Jeffrey Gold composes film music in a variety of styles ranging from symphonic to ambient and electronic to minimalist. Among his influences are film composing legends John Williams, Ennio Morricone, Hans Zimmer, Thomas Newman, Alan Silvestri, John Barry, Vangelis, and Peter Gabriel and classical composers such as Holst, Barber, Elgar, and Satie—to name a limited few.
Winner of the 2015 Akademia Music Award for Best Instrumental/Acoustic Song, Winner of the 2013, 2012, and 2006 Best of State Awards for Original Music Composition, Winner of the Silver Medal in the 2011 Park City Film Music Festival, Winner of the Jury Choice Gold Medal for Excellence in the 2004 Park City Film Music Festival, and Semi-Finalist in the 2004 Moondance International Film Festival filmscoring competition, Jeffrey Gold's works have premiered at the British Academy of Film and Television Arts (BAFTA) Centres in Cardiff, Wales and in Piccadilly, London, on television in the U.K., on PBS television in the U.S., on the radio and at international film festivals. In 2005 he was invited to participate in the 19th Annual Sundance Institute Independent Producers Conference and the 3rd Annual Sundance Institute Theatre Program/Johnny Mercer Foundation Master Class with composers and performers Melissa Manchester, Jimmy Webb, Michael Rupert, Margaret Whiting, and Charles Strouse. He has had masterclasses with film composer/orchestrator/arranger Conrad Pope (Star Wars episodes I-III, Munich, Memoirs of a Geisha), two-time Emmy award-winning film composer/arranger Hummie Mann (Robin Hood: Men in Tights, Year of the Comet), award-winning film composer Douglas Romayne (Buffy the Vampire Slayer), award-winning film composer & Sundance Institute alumnus Vincent Gillioz, and Clio award-winning guitar virtuoso Vince Lauria.
Educated at Cambridge University, he is a lifetime member of the Cambridge University Film & Television Society (CFTV), a full member of the American Society of Composers, Authors, and Producers (ASCAP) since 1999, a full member of the Society of Composers and Lyricists (SCL), a member of the Academy of Scoring Arts (ASA), a member of the American Film Istitute (AFI), and an associate member of the Recording Academy (Grammys). He lives and works in Los Angeles, California.
Based in Los Angeles, Jeffrey collaborates with filmmakers, directors, editors, and producers to create original music for their feature-length and short films, and provides free needle drop music for those filmmakers broadcasting their work on YouTube who otherwise cannot afford the services of a film composer. If you are a filmmaker needing music immediately, please click here to contact us.
"Jeff is a talented individual and a great guy as well. Easy to work with, very flexible and knowledgeable. Work with this guy, you won't regret it."
Hummie Mann, 2-time Emmy Award-Winning Film Composer, Arranger, and Orchestrator (Robin Hood: Men in Tights)
"Jeffrey Gold's musical contribution to our historical documentary, Promontory, was subtle yet wonderfully effective. I was terribly impressed with his deft touch at enhancing dramatic passages. He was an excellent partner in the creative process."
Ken Verdoia, Contributing Senior Producer, KUED (PBS), Salt Lake City, Utah
"Abby Singer has...a stirring score."
Tim Cooper, UK Guardian Observer, September 21, 2003
"Jeffrey is a highly competent and talented musician with a wide dynamic range. Very reliable and prompt. His music brought my film to life, composed under a very tight deadline."
Alkesh Vaja, Writer/Director/Filmmaker (Monk)
Australia HQ media & culture magazine, Issue 100, November/December 2003
"With a love for rich string arrangements, Jeffrey Gold imbues his scores with classical Romanticism along the modern edge. The ability to make subtle changes parallel the emotions, reserved in sentimentality, marks Gold's work for film."
Editors, music.download.com, July 2004
"Abby Singer has...a distinctive visual style, sharp editing and a stirring score."
