Recent Cubase Soundtracks

I’ve made a series of soundtracks recently from field recordings I’ve taken here and there. These are not always the easiest to put together, but it’s always a lot of fun.

Anyone who knows me knows that I drink entirely too much coffee. I consider it to be one of the four food groups. I’d sooner give up alcohol–I think. I love the fact that Bach wrote a Coffee Cantata, at a time, according to Victor Borge, when coffee was considered a vice more akin to illegal drugs today. I decided I wanted to make my own coffee cantata, but instead of stringed instruments and singers, I decided to use the percolator that’s in my kitchen.

 

Another recording I made was of Philly’s famous Trolley Poet, Mike Fuller, who’s been featured in a number of stories. First I recorded him, then I mixed the soundtrack, then I got his permission. Perfectly backwards process, but it worked. I didn’t do much manipulating with this one, as I wanted to preserve the deliberate rhythm of his speech and the long pauses he employs, several of which allowed other sounds to come out of the texture and make music along with him.

 

(That’s my picture in the soundcloud link, not the Trolley Poet’s, alas.)

I’ve been using Cubase for my soundtracks. I’m now in the process of learning Reaper, a program with lots of potential. Hopefully I’ll have some results from that experiment soon.

I truly believe that music is everywhere, and I listen for it constantly in the most random things. If I didn’t, I’d go crazy from the oppressive prosaic character of day to day life.

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New Projects

I haven’t been here in a while, but I’ve been keeping myself busy. In the past year, I’ve been putting together a lot of soundtracks that make use of field recordings–musique concrete, in essence. Music is everywhere, really, in everything from machines to the melody of the speaking voice, and even in the creaks and groans of equipment that isn’t working properly. My goal is to bring it out of the texture of everyday noise and synthesize it into something cohesive.

Here is my first effort in this genre. The material was collected from a series of protests held in Philadelphia during the 2016 Democratic National Convention. It not only makes use of human speech, but also a recorded heartbeat, and a Gregorian chant. This will be the first track of the album I’m currently finishing up.

 

Commissions

If you would like to commission me to write a piece, please contact me at hocket [at] gmail.com. We can discuss details and negotiate a fee depending on the circumstances. I’m adventurous in terms of genre, so please don’t be afraid to throw your wildest ideas at me!

 

Ego sum Pastor bonus

Ego sum Pastor bonus

SATB choir (some bass divisi)

$2 per copy

Ranges:

Soprano: d’ — high A-flat

Alto: Tenor A-flat — E-flat”

Tenor: Tenor f — g’

Bass: Low E-flat — E-flat’

Some screenshots:

EgoSum1

EgoSum2

To order, please email me at hocket [at] gmail.com, with the number of copies you’d like to print. I’ll send an invoice and payment info along with the .pdf.

Veni Sancte Spiritus

Veni Sancte Spiritus

Latin

For two-voice choir, one part high voice, the other lower voice. With organ accompaniment.

82 measures.

$2 per copy

Modeled largely on Gregorian chant and somewhat minimalist in character, this piece calls for two voice parts, the top one being higher voices, the bottom one being lower voices. But these are flexible, and parts can be assigned at the director’s discretion. For instance, some parts in the high voice part might best be left for the better high voice section of a given choir, whether it’s the sopranos or the tenors. At the same time, large portions of this piece are in unison.

Veni Sancte Spiritus is the Sequence for Pentecost Sunday, though it can be employed at various liturgical events throughout the year.

To order, email me at hocket [at] gmail.com. Tell me how many copies you’d like to print out. I’ll send you an invoice, along with how you can get payment to me.

Here are some samples:

VeniSancte1

VeniSancte2

VeniSancte3