My 3rd and last rearrangement for Concert Practice 6. I made it a fun one, rearranging and performing the Brazilian instrumental Yatra-Ta by Tania Maria as prog metal/rock, drawing primary influence from Dream Theater, Karnivool and Twelve Foot Ninja.

Yatra-Ta by Tania Maria (Prog Metal/Rock Rearrangement MIDI Concept)

I took Part 1 of Muse's grand space rock opera, Exogenesis, and turned it into a jazz instrumental, influenced by Deep Night by Sonny Clark, Bye Bye Blackbird by Miles Davis, gypsy jazz in general, and Flood by Snarky Puppy.

Jazz 'Exogenesis: Symphony Part 1 (Overture)' by Muse Rearrangement MIDI Concept

Synth-based eighties scifi track, emulating the wonder and peculiarity of making contact in space. 

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THEORY
Semitonal, major thirds and tritone movements. 

Main progressions:
Bb-, A. 
C#, A. 

Toward the end:
Bb-, E. 
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Influences & Inspirations
Benjamin Wallfisch, Kyle Dixon & Michael Stein 

Released 07/12/2017 [https://christianjrainer.bandcamp.com/track/contact].
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Disclaimer:
Everything composed was created using the software Logic Pro X, via software MIDI instruments.
Photo: https://cdn.shopify.com/s/files/1/0868/3310/products/Cygnus_20Loop_20Nebula_85988f73-2c8c-456b-92ae-6e23ab013827.jpg?v=1489583062

Contact

A short, upbeat, electronic-fusion track, similar to 'Juice'.
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THEORY
Revolves around a 4 chord vamp:
A, C, Abmaj6, E (often made into E7 or E7#5).

The interest is held in the melody, shifting through non-diatonic phrases.
The first deviation from the chord arpeggios goes as follows:
b7 of E7, #9 of A, 7 of C, b9 of Abmaj6, 11 of E.
b7 of A, 5 of C, 1 of Abmaj6, and 3, 11, 5, b7 of E7.
#9 of A, 7 of C, 6 of Abmaj6, and 1, b7, #5 of E7#5.

Whole-tonal line:
In E Whole tone: b7, #5, #11, 3, 9.
In relation to chords: 11 of A, 1 of C, 9 of Abmaj6, and 3, 9 of E7.

Whole-tone line appears later with variation that makes it not whole-tonal anymore:
11 of A, 1 of C, 7 of Abmaj6, and b9, 1 of E7b9.
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Influences & Inspirations
KNOWER, Jacob Collier, Snarky Puppy

[Released 16th December, 2017. https://christianjrainer.bandcamp.com/track/aqua-regia]
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Disclaimer:
Everything composed was created using the software Logic Pro X, via software MIDI instruments.
Photo: pxhere.com/en/photo/1040153

Aqua Regia

Named ‘bioluminescence’ as I imagined entering a new, magical sort of world, so for something to grasp in our own world, I thought of bioluminescent animals. The combination of this and water (in this particular picture), I believe, captures the essence of the music.

An orchestral track built upon looking into a magical world with epic, ominous and playful overtones.
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THEORY
Section A
C-, Eb

Section B
Bbmaj7, F-9, Abmaj7add#11, G7b9

Section C
C-, Eb, Bb, F-7, Abmaj7, Abadd9add#11
G7b9
The following melody over these chords uses these scales, respectively:
C Dorian, Eb Ionian/Lydian, Bb Ionian, F Dorian, Ab Ionian/Lydian, G Phrygian Dominant

Section A,
Section B,
Section A arpeggios, then ends.
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Influences & Inspirations:
Alexandre Desplat, Murray Gold, Hans Zimmer

Released 1st January 2018. [https://christianjrainer.bandcamp.com/track/bioluminescence]
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Disclaimer:
Everything composed was created using the software Logic Pro X, via software MIDI instruments.
Photo: static.pexels.com/photos/87771/animal-blue-creature-danger-87771.jpeg

Bioluminescence

The concept of light and dark, good and evil, joy and fury, embodied within this guitar and synth-based composition. It starts off dark and develops upon it like someone's inner desires and selfishness taking over their lives. Hope prevails as they combat this darkness, before it returns and strikes hard with fury. They seek change and strive to repent, however, with trials and tribulations still within them.

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THEORY
Melody throughout moves non-diatonically and vertically, with chords, borrowing from lydian, ionian, phrygian dominant scales in relation to chord qualities it's played over.

