Posts Tagged ‘Timothy Crane’
Today’s computer enhanced technology is amazing, and when skillful composing is combined with live performers and instrumentals, the resulting musical outcome can become a creation of natural beauty.
Timothy Crane is an artist using a creative touch with the music technology of today by composing piano music and then intregrating key instrumentals along with orchestra effects that become full structured works of music he and his close friends enjoy creating.
Dragonfly is the second release where Timothy plays a leading role as pianist and co-producer of his second album, along with Jason Rowsell who also played bass and mixing. Friends Rick Henly performs on guitar and percussion effects, while Ryan Day engineered and mixed the album. One last credit I don’t want to miss, Jason Rowsell’s young daughter has a cameo role by quietly laughing on cue during the beginning of song, A Child’s Goodnight.
The Other Life I Dream is the first album I enjoyed equally from Tim and this talented group. When asking Timothy what was the primary objective on this current release, and what set Dragonfly apart from the first album. Here is his reply:
With Dragonfly, my focus was more on the composition. Each piece reflects an attempt to craft an instrumental tune that is memorable, unique to the overall album, and noticeably piano-driven, produced by independent musicians who want nothing more than to continue to create and play music. Timothy Crane
Dragonfly is where I discovered more natural forms of instrumentation become closely acquainted with an animated entity in 11 song classics. A few songs carry the rhythmic tones that might remind some of a highly recognized female artist at first glance, but I soon discovered every song is composed with a unique singular structuring in each melody belonging in a New Age, Piano, Contemporary Instrumental, Cinematic theme.
Dragonfly indeed takes flight with first song 2×2. In a graceful piano based dance of the keys, a real beauty of a melody greatly captures your attention by the upper tempo modern rhythms.
Well placed staccato notes from strings carry this steady motion while wonderful orchestration carries the appropriate rhythms that lead to a natural form of musical attraction.
Sylvan Grove holds much of the same beauty by piano leading in an upbeat theme while horns and strings inscribe a smooth blend into another most positive melody. Higher octave piano notes in Star Cross Moon are the first gentle indications of a nice correlation in melodic shades, and when numerous major to minor key changes make a full emotional presence felt during refrains, the result is gratifying.
A Child’s Goodnight is a playful theme that soon matures in a full chord and heartfelt movement, while Salish Sunset in again, a more moderate tempo, along with light recollections in piano phrasing, join with oboe to impart warmer tones of orchestration to enhance the open atmosphere of splendor.
Theft in Eb Major has more of a classical thought in composition with major and minor chords extending vibrant hues while building momentum as the song progresses. The woodwinds warm breezy notes blend with background choral vocals to instill a more celestial feel with this song.
Theme of Rachel Scott is another focal point where medium range keystrokes give way to lower chords feel of depth and richness, blending nicely with orchestration to become one exciting entity. Vasilissa the Beautiful entertains a most peaceful beginning only to be suddenly interrupted by an enthralling performance from piano, choir, and deep thunderous percussion, quickly taking flight as if suddenly startled from a comfortable resting place.
Title song Dragonfly is an impassioned piano solo signaling the finale of this lightly animated album, in a conclusion where I felt every colorful detail was closely examined while producing this incorporated album, becoming the perfect choice for many people desiring popular music creations having a natural attraction.
Picture Copyright Big Stock Photo – FOTOCROMO.