experiences tailored to each project.

He's collaborating with renowned studios such as Hans Zimmer's Bleeding Fingers Music, where he works as a freelance composer. As he continues to forge his path in the industry, Chrisna remains committed to crafting evocative and compelling musical narratives.

Chrisna Lungala

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