The following is a jury report written by Craig Richard Lysy who is one of the members of the Judges Panel of the Filmtracks Composers Challenge:
Note: Each entry is given a rating out of 10.________________________________________________________________________________
This scene displays the natural beauty, wonder and grandeur of Angel Falls – one of the natural wonders of the world. As Fenton correctly perceives, there is a dramatic arc to the film clip, which features a slow descent from small flowing streams that culminates with a breath-taking display of the falls. I believe the composer needs to emote this journey with a melodic line that takes us from an idyllic and intimate setting to a grand panorama.The focal point of the film, the crest, needs to be supported with a dramatic statement. I also will be listening to hear if the composer uses the orchestra to mimic the fluidic and bubbling textures of the cascading water. So, lets begin our exploration. . .
Entry 1: 8The use of a sparkling solo piano to emote fluidic and flowing textures of the meandering streamlets is well conceived. The introduction of horn fare as we crest the falls underscores the film’s dramatic moment. I like the way the piano continues to sparkle throughout the piece providing continuity to the melodic line. Horns aided by percussion enhance the various close ups and drama points in the film quite well. I like how the composer conceptualized and delivered. Nicely done.
Entry 2: 7We open with a violin and plucked harp prelude, which ushers in a percussive drive as we cascade towards the waterfall’s crest. Horns and ethereal choir create a transcendental ambiance that is stirring. However, instead of sustaining the grandeur of the moment, there is a diminuendo that dissipates all the energy from the music. As we pan out from the fallsthe choir maintains a reflective otherworldly ambiance. The conclusion with a solo violin line is eloquent and appreciated.My compliments on the violin and choral work, however the diminuendo following the waterfall crest robbed the piece of its moment of grandeur.
Entry 3: 6Woodwinds and plucked harp support or journey from the headwaters but are then joined by an ominous string line. A cymbal crash marks the crest. What follows is textural, discordant and basically non-thematic. Low register tremolo strings simulate the descent of cascading water as we pan down. In my judgment the music misses the point – to emote the wonder of nature and the grandeur of Angel Falls. I appreciate the composer’s creativity.
Entry 4: 9Ah, woodwinds, I believe celeste, chimes and violins take us from the headwaters. The crest moment is carried by strings, percussion and ethereal wordless chorus, which emote a sense of wonder. As we move outwards for a panoramic view a rhythmic line driven by native chanting and primitive percussion joins the ethereal chorus. Swirling and cyclical strings join as we pan down through the cascading waters with the piece ending with a diminuendo. I like the conception and execution of this piece. The use of organic and native percussion and chanting against an ethereal choral line is well conceived. Nicely done.
Entry 5: 8Twinkling harp, oboe and shimmering violins, which evoke the bubbling streamlets, carry us towards the crest. A solo piccolo joins and takes up the melodic line, which in turns yields to a muted French horn that leads us over the crest. The music is ethereal and shimmers as we pan out from the falls. The muted French horn leads us to a panoramic view. As we pan in shimmering strings and twinkling chimes continue the feelings of wonder and ethereal ambiance. A piccolo and harp bring the piece to conclusion. The journey to the falls is excellent, but again why are we taking the journey? It is the crest moment and the culmination of the journey and the crest’s imagery calls for a dramatic statement and we did not get it. The return to the falls ambiance and concluding statement are first rate. Well done.
Entry 6: 7We open with a very gentile and soft melodic line that is taken up by solo oboe. As we reach and pass over the crest a muted French horn takes up the line and sustains its soft textures. The piece continues to feature soft woodwinds, horns and strings with little variance of tempo or intensity. My critique again is that the focal point of the passage is the crest moment. The music needs to build with intensity and drama for a crest statement as Fenton amply demonstrated. Every movie has key points where music is needed to enhance, amplify and dramatize its imagery. This composer did not do this. As a stand-alone piece of music, I find a gentile beauty, which in a different context would be just wonderful.
Entry 7: 7Ah we open with a twinkling harp ostinato that evokes the bubbling stream. A string carried melodic line plays over the harp ostinato as we descend to the crest. This line continues unabated as we pan out. Religioso wordless choir enters, which amplifies the already reverential tone of the piece. We finally get a bold horn statement to support the rainbow cascade scene at 1:57, but the piece concludes as it began on harp. Again, I ask, what is the focal point. Why do we care about the journey? This piece as many above, while beautiful in construction, fails to support the crucial point of the film – the crest. As a stand-alone piece of music, I find a gentile beauty, which in a different context would be just wonderful.
