Composers Challenge

[KK 3,307]

Alright, I'm really new to these forums. But in my short time here I have noticed a lot of people who compose music on these forums.

Over at the Filmtracks Scoreboard, I've been hosting a composers challenge for quite a while now. A new one is starting up right now, and I was wondering if anyone was interested.

Here are the instructions for this challenge:

http://composerschal...com/challenge5/

Regular updates will be posted on the Filmtracks Scoreboard and on the blog. I know I'm new and all, but if anyone was the least bit interested in having a great composing experience, you could give the challenge a try

Hoping to hear some of your work!

- KK

[gkgyver 1,645]

A new old face on JWfan. Welcome

Not sure if I'm going to enter this time.

[Faleel 5,342]

You were already signed up here right? TheListener?

EDIT: or not....

[Kevin 22]

I've tried here and no one's interested.

[KK 3,307]

Hey guys,

I know that none of you are really involved with this (except for GK, on occaison). But I'd just like to point out that the fifth composers challenge has the entries out for voting!

A little background:

The Composers Challenge was conceived upon the notion of giving composers the opportunity to practice their passion. The work that is at times shown on public forums such as that of Filmtracks only attest to the magnificent talent that is ever so prevalent. In fact, some of these artists actually aspire to become composers. However, most of this work often goes unnoticed. The Composers Challenge offers a great experience for these talented people. Basically participants compose music to score selected clips within a time limit. Then their entries are then given over to a group of adjudicators (who volunteered) so that they can write reviews. Not unlike how critics write reviews of scores. After that the entries are opened to the public for voting. The community’s ratings and the judges’ ratings help select a final victor. To sum it up, experience offers criticism and feedback along with great advice for the young talents of the scoreboard. But most of all, it offers recognition and gratification for the ever growing musical talent in the future (especially during these dark times of droning!).

I thought that some of you may be interested in sending in your votes and feedbackso that I can compile it for the final report. These really are some fantastic pieces of music!

Here are the entries:

PLAYLIST: http://www.youtube.c...eature=view_all

ENTRIES:

ENTRY 1:

ENTRY 2:

ENTRY 3:

ENTRY 4:

ENTRY 5:

Since I'm not allowed to put a lot of files, I had to link up the rest of the entries. ALL the entries are on the page below. Or just go to the playlist to watch them all in one convenient view.

Go here to see all the videos embedded conveniently to one page:

http://composerschal...e5/the-entries/

For more info, go to the 'V' category on the navigation menu. You can see the reviews from the judges (only one set of reviews out so far, the others will be published soon) and other things.

Voting is very simple. 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.

Thats all. Hopefully, not too much a bother.

Thanks again!

- KK

[tharpdevenport 4]

Entry #1:

Was good, but it just didn't grab me. Standard fair, and I just got tired of the cymbol swishes after a while. Probably rank second place.

Entry #2:

I'd probably rank this one third place

Entry #3:

Was the strange one out of the bunch. It didn't fit at all, poorly spotted and instead of helping along the imagragy, scream, "Listen to me!" with it's modernistic symphony, vague Rosenman approach (hope I got all that right). In of itself, it has some interesting moment to listen to.

Entry #4:

I'm hearing lifts from one or two cues that I can't place at the moment, but even then it's still the most refresing one so far and, well, just odd.

That second half come off like the bastard child of some Elfman and J.N.H. percussion-driven love affair.

Entry #5:

Was lacking something, and didn't quite work for me. I felt I was more listening to epic music for a baby oragetang special, than what was on screen.

[KK 3,307]

Cool, but just like to point out that there are about 16 entries in total. I suggest you take the time to listen to them (when you get the chance) and send me what rating you would assign each one out of 10. (ex. I give entry #1 2/10---just an example ). This will contribute to the final ratings. If you don't rate them all, I can't count any of them.

Also, commentary on each one would be great (for points on the final report) but if you can't do it, thats fine.

Thanks for voting! I hope you'll take the time to rate them all, that way I can actually count them! Email me at kkalaisan@hotmail.com or post them here.

- KK

Entry #1:

Was good, but it just didn't grab me. Standard fair, and I just got tired of the cymbol swishes after a while. Probably rank second place.

You can't rank something second place if you haven't heard them all!!! There are 17 entries, but I can only put five on the post. Go to the playlist, or the link to the website!

http://composerschallenge.wordpress.com/challenge5/the-entries/

[tharpdevenport 4]

Okay, when I get time I'll get them all a shot.

Though you can divide the 17 by 4 and make the necessary seperate posts to put them all up.

[KK 3,307]

Okay, when I get time I'll get them all a shot.

Though you can divide the 17 by 4 and make the necessary seperate posts to put them all up.

OH. Thanks! Appreciate that

EDIT: Turns out that didn't make much of a difference. After 5 entries, only links showed up.

[tharpdevenport 4]

Seperate posts -- you edited your same post. Something like four or five videos per post, and after that only links, then after a certain number it won't even allow more links (unless you remove the http://www part).

Entry #6:

Link says the video was removed.

Entry #7:

Didn't like it, didn't go with the visuals.

Entry #8:

Didn't care for it. Barely fit.

Entry #9:

Sounded like I was listening to a random samll chamber piece set up against random visuals.

Entry #10:

I enjoyed the music, especially the subtle building ostinato leading to the waterfall reveal. Kind of fizzled out around the end.

Entry #11:

Plesant enough.

Entry #12:

Just wasn't my thing.

Entry #13:

Had some nice moments, but didn't like it over all.

Entry #14:

Had some nice moments, but didn't like it over all.

Entry #15:

Might rank this in the Top 5. Might.

Entry #16:

Very odd. Not sure what to make of it.

Entry #18:

Was that beginning originally made, or inserted premade stuff, with new stuff over top? Just oddly detailed ahd professional.

It's not like I was watching a video of beautiful nature scenes, a water fall, and reflective rainbows, since I had like a new piece reflecting it as a terrifying Night on Bald Mountain. Also didn't fit the video flow. Not sure where to rank it; maybe up there just for the music, but that wasn't the purpose of the competition, it was to re-score the scens with your music.

[KK 3,307]

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.

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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: 8

The 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: 7

We 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: 6

Woodwinds 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: 9

Ah, 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: 8

Twinkling 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: 7

We 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: 7

Ah 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: 10

A 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: 7

Gentile 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: 9

This 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: 10

A 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: 7

Twinkling 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: 7

We 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: 8

After 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: 10

We 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: 6

We 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: 5

Wow, 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.

Summary

I 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://composerschallenge.wordpress.com/challenge5/jury-reports/reviews-i-craig-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.

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General Commentary

For 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://composerschallenge.wordpress.com/challenge5/jury-reports/reviews-ii-johanes-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

[KK 3,307]

For anyone interested, the results for the fifth Composers Challenge are finally out! You can read them here:

http://composerschal...e5/the-results/

Enjoy!

Many thanks go out to composer Alain Mayrand for offering his feedback on the entries, really appreciate it. I also thank the adjudicators (Craig, Johannes, Edmund).

- KK

[wanner251 17]

Wow there were some pretty excellent pieces in there. When is the next contest? I'm too new to this board to have known about it. I'd like to be able to vote next time.

[KK 3,307]

The next challenge will be starting in a week or so, so if you enjoy composing, you might find it fun to participate in the challenge. I'll post regular updates when the time comes around.

[wanner251 17]

Thank you... Maybe I will participate. It would be fun to practice and try to get better. I definitely have a passion for film composing, but I'm terrible at it. It's so awesome to see someone providing an outlet for this because it is so hard to come by.

[Jilal 569]

Wow KK, i like your composition.

