Official soundtrack for Croteam's game The Talos Principle

Available on Steam
http://store.steampowered.com/app/322020/

02 - When In Rome

Blade Runner Theme Love

Storm of the Gods

This is the Overture for my musical, Miracle in the Park. 

Overture, Miracle in the Park

Nessun Dorma from Turandot

Bioshock Infinite Soundtrack - Elizabeth's Theme - Extended Version.mp3

Composed and Produced by FlybyNo
With the Scoring Orchestra and the Metaboles Choir Ensemble

Worship The Endless

Secret Invasion

El Huervo - Air

Orchestrated & Arranged by DANIEL CIURLIZZA
Original Music by JOE HISAISHI
More tunes: fanlink.to/danielciurlizza
I write music for movies: www.imdb.com/name/nm3792999

A few weeks ago, I wrote a piece of music that made me feel inadequate.

It was one of those moments where everything I did made me feel like I wasn't good enough at my job.

I realized that, while I was happy with my music production and composition skills (big/clear sounds, good melodies, and solid grasp on harmonies) my orchestral arranging skills were comparatively imbalanced.

For those of you that don't know what orchestration is exactly:
- 𝘊𝘰𝘮𝘱𝘰𝘴𝘪𝘵𝘪𝘰𝘯 is creating melodies from (seemingly) thin air. Just pure musical ideas.
- 𝘖𝘳𝘤𝘩𝘦𝘴𝘵𝘳𝘢𝘵𝘪𝘰𝘯 is giving those melodies (and harmonies) to different instruments in the orchestra.

If I could offer an analogy, great composition without solid orchestration is a delicious meal that's haphazardly thrown onto a plate...

It tastes pretty good, but it would have been a lot better if they'd put everything in its place. (And if you're really good at plating, then you can charge a lot of money for that meal.)

So I dug in...

I chose one of my favorite composers, Joe Hisaishi. And I went into this with the goal of recreating his piece, "The Legend of Ashitaka" from Princess Mononoke, from scratch.

MY PROCESS: TREAT IT LIKE A WORKOUT (I.E. DON'T CUT CORNERS BECAUSE EVERY LITTLE BIT COUNTS)

To extract the most out of this exercise, I listened to his piece a million times, and did a simple piano reduction by ear. I also cross-referenced a couple of fan-written scores online.

I limited the piano reduction to 4 voices (essentially, the notes that make up the melody and chords) because this is how I'd previously started my compositions.

I've enjoyed this way of working because it helps me establish a very basic structure. And it instantly allows me to see voicings "horizontally" (melodically, from left to right), in addition to "vertically" (harmonically, from top to bottom). A lot like regular sheet music does.

Once I'd finished the piano reduction, my next step was to blow it back up into all the different parts: Woodwinds, Brass, Strings, Harp, Percussion, and some Synthesizers for added color. Actually...

That's the biggest thing I got out of this—orchestration is purely about color. It's not really about size or volume—that's music production/mixing. My issue was that I had a hammer (confidence in production skills), and everything I saw (including orchestration) was a nail.

Finally, I finished orchestrating everything according to how Hisaishi did it—including playing with tempo so that I could give it more movement and life.

But I knew that wouldn't be enough for me. To truly get as much as I could out of this "workout," I added instruments to see if I could supplement without making things messy (my original problem)—and not rely on any mixing AT ALL.

In fact, I never touched a single fader on this piece, which is testament to how great all of these sample libraries are, and to how effective good orchestration can be. Good orchestration can often take the role of a good mix.

THE RESULTS OF DIVING DEEP

Ultimately, it took me about 55 hours of deep work across 13 days to finish this. Honestly, it made me think back on why I chose this profession...

Using every second of each hour—intentionally—was invigorating. I could feel my musical muscles grow stronger with every technical challenge I overcame. And covering Hisaishi's music allowed me to reach down into my childhood roots, which helped me remember the fundamental things I enjoy about writing music.

I already want to do it again.

Here's the result of my journey...

The Legend of Ashitaka

Revenge Is A Dish Best Eaten | Red Dead Redemption 2 | Woody Jackson

Music producer for film scores, trailers, and other fun experiments with my music team at Outlier Studios.

You may have heard my work on the marketing campaigns for The Handmaid's Tale, Won't You Be My Neighbor, or X-Men: Dark Phoenix.

You might have also heard my work on Top 40 songs by Drake, Kanye West, Khalid, and other artists.

Last name is pronounced "Chur-Leet-Zuh."

The Legend of Ashitaka

Daniel Ciurlizza