Applied Music and Movies I scored

In this playlist I try to keep record of all stuff I'm sharing on my FUGITEMPUS-soundcloud. A lot of it can be found on Youtube and Spotify as well.

ALL of FUGITEMPUS

Some Space and Sci-Fi Scores by me

Closing Credits I Scored

GENESIS - music by FUGITEMPUS
My entry for the Berlin International Film Scoring Competition of 2022. 
Video here: https://www.youtube.com/watch?v=yDAnazAuA2M&t=3s

While sketching things out, I noticed that the robot was having several moments of hesitation, moments that I identified with a simple three note motive.  The DNA of the track, so to speak. That motive, as a kind of pending question, dominates the soundtrack, just until the End Title appears and in fact answers have been given. After that, the motive is given upside-down, to stress the fact that the question has been answered; the robot accepted its fate and therefore his crucial  (vital!)  purpose on the planet he was sent to investigate.

Used East West Symphony Orchestra, Spitfire's BBC Symphony Orchestra (not yet Appassionata vst alas!), Garritan Harps and winds, UVI ethno instruments, a varied bunch of Synthesizers and lots of other VST-instruments by mainly Spitfire, East West and UVI. Mixing and mastering it all mainly with plugins by Waves, Izotope and Fabfilter.

BTW: Fugitempus = classical composer Sipke Hoekstra

GENESIS - Soundtrack only

Action take for which I used the full symphonic orchestra, including a bulk of perrcussion - augmented with quite some percussion (loops), fx and hits as well. Used BBC Symphony Orchestra PRO by Spitfire and East West SO Platinum. All polished up with some plugins by Waves mainly.

Chaseburger XL - Action Scene for Hybrid Orchestra

First I had to wrap my head around this unusual and to me unknown theme. Unusual, because it contained some eerie harmonic (Strange progressions and 3rd and/or 4th voice missing in the 2-voiced Berklee setting) secrets that I had to reconstruct first. So, before going to work I in my DAW I made some harmonic and motivic sketches in Finale. I imported those (4 stems) into Cubase and took it from there. Already while working in Finale I decided I wanted to make a heavy, dark, ominous version first, then followed by a light tarantella-like, crazy whirling waltz.

For the first version I started out with strings only: basses and violoncelli staccatissimo, covered by tremolo in the viola's. Bassoons and contrabassoons join in, legato, and bass clarinets, clarinets and violins (pizz.) provide extra rhythmic energy. When the theme is fully stated, a short, urging bridge (cresc. + accell + modulation + pitch shifts etc.) leads us onto a enchanted dancefloor (2nd version NB). This is when the full symphonic orchestra palet starts to unfold.
Violins take over the melody. Viola's and basses provide for the Waltz-rhythm, joined later on by tuba and some of the horns. Glockenspiel starts a trio with piccolo and flute, dovetailing all over the place, providing hints of mystery and dansant insanity.
In the second section of the theme trombones join in on the countermelody, trumpets (cuivré) join the violins.  Percussion starts to beat all elegance out the Waltz systematically (mechanical, soulless first beat hits by the bass drums and timpani, dito afterbeats by the snare drum (rimshots) and cymbal crashes, lots of them, just to let things explode even more.
it all suddenly comes to an end, as if Dumbledore had walked in on a forbidden party.

I used mainly BBC SO pro and plugins by Waves.

Re-orchestrating a John Williams' Harry Potter Theme

Actually my first ever action track, but the second one to upload here :-) 

Used some existing rythm loops, added some percussion manually. Rest is all my own, using mainly BBC by spitfire and East West Symphony Orchestra. Plugins by Waves.

Chaseburger XL No.2 - Action Scene for Hybrid Orchestra

I used a theme by Ben Newhouse, turned into an old school mono vinyl intro. Then I took the Stanley and sliced up the original into bits and fragments, altering them by means of reversion, pitch shift, distortion etc.

Then I added percussion loops (NI, Spitfire, East West) Also added extra percussive strings (BBC & EW) and el. guitars. Added fx & some weird stuff as well.

