Drover’s Boy nominated for Best Original Score for Shorts in ISFMF

Woohoo! Proud to announce that the soundtrack I wrote for the short “Drover’s Boy” Directed by Margaret McHugh​ Received a nomination in the category Best Original Score for Shorts in the International Samobor Film Music Festival (ISFMF)​.

Listen to the soundtrack for Drover’s Boy here

drovers boy

Thanks to the very talented cast and crew of Drover’s Boy and Huge thanks to the music team

Brilliant mix by: Geir S Brillian​ and James Collins​ on some very out of this world guitar playing 🙂

Other nominations here:




  • 3:13 – Guillermo Guareschi | USA
  • RELATOS SALVAJES (Wild Tales) – Gustavo Santaolalla | Argentina
  • GRAND PIANO – Victor Reyes | Spain
  • UNDER THE SKIN – Mica Levi | UK
  • OCULUS – The Newton Brothers | USA
  • BIRDMAN – Antonio Sanchez | USA




  • THE SALT OF THE EARTH – Laurent Petitgand | Brazil, France
  • VIRUNGA – Patrick Jonsson | Congo, UK


CRYSTAL PINE, BEST ORIGINAL SCORE | SHORT (live-action, animated, documentary)


  • LE VENT DES REGRETS (Wind of Regrets) – Ivan Palomares | France
  • BUFFALO RISING – Olivier Militon | France
  • ESTEFAN – Alan Williams | USA
  • EL CAMINO – Ivan Capillas | Spain
  • DROVER’S BOY – Yunyu Ong | Australia
  • L’ART DES THANATIER (Monsieur Thanatier’s Artistry) – Olivier Calmel | France
  • TEDDYBEAR – Ros Gilman | Austria




  • GODZILLA – Alexandre Desplat
  • THE GRAND BUDAPEST HOTEL – Alexandre Desplat
  • NIGHTCRAWLER – James Newton Howard
  • INTERSTELLAR – Hans Zimmer
  • GONE GIRL – Trent Reznor, Atticus Ross
  • CALVARY – Patrick Cassidy
  • PRIDE – Christopher Nightingale
  • HOW TO TRAIN YOUR DRAGON 2 – John Powell
  • BIG HERO 6 – Henry Jackman
  • SONG OF THE SEA – Bruno Coulais
  • A MOST VIOLENT YEAR – Alex Ebert
  • VISITORS – Philip Glass




Bled and Izola Film fest

After being shortlisted for the European Union Film award, the festival organiser, Tanja Hladnik of Izola Film Festival maintained contact and were keen to do a showcase featuring some of the music I did while at AFTRS. Woohoo!!

Given that I had gotten curious enough about Slovenia while applying for the award and the offer to so kindly showcase my work , I decided a trip was in order – which made for happiness and excitement all round.

I scheduled an arrival before the festival started because I had long heard of lake Bled, seemed like a nice enough detour to rest up and see the sights before I got onto the festival.

Getting there was probably the biggest challenge. 20+hours of flight time give way to many strange thoughts. By the time I land in Narita airport groggy and delirious for the 2nd leg of the neverending flight, I am wondering strange thoughts about Twin Paradox and why  A-list actors don’t build film sets in flying containers so that they age slower. And why cone of silences don’t yet exist for screeching flying toddlers who have managed to infiltrate every neuron of my brain.

Flights and non sleep can do strange things to the psyche.

It’s evening when I land at Ljubljana airport. I share a taxi to Bled with a kindly Canadian who is also visiting for the first time. This is a good thing because I can begin my day in Slovenia sleeping – a nice end to a nightmaringly long flight. The Sunset here is at 9.45, I’m in alien lands falling asleep to churchbells ringing in Bled. I have 3 days here.

No jet lag. How is this possible?

Everything here being strange and beautiful could be a contributor of sorts.

Have spent the day by the main lakes and I’m mesmerised by the lake with trees still standing upright in the clear water. I can only describe it as an underwater forest where the birds are fish.
It’s relatively quiet by the lakes so there’s just a lot of thinking time — which is good, I can work on my presentation that I’m giving at the Isola film fest, only just, because everything here is distractingly beautiful.

I catch up through the day with EU film award winner, Director Malina Mackiewicz who has also arrived in Bled on an earlier flight.


A walk round the neighbourhood yields a treasure trove of fairytale-like houses. I can’t stop taking pictures of houses.

