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Well, here's my entry.  I was inspired by ShiverMeSideways' entry to the last tune contest, where he tried his hand at chamber music.  Accordingly, this is the first time I've ever tried my hand at symphonic rock, so please don't laugh too hard.   Unfortunately, it turned out more like a simplistic classical piece with too much brass, poor orchestration, some ninth chords and a drumbeat.  Oh well...here goes anyway:

End of the Line

I don't have any particular "final bad guy" in mind, but I would imagine that this would fit the final battle with an evil mastermind in some sort of spy game.  The middle section (starts out with mostly drums) is supposed to represent the actual fighting.  At the very end, where the music pauses on the "nice" Bb major chord, the protagonist thinks he has won, and the battle is over.  But as he exits stage right, you hear the final chords, and you see a faint sign of life from the bad guy, ensuring that he is alive to fight another day and pad the game publisher's pockets with another surefire hit sequel.

@ShiverMeSideways:

Aha.  The fact that you own and can play an acoustic guitar makes you more of a guitar expert than I, so I retract my comment.   I've heard a number of acoustic guitar works (popular and classical), and I've messed around a little with friends' guitars, so that was the immense amount of expertise on which I was basing my opinions.    By the way, I do play the violin, and nothing about your violin part seemed unplayable or particularly awkward, so congratulations to you there.

[begin pompous inaccurate lecture]
The differences between popular music, jazz and classical music are many and varied, too complicated to get into in any detail here.  Typically the harmony, voicing and form (structure) of classical music is precisely specified rather than being partially improvised at performance time, and a great deal of care goes into selecting the exact instruments and harmony to achieve the acoustic effect that the composer wants to achieve.  (Of course, Nikolas' Int. Music I is a counterexample with respect to form.)  On the other hand, the staging, stage presence/charisma, overall chordal structure, melodies and "beat" of popular music tend to be the most important factors.  Jazz is somewhere between the two.  It usually has a lot of syncopation, seventh chords, and improvisation, and tends to use brass instruments, piano, string bass, guitars and drumset.  But the staging is less important and the instrumentation more important than typical popular music.

Both in the past and in the present, popular and classical styles have often borrowed from each other.  For example, Sting used part of Prokofiev's Lieutenant Kije Suite in one of his works; and John Tesh used Delibes' Flower Duet in one of his works.  On the flip side, Eric Whitacre has composed an opera called Paradise Lost that is heavily influenced by electronic/trance music and anime.  Paul Schoenfield often uses "serious" classical, "light" classical, jazz and popular styles all meshed together in his works.  And in fact, Nikolas' Unique meshes both "serious" classical and jazz styles.
[end pompous inaccurate lecture]

@Nikolas:

Int. Music I: That sounds like a really neat idea -- aleatoric music for the 21st century!  But only if the GUI is implemented in AGS, of course.

Unique: Cool!  The mono MP3 with a low bit rate, and the fact that I'm listening on nothing but the highest-quality 6-year-old $50 stereo speaker/subwoofer set, would then probably be why I couldn't discern the electronic influence except for the obvious long bass notes.   I'm amazed that you used samples, I absolutely could not tell.

Oh -- and by the way, it's great to hear live recordings obviously played by very good players!  I was just informed that my sister and two of her friends, who are seniors at a well-known conservatory, just "read" a divertimento I wrote for violin, clarinet and trombone.  I can't wait to hear it!  (They have recorded it but have not yet emailed it to me.)

[DrewCCU:]

Wow, four very different entries!  Hooray!  Regarding the question about multiple entries, what I'd typically do is to take the entry that (in my opinion) was the best and use that.

Let's see, here are my rather uneducated comments about each entry:

DrewCCU:
+ Lyrical, melodic, pleasant to listen to
+ Quite playable
- Harmony changed almost exactly on the downbeat of every bar
- Continuously parallel motion in the harmony -- not that this is necessarily a bad thing, but I felt it wasn't appropriate in this case

Nikolas:
Int. Music I:
+ Fantastic technique -- sul ponticello, idiomatic double stops, false harmonics, etc.
+ You "landed" on some truly wonderful chords
+ Nice paratonality -- rather reminded me of Berg
- Seemed awfully discontinuous, which (for me) didn't hold the listener's attention very well
- Seemed a bit directionless in places
Unique:
+ Wonderful jazz-influenced style
+ Very adventurous trumpet writing -- I got fussed at when I wrote something that went up to a concert Db
+ Somewhat "popular" style and familiar form (ABAC-ish) helped to keep the listener's focus (or mine at least)
- I felt the piece would have been just as effective with a tuba instead of the electronics; I couldn't tell from the recording whether you modulated the trumpet electronically, but that could probably be simulated with mutes and/or moving the player around the hall