Entry 8: 10A flute line with piano accents emerges over tremolo strings as we begin our descent in earnest. A string line soon joins and builds to a glorious crescendo. As we reach the crest we are treated to a powerful statement of strings, chorus and percussion that is stirring. This bright and energetic major modal statement continues as we pan out thus sustaining the awesome beauty of these magnificent falls. A series of potent percussive and a lyrical string line at 1:27 evoke the wonder of the cascading flows. A final crescendo that fades upon a flute line closes the cue as we began. This is well conceived, properly attenuated to the film’s imagery and makes the dramatic crest statement. I really enjoyed this piece. Bravo!
Entry 9: 7Gentile woodwinds, which are join by harp play as we begin our descent. The harp line intensifies and begins to take on the quality of cascading water as we approach the crest. As we pass the crest, the melodic line continues with a modest intensification as we pan out. As we move in glockenspiel and chime accents join the harp and flute line. We end with a modest string flourish. The focal point of the journey, the crest, is treated no differently from the headwaters. This piece as many above, while beautiful in construction, fails to support the crucial point of the film. As a stand-alone piece of music, I find a gentile beauty, which in a different context would be just wonderful
Entry 10: 9This lyrical string laden piece captures you immediately and begins an energetic and crescendo descent to the crest, replete with twinkling metallic accents. With the oscillating strings evoking water we rise to climax, yet it is not at the crest, but after we have already cleared the crest. The tone of the music gradually shifts to reverential as we move in towards the falls. Wonderful shimmering percussive accents join to evoke the vaporous cascades. A noble French horn statement brings our piece to conclusion. This really is a well-conceived and creative piece that suffers from one small flaw – miss-timing the climax. The focal point is the crest! Never-the-less, I commend the composer for this wonderful journey.
Entry 11: 10A French horn line with flute counter plays over shimmering strings for a beautiful beginning. Soon the flute takes up the line and the French horn counters – nicely done. Twinkling metallic accents join and usher in a repeating four note string theme that is marked by a modest sparkling crescendo as we pass over the crest. As we pan out the melodic line passes from flute, to oboe and to violin. This beautiful repeating four-note statement continues and features a wondrous interplay of strings and woodwinds before ending with a final reprise of the theme by French horns. This is really nicely done! The use and interplay of solo instruments to emote the lyrical main theme is well-conceived and well executed. Bravo!
Entry 12: 7Twinkling synth piano that evokes the bubbling streams and tremolo strings accompany us on our descent. Repeating string chords that ascend and increase in intensity herald the crescendo that occurs as we pass the crest. As we pan out to a second crescendo occurs when we reach the panoramic view. The twinkling synth piano with its simple repeating motif carries the film to its conclusion. This piece is simple in construction and does emote the textures of water and support our journey. Nicely done.
Entry 13: 7We open with a violin sustain that is joined by sparkling metallic accents and solo flute as we begin our descent. Full orchestra joins over a repeating percussive pulse. A determined, but not dramatic statement is made as we pass the crest. Horns join for brief statements as we pan out to panorama. The determined melodic line continues without variance until concluding with a modest horn flourish. I liked the journey to the crest, but believe the piece missed the mark thereafter. There was no drama at the crest and no references to the cascades. The melodic line seemed determined, not lyrical, which seemed incongruous to the setting of natural beauty. This is a good attempt, but I counsel to always be cognizant of the type of scene, in this case natural beauty, as well as the scene’s dramatic image, the crest.
Entry 14: 8After a gentile opening, a solo flute and shimmering tremolo strings take us towards the crest. A drum roll and crescendo mark the passage o’er the crest. Dramatic heraldic horns join with sparkling metallic accents, which sustain the dramatic arc as we move to panorama. As we move back in vibrato flute and strings support the view of the vaporous cascades. The piece concludes with solo flute and a diminuendo. This piece is nicely done and does reference the crucial crest scene. The horn statements and flute work are very good. My compliments.
Entry 15: 10We open with tremolo strings adorned with sparkling metallic accents and shimmering glissandi. Glockenspiel chimes join and usher in a drum roll, horn fare and a string ostinato as the melodic line begins to build in intensity and tempo. A new string line enters augmented by horns which crescendos as we reach the crest. A religioso ambiance is felt as we move out for a panoramic view. As we move in the string born melodic line increases in lyrical beauty and is adorned with sparkling metallic accents and a shimmering plucked ostinato. We conclude wonderfully with horns. The piece has uncommon beauty. It is by far the most lyrical entry, richly adorned and well attenuated to the film. My compliments. Bravo!
Entry 16: 6We open with plucked guitar that is joined by banjo. The piece picks up-tempo and is joined by low register horns as we pass the crest. A horn crescendo builds and sounds on trumpets 6 seconds after we pass the crest. The trumpet line yields to woodwinds, low register horns and rhythmic drums as we move out for a panoramic view. Horns, drums and a maraca like ostinato carries the music and we move in to view the cascades. We conclude our journey with synthesizer and drums. The use of guitar and banjo is creative and yet seems incongruous. The climax of the crescendo is late and the percussive animated line seems to play against the vaporous cascading nature of the falls. A good try.
Entry 18: 5Wow, this discordant, non-thematic soundscape seems completely alien and disconnected from the film. It is too loud and plays against the waterfall’s aquatic imagery. I was distracted and completely taken out of the film. I acknowledge your creativity and pushing the envelope, but film score music must support and speak to a film’s imagery, not play as though completely unrelated.
SummaryI extend my best wishes to the contestants and thank Kalasian for this opportunity. All of you are gifted and I appreciated listening to your handiwork. My counsel, determine the film’s narrative, key scene (the Crest!) and use your music to emote. In scenes with people, it is possible to play against the apparent narrative to address the subtext, but for simple nature films like Angel Falls, I believe you need to speak directly to and support its aquatic-vaporous natural beauty.
I rank the scores as follows;
First Place - 15
Second Place - 11
Third Place – 8
I wish you all the best!
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BLOG LINK:
http://composerschal...g-richard-lysy/The following is a jury report written by Johannes Ruckstuhl who is one of the members of the Judges Panel of the Filmtracks Composers Challenge:
Note: Each entry is given a rating out of 10.________________________________________________________________________________
General CommentaryFor this, the fifth Composer’s Challenge, the subject was documentary. And what better choice than a clip from the BBC’s excellent “Planet Earth” that already features a fantastic accompaniment by George Fenton? The composer continues to be the top dog for such documentaries and this clip is good evidence as to why, featuring a bombastic yet beautiful performance that can truly send shivers down spines.
For most of the composers, the approach was similar and not far from Fenton’s music. An opening melody builds into grandiose orchestral statements as the true size of the Angel Falls is revealed. Despite these structural similarities, the composer that seems to have been a major source of inspiration is James Horner with several of his mannerisms present in many entries. Not to diminish the composers’ efforts however and we have once again a line-up of very advanced and beautiful compositions and a great showcase of talent from among the Scoreboard readership. To all of you some ginormous kudos!
Also, let’s just take a moment to say thanks to the venerable KK who continues to organise these contests and can reap increasingly awesome results each time.
Entry #1: 8
A very accomplished opener! The composer draws on the piano, so often associated with water, to create a repeating and very simple motif than has something of a light trickle about it. For a few seconds it might just be launching into Forrest Gump’s feather theme. As the flow of river water builds up, the piece responds, layering a woodwind theme on top and then exploding with full brass force as the water cascades down the heights of Angel, all the while maintaining the simple motif, easily identifiable above the orchestra. The theme is a juxtaposition of high and low notes, suggesting the fall of the water but also speaks grandeur. The piece transports the beauty of nature effortlessly. Well done!
Entry #2: 7
What is striking about this entry is the amount of different ideas the composer develops in the short amount of time. What’s clear is the force on the ethereal beauty of the waterfall rather than it’s power and the choir is employed to explore just that. Together with a solo violin, the female voices in the piece’s mid-section form the most memorable and beautiful of the many ideas. In the end it’s not the composition itself but the conceptual approach, that the composer would do well to develop some more. It might have been more effective (as well as easier for the composer) to focus on and develop one musical idea that would run through the entire piece. Crowding so many elements into a short period of time seems against the very natural flow of the images. For example, the drum-driven lead-in predicts something much more grandiose than the almost immediate turn into the aforementioned female choral section. Nevertheless, one section in particular is very, very beautiful and means and extra 1/2 star!
Entry #3: 5
This clip takes a very unusual route, presenting the river and waterfall not as a thing of beauty but as one of menace. Low string stabs and tremolos, then joined by bassoons and eventually trombone bursts paint the waters crashing into the deep with almost dissonant passages. Curiously, a flute and a harp struggle against this, giving the impression of some battle taking place between the water and the landscape. The experiment doesn’t quite work for several reasons: Is the waterfall really dangerous? To score a landscape passage like this seems ill-fitting and makes one wonder how the composer would tackle an orca chase. Also keep in mind that the soothing tones of David Attenborough float would float above the music and that can only increase the contradiction. It’s not bad music, it simply feels like the wrong music.
