My newest vlog is up on my YouTube Channel – on a subject that my followers requested again. Specifically, what goes into tuning a grand piano! So last Friday my piano tuner, Daniel Skelley, just happened to be coming by to do a tuning and I filmed some of it for you guys. I hope you enjoy! My 2 year old also makes a cute appearance.
Please help me build my YouTube audience by liking this video and SUBSCRIBING to my channel. Thank you! Right now I’m sitting at about 6200 subscribers. Once I get reach 10,000 it opens up a lot of opportunities, like access to the YouTube creators space in LA to film and much much more. Thank you!
I feel like I have so much I’ve been wanting to share with you all, but I haven’t been able to.
That is until today.
MY MUSIC IS NOW A FAMILY EFFORT
For those who don’t know very much about me, I am a pianist, violinist, and composer and I have 3 albums released of my own compositions and arrangements. I was classically trained from the time I was 5 years old, graduated from BYU-I (piano pedigogy), I’ve performed with symphonies, soloed on concertos, and competed in piano competitions.
However, about 10 years ago I discovered that I could compose and my music career hasn’t been the same since. It was then that I felt like I truly finally found my place in music.
In that space of time, I have been composing, independently releasing my own albums, and working extremely hard in my music career. I have been lucky enough to have won and been nominated for multiple awards, been featured in movie soundtracks, TV shows, and commercials.
Tens of thousands of music lovers have created Pandora and Spotify radio stations for my music. I have sold out on physical albums, and my digital downloaders have grown tremendously. I have put out two official music videos and my Youtube channel has over a half million views. I have walked red carpets, performed for thousands of people, and met so many absolutely wonderful friends.
During these last 10 years as my career as taken off, you may or may not know that I also have given birth to three beautiful children, and have had the biggest cheerleader in my husband when it comes to my music.
They are my everything – the reason I get up every day, the reason I try to be a better person, and the joy in my life.
This summer has been one of many roadtrips, talking about dreams, our future plans and more.
The biggest news is that we’ve DECIDED TO MAKE MY MUSIC CAREER THE MAIN FOCUS.
Any of you parents out there can appreciate how hard it is to be a parent, how much time and effort it takes and the exhaustion it brings you. But it is also one of the most rewarding, joyful, and loving things you will ever experience.
Since having our 3rd baby in March of this year, I have definitely felt so blessed and felt so much joy – but at the same time I felt the stress of trying to juggle everything – and have often felt like giving up on my music would be the only option. Between the exhausting days and nights, I have only had a few rare short moments to practice the piano, and definitely no feelings of inspiration to write or compose.
This has been a long time in coming, but as of a few days ago, my husband gave his 2 week notice at his job at Microsoft; a job that he has worked endless hours at, requires his master’s degree and experience – and he is giving it up so that he can provide me with more time and flexibility to work on my music. He believes in my talents that much!
And so it is a BIG deal that we are taking this step. It is not something we take lightly, and we have prayed about this and there are just so many little things that have happened to lead us to this point – and we know it is the right thing. It will enable both my husband and I to spend more time together with our children, and as a family. We will set our own schedules, he will take on more parenting responsibilities, I will take on more music, and be able to have the time and means to put out more music, and at a faster pace than in the past. And Will will also be working closely with me in my career on finance, marketing, promotions, videography, and more.
I feel SO SO SO happy and lucky that Will has faith in me and my music and that it is important enough that we will put all of our efforts into it!
With this decision, we will also be selling our home here in the Seattle area and moving to the WA peninsula near the beach – so that we can live in a place where I feel I will receive the most daily inspiration to write new music. It will be a bit more remote, but our children will enjoy the wide open spaces and the feel of a small town near the ocean. We hope to have all of this in place by Spring 2015.
We are beyond thrilled to take this leap of faith and see where it takes us. I will keep you all updated along the journey as we work towards this next step in my music career and in our family!
