Monday 22 August 2011

Army Of Doom - Epic Battle Music


ARMY OF DOOM - Jon Brooks - DOWNLOAD MP3

Army of Doom - Epic and dramatic orchestral battle music. I composed, orchestrated and programmed this music in Logic Pro using high quality multi-samples. This is one of my most popular scores.

Download 'Army of Doom' on iTunes here:



Click play above to watch on YouTube

Please comment, like, share and subscribe. Thank you for your support.

Feel free to check out my YouTube channel: http://www.youtube.com/user/jonbrookscomposer
For additional information or more music, please visit my website: http://www.jonbrooks.co.uk

This music is subject to copyright and is provided for demonstration purposes only. © 2010 Jon Brooks.


'Army of Doom' has been used in various feature films including "An American In Hollywood".

Music Composer - Jon Brooks
Music Producer - Jon Brooks
Music Arranger: Jon Brooks
Midi Programmer: Jon Brooks
Orchestrator: Jon Brooks
Cover Art Design: Jon Brooks

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Monday 1 August 2011

"Boom Boom Boomer" - Fun Kids Music



Music composed, orchestrated and programmed in Logic Pro using high quality multi-samples. Kids recorded using Pro Tools and later transferred and edited in Logic Pro.  I wrote this whilst working at WASP Studios as an In-House Composer in Malaysia.

"Boom Boom Boomer" Wrigley's Boomer Splash Bubble Gum TVC.

This music is subject to copyright and is provided for demonstration purposes only. © 2008 Jon Brooks.


For additional information or more music, please visit my website: http://www.jonbrooks.co.uk

(As cited on Wikipedia)
The William Wrigley Jr. Company is a company headquartered in the Wrigley Building in Chicago, Illinois.  The company was founded on April 1st 1891, originally selling products such as baking powder and soap. In 1892, William Wrigley, Jr., the company's founder, began packaging chewing gum with each can of baking powder. The chewing gum eventually became more popular than the baking powder itself and Wrigley's reoriented the company to produce the popular chewing gum.

Currently, the company sells its products in more than 180 countries whilst maintaining 14 factories in various countries, including the United States, Australia, Mexico, the United Kingdom, Canada, Spain, New Zealand, the Philippines, Kenya, France, Taiwan, India, China, Russia and Poland.

Friday 22 July 2011

"The Blue Danube" Waltz (Angry birds singing) - Johann Strauss




Angry birds singing "The Blue Danube".
Composed by: Johann Strauss II.
Arranged by: Jon Brooks

This was produced for a Malaysian TV radio commercial.
Please comment, like, share and subscribe.  Thank you for your support.

This music arrangement is subject to copyright and is provided for demonstration purposes only.  © Jon Brooks.

Feel free to check out my YouTube channel: http://www.youtube.com/user/jonbrookscomposer

For additional information or more music, please visit my website: http://www.jonbrooks.co.uk

Friday 1 July 2011

Malaysia - Truly Asia



"Malaysia Truly Asia" - Music I arranged and orchestrated a few years ago based on the "Malaysia Truly Asia" theme.

The melody features a Seruling, also known as a Suling (a bamboo flute), commonly found in Malaysia and Indonesia. Please comment, like, share and subscribe. Thank you for your support.

This music is subject to copyright and is provided for demonstration purposes only.  © 2010 Jon Brooks.

NB: Most of the photos in this video are under a creative commons license. I also included a few photos I shot myself.

My Youtube Channel: http://www.youtube.com/user/jonbrookscomposer

For additional information or more music, please visit my website: http://www.jonbrooks.co.uk

(As cited on Wikipedia)

Malaysia is a federal constitutional monarchy in Southeast Asia. It consists of 13 states and three federal territories and has a total landmass of 329,847 sq km (127,350 sq mi) separated by the South China Sea into two similarly sized regions, Peninsular Malaysia and Malaysian Borneo. Land borders are shared with Thailand, Indonesia, and Brunei, and maritime borders exist with Singapore, Vietnam, and the Philippines. The capital city is Kuala Lumpur, while Putrajaya is the seat of the federal government. In 2010 the population exceeded 27.5 million, with over 20 million living on the Peninsula.

Wednesday 22 June 2011

"Once Upon A Time" - Disney-esque Orchestral Music




"Once Upon A Time" - This is a Disney-esque underscore music track that I composed, orchestrated and programmed in Logic Pro.  Please comment, like, share and subscribe.  Thanks for your support.

This music is subject to copyright and is provided for demonstration purposes only.  © 2010 Jon Brooks.

For additional information or more music, please visit my website: http://www.jonbrooks.co.uk

Feel free to check out my YouTube channel: http://www.youtube.com/user/jonbrookscomposer

Sunday 22 May 2011

Stockhausen - "Gesang der Jünglinge"


Stockhausen - Gesang der Jünglinge


Musical Analysis - Jon Brooks
Stockhausen at work
Karlheinz Stockhausen began work on Gesang der Jünglinge (Song of the Youths) in 1955, completing it in 1956. At that time, he was located in the electronic music studio of North West German Radio, Cologne, which had been established in 1951. This was where he began to work seriously with electronic music and viewed it as the "essential future of music". Whilst working at the radio station he was given a scholarship to pursue doctoral studies at the University of Bonn with Werner Meyer-Eppler. Meyer-Eppler was researching phonetics and communication studies. Although Stockhausen did not complete his study there, he considered Meyer-Eppler to be one of his most influential tutors, having a profound impact on his compositions.
Stockhausen’s work at the University of Bonn sparked two life-long interests: an interest in the composition of language (which is immediately evident in Gesang der Jünglinge), and an interest in indeterminacy, later consuming much of his career.
In the years preceding Gesang der Jünglinge, Stockhausen created two electronic studies, where he refined his skills for the German model of synthesised sound in opposition to the French work of musique concréte. Stockhausen, after composing the electronic studies, longed to write something more substantial.
With the assistance of Gottfried Michael Koenig and Hugh Davies, Stockhausen realised Gesang der Jünglinge where his main objective was to to make ‘contact’ between familiar sounds (live) and unfamiliar sounds (electronic), drawing the listener’s attention to focus on the timbre or ‘sound’. Stockhausen wrote in his notes: (Ref 1)
"My work on the electronic composition Gesang der Jünglinge proceeded from the idea of bringing together into a single sound both sung notes and electronically produced ones: their speed, length, loudness, softness, density and complexity, the width and narrowness of pitch intervals and differentiations of timbre could all be made audible exactly as I imagined them, independent of the physical limitations of any singer ...... "
He wanted to use the ‘familiar’ and ‘unfamiliar’ timbres and fuse them into a single family of ‘sound’, allowing electronic sound to appear like it is sung and vice versa to achieve the contact he sought. The original plan was for a twenty-minute work. Due to time restrictions he only managed thirteen minutes, one-third longer than any of his previous electronic works.
Gesang der Jünglinge requires five loudspeakers for performance (simplified from six, in the original sketches). His work for five channel magnetic tape, uses the sound of a boy’s voice, subjected to electronic manipulation, as well as electronically produced sounds as its palate. The vocal text, ‘Song of Praise of the Three Youths’, is taken from the third chapter of the book of Daniel, Benedicite. It is a prayer sung by the children of Israel after being cast into Nebuchadnezzar’s Fiery Furnace in Babylon. The text is rarely identified because it is often split into individual phonemes. However, when it is, it praises God. The phrase ‘Preiset Herrn’, (‘Praise the Lord’), was deliberately selected by Stockhausen to act as a refrain throughout the work. Gesang der Jünglinge has often been called the first masterpiece in the electronic genre, holding a unique place, it was the first piece to combine synthesised sound with musique concréte.
The work is comprised of six sections identified by their texture. It was cast to be in seven, but, as mentioned earlier, it was cut short and completed before its premiere on May 30th, 1956. The structure does not differ greatly from his earlier pieces, especially the Electronic Study No. 2. Even though the work employs violent contrasts, they provide a shape for the piece, and become part of the larger form. These contrasts give the work its "alertness, its youthful, early-morning-visionary quality". (Ref 2)
The work is, in some respect, quite motivic. The final section combines and develops ideas stated in the previous sections, maybe due to the fact that Stockhausen had to complete the work rapidly before the premiere. Some say it just fizzles out and does not have the completeness like a Beethoven Symphony. 
To organise the transitions, Stockhausen devised two sets of scales, one for the purely electronic sounds, the other for the voice of the boy. The electronic sounds range between dark and bright timbres, pure pitch and random noise bands, the darkest noise and the brightest noise; those for the voice between dark and light vowels, vowels and consonants, and the range of consonants produced by the voice. 
Finally Stockhausen creates a scale between electronic sound and the human voice. This works in two ways. The first is blurring the line between human and electronic sounds and the second is blurring the line between meaning and abstraction. The scales are then serialised in pairs. For each vocal element, there is a synthesised one. These represent the interval relationships and can be used in any dimension, including harmonic and melodic ratios, sound and phonemes, sound groups and pitch regions and placement in space. The scales describe a continuum from the melodic to the harmonic, and the sequences can be folded over on themselves to form continuous cycles. Stockhausen was always seeking a system that was founded on scientific principles. As mentioned earlier, these sounds are not kept separate. Even though there are moments that initially seem like vocal sounds, they often turn out to be electronic ones, and vice versa; this portrays Stockhausen’s constant effort to bring points of ‘contact’ between the two sound worlds.
Most German speakers are likely to know the text of the Benedicite. What surprises listeners is the emergence of ‘new’ words formed from the dislocations. These dislocations, split up and rearranged form the words: ‘Schneewind’, ‘Eisglut’, and ‘Feuerreif` (snow-wind’, ‘ice—heat’, and ‘fire-ripe’). Stockhausen’s manipulation has created a kind of acoustic illusion of physical space. At one point the boy’s voice may appear to be close, later it has become a choir singing far away in the distance. The manipulation of physical space comes from the recording through the five loudspeakers. The sound can come from side to side, move clockwise or anticlockwise or from all sides. Some say spatial perspective is typical only in electronic music. Stockhausen points out: (Ref 3)
"Have we not already encountered it in a Mahler symphony where the composer says that the trumpets sound stand outside the hall?"
There can be little doubt that the work was a historic step in bringing together the concepts of musique concrete and pure electronic music. Throughout his career, Stockhausen felt that he was "establishing a new path". He felt the purpose of composing was not just the addition of new works to the repertoire, but to redefine the possibilities of composition itself. The motivation behind Stockhausen’s quest for the "not yet heard", were deeply religious (originally Catholicism), and a passion for innovation. Even with the microscopic details under his control, his real gift was his ability to remain in control of the large-scale shape of a composition.Gesang der Jünglinge is, in many respects, Stockhausen’s most perfectly formed electronic work, satisfactorily resolving his original intentions.