Entry #4: 7
We don’t have to visit Pandora to find James Horner’s music apparently. Clip 4 makes little effort to hid its influences and maybe they’re not unfounded, the music of the Na’vi has something stereotypically latin american jungle about it. What the composer does capture very well however is the waterfall reveal, as the river turns instantly from tranquil flow to roaring waterfall. The peaceful string, harp and bells theme is interrupted by some floor-shaking awesome deep bass hits. This alone deserves huge kudos. The success of the second half of the piece is less certain however as we are launched into an action sequence of sorts (again “Avatar” inspired), featuring ethnic-style vocals and percussive vibrance. However the movement suggested by the music is at odds with the slow-motion photography. The pictures want to take their time, the music is trying to rush them forward. Otherwise, very decent (if a little derivative – it’s pushing the guilty pleasure button) work indeed.
Entry #5: 6
This piece begins well, building a sequence from one or two instruments and adding gradually as the waterfall nears. Furthermore, the structure of the piece is well thought out, with a signature role applied particularly to the harp that forms a welcome reprise of the opening at the end. It’s a role that it inherits from Fenton’s original. Once over the edge of the falls, the music continues to be basically functional, but fails to properly address the prowess of this natural wonder. For the tallest waterfall in the world, it’s theme must be described as a little tame. The music can’t satisfactorily transmit either Angel’s awesome force and power (though a short lively swell towards the end hints towards the potential), nor does it invoke the sort of open-mouthed awe of such a sight.
Entry #6: 6
This piece opens with a pretty and simple clarinet theme that is subsequently taken over by a horn. The beautiful thematic writing continues throughout and out of context is extremely pleasant to listen to. In context however, the piece seems far too tame, and never truly addresses the waterfall’s power or size. Instead, there’s a strong feeling of neat drama that permeates throughout. It’s impossible to fault the effort or writing skill. However, to accompany this sequence of a nature documentary, a sizeable amount of more oomph is required. As mentioned elsewhere, this is after all the tallest waterfall in the world.
Entry #7: 6
It’s tough to begin with the quibbles but that gets them out of the way. Like clip #2 it’s disjointed and particularly the transitions between some of the thematic ideas is somewhat bumpy. Orchestral swell is fine, but placing two staccato orchestra hits between it and the tranquil next idea is jarring. Perhaps the composer would have been better served with a suspended cymbal or similar to make the joint smoother and allow the themes run into each other more. It’s a shame because listeners will notice this straight away and then forget that what follows is actually a very beautiful theme. The introduction of the choir (maybe this could have been done earlier, it might have helped link the opening to the second part) create a sound similar to Howard Shore’s “Lord of the Rings.” The crescendo around the 2:00 minute mark is quite simply excellent. Some work needed but lots of potential – well done!
Entry #8: 8
This entry is an exercise in orchestral perfection. Opening (like so many others) with pretty lines of flutes and piano, the crescendo here is far more gradual than most entries but we are rewarded with all the more grandeur. The full orchestral force is well handled by the composer and the long notes of the theme never become overwhelming or monotonous. The bells add a touch of James Horner, surprisingly though they work a treat and create a feeling that is almost magical – the music would not be out of place in a fantasy film (probably also with epic landscapes). The short introduction of string movement around 1:30 is a little strange and sounds like we’re about to segue into another scene. That aside though, it’s very, very good indeed.
Entry #9: 5
Like some others before, the composer of clip 9 focuses on beauty rather than might or power. Most of the criticisms applied to clip 5 are also true here. In an overall sense, the piece is pretty, but it’s also a timid, light and tame. With orchestration this sparse, it would take a theme of immense beauty (such as Gabriel’s Oboe) to inspire mouth-gaping awe in the viewer, and this theme can’t quite reach into those heights. Furthermore, there is little development in the music that addresses the growth of a river – one hears a little stream throughout, not the growth into the world’s tallest waterfall. Where the best clips have succeeded is exactly in this area: through the orchestration they address size and power and then still have time for a quieter interlude that really revels in the wonder of nature.
Entry #10: 7
Very Fentonesque in parts, this is a clip that gets its “levels” of music spot on i.e. it successfully walks the balance between might and beauty. The full orchestra plays as the water cascades down the rock but very daringly, the composer stops to take a breath for a moment in the wide shot. A potential for disaster, here it works perfectly as the music hangs suspended, like the water vapour seems to – brilliant. Two teenie tiny grumbles and they both refer to the structure of the music. Perhaps, the orchestra is “let loose” a little too early. That is, it builds too quickly at the beginning and then (no2) has little more momentum left to gain despite a huge visual reveal. Maybe this was stylistically intended but I would try a bit more mickey-mousing with the piece. Musically though, it’s beautiful.