NEW CHRISTMAS ALBUM COMING FALL 2015
It is with with great excitement that I announce that I am starting work on a CHRISTMAS ALBUM, that I hope to have finished and released by late Fall of 2015 – just in time for the holidays next year.
Many of you have been asking for a Christmas album from me for the last few years, and my heart just wasn’t in it. BUT NOW IT IS! I am SO ready to write Christmas music this year! I’m excited to work once again with the amazingly talented Glen Gabriel on this project. To have an album finished within only 1 year will be a first for me (the last album took 4 years), but again, that is the goal with my family’s new focus – to allow me more time for music. So wish me luck and send me lots of creative vibes as I work on receiving ideas and inspiration for this special music!
IN OTHER NEWS…
I have one other album project I will be working on in between projects – the music will be very epic and cinematic, much like Illumination but hopefully even better. More live instrumentation, more collaborations, and more music videos.
Thanks for all of your continued love and support! I wouldn’t be able to do what I’m doing with my music without you guys – so thank you from the bottom of my heart.
This is the second of a series of blog posts entitled “Diary of a Song“, where I share the stories behind each of the songs from my new album “Illumination“.
At the end of each post, I also include a link to buy the sheet music, and the MP3 download.
TOCCATA AND FUGUE
While it is 2012 as of writing this post, I actually composed Toccata and Fugue in 2009.
I would say that this piece is one of the more edgier songs on my album. I had spent all of 2008 and most of 2009 writing lullabies for babies for my 2nd album, “The Lullaby Album”. That album was inspired by becoming a new mother and the joy of singing and playing sweet little songs for my little bundle of joy. Most of my time was consumed with new motherhood, diapers, binkies, bottles, naptimes, toys, and more.
However, after writing, orchestrating, and recording lullabies straight for a year – I have to say I was growing super tired of them. I am a composer of fire, and my inner fire was yearning to burst out. I HAD to do something a bit more complex, a lot more dark, louder, and way more intense.
I NEEDED something that was essentially the complete opposite of a lullaby.
Thus, Toccata and Fugue was born.
This song has really got gritty sound to it, and a beat that is referred to as a “glitch” beat. You can hear what I mean by a glitch beat by listening here (a sample of the beat track from the recording).
It is a similar genre of beats that is popular in Linkin Park’s music, for this particular sample – from their song “In the End”. Listen below.
THE COMPOSING PROCESS
Toccata and Fugue in D minor (BWV 565) by Johann Sebastian Bach is a piece of music that is traditionally performed on a full pipe organ. I went through the videos on YouTube, and really enjoyed this version:
A traditional Toccata and Fugue is a two-part piece, never having one without the other. This type of Baroque music is typically an exercise for fingers to showcase great technical ability – most often two voices woven and intertwining together. Bach was the master of this. His songs are very mathematical if you ask me. And because of this, his music also makes for SPECTACULAR crossover versions because they yield to beats so well.
But this particular song is quite lengthy, and I had to figure out how to arrange it so that I could squeeze both the Toccata and the Fugue into one movement, while skipping about 50 other pages of music. It wasn’t easy, and I can tell you I spent numerous hours trying to figure this out.
The most memorable parts of this piece are without a doubt, the beginning and the ending. I spent some time trying to figure out how I would start the piece, because to be honest, this piece just really only sounded super impressive on a pipe organ and trying to make it work on a piano sounded very wimpy. This is where I had the idea that I would have violins start the piece out and do the whole introduction, while the piano would make a grand entrance with an arpeggiated scale before beginning the traditional Fugue.
You can hear this here:
You then hear the actual Fugue – straight as it is from Bach’s music.