A Section
Am, Asus2, Ab, Abm, C, Cmaj7, Eaug, E
Bare bones of the progression: I-, VII, bIII, V

B Section 
Parallel major shift
A Aadd9, A
F, Fadd#11, F
A (Em, Esus4), Aadd9, A
E
Bare bone structure: I, bVI, I, V 

A Section repeats, however with movement in the bass:
Over Am: 1, 9, 1, 11
Over Ab: 3, #9, 1, #9, 
Over C: 1, 1, 9, 
Over E: 1

B Section repeats, however, an A phrygian dominant motif repeats, and a rising scale-like line is played in Am / A Harmonic minor (b7 and 7 used). 
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nfluences & Inspirations:
Radiohead, Muse, Hans Zimmer

Released on Bandcamp 22nd January 2018. [https://christianjrainer.bandcamp.com/track/duality]
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Disclaimer:
Everything composed was created using the software Logic Pro X, via software MIDI instruments.
Photo: https://upload.wikimedia.org/wikipedia/commons/1/1c/Solar_eclipse_1999_4_NR.jpg

Duality

A whole-tonal space fantasy track that is very otherworldly.

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THEORY
D7#5 is arpeggiated and all melodies and lines revolve around D whole-tone scale.
An E7#5 turnaround occurs where everything is shifted up a tone, from the D whole-tone scale to create tension and interest, still diatonically remaining within D whole-tone.

Rhythmically, in the E7#5 turnaround, a dotted-quaver line plays within 6/8 to again create tension and interest.
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Influences & Inspirations:
Hitoshi Sakimoto, Gustav Holst

Released 8th February 2018. [https://christianjrainer.bandcamp.com/track/arcane]
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Disclaimer:
Everything composed was created using the software Logic Pro X, via software MIDI instruments.
Photo: upload.wikimedia.org/wikipedia/commons/7/74/Jupiter_Blues.jpg

Arcane

I heard Supremacy by Muse and thought it would make a cool Afro-Cuban rearrangement and so did it. 
It was difficult to maintain a couple of riffs from the song, so liberties were taken. The chromatic bluesey outro bridge riff was altered to fit the double harmonic scale.

Supremacía (Supremacy by Muse)- Afro-Cuban Rearrangement (Instrumental)

A grand sci-fi track built predominantly on just two chords.

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THEORY
Arpeggios of E7b9 and Bb7#11 fill the track, generally creating an E half-whole diminished/octatonic scale.
The form is largely ABA, and before the final A, a cadence follows, deviating from the 2 chords repeated all throughout: E7b9, Dmadd9, Cadd9, B7b9. (I7 (V7/IV), bVII-, bVI, V7)
Rhythmically, in the B section, a tabla plays fills broken down to groupings of 16th and 32nd notes varying between lots of 3 and 5, and strings create a hemiola (3:2) pattern for tension as the B section progresses.
Within the B section, cello and violins arpeggiate in opposing directions in a staccato manner, inspired by the Vertigo main theme by Bernard Hermann.
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INSPIRATIONS & INFLUENCES
Bernard Hermann, Hans Zimmer

Uploaded on bandcamp on 16th September 2018 [https://christianjrainer.bandcamp.com/track/planetary-alignment]
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Disclaimer:
Everything composed was created using the software Logic Pro X, via software MIDI instruments.
Photo: upload.wikimedia.org/wikipedia/commons/f/fc/Mandel_zoom_08_satellite_antenna.jpg

Planetary Alignment

The classic Christmas carol which dates back to the 16th century; Deck the Halls, rearranged into a Middle Eastern-inspired fusion piece, playing the main melody in 3 different ways in the beginning, throughout, and ending. 

THEORY
The scale is Phrygian Dominant throughout, and the vamp riff follows a I bVII- progression in 11/8. 
The C sections alternate between 3/4 and 2/4 before concluding in 3/4, and play up a fifth a I bVII- I bII, repeated, until a cadence of #IV, bVII-, I7b9 This I is treated as a V7 to lead back into the original key. 
It modulates up a fourth further in the B1 section, and again in C1, before concluding D a fifth down. 
It follows an A B C B1 C1 D form.

Deck the Halls (as Middle Eastern Fusion)

Composing on the side for fun and using this as a place to demonstrate my progress as a composer (using classic midi).

All glory be to God

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