Game & Film COMPOSER + Orchestrator & Arranger








What creative project are you working on?

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I graduated from the University of Utah School of Music where I studied music composition and piano performance. Since then, I have composed original music for games, film, web, and the concert hall. While working primarily in the medium of games and film, I am also the in-house composer, sound designer, production audio engineer, and voice over producer for new materials developed at the Genetic Science Learning Center (GSLC) at the University of Utah. The GSLC produces educational games, videos, and other content that is viewed by millions of visitors each year from virtually every country in the world.

My other primary musical endeavor is my string ensemble Quartet Macabre. So far, the quartet has primarily been performing my arrangements of iconic game, film, and TV music, but recently the quartet has been recording for my original game and film scores. You can learn more about Quartet Macabre and watch some of our videos by clicking here

In my spare time I enjoy watching lots of horror movies and documentaries with my husband, and hiking in the mountains with my dog. I also play lots of retro video games having grown up playing lots of classic Nintendo games. I'm a Utah native, so of course I also enjoy whitewater rafting, skiing, and backpacking.

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Video Games & Web Interactives


Web Videos



  • Knapsack for How (2017) - composer, producer (voice over)
  • Jive Communications (2016) - composer
  • Utah Museum of Fine Arts (2016) - composer, producer (voice over)
  • Sugarhouse BBQ (2015) - composer


Concert Music

  • (in production) Quartet Macabre - Music of Nintendo (2017) - director (concert), arranger, pianist
  • Quartet Macabre - Music of Horror Cinema (2015) - director (concert), arranger, pianist
  • King Magus (2014) - composer (chamber piece)
  • Thread (2014) - composer (string quartet)
  • Undergraduate Portfolio (2013) - composer (chamber & orchestral music)
  • Zeitgeist 2001 (2013) - composer (string orchestra)
  • Utah Buddhist Arts Festival (2013) - director (concert)
  • Fevers (2012) - composer (chamber music)
  • White Crane (2012) - composer (two piano four hands piece)
  • Salty Cricket Composers Collective (2010-2014) - composer (chamber music)






Working with Kagan was an easy and creatively rewarding experience. His own creative strengths are there to compliment yours and he listens and responds in every step of the process until your vision is realized.
— Lindsey Petersen - director "Puddles"
Working with Kagan was an absolute honor. Everything he delivered was right on time, his work flow was intuitive, and best of all the score he composed was magnificent. I’m happy to say that his music made the film.
— Arthur Veenema - director "Entanglement"
Kagan is nothing but professional and easy to work with. He had the interests of my film at heart throughout and was able to create something unique, form-fitting, and special that brought my film to another level.
— Stephen Payant - director "Languish"
Kagan Breitenbach is brilliant.

What I mean by that is that he is motivated, artistically inspiring, technically gifted, and immensely understanding. He always finds exactly what you are looking for, but still retains his own musical voice: a crucial personality trait when it comes to film collaboration.

The first time I met with Kagan to work on Hamlet we spent several hours talking about the tone and feel that would be required of the music. I had previously had two different scores from other composers done for the film, and each had left something to be desired. I wanted to make sure that this time around would not be a disappointment, and that the music wouldn’t just be a companion to the visuals, but could tell the entire story on it’s own. After that long discussion, Kagan took me to his keyboard and played a couple ideas that he had been having during our conversation. Right away, I knew that Kagan had understood everything that I was looking for just by his raw concepts.

Too often, especially in Utah, we settle for “good enough” when it comes to film music. Scores and soundtracks are often only characterized by broad strokes of general emotion. With Kagan, you get so much more: nuance, subtlety, thematic structure, and a score that feels like a complete journey instead of separate tracks.

Once again I say, Kagan Breitenbach is brilliant.
— Alek Sabin - director "Hamlet"
Kagan Breitenbach was the only composer I ever chose to work with as a filmmaker as he worked incredibly hard to give his best work always. I always went to him for composition, as I knew he was more than reliable, more than creative, more than collaborative, and more than reasonable in his rates. I recommend Kagan to anyone seeking a composer.
— Dylan Moses Griffin - director "Cool Beans"
After hearing some of Kagan’s work I asked him to score a short horror film. Kagan intuitively knew the kind of atmosphere I wanted and provided a perfect score after the first meeting. Kagan interwove both technical prowess and a haunting melody that only a true artist could create.
— Christian Dives - director "Caveat Emptor"