Special News Bulletin

One of a series yet to finish, focussing on Alicia Keys' (virtual) Yamaha. Very nice VST-lib by Native instruments!

native-instruments.com/en/products/komplete/keys/alicias-keys/

"The instrument samples come from Alicia Keys' very own Yamaha­™ C3 Neo grand piano. This unique and highly-sought after instrument was built to celebrate Yamaha's 100th anniversary in 2002 and represents the very top of the Conservatory Collection line. [...]

ALICIA'S KEYS was sampled from her own playing, recorded in the artist's own studio under the supervision of her trusted engineer, Ann Mincieli."

Shifts | Perspectives on Alicia's Keys part 1

After having completed the reasonably violent project 'Lindisfarne 793 AD' (to be found here as well), about the first recorded Viking raid, I felt the need to use the theme in a totally different setting. One of reconciliation and hope, both so much more needed in the grim times we're in right now. 

Watch the movie I made here: https://www.youtube.com/watch?v=vT1MCtvwb-s

Perhaps I will be orchestrating this one in the near future!

I once again used that terrific piano VST: Alicia's Keys, by Native Instruments. A piano VST allready well-dyed-in-the-wool but still very current in terms of warmth, clarity and technical approach. I've been using it for years and will probably continue to do so for many years to come.  

Set up: Alicia Keys' (virtual) Yamaha, by Native instruments! Plugins by Waves (delay, reverb+predelay, compression), Fabfilter (compression) and Izotope (EQ and limiter). 

native-instruments.com/en/products/komplete/keys/alicias-keys/

"The instrument samples come from Alicia Keys' very own Yamaha­™ C3 Neo grand piano. This unique and highly-sought after instrument was built to celebrate Yamaha's 100th anniversary in 2002 and represents the very top of the Conservatory Collection line. [...]

ALICIA'S KEYS was sampled from her own playing, recorded in the artist's own studio under the supervision of her trusted engineer, Ann Mincieli."

LINDISFARNE EPILOGUE | Perspectives on Alicia's Keys part 2

‘Fair Wells’ is actually one of my first ever DAW-productions, dating from 2018, when I was making my first, unsecure steps from notated music to improvised music and DAW. 

Here I let Alicia’s Keys (that wonderful piano vst plugin based on Alicia Keys’ favorite Yamaha grand piano) team up with a small chamber orchestra, containing no more than a solo soprano sax (Garritan Jazzband 3), accompanied by French Horn and Bassoon (both East West SO), low strings (East West SO + Spitfire Appassionata strings). 

At the core of this short atmospheric piece lies a live improvisation. The rest was added later on. Plugins are mainly by Waves, Izotope and Audiaire.


native-instruments.com/en/products/komplete/keys/alicias-keys/

"The instrument samples come from Alicia Keys' very own Yamaha­™ C3 Neo grand piano. This unique and highly-sought after instrument was built to celebrate Yamaha's 100th anniversary in 2002 and represents the very top of the Conservatory Collection line. [...]

ALICIA'S KEYS was sampled from her own playing, recorded in the artist's own studio under the supervision of her trusted engineer, Ann Mincieli."

Fair Wells | perspectives on Alicia's Keys part 3 (with small orchestra)

Have a look at the movie I made right here: https://youtu.be/2PX2vRqY3RE

In 2020 my mother, Hinke Veenstra, published her second book of Frisian poems, called ‘Heit en ik’, meaning as much as ‘Dad and I’. In this book she combines poems by her father, my grandfather, the Frisian poet Sipke Veenstra, with poems of her own that deal with similar topics. 

This particular poem, ‘Wiete klinkers’ (‘Wet paving stones’) struck me because of its nostalgic beauty, its atmospheric qualities and rich metaphors. I decided to make a project out of it and surprise her with it! 

Beneath you’ll find the original poem in Frisian, the language that is closest of all languages to the English language, accompanied by my English translation. Enjoy. 

