This suspense cue (from thriller feature Hell Bent) introduces the film’s murderous antagonist, your classic guy-with-sharp-object-dressed-in-devil-suit-lurking-in-forest archetype. Rather than give the killer a theme, I gave him a sound – a truly hair-raising effect produced by a rare wind instrument. It comes in around one minute into the track; see if you can guess what it is!

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	Devil in the Forest

The scene in Home Room which this music accompanies centers around the topic of acceptance of death.  To reflect the moment’s introspective mood, as well as the quiet of the morgue setting, I wrote harmonies for three flutes – standard, alto, and bass.  The bass flute in particular has a wonderful hollow haunting sound which works wonderfully with picture.  Piano and a touch of cello round out the ensemble.

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	The Morgue

Here’s a moody and somber piano cue from Home Room‘s score. The hollow-sounding sustained tone in the background wasn’t produced electronically as you might expect, but by percussion guru M.B. Gordy’s swinging a flexible plastic tube overhead in a circle! The result produce a more organic sound than an analog synthesizer-style preset, though it required a special effort to mic.

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	The Mirror

Here’s something in a more traditional lyrical movie-music vein, one of two cues for oboe and string orchestra towards the end of Home Room. The multi-talented (and multi-instrumental) Chris Bleth lends his oboe skills to this performance.

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	Going Home, Part 2

This short cue is a genre-blending mixture of meditative Far Eastern percussion and contemporary beats. I’m not winning any points for ethnomusicological authenticity here, but this was fun to write. The cue began its life as a sort of proof-of-concept, but I like the idea and am tempted to extend it into a longer piece.

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	Tibetan Jam