In my talks with film contacts in Slovenia, I’ve been asked to try Kremsnita on more than 2 occasions. I’ve discovered it’s a cream coma inducing delicious cake .


Bled Castle is an easy uphill stroll compared to the usual hiking terrains of Sydney. Great visual paydirt, check out the views!

I bought a copy of Slovenian fairytales — because I collect tales like ghostbusters collect ghosts.


Saw a beautiful lyre at the shops but apparently it was already sold and reserved ..bummer — am now on a mad hunt for said lyre.

I made 2 discoveries amongst many things. First, vodka costs $1.50AUD per cup on average. Very mood improving (if that was anymore possible). Secondly beaches in a Slovenian context are stone beaches as opposed to sand beaches. It’s very quaint. I like it. Lake Bled has such said beach.

I see fireflies up close for the first time in a long while on an evening walk up castle bled. I used to see them in Malaysia as a child, but this was a long time ago. Fireflies are the stuff of magic, I spend the evening nights in an endless game of catching and releasing them. I could do this forever.

firefly trails

firefly trails

Fireflies are rare and beautiful for me and I’ve read that they have mostly disappeared as development and light pollution affects their lights so there are lesser firefly larvae born each season.

So far I have recorded sounds of ducks, sparrows, churches, churchbells, more churchbells and people speaking Slovenian. It’s a different sonic world to Australia so my ears are perked at every turn.



Leaving Lake Bled was hard. I keep going back to the lake to look at the forest in the lake where the birds are fishes.

It’s a 5 hour journey from Bled to Isola with a Ljubljana stopover. Great. I get to see a glimpse of the capital before trotting off to the festival.


My highlight was the puppet museum in the Ljubljana Castle.

I am enjoying the fact that so far Slovenia has no hustlers on the streets trying to sell me stuff, something I’ve come to expect from the visit of any touristy places I visit, this is a pleasant surprise.

More pics from the capital, which will have to be investigated on a return hopefully sometime in the near future…

Izola Festival begins!!

A 3.5hr coach ride and I reach Izola – This is a blissfully beautiful seaside town parked by the Adriatic sea. I’ve only ever seen towns like this in movies so I keep thinking I’m in a movie set.

I’m still weirded out by the fact sunset is at 9.30. It’s wonderful that I can see the sunset and moon rise in one panoramic view.

This is my moonrise timelapse shot

Sunset over venice (that land mass over in the horizon)


I’m going for a morning swim tomorrow, not before getting my bearings on the festival.


The first day of the festival I find the office of Kino Otok film festival easy enough. (Right at the bus stop I landed in)



I finally get to meet meet Tanja and the rest of the festival organisers. Isola is a comfortingly small place so I learn pretty quickly that people are happy to arrange meetings in the vicinity of a time, at a vicinity of a place because sooner or later we bump into each other which is a nice and relaxed concept of space and time that rather works. My screenings are tomorrow with a presentation to make the day after so all I have to do is to meet people and get lost in the beautiful buildings.

I’m loving this festival, there are so many interesting people who drop by.

One of my many highlights include meeting Miguel Machalski who is a screen consultant with an excellent breath of credits including Clint Eastwood’s Million Dollar Baby and David Cronenberg’s Spider. The singer-songwriter part of me is fascinated by the process of stories since I see the songs I make as 4 minute mini stories which invariably is what skilled storytellers thread together when telling longer stories. The discussion of music’s role in stories and whether music is written into scripts makes for long conversations. Interestingly Miguel is a trained musician so he tends to write with a screenwriting ear, quite akin to a musical ear. He believes that screenplays have an internal rhythm and harmony, not unlike a composition. I’ve had a similar conversation with a director and editor before where they both referred to rhythm in stories but it’s interesting to me that inherent rhythms in stories happen as early as script development. Maybe in the best of films, collaborators are all implicitly aware of this rhythm, kinda like quorum sensing together.

A chat with other film makers reveal that smaller film festivals are where the party is really at for creatives. Creatives sit and chat and share ideas at their leisure whereas the big festivals, though exciting, are intense networking sessions which leave no time for further connections.

The next day saw the showcase of my music in the films I worked on which was very kindly received. It was fun to be able to talk about the scoring process at a Q and A, given that I’m really quite new at the realms of film scoring, it is quite humbling.

The audience are mainly directors so I keep my presentation to how music could invoke a very primal kind of connection for audiences and contributes to the total immersive-ness of a story

I try and distill everything I learnt at AFTRS into a 30 minute presentation which is quite an impossibility – I hope I helped with some insight to some things – if only a tiny bit.

