This is the first theme, the one everyone knows. The version we all know is HERE, the one with the “dada dada” intro. I started with this first, but I was unhappy with the result until I went back to it twice with new ideas. My goal was to capture the spirit of the orchestral version, which is complex, and trying to get to that goal was far harder then I realized.
This is a true transcription plus some degree of improv.
I had to take some liberties because without percussion and other eerie effects that are in the TV orchestration I had to try to get the feel, and that meant changing things. The trick in such work is for the listener not to realize how much is reworked. It’s a true art to capture the essence of an original when transferring it to a totally different instrument.
The way the piece sounds is incredibly interesting. A very eerie and mysterious sound.
I like this piece for piano.
I like this, it sounds eerie and very complicated. I have never seen Twighligt Zone but I can imagine it is a creepy thing to watch.
Normally modern music of this vein isn’t my cuppa, but this one is. It’s crazy, like properly crazy – Shostakovich crazy, that level of crazy. I know he didn’t write it, but it’s that level of crazy. And this version works very well. I forgot who said it, but someone said there’s an orchestra in the piano. It seems you found it.
I liked the way it sounds
Very impressive! Those heavy bass chords add drama to this eerie music.
This works for me. That is, it sounds like what it is, so I’m “fooled” in “not noticing changes” but it’s also complete in a way it wouldn’t be if you hadn’t made it “orchestral” if that makes sense. I like it.