References:

1: Wörner, Karl, H. (1973) Stockhausen: Life and Works, p. 40-41.
2: Harvey, Jonathan. (1975) The Music of Stockhausen. Chapter 8, p.80
3: Maconie, Robin. (1989) Stockhausen on Music, Lectures and Interviews. Part One, p.86

Bibliography:

Cott, Jonathan. (1974) Stockhausen: Conversations with the composer. London, Robson Books Ltd.
Hall, Michael. (1996) Leaving Home: A conducted tour of twentieth-century music with Simon Rattle. London, Faber and Faber Ltd.
Harvey, Jonathan. (1975) The Music of Stockhausen. London, Faber and Faber Ltd.
Maconie, Robin. (1976) The Works of Stockhausen. Oxford, Oxford University Press.
Maconie, Robin. (1989) Stockhausen on Music: Lectures and Interviews. London, Marion Boyars Publishers.
Tannenbaum, Mya. (1987) Conversations with Stockhausen. Oxford, Clarendon Press.
Worner, Karl H. (1973) Stockhausen: Life and Work. London, Faber and Faber Ltd.

Sunday 1 May 2011

"Racer" - Epic Orchestral Music



Petronas Syntium "Racer" - Epic Music
Client: Petronas Lubricants International
Agency: M&C Saatchi, Kuala Lumpur
Music Composer: Jon Brooks
Audio Post: WASP Studios
Post Production: MFX
Production House: Reservoir Production, Kuala Lumpur

Duration: 30 sec
Year: 2011

For additional information or more music, please visit my website: http://www.jonbrooks.co.uk

I composed, orchestrated and programmed this music in Logic Pro.

This video, including it's soundtrack, is subject to copyright and is provided for demonstration purposes only.  Music © 2011 Jon Brooks.

(As cited on Wikipedia)
PETRONAS, short for Petroliam Nasional Berhad, is a Malaysian oil and gas company that was founded on August 17, 1974. Wholly owned by the Government of Malaysia, the corporation is vested with the entire oil and gas resources in Malaysia and is entrusted with the responsibility of developing and adding value to these resources. PETRONAS is ranked among Fortune Global 500's largest corporations in the world. Fortune ranks PETRONAS as the 95th largest company in the world in 2008 and 80th largest in 2009. It also ranks PETRONAS as the 13th most profitable company in the world and the most profitable in Asia.