A suspenseful climatic soundtrack which could be featured in a thriller or suspense video or film.

Composed, arranged and recorded by Pedro Vazquez.

Thriller Suspense Cinematic Soundtrack

Composed and performed by Pedro Vazquez


piano, classical piano, good air, piano composition, medium tempo, short piano piece

Good Air - Pedro Vazquez - Piano

Composed and performed by Pedro Vazquez
Variation of a theme by Miguel Chuaqui
Recorded, Mixed and Mastered by Pedro Vazquez
Recorded at La Roccella Recording Studio


tango, piano, theme variation, piano composition, solo piano

Tango Variation - Pedro Vazquez - Piano

Composition by Pedro Vazquez
Performed by Axon Jazz Guitar Ensemble from the University of Utah

Guitars: Adrian De La Cruz, Stephen Cox, Elliot Secrist, Pedro Vazquez
Bass: Kya Karine
Drums: Aaron Merry
Solos(in order of appearance): Pedro Vazquez, Steven Cox, Elliot Secrist
Director: Geoffrey Miller

jazz, jazz guitar ensemble, live jazz, jazz guitars

Newton 2655 (Live at University of Utah)- 4 Guitars Jazz Ensemble

Composed by Pedro Vazquez

This composition was created with recorded samples of two Andean instruments: the quena (which is a type of flute) and the charango (a stringed instrument). Everything that is heard in this piece comes from those two instruments which I recorded and later processed through different synthesis to create the various sounds and atmospheres. 


electroacoustic, granular synthesis, electronic music, classical contemporaty, experimental, electro-acoustic, musica electroacustica

ElectroCusco - Contemporary Electroacoustic

Premiere performed by O.C. Tanner Honors String Quartet at the University of Utah
Mason Lunceford - Violin I
Paisley Tarboton - Violin II
Katherine Deneris - Viola
Ryan Stocks - Cello

Composed by Pedro Vazquez (2016)

The challenge that was given to me for this composition was to write a piece for string quartet and electronics which would feature Beethoven's Ode to Joy, with scents of Bartok, and of course, my own personality and interpretation. The electronics part includes live processing of the string instruments, different virtual instruments and fixed media.



string quartet, electronics, contemporary classical music, electroacoustic, live instruments with electronics, strings and electronics, live processing, fixed media, 2016

Strings And Electronics - Electroacoustic

Performed by Mt. Olympus Honors String Quartet:
Paisley Tarboton - Violin I
Mason Lunceford - Violin II
Katherine Deneris - Viola
Ryan Stocks - Cello 

Composed by Pedro Vazquez

Vale Cuatro is constructed by the use of a single device: the interval of a fourth. Diverse melodies and harmonies are created as distinct fourth intervals interact with each other, crossing and overlapping at different points. The work, structured in a sonata form, incorporates various elements from the tango music of Argentina.


string quartet, classical contemporary, tango, bartok style, cuarteto de cuerdas, strings, cello, violin, viola, tango, clásico contemporaneo, 20th century, fourths

Vale Cuatro - String Quartet

Composed by Pedro Vazquez

for Wind Quintet (Flute, Oboe, Bb Clarinet, Horn in F, Bassoon)

Even though it is not intended to sound as a twelve-tone piece, the composition was constructed using a single twelve-tone row. The dodecaphony technique is used in a way that aims to evoke neo-tonal melodies and harmonies. Each of the different parts of the work, structured in a rondo form, have an individual character and employ a different treatment of the row.

The first section is a fugato where each of the instruments go over distinct transformations of the row. Harmonies are formed as a result of the vertical alignment of the independent voices in an analogous way to earlier polyphony.
 
The second section is more lyrical in nature featuring segmentation of the row into hexachords. The melodic and harmonic content, each embrace individual hexachords which are complementary between each other; that is, together they encompass all the twelve tones. 

The restatement of the first theme is fragmented into short pieces that sharply alternate between the various instruments in a stretto like manner. 

The next section starts with a solemn chorale-like tune and progresses to a satirical dance theme. The regular rhythms in the accompaniment are impetuously replaced by uneven pervasive strokes which play against short unsettled phrases passing throughout the instruments. The energetic climax leads to the last statement of the main theme played by all the instruments in octaves.

The coda consists of a moving and agitated evolution of various brief ideas derived from the theme. The texture develops into a sophisticated density that mysteriously diminishes its energy till its complete disappearance.

classical, wind quintet, flute, oboe, Bb clarinet, French horn, bassoon, woodwinds, classical contemporary, twelve tone technique, dodecaphony

Remembrance of a Forgotten Memory - Wind Quintet

I - Chacarera (Folklore Del Sur)- for Octet

Flute: Mitchell Atencio
Bb Clarinet: Michal Tvrdik
Bassoon: Dylan Neff
French Horn: Anita Miller
Tenor Trombone: Tom Call
Violin: Audrey Lund
Viola: Katherine Deneris
Cello: Ryan Stocks

Chacarera is the first movement of Folklore Del Sur, a work for octet which is based on folk music and songs from Argentina. This movement takes elements of the Chacarera style, particularly of the song "Desde el Puente Carretero" (Carlos Carabajal), transforming and integrating them with other musical languages. 

chacarera, folklore argentino, contemporary classical, octet, chamber music, Santiago Del Estero, clasico contemporaneo, musica de camara

Folklore Del Sur

I - Chacarera (Folklore Del Sur) - for Octet - Chamber Music

II - Zamba (Folklore Del Sur)- for Octet

Flute: Mitchell Atencio
Bb Clarinet: Michal Tvrdik
Bassoon: Dylan Neff
French Horn: Anita Miller
Tenor Trombone: Tom Call
Violin: Audrey Lund
Viola: Katherine Deneris
Cello: Ryan Stocks

Zamba is the second movement of Folklore Del Sur, a work for octet which is based on folk music and songs from Argentina. This movement features the Zamba genre, prevenient of the region of Salta. The idyosincratic elements of the style are not represented traditionally, but instead they are transformed and integrated with other musical languages.

zamba, folklore argentino, contemporary classical, octet, chamber music, Salta, clasico contemporaneo, musica de camara

II - Zamba (Folklore Del Sur)- for Octet - Chamber Music

III - Milonga (Folklore Del Sur)- for Octet

Flute: Mitchell Atencio
Bb Clarinet: Michal Tvrdik
Bassoon: Dylan Neff
French Horn: Anita Miller
Tenor Trombone: Tom Call
Violin: Audrey Lund
Viola: Katherine Deneris
Cello: Ryan Stocks

Milonga is the third movement of Folklore Del Sur, a work for octet which is based on folk music and songs from Argentina. This movement takes elements of the Milonga style, not representing them in a traditional way, but rather transforming and integrating them with other musical languages.

milonga, folklore argentino, contemporary classical, octet, chamber music, clasico contemporaneo, musica de camara

III - Milonga (Folklore Del Sur)- for Octet - Chamber Music

IV - Chamamé (Folklore Del Sur)- for Octet

Flute: Mitchell Atencio
Bb Clarinet: Michal Tvrdik
Bassoon: Dylan Neff
French Horn: Anita Miller
Tenor Trombone: Tom Call
Violin: Audrey Lund
Viola: Katherine Deneris
Cello: Ryan Stocks

Chamamé is the fourth and last movement of Folklore Del Sur, a work for octet which is based on folk music and songs from Argentina. The movement represents the music of the Litoral Region, known as Chamamé. The characteristics of this genre are not portrayed in a traditional way, but are rather transformed and integrated with other contemporary musical languages.

chamame, folklore argentino, contemporary classical, octet, chamber music, clasico contemporaneo, musica de camara, litoral, corrientes, guarani

IV - Chamamé (Folklore Del Sur)- for Octet - Chamber Music

I am a composer and musician originally from Argentina. I grew up in a family of musicians where I learned music from my older brother and other family members. Most of my initial education in music was self taught and it wasn’t until my middle twenties that I started a formal education in music, and got a Music Composition degree from the University of Utah. I am involved in a wide range of music styles and genres, and have a big interest in discovering new musical grounds through experimentation and the combination of different styles. I had studied composition in the University of Utah with Miguel Chuaqui, Igor Iachimciuc, Morris Rosenzweig and Devin Maxwell.

https://www.pedrovazquezmusic.com

Pedro Vazquez - Composer

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