Barely Breathing - Rondo No. ø

II. Learn To Fight - Andante

III. Entaré Poveglia

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III. Poveglia - Morbido for Orchestra

#horror #scary #disturbing #spiritual #orchestral #metal #saxophone #drama #soundtrack #instrumental #theme

Cremisi

So this was made with the intention for it to be accompanied by sound effects and one day dialogue from the comic. As it turns out, that isn’t working right now, so here’s just the music! Very different than what I’m used to. Not used to “scoring”

1. You’re Not Alone (Demo)

2. He’s Dead (Demo)

The third continuation of my “Batman: Damned” Score!

3. Believe In Him (Demo)

Nuclear - Piano Assoulto No. ø

III. Malkuth

II. La Vecchia Religione - Allegro

Morbido - Etúde for Saxophone in C Minor

I. Herodias (Aradia)

Dunamis - Prelude No. 5

Giallo! (Quick, There’s No Time!)

The Man Who Knew Too Much

Aggregato - Piano Etúde in D

Le Rondeau - Piano Aubade in A Major

Heavened & Hellbound

Amor mi Fati - Piano Sonata No. I

Naetagiva - March No. I - Prelude/Demo

Maturo - Concertino in D Lydian

I. Herodias (The Vigil)

Moribundus - Piano Assoluto in Atonal

The Process:

This was done with an interesting perspective. Utilizing chords as objects. 

Objects within space really, within sound waves perhaps. On top of that, with the idea that all object are dominant over feminine subject. Like the dyad of objectivity & subjectivity, masculine & feminine, every note felt like pain for me, for each sound was due to conflict within the heavenly feminine space. Almost replicating a similar emotional motif of creating fire for survival. An ultimate brashing and brutalization of purity for survival, & the humility to understand the cost of such a brutality, (going back to the yin yang/dyad aspect). 

“If you need to express and to create conflict to subdue a conflict within yourself, then don’t try to be sympathetic to the consequences of which you know clearly. Don’t play it with regret nor anticipation, for you will be disappointed. Play, knowing that you’re embodying the very thing you are playing against.”

It’s almost a “know thy enemy, know thyself” meditation I had gone into.

On another note, in making this I made the obvious realization that “wind” is chromatic at chromaticism’s purest & deepest form. Which asks a question (for the artist), does Chromaticism jump from structure and into an ether of which is inexplainable? Does it describe and/or contribute nothing in comparison of a structured and keyed piece? 

I’m sure such a question was asked in the midst of the impressionist movement in Europe. The most universal answer I can give is just one word, “Relativity” in accompaniment with all of its relative definitions and suggestions.

Though, what I will say in an independent level, is that Impressionism is stargazing, while perhaps “formality” (for the lack of a better term) is looking down to earth. One is objective (formality) whereas the other is subjective (Impressionism) though independently, they’re subjectively objective (formality) & objectively subjective (Impressionism). 

One’s truth is universal in spirit but independent in shape.  

For the photograph of such truths that we encapsulate allow the subjective to become objective. 

The creative process is a mirror that of which all subjectivity and objectives are victim of reflection.

Dolor - Concertino in Eb Phrygian

Prosaic - Proem in G Minor

Prometheus - Proem in D# Harmonic Minor

Autonomia - Prelude in E

Naetagiva - Concertino in C Minor

Aradia: Poveglian - Prelude for Vox

The Foundation of My Youth - Etúde in B - D# Minor

Cameron Enzor's Album

"All Together" (Medley)

I. I Want To Stay

Eterea Notte - Prelude in C# Lydian

Osias & Callister 

So, movement 1 consists of a really young soldier named Callister, as his and his brother osias’s platoon is getting shredded by the enemy umongst the hand dug tunnels in the muddy planes of war. 

Callister gets a signal on his radio, and sees a couple big support ships landing not too far from the platoons location as they are down to their last breath behind cover. The ships land from a far, and hope rises! Callister can’t wait to get on board that ship with his brother! 

He then has quick flashes of his childhood, his older brother Osias would wake him up early in the morning in a hurry to get him to get ready for the bus that will take him to school. Osias did it every morning, and was very glad to, because it meant his younger brother would succeed. They were super close, as they didn’t have a connection with their Mother and Father. 

That’s when that big melody/March happens in the song, they are all fleeing over the muddy tunnel/barbed wire terrain to freedom, as vibrant bright yellow shards (bullets) vigorously flash by them all on their way to the ships. 

Callisters got a smile on his face of hope, then when he looks past his team running along side him, he sees his brother, Osias in the distance, as he’s shot, and tumbles into one of the hand dug tunnels.

Movement 2 is where the emotion kicks in. Callister stops running towards the ships and jumps sideways over the tunnels and wire to his older brother without hesitation. 

Osias has been shot good. Callister reaches him and tries moving him but Osias refuses. 

Callister remembers how stubborn his older brother is. His older brother came home one day from high school as he was starting middle school, & Osias was all beat up. Callister remembers freaking out, and doing his best to help Osias’ wounds and help medicate him but Osias always handled himself, & expressed “I’ve got you whenever you need it. That’s my job. Not for you to help me when I get myself into a mess. You won’t ever need to help me, and you’ll never have to” 

In the tunnel, as their teammates run past them, Osias says “I love you, We’re always going to be brothers, from this world, & the next” Osias forces him to leave, as he has a bag of explosives that he can use to further delay the enemy from approaching.

When the horns kick in with the cello, that’s when Callister says goodbye. Sprints out into the line of fire, as tears leave streaks down his dirty cheeks. Explosions happen behind him from Osias, and the explosion looks like fireworks of teal, yellow, and some little bits of green. Callister still aims to the ship as he’s almost there!

A second explosion happens, and sends a shockwave through the mud launching Callister off balance and into another tunnel right before the ship.

Then the third act 

Callister was always clumsy, the bus was parked right outside their lawn back in the fields of his home town growing up. He tripped in a ditch in the dirt, but Osias caught him, and made sure he got back up on his feet as the bus begins to start egnition. Osias held him and ran with him until Callister reached the bus at last, & the bus opens its doors and lets Callister in.

This was the part Callister always hated, his brother would never be able to go with him on the road to school. But would always see him wave goodbye as the bus drifted off. 

Very much the parallels are as if the home they grew up was so similar to war, very hostile and inhumane, but his brother was always there to make sure he could get any time he could out of the house and somewhere that benefited him, so that Osias can take the blows from home, because Callister doesn’t have to.

Damn, I kinda got myself emotional (not gonna lie really emotional)

Callisto

Cameron Enzor Venturini (Malkuth)

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