Escape from the Planet Altieres

The Bluefire Band electronic orchestra. Classic Theater score approach. Sci-Fi Adventure music. / CLICK HERE to learn more!

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This is an orchestral sketch written back on July 31, 1981. I write pretty darn fast, once inspired and wrote this in one evening using my four track and keyboards. I had always loved the work of current day motion picture composers like Johnny Williams, James Horner and Jerry Goldsmith. As I kept studying their approaches to scoring, I finally saw a universal formula, all of them were using.

So one night, I attempted to use that formula to do an orchestral sketch of a mythical film that never was written or filmed for the silver screen. I entitled it “Escape From the Planet Altieres”. The word “Altiere” comes from the French word which basically means “haughty”. So the English translation would be “Escape from the Haughty Planet”. I suppose this would be akin to George Lucas’s “The Empire” as freedom fighters work to escape this world to get back to their own parallel universe. Yes, this is a battle between parallel Universes, I’ve yet to see done as a movie concept.

Often I find my mind escaping into other words and realities when I get my imagination going. I see other worlds and other types of life forms and civilizations that might be from past lives lived I suppose. In this case, the music suggests a major battle scene where ray guns are blasting, like in Star Wars style and where a ship with the heroes, escape from the planet into a space battle of phenomenal proportions. Great silver screen stuff don’t you know.

Finally when the heroes find they have no way out, they jump into, not hyperspace, but inter-dimension space where they pass through 16 parallel universes in seconds, symbolized by the 16 tones you hear in the music near the end of the peace, as rings of bright light come flashing at the silver screen from dead center for each tone produced while the audience sees 16 universes in all their splendor blast before them with each tone. The pursuers take chase as well, but now the heroes are in their own universe which favors them, as the tide of battle finally turns for them while they come to save the day. Use your imagination to fill in the rest.

My orchestral sketch has all the fanfare and flightiness of most of the Sci-Fi films of the day back in the 1980’s. I had hoped one day to draft out the final orchestral score, but my health started to fail at age 27 when I bought bad food at a local Pup-N-Taco fast food outlet. It got worse when I bought contaminated meat at age 37 at a local Von’s Supermarket which continued to the present day while I got into holistic medicine to save my life.

Now, thanks to the Internet, I have a chance to share this on my artist page which I’m also advertising on my YouTube channel and through my AdWords account on Google. So for a small fee, you can fly with me, through my musical imagination to another world, during a horrendous space battle. It’s all about the bad guy’s vs. the good guys: Nothing new. The good guys try to escape an incredible world of advanced technology in their space ship. Once in space they fly through a Einstein-Rosen Bridge (worm hole) as they fly between many dimensions with each passing second to escape to turn the tide of battle about half way in the music. Image rings of light with each ring being a parallel universe as each ring of light shoots at you from the center of the movie screen. You’ll be able to tell when that happens too. It’s pretty obvious when you hear it in the score. I’ll leave it up to you to use your own imagination, as you listen to my composition to how it all plays out.

Just make sure, as you go flying through outer space with my music, to not leave your garbage floating in the worm hole. It clogs them up. Drain-O is expensive in outer space too. (chuckling)

This piece was done on a four track Fostex tape recorder, but with complex multi-voicing in the arrangement score. The only musical instrument used back then was my Korg Lambda synthesizer for all the tracks mixed through a Peavey R6M 6×4 Rack mount mixer and a Peavey amplifier, using a DBX double compression box set up, to get the most amplitude out of the signal, to get as close to 24 track recording studio quality as possible, given I never had enough money to afford studio session time, back in those days. I was literally a one man band or orchestra at all times, as I was growing in my climb to express my love and myself through music.

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