ShiverMeSideways:
+ Interesting, effective combination of instruments, although you probably could have done without either the cello or bass
+ Nice style, unusual for chamber music
- Guitar part would probably be impractical on an acoustic guitar, especially with the slides that were held for a considerable duration after the slide ended; sounded more like an electric guitar part

So here are the rankings:

Gold: Nikolas (I'll choose Int. Music I because it's fully acoustic, hence following the rules, but I actually preferred Unique)
Silver: ShiverMeSideways (not exactly classical or jazz, but that's OK )
Bronze: DrewCCU

Thanks to all for entering!

ShiverMeSideways,

Sure, I'm always happy to have more entries!  But I do want to wrap this up by Wednesday evening (about midnight GMT).

Just a reminder that there are less than two days left in this contest!  I'd love to see some more entries.

Yes, writing good chamber music is tough -- I don't expect any masterpieces here, just something a little different from the normal fare.  I did allocate two weeks instead of one this time, though.

I meant any music that people would consider classical, from pre-renaissance to 21st century, not just the classical epoch.  Good question!

And now for something completely different!

For this next tune contest, I'd like you to write some chamber music.  This term covers a wide range different types of music, but some typical examples include string quartets (two violins, viola and cello), piano trios (violin, cello and piano), wind quintets (usually flute, oboe, clarinet, bassoon, and French horn), and brass quintets (usually two trumpets, horn, trombone and tuba).  Think about what you might hear at a wedding, or a high-class restaurant, and you'll get the idea.

Some good examples may be found on the Wikipedia page linked above.  Some less typical examples are Ligeti's Chamber Concerto (for thirteen instruments), Stravinsky's L'histoire du Soldat (for seven instruments, three voices, and optional dancer), and Paul Schoenfield's Cafe Music, which is scored for an ordinary piano trio but is heavily jazz-influenced.

For the purposes of this tune contest, I'll with the following rules.

• Your piece must be at least one minute long.
• You must limit your genre to classical, light classical, or jazz.
• You may use up to five single acoustic instruments.  For example, acoustic guitar, violin, trumpet, bagpipes or ocarina are fine.  But string ensemble is not, because it's a whole section of players; electric guitar is not, because it is not acoustic; and synth brass is not because it is electronic and is not a definite instrument.
• You may use the same instrument more than once (e.g. two French horns), but the total number of single players must not be more than five.
• Percussion, as playable by a single player, is permissible -- either orchestral percussion or a drum set.  However, the music should not have a repeating drum beat in the background.
• MIDI, samples, or live recordings are all fine.
• Your entry must be posted in this thread by Monday, May 10, 12am Alaska time (GMT-0900).

I realize that some chamber music does not fit this mold -- e.g. Paul Schoenfield's High-Rock Ballet, or Steve Reich's Electric Counterpoint.  However, I hope that these rules will still give enough creative latitude for folks to write something, but stretch them a little bit so that they create something a little different than they normally would.

Have fun!

Thanks!  I thought having a waltz in the middle, where the two banjos have to play together in a romantic piece, was somehow fitting as a humorous interlude.

That piece is great -- I like the nearly constant Petrushka references in the score (starting right around when the recording ends).  It almost sounds like two orchestral musicians warming up at a Petrushka rehearsal.  I'm sure the Strauss references are witty too, but I'm not as familiar with that piece.  I'd love to hear the whole thing.

I started a Serenade for violin vs. piano many years ago, but I never finished it.  It would have been a pretty good fit for this competition too, but it would have taken considerably more work to finish than a simple banjo duel and viennese waltz ripoff.

I'll post another contest as soon as I can think of something suitable.

The theme this month made me think of the Echo Sonata (for two unfriendly groups of instruments) by P.D.Q. Bach.  There's a poor-quality and incomplete recording on YouTube.

OK, here goes.  Pretty lousy and rushed, but I didn't have much time this month (again) and it's not the style I usually write in.

Liebesduell for two banjos, electric bass, and string orchestra

I started something, but only had time to spend an hour or two on it before leaving for vacation.  So I wouldn't be able to potentially finish my entry, let alone polish and post it, until the 21st at least.

[ShiverMeSideways]

Great, thanks for all the wonderful entries!

Here are my thoughts on each, followed by the winners....

Le Woltaire:
+ Great musical content in the first section
+ Nicely orchestrated (although could use more detail)
- The (rather subjective) emotions that the music suggested to me were more abject terror followed by relief, rather than despair and joy
- The "joy" section could use more development

Danman:
+ Much of the "joy" section was quite soothing
- I could not make heads or tails of the "despair" section -- the synthesized sound used was rather annoying and it seemed like quasi-random notes on a scale
- Seemed somewhat incoherent, switching from one thing to the next without any connection

Kabukibear:
+ Lovely, flowing music
+ Appropriate instrumentation
- The violin sample didn't sound much like a real violin (but then, I'm picky because I play violin )
- I didn't sense a change in mood -- it seemed rather melancholy throughout

ShiverMeSideways:
+ Nice guitar slides and effects
+ The "despair" part seemed to capture the mood pretty well
+ Nice contrast and changes between sections
- The samples don't sound very realistic, and the notes are precisely evenly spaced
- The "hope" part sounded heroic, but not really joyful (to my ears)

TheRoger:
+ Captured both "despair" and "joy" pretty well
+ Kept the musical interest going with frequent coherent changes
- Too heavy on the drums to my ears, especially in the "joy" section -- they need more variety, although keeping the same basic rhythm makes sense
- The joint between the two sections is too sudden
- Notes are exactly the same length, and samples are not convincing

Well, it was a tough decision because of the very different character of the entries, but here goes....

• The bronze goes to ShiverMeSideways!
• The silver goes to Kabukibear!
• And the gold goes to Le Woltaire!

Thanks for participating!

Easter is right around the corner.  This is the time of year when Christians (including myself) commemorate the crucifixion and resurrection of Christ, the central event in the history of Christianity.  It is also the time of year when many neo-pagans celebrate the vernal equinox (on March 21 this year), and the renewal of life after a long winter.  From the (ancient) pagan traditions we get the Easter bunny and Easter eggs, and even the name Easter.

So, with that in mind, and taking a page from Calin Leafshade's recent "anxiety descending" tune contest, I would like you to write a piece of music that expresses deep despair, and then great joy.

Rules, rules, rules....

• You may write any genre of music, using any instrumentation you can think of.
• Your piece must be at least one minute long.
• Your piece must start with a feeling of despair, and end with a feeling of great joy.  Whether it suddenly or gradually changes is up to you.
• Your entry must be posted here by Tuesday, April 6, 12am Alaska Time (GMT-0900).

Since I will be out of town during Easter weekend and busy this coming weekend, I will likely not be able to make any trophies this month (and probably a good thing too considering my complete lack of art skills).  If some other kind soul would care to make some that reflect the theme, I would be more than happy to use them.

Good luck!

@Le Woltaire: I'm afraid I haven't studied composition formally beyond (endless) Bach harmonization and some basic music analysis (Liszt b minor piano sonata, Debussy repertoire, etc.) -- and unfortunately it shows.  However, I've played in lots of orchestras of various different calibres.  Also, I've informally studied orchestration on my own, and I listen to and informally analyze lots of music.  I do love both Stravinsky and J.S. Bach, which also shows in my music (hopefully for the good) -- I enjoy imitating the wonderful harmony and rhythm of the former, and incorporating little Baroque pastiches, fugatos and so forth from the latter.  But I feel embarrassed to post any of my music after actually listening to anything by pretty much any real composer.  We need more of Nikolas on here!

By the way, as far as I know, none of my music actually quotes any other composer's music (i.e. it is all original).  This month's was very similar to John Williams' style, since I was aiming for the "epic film score" feel.  But in my opinion, last month's was quite different than Prokofiev or Stravinsky -- OK, maybe some Stravinsky influence in the Allegro section.  Regardless, I certainly agree that I am heavily influenced by other, better composers.

I would love to actually take some composition courses (there's a pretty decent conservatory where I live), but sadly it's expensive and time-consuming.  Perhaps when my son is older I'll become another Janacek or Charbrier and start composing in earnest in my forties!

@Gilbet V7000a: Woohoo, thanks!

@Questionable: That's right, I forgot, we live in the same town, don't we?

Hmmm, I'll have to think of an idea for a new contest.  Unfortunately I'll be out of town Easter weekend, but perhaps I can judge the following Tuesday.  I'll post something tomorrow evening.

Sorry, only had about a day total to throw this one together.  Big orchestra, but really basic block orchestration, basic harmonies for the most part, rather hackneyed John Williams-esque style, etc.

Knight's Conquest with associated eBay item.

(Yes, my son and I are rabid Lego fanatics.)

And the winners are...

With the silver, Questionable with the Gregorian Rave.

And with the gold, