About Tim

Originally from Rhode Island, Tim Girard (b. 1978) began playing the drums in the school band when he was 10, mostly due to the fact that his father was a drummer. From fifth grade throughout high school he played drum set and percussion in various concert bands, rock bands, and orchestras. All the while, he assumed he would make a living as a freelance drummer/percussionist. Eventually, he realized that he needed another way to express himself musically, and in eleventh grade, he took a music theory class. After hearing his first composition performed, he realized that he was a composer.

Tim received a B.M. in Composition in 2001 from the University of Rhode Island, where he studied Percussion with Ronald Stabile and Composition with Dr. Geoffrey Gibbs and Donald DeVoe.  While still living in Rhode Island, Tim had numerous commissions from various ensembles, such as the Woonsocket High School Concert Band, the Ocean State Chamber Orchestra, the Ocean State Youth Orchestra, the Ocean State Music Collaborative, and the URI Concert Band. Tim also began to explore his interest in film scoring with Earth: The Final Hour (film by Richard Brownell), and Black Nascar Driver (film by Eric Altieri).

From 2001 until 2010, Tim was the drumline instructor for the URI Ram Marching Band. Throughout that time, the Ram Band performed his arrangements of music from “The Matrix,” “Spider-Man,” “Superman,” “Star Wars,” and his favorite classical themes, from “The Planets,” Barber’s “Adagio,” and “The Rite of Spring.”

Tim’s interest in the music from around the world led him to study Sacred Sound. As a result, his compositions began to include unique instruments and textures, and took on a meditative quality. Works from this period include Fibonacci Spiral Meditation, Sacred Sound Mass, and Prayer.

In 2011 Tim moved to Colorado, and in 2013 received a M.M. in Composition from the University of Denver’s Lamont School of Music. His composition teachers were Chris Malloy, Bill Hill, and Leanna Kirchoff. During his time at Lamont, Tim premiered works for percussion ensemble, piano solo, multi-percussion solo, two works for orchestra, and the beginning of his Complements series (in 2014, Complements V won second place at CU Boulder’s Colorado Clarinet Days Competition). His final project at Lamont was an electronic setting of the Latin text, De profundis.

Every Year the Lamont Symphony Orchestra has a new music concert open to composers who are students, faculty, and alumni of the Lamont School of Music. While Tim was a student, they performed his orchestral works Rainbow Bridge, Complements IV, and Scenes from The Path I: Genesis. Since he has become an alumni, they have performed Desolation, Astronauts vs. Aliens, and will be performing NeverEnding Barbarians in an upcoming concert.

For two seasons, Tim was the composer for Opera Colorado’s Page to Stage program, which works with elementary and middle school music classes. Using a libretto written by the class, Tim taught the students how to compose music and turn their story into either an operetta, or a musical. Tim’s works for this program include The Land of Stories: The Wishing Spell based on the book by Chris Colfer, Everything’s Coming Up Rosies based on the play (inspired by Rosie the Riveter) by Christina Hamlett, and The Comet’s Curse, based on the book by Dom Testa.

For the past few years, Tim has participated in the annual Global Game Jam, where video game programmers, designers, and artists come together all over the world to create games in only 48 hours. He has composed music for the games Invaders from Sector 255Memories of Earth, and Bass Cannon: Cogs from Space Hell.

Tim is now making a long-overdue return to his interest in scoring film, television, and video games, beginning with Desolation, and He Who Gets Slapped. He has worked with Linh Ngo on music for the short film Synthia and with Bad Pixels Productions on the short films Spirit Animal, Date, and I Can Diglett. He has also written music for film and game competitions including Jungle Jeep Chase, Always Approaching, Never Reaching, and A Winter Carol. Tim’s most recent project is music for  Lonely Tower’s game NeverEnding Barbarians, a side-scrolling, hack-n-slash for the PlayStation 4.

Tim Girard uses products by Apple (MacBook Pro, Logic Pro), AVID (Sibelius), Project SAM (Orchestral Essentials I & II), and Native Instruments (Kontakt, Kinetic Metal, and Evolve Mutations 2).

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