[KK 3,307]

Alright, a couple of people here have expressed their interest in participating in the Composers Challenge. Well the next challenge will officially be starting this Friday! It'll be a pretty exciting one with a great theme. Here is the update for those interested:

In our last update we held a poll to see what theme we should explore for our next challenge. Well the majority of you folks decided to compose an overture.

Overtures have been composed by film composers for film for many years back in the Golden Age of cinema. For the Composers Challenge, this offers endless possibilities in terms of musical integrity. It leaves room for great thematic development a true story telling in such a fashion that wasn't quite available in the other challenges. Now in terms of judging/challenge guidelines, there would be more required of participants. For instance, a specific amount or characteristic of themes would be mandated. Say for example we went with a character driven film like Indiana Jones. An overture for a film like that would require a theme for the titular character and a love theme amongst other things.

So there are again an abundance of possibilities and it really depends on the film that we end up sticking with for composing an overture for. On that note, what kind of film do you want to compose an overture for? Here are a few options:

1) Swashbuckling Pirate Adventure

2) Roman Epic

3) Iconic Character Piece (ex. Harry Potter, Tintin, Indiana Jones - although nothing with those kind of major thematic identities, etc.)

4) Tragic/Epic Romance

Share your choice and we'll go with what the majority decides upon.

The challenge will officially open up this Friday April 27, 2012. Now here's the thing. I've got some exciting things planned for this challenge with some interesting new additional features. But judging from our past experiences, our challenge has a tendency to keep pushing off the deadline. If we want to have these additional features to this challenge however, it is pretty essential that we try to minimize all the pushing and postponing in terms of the deadline. So I'm going to throw out a potential deadline here for Friday July 13, 2012? Thats a bit over 2 months for you guys to work on your overture. Tell me how you feel about it and lets try NOT to PROCRASTINATE this time (you know who I'm talking about . If the date is not ideal, just tell me and I'd be glad to change it, as long as we're able to establish a pretty solid deadline ahead of time. This way, I can make the arrangements I need to make to make this challenge the best one we've ever had! Last time we had composer Alain Mayrand offer feedback on the entries, I hope to do more cool stuff like that with this challenge.

Thanks again for all your support for this initiative and I hope to see you all participating in this challenge! I'll be collecting names starting this Friday.

You can contact me with any questions at kkalaisan@hotmail.com

- KK

The challenge will officially start this Friday. There are a couple of you who have told me you might be interested. I'll keep you guys updated and I hope to see some of you participating.

Blog Link: http://composerschal...ge-vi-comin-up/

[Faleel 5,342]

Hey KK, if you need any help, I am a rescorer myself, though I only usually use music from other films.

[KK 3,307]

Hey KK, if you need any help, I am a rescorer myself, though I only usually use music from other films.

Thanks for the offer, but the challenge is to compose an original score for the designated clip. It'be cool if you still want to participate!

Well as I promised, I have opened the challenge up today (although a bit late). You can read it all over here:

http://composerschal...com/vi/overview

Also here's is the new challenge's logo:

To go on, in previous discussions, its been agreed that the overture time duration should be around 5 min. Unfortunately the original opening is actually around 3 min, but I decided to freeze the title frame for about a minute or so so that we'd get 5 min in length for the overture. Also, please be warned that the clip is actually in pretty poor quality, but since you're not really scoring the clip, I hope that won't be too much of a problem.

I hope to see you guys all participating in the challenge! Any questions, don't hesitate to ask.

- KK

[Faleel 5,342]

Hey KK, if you need any help, I am a rescorer myself, though I only usually use music from other films.

Well I meant as a guest star/judge type thing.

[KK 3,307]

Hey KK, if you need any help, I am a rescorer myself, though I only usually use music from other films.

Well I meant as a guest star/judge type thing.

Oh, then thats great. I am looking for volunteers again to act as adjudicators. If you're interested, that'd be great! Be warned though, it'll take some of your time...when the time comes

[wanner251 17]

This should be a pretty good challenge. The idea of composing an overture before one has developed thematic material for what one would usually get from the film itself seems a daunting one. It would seem common practice to compose the overture last, but this should prove a fun task. Great challenge KK! I think I may participate.