Entry #11: 8
Another very strong composition. The samples may not be top notch but let’s not let that distract, the music is accomplished. The standout element is a solo violin that adds a nice counterpoint to the full orchestra, in parts echoing the themes. Further solo lines for flute and clarinet are also noteworthy. It would be interesting to put these samples through some better equipment or put in front of a live orchestra and hear the improvement. That might also reveal some flaws of course, for example I’m not sure if the bass line is fully fleshed out but I’m willing to give the composer the benefit of the doubt here because the thematic music is quite beautiful indeed.
Entry #12: 6
The piano leads entry no 12 into a some fine thematic writing. The build-up to the waterfall reveal is well done by the composer and leads to a grand crescendo as we look down over Angel. The piano figures add continuous movement to the water and so achieves a nice effect while the string swell accompanies leaves enough room for this to shine through. Less certain is the piece’s second half, introduced by one final crescendo and suspended cymbal. The transition here felt unnatural, as if the track’s volume had been artificially reduced to amplify the effect rather than to adjust the orchestration appropriately. The piano movement returns with added bass in the closing stages and manages to steer the piece back on track. Overall, quite accomplished but the mid-section is jarring.
Entry #13: 8
Setting out with a very simple oboe theme, this entry continuously expands yet the composer has decided to make this build more gradual. The underlying horn triplets, bells and ascending string line represent a restrained yet very majestic theme. The focus for the composition is not the actual reveal but its majesty continues to impress right until we pull back to the wide shot of the waterfall. After this point, the composer allows the images to speak for themselves, toning the music back significantly before the horns return for the conclusion. Extensive thought seems to have gone into the structure of the piece and it pays off. Very nice indeed!
Entry #14: 9
The James Horner influences are striking but Entry 14 can muster enough gravitas to give the Hollywood composer a run for his money. The solo flute is the standout element among the continuously good orchestral writing and makes the piece very enjoyable indeed. One curiosity is an odd sound-effect like ‘noise’ at its peak but otherwise the entry is excellently structured and put together, hitting all the right notes as it were. A highly accomplished contender for the title.
Entry #15: 10
A striking ethereal beauty pervades this piece through the delicate solos (harp, flute et al) and orchestral mastery. Like so many other entries, a Horner influence is audible yet it does not distract from the listening experience. Strings build before horns and trumpets take over to illustrate the immense grandeur and beauty of the waterfall. Words are a little short in supply but then, they may not be able to amply describe how good this is…
Entry #16: 5
This entry is a piece of contrasts, many of them problematic unfortunately. The opening banjo or guitar yield to a fully fledged orchestral and percussive sequence that seem to suggest action rather than the vapours of water. Like clip number four, the second sequence clashes far too much with the first, making for an uncomfortable fit and a transition that is irritating to the ear – some simple mixing could have corrected this. The theme itself is functional (the trumpet solo in particular is good) though it is necessary to repeat that conceptually, the piece needs some more thought.
Entry #18: 4
This piece is clearly intended as an experiment or as KK put it, “having some fun.” The result is a highly uncoordinated, disjointed and dissonant piece that is in fact rather painful to listen to. In the simplest terms, it sounds as if a DJ simply set two pieces running at the same time to see if counterpoint would rear its head. This piece will have been fun to put together but is unfortunately completely dysfunctional as a listening experience. Let the secret intent be revealed!
The winner: ENTRY #15
Rounding out the top 3: Entries #14 and #1
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BLOG Link:
http://composerschal...anes-ruckstuhl/Please now take the opportunity to vote for your favourites:
ENTRIES CAN BE FOUND HERE:
http://composerschallenge.wordpress.com/challenge5/the-entries
All you have to do is give each entry a rating out of 10, and pick your top 3 entries. Then you guys can offer some feedback and share your opinions on each individual piece. Although I ask you not to do this on a response to this thread for the sake of keeping privacy. It would be more beneficial if you were to send me an email at
kkalaisan@hotmail.com. Your feedback is extremely useful and contributes to the final analysis of the event at the end.
This is how the next few days are going to look like:
Tomorrow – Edmund Meinerts’ reviews will be published (I hope).
Friday – Alain Maynard, composer of the Legend of Silkboy, graciously wrote up some detailed commentaries about the entries. That will be published this Friday.
Monday – Voting Polls Close
- KK
