Wooden Puppet

Symphony No.1, Op.2, A Summer Serenade

Symphony No.1, Op.2. 2nd Movement in G

2nd Movement in G

Delve into the waters inside the mind of the man behind the borders...

Like, share, subscribe, support!!  Remember, You are the Scene ... I am Leister.

Leister - Border Man

Original composition for orchestra in a cinematographic style, written and played on MuseScore 4 using MuseSounds and Berlin Strings.

Check out the score on YouTube : https://youtu.be/FWBjOUsQnXY

Cinematic Landscape

'A Fragile Hope' - Showcasing Performance Samples Pacific Ensemble/Solo Strings

It's been a while I know. I've been very busy working on multiple projects but I've finally finished this little piece which demos both the Pacific Ensemble and Solo string libraries from Performance Samples, predominately the legato patches.

I personally love these new string libraries from Performance Samples. They feel so alive and natural. You can hear the rosin on the bow, the little clicks and and scrapes of the initial attack. The re-bowing sounds so lifelike and the top end really shimmers. 

I hope you enjoy the track. Please leave a like if you do and I'd love to hear your thoughts in the comments. 

Until next time.

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Composer: David Tregoning
Track: ‘A Fragile Hope’

© 2024 David Tregoning

A Fragile Hope

So this whole thing started with just a solo horn I was playing around with. You know those really emotional moments in Star Wars or God of War where they hit you with that mellow horn over strings? That's what I was going for.

The funny thing about my composing process is that I never really know where a piece is going to end up when I start. I just follow where the music wants to go. My tracks tend to evolve and transform rather than stick to a single theme - I used to think this was something I needed to "fix" about my writing, but I've come to embrace it as my natural storytelling style.

I had fun leaning into and experimenting with different woodwind instrument combinations for the track. Since I don't have formal training, it's all about trying things until they sound right. That exploration is half the fun for me.

The last section of the track was driving me crazy though. It felt weak and empty no matter how many instruments I threw at it. I kept redoing it over and over. Then I finally added these low Taiko drums and some lighter percussion on top - and suddenly everything clicked! It's weird because I didn't initially think percussion was necessary, but I think there's something about percussion that adds intention to music. It doesn't change what's being said, but it changes how confidently it's being said. That was definitely the breakthrough moment for this track.

Funny thing is, after I finished, I started hearing Jeremy Soule Elder Scroll influences that I didn't even realize were in there. Your brain just absorbs that stuff without you knowing it.

Honestly, I create this music mainly for myself and just share it hoping someone out there might connect with it. It's like putting a piece of myself out into the world. I don't overthink how others will experience it - I just hope people like it!

Prophecy of the Forgotten

This track began not with a story or emotion I was trying to capture, but with pure curiosity. When I discovered Ben Osterhouse's virtual cello library of playable two-note slurs (Ripple Cells), I was immediately captivated by its beauty. What started as a couple of hours of exploration and improvisation gradually revealed itself as the foundation for something more structured.

This library exists in that fascinating space between sample loops and fully playable instruments. Learning to "play" it felt like getting acquainted with a new physical instrument - there was a genuine learning curve, but one that I found genuinely enjoyable rather than frustrating. The programming behind it is remarkably well done, making the discovery process rewarding at every turn.

What emerged during composition was something I hadn't entirely expected: a conversation. There were moments when I guided the cello, molding it to my compositional will, but equally powerful moments when it guided me, revealing its unique character and suggesting directions I hadn't initially considered. The relationship evolved throughout the piece - in some sections, the cello library takes center stage, driving the emotional heart of the composition. In others, it steps back into a supporting role, enhancing the broader orchestral landscape.

The most striking quality this instrument brought to my work is what I can only describe as a "grounded organic feel." Despite being a virtual instrument, there's something authentically tactile about how it sits within the orchestral texture. It anchors the piece in something that feels tangible and real.

