A Call to Harms shows a great example of moving, emotional string melodies that could be possible in Infinity System. I compose in a “leitmotif” style, meaning each character/theme/device will have its own theme.

Slowly building orchestral backgrounds bring out the driving action and underlying tension in the story, and leaving plenty of room for dialogue (clean center channel ;-).

I included this piece as I feel Thebes portrays how I handle lengthy, intense sections of film: ostinato and percussion to drive action, with a clear sense of melody throughout.

The overall match to how I envision Infinity System is clear as well: familiar yet otherworldly, with a touch of grit. Driving electric guitar carries the melody, signifying a change in tone.

There is no instrument as familiar and recognizable as the human voice, and it is a staple in modern sci-fi scores, even if heavily altered and effected. I believe Infinity System should have a “voice” — a melodic “callsign” of sorts. In addition, Transcendents features a melody (violin: 1’10”) not unlike one I would compose for Infinity System.

I scored this beautiful animated short for the 2021 SCORE RELIEF support fund, hosted by The Cue Tube. I challenged myself to compose something that included more woodwinds (in my opinion the most difficult orchestral section to write for), while maintaining a fair bit of mystery and intrigue and not coming across as “goofy” or “cartoonish.” 

The result is a great example of blending expected fantasy tropes with interesting textures and themes, all while supporting an already present storyline. 

I love the Westworld series, and always wanted to write something for it. When given the opportunity to pitch a scored scene, I jumped at the chance. 

This piece shows what blending synthesized music and sound design with modern orchestra can do, and gives the final experience an impact not possible with traditional instrumentation. 

One of my favorite compositional exercises is writing for traditional choir (SSATB). For this piece, I exclusively used the Spitfire LABS Choir library.

All sounds, including rhythmic elements, melodies, and harmonies, are from this single library.