Tim Cooper, UK Guardian Observer, September 21, 2003
Australia HQ media & culture magazine, Issue 100, November/December 2003
"Jeffrey Gold's musical contribution to our historical documentary,
Promontory, was subtle yet wonderfully effective. I was terribly
impressed with his deft touch at enhancing dramatic passages. He was an
excellent partner in the creative process."
Ken Verdoia, Documentary Film Producer, Salt Lake City, Utah
"I have had the opportunity to listen to the ... "Elegy: Adagio for Strings" by Jeffrey Gold. This short piece, in the tradition of Barber and Vaughan-Williams is effective and compelling. Mr. Gold's use of rich string sonorities and evocative voice-leading, creating well-timed and poignant dissonances, conveys a mood of simultaneous despair and hope."
Gerald Elias, Associate Concertmaster of the Utah Symphony and First Violin of the Abramyan String Quartet, United States
"The piece is an exquisite adagio, that is, a slow, progressive sustainment in music. The rich unification of strings propelled at a gradual pace intensely personifies the depth and profoundness of harmony embedded within. The resonance of the strings wafting and weaving to produce a graceful melody is truly impeccable. The sheer beauty of the sound is stunning in the way it conglomerates within the listener's mind.
"Such a masterful fusion of the strings and the sounds they create is not easily accomplished by just any mere person. Jeffrey Gold harnesses a very powerful skill in making such a depth-filled sonority. Most people today want something with 'hooks', but this is something far beyond the norm in today's music. It takes skill to create such a piece as this, a lulling and enchantingly beautiful sustained melody. All notes are prolonged to the right moment, and the sounds these notes emit are truly vivid. The production is nearly immaculate and its overall structure and compostion are just about faultless. There is not much more I can think of to say, other than that this piece is amazingly well-done. It deserves all the praise it gets."
Hunter Hansen, Music Reviewer, Gods of Music.
Jeffrey Gold's music represents the result that every musician should strive
for. It influences the listener in a most powerful way. My favorite
composition is "Elegy: Adagio for Strings", in which the deep sound of the
strings makes you forget where you are, taking you deeper and deeper. This
composition is made with lots of talent, professionalism and taste. This is
how a person with a big soul plays. Jeffrey Gold is one of my favorite
Dean Korso, Composer, St. Petersburg, Russia
"Merci pour vos musiques pleines de sensibilite. Un plaisir pour les oreilles. Une inspiration pour les artistes. Un depart formidable pour les cours de relaxation. Merci de nous emmener faire un tour sur votre planete." [Translation: "Thank you for your sensitive music. A pleasure for the ears. An inspiration for artists. A terrific beginning down a relaxing path. Thank you for taking us on a tour of your world."]
"Listening to [the Elegy] makes me reflective and introspective. I think the reason is that for me, the sustained and powerfully slow tempo (adagio) corrals together the various desperate cries of each plaintive and isolated phrase of feeling to generate a force of emotion one can only get from searching out the hidden, lonely places within one's own psyche and staring them full in the face."
Jack Newman, Unites States
"Just a short note to tell you of my gratitude for being able to download and enjoy such an incredible, inspiring, and truly magnificent work. It has filled many hours of appreciation for the quality and enjoyment of this true symphony for the ears."
Nowhere Fast: The Forgotten Story of Approach Control
Producer, Writer, Composer (Temp Score)
Director: R. R. Williams, Los Angeles (2013)
*WINNER - Gold Remi Award, 2013 WorldFest Houston
Director: Nicholas West (2012)
In the Company of Friends
Director: Thom Jensen, Salt Lake City (2011)
*WINNER - Audience Choice: Silver Medal for Excellence - 2011 Park City Film Music Festival
Message from Mother Earth (VI)
Director: Gabriel Lakey (2009)
Message from Mother Earth (III) 2012
Director: Gabriel Lakey (2009)
Moab Film Festival
*Winner - 2009 Moab Film Festival
Director: Jason Painter (2009)
48 Hour Film Festival
*WINNER - Audience Choice Award - 2009 48 Hour Film Festival
Pigweed Philosopher: The Untethered Zen of Kimball Johnson
Executive Producer & Music Supervisor
Director: Gabriel Lakey (2009)
2009 Moab Film Festival
2009 Port Townsend Film Festival
2009 London Independent Film Festival
2009 Park City Film Music Festival
*WINNER - Best Documentary (Foreign) - 2009 London Independent Film Festival
*WINNER - Best Documentary (Foreign) - 2009 Toronto Independent Film Festival
*WINNER - Director's Choice: Gold Medal for Excellence - 2009 Park City Film Music Festival
*WINNER - 2009 Moab International Film Festival (cinematography)
Hoot in the Hole: The Story of the Jackson Hole Hootenanny
Director: Juliet Sonnenberg, Atlanta (2007)
2008 Vail Film Festival
2008 Big Bear Lake Film Festival
2008 Appalachian Film Festival
2008 Park City Film Music Festival
*WINNER - Silver Medal: Excellence in a Music Documentary - 2008 Park City Film Music Festival
Eritrea: Living in a Border War
Director: Mario DeAngelis (2006)
Director: Nathan Rollins, New York (2006)
Director: Shu-Ling Hsieh, Milwaukee (2005)
*WINNER - Festival Award, Best Gay Short, 2005 New York City Short Film Festival
*NOMINEE - Audience Choice Award, Best Gay Short, 2005 New YOrk City Short Film Festival
Director: R. R. Williams, Los Angeles (2003)
2005 Napa Sonoma Wine Country Film Festival
2005 MassBay Film Festival
2004 Park City Film Music Festival
2003 New Orleans Media Experience
*WINNER - Independent Spirit Award - 2005 MassBay Film Festival
*WINNER - Director's Choice: Gold Medal for Excellence - 2004 Park City Film Music Festival
*WINNER - Fleur de Lis Award - Best Feature Film - 2003 New Orleans Media Experience
*WINNER - Fleur de Lis Award - Best Independent Film - 2003 New Orleans Media Experience
Director: R. R. Williams (2002)
Director: Michael J. Cox (2002)
Director: Geoff Hansen (2002)
Composer (Main Contributing)
Director: Ken Verdoia, KUED (PBS) (2002)
Growing up, Jeffrey was surrounded by classical music because his
father was a baritone in the U.S. Army Fourth Army Choir
that traveled all over western and eastern Europe, had studied with major choral directors like John Rutter and Robert Shaw, and was a section leader with conductor Maurice Abravanel. Of all the classical music that was played in the household, Jeffrey
particularly (and fondly) remembers Gustav Holst's Jupiter, the Bringer of Jollity (Die Planeten, Op. 32) and Sir Edward
Elgar's Variation IX (Adagio) "Nimrod" from the Enigma Variations. When living in Heidelberg, Germany, he played the
recorder, but lost interest due to the rigid
music pedagogy. Later, his mother took him to no more than three piano lessons before he quit, again citing the German pedantic teaching style as antithetical to the pleasure of playing music (for example, students were not allowed to touch the
black keys in beginner exercises). Years later, while in the seventh grade in Bangor, Maine, Jeffrey sang in a choir that performed another favorite, Gabriel
Fauré's Requiem, Op. 48. He would not pick up music again until he was in his early
Jeffrey's career as a film composer started in 1996 when he scored the music to his own
short film, a documentary called Isles in the Midst of the Great Green Sea,
filmed at the University of Utah by interviewing anthropologist and
archaeologist Richard Lyon Daly. Unbeknownst to the fledgling filmmaker, the very
same subject had been interviewed twenty years earlier by cult
director Trent Harris (Rubin & Ed, Plan 10). That score was later released
as Aegean: 1628 B.C. Later, he created temp music for a graduate film called Proteus Point directed by Michael J. Cox and created a minimalist score for a short film called Edge Running.
