Klassisch

Film Scores, Songs, and Soundtracks by Daniel Ciurlizza

Dramatic/Adventurous

موسيقى

Kingdom Hearts II - Dearly Beloved

Music by DANIEL CIURLIZZA
Website: http://about.me/danielciurlizza
YouTube: www.youtube.com/danielciurlizza
Music: www.youtube.com/danielciurl­izza

Music Department:
ELVIS BATES (@elvisbates) - score technical consultant
DANIEL CIURLIZZA - synthesizer programmer
NESTOR ESTRADA (@nestor-estrada1001) - sample development
PAUL PARAMO (@paulparamo) - sample development

Music Mixed and Produced at OUTLIER STUDIOS

The music on this video demo was inspired by the motion picture EDGE OF TOMORROW, directed by Doug Liman. Also inspired by the book ALL YOU NEED IS KILL by Hiroshi Sakurazaka.

I decided not to die with three rounds left in my pile driver.
I lifted a leg. I put a hand on one knee.
I stood.
I screamed. I forced myself to keep going.
The red Jacket turned to me.
I heard some noise over my headphones, but I couldn't tell what she was trying to say. One of the Mimics in the pack stood out from the rest. It wasn't that it looked different from the others. Just another drowned, bloated frog. But there was something about it that set it apart. Maybe proximity to death had sharpened my senses, but somehow I knew that was the one I was meant to fight.
So that's what I did.

EDGE OF TOMORROW - http://www.imdb.com/title/tt1631867

See the EDGE OF TOMORROW trailer here:
http://youtu.be/vw61gCe2oqI

http://www.edgeoftomorrowmovie.com/
https://www.facebook.com/EdgeofTomorr...
In theaters June 6, 2014.

Oscar® nominee Tom Cruise (the "Mission: Impossible" films, "Collateral," "Jerry Maguire") and Emily Blunt ("The Devil Wears Prada," "The Adjustment Bureau") star in Warner Bros. Pictures' and Village Roadshow Pictures' sci-fi thriller "Edge of Tomorrow," under the direction of Doug Liman ("The Bourne Identity," "Mr. & Mrs. Smith").

The epic action of "Edge of Tomorrow" unfolds in a near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.
Lt. Col. Bill Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop—forcing him to live out the same brutal combat over and over, fighting and dying again...and again.
But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt). And, as Cage and Rita take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy.

Meant to Fight - (aka Edge of Tomorrow Reimagined)

Buy on Bandcamp.com

Les Pluies

Cinnamon (Original Motion Picture Soundtrack)

The Longest Road

GLADIATOR

RIOT

Clint Mansell - Dead Reckoning

Chopin: Piano Sonata No. 2, Nocturnes, Barcarolle & Scherzo

Nocturne No. 20 in C-Sharp Minor, Op. Posth.

Sarabande

Keyboard Suite No. 4 in D Minor, HWV 437: III. Sarabande (Orch. Hale)

Music by DANIEL CIURLIZZA
www.outlierstudios.co

Music Produced at Outlier Studios

Listen on SPOTIFY

Darkest Hours

Featured in:
Murder On The Orient Express - Trailer #2

Music by DANIEL CIURLIZZA
www.outlierstudios.co

Music Department
JORDAN ANN MARTONE - Lead Violin

Music Produced by OUTLIER STUDIOS & SCORE A SCORE

Licensing Provided by SCORE A SCORE
http://scoreascore.com/

Watch the trailer at https://youtu.be/z68frP9Q7XA

BELIEVER by Imagine Dragons [Orchestral Cover] - Murder On The Orient Express Trailer #2

Music by DANIEL CIURLIZZA
www.outlierstudios.co

Two cops try to cover up killing an unarmed black teen. Things don’t go as planned.

Watch the short at https://vimeo.com/248003379

Music Department
JONI FULLER - Violinist
TRAVIS W. HENDRIX - Sample Development

Score Produced by OUTLIER STUDIOS

Chickens [Soundtrack Suite]

Jesper Kyd - Ezios family

Beethoven: Bagatelle No. 25 in A Minor, WoO 59 "Für Elise"

Beethoven: Für Elise, Bagatelle in A Minor, WoO 59

J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 / Prelude & Fugue in C Major, BWV 846: I. Prelude

J.S. Bach: The Well-Tempered Clavier I, Prelude & Fugue No. 1 in C Major, BWV 846: I. Prelude

De Afectos y Pasiones

Arcangelo Corelli, Sonata Op.5, No.10: Preludio - Adagio

Music by DANIEL CIURLIZZA
Themes by HANS ZIMMER
More tunes: fanlink.to/danielciurlizza

Music Department
MAHMOUD ALTAF - Vocals
WILLIAM ARNOLD - Lead Vocals
NESTOR ESTRADA - Vocals + Additional Programming
JONI FULLER - Vocals
SABRE HANNAH - Additional Lead Vocals
TRAVIS W. HENDRIX - Flute
RYAN SPRATT - Sample Development / Vocals

THE LION KING: A King Returns (Theme Reimagined)

For the past many years, I've seen the Marvel Studios team tell engaging stories, with a major focus on spectacular entertainment. Offering that kind of work to the world is exciting to me, and seeing what it can do for people is what drives me every second of the day.

This is my take on the upcoming SHANG-CHI AND THE LEGEND OF THE TEN RINGS, and I consider this to be my first step in achieving the goal of being part of the Marvel Cinematic Universe. 

Music by DANIEL CIURLIZZA
More tunes: fanlink.to/danielciurlizza
I write music for movies: https://www.imdb.com/name/nm3792999

Music Department
QIANQIAN JIN - Guzheng, Flutes, & Pipa
WILLIAM ARNOLD - Suona & Vocals
STEVEN C. CHIU - Erhu & Violins
JONI FULLER - Violins & Viola
ROLAND BINGAMAN - Sample Development
RYAN SPRATT - Bells & Rings Instrument Development

Music Consultants
QIANQIAN JIN
TYLER GLOVER
NESTOR ESTRADA
BILL SNYDER III
ADAM LUKAS
LUNA Y. PAN
RHYAN D'ERRICO

Storytelling Consultants
JORDAN PASSMAN
JAKE WEINREB
JARED PELLETIER
MICHAEL CHWASTIAK
SIMU LIU
ERIC COOK

Rising Spirit (Unofficial) Experiments for Marvel's Shang-Chi and the Legend of the Ten Rings

Nightsong

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

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."