Stephen Viens Music

When director Mirai Konishi first approached me about writing music for Yoga for Happiness, he mentioned the initial task would be to create a musical score not typically found on most yoga DVDs available today. Also, I would be "scoring to picture," writing the music after each DVD had been shot and edited, and I would have about one month to compose, arrange, perform, and produce approximately three hours of music. Needless to say, I accepted the challenge without any reservations. I am honored to be part of this wonderful project.

The three DVDs that make up Yoga for Happiness have their own themes: Focus, Energy, and Relax. I looked for musical ways to bridge them all together as a whole. And while I was given five to six separate sections to score for each DVD, that would then become a seamless hour of music, I approached the project with the idea of creating a large musical work with three separate movements - Focus, Energy, and Relax - with a lot of fun twists and turns along the way.

On this compilation Soundtrack CD, we have chosen three selections from each DVD. As a "bonus track" we added Happy Day, which was written as the "closing theme" for each DVD. I hope you enjoy listening to the music, as much as, I enjoyed working on it.

1. "Invocation" (Focus): When we first wake up in the morning there is usually a lingering sense of sleep in the heart and mind. The concept here was to set the tone for the entire DVD set - music and tones that would awaken the sleeping soul in a calm and centering style, as the listener prepares for their day. The light percussive beat represents the heart beating and blood flowing through the veins, while the seductive male choir represents awakening clarity. The bell tones symbolize imagination and thought, and the stings, breathing in life itself in a silent meditation and prayer.

2. "Cloud Chords" (Focus): This slightly jazzy selection is an extension of the first piece, Invocation, using the same basic chord structure - that is until the piano introduces the melody and the warm chord patterns begin to shift and changes like drifting clouds on a lazy summer day. After the piano enjoys the melody, the vibraphone takes over and the two begin their sublet game of question and answer.

3. "Soaring" (Focus): Having had the pleasure of previously working with director Mirai Konishi, I know of his love for cinematic scores. He's also mentioned he likes the way I write for stings. So basically he was the inspiration for this track. The piece is titled "Soaring" simply because of how the strings "soar" when they double the melody first heard in the harp and then in the piano. To fully appreciate this track, gently close your eyes and imagine yourself soaring high above the sky on the wings of an eagle. This is what I envisioned while writing this piece.

4. "Ah-E-A-U" (Energy): As I watched instuctor Susan's fluid movements for this section, there seemed to be a sense of celebration and inner joy as she reached for the sky and lowered her hands in prayer. Her movement was the inspiration for this piece. The soprano singing perfect fifths symbolizes the appreciative soul awakening, as the reverent boys choir joins in. And since this was the Energy DVD, it was time to "shake things up," so there are a lot of fun rhythms, African percussion, as well as, the delightful and haunting sounds of a Persian Santoor. The repetitive hypnotic piano and bass lines also help to keep the piece grounded while constantly being propelled forward. For the English Title I didn't know what to call this piece, so I just stuck with what the boys choir is singing - which is Ah-E-A-U.

5. J.S. Bach's "Concerto for Two Harpsichords in C minor," BVW 1060 (Allegro) (Energy): I've always been a great fan of Bach and jazz. So this felt like the perfect time to blend the two into one for this section of Energy. Instead of two harpsichords, I used two jazz pianos. I gave the viola line to the vibraphone and used an upright bass for the continuo part. In all honestly, I also needed over 6 minutes for this piece, so I introduce and repeated the melody at both the beginning and then again at the end. Bach purists will probably want to shoot me, but I had a great time playing this one. (I'd like to thank my parents for getting me the piano lessons when I was young!)

6. "Len's Violin" (Energy): Len, a friend of mine, recently found an old violin in a thrift shop. Since he had never played violin before, he started taking classical lessons. He also works part-time as a doorman to a trendy Los Angeles nightclub known for its dance music. Musically, he's a fan of classical music, as well as, classic disco. His love for his new instrument, mixed with his eclectic taste in music, ended up being the inspiration behind this fun and eclectic blend of styles, rhythms and beats - with the occasional violin solo.

7. "Evening Song" (Relax): Since this was for the Relax DVD, we wanted a piece that would be soothing and relaxing. At the same time, I was looking for something that would also have a sense of reflection. The Xiao Flute, with its wistful sound, met my needs. In contrast to the male voices used in Invocation from Focus, I used a female choir with emphasis on the alto voices. Also, since I was playing the celesta electronically, I was able to subtlety bend the note to mirror the musical line originally played by the flute.

8. "Distant Dreams" (Relax): This was a very personal piece for me to write. When it comes to musical instruments that relax the soul, in my humble opinion, the alto sax and the flute (played in a low breathy register) work very well. While the vibraphone first introduces the melody, in no time the alto sax takes it over, only to then allow the flute to join in. As the piece ends, the stings finally pick up fragments of the melody as the repetitive flute drifts off into nothingness.Thanks Glen for your wonderful playing!

9. "Shiny Beach" (Relax): At the end of each yoga session, instructor Susan visualizes herself walking along a white sandy beach. The swirling waves of the Pacific Ocean crash against the shore. I wanted to score this section like a "mini-movie." I looked for sounds that would shimmer and give a sense of space and openness. I also wanted a piece that would "breath," so that the sound of the waves would become the organic sound for percussion. This may sound "cheesy," but as I watched Susan, I also felt from a musical point of view that there was a need to express the idea of her "inner goddess." It is for this reason that I reintroduced the soprano solo and boys choir. Close your eyes and drift off to your own private shiny beach.

10. "Happy Day": At the end of each DVD, before the credits roll, Susan smiles at the camera and basically says, "Have a happy day and I'll see you on the next DVD!" I knew I wanted something uplifting, lively and fun. I wanted a sound that was totally different from all the other music. For some reason, I kept hearing the sound of a happy Hawaiian ukulele strumming in the back of my mind. Perhaps it's because I recently vacationed in Hawaii with friends, but for whatever the reason, this lively end credit song ended up writing itself.