🎬Video Link: https://www.youtube.com/shorts/mp-Z35WtxLY

🎷🎹Shoutout to @insaneintherainmusic for sharing the piano backing track and giving me a fantastic excuse to try out big-band writing!

I've spent the last month doing a score study of @crosenmusic's arrangement of "Bob-omb Battlefield" from Super Mario 64 and used it to inform my own short rendition. This is also the first project where I used music notation via musescore to sketch the parts instead of recording straight into my computer🎼! It's definitely taken some time to get used to, but it made the job of learning to write and perform the 4-voice saxophone soli waayyy easier!

One of the hardest parts recording this was performing the high notes on trumpet and trombone🎺. With trumpet, I'm slowly figuring out the importance of ab-crunching the high notes to get that brash brassy sound associated with big-band jazz writing, and learning to "whistle" the upper pitches has allowed me to extend my range up to a semi-comfortable C6!

While recording, I also fell down the rabbit hole of learning the hammond b3 organ via Logic Pro X's stock virtual plugin -- it's really worth doing a deep dive into and I'm excited to feature more 3-voice organ playing in the future! ~I didn't realize just how well the left hand and foot pedals function as a bass replacement😊

I'd highly recommend checking out @the8bitbigband and their YouTube channel! I've learned so much from their score reductions!

Bob-omb Battlefield - Big Band Arrangement (ft. insaneintherain (piano)) ｜ 🎬Link in Description🎬

"Source" marks what I would consider my first successful attempt at applying formal structure to a composition, although not without difficulty and headache. The work was conceived in a fugato style, alternating between soft contrapuntal sections and grande chordal sections. My intention was to follow a traditional AABA structure using the B section as a tonal and timbral shift, however, I ran into the problem of excitedly adding whatever new material I could muster to my "contrasting B section." It was much to my dismay when I came to realized my B section was a different piece entirely! I have since split the sections into two pieces. "Source" is the reduction of nearly 9 minutes of material.

jonalex.io/scores

Brass Quintet - I ("Source")

Brass Quintet - I ("Source") [score link in description]

“Exit Strategy” is the final movement of three in a brass quintet written for my graduation recital at the University of Lethbridge.

After writing the initial sketches for this piece, my composition teacher, Dr. Arlan Schultz, introduced me to the third movement of Prokofiev’s Piano Sonata No. 7 of which I instantly recognized the connections between his piece and mine. Prokofiev’s piece, which relies heavily on the repetition of a single rhythmic motive, would form the structural foundation for the final movement of my first formal concert work.

“Exit Strategy” is characterized by sharp staccato accents and off-kilter rhythms, octatonic riffs interrupted by roaring glissandi. Of the three movements, it expresses the least harmonic consonance in a collection which decays further and further into harmonic collapse. In a sense, you could say the frenzied dissonance paired with the title are apt allusions of my panicked escape from finally completing a piece over one year in the making!(~panicked is a tad dramatic—I actually quite enjoyed writing this one!)

As with Prokofiev’s Piano Sonata, the structure of “Exit Strategy” is symmetrical. In fact, the symmetrical structuring is the first example of a piece I have written using a pre-prescribed form; in this case, modified rondo: intro ABA CD[AC] ABA outro. In contrast, The first two movements were born of singular melodic cells and developed in a fugue-like or generative manner with ill-defined endpoints. Overall, pre-defining the end of the third movement seems to have bolstered my will to finish in a more predictable and timely fashion than with the first two. 

As for the sections within the structure, the thematic and emotional moods were designed more or less to alternate. Atonal discourse amongst the five brass soloists is contrasted by bouts of leaping heroism and melodic reconciliation. The middle D section functions as the main timbral shift, featuring a scurrying baba yaga-esque bass-line as muted horns jeer and caw from above.

Thus concludes my year-plus-long stint of applied study in the realms of tonal counterpoint, parametric counterpoint, formal structure, atonal writing techniques, non-functional harmony, timbral orchestration, brass instruments, and so on. Perhaps the most important lesson has been learning to commit to finishing a project in its entirety, constructing a piece of longer duration without relying on repetition but rather employing developing variation.

The first movement required six long months.
The second movement merely four.
The third, took two.
The next one?

jonalex.io/scores

Other Influences:
Anthony Plog 3 Miniatures for Tuba and Wind Ensemble
"Secure. Contain. Protect." Mvt. 3 by James M David - Jeremy Wilson & David M Rodgers
György Ligeti: Six Bagatelles (1953)
Sergei Nakariakov - Jorg Widmann: ad absurdum - Concerto for Trumpet & Small Orchestra

Brass Quintet - III ("Exit Strategy") [score link in description]

"The Valley" was written using derivative material from my previous work, a Brass Quintet. The goal was to continue writing in a contrapuntal and horizontal style and again without any regard for key signature, however, despite the lack of key and this technique's association with atonal works, my goal here was to compose a satisfylingly sing-song-ey piece––perhaps in defiance of the academic penchant towards atonality, dissonance, and serialism. The bounding arpeggiations draw much inspiration from Justin Hurwitz's work on the film "La La Land," and the opening solo and trio sprouted from my childhood recollections of watching Hayao Miyazaki's film "Kiki's Delivery Service" of which the scenes overlooking the town by the shore as well as the scene featuring a laggardly dog and Kiki's pet cat Jiji played a prominent role.

🎼Score available at:
jonalex.io/scores

Wind Quintet - "The Valley"

Wind Quintet - "The Valley" (Graduation Recital - Mockup) | 🎵score link in description🎵

Exactly one week after my graduation recital at the University of Lethbridge, I had the pleasure of being contacted by Smobler Studios asking me to produce two BGMs for their project titled 3VEREST. They were specific in their request for the music to evoke elements of Nepali culture, with a hybrid orchestral feel, and I spent the next few weeks doing a deep-dive into traditional Nepali folk music and their signature instruments including the Nepali Sarangi (नेपाली सारङ्गी) and Madal (मादल) drums. Of course, it's exactly these types of composing/learning projects that make the process such a treat!

https://jonalex.io/

3VEREST - "The Edge" | BGM for Smobler Studios, Nepali Instrumentation

3VEREST - "The Wall" | BGM for Smobler Studios, Nepali Instrumentation

An arrangement of the main theme to the game The Legend of Valkyrie (Valkyrie no Densetsu, ワルキューレの伝説) for Orchestra and rhythm section (drum kit, bass guitar, and FM synthesizer). Written in collaboration and under the guidance of producer Justin Khan.

-Post from other social media-
New arrangement! This is a re-imagination of the main theme from "The Legend of Valkyrie," originally released on the PC Engine (TurboGrafx-16), blending a full orchestra with a modern rhythm section in a shuffle feel (rhythm section includes drum kit, bass guitar, and FM synth).

🎤 This project also marks a new recording milestone as the first time I've recorded in stereo! While my trusty mono Shure SM7B served me well for over a decade (!), I felt I was missing a certain depth in my recordings, particularly for string instruments 🎻. I’ve recently begun recording with a pair of Neumann KM 184 microphones, which have truly overdelivered in enhancing the depth of my recordings while also encouraging me to break out of SM7B-specific habits——not everything was meant to be close-mic’d haha😂. For once, I feel encouraged to record just a little further away to capture more ambience, and never had I thought to consider vertical positioning with my previous mic (higher positioning seemed to cause excessive scratchiness, supposedly related to f-hole direction)

~this said, the SM7B will still be my go-to for up-close horns and vocal recordings when I need that tight studio sound😚🎺

#gamemusic #gameaudio #gamedev #vgm #bgm

🔗 Links to my other work at jonalex.io/ 👈

The Legend of Valkyrie - Main Theme | Orchestral Arrangement

Music I wrote inspired by the music of Ludvig Forssell on Death Stranding.

Strand Type | Sci-Fi, Synth, Hybrid Orchestral | REMASTER

Some music I wrote inspired by a cat game 😺

The game’s aesthetic felt perfect for fingerstyle guitar and elements of folk music; mandolins, lute, banjo, and dulcimers a`ll sing above the pulse of an Irish Bodhrán, also known as a frame drum 🪕🥁.