As with arranging any piece of classical music, I try to put my own twist on it and own part of it. So I added trail-off section with a violin part, accompanied by vocals that take the piece away from Bach’s original. Listen here:
The rest of the song is more of the same story – trying to go through the original music and dissecting it apart to fit into a 4 minute piece of music while adding my own flare to it. The Fugue portion of the song is not too lengthy, only from timestamps 1:06 – 1:25, which you can hear here:
After the short Fugue, it returns to the Toccata and ends with the traditional ending of the Toccata, with the exception that I made it major, instead of minor. Listen here:
I wrote this piece with specific predetermined places in the music where the piano would not play at all, but where the orchestra would take the melody. And while I am a violinist, I however did not perform the violin in this recording. At the time of orchestrating this piece, I had just purchased a sound library from Eastwest called “Gypsy”, which I had specifically bought because they had a violin sample on it that was outstanding. It took a lot of tutorials and playing around with to figure it out, but in the end I think I was able to accomplish a pretty realistic violin recording.
You can hear here, first all by itself, then with the rest of the orchestra:
Once I had most of the orchestra done, I sent the song to my talented colleague Glen Gabriel in Sweden. He then added the glitch beats, symphonic percussion, and a few more bells and whistles. Literally. Here is a sample all by itself, then with the rest of the orchestration.
MASTERING THE SONG
Not sure how many of you know very much about mastering, but it is a very important part of the finalization process of a recording. “Mastering” is the process for which a song goes through to equalize sound levels, polish things out, tone down anything that tweaks ears, etc. The piano is particularly a fussy instrument to master because it has very high notes and very low notes. Usually an instrument or voice has a particular range of a few octaves, but the piano has 7.5 octaves to be exact. So it’s not easy. Mix an orchestra in with it, and there is just a LOT going on that an audio engineer needs to attend to.
I actually had this song mixed and mastered by three different engineers. The reason for this is, when I originally completed the song in 2009, I did a lot of the work at Zak Dewey’s studio – he was the sound engineer for Key of Sea, and I still use him all the time for whenever I need to go and record live audio. We did a very quick mastering session on the song because (I don’t remember why), we were limited on time and I needed the song done to submit to some competition or something. Even Zak wasn’t completely happy with it, but for what I needed it for – it was good enough at the time.
Then, the next year, I had Paul Speer remix and remaster the song (He did The Lullaby Album mixing/mastering for me). And THEN, in 2011, as I was getting more serious about completing Illumination and was on the look out for a sound engineer for it, I gave the song to Rob Beaton to mix and master as a trial to see if I wanted to use him for Illumination. Don’t get me wrong, I love my other sound engineer’s work and will give them the highest praise. But for Illumination I was really trying to go for a certain sound – a big cinematic sound to be exact. And so I was looking at sound engineers who typically mastered music for movie trailers and feature length films. Rob Beaton ended up mixing and mastering my entire album for Illumination, and it is important that all songs on an album are done by the same engineer to get a fluid sound (which is why he remastered Toccata for me).
All three versions of the masters sound really great, but I thought it would be fun to let you compare how different a song can sound when mixed/mastered by three different people. Each clip is the first 30 seconds of the song.
Mix #1 – Zak
Mix #2 – Paul
Mix #3 – Rob’s mix (the one on my Illumination album)
Anyway, in 2011 Toccata and Fugue was nominated for a Hollywood Music in Media Award, for “Best Classical Song”. This was exciting – as it was my first awards show. Will (my husband) and I made the trip to Hollywood and attended the event, and had a really fun time. My song did not end up winning, but it was a really great experience.
And then in 2012, I decided to include the song on Illumination. It is track #9 on the album. Some people have told me that it is their favorite piece on the entire album! This of course makes me very happy.
With that said, people have also been asking me for a long, long, LONG time when I am going to publish the sheet music for this song. I had actually never wrote the piece down! But last year I did a small house concert in October, where I thought it would be only fitting to perform that song since it was so close to Halloween. The song does have a total Halloween vibe to it, and the traditional version is often used this time of year for Halloween events and concerts. It’s a bit of a scary song, what can I say. Even still, I hadn’t put the music into sheet music though.
However, this past week I worked really hard and FINALLY sat down at the piano and wrote it all out. Now remember a lot of the recording has orchestrated parts with no piano, and so what I did was just transcribe those parts into a condensed piano score. I think it actually sounds really killer and I think a lot of pianists out there who play it will be really excited about it.