(I used Alicia’s Keys terrific piano VST, along with orchestral VST’s by East West and Spitfire (BBC SO.) For mixing and mastering I used plugins by Waves, Izotope and Fabfilter)

wiete klinkers                    wet paving stones

boartsjend yn ‘e sinne`           playing in the sun
of op wiete klinkers            or on wet paving stones
ferklaaipartijen, beltsjedrukke               dressing up, playing ring-and-run
krythinkelje, iepen knibbels,          hopscotch, sore knees
út ‘e bocht fleane op roltsjeredens  out of control on roller skates
in tút fan mem, safolle mear as   mum’s kiss, so much more than 
pleisterplakke             sticking band-aid

naïveteit as gids liet de sinne sakje  naivety as guide lowered the sun
ûnwaar as ûnheil yn ‘e sinne          thunder as doom afar
rinne, efteromsjen                    walking, looking back
de bui foarbliuwe wolle                   wanting to stay ahead

yn ‘e klauwen fan in tongerbui  in thunder’s claws
dy’t tichteby ynsloech           striking nearby
himelfjoer dat it sicht ûntnaam   heaven’s fire blocking view

ôfhinklik en oerlevere oan in rezjym dependent, subjected to a regime
mei in Babylonyske tongfal           with Babylonian accent
monologen om oerein te bliuwen  monologues to remain standing 

yn ‘e spelonken fan it brein           in the caves of the brain
waard in rekwiëm skreaun           a requiem was written
de noaten kopswier hingjend  the notes heavy-headed
oan the balken, net wittend hokker  on the staves, not knowing which
partij se kieze moatte            side to choose 
de toansoart fersille            the key bemused

in iepen slot…             an open ending…

Hinke Veenstra
(Translation from Frisian by Fugitempus (=Sipke Hoekstra))

Wet Paving Stones ('Wiete Klinkers', a Frisian Poem)

Commissioned work (2014) that helped the Frysk Jeugd Orkest win the National Competition for Youth Orchestra's in 2015, in De Doelen in Rotterdam. 

During the period that I was roughly sketching the outlines of what would eventually become the symphonic poem ‘Saga’, I was deeply moved by some anonymous Second World War graves I ran across during a random visit to a random graveyard. The men who had been buried there, died for the freedom of other people, having willingly taken that risk. 

They lay there without their names, without their identities. It made me realize very, very clearly that hero´s mainly are hero´s, not by nature or ambition, but by context and necessity. Is this the most tragic and therefore, perhaps, the most pure kind of heroism? 

This all inspired me in structuring the piece loosely in parallel with what well could have been a hero’s life: birth (Intro), youth (A + B), battle, (C) returning home (D), building up for and fighting the last battle (E) death (F), mourning (G) and the memory of the hero being honoured proudly for a while (H)) before that as well slips out of the collective remembrance.

By creating the poem in this specific way, I wanted ‘Saga’ to be a tribute to all persons, female and male, now forgotten, who helped change the world towards being a better place.

Performed by Frysk Jeugd Orkest, conducted by Theo Brouwer.
Fugitempus = Sipke Hoekstra

Saga | Soundtrack To The Life of a Forgotten Hero [live by the FJO]

Have a look at the movie I made right here: https://youtu.be/2PX2vRqY3RE (Read in Frisian, not UK English)

In 2020 my mother, Hinke Veenstra, published her second book of Frisian poems, called ‘Heit en ik’, meaning as much as ‘Dad and I’. In this book she combines poems by her father, my grandfather, the Frisian poet Sipke Veenstra, with poems of her own that deal with similar topics. 

This particular poem, ‘Wiete klinkers’ (‘Wet paving stones’) struck me because of its nostalgic beauty, its atmospheric qualities and rich metaphors. I decided to make a project out of it and surprise her with it! 

Beneath you’ll find the original poem in Frisian, the language that is closest of all languages to the English language, accompanied by my English translation. Enjoy. 

(I used Alicia’s Keys terrific piano VST, along with orchestral VST’s by East West and Spitfire (BBC SO.) For mixing and mastering I used plugins by Waves, Izotope and Fabfilter)

wiete klinkers                    wet paving stones

boartsjend yn ‘e sinne`           playing in the sun
of op wiete klinkers            or on wet paving stones
ferklaaipartijen, beltsjedrukke               dressing up, playing ring-and-run
krythinkelje, iepen knibbels,          hopscotch, sore knees
út ‘e bocht fleane op roltsjeredens  out of control on roller skates
in tút fan mem, safolle mear as   mum’s kiss, so much more than 
pleisterplakke             sticking band-aid

naïveteit as gids liet de sinne sakje  naivety as guide lowered the sun
ûnwaar as ûnheil yn ‘e sinne          thunder as doom afar
rinne, efteromsjen                    walking, looking back
de bui foarbliuwe wolle                   wanting to stay ahead

yn ‘e klauwen fan in tongerbui  in thunder’s claws
dy’t tichteby ynsloech           striking nearby
himelfjoer dat it sicht ûntnaam   heaven’s fire blocking view

