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MUSIC of the Tudors
The Music of The TudorsBy Award winning composer
Trevor Morris (pictured left)
for all episodes of all seasons
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Born - 25 May 1970 in London, Ontario, Canada
Trevor was born a few hours outside of Toronto in London Ontario Canada. He was helped by his grandmother onto the piano bench before he could walk, she sat him in her lap and played “Puff the magic dragon” (a melody Trevor still does variations on in his compositions). After being introduced to music by his Grandmother, Trevor’s parents enrolled him in St. Mary’s elementary school for the arts at age 5. Studying choir, violin and contrabass throughout, Trevor also gravitated toward the piano, which he began studying privately in tandem.
In grade 8, Trevor was approached by his school for a commissioned composition: a piece for his graduating class to sing for the coinciding visit of Pope John Paul to Ontario Canada. Unfortunately security did not allow for the class to sing live for the Pope, but they did perform Trevor’s first composition at their graduation ceremonies, held at St.Mary’s cathedral. Composed for 4 part choir and piano, “Sacred young people”, a variation on a literal theme of the Pope’s, was performed and recorded by Trevor’s graduating class. It represented the first step down the path that Trevor would follow from that point on.
High school and ultimately college led Trevor toward the recording arts, gaining a degree in Recording Engineering from Canada’s top school, Music Industry Arts. He graduated top of his class being awarded the prestigious “most promising engineer / producer”. Graduation from College led him immediately to Toronto, home of Canada’s largest community of composers, producers, engineers and musicians.
With production, recording and the recording studio becoming Trevor’s focus, 10 years spent in the Toronto community saw Trevor’s rise through the ranks of the largest recording studio in Toronto and various top commercial production houses. This path led Trevor back to his original true love, composition. Exposed to the enriched scene of commercial production, there isn’t a top music house, ad agency or studio Trevor didn’t write for.
The desire to have a longer medium in which to speak musically, steered Trevor toward Television and Film work. After a few small independent features and his first network 1 hour drama, it was evident the he had found his life’s work, writing music to picture.
While still in Toronto, Trevor got accepted to the prestigious ASCAP scoring workshop in Los Angeles. Deep in work on his first dramatic television series, he flew down to LA and back home again 4 days every week for over a month in order to attend. With his exposure to the film scoring community, and the opportunity to compose and conduct the “L.A. All-Stars” orchestra, the decision to move to Los Angeles followed shortly.
The year 2000 saw not only a Millennium change, but a trans-continental change as well, Trevor Moved to Hollywood. Trevor immediately found freelance work doing music for “E! True Hollywood Story” as well as network promotional music for “Just Shoot Me” and “King of Queens”. But ultimately it was his engineering roots and production background that would bring him in touch with one of his musical idols, James Newton Howard. Trevor assisted James on a few films, supporting him in orchestra preparation and pre-records.
It was shortly there after, that Trevor connected with what would his most fruitful musical friend, Hans Zimmer. Trevor spent 2 and a half years working closely was Hans as studio designer, engineer, orchestra wrangler, technical supervision, producer and co-composer for Hans. They collaborated in this capacity on such films as “Black Hawk Down”, “Shark Tale”, “The Last Samurai”, “Pirates of the Caribbean 1 and 2” and “The Ring 1 and 2”. Many trips to the scoring stages of Los Angeles, and London England would follow, allowing Trevor to compose, produce and conduct the best players in the world on Feature Film and Television work for both Hans and Trevor’s own projects.
Trevor currently lives and works in west Los Angeles, and shares studio space with Hans Zimmer at his state of the art Remote Control Facility.
He won the prime time EMMY award for Outstanding Main Title Theme music for his work on “The Tudors” in 2007.
