This compact, Bach-inspired fugue is designed for a commercial/advertisement or short film cue. It features four subject entries, all in minor tonalities, and ends with a characteristically Baroque Picardy third (the major chord at the end of a minor piece). Perfect for evoking a bourgeois Baroque sensibility, spooky Draculean castles, or ornate cathedrals.

A mystical track produced mostly of mallet percussion and synthesized bell sounds, with some effects. The overall mood is fantastical, with evocations of fireflies, starry nights, or enchanted fairy worlds.

An orchestral track featuring motor rhythms in the woodwinds underneath soaring, lush strings. Evokes feelings of inspiration and discovery, as the determined woodwinds propel the music into the strings' majestic, optimistic flights. Appropriate for film projects, especially for montage sequences.

An optimistic, rhythmically-propelled track driven by an insistent low bass ostinato and rhythmic pizzicato strings. A solitary piano melody steps forward with resolve, and strings lightly fill in the harmonic texture behind. Eventually a shaker enters, adding another layer of optimism. Very cinematic, filled with evocations of resolution and contented finality.

This enchanting fantasy track creates an ethereal orchestral texture from harp, piano, and low strings. Woodwinds enter with serpentine melodies as the mystical harmony winds around in the harp. Evokes sorceresses, mystical forests, and spellbinding fantasies.

An electronic track designed to evoke science and technology. Great for sci-fi film projects or anything related to tech. Starts with a glitchy, binary-inspired bass synth ostinato, which continues as electronic layers enter over top of it. The center of the track features a retro arpeggiated synth, but modern cinematic effects abound.

A dark, cinematic trailer track driven by a rhythmic bass synth and insistently rhythmic rising cello line. Orchestral layers are added gradually, and the first violins soar upward before the whole thing collapses on an ominous low brass intonation, leaving only the bass synth with which the whole thing began. Perfect for intense, dark action trailers.

A reflective, cinematic track featuring a strummed acoustic guitar overlaid with a transparent piano melody and lush string harmonies. Set in a major key, but positions the climaxes on a minor chord, which gives the whole track a bittersweet feel. Perfect for a sentimental montage or a closing track.

A string chorale that moves from a triumphant, valedictory beginning through a more somber reflection before returning to a triumphant reprisal of the opening. Closes with another turn to a somber--but resolved--tone. Scored entirely for string ensemble with orchestral accents (timpani/percussion). Perfect for the end of a dramatic film, as it captures a range of emotional highs and lows.

This upbeat track clips along to asymmetrical meter groupings (of 13 and 12 beats, alternating), which gives it a bouncy feel. Fun hand claps and a rhythmic drum kit part (which includes a subtle tambourine) fill out this underlying metric pattern. A marimba ostinato provides the main melodic motif throughout, which is harmonized with optimistic mixolydian-mode piano chords. Includes subtle polishing effects. This is perfect for a commercial, especially one that stresses the theme of innovation.

This horror/suspense track features a low, dark atmospheric drone and intermittent, unpredictable effects (some orchestral, others electronic). There is one early point of climax, and later in the track an insistent col legno string ostinato enters, increasing the tension into the climactic ending.

A mournful, or otherwise somber, orchestral track scored predominantly for woodwinds, strings, and harp. Begins with a lamenting solo flute line, and transitions to a section with a thoughtfully pulsing harp part underneath intertwining oboe and flute melodies. Builds up at the end into an ominous finish, which includes brass and growing unease in the percussion. Some subtle finishing effects at the end.