August-September Competition Scores And Winner Anncounment!

Behold are the scores from the three: Aniolel, Ad hoc and theviolionist7. Furthermore, the announcement of the winner of this month competition is. Shall we begin?

Here are mine scores:

Justin, thank so kindly for providing the links for the themes which you borrowed fantasy. They really helped me to write an in depth review and to provide fair assignment upon your work. I do hope though that I not critical though.

• Themes: 10/10
  

The combination of the themes, which are borrowed and arranged from the games “Medal of Honor”, established a well balanced contour melodically. The phrasing is also well balanced. Every theme has its separate but unique shape and structure. This creates avoids any static phrasing and themes that may come sway. Furthermore, with the combination of the themes it brings a great variety to the score that will not dull the listener. This is imperative to every composition, for too much on variety can lose the listener and vice versa. Your themes had balance between repetition and variety. You also used an echo effect to enforce them and strengthen them through the harmony. This I liked! Plus, you were able to varied them.

• Variations+ Originality: 18/20
  

In your composition you have five variations. In each of them, we have the main theme is refrained to remind of the opening section. The prayer like section reflects tranquility of the introduction, which is a nice touch on your part as the composer. Each section of the composition brought new ideas to the composition, especially the coda with the string. It reminded with the it sound like people dying. My only qualm perhaps is that it might sound too much like the original scores at times. For instance, the introduce sounds too much like the main theme from Medal of Honor. It sounds like a transcription rather than anything new. The other sections may follow this error as well.

• Structure: 15 /15
  

The structure of your composition flows nicely. All of your transition works well. The form of the fantasy which you have chosen for your composition, with your variations, also work. I see no problems to disclose about structure here.

• Orchestration: 20 /20
  

You have created interesting textures and colors with you ensemble which does not overshadow any part. All of you parts are written with their proper idioms and ranges and create a perfect sense of harmony. I enjoyed the string section part at the end. It was a nice touch. Furthermore, the orchestra uses the theme in a well balanced way.

• Creativity: 19/20
  

As for being creative, you have achieved this goal in several means. First, by creating several variations on a theme and then orchestration through an ensemble. Next you executed you composition nicely. and lastly, you created interesting blend of colors and textures which the audience will hear. Nevertheless, the opening might have to be redone…if seems to similar to the main theme of “medal of honor.

• Score: 15/15
  

The Medal of Honor score was well crafted. There was a nice use of phrase marking with junction to the thematic material. I also saw ornaments used with certain parts too. Very nice.

Total: 97/100

• Theme: 10 /10
  

The substance of Dragon Roast Zelda theme has, indeed, provided the composition enough material. The contour or shape of the theme is the perfect is well balanced arch which creates tension and release for the theme. There is enough melodic material that composer could create several variations of this theme. Even though there is one theme present, the choice of this the perfect fit. Even the phrasing of the theme is well balanced, too.

• Variations+ Originality: 20/20
  

After you have stated the theme, you have created 8 variations. Each variation is like its own composition while keeping the original theme intact. The piano and violin solo and cadenzas were very special to listen and very cool. Another original variation was the string fugetta with the theme. Each of the variations bring new ideas and

• Structure: 15/15
  

The structure of your theme and variations is nice structure. You brought new ideas into new ideas into the form: the fugue, two solos, and a cadenza. All of these work very nicely. You have nice transitions into each of the variations.

• Orchestration: 20/20
  

The piano quartet with string trio or quartet is nicely done. The piano accompaniment and solo section is nice touch. The economy of the string ensemble is well balance. It is like listening to a choir who singing the variations. You do have a play back issue but that is not your fault! In reality, the string players would have followed the instructions that the score has listed. Ergo, no loss of points there.

• Creativity: 20/20
  

You have created very cool ideas in your music and stretched the bounds of the form. Hence you get the full points of this section.

• Score:15 /15
  

The score for this varitional set was well done!

Total: 100/100

Note: It will be in your best interest to research the proper form and how to compose in said forum before taking on a project such as this. Listen to those before you and perform a score study of such. Furthermore, the scores only reflect what you have shown us in this competition….I am sorry to say that. Good luck next time.

• Theme: 5/10
  

The Pokémon theme is short and brief, and has a acceding contour. Nevertheless, and because of these features, it makes the composer’s task even harder to create variations of it. I do not think it was a wise choice here.

• Variations and originality: .5/20
  

There were no set variations in after the theme. No continuous or sectionals either. Just one base of the theme from which was shown in you tube video. This is after all a theme a “Theme and variations” competition the last time I checked.

• Score: 1/15
  

The score was poorly produce. The percussion was incorrectly labeled with misc. No clear use of expression. Marking, no phrase markings. Nothing. I am saddened to see this!

• Orchestration: 1/20
  

The orchestrations and instrumentations did not met up to or the idioms of each instruments. one of one went below the normal range. Plus if you want pizz. on strings. Don’t have a separate part for it, use pizz for each part on string.

• Strcuture: 0/15
  

There was no clear structure for this piece. Just one clear continuous theme repeated. It fits the loop of the of idiom of game scoring industry but not for this completion.

• Creativity. 5/20
  

I will award some creativity here for at least arraigning the Pokémon theme into ensemble. But that is all!

Total: 12.5/100

• Theme: 10 /10
  

The theme that you have chosen for your composition, the “Tetris” theme has an arch shaped contour, a well balanced phrase and the melodic material is not repetitive. All this side, I have to think why you didn’t add more than one theme. Was it that you want to keep thing as simple as possible? Or was there a better motive here? For whatever reason, you have chosen, you certainly executed this one theme out thoroughly as possibly in this composition. Good job.

• Variations +Originality: 19/20
  

Each of the 13 variations displayed their own selfness and ogrinality. The theme could be clearly heard within the variations and was never lost. Nevertheless, there was one variation that was a little off because it started the composition where as the theme should have taken it is place.

• Structure: 10/15
  

In a theme and variations composition, there are a few things you should be aware of. First, never start it off with any of the variations. This could mislead the audience and confuse them later on. Second, variations are base on the multiple of 12. It is okay to go off of this. But it may be wise not to. Now that I have stated these things, I will move on to what is works in your score. You have restated the theme. This is a very a good idea, for it helps the audience not to forget what was stated in the beginning. And you closed with it…also good! The introduction was very good thing to do to.

• Orchestration: 20/20
  

Your orchestration of the theme and the 13 variations was well executed. Everything was well balanced and nothing was overshadowing each other.

• Creativity: 19/10
  

Although you were being creative within a certain classical form, it did not work very well. What did work, as being creative, was your orchestrations, the harmonic choices you have made, and how you put these elements together.

• Score: 15/15
  

The Tetris score was easy to followed and easy to read. Every part was in the correct order. There was use an expression marking in every part, and phrase markings and other marking to mark sections and phrases and ideas.

Total: 93/100

Here are theviolionist7 scores with comments:

Tetris (dostoprimo):

Quality of theme: 10/10

It wasn’t a one note theme. It had a melody and harmony. Nothing bad about your choice. 0 points deducted.

Number of variations and originality/difference in variations: 19/20

Your theme was quite a bit slower than the one in the Youtube video you posted, enough so that the change in tempo could make it a variation just in itself. 1 point deducted. See creativity for more about your variations and the relation to the theme.

Instrumentation and Orchestration: 19/20

Good instrument choices. Sometimes it seemed shallow, but for the most part it sounded nice. The score looked quite empty, with a lot of rests, but it had more than just a melody. 1 point deducted.

SCORE: 8/15

Legible – sometimes the notes aren’t exactly on the space/line where they should be, but are half on, which makes it quite hard to read. 2 points deducted. Good job with labeling where your theme and variations are, especially considering that if I did not know the piece (I did not know the Tetris theme before your link), I would have thought that your Variation 1 was your theme. See the structure for details on that, though. This section is for neatness. Put dynamics and expression marks right under the staff where the note is, not off to the side under the staff and do not have notes from another voice overlap with the dynamics on the staff of the voice above it. It looks messy, and you can adjust the staff position to fix it. 2 points deducted. What in the world is the text in the harp part at measure 88 and 94 supposed to mean? (I shouldn’t be talking, though. In the July competition, I forgot to take out the link that had the range of the sitar out of the music, so it sat in the score). 1 point deducted. Just wondering, is this a live recording? Because at measure 123, I hear a rallentando, but I don’t see any marking that says to slow down. If you want to slow down, put it in the score. 1 point deducted. In variation 13, Congratulations (with sarcasm)! You are the first person who has written in both senza mesura and 4/4 at the same time! Unless this is quantum physics, you can only be in one, either senza mesura or 4/4. Pick one. I would go with a rubato 4/4 quasi cadenza, since that is how the music is notated. 1 point deducted.

Structure: 11/15

Please start with the theme, not a variation. Then, if it was an original composition and not an arrangement, I as a listener (as the average listener doesn’t have a score and an analysis in front of him/her) would know what the theme is, and not think that the actual theme is a variation. 4 points deducted. Transitions between sections were smooth. Good job. Nice ending.

Creativity: 12/20

I liked how the first part of Variation 9 sounded. I saw no relation between it and the theme, though. Same with Variation 10, 11, and 12 (I applaud you for the Mario theme at the end of 11, though, so I’ll give you one free point there). 6 points deducted + 1 free point = 5 points deducted. I thought the Variation 10 and the second part of Variation 9 needed more depth to it. Sometimes, I thought the variations strayed a little too far from the theme, as this wasn’t the only variation where I noticed it. 3 points deducted. For the most part, though, I could hear the relation between that and the original. I liked the ending.

Total: 79/100

Death at the Pokémon Center (Happenstance):

Quality of theme: 10/10

Pokémon is one of the few games on this list that I actually know the theme to. Your choice of theme is good. 0 points deducted.

Number of variations and originality/difference in variations: 3/20

This competition was to create a theme and variations off of, in your case, the Pokémon Center theme. You did not display the theme in your piece, and you really only had one “variation”, instead of the many they asked for. 17 points deducted. The variation did have some uniqueness to it, though.

Instrumentation and Orchestration: 15/20

I think you could have been more creative with your orchestration. Label what percussion instruments each line/space is. I learned this the hard way, when I lost points in a competition for that reason. I think you can be better with harmonies and countermelodies as well. 5 points deducted. This was a better part of your composition, though.