I enjoyed Milena’s presentation of her film making experiences as a director.

The rest of the days blur into meeting more exciting people including Toma Zidic who worked on the Croatia set of Game of Thrones (Great stories mate!) and soaks in the Adriatic sea. Apparently people in Slovenia find my paranoia about jellyfish killing me hilarious – they assure me that nothing (they know of) is in the sea and trying to kill me. I’m liking this sea more and more, the waters are so soothingly warm in the summer heat and the sun is gentle and does not fry.And fishes! There were so many fishes in the crystal clear, calm sea. What sort of wonderful parallel universe is this?

Other tales of interestingness from Slovenians include the fact that private cinemas are doing really well (more are opening up) as opposed to cineplexes. This is a welcomed opposite to Australia, and many other parts of the world, where cineplexes drown out the private cinemas.

I learn that Slovenia’s income inequality is one of the lowest in the world, and the unemployed have mostly free access to “cultural centres” including cinemas. What a novel idea. I wonder why economies with bigger GDPs cannot pull this off if the GDP was indeed an indication of the nation’s wealth — all this said while I read about Australia’s arts budget being slashed time and once more with feeling.

Then there’s the interesting stories that come out of the area. In an area where the borders keep changing there are amusing stories of houses that travel. One film maker’s grandmother had a house by the borderlands of Croatia and Serbia and in the space of recent decades, had found herself belonging to as much as 8 different countries while having the same geographic coordinates.

Then I’m enjoying the nightly screenings of the festival that either happen in the middle of the town (with a live orchestra!!) , or by the beautiful beach.

As I write this I recall that there is a Slovenian legend called the ‘Silent Girl’ in which a girl does not talk no matter how beautiful the countryside was. She finally sees a beautiful stone by the stream and is unable to resist commenting on its beauty. The stone shatters at her remark. She decides not to say how beautiful the field was as she imagines she would have destroyed the field as well.
This is rather how I feel about writing about a beautiful country like Slovenia. It is indeed Europe’s best kept secret where it’s small land mass boasts beautiful apline forests,exciting cities, beautiful Adriatic coasts and adorable seaside towns – and every selfish part of me wants it to stay undiscovered, beautiful and peaceful.

So if you do visit, keep it pretty, for I would really like to see it returning for more.

Of travels, film stuff and picking up old work

Another month down. Where does all that time go?

I’ve been busy working on film stuff, but Twisted Tales has once again has become my focus….that and the film stuff.

It’s great returning to finally finish up these pieces. It’s been awhile, but I know that going away to learn what I could then coming back to finish up TT has been good for me.

My general thoughts on opening the musty crypt of half processed songs has been…ok what WAS I doing here? Why was this instrumentpart written like that? And that doesn’t even make sense.

But I’m reading these revelations as good things on the tea leaves, I have learnt much in the past year and hear things really differently. As of now, I’m aiming to finish the album this year for a mix and release next year. When I finally do it will be something I’m proud of for sure. It’s taught me heaps. I wish I did somethings earlier but now rather than later. So again…thanks for sticking by spiderlings.

I’ll post up some short drafts at the next update. Till then, I’m off to beautiful Slovenia doing some film things for the week :).




Your Royal Madness




Film Festivals…Upcoming travels

Another month down. Where does all that time go?

This year seems to have evaporated faster than alcohol in Octoberfest.

One of the strangeness of working as a film composer is the discovery that I can’t really talk about what I’m working on until they are well and truly underway. So I’ve been busy, but I can’t yet show what I’ve been working on.

Two of my projects are at the pitching stage. This is nail-biting stuff, and I’m waiting hopefully for a go ahead after doing a whole bunch of research, writing, music and sound design for it. (Yes I will have composer and co-writer credits if this goes ahead).

I wish I could say more… but I swore a blood oath, and I fear the oath monkey’s wrath. Wish me luck, if it all comes through, me gag order will be lifted and I can spill.



Some films I have done last year are now making their rounds at Festivals. This makes me one excited bean.


D R O V E R ‘ S B O Y


drovers boy

Drover’s Boy which made it into the 2015 Sydney Film Festival!

It was good fun composing additional music and re-arranging Ted Egan’s very beautiful song Drover’s Boy.

Well done to the very talented cast and crew.

Director: Margaret McHugh; Producer: Lyn Norfor; Cinematography: Benjamin Cotgrove; Editors: Jackson Buhck, Samuel Zubrycki; Music: Yunyu; Sound: Audrey Houssard.