[KK 3,307]

This should be a pretty good challenge. The idea of composing an overture before one has developed thematic material for what one would usually get from the film itself seems a daunting one. It would seem common practice to compose the overture last, but this should prove a fun task. Great challenge KK! I think I may participate.

Great! Send me an email at kkalaisan@hotmail.com, that way I can always keep you updated with the latest news about the challenge through email.

[wanner251 17]

Sent... hope my questions make sense.

[KK 3,307]

Here is the latest update for the challenge. Some of you might be interested to learn that our very own Incanus is involved:

_________________________________________________________________________________________________

Its been about a month since we started this challenge so I think its time for an update! How is the composing going? Anyone started yet? Anyone almost finished? There are almost 2 months left so still a good amount of time. And from this point forward I will be posting regular updates.

To begin with, let me introduce you guys to our current Judges Panel. There are currently 3 well-esteemed critics confirmed on board, but some new members may join in in due time (not guaranteeing anything though). So here are our current adjudicators:

- Craig Richard Lysy

- Edmund Meinerts

- Mikko Ojala

The former two are not unfamiliar to the veterans of the challenge as they have contributed their skills to this initiative many times. But joining us for the first time is Mikko Ojala. This exceptionally talented writer is well known for his incredibly thoughtful and detailed analyses of scores at the popular JWFan site. I am truly grateful to have such an insightful adjudicator onboard with this initiative and I am really looking forward to working with him in the upcoming months.

Biographies of the adjudicators will be posted up closer to the deadline.

Things are still cooking for this challenge, but I’m not going to reveal all my hidden eggs in one update. Until then, keep working away at your entries and look out for updates.

If you are still interested in entering the challenge, email me at kkalaisan@hotmail.com. Feel free to express any concerns or initiatives by contacting me as well.

_________________________________________________________________________________________________

Source Link: http://composerschallenge.wordpress.com/2012/05/28/update-the-judges-panel/

[KK 3,307]

Latest update. Some exciting stuff:

________________________________________________________________________________________

Hi guys,

How has it been? You have about a month left in the challenge and I trust many of you have been working hard on your entries. Well I certainly hope that’s case because I’ve got an update that might be demanding your A-game.

As you know, our last challenge introduced a new feature of the challenge known as Hear From the Pros. Last time, we had the privilege of having composer Alain Mayrand join us in this great initiative. Joining us this time will be quite the celebrity in the film music community. I am honoured and proud to announce that musician and writer Doug Adams (well known for his book The Music of the Lord of the Rings Films and his journalism work for Film Score Monthly) joining us.

Things are still in the works, so as of yet, that’s all I can share with you. Some fantastic music to most ears I believe!

I’ll see you guys at the finish line! Again, if you have any questions, just send an email over too kkalaisan@hotmail.com.

________________________________________________________________________________________

Source Link: http://composerschallenge.wordpress.com/2012/06/18/ccvi-update-exciting-news-for-all/

[KK 3,307]

Hey guys,

I know I don't post updates around here much (because I'm not sure if they receive much attention around here). But this is an important one.

The time has come. The entries have come to light! Here they are for all of you to enjoy:

http://composerschal...vi/the-entries/

Here's the playlist for convenient playback:

http://www.youtube.c...79B5FF6175DFF05

As you can see, we have quite a strong list of entries this time around! Some of these entries have been written by a few JWFanners you all know

Want to vote? Well, you certainly can! How? Well I'll tell ya.

You can vote on other entries by giving them a rating out of 10 and offering any feedback on the individual entries. This will all be sent to me via email to kkalaisan@hotmail.com. These composers spent a lot of time on this and would really appreciate your feedback so I beseech you all to take the time to enjoy all this great music and offer your thoughts.

I would also like to point out that certain entries come with personal descriptions in the "Show More" bar which can be viewed on the video's youtube page.