For guitar, I wrote using Ample's free Guitar M Lite VST, primarily for its outstanding UI. This way, composing a natural feeling part and transcribing off the animated visual was a piece of cake 🍰! The hardest part was simply learning to play it haha—it’s been nearly 10 years since my Sungha Jung / Tommy Emmanuel phase.

Inspired by Catrophy by Occlusional, Copeland's Appalachian Trail, and Chance Thomas' work on Settlers by Ubisoft.

Settlers of Cat-an | Folk, European, Game Trailer | REMASTER

🎬 Music for the film Vindicating Grace directed by Christopher Baradoy.

Vindicating Grace - Are You Asking Me? | Piano, Drama, Indie, Cinematic, Strings

Vindicating Grace - Church | Tense, Strings, Drama, Indie, Cinematic

🎬 Music from the film Vindicating Grace by Christopher Baradoy

Vindicating Grace - Coda | Piano Solo, Indie, Film, Bittersweet

Hybrid orchestral synth music composed as a demo for a top-down rogue-like. Live violin and flute were recorded and layered in by yours truly. Synth loops and orchestral VSTs are mixed together to evoke a feeling of old meets new. Mix and arrangement focuses primarily on the higher frequencies (aiming for nice and crispy👌😌). Used voices in a folk style (reminiscent of Balkan voices, but with Logic's free South African Voices). Tremulated them in the style of River Boy of Cult of the Lamb fame—may he rest in peace.

Echoes of Relics | Hybrid Synth Orchestral, Game OST, Beat Driven

Piano solo composed, performed, mixed, and mastered for the film "Give & Take."

Give & Take (prelude)

A piece written for electric guitar, drawing inspiration from The Last of Us and Death Stranding. An intimate solo guitar opens the track before giving way to a rich orchestral string section, enhanced by an erhu ensemble. Subtle layers of sound design weave throughout, and the percussion is built entirely from custom-designed industrial samples—no orchestral drums were used in the making!

Wasteland | The Last of Us, Death Stranding, Electric Guitar, Cinematic, Sound Design, Trailer

A piece featuring electric guitar, recorded via line input with additional stereo close mic'ing for added intimacy. Inspiration was drawn from The Last of Us, Death Stranding, and Clair Obscur. An intimate guitar solo opens the track as orchestral, synth, and hybrid sound design elements simmer alongside it, culminating in a huge orchestral climax featuring solo cello and viola. All percussion sounds were sampled and designed from audio recordings of industrial soundscapes.

Desolation | The Last of Us, Death Stranding, Electric Guitar, Cinematic, Sound Design, Trailer

Written using the Chinese Orchestra, inspired by soundtracks including Genshin Impact and Kung-Fu Panda. The piece was composed swiftly after writing the percussive introduction in a spur of inspiration. The main melody is first introduced by a wailing suona, accompanied by the dizi and erhu as the piece develops. Needless to say, writing such a percussive and lively piece was an absolute joy to compose!

The Phoenix Gate | Chinese Orchestra, Action, Game Loop, Percussive, BGM, VGM,

A short looping game soundtrack written for chamber orchestra, inspired by Genshin Impact, Zelda Breath of the Wild, and the works of composer Gareth Coker. Chamber woodwinds take the centre stage to evoke a  light, whimsical atmosphere, and an English Horn takes the lead as the main soloist. The piece is sprinkled with accents of high metal and wooden percussion, chosen to represent the merchant's assortment of many wares. This is my first project orchestrating with Orchestral Tools' Berlin Orchestra, where the more intimate ORTF, close, leader, and spot microphones were essential in mixing the proper space for this piece. Tree and AB mics were used solely for the purpose of reverb. This is the second piece in which I've applied a top-down mixing workflow, the previous being "The Phoenix Gate."

The Village Merchant | Orchestral, Game OST, Looping, Shop Theme

Study -《Mission Impossible Fallout》

Some Spooky Cues

Full Score from the Sheridan College student film Dozen Buns

Charlie (Spooky)

Final Composition project for the 2020 Spring Semester at the University of Lethbridge

No Vacancy

🎵Composer | Producer | Musician
🎮Music & Sound | #gameaudio design
👇Music & Links | #vgm #bgm 🥰
jonalex.io

Jonathan Alexander (蔣智海)

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