Music by Ian LeCheminant
www.solarflaremx.com
Music Produced by Solar Flare Music
Music composed for the short film "Far From Ordinary" directed By Paul Bugarin of CyberMind Entertainment.

Point Of No Return

Game Time

Criminals

The Funeral

Through The Window

Bare Intimacy

Created for a short that highlights a young woman's sadness turned joy as a new love interest enters the picture. This is a compilation of themes and ideas from the short, let me know what you think!


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Hearts Dance | A Dallin Burns Original

A love theme I composed to submit for the 2019 Sundance Film and Music Lab.

Love Is Eternal

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

Dulcet Tones

Music Composed by Chris Thomas
Recorded by Adam Schmidt and Chris Thomas
Mixed & Mastered by Adam Schmidt

Imagine Symphony Live created by Evan Sigvaldsen
Cinematography by Bradley Lamphear

Recorded in Los Angeles, CA; Bend, OR; Milwaukie, WI; and Amherst, MA.

Imagine Symphony Live

Ian LeCheminant is a composer from Culver City, CA. His interest in film scoring was sparked in high school through his participation in Culver City High Schools Academy of Visual and Performing Arts. Through this program he met his mentor, Chris Thomas (A Whisper to a Roar, Women Rebel and Music For Haunts),and spent the second half of his high school career working nonstop to develop his composition and production techniques for film scoring. Ian also studied video game scoring under the direction of Gerard Marino (God of War franchise). Ian has had the privilege of writing music for over 30 media related projects, ranging from indie short films like Tengu, Invasion Of Privacy,  No Way Out to commercial promotions for companies such as EXPAND 3D, scoring his first full length feature film, Jezebeth 2: Hour Of The Gun. He also maintains ongoing relationships with YouTube channels Murphy’s Law and Planet Froth. Ian is currently composing music for various library houses.

For contact info and more visit: https://ianlecheminant.com/

Point Of No Return

Ian LeCheminant

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Daniel Ciurlizza

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