Judges' reviews will start coming in consistently starting the Monday of next week. I'm sure there are some of you out there who would be keen on what our fellow Incanus and Doug Adams has to say about the hard work of our peers. You will be automatically updated upon the release of each of the jury reports.

Do vote, and I hope you enjoy the entries as much as I did.

All the best!

- KK

[KK 3,307]

Here is the first set of reviews written by the esteemed Craig Richard Lysy:

http://composerschal...g-richard-lysy/

Please now take the opportunity to vote for your favourites. All entries can be found in this playlist:

http://www.youtube.c...79B5FF6175DFF05

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.

- KK

[gkgyver 1,645]

As a participant in this challenge, let me make a suggestion born out of observation.

Reading the reviews of the first judge, he clearly has firm, predetermined views as to what the overture should do in this case, for which aspects thematic representations are needed, and how these themes should complement each other.

And this is not a bad thing, it's great.

However, in the description of the challenge, the composer is encouraged to pick any aspects of the story he finds most important, and put it on paper.

Additionally, we all know that overtures almost only present the main themes in their most understandable, clearly structured form, so that the viewer can indentify them when they are morphed and varied in the actual film.

In this light, I find it unfortunate to criticise a piece, for example, for not having a representation for the terror of Rome, since, as we all know, themes and motifs can be varied to reveal connections later in the film, and a motif in the overture can be used later to represent an aspect that the reviewer thinks in lacking in the overture.

So, my personal opinion is that the judges should more concentrate on what the composer wants to achieve instead of their preconceived ideas, since the composers didn't have a director to tell them what he wants to accomplish.

However, a better solution would be this:

since this whole challenge idea is to reflect the work a real film composer has to do, I would suggest that the main judges play the role of the director, telling people before the challenge what they want to accomplish with any given scene.

We could even make it so that, like in the real business, the participants have to deliver the music at a certain date for evaluation, if it matches the director's/judges' ideas, to then go back and modify it.

That would be more challenging, to conform to ideas other than your own, which is more or less a big part of film scoring.

[KK 3,307]

As a participant in this challenge, let me make a suggestion born out of observation.

Reading the reviews of the first judge, he clearly has firm, predetermined views as to what the overture should do in this case, for which aspects thematic representations are needed, and how these themes should complement each other.

And this is not a bad thing, it's great.

However, in the description of the challenge, the composer is encouraged to pick any aspects of the story he finds most important, and put it on paper.

Additionally, we all know that overtures almost only present the main themes in their most understandable, clearly structured form, so that the viewer can indentify them when they are morphed and varied in the actual film.

The challenge overview clearly states that the purpose of this challenge is to compose the best musical summary of the film and its narrative. On that basis, Craig and the other adjudicators ahve done an incredibly good job on judging the entries fairly and accurately.

However, a better solution would be this:

since this whole challenge idea is to reflect the work a real film composer has to do, I would suggest that the main judges play the role of the director, telling people before the challenge what they want to accomplish with any given scene.

We could even make it so that, like in the real business, the participants have to deliver the music at a certain date for evaluation, if it matches the director's/judges' ideas, to then go back and modify it.

That would be more challenging, to conform to ideas other than your own, which is more or less a big part of film scoring.

That's actually a very interesting idea Georg. I'll definitely keep that one in mind for future challenges, thanks!

[KK 3,307]

The second set of reviews for your entries has been put up. They are written by Mikko Ojala (our great Finnish writer!). I'm sure you'll enjoy his feedback:

http://composerschallenge.wordpress.com/vi/jury-reports/reviews-ii-mikko-ojala/

And for those who haven't read the first set yet, do check it out!

http://composerschallenge.wordpress.com/vi/jury-reports/reviews-i-craig-richard-lysy/

Please now take the opportunity to vote for your favourites. All entries can be found in this playlist:

http://www.youtube.com/playlist?list=PLE79B5FF6175DFF05

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.

- KK

[Incanus 5,713]

I like the part where he describes my handling of the piece(s) as professional, especially because I couldn't tell a C from a F# until I was 20 (27 now)

I always knew you were talented, but didn't know you were that talented. Well I hope the reviews were to your liking in content, not just in praise Georg.

I for my part tried to find the narrative the composers had conceived but at times I just had to comment on some ideas that might have beefed up the overtures a bit in my opinion. Also I noted in hindsight that I did have some hard time with peoples' transitional sections in many pieces. Smoother I say smoother.

And the challenge was really full of great compositions and while I noticed how much stricter I was than Mr. Lysy as I did not grant but one grade of 10, I blame JWFan for culling overt praise from me in this regard as there can be only one true masterpiece, otherwise I would dilute the power of the word.

[gkgyver 1,645]

What, do you actually know which piece is mine???

Who do you think managed the transitions best in your eyes?

[Incanus 5,713]

I honestly have to say, I don't know which entry was yours but they most presented quite a high level of professionalism in their sound and construction. I would probably have to hear more of your music to spot your style and sound.

It was a great pleasure to be part of the judges' panel of the composers challenge and also a pleasure to hear new music from composers who want feedback and to better their craft, and hopefully the analysis and comments on the pieces were of some help and insight. As I said above I prefer to give constructive criticism and find the positive in the work and try to give comments based on my understanding of the composer's intention (as far as it can be judged from the work itself when there is nothing else available) instead of falling on every small fault like a ton of bricks. But we all have preferences and expectations for a challenge like this, Spartacus evoking certain images in our heads and we feel they should be presented in music in this way or that. Also overture brings another set of expectations. But in the end you have to try to see the work also from the composer's side of things and not from the preset mould you have created yourself.

And my comment on the transitions in the above post was part in jest as I just now noted how often I have mentioned them in the reviews.

[wanner251 17]

I would just like to personally thank Incanus for his insightful reviews of our work. I had such a blast writing for something that actually mattered, and can't wait for the next challenge! Also a huge thank you to K.K. for giving us the opportunity to write with true intent!

[KK 3,307]

Well here is the moment you've all been waiting for! Commentary from the well-known Doug Adams. Enjoy!

http://composerschallenge.wordpress.com/vi/hear-from-the-pros/

And guys, please make sure you vote:

http://www.youtube.com/playlist?list=PLE79B5FF6175DFF05

All the best!

- KK

[Incanus 5,713]

As I suspected Mr. Adams' commentary and advice was excellent and sharp eyed and eared and also brought a stronger musicological point of view on reviewing and giving constructive advice on the pieces. Well done Doug! I hope he can join the Composers Challenge again in the future as his commentary was full of knowledge of the craft and practices of film music and a joy to read.

[Faleel 5,342]

IMHO There is one flaw in this challenge KK, your having them score main title sequences, not overtures, an overture would just be a still card, no opening logo's like the Universal one in the videos.

[KK 3,307]

No, I did not ask them to score the main title sequence. The challenge was to compose an overture, so syncing the music to the visuals was not necessary. And many iconic overtures have been played on top of main title sequences like Lawrence of Arabia, Spartacus, etc. Not all films with overtures had still cards. I was initially going to pick a film that did but I decided to go with Spartacus instead and the film did not have a still card.

[Faleel 5,342]

Oh, okay then.

With Spartacus.. what did the track "overture" on the OST play over then?

[KK 3,307]

Burn me, put me up on a stake, flog me through the streets! I know you've all been waiting long for this and I sincerely apologize for not getting this done sooner. But they're here at last! The results!

http://composerschal...vi/the-results/

Congratulations to all participants and thanks for participating!

The next challenge is starting next week! Send me your ideas at kkalaisan@hotmail.com of what you think we should do. A poll might be held over the weekend for the final decision of the clip (as usual, I already have a few selected). On Monday, we'll officially begin the seventh Composers Challenge!

I hope to see you all participating again!

- KK