SCORE: 2/15

You have major issues with your score. If you want strings to pluck a part, put it in the string part. Do not have a violin staff, and then another staff for them to pluck. We violinists read one staff unless it is divisi. 5 points deducted. Also, you do not mention which strings pluck (it certainly isn’t a solo, unless you want to make it physically impossible), and what instruments “Misc.” are. I will not assume what it is, as I am not psychic. 6 points deducted. I wish the score was in a pager form, so I could look at measure numbers so it is easier to find where I am, but no points will be deducted for it. You also have beams for notes overlapping with other staves, and if you ever write a sixteenth note, followed by a sixteenth rest, and repeat that rhythm 4 (or even 2) times, beam the sixteenth notes over the sixteenth rests. For vocal music, what you did is fine, but for instrumental music, it is awkward. You also have stem direction issues. Middle line can go up or down (stem usually goes down). Above the middle line, the stem goes down. Below the middle line, the stem goes up. 1 point deducted. Also, you have a bunch of measures at the end with no notes in them. Delete them. They are unnecessary and a waste of space. 1 point deducted.

Structure: 2/15

See the “Number of variations” section. The piece doesn’t begin by stating the theme. It doesn’t flow from one variation to the next, and the reason for that is because there is only one variation. I am not entirely sure if you understood what the competition was asking for, so I will give you two points out of mercy. 13 points deducted.

Creativity: 15/20

I will admit that you are creative. Stay close to the theme, though. Really, I could only hear hints of the theme at one part of the piece, and then the rest of it was unrelated to the theme. 5 points deducted. I won’t deduct points for my next statement, but in my opinion, I thought that this was to upbeat for a death scene (although the title’s name was interesting/eye catching, especially since the Pokémon Center is a place of healing and life, creating a contradiction. Good job!), and rather would have been better as a mystery scene. Maybe it was a mystery murder. I think tying Team Rocket into the title would have been a good idea, since on the TV show, they are the evil ones.

Total: 47/100

Zelda (Morivou):

Quality of theme: 10/10

Your choice of theme is fine. Nothing wrong with it. 0 points deducted.

Number of variations and originality/difference in variations: 20/20

You nailed this. You were unique, but the original theme was still recognizable. You had a good number of variations, and they were of good quality. Good job! 0 points deducted.

Instrumentation and Orchestration: 20/20

You use your instruments effectively; they fit in together; the piece is not boring. Once again, good job!

SCORE: 13/15

This is the only place you lost points. Your score is mainly good. If you go to page 5 on the competition forum page, though, you will see a post from me that reads: “PLEASE MARK WHERE THE VARIATIONS START! IT WILL MAKE THINGS MUCH CLEARER FOR THE JUDGES! I WILL MARK DOWN ON SCORE CLARITY IF YOU DO NOT! Same goes with interludes.“ I don’t see a single place in the score that tells me where the variations start. I had to go your post on the forum to find out. 2 points deducted.

Structure: 15/15

Once again, you did well. Your piece flowed, your structure was fine. 0 points deducted.

Creativity: 20/20

If I was the only judge, I would declare you the winner. You were creative, and you were unique. Good job!

98/100

Medal of Honor Fantasy (Tokkemon)

Quality of theme: 9/10

The reason I deducted points was because you had links to 4 different videos, and each video had basically the same theme, with the exception of the last link. I personally found it confusing, especially since I have never played the game before. I think sticking to one theme would have been better. The choice of theme was good, though. 1 point deducted.

Number of variations and originality/difference in variations: 15/20

It was a fantasy, so I can’t really judge the number of variations. I did not see much difference between the theme and the variations, though. The piece did not seem very original variation-wise, but rather, seemed like a successful orchestration of the theme. 5 points deducted.

Instrumentation and Orchestration: 18/20

Your orchestration was good. Sometimes, I wish there was more substance, as it seemed like just a melody with a droning tremolo behind it, but in other parts, it was very good. 2 points deducted.

SCORE: 14/15

Your score is mainly fine. Since this is a fantasy, and not a strict theme & variations, labels of where the theme and variations are are not required. There were times, though, where the notes weren’t exactly on the line/space but in between instead. Sometimes, it looked like a different note than what was being played. 1 point deducted. I found the celesta on one staff at the system at measure 79 slightly odd, but after some research, I saw that either both one staff or two staves were acceptable, so I won’t deduct points. I think it looks better with two staves, though. Same with harp at 93. Otherwise, the score is fine.

Structure: 15/15

Your piece flows. Not any problem here. 0 points deducted.

Creativity: 17/20

Once again: This did not seem extremely original. I liked the piece, but I wish there was more originality and creativity to it. 3 points deducted.

Total: 88/100

Finally here are Ad Hoc's scores with comments:

MEDAL OF HONOR FANTASY

INITIAL IMPRESSIONS ON FIRST AND SECOND LISTENING

You have 4 themes, and fully orchestrated themes at that—this should be interesting.

E is lots of fun, why stop? I want more.

G. Wow, awesome.

K Fantasia. Exciting.

Nice piece. Put together well.

QUALITY OF THEME

You incorporate 4 themes but only one (the original) was somewhat easily recognizable. Even then, I had to listen to that theme many times to separate out what the theme proper was from the rest of the work. Had I an intimate knowledge of the music it would be easier to audibly pick out when the themes made appearances instead of needing to search the score to find them. It is noted that you do provide a map of each section and its corresponding theme on your submission page. The contest idea is pop culture music being turned into classical. You pick a fully orchestrated selection of pieces and while arguments can be made in favor of their categorization as pop culture music, again I cannot award much for being true to the contest’s idea. I would give you nearly full points if this were a fantasy-on-a-theme kind of video game contest, but as for this section, it’s apples and oranges, squares and circles.