Tickets available here for those who want to see this


L E G A C Y– where I co-composed and did additional sound effects for, makes its way into Sci-fi London Film Fest 2015.



Huge Congrats to the rest of the very awesome possum crew and cast.

Directed by Josh Mawer; Produced by Michael J Knott; Cinematography/Grading by Jarryd Hall; Production design by Rachel Jolly; written by Josh Mawer and Michael Richardson; starring Drew Wilson, Richard Healy, Kenneth Moraleda, Anita Hegh and Stephanie Begg; Edited by Lara Benwell; Original music and music mix by Yunyu and Ellie Cumming; Post sound by Ashleigh Wadebrook; additional foley by Ashleigh Wadebrook and Nick Dracoulis; Additional sound effects by Yunyu; 1st Assistant Directed by John Titley; 2nd AD’s by Taylor Goddard; 1st Camera Assisted and focus pulled by Camille Jaulent; 2nd AC’d by Khoa LE and Hilary Crombie.



I have trips to look forward to in the next couple of weeks. Slovenia comes first. Isola Film Festival will be showcasing the music for the films I worked on at AFTRS so I’m plenty stoked. I’ll get to show these films here in due time, I think, just not while they are making the festival rounds. I’m really looking forward to meeting the friendly festival organisers in Slovenia and taking in the beautiful sights. There are perks to almost winning the European Union Film award (got shortlisted) and having very friendly festival organisers Tanja Hladnik make contact anyway and want to showcase the music. Special shout out to First Councillor Jana Grilc for making the contacts and sending so much info my way re: Slovenia.

Can’t wait to connect!   🙂






Setting up the studio

Hey all!
the year has started with a blur of things to do. I’m working on a pitch for a Children’s series with Palm Beach Pictures and it’s all really fun. More details to follow.

Meanwhile, this is what I spent the end of last year doing after graduating from AFTRS.

I built me a badass studio desk which can host my full sized keyboard.

For a long while I had a line of hard disks balanced precariously off my table. (thus taking up all usable space), and my keyboard placed 90 degrees from the table – all very sensible until I realise I can only hear out of one side of my ear everytime I need to play something on the keyboard.

And the resulting nest of cables …which always irked me, would put the rat king to shame.

Then I found this!

Sitting at $3760 aud (not yet factoring delivery costs) this is way beyond me budget. So a little bit of furniture hacking was in order.

Note this: I am nowhere near a carpenter.

Because of this; reading up on how to install a mega-sized keyboard drawer while factoring in weight distributions for a 15kg keyboard, weight limits etc etc would have broken my very non carpentry brain. Not to mention that I really rather get this done quick smart and get back to music making. So, if one cannot make a keyboard drawer, one can make a table with a movable surface.

The idea was that I wasn’t having to loom over my keyboard when I didn’t need it (which causes hunching…which is bad) , and I could pack the keyboard away quickly when I was programming other bits and pieces/ needing the desk for something else…like blogging to u lot now.

Here’s a very non engineering bit of process notes for u.

I got me some finnvard trestle legs from ikea $100aud

I then whacked the biggest heaviest drawer slides I could find at bunnings on the top of them trestles $24

like so.


I got me an old $5 wooden panel to whack the keyboard on.

Then an $80 piece of door.

Then 2 ikea cable management trays $40 all up


All up $249AUD

Then there’s 2 days worth of drilling, swearing, drilling…and much swearing.


This is the result. I now have a place where my many drives can sit….off the table. Which is nice.

this is me setting the first few drives up. (Death nailed into the table is a firewire hub.)


Here’s the completed piece. No visible wires in sight.


And I’m a happy camper.

Back to work I say 🙂





The year 2014

Dear Spiderlings

I’ve been away for a very long time. Hope you’ve all been well.

At the beginning of this year, I had been lucky enough to get accepted into the prestigious Australian Film Television and Radio School to do a post grad in film music this year.

Which means that the year has been spent level upping where I proceed to drown my brain in the ropes and art of music making for films, and the tech…so much tech.

IMG_0714 IMG_0704

I don’t think I’ve ever had so much fun…or slept ever so little. But then I wouldn’t miss it for the world. I’ve had the pleasure of studying under some amazing lecturers and meeting some awesome contemporaries. In short, I don’t ever remember enjoying myself this much in an institution before.

So here’s something to show for…for the year — a showreel of my musical brain babies.

Yunyu Showreel from yunyu on Vimeo.

In other news…I’m now armed with the production skills to finish Twisted Tales, my ever longing album project.(what a meandering journey)

So stay tuned. I’m going to rest for a bit as the year’s been all very challenging and my brain cells have taken out a restraining order against me . See you all in the brand spanking new year.

Till then, me and my clones wish you a merry new year and some general bah humbuggeries.


Your Royal Madness




Chapter 6 – Zelda The Edge and The light

Suspense Suspense Suspense….I decided to go all minimalistic on Queenie Chan’s Legend of Zelda Chapter 6 and use only pianos and some percussion.

If you’ve noticed, it’s a piano transcribed version of Chapter 5. Much slower….and with some creepy gong scrappings thrown in for the opening.

Few themes are repeated loosely at the pensive scenes for Zelda before ending it all with a piano trio.

More news re: Twisted Tales soon

till then


Your Royal Madness

Legend of Zelda Chapter 5 – The blood of the beast

Hey spiderlings

This is the instrument I was waging sonic wars on for Queenie Chan’s Chapter 5 of Zelda’s fanfic.

Suona sounds like this!

I wanted to experiment with some Suona lines this time round. (Suona is a Chinese trumpet with middle eastern origins and amazing for war tunes)Suona is tricky to write for mostly because the piercing sound it makes makes most people run for the trees and further still. The Chinese use this instrument for funerals and marriages mostly…I suspect it’s the best musical instrument to employ when you have to cut through the festive clanging of the chinese clashes. It’s Chinese New Year…and if you are anywhere near Chinatown and see a lion dance you’ll see how liberally the Chinese use their clashes, Suona’s just great for cutting through the cacaphony of noise.

This is a typical soundscape for liondance…see how liberal they are with clashes.


When I was playing in the Chinese Orchestra in high school I remember feeling a little sorry for the suona players…mostly because they get packed right to the back of the orchestra with quite a radius about them…and when they do play it’s usually to a bunch of scrunched faces and covered ears…for that reason, amongst many I always wanted to write for suona players because I think they are actually beautiful instruments easily misused and misunderstood. Although…I do concede that they cause ear bleeds at close range

This time round, as a draft, I’ve temporarily used the viola players instead
(which is the work in progress version u heard). The viola played most of the suona lines then…

Work in progress version (chpt 5)

This is the final work

and I’ll leave you with an interesting vid of suona vs bagpipes

Legend of Zelda continues

My next single is a mix and master away slated for mid march so whilst we wait…the composing of Queenie Chan’s amazing Zelda fanfic continues!

War Music

I’ve been hankering Queenie to draw some frames that let me write some war music. It’s legend of Zelda after all….and I was really hoping to put all that Taiko learning into practice…again…if only virtually.

So this is the near finished result.

I’m not far from done though.(I’m in the middle of making an unusual instrument sit well in the piece and shall reveal this early next wk)

Chapter 4 Zelda work in progress

Like I said last year, I’ve taken to learning me musical arrangements because it will help in my musical journeys…this includes creating better and better tunes too.

So first Here’s chpt 4 of Queenie Chan’s amazing Legend of Zelda fanfic, and my sounds for it. It’s work in progress but ready for a sneaky peaky. I will talk more about the previous chapters when I get a little bit of a breather but ONWARD my spiderlings! for now…

Overall sounds for Zelda

Queenie basically gave me (almost) free reign in the drafting of Zelda’s sounds.

My first approach was to try and mind-meld with readers and do a reading soundtrack..which Queenie liked but wanted to try a more “Location loop” soundbyte approach.

For those of you who are gamers, this would be a familiar concept.

The original Zelda’s theme by Nobuo Uemetsu is largely divided written for different locations. Zora’s domain, Gerudo Valley etc. You get the idea…so when players enter a world they immediately associate a musical soundbyte with an event.

This gave way to my interpretation of Zora’s Domain, which, to me, was good enough for chapter  1 since it was largely based in…Zora’s domain  but proved a little challenging for subsequent chapters which had a wider emotional landscape with multiple location switches.

Looped “event based” soundbytes vs “film” soundtracks

There were a few problems with using the location music approach that made us eventually do manga trailers with more film like soundtracks instead. Here are my theories on why it didn’t work.

  1. Reader speed – Since I cannot yet mind meld with you, the listener, I can’t make music with adjustable speeds tailored to your reading speed…yet. As such, I cannot predict when you are moving from one location/ emotional landscape to another in Queenie’s tale.
  2. Interactive vs non-interactive landscapes- Looped music without event triggers = boring= irritating. In games, one uses event triggers to make musical variety so gamers don’t get bored, in this case Queenie’s ff is a tale where the main triggers are the emotions and the events in the story  are non-interactive so a more film soundtrack approach was used for later chapters but as trailers (see reader speed…at least now I control it)

Sounds in Zelda

The original legend of Zelda theme always feels east-western to me.  I wanted to keep that sentiment so I kept the largely western ensemble, but used quite a bit of eastern percussion with the western style drums. So, Taikos, Mu yu ((木魚) , you name it…I probably whacked it in at some point.

Chapter 4 drafting process

Queenie gives me a host of “trailer pics” she wants on the chapter trailer. After reading her full tale, this is usually how I start.  Preview screen open on the mac, one hand on the keyboard, playing the draft and then scrolling through the pics. I do this a few times until I collect a few musical sequences I like.

After which I have an “emo-map” so I know where I am. Where the musical changes are etc then set out to set it in semi stone.

Drafting these soundtracks for Queenie are, in a way, heaps easier than drafting for moving pictures. Afterall, the “hit points” (important visual events specifically scored for with music)  are decided by me…

This… for composers who work to moving pictures will be like composing in god mode since you don’t have to time musical changes to the nano-second for scenes that you want to emphasize sonically.

My drafts have started in different ways for different pieces but for chapter 4, it’s pretty much been a one take on the piano….like so. From nothing to a one track draft…takes me 30mins or so.

At this point I will just be recording one idea after another and then…behold imperfect piano draft exerpt which I will build things on.

Imperfect Piano draft.

Quick arrangement draft

Then I do a quick arrangement draft. All this happens in 1-2hrs on average.

Here’s an excerpt…

Actual arranging

Then comes the painful/ fun part. The actual arranging, where you split the instruments into their respective instruments (dividing string parts into their respective violin, viola, cello, dbl bass etc. Do the same for brass etc etc.

It’s funny, 12 weeks ago I would draft string/brass parts like pad sounds and play the parts like a piano… Since string/brass not equals piano because thinking it is so makes everything murky, voiced wrongly and horrifyingly unconvincing.

This is my long haul…deciding what ranges and sounds are right for which instruments. Making sure the harmonics sit right and aren’t sumo fighting each other etc. This process is taking me about 15-20hrs per track which makes me slightly batty because I still don’t think I know what I’m doing and I’m still really new to all of this and I want to be faster faster faster.

With Chapter 4, strings were the primary culprit. At some point I made the mistake of giving the lead “here comes the calvary” line to an 18 violin ensemble. I thought more people playing = more grand= this line of thinking is very very wrong.

This is the lead line that’s been plaguing me. Imperfectly exported from logic.

<< click for full view>>

Now…the intended effect in my head was something very grand…like reinforecments who had just brought a nuclear desolator along to the rescue and it’s all very grand and moving as such.

But leaving the lead string line with the ensemble makes the strings all lost in la mancha land and the tune simply loses strength after the build. Of course…the hilarious thing was that I attempted to solve this problem by turning the strings way UP. Check out the resulting sonic mess….

Lead line played by 18 violin ensemble. Big Calvary line comes in at 4 secs there abouts. Notice the WEAKNESS? It’s like having a grand looking war elephant with a leaking jagular vein…messy and not very helpful to the clause.

After I had quite literally pulled all my hair out and frothed all over the keyboard in frustration, Lee eventually pointed out that I had actually written a piece that was more for a string quartet. (I’m still in the midst of cleaning all this up so it’s actually a quartet…but simply changing the key string sounds to solo make a universe of a difference in power.)

Lead line given to 1 violin, 1 cello. (largely doubled – the work in progress version you are listening to which still needs cleaning up…but I can already hear the difference in power)

1) This may seem obvious (BUT don’t give lead string lines to string ensembles). The sound just loses power. Save ensemble parts for lines that need “airiness”. For something more powerful and present…solo it is.

2) oh…and string solos get panned right up front. Not at the back with the rest of the ensemble…(eh…no wonder it got losted initially.)

I am borrowing a smidge of these ideas for later chapters. Steve Reich is uber fun. Check this piece out. It’s WRINKLING my BRAIN!!.


Anyways…coming up in a few weeks…it will be back to TWISTED TALES for us. Stay tuned.

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