Do not understand this critique, help?

[Gypsygal]

D150209EO

Reviewer #352 - Or any one, can I run this by you, the listing (below) was not asking for a cue, did not specify "stick with a single motif". It asks for a big build up, big crescendo, adrenaline, etc. references "Instrumental" and "EPIC score".." Did not use the word "CUE".

The word cue is not in the listing. Can either the reviewer, or someone please help me understand this.

My submission is "The Good Fight" at www.taxi.com/dianeridaeus and my critique for why it was returned is below the listing.

Any help with understanding this, much appreciated. Now I'm gonna go sulk. (just kiddin...)



EPIC, ACTION ORCHESTRAL INSTRUMENTALS are needed by a very successful Music Licensing Company that offers both EXCLUSIVE and NON-EXCLUSIVE deals. They get tons of placements and they’re currently expanding their Instrumental catalog! They’re searching for Mid-to-Up-Tempo, two to four minute long, adrenaline-fueled Instrumentals that could be heard in films such as 300, Immortals, Wrath of the Titans, etc., etc., etc. Submit EPIC scores that get listeners’ hearts racing with pounding drums, full string sections, and triumphant horns. Think of the music you’d hear before a battle-to-the-death, game-changing war scenes, climactic showdowns, etc., etc., etc. That’s exactly what they’re looking for! Don’t submit anything that’s too light or airy. Your piece should build to a full-blown orchestra as it progresses, and include a crescendo with a big, dramatic, buttoned ending. But we do advise getting to the bigger, meatier stuff pretty quickly, while not lingering on the softer stuff for too long in the beginning. Check out these examples: 300 - https://www.youtube.com/watch?v=HdNn5TZu6R8 Immortals - https://www.youtube.com/watch?v=kiouNjFxCcc Wrath of the Titans - https://www.youtube.com/watch?v=5JC2Q6M5c3g

THE CRITIQUE:
There are good sections here, with a nice epic orchestral sound (although epic percussion could play a bigger part in driving the power of the piece).

Unfortunately, instead of developing a single thematic idea the cue changes mood dramatically at 0m48s, and again at 2m10s. It is unlikely that these changes will match any changes that are in a scene, which will make the cue hard to place to picture. Because of the contrasting sections, there is not enough material in each mood to provide enough choices for the music editor.

I suggest taking the three moods you have in this cue and develop them further into three separate cues; the sound is there, you just need to make the cue more attractive to a wider marketplace.

[RockChild56]

I'm not sure why you are upset (except the fact you got a return) about the use of the word Cue.
I am not a screener or an expert but I think they were right about your Piece as far as the sections.
The change of mood/theme.

All in all for this type of listing I would be stoked to get a return this positive.

Look on the bright side you have (potentially) three great pieces instead of one.

Good Luck to Ya,

EJB

[Gypsygal]

Thanks for that Rock.

I just wish the listing would have clearly requested a CUE if that's what they wanted.

I've done other instrumentals for film that got forwarded, and they had mood/scene changes, build ups, break downs, etc. and there
was nothing said about not sticking to a central motif. Confusing.


So then, I guess my question is, is an orchestral instrumental interpreted to be the same as a cue? Are they interchangeable terms?

Any clarification highly appreciated.
Thanks, diane

[Russell Landwehr]

Heya, Diane.

While the word "Cue" is not used in the listing, the terms "Music Licensing Company" and "Instrumental catalog" as well as a two minute piece being okay to submit, are pretty much indicators of "Cue."

At any rate, unless the gig is actually scoring to the picture, we've got to keep things in the same feel. We can increase/decrease the intensity as needed, but when composing something it's really gotta sound like the same song throughout.

Look at it from the Editor's point of view, when they audition something for use in a scene, they will listen to a bit at the beginning to get a feel of the piece and listen for recording quality. Then, they may jump forward in it to see what it builds too. What they are trying to do is make sure this piece fits the feel of a certain part of the scene. Now imagine if they heard only the 1st and 3rd sections (which sound the same) and decided to try it... so they roll it for use in 1:20 of the scene... and WHOA! at 0:48 the music totally changes feel... but the scene doesn't. Whoops! Next Cue.

When a song totally changes like that, the odds of being able to match it perfectly with two (or more) parts of a scene is really zero. Like I said above, that kind of thing is reserved for actually scoring to film.

You've got skillz in this genre, keep at it. Stick to single feels and motifs with variation and builds. "B" sections are fine too as long as they support your "A" parts.

Regards
Russell Landwehr

[Gypsygal]

Ok Russell that really helped, I think I get it now.
Your description makes it a whole lot clearer.
Wouldn't it be great if we got to see the clips we're writing for, but in lieu of that, really understanding every word in
the listings is the best way to go. I see what I missed now. phew. This is not easy, but I'm NOT giving up.

I thankyou sir !