ôfhinklik en oerlevere oan in rezjym dependent, subjected to a regime
mei in Babylonyske tongfal           with Babylonian accent
monologen om oerein te bliuwen  monologues to remain standing 

yn ‘e spelonken fan it brein           in the caves of the brain
waard in rekwiëm skreaun           a requiem was written
de noaten kopswier hingjend  the notes heavy-headed
oan the balken, net wittend hokker  on the staves, not knowing which
partij se kieze moatte            side to choose 
de toansoart fersille            the key bemused

in iepen slot…             an open ending…

Hinke Veenstra
(Translation from Frisian by Fugitempus (=Sipke Hoekstra))

Wet Paving Stones ('Wiete Klinkers', a Frisian Poem) UK ENG version

View the video here: 
One of my first ever efforts in the realm of DAW, revisited in 2023, strengthening the palet, mix and master. 

Used Cubase, a Prophet V synth and lots of other synths and fx. Plugins mainly by Waves and Izotope. 

Hope you enjoy!

STARDOME

Watch the video here: https://www.youtube.com/watch?v=z-S5hH8CSSg
Unfortunately I was a bit lost in time myself and had to skip BIFSC 2023. But I couldn't resist at least sharing my ideas for the closing credits - hope you won't mind :-) 

The theme I composed is anticipated in several (fragmented) ways throughout the score. Perhaps I will finish it some day and share the whole thing later on. 

For the closing titles I used Spitfire appassionata strings and ethnic instruments and voices by East West. Mixing and mastering mainly with Waves and Izotope.

Lost In Time | BIFSC 2023 | Closing Credits

This is a mockup of how I initially scored the closing credits for GENESIS. Decided late in the process, however, to go with an other, less retro approach. Remained fond of the theme and thought I ought to share it. So > here it is!

GENESIS Scoring the Closing Credits [Initial Version Mockup]

Part of the score (just the closing credits) for ESCAPE, the movie I scored for the  Berlin International Film Scoring Competition 2020.

Have a look at the full movie here: https://www.youtube.com/watch?v=cpxin7iD26I

ESCAPE Closing Credits Only Scored by FUGITEMPUS

I scored the famous tightrope scene from Charlie Chaplin's brilliant movie The Circus (1927), and the end credits while I was at it. 
I am perfectly aware that Chaplin did not approve of 'mickey mousing', but, being a huge fan of Scott Bradley, I could not resist the temptation. 
Stereo version will follow later, as well as the Youtube version - as soon as I get Hitfilm to work again...

The Tightrope Scene | Music for Charlie Chaplin's The Circus (1927) (MONO)

I scored the famous tightrope scene from Charlie Chaplin's brilliant movie The Circus (1927), and the end credits while I was at it.
I am perfectly aware that Chaplin did not approve of 'mickey mousing', but, being a huge fan of Scott Bradley, I could not resist the temptation.
Stereo version will follow later, as well as the Youtube version - as soon as I get Hitfilm to work again..

End Credits | Music for Charlie Chaplin's The Circus (1927) (MONO)

One of my three entries for the Spitfire Audio Choir Labs contest, January 2019 Used solely Spitfire Audio Choir LABS (free), Cubase Pro 9.5 and some fx: chopper, grungelizer, tremolo, flanger, chorus and autopan. The distorted sound is intentional; I wanted the track to sound as if it were played on the Voyager Golden Record, right there. Watch the movie here: https://www.youtube.com/watch?v=rN9l1dK5OTohttps://www.youtube.com/watch?v=rN9l1dK5OTo

NASA | Celestial Lightsabers | Scoring animated Hubble Images

My entry for the Berlin International Film Scoring Competition 2020.

Have a look at the full movie here: https://www.youtube.com/watch?v=cpxin7iD26I

Escape

ESCAPE [Soundtrack only]

Fugitempus = Sipke Hoekstra = Eckmann
Composer/orchestrator/arranger/producer of whatever music or sounds I like 
(classical stuff published by Donemus and released on Spotify)