What began as an exploration of sound ultimately became a lesson in musical partnership - learning when to lead and when to follow the natural voice of an instrument. 

I would strongly encourage fellow composers to explore Ben Osterhouse's Ripple Cello library for themselves. Whether you're looking to add organic textures to your orchestral compositions or simply seeking a new source of inspiration, this instrument offers something truly special. The learning curve is gentle yet rewarding, and the expressive possibilities it opens up are well worth the journey of discovery. It might just inspire you to create something unexpected, as it did for me.

https://osterhousesounds.com/products/ripple-cello


You're a Wizard - Official Demo for Ben Osterhouse Ripple Cello

Every once in a while, I start with an idea with no clear vision of where the music should go. "The Red Forest" was definitely one of those tracks. I began with just a simple string texture and some somber double bass notes, but had zero clue where it would go or end up.

In the process of experimenting and trying out different ideas, a story started forming. It's like reading a book while writing it at the same time - that feeling of "I wonder where this will take me" as I try different things.  For me, that's what makes composing so exciting. I sometimes start somewhere, follow my instincts, and end up with something completely different from where I started.

Thanks to Zach Heyde for helping me figure out what to do with the percussion.

The Red Forest

The Secrets of the Wandering Hollows

Estampinhas Galegas

Pianist, harmonicist, composer and orchestrator, fond of classical music and jazz.

Film Editor, Musician, Composer and Arranger. Debut album 'Foundations' out now https://ffm.to/kd3vrme - This channel is for my orchestral work only. For my electronic music, see Spectrolite.

Singer / Songwriter / Composer working in multiple genres including Folk, Americana,  Jazz, Blues, Classical and Electronic music. Also a guitar maker and studio producer. I've been a session musician and soloist in the N. Ireland music scene since the 1980s . 14 albums so far (July 2022) and still gigging on a regular basis.  You'll often find me playing at trad sessions in and around Belfast.

Jason Martineau is an award-winning composer, pianist, arranger, and instructor, and has been active in the San Francisco Bay Area since 1995. He is a graduate of the University of South Florida, the San Francisco Conservatory of Music, and Manhattan School of Music, and has composed numerous works for orchestra, chamber ensembles, solo piano, and chorus, as well as a full-length musical, multiple film scores, and over 200 songs, both instrumental and vocal. Dr. Martineau has recorded over twelve albums in various genres, and has also been featured on numerous other artists' recordings, as pianist, music director, and producer. He provides scores, arrangements, original compositions, soundtracks, sound design, accompaniment, private instruction, and musical direction for a diverse and eclectic client base.

Dr. Martineau works in multiple capacities with many different idioms and styles, from world fusion and jazz, to industrial, rock, pop, and classical. In 2007 he orchestrated string arrangements by Vanessa Carlton for her album "Heroes and Thieves." He has also authored a book on music theory released October 2008 entitled "The Elements of Music," published by Wooden Books and Bloomsbury, distributed both nationally and internationally. That book has since been translated into 10 languages, and has been included in a larger, multi-author 6-book volume entitled "Quadrivium".

His film scores have been featured in documentaries broadcast on PBS stations around the US since 1998. He also provides music cues and backgrounds for a large variety of multimedia projects. He has been playing the piano since the age of 5, and has been performing since 1989 at numerous venues in the San Francisco Bay Area, Los Angeles, New York, and more recently, the 10th International Festival of Dance and Music in Bangkok, Thailand. In 2011 he joined the faculty at the Academy of Art University, teaching music notation, theory, composition, orchestration, and counterpoint.  He also has been a guest lecturer at UC Berkeley, the California Institute of Integral Studies, the Prince's Foundation School of the Traditional Arts, the Virginia Commonwealth University School of the Arts, and was adjunct faculty at the San Francisco Conservatory of Music for the 2014-15 academic year. His second book for Wooden Books, entitled "Love: The Song of the Universe" was released worldwide in 2015.

New tracks tagged #virtual orchestra