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Music doesn't always make the cut...!

Here's some music that didn't make the cut for the final project. It's something that usually happens a lot when composing for media!

 Because things we consider "good music" doesn't always mean is the best music to serve the director idea. The job, for the media composer, is to serve this idea and vision in the best musical way possible, despite the attachment we have for our own music.

Sometimes is hard to let go, but it's always the best choice, knowing that the job is all about serving the movie and make it work. It's about storytelling, not about music itself! 

Here's the final project, with music that (finally!) made the cut :) 

Video created by HumanEyes in the context of the Dear India Exposition , with wonderful paintings by Carolina Piteira and the photographer Roberto Zampino. If you're in Lisbon, check it out live before the 3rd of July 2018!

Thank you for your time, see you soon!

VIDEO CREDITS: Directed by Guilherme Melo Ribeiro / Camera & Edit by Guilherme Melo Ribeiro / Sound Design by Catarina Paulo / Music and Sound Mixing by Aurélien Vieira Lino/ Written by Luisa Fidalgo / Production by THE FLYING MAN

Kitesurf Odyssey 2017 Original Soundtrack

Is finally here! The first official original soundtrack release of the World Record 2017 KiteSurf Odyssey documentary, reporting the ocean trip liaison from the Azores to Portugal Mainland. A major achievement and an extraordinary adventure by the kitesurfers Francisco Lufinha and Anke Brandt

This music is about emotion, human sacrifice and achievement, portrayed with a hybrid score, with orchestral instruments, piano, and electronic music. I've tried to avoid the cliché "epic music", with almost no use of big percussion,  essentially trying to find new textures and an identity to all the score.  

The documentary debuts today at Cinema São Jorge, Lisbon, and will be shortly available worldwide, I'll be releasing more news about that later. 

The trailer (not featuring my music!): 

Please buy if you would like to support the artist :)

Thank you!

Composing & Orchestrating for Video Games... Part II

Hi again!

Another important aspect of interactive scoring for games is “layering”. Like weeding cakes, is about creating with layers to achieve something tasty :) ! But unlike weeding cakes, we can “eat” just one layer first, and then overlap the other layers to add “flavor”. The goal is, within the same piece of music, to achieve different ambiences for different scenarios/events in the game. Examples: exploring – suspense – fight!

These layers are triggered by the player though the game engine.


This example was made for a sequence from the Playstation 3 and 4 game “The Last of Us” (amazing original score, please check it out at Spotify)


Thank you for listening, see you soon with more goodies :)


Composing & Orchestrating for Video Games...


I’ve recently finished the “Interactive Scoring for Games” course from Berklee, and I’ve made a lot of music for it.

One of the challenges was to create two themes for a game and then orchestrate these themes to be used in an interactive context. I thought it would be interesting to show these “raw” themes and the orchestrated counterpart, so you could observe how important is the arrangement and orchestration process to transform a song/track.


The themes were inspired from the Playstation 4 game “The Last Guardian” (amazing original score, please check it out at Spotify).

The Last Guardian, Sony ps4


Theme A is for the children protagonist, here’s the piano sketch:


Theme B is for Trico, the “beast”, piano sketch:


Now, the orchestrated versions!


Theme A “the Children”:

Theme B “Trico the beast”:


I’ve tried to orchestrate in a very “Japanese” fashion way, inspired by the works of Joe Hisaishi (he worked in all the Myasaki animation films from Gibli and Takeshi Kitano films). It’s a “mélange” of classic orchestral writing but with some jazz harmony in it, to simplify.


What do you think of it?


Thank you for listening, see you soon with more goodies :)