My music in a short film

Recently, some of my music was used in a short film by Don Cato called, Dead Man Rides Subway . The film is a depiction of a poem of the same name written by Cornelius Eady recently published in Token Entry: New York City Subway Poems – Editor, Gerry LeFemina (Smalls Books, April, 2012).

The film was one of six films as part of the Subway Film Series. All the films were premiered at the Queens World Film Festival in March 2012.

The poem:

He lolls, he sways, this lone male sleeper
Minding his business on the B’way local.
Some let him snooze and think they’re
doing him a favor,
Others wait to see his head startle awake,
His drowsy panic,
Uptown when he meant to be Downtown,
Downtown when he intended to be Up,
And feel a bit cheated when his nap proves
to take longer than their stop.
Need I tell you life in New York City
is different? Difficult?
There he floats, slightly out of style
From the rest of us.

Cornelius Eady (b.1954)

The film:

“A man holds dearly onto his soul as he eternally rides the subway.”

The director Don Cato selected my music, so nothing was composed specifically for the film. I think it all worked out beautifully and am very happy with the result.  Hope you like it too.


A little bit about me and my music..

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I thought it was good time to start a blog.  So, welcome!  I’ll be posting here from time to time.

It also happens to be my 40th birthday.

For those of you who do not know me: I am a guitarist and composer from Brooklyn,  NY.  I presently live in the Sunnyside section of Queens, NY with my wife and daughter.

I began playing guitar at the age of 12. My father played and sang a little. so there was always a guitar in the house.  My formative years were spent learning rock and metal.  To make a long story very short (for now), I then went on to study music seriously, studied classical guitar for 2 years and ultimately got a BM in Music Composition from Brooklyn College/CUNY and an MA in Music Composition from Queens College/CUNY. I’ve studied composition with Noah Creshevsky, Charles Dodge, Tania Leon, George Brunner, Thea Musgrave, and Henry Weinberg.

Since 1999, my compositional focus has dealt with the use of electric guitar in the genre of electroacoustic music.

My earlier electroacoustic  stuff exclusively with guitars – music from 1999-2005 – focused on musique concrète works using the guitar more as a sound source. I wasn’t as concerned with playing the electric guitar conventionally as I was trying to coax different sound sounds out of it.  This period culminated in a compilation released in June 2007, called Electroacoustic Compositions for Electric Guitar. One track on this album includes the use of female voice, Karmicom (courtesy of my wife, Kimberly Fiedelman).

After this release, I started composing music with other sounds in addition to  electric guitar. I was thinking a bigger, more varied, denser, noisier, colorful, orchestral type of sound.  Also, in addition to  musique concrète works, I started writing music for “live” guitar and fixed playback. The Ominous Corner was released in September 2008. Pieces like Cityscape, The Ominous Corner and Renewal are examples of compositions with electric guitar and recorded playback. These compositions contain sounds ranging from processed simple waveforms, virtual instruments, female voice (my wife, Kim), samples, electric guitar and electric bass.

Here is video of a live performance of a piece for electric guitar and playback. Skimming the Surface (2007) is not available on any of my albums.

In June 2008, I also had the great pleasure of collaborating on an album with David Lee Myers (aka. Arcane Device) called Tesla at Coney Island.

My last album, Mechanical Uprising was released in July 2010.  This album also consists of pieces not meant for live performance. Different from my previous music, the album opener Kickstart (for those of you who still care about track placement) includes my first piece with drum samples. After playing in rock bands in my youth, I found it funny that I would wait this long to use real drum sounds.  I’ve called Kickstart a piece for “electroacoustic musique concrète virtual avant-rock band.” And speaking of firsts, Nocturne (the album closer) is my first solo electroacoustic work to use nylon string guitar.  Whereas The Ominous Corner was more of a departure from my debut compilation with the inclusion of a “live” electric guitar part, expanded sonic pallette and bigger sound,  Mechanical Uprising to me, is a culmination of my electroacoustic music with electric guitars written up to this point.  Lately, I’ve spent some time wondering what else I would like to do in this genre.

Earlier this year, I did compose a track for the very cool $100 Guitar Project (an excerpt of my piece Red Cent can be heard here). It will be part of a double CD release due out sometime next year.

I’ve included my links to Bandcamp because my albums can be heard in their entirety there (with a few free downloads), but my music is available through all the usual online digital stores (iTunes, Amazon, Emusic, etc.). Actual CDs can be purchased through CD Baby:

Marco Oppedisano and Marco Oppedisano & David Lee Myers

As for a new solo album,  I have started some work on it, but am thinking a different direction. Not sure what that direction will be yet, but when I find out, you all will be the first to know.