Music is not only what drives me, but what drives the entire entertainment industry. No matter what it is, be it Hollywood blockbusters or indie games, they are unimaginable without music. I would go as far as to say that it is the driving force behind the story. Music is in the end always about that: Telling a story in a unique way, with new ideas, constant innovation and an ever lasting passion for musical expression. The moment in which you as the composer simply become the means through which the music flows to the keyboard, is what truly drives and motivates me to get up in the morning.

I live for that moment and love to share it with others to tell a complete story with my music. If you think you know what your story needs to be completed, don't hesitate to contact me.
If you would like to know more about me or my work, please click on the respective link.


Photo by Vania Shows on Unsplash

I primarily compose to tell a story and to invoke emotion. Thus, I use many styles of music to do so, I can write an orchestral score for your Blockbuster movie, an intimate piano piece for a tragic end to a film or an 8 bit tune for a retro game.


I have talked about my perception of my work a lot, but I would now like to ask you to convince yourself of my music. The following examples are works of which I am proud of in some way, be it because they were one of my first pieces or because I simply can't stop tapping my feet when I listen back to them.


Starting orchestrally

The pizzicato Celli and Basses (you can hear them most clearly in the solo section starting at 1:36) make this dramatic orchestral piece somewhat optimistic and much more interesting.

This was my first orchestral piece ever, titled "Inploration". Created entirely with Albion ONE, the leading ensemble orchestral library from Spitfire Audio, this is what got me started on my journey of exploring the orchestra and my love for it. In addition to the pizzicato strings, I am especially proud of the heavy percussion elements and the mellow, but familiar sounding ending.


Roll Up, Move Up. The circus is coming.

The sound of a circus stage, with a lot of variation and playfulness sprinkled in between. The syncopated elements as well as the back and forth between the Instruments make it feel alive and moving.

This piece uses a lot of different Jazz style instruments, together with more traditional orchestral elements, to create the feeling of a stage, constantly changing, sometimes busy, sometimes very focused on a single thing. All elements of this composition interact with each other, the basses, celli and bass trombone with the higher brass such as the trumpets and tenor trombones. The same thing happens on the piano with the tight, rhythmic right hand reacting to the playful left hand, keeping it in check. Especially the interaction between the saxophones and trumpets creates the feeling of playfulness and back and forth between the instruments. All of this is driven and held together by the drums, which are never too forward, but don't let the piece go silent either.



This is the main menu theme of a game created in less than 48 hours. The huge brass section makes the dystopian world feel overwhelming and the rhythm communicates haste and urgency.

This was the tightest deadline I had on an orchestral piece yet. Created for a game jam, I spent around 8 to 10 hours on this piece in total, perfecting the warm horn sounds, imitating the wind of the main menu/title screen. The spiccato violins, pizzicato violas and oboe were aiming for the same sort of airy atmosphere, while the bassoon and the clarinet were underlining the mellow nature of this dystopian future. Finally, the heavy orchestral percussion was used to make the piece feel suitably dark and give it more gravitas.
If you are interested in the game, you can check it out here, but be aware, the main menu is in german.


Full Orchestration

This piece is quite varied in tone, ranging from an intro which generates suspense with its gradual build up, to epic percussion and all in between. The piano and celeste make it stand out, interrupting the traditional orchestral elements of the piece, generating tension and resolving it again.

This longer piece was created with the renowned BBC Symphony Orchestra library from Spitfire Audio. The immense control one gains from being able to individually control all of the 44 different instruments of the orchestra to such an incredible level of detail is empowering. It not only means it's possible to highlight individual instruments, like the clarinet and piano in the middle section starting at 2:08, but it enables this kind of mellowness and deep sorrow. This part is generally coined by its repetitive nature, the clarinet simultaneously being frustrated and unwilling to give up. At the end, the A section slowly builds up again, helping the clarinet find its place in the orchestra, until it realizes that it actually liked being as independent as it was, and going back to its original melody, completing the story.



And now for something completely different

This is an upbeat, arcade style video game track. Its rhythmic bassline, bright lead and sheer repeatability go a long way to making this space shooter what it is.

A space and arcade shooter has to achieve one thing above all else: It needs to be fun to play. That is what this piece is going for, a lot of different synths and leads, jumping around, but accompanied by a consistent and catchy bassline as well as a simple drum loop. This makes it fun, and interesting enough to listen to multiple times in a row.


Dystopia Deluxe

This "Track 2", of the same game as the main menu theme from before, perfectly captures the bleak, techno-dystopian-future theme of the game. The pedal note and its synthwave-y nature give this an even more driven and urgent feel.

The pedal note on C is what really makes this piece come into its own. The multiple different arpeggiators in the background help create even more movement and fill the soundstage. The subbass gives the track some much-needed weight and resembles the dystopian future world of the game. The electric guitar solo finishing the track off performs the main melody in double-time, revives the urgent feeling at the end, right before the arpeggiator and drums give the listener a short moment to breathe before the loop starts again.



Yo, Ho, Ho and a bottle of rum

This piratey piece really highlights the importance of instrumentation and subtlety in arrangements. You might not even consciously hear them, but the col legno strings really enhance the feeling of a fast moving, roughened, wooden pirate ship, the repetitive rhythm portraying the rough sees.

Sometimes two chords can be enough for a main melody, if the instrumentation is up to the task of making it interesting and the tune is catchy. The back and forth between the pizzicato violin (or fiddle as a pirate would say) and the flute divides the main melody between the two, with a honky-tonk piano to accompany them. Very simple drums, with nothing but a kick, piccolo snare and a brushing sound enhance the soundscape, but don't ruin the image of a simple pirate crew using whatever is lying around to make music. The aforementioned col legno strings are my favorite part of the piece, as they enhance it so much, without being noticeable at first glance.



I primarily work with REAPER, a digital audio workstation (DAW) focused on performance, compatibility and customizability, which helps me compose efficiently and with the highest precision.
My preferred sample libraries, so the actual virtual instruments I use, are those from Spitfire Audio, Spectrasonics, Soundiron, ProjectSAM, XLN Audio, and iZotope (as well as many more). In total I have over 2,500 € worth of virtual instruments and effects at my disposal to create your music.

© 2021-2024 Jim M. R. Teichgräber. All rights reserved. Please note: While I may make these pieces of music free to listen to, this does not mean they are free to use in your creations; if you would like to license any of my works, please get in touch via the contact page.


My name is Jim Merlin Ralf Teichgräber and I have a great passion for music and composition. I have been taking classical piano lessons since I was a child and always enjoyed listening to and dabbling with music. I composed my first piece at 12 years old and have been writing music ever since, inspired by and learning from the likes of Christopher Larkin, Carlos Rafael Rivera, Laura Shigihara, Gareth Coker, Alexandre Desplat and John Williams, all the while developing my very own style.

If you are interested and want to know more about my musical journey, maybe take a look at my work, or if you want to join me straight away, feel free to contact me.


If you would like to license my existing work, hire me for a project or just say hi, please get in touch via the following contact form.