While attending Cambridge University, Jeffrey was asked to score the
short film, Monk, a film directed by writer/director Alkesh Vaja. The
film premiered at the Bafta Centre in Cymru, Cardiff, Wales and at the Sir Run Run
Shaw Theatre of the BAFTA Centre in Piccadilly, London. Later he scored the
music to a documentary short he wrote and produced called Children of the
Wind, which served as an informational video for the Cambridge University
Gliding Club. He interviewed at the prestigious London International Film
School (now London Film School), possibly with director Mike Leigh, and was
immediately accepted, but was unable to attend for financial reasons.
After his return to the States, he became involved in a number of independent films in 2002, including Reach directed by Charles Bird, and created music for a feature film, The Racketeers, directed by the late Geoff Hansen. He also was the main contributing composer for the KUED (PBS) production of Promontory directed by Senior Producer Ken Verdoia. In 2003 he became involved as composer and associate producer in the feature film Abby SInger which went on to win the Fleur de Lis awards for Best Feature Film and Best Independent Film at the 2003 New Orleans Media Experience film festival. Subsequently, the score won the Jury Choice: Gold Medal for Excellence in the category of Original Music for a Feature Film at the 2004 Park City Film Music Festival, and was also a Semi-Finalist in the 2004 Moondance International Film Festival filmscoring competition. The film also went on to garner the Independent Spirit Award at the 2005 MassBay Film Festival. In 2006, he created music for a graduate film, Long Distance, directed by filmmaker Shu-Ling Hsieh, scored a short film called The Teacher directed by writer/director Nathan Rollins, and contributed music to a documentary called Eritrea: Living in a Border War produced by Mario DeAngelis. Later that year he won the Best of State Gold Medal for Original Music Composition.
Working on a number of projects in the intervening years, Jeffrey was the executive producer and music supervisor of the documentary, Pigweed Philosopher: The Untethered Zen of Kimball Johnson, directed by documentary filmmaker Gabriel Lakey. The documentary won numerous awards,including Winner of Best Feature Documentary (International) at the 2009 London Independent Film Festival, Winner of the Director's Choice: Gold Medal for Excellence at the 2009 Park City Film Music Festival, Winner of Best Feature Documentary (International) at the 2009 Toronto Independent Film Festival, and Winner in the 2009 Moab International Film Festival. In 2009, he contributed music to a short film called Given, which won the Audience Award at the 48 Hour Film Festival in 2009. Starting in 2010 through 2012, he was a writer and a producer on and created temp music for the feature musical, Nowhere Fast: The Forgotten Story of Approach Control, which won the Gold Remi Award at the 2013 WorldFest Houston. In 2011, he won the Audience Choice Silver Medal for Excellence in the category of Original Music in a Short Film for In the Company of Friends, directed by writer/director Thom Jensen, and created music for The Journey to Homeland directed by NY filmmaker Manuela Senatore. In 2012, he contributed music to the short documentaries Message from Mother Earth (III) and Message from Mother Earth (VI) working again with documentary filmmaker Gabriel Lakey, and later that year won the 2012 Best of State Gold Medal for Original Music Composition.
He won the Best of State Gold Medal for Original Music Composition again in 2013. His Elegy: Adagio for Strings was profiled in the book The Adagio of Samuel Barber (CMS Sourcebooks in American Music) by author Wayne C. Wentzel published in 2014. In 2015, he won the Akademia Music Award for Best Instrumental/Acoustic Song.
I'm a filmmaker and would like to use Jeffrey Gold's music? How do I go about doing this?
It depends on if you want to use extant music for needledrop—in which case you can download the music from iTunes, or Apple Music, and a whole host of music venues (if MP3 versions will suffice)—or have him create original music for your film project. In both cases we would recommend you contacting Jeffrey Gold directly to acquire higher resolution formats of the music (AIFF, WAV) or communicate more details about your project. Either way, he will be delighted to hear from you.
Do you offer any special deals on the music?
We sure do. For any of Jeffrey Gold's music purchased on iTunes, we are offering a 1 for 1 deal: Buy one song, get one free. Just contact us about your purchase, providing proof of purchase (forwarding of an email is okay), and send us your second choice of free song/composition. If you prefer a file format other than MP3, please let us know about that too.
Who are your favorite classical composers?
Among many classical composers, my favorites (in no particular order) are Holst, Barber, Elgar, Beethoven, Boellmann, Widor, Bach, Vierne, Copland, Mahler, Debussy, Satie, Shostakovich, Tchaikovsky, Grieg, Sibelius, and more recently, Glass, Lauridsen, Tavener, and Richter.
Who are your favorite film composers?
Among film composers, my favorites (again, in no particular order) include Williams, Morricone, Rota, Delerue, Zimmer, Gregson-Williams, Newman, Barry, Gabriel, Evangelos Papathanassiou (Vangelis), Preisner, Conti, Sivestri, Mann, Rona, and many others, including many film composers he counts as friends and acquaintances. There are several pieces of music by any one of them I wish I had written.
What is your first aesthetic memory?
The tailfin of a Boeing 727 at the Frankfurt airport (then West Germany) when I was six years old. What caught my attention was later identified as that happy union between form and function; interestingly enough, Steve Jobs had his own variation which holds true for me: form and emotion. I still think about it whenever I think of this aeronuatical engineer/designer who thought outside the box. "Why not put the horizontal stabilizers on the top of the vertical stabilizer?" The idea may have evolved from the desire to move the engines off the wings and instead place them somewhere on the fuselage—itself an act of thinking outside the box. What I remember is how majestic and unique that tailfin looked—at age six. It still inspires me today.
What is your first musical memory?
I believe it was Gustav Holst's Jupiter from Die Planeten, from the kinetic opening to the resigned, majestic adagio.
Did Samuel Barber's Adagio for Strings influence your own Elegy: Adagio for Strings?
Undoubtedly. Anyone who hears Barber's Adagio for Strings instantly recognizes it as an inspired piece. It rests safely in the pantheon of great adagios: Elgar's Nimrod, the adagio movement within Holst's Jupiter, Fauré's In Paradisum, and Albinoni's Adagio, among my favorites, and many others. As a composer, one instinctively knows Barber did not labor endlessly on this piece. I imagine it was written in one sitting; the genesis of a composition as lightning illuminating a city—attributed to Mozart— immediately comes to mind. Barber's adagio is a piece of great depth, of great emotion. Although Elegy: Adagio for Strings was not an attempt to mimic Barber, I was aware as I was writing this inspired piece—over which I had minimal control—I definitely turned to Barber for permission to have the two (or five) strange, unexpected silences in the piece (here, I can't help but think of Aaron Copland's discussion on silence, the anticipation arising from the natural break between two performances of music). No doubt, Barber might have inspired me subconsciously in other ways. Barber's adagio is truly iconic—it is impossible not to ponder its influence on any new pieces—knowing that every composer is aware of this profound lament. His piece speaks to something universal: tragic loss or fragile/hopeless love, or finite life itself—on a personal level (perhaps it should be heard only privately)—whereas my piece sounds much more epic (in a non-grandiose way): collective grieving captured in three movements: death, an imagined ascension, and acceptance.
What is your musical philosophy?
At the risk of sounding academic, my philosophy of music, if you can call it that, is predicated on the marriage of visual
music and emotional music, the former
of which tends to be more shapeless or
ethereal, and the latter, which tends to
be rooted in melody or leitmotif. This
tends to create a confluence of seemingly
disparate elements into what I call
visual emotions. Additionally, rather
than emphasize one unitary emotion, I
try to construct my music by running multiple
(competing or neighboring) emotional
threads through a temporal section of a
composition, which allows the viewers
or listeners to choose for themselves the
proportions of the simultaneous emotions
(rather than foist it on them), especially
if the emotional threads are emotional
neighbors; e.g., sadness and melancholy.
But all of this is merely a reflective and unreliable summary
of what for me is totally an instinctive creative process based on emotion, not cognition.