5/10

NUMBER OF VARIATIONS AND ORIGINALITY/DIFFERENCE IN VARIATIONS

As you point out, this piece is more a fantasy than a theme and variations. Though the two do overlap, it’s not a fantasy/tribute derivation contest so I can’t award you full points. As for number of variations, you draw from four themes and do something other than quote each one directly – 5/10. As for difference and originality of variations I want to give you lots of credit for your creative explorations of the themes in sections E through G, and K through the end, but the rest of the piece sounds quite true to the themes in more of a tributary/fantasy fashion, not necessarily variations. Again, apples and oranges, squares and circles – 5/10.

10/20

INSTRUMENTATION & ORCHESTRATION

Nothing stood out as unbalanced or unsound in practice. In section A there are some awfully high notes in the upper register of clarinets that may be difficult for all but the most skilled players to perform at a mezzopiano dynamic. You use the entire orchestra well. The strings at H are beautiful. Nice touch with the celesta right before K. Is the orchestration conducive to the theme? Perfectly. Are the instruments used effectively? Yes. Hooray, we beat the Nazis.

20/20

SCORE

Great looking score. A few things stood out. Page 5, measure 53 has a collision in the piccolo part, and it would be clearer to move the dynamic markings in the bass and snare drum parts a little closer to their notes. Page 9 measure 79, lots of collisions in parts with reminder accidentals. Page 13 measure 132, many orchestra players are instructed to use heroin? Perhaps you meant the abbreviation for marcato instead? Consider using legal-sized paper for a full orchestral score—not a completely terrible thing. Only a few collisions and misalignments overall. Definitely publishable as it is now (with the omission of promoting elective narcotics usage).

13/15

STRUCTURE

I can’t give you full points because again, this is not truly a theme-and-variations structure. Yes you state themes. I can’t say you go into variations, though they are definitely varied from the themes and they are distinct sections. Apples and oranges! Overall the piece transitions well, doesn’t ever get boring, moves well and doesn’t get stagnant in the slower sections. It flows wonderfully. I think fans of the game won’t be disappointed in this arrangement.

8/15

CREATIVITY

Were you creative? Yes, you took the listener on a journey – 9/10.

I was skeptical that a fully orchestrated “variations” piece taken from four fully orchestrated themes could be pulled off successfully enough to earn decent points, but you made a case for it. So then the question is were you creative in terms of a theme & variations? Kind of, but also not quite. What you did do, you did well – 2/5.

Section G and parts of K were especially fantastic; there’s a lot of creative writing here. Section G was a wow moment for me. Beautiful, great use of the orchestra. However, I felt the highlights of your piece were lacking because they were over too quickly. While they transitioned to the next section well, I wished you had said more, explored it more, lived out the feeling longer – 3/5. It was an emotional and pleasant 7 minutes.

14/20

FINAL THOUGHTS

Outside the context of a contest with judgment criteria, it’s a very nice piece. It deserves a live recording and a concert.

OVERALL – 70/100

TETRIS” VARIATIONS

INITIAL IMPRESSIONS ON FIRST AND SECOND LISTENING

Hey this is awesome!

Still true to a varied theme, even far into the piece.

Mario? WTF?

I’m a little lost (pg 21-26).

I really enjoyed that. What a ride.

Great piece of music.

QUALITY OF THEME

Simple, easily recognizable, good melody. True to the contest premise. It shouldn’t be hard to derive some variations from this.

10/10

NUMBER OF VARIATIONS AND ORIGINALITY/DIFFERENCE IN VARIATIONS

As for number of variations, they are many and clearly marked. I don’t count the first as its own variation, but as an intro to the theme. Whatever you want to call it, it’s legit by me – 10/10. As for difference and originality of variations, they are clearly different from each other – 10/10.

20/20

INSTRUMENTATION & ORCHESTRATION

Sounds well balanced. Wonderful use of the innate abilities of instruments. Fantastic. The different pairings of woodwind, brass, string and percussion sections within the orchestra are refreshing. I have no complaints about your choices and their presentation. Is the orchestration conducive to the theme? Yes. Are the instruments used effectively? Absolutely.

20/20

SCORE

Hang your head in shame! For such a wonderfully put together musical piece the score is a disappointment. Here are examples of some things that stood out:

Page 2 measure 16, a dynamics collision with the measure line in the violin I part. A dynamic marking should be placed slightly before its starting note, not on a rest (it is impossible for an audience to consistently distinguish a pp rest from a ffff rest, and impossible for players to play it). In measure 14 the cello’s dynamic collides with the double bar line. Page 3 measure 19, again, align dynamics with their starting notes. Page 4 measure 30, a slur and articulation collision on the violin’s E quarter note.

Also, at the top of page 4, poco a poco accel is written in the piccolo’s part. It is impossible for an instrument to audibly do this while resting. If the marking is intended for the conductor, place it above the piccolo staff with the rest of the musical directions. It is also helpful to write it in the parts with music—the xylophone and strings. Even write it once above the strings stanza.

In the Tuba part, page 5 measure 37 onward, though there are three beats in the measure, it is good practice to show the subdivision of the beat. Instead of quarter – eighth rest – quarter – eighth rest, it is clearer to notate quarter – eighth rest – tied eighth –eighth – eighth rest.

Measures 31-32, get the train tracks in line with each other. Measure 43 in the bass clarinet, the dynamic marking collides with a slur. In measure 50, bassoon, the note stems grow out of the decrescendo marking. Measure 74 trombone part, place marcato at the note start. Instruments cannot articulate in the middle of a held note.

With hairpin markings < > it is good practice to always have a goal dynamic. Even with stylistic or expressive direction, < > < > can mean many things: < f > p < fff > is much different than < p > pp < p >, but it must be written to get consistent results. If you want to leave that up to the director, that should be marked instead. Also make sure dynamic markings are in the same plane as the crescendo/decrescendo markings —not like the violin 2 part on page 7, measure 59-60.

The breath note marking in measure 97 confuses me and no doubt would confuse the brass players (it being the only breath mark in their part and occurring on a rest). While the trombone, tuba, cello and double bass are playing a similar part in this measure, and I understand it is for expressive purposes, but considering what the rest of the orchestra is doing at this point in time, perhaps there is a better way to communicate your intentions. Could a conductor really direct that or would it just get ignored? Your breath mark usage does make sense in the strings in Variation 11 however.

Overall if you want somewhat professional-looking scores follow these two basic rules: line things up and avoid collisions. If you have access to a music library I suggest getting your hands on some scores from the masters and comparing them with yours. Or maybe you can find some on the internet too.

As a note on English punctuation, I am not sure why you title the piece “Tetris” Variations with the quotes. I find them unnecessary, but one could make an argument because it’s not exactly Tetris proper. However, using single quotes, ‘Tetris’ Variations, as titled in your score is incorrect. (Single quotes are for quoting within quotes).

You did provide a score and you did do many things correctly with it. Kudos for no lack of articulations, dynamic or expressive markings. I hope you ran out of time rather than decided not to bother cleaning it up. It makes me sad.

6/15.

STRUCTURE

Good structure. The theme is stated in the beginning, the variations are clearly marked, but also arranged in a way that they flow from one to the other. The transition from #3 to #4 was jarring on the first and second listen, but not the following times. The piece never gets boring or stagnant, but it does kind of die at the end. That may just be the recording.

15/15

CREATIVITY

Were you creative? Oh absolutely – 10/10.

I am not sure how you could be more creative with this piece in terms of theme and variations. I am impressed with how well-written and diverse your variations are – 5/5.

So many wow moments. Technical academia aside, it sounds awesome, it’s exciting, it’s Russian, it’s something completely different but it’s still Tetris. It’s fun, and I still can’t listen to it without a grin on my face. I heard the Mario cameo before I read about it in your description – 4/5.

19/20

FINAL THOUGHTS

Wow. This piece is so much fun. I recommended it to my friends to have a listen.

OVERALL – 90

DYING AT THE POKEMON CENTER

INITIAL IMPRESSIONS ON FIRST AND SECOND LISTENING

What is happening? Okay, 0:26 I hear some of the theme.

Variations are not clear? This is more its own thing—sounds like one song built upon a variation of the theme.

Hm, it’s hard to hear the theme in this. Sound like a hash up though.

There is a definite progression and a story here. Interesting idea.

QUALITY OF THEME

Good choice of theme. Catchy, simple. True to the contest’s premise.

10/10

NUMBER OF VARIATIONS AND ORIGINALITY/DIFFERENCE IN VARIATIONS

The problem I run into is that it sounds like you took the theme, made a variation, and built the song off of that particular variation. I can’t award full points for that. It’s squares and circles, apples and oranges. After a handful of listenings I can make out deviations of that variation – 4/10 and they are somewhat audibly distinct, but I have a hard time calling them variations—it sounds more like one song and the progression of a story – 4/10. Visually, I have a hard time identifying them and they are not clearly marked (not a requirement, but it would have helped).

8/20

INSTRUMENTATION & ORCHESTRATION

The impression I get from your submission is that this song was built for an electronic medium, and turning it into a classical setting was secondary. There is a disconnect between how it sounds and how it looks. Is the orchestration conducive to the theme? I really don’t know how to award you points for this in terms of your instrument choices, other than that it sounds alright.

Are the instruments used effectively? Nope. I have never heard of an instrument called the “String Pluck” before, and the Violin, Viola and Cello are perfectly capable of playing all notes in its part. You have some heavy bass requirements and I think including a Double Bass in your ensemble would be beneficial. I’m not sure what a “Misc” instrument is either :S. I know it’s a percussion line, but it’s a mess. If you put this in front of a set player don’t you think they would have a hard time playing what you wanted without any further explanation? It’s got to be notated more playably. I could give you more points for orchestration if that part was clear and the String Pluck part was distributed amongst the strings. It is possible to divide strings so some of them are plucking (pizzicato) and others are bowing (arco), which is what you have audibly, but not visually.

The time signature choice is confusing because many times I hear a 4/4 but the downbeat is consistently occurring in an odd place in the measure. I was not convinced using 3/4 and a 2/4 the way you did was the best way to notate your beat divisions and the flow of the piece.

6/20

SCORE

I could award you more points if you had notated dynamics, expressions and articulations, because audibly there are quite, expressive and articulated mechanics to your piece. But there are none included. Why? Also some of the sound effects in the audio submission are not notated in the score. Like in the very beginning and 2:07.

When you write a score for an ensemble that requires a conductor it makes for easier reading to not have one measure span the width of a page, which happens frequently in this score (technically “page view”). Also, kill the empty bars at the end of the piece and save trees. Page 7 of the page view in the Misc part—I’m not sure what happened but I think the last note in the last measure mutated a new head. Take care to correct the idiosyncrasies of the notation program.

I want to remind you that the purpose of a score is to be printed out, efficient, clear in intention, and easy for the conductor to read. I do not believe there is a career conductor who would look at this score and say “Beautiful! 15/15!” I also have a hard time imagining one even considering a 7/15. What I do envision though is a conductor looking at the score and saying “Did this guy even try?”

So keep trying. You did provide a score, but 15/15 type scores take time and attention to detail. It is nice that there are not collisions littered throughout and I appreciate that.

2/15

STRUCTURE

You never state the theme. I can’t give points in a theme-and-variation contest if one of the judging criteria is “does the piece begin by stating the theme?” and the theme is never stated. A variation of the theme is stated however. So I can give partial points for that. I can’t say you go into variations because this piece does not impress me as built in a theme and variations structure. However, there is a progression and deviation from the original variation. It definitely does flow smoothly.

6/15

CREATIVITY

Were you creative? Yes, you took an idea and wrote a musical story for it and as a listener I could kind of follow the slow death of the pokemon – 9/10. Were you creative in terms of a theme and variations? There is a definite progression in the song, but I can’t give you much bonus there – 1/5. Kudos because it moves well, doesn’t get boring, and your percussion syncopations are cool. I also appreciated your recording being more of an electronic piece – 3/5.

13/20

FINAL THOUGHTS

Dying at the Pokemon Center is interesting. It sounds better than it looks. Keep working at scores. It helps to have the right tools, but it’s also good to find professional scores for music you like. I would have liked to award more points but my hands are tied when the judgment criteria and contest premise is clear. Don’t let the numbers bug you and don’t stop writing.

OVERALL – 45

THE DRAGON ROOST VARIATIONS

INITIAL IMPRESSIONS ON FIRST AND SECOND LISTENING

There are a handful of parts to this theme. Should be interesting to see what you do with this.

Oooo piano. There’s the theme right away.

Theme again? Is this a variation or are we still in the theme?

Slower now, this is probably the first variation. Such a pretty progression, glad you drew that out. Probably 2^nd variation now. Hommage to original Zelda here. Okay, first real-sounding variation. Nevermind, melody still sounds too much the same, chord progressions still sound too much the same. The bottom is always changing though. I like this fantasia-y piano part. YES for using the lowest registers of piano. How long is this going to be? Starting to get a little bored. Cadenza breaks things up nicely. Finally a refreshing variation (in 5). I like this treatment of the theme. Big change in chord progressions. Can’t orient myself to the theme verbatim but still clear what theme is being quoted. Okay, return to theme. Good way to end the piece. OOoo nice chord in there.

QUALITY OF THEME

Simple enough. A bit long, but the melody is recognizable. True to the contest’s premise.

9/10

NUMBER OF VARIATIONS AND ORIGINALITY/DIFFERENCE IN VARIATIONS

It is clearly a theme and variations piece and you definitely have “enough” variations in here to constitute full points – 10/10. Audibly? They weren’t that different until after the cadenza. It just sounded like the accompaniment changed but the theme was still being quoted (or quoted enough to not constitute a full variation of melody). However, if pre-cadenza was as varied as post cadenza I wouldn’t hesitate to give you full points – 5/10.

15/20

INSTRUMENTATION & ORCHESTRATION

I have no criticisms or suggestions for improvement. Only praise. Yes, the orchestration is conducive to the theme and yes the instruments are used effectively. I would go so far as to say they are used together wonderfully and you draw well on their innate abilities.

20/20

SCORE

Here are some things that stood out:

Page 3 measures 53 and 54 have a screwy slur causing collisions in the piano part, and it continues on into measure 64 (which also contains a mutant notehead/rest).

Measure 99 piano part, when you have hairpin crescendo/decrescendos it is good practice to include the dynamics you want crescendoed and decrescendoed to at least once. < f > p < fff > is much different than < p > pp < p >, and the purpose of the score is to write those intentions out for consistent results.

Measure 121 violin part, the rit. is being inappropriate with the sul A marking. Get more space in between them. Also in the piano part another rit. wants to be part of the chord.

Page 9 measure 155, a tenuto marking above the violin’s E is running into the title. Give it more space.

Page 10 between the second and third stanza there is a mystery rit. marking in limbo. I interpret it as belonging to the third stanza, but it could be placed more clearly, or have more space between the stanzas.

Page 11 piano part, first and last stanzas, a slur goes through the triplet marks, give them more space. Stanzas are too crowded. Slur collisions with other objects like note stems and brackets continue through the section.

Page 14 in the violin, make the top ties/slurs from the pickup chord to the measured chord clearer, not crowded and frail. Measure 278 a forte grows out of the pizz.’s “i” from the staff below.

Starting page 17 measure 328 in the piano part, get the top slur around the notes and avoid collisions. I can’t quote you how a professional score deals with this issue (likely reversing the notehead sides so the sustained note is on the outside of the eighth notes), but there wouldn’t be a slur collision.

Last measure, personally I don’t care if you finish it with four quarter rests, but it is good practice to show the division of the beat, in which case the 5/4 arguably should be 10/8 because you’re consistently writing a 3+3+2+2.

Do consider shrinking the percentage size of the music – Finale’s default 100% (maybe you used Sib, don’t know) is a bit level 1 piano exercise book-y with over-exaggerated note heads.

Don’t ever be afraid of a 1000-page score for an 8-and-a-half-minute-long piece if that’s what it takes to be comfortably legible. You don’t have enough margin room and everything is too crowded. If your piece were to be published today there is no way the publisher would use your score: be bold in giving things their own space. Make it comfortably legible. There is nothing wrong with two stanzas to a page; three in this case is too crowded. I think a lot of your collision and mutant marking issues would have been resolved had there been sufficient space between stanzas.

Regardless of nitpicking it’s a decent score. I appreciate how well marked things are. A director would have no problem interpreting your intentions for the performance of this piece.

10/15

STRUCTURE

Yes you state the theme at first and in its entirety. Yes you go into variations. It does indeed flow. No complaints here. Not much to say. The piece is built well.

15/15

CREATIVITY

Were you creative? Absolutely – 10/10.

Were you creative in terms of a theme and variations? Almost completely. You really took this and ran with it. I love being able to see your brain so clearly exploring and developing each variation. It is evident the amount of effort you put into writing this – 4/5.

You have some fantastic chords in here and simply marvelous chord progressions! The music is absolutely beautiful and at times is even a blissful moment of elation. You have a masterful command of this ensemble and use it like a weapon of awesome – 5/5.

19/20

FINAL THOUGHTS

Overall, I get bored because the first bunch of variations still sound too similar to the theme. Each section taken by itself: masterful. I would love to hear this live! It’s really a beautiful work. I drool rainbows for 278 to the end. It blows me away. Shut up and take my money.

OVERALL – 88

Here are the final tallies: the one in bold is the winner.

Tokkemon: 85

Morivou: 95.3

Happenstance: 44.5

Doporstance: 87

It was out of 100....300/3

:D Yayyyyy!!! Thanks everybody for all the reviews!

(Aniolel, I edited your post to have my username in the correct spelling. :P)

BUT, I'm so excited! *goes out and gets drunk* *kidding* *sort of* *shhhh*

SCORE

Here are some things that stood out:

Page 3 measures 53 and 54 have a screwy slur causing collisions in the piano part, and it continues on into measure 64 (which also contains a mutant notehead/rest).

Measure 99 piano part, when you have hairpin crescendo/decrescendos it is good practice to include the dynamics you want crescendoed and decrescendoed to at least once. < f > p < fff > is much different than < p > pp < p >, and the purpose of the score is to write those intentions out for consistent results.

Measure 121 violin part, the rit. is being inappropriate with the sul A marking. Get more space in between them. Also in the piano part another rit. wants to be part of the chord.

Page 9 measure 155, a tenuto marking above the violin’s E is running into the title. Give it more space.

Page 10 between the second and third stanza there is a mystery rit. marking in limbo. I interpret it as belonging to the third stanza, but it could be placed more clearly, or have more space between the stanzas.

Page 11 piano part, first and last stanzas, a slur goes through the triplet marks, give them more space. Stanzas are too crowded. Slur collisions with other objects like note stems and brackets continue through the section.

Page 14 in the violin, make the top ties/slurs from the pickup chord to the measured chord clearer, not crowded and frail. Measure 278 a forte grows out of the pizz.’s “i” from the staff below.

Starting page 17 measure 328 in the piano part, get the top slur around the notes and avoid collisions. I can’t quote you how a professional score deals with this issue (likely reversing the notehead sides so the sustained note is on the outside of the eighth notes), but there wouldn’t be a slur collision.

Last measure, personally I don’t care if you finish it with four quarter rests, but it is good practice to show the division of the beat, in which case the 5/4 arguably should be 10/8 because you’re consistently writing a 3+3+2+2.

Do consider shrinking the percentage size of the music – Finale’s default 100% (maybe you used Sib, don’t know) is a bit level 1 piano exercise book-y with over-exaggerated note heads.

Don’t ever be afraid of a 1000-page score for an 8-and-a-half-minute-long piece if that’s what it takes to be comfortably legible. You don’t have enough margin room and everything is too crowded. If your piece were to be published today there is no way the publisher would use your score: be bold in giving things their own space. Make it comfortably legible. There is nothing wrong with two stanzas to a page; three in this case is too crowded. I think a lot of your collision and mutant marking issues would have been resolved had there been sufficient space between stanzas.

Regardless of nitpicking it’s a decent score. I appreciate how well marked things are. A director would have no problem interpreting your intentions for the performance of this piece.

10/15

Actually, you have really great points. And, for its length, I was SURPRISED that it was this neat. I am normally a Nazi for scores (as you've seen in the past competitions that I've judged), but for an 8 minute piece in two months with the amount of work I did on it, it should have been messier. (I'm still fixing scores from pieces I finished over a YEAR ago).

I just wanted you to know that I'm not a complete idiot. And, as a composition major, I do know better. Just had to pick and choose for the deadline. haha. :)

Second place??!! WAAAH! *goes out and gets drunk* *kidding* *actually kidding* :)

Congratulations Morivou! Your piece was seriously awesome and deserved to win. Congrats to Tokkemon and Happenstance, I really enjoyed both your pieces as well!

Crap. I *knew* I shoulda gone with Banjo-Kazooie!

Crap. I *knew* I shoulda gone with Banjo-Kazooie!

Better luck next time, I suppose. :)

Banjo Kazooie music is INCREDIBLE.

Banjo Kazooie music is INCREDIBLE.

That was my first idea but I felt the themes weren't "strong" enough to work with. But w.e. better luck next time.

Actually, you have really great points. And, for its length, I was SURPRISED that it was this neat. I am normally a Nazi for scores (as you've seen in the past competitions that I've judged), but for an 8 minute piece in two months with the amount of work I did on it, it should have been messier. (I'm still fixing scores from pieces I finished over a YEAR ago).

I just wanted you to know that I'm not a complete idiot. And, as a composition major, I do know better. Just had to pick and choose for the deadline. haha. :)

I figured you knew what you were doing so I didn't hold back much :D It's a lot of music to go over with a fine-toothed comb. Especially when it's only worth 15 of 100 points.

hey aniolel, your points for the pokemon piece didn't add up, if I looked at it correctly. He got 12.5 points if you add it up, not 7.5 points.

Thanks. I fixed that. :P

Hey guys, I don't know if the Chicago Tribune has this online, but I was reading the Chicago Tribune today, and there was an article in the Arts and Entertainment section that talked about video game composers. More specifically, some of the Medal of Honor composers. It's worth a look!

Micheal Giaccincho is the only one who wrote the score to the games.

Micheal Giaccincho is the only one who wrote the score to the games.

No he wrote the main themes but the composers have varied a bit more. All of the themes I used are Giacchino's however.

No he wrote the main themes but the composers have varied a bit more. All of the themes I used are Giacchino's however.

Ah, okies.

I couldn't find the article online, but it talked about being a video game composer ad writing video game music.

Hey guys. THANK YOU so much for the feedback on my piece.

Sadly, I am aware, and have been, that my piece doesn't fit into a "Theme and Variations" contest very well, and I understood the penalties I would face, score wise, because of it. But, I was DYING to do some writing and soon after I started, it transformed into something very different from a Theme and Variation, so I went with it, and couldn't say no to submitting my work.

My goal was to, at least, have you, the listener, enjoy what they were hearing. I hope I did an ok job.

About my score, I am very sorry it was of poor quality. I usually write a scratch score dealing with the music on a note to note basis (What you guys were looking at) and finish my ideas up by adding dynamics, instruments, and adjustments later in a separate program. It kinda makes things worse when you throw in that I couldn't even figure out how to get a score until the week before submission. So you might be able to see how it ended up so pathetic. Haha. Sorry again, the score really wasn't given much time. That, and I had no way to differentiate sounds between things like the "String Pluck" and the bowed strings, so I did what I had to, to create to sounds I needed. Using different tracks was the only way to do it on the program I use for writing, and I didn't condsider it THAT big of a deal at the time. Hell, I got the sound I wanted.

Also, Ad Hoc, you were dead on when you described it as being a song loosely built off of a theme. I am glad that you derived that from the mess I presented. The rules kind of became second after I started writing and, at that point, I just wanted to create the best possible tune I could based off of that wonderful theme, I think of it as a tribute, so I accept my scores graciously.

Hey guys. THANK YOU so much for the feedback on my piece.

Sadly, I am aware, and have been, that my piece doesn't fit into a "Theme and Variations" contest very well, and I understood the penalties I would face, score wise, because of it. But, I was DYING to do some writing and soon after I started, it transformed into something very different from a Theme and Variation, so I went with it, and couldn't say no to submitting my work.

My goal was to, at least, have you, the listener, enjoy what they were hearing. I hope I did an ok job.

About my score, I am very sorry it was of poor quality. I usually write a scratch score dealing with the music on a note to note basis (What you guys were looking at) and finish my ideas up by adding dynamics, instruments, and adjustments later in a separate program. It kinda makes things worse when you throw in that I couldn't even figure out how to get a score until the week before submission. So you might be able to see how it ended up so pathetic. Haha. Sorry again, the score really wasn't given much time. That, and I had no way to differentiate sounds between things like the "String Pluck" and the bowed strings, so I did what I had to, to create to sounds I needed. Using different tracks was the only way to do it on the program I use for writing, and I didn't condsider it THAT big of a deal at the time. Hell, I got the sound I wanted.

Also, Ad Hoc, you were dead on when you described it as being a song loosely built off of a theme. I am glad that you derived that from the mess I presented. The rules kind of became second after I started writing and, at that point, I just wanted to create the best possible tune I could based off of that wonderful theme, I think of it as a tribute, so I accept my scores graciously.

@Happenstance: Like I said in my comments, it would be beneficial for you to research about different forms. And make sure you follow the correct rules.

The rules kind of became second after I started writing and, at that point, I just wanted to create the best possible tune I could based off of that wonderful theme, I think of it as a tribute, so I accept my scores graciously.

I'm glad you kept going with it. Sometimes it's better to ignore the rules and not hamper creativity. Especially if you care more about the end product and less about winning a contest.

I'm glad you kept going with it. Sometimes it's better to ignore the rules and not hamper creativity. Especially if you care more about the end product and less about winning a contest.

Thanks Ad Hoc, I appreciate the support. That idea really pushed me to the completion of my song.

However, I will try to make note, that the next time I enter a contest, I will work harder to build into the rules.

That is the spirit.

Locking this. :)