Frank Paul
Composing Canuck
Thank you so much, that's very kind of you!
Re-Score Competition for FREE
- Thread starter BVMusic
- Start date
Kerryman
New Member
Is it possible that the main reason, in the above sentence, for you not winning was not "Col legno", but "I filled my piece with..."? I'm guessing that judges of any music writing competition like to see variety in the work.
Nigel Andreola
Active Member
That is plausible. It is likely there were many reasons they didn't pick my piece. I made my piece to have fun with the new libraries I had just purchased. It was my very first project using proper orchestral libraries. Before that, all I had was the Kontakt factory library, free stuff, and some solo instruments.
The judges picked a piece that was nicely playable with parts written for different instrument to shine. I think the judges did an excellent job in their choice.
If you are interested, here's my entry.
Kerryman
New Member
I really enjoyed listening to your (in my view) excellent work. I listened with headphones, and found it to be quite enthralling. The spotting was wonderful, and the writing perfectly matched the action in many places - such as the downward flow of the notes when the object bounced downhill.
I haven't heard the winning piece, but it must have been of an extremely high standard to beat yours. I've entered a lot of competitions in my lifetime, in a completely different area of art and craft - and I've judged many too. I am strongly of the opinion that winning one takes more luck than skill. You certainly have the skill. I don't know why you didn't win, but it has nothing to do with col legno!
I'm a little bit apprehensive to show you this - but here's my entry for the current Indie Film Music Contest (still to be judged). I've only been composing with a DAW for a year, so I'm quite new to it - and tend to keep instrumentation fairly sparse. But, I have attempted to meet the contest criteria of 'musical story telling' and 'precise spotting'.
Nigel Andreola
Active Member
You made a wonderful score! Your use of cellos fit the content beautifully. Good luck with your entry.
I would have liked to be a part of this one. Sadly, my PC was crashing super bad and needed to be repaired so I missed the entry window. My Intel CPU had gone bad. Replacing it fixed my issues. I like contests. I like seeing people's entries and being part of something. It is a nice social experience. Hopefully Spitfire Audio or Orchestral Tools will have contests sometime this year.
I'm happy you like my 2021 entry. Your complements mean a lot to me and are encouraging. The winning entry was focused on being playable for the available instruments and section sizes that were stated in the rules. My score was more hybrid.
Here's a link to the winning entry. See what I mean about how well the available instruments were used? I didn't see the entry till the announcement of the winner. I remember being impressed.
Shortly after entering that contest, I entered a different contest and won! Here's link:
I too am a visual artist. I paint book covers and music album covers. Do you have an online portfolio?
When you judge someone's artwork, what sort of things are you looking for? I would imagine it would be a combination of how well the art adheres to the contest rules, technical proficiency, and personal taste?
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Kerryman
New Member
Thank you again Nigel. I think I know the sounds you are referring to (from where the 35th is seen on the calendar and up to the tape starting).
They are actually samples of a Nykelharpa - a rudimentary Icelandic bowed instrument that is not unlike a cello in sound quality, but far more rustic and rasping. I thought it gave an authentic feel to the idea of Christmas long ago.
I've started a conversation with you about my photography and your winning composition.
blaggins
Senior Member
Nice entry there @Galoubet! The little polka bass definitely creates a lot of drive. I admit I had to look up what "Messiaen's 2nd mode" is... aka Octotonic, no wonder I liked it
You manage to give octotonic melodies quite a "positive/happy" sound whereas I'm more used to hearing harmonic clusters that are more dissonant than positive sounding. Did you have a harmonic strategy that you used for this composition?The only small bit of feedback that I can provide is that when the brass gets ultra fast it starts to sound a bit synth-y and unrealistic. Is it possible to play the trumpet that fast? I'd guess yes, but sample libraries may not have quite caught up to that blistering speed yet.
Galoubet
New Member
Hello @blaggins,
Modes of limited transposition have intervals structure that repeat after a certain number of semitones.
For instance, the 2nd mode of Messiaen, described by the sequence 1 2 1 2 1 2 1 2, as a period of 3 semitones (or a minor third), after which all existing harmonies return to being identical.
To explore the range of potential chords within this mode, let's consider its initial transposition: C Db Eb E F# G A Bb. By examining chords that use C as their root note, we find several basic and well-known chords: C Major, C Minor, C Dominant Seventh, and C Minor Seventh. This mode also offers access to a variety of more intricate chords.
The repetition of available chords every 3 semitones means these same chords reappear with the roots in C, Eb, F# and A.
To complement the comedic aspect of the cartoon, the soundtrack primarily utilizes major chords as the foundation of the harmony. Specifically, there is a continuous oscillation between two major chords whose root notes are 6 semitones apart. The root note of the starting chord may vary within the mode at the beginning of each measure, depending on the scene's dynamics.
Considering the trumpet's playability, I've seen performers manage at this rate of note flow, but I think the challenge lies in adjusting lip and mouth positioning to accomodate the significant interval jumps, especially in the higher registers.
Modes of limited transposition have intervals structure that repeat after a certain number of semitones.
For instance, the 2nd mode of Messiaen, described by the sequence 1 2 1 2 1 2 1 2, as a period of 3 semitones (or a minor third), after which all existing harmonies return to being identical.
To explore the range of potential chords within this mode, let's consider its initial transposition: C Db Eb E F# G A Bb. By examining chords that use C as their root note, we find several basic and well-known chords: C Major, C Minor, C Dominant Seventh, and C Minor Seventh. This mode also offers access to a variety of more intricate chords.
The repetition of available chords every 3 semitones means these same chords reappear with the roots in C, Eb, F# and A.
To complement the comedic aspect of the cartoon, the soundtrack primarily utilizes major chords as the foundation of the harmony. Specifically, there is a continuous oscillation between two major chords whose root notes are 6 semitones apart. The root note of the starting chord may vary within the mode at the beginning of each measure, depending on the scene's dynamics.
Considering the trumpet's playability, I've seen performers manage at this rate of note flow, but I think the challenge lies in adjusting lip and mouth positioning to accomodate the significant interval jumps, especially in the higher registers.
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You've described Petrushka
Juulu
Active Member
This is great! Quick question, what are you doing arrangement/orchestration wise to create effects like the one 1:30? It sounds like some chromatic scale but I can't really tell. I really like the comedic affect it gives (even though it mostly sounds chaotic). It reminds me of old Tom and Jerry episodes.
chrisljung
New Member
Thanks man! I really appreciate it. I used some string pizzicatos, flute grace + trumpet rips at the end. I'm not exactly sure about the scale either, I just heard those things in my mind and it sort of worked together!
BryanTheCueTube
New Member
Quick update for everyone!
All the best!
Bryan
All the best!
Bryan
