How did your early musical experiences and education shape your unique artistic voice and lead you into the field of film and media composition?

I grew up in a house where classical music was always playing, my mom was a piano teacher, so music was a regular part of everyday life. I started learning piano early in life, but eventually switched over to cello, which became a huge part of my musical identity. Through the cello, I discovered the great Russian composers which I tended to be drawn to, especially Shostakovich and Prokofiev. I loved how their music carries so much emotional weight, but with an edge of sarcasm and wit and their style left a lasting impression on me that still influences my writing to this day. 

One of the standout experiences growing up was playing in a “cello choir” with my teacher’s other students. That layered cello sound really stuck with me. It was an obvious ensemble choice when I was recently commissioned by the Audio Network to write an original album for their catalogue. I’m fortunate they were willing to take a chance on the idea and feature a cello quartet, and it felt like such a full-circle moment. That sound feels really personal to me, it’s something that feels truly mine, and I’m excited for people to finally hear it.

In what ways do you balance specialization in a particular area (e.g., orchestration, composition, cellist) with the versatility often required in a composing career, and how does this influence your creative output?

These days, I often split my time between composing and orchestrating, and I genuinely love doing both. I spend less time performing on the cello, but my performance background always finds a way into my work. It’s always helpful to have a performance background when working as an orchestrator, but I also regularly lean on the cello in my writing; through layering, experimenting with textures, and creating unique effects. I’m a big fan of crafting original sounds for each project, and having the cello in my toolkit really helps with that, even if it’s not my primary pursuit. 

I’ve also found that I really enjoy orchestrating for other composers. Working as a collaborator with so many different composers, each with their own unique voice, and helping bring their musical vision to life is such a rewarding process. On top of that, I get to learn from so many incredibly talented people. Every project teaches me something new, and it pushes me to keep evolving as an artist. Seeing the amazing work my peers are doing inspires me to bring my best to everything I work on.

Having worked with composers like John Powell, Nami Melumad, and Perrine Virgile/Jeff Russo on projects like How to Train Your Dragon, Star Trek: Strange New Worlds, and The Umbrella Academy, what key lessons have you learned from these partnerships, and how have they influenced your growth?

Each of those collaborations has shaped me in such meaningful ways.

Working with Jeff Russo and Perrine Virgile on The Umbrella Academy was actually my first solo orchestration job. I’d been working with Jeff as a composer for a while at that point, so I really appreciated that he trusted me to also take on the role of orchestrator, as well. One of the big takeaways from working with them was the value of recording live musicians whenever possible. We were often in sessions multiple times a week, and being there consistently really sharpened my skills—both in writing for live players and in making those sessions run efficiently.

On Strange New Worlds, I get to orchestrate for Nami Melumad alongside Jeff Kryka, who is honestly one of the best orchestrators out there. Watching how Nami’s writing continues to evolve (and somehow keep getting better and better!), and seeing Jeff’s speed and accuracy under tight deadlines, gave me a ton of insight into workflow and precision in TV scoring.

Working with John Powell has been one of the most rewarding, and challenging, experiences in my career. His deep understanding of the orchestra sets a high bar for quality and creativity that constantly pushes me to learn and grow. Getting to work on the live-action How to Train Your Dragon, a score I’ve long admired, was absolutely a career highlight and having the opportunity to re-orchestrate some of my all time favorite cues was an incredible learning experience that I’ll never forget! 

What role have professional organizations like the Alliance for Women Film Composers played in your career development, and what advice would you offer to emerging composers seeking similar support?

I genuinely love working with Audio Network. It’s given me the chance to grow as an orchestrator across so many different styles and genres. Every composer I work with brings something different to the table, and I really enjoy adapting to their unique styles and preferences.

Part of my job is making sure the score gives them exactly what they’re expecting, but I also like to offer ideas that might take things even further. It’s always a learning experience. Sometimes a suggestion works, sometimes it doesn’t, but the conversation that follows always helps me better understand how that composer thinks, which makes me better at what I do.

And quick shoutout to some amazing women I’ve gotten to orchestrate for at Audio Network: Lorena Perez Batista, Nathalie Bonin, Jessica Dannheisser, AyseDeniz Gokcin, Jessica Jarvis, Radhika Vekaria, and Perrine Virgile. Please check out their albums, they’re doing incredible work!

Looking back, what’s one piece of advice you wish you had known when you were starting out?

I wish I had been better about asking for help. I felt like I had to figure everything out on my own, and that made the early days sometimes feel pretty isolating. Over time, I learned that most people are actually happy to share advice or offer a hand if you just reach out. I would’ve saved myself a lot of stress if I’d known that earlier!

Now looking forward, is there anything you’re especially excited about sharing with us, perhaps a project we should anticipate?

Yes! I’m super excited about the cello quartet album I wrote for Audio Network. That one feels really close to my heart. I also just finished a Light Tension album for Audio Network as well where my husband, Bryan Winslow, played guitar. Collaborating with him on it was a lot of fun and was a treat as we don’t always get the opportunity to work together. 

I also got to orchestrate on the upcoming Gabby’s Dollhouse film, which was scored by Steph Economou. It’s a beautiful score, and I can’t wait for people to hear it when it hits theaters in September. I’m also really excited about the recent release of Dara Taylor’s score for Ironheart, which I was also privileged to have the opportunity to orchestrate on. Both of these women are doing amazing work and I can’t recommend their scores enough!

Interview by Michael Van Bodegom-Smith

Check out Tracie’s directory page here!