The Tudors Season 3 Soundtrack - A Howling Wilderness/The Death Of Jane Seymour
Pillars of the Earth (TV Series)
Miami Medical (TV series)
The Tudors -Season 4
Mental (TV Series)
Kings (TV Series)
The Tudors (TV Series - Season 3)
The Tudors (TV Series - Season 2)
The Tudors (TV series - Season 1)
Transformers (Additional Music)
The Hills Have Eyes 2
Moonlight (TV Series)
Viva Laughlin (TV Series) (Main Theme)
Pirates of the Caribbean - Dead Man's Chest (Additional Music)
Justice (TV Series)
Coors Lite "Crop Circle" (Commercial)
When a Stranger calls (Additional Music)
Stealth (Additional Music)
The Island (Additional Music)
The Ring Two (Additional Music)
E-Ring (TV Series)
The Amityville Horror (Additional Music)
The Island expanded Score
Spanglish (Additional Music)
Shark Tale (Additional Music)
King Arthur (Additional Music)
Blade Trinity (Additional Music)
King Arthur (Complete Score)
The Last Samurai (Additional Music)
Something's Gotta Give (Additional Music)
Hulk (Musical Programmer
Bad Boys II (Additional Music)
Pirates of the Caribbean- The Curse of the Black Pearl (Additional Music)
Matchstick Men (Music Score Consultant)
Spirit - Stallion of the Cimarron (Technical Music Advisor)
Big Trouble (Assistant To James Newton Howard)
The Ring (Complete Score)(Music Editor)
Atlantis - The Lost Empire (Assistant To James Newton Howard) [Promotional Release]
U8TV - The Lofters (TV series)
Black Hawk Down (Assistant To Hans Zimmer)
Riding in Cars with Boys (Assistant To Hans Zimmer)
Code Name - Eternity (TV Series)
Splat ! (TV series)
Due South (TV Series) (Music Programmer)
| PMC supplies IB2S LCR monitors to Trevor Morris music for use on film score composition and mix sessions |
"I love listening to music again on my speakers, for both critical reasons and for pure enjoyment" - Trevor Morris.
Irvine, CA: PMC, the world´s leading developer of high-end monitor loudspeakers and custom-installation playback systems, has supplied a trio of IB2S Monitors to Trevor Morris Music. Arrayed in a Left-Center-Right configuration, the IB2S units are externally powered by Classe 400W mono blocks, with a Bryston LFE Crossover to drive a separate subwoofer. Based in Santa Monica, CA, the facility serves as the home base for film composer Trevor Morris, who used the systems recently while preparing the high-energy soundtrack for director Martin Weisz The Hills Have Eyes II; the PMC monitors are also being used on other film and TV scoring projects.
Adding PMC monitors was the "best studio decision I have made in a long time," Morris offers. "I absolutely love and trust them. What the PMCs do for me - which no other monitor has done - is they provide a big-league depth of field that is of key importance for orchestral/three-dimensional mixing. They are still very honest throughout the critical midrange while, and most importantly, remaining an inspiring speaker to listen to. I have owned other speakers that sound pretty good, until you listen to your mixes some place else. And then shock sets in!
"With the PMCs I really know what I am hearing, which is critical for modern film scores, which deal not only with low, mids and highs, but also - in terms of mix depth - close, medium and far. I love listening to music again on my speakers, for both critical reasons and for pure enjoyment."
"The mid-range and top-end of my IB2S monitors simply shine in their ability to honestly and inspirationally represent my composition and recording process," Morris enthuses. "Mixing and recording music should really be about reacting on an emotional level and trusting what you hear."
Morris says that he heard about PMC through his friend, scoring mixer Dennis Sands. "I've always been a huge fan of his mixes," the composer concedes, "and found that Dennis' work translated no matter what the style of music or medium. When I contacted [VP Sales & Marketing] Maurice Patist at PMC, my desires were simple yet almost enigmatic in nature: to find speakers that are honest yet inspiring to work on. As a composer, 50% of my job is just waiting for inspiration, and that comes through the speakers I listen to all day long. The rest is mixing and sculpting music and sound."
Morris likens the playback monitoring chain to a porthole into his musical world. "Most film composers I know have little interest in next-level monitoring, which always surprised me," he says. "There is something about going to a scoring stage or mix theatre and hearing your music played back on 'Real Speakers' that feeling of awe, size and space. Then it hit me, why don't I write in an environment like that? I never looked back!"
"I'm currently auditioning some smaller powered PMC speakers," the composer continues, "as contenders for both my surround satellites, and also for my small production rooms and music editorial suites. My goal is to have PMC speakers consistently through my audio chain from composing to mixing to editing, and everything in between."
In addition to The Hills Have Eyes II, Morris used a PMC system while recording the score for Showtime's series The Tudors. "PMC was kind enough to loan me a LCR array of the big MB2 monitors for our mix suite. I have a huge lust for those speakers; they are simply a bit too big for my writing suite at the moment. Many of my peers - both composers and engineers - have come in to hear my IB2S monitors. I think some of them were very surprised; several have started the process of designing a PMC system for themselves. Which confirms what I already know: PMC monitors are among the very top speakers on the planet!"
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, Jun 24 2012, 5:58 AM EDT
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Keyword tags: music opening music Renaissance Tallis The Tudors Thomas Tallis trevor morris Tudors theme tune
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