Electronic Composition Competitions??

Hi,

After reading up on a career in composition, I've been seeing lots of information about how it's really hard to break into the Film/Game industry. I have a feeling that taking part in fairly major competitions/events as well as boosting my reputation for the future, will help me develop my skills as a composer.

HOwever, the trouble is finding a competition that allows for there to be no score needed. I use LMMS, which has no export MIDI function, which complicates things a little. Are there any that I could enter for digital composition from the U.K.?? I've been browsing a little, and so far, no success, which leads to the natural conclusion that you HAVE to provide a score for with most competition entries :(

The main reason for disliking scores is that I suspect electronic composition and scoring are 2 completely different things, which would mean that I'd have to relearn everything....

Sorry if I seem to be a little incoherant - it's something that's really bugging me now recently, and I'm hoping someone can help clear it up.........

Thanks in Advance,

CheeseLord

P.S. Another thing....it probably be best to be a free entry competition, because although I'll consider ones that need a entry fee, a free entry would be infinately preferable (sry, I know it's fussy and specific, but then again, this whole post is)

Without delving into specific competitions — largely because I don't know of many and am therefore not too qualified to comment — I'll address some of the other concerns.

First of all, although you generally do not need to provide scores for some game/film projects, if you're planning a career in the industry then you absolutely DO need to be able to not only produce convincing mock-ups in a sequencer, but also beautiful and clear notation in a notation program. The reason is that, especially in film, you'll still be looking for opportunities to work with live musicians. Even on smaller scale projects, it's quite common to get a friend or some acquaintances to play in certain parts for you which you then layer over the sampled equivalents. It does wonders for realism and, more to the point, requires sheet music for the musicians. In the magical high Hollywood realm, one simply hires other people to take one's MIDI sequence and translate it into a great score. These folks are "copyists" and they're great if you have money lying around. In most cases though, you get to do all the tedious work yourself, which means you need to be prepared and able. And quick.

I have a feeling that taking part in fairly major competitions/events as well as boosting my reputation for the future, will help me develop my skills as a composer.

Technically the answer to this feeling is: No. Why? Because boosting your reputation and writing for competitions only vaguely does anything to help your skills as a composer. That being said, competitions are a fun and easy way to get your name out. Unfortunately, it's not the kind of networking that gets you jobs. If you want your name out there for work, then find film and gaming organizations in your area and attend their meetings. Get to know people. Meet them in real life. Email people. Call them. Chat, be friendly, outgoing, approachable, fun, and knowledgeable and you'll get their attention. Leave them with a card and you might get a call next time they need music. Competitions can help attach some level of basic prestige or reputation to your name, but ultimately no one's going to give a scraggy about that if your music doesn't sound the way they want it to for their project. It always comes down to the music. Credentials will get you a set of skills with which to write it, but they will not get you the jobs themselves.

If you want a job in the industry, demonstrate the following:

1. Musicality (know how to speak effectively with and about music; manipulate moods, craft soundscapes, know your orchestration, understand textures and the mechanics and psychology of sound, etc)
2. Creativity (within the confines of mainstream appreciation, in most cases, so be careful with this one)
3. Versatility (be able to effectively communicate in as many musical languages as possible. Then learn to combine them)
4. Affability (be approachable, savvy, and perceptive enough to communicate and understand what's going on when you're interacting with clients. Learn always and from everything. Listen.)
5. Marketability (work quickly, charge fairly, stand firmly by your prices and defend your decisions — not to the point of stupid obstinacy, but nobody likes a pushover — and leave a good impression when you leave)

As for how you demonstrate those qualities...well, to each his/her own! :P There's no formula, and there's no guarantees. Even the list above is just one guy's opinion (mine), and it's certainly not infallible, complete, or universally applicable. From what I've seen though, it's pretty concise, and it's a good set of guidelines to keep in mind in any event.

Thanks for the little insight Marius!! I'll be sure to keep this in mind!!

No worries. :happy:

Since we're on the subject, Mr Marius, how important would you say it is to have the tools to compose VS creative skill?

We discussed in another thread hardware, and the steep price one might pay for it. So how important is it that you have all that stuff?

I have software and talent to write out scores all day, but the concept of self-producing everything is still a bit far away.

It's a good question, Justin, and it's important to recognize that the modern day definition of composer (at least in the realm of media) has blossomed to encompass a whole host of other related — and sometimes totally unrelated — skills. We're almost always expected to not only be able to write compelling music, but notate it and be able to prepare a score for live performance (which includes preparing parts, and some administrative tasks of getting the recording space, etc), produce a totally convincing mock-up which many times even ends up being the final product, make a clean and consistent mix, understand the basics of implementation (this one mostly in games: Fmod, Wwise, etc.)....we wear a lot of hats.

So, more to the point, it's important. Say I'm a director, and I'm looking for a composer. You're one of my candidates and you've submitted some scores and some unimpressive mock-ups. The music is wonderfully crafted and quite moving. The rendering is not. Another composer hands me a well pressed disc of brilliant mock-ups, with fairly mediocre musical content. If I hire you, I recognize that I'll need to hire an orchestra. Or at least a production assistant to make your stuff sound up to par. Expensive. If I hire the other guy, he can produce mix-ready work. It may not be as beautiful, but I'm not always equipped to tell the difference — in many cases sound quality = music quality in the minds of directors. Moral of the story? You didn't get the job.

Yes, it's expensive for the equipment, but the greater challenge is actually the time investment — you can have the best stuff in the world, if you don't know how to use it, or you're not utilizing it optimally, you're still going to end up sounding like crap. The music carries a lot of the weight, but only if your audience is capable of judging it objectively without focusing on the sound quality. And that audience is a really small one, so if you find it, please call me. :P

Ultimately though, as far away as self-producing seems to you, you need to get yourself to it really quick. You're already late. It is a necessary step in making yourself competitive in today's market. There are so many people who want to do this that you really need to have the skills on all fronts in order to even stand next to them, let alone set yourself apart. It's tricky and tough and very often discouraging, but if you truly love it then there is no alternative, so you do whatever it takes.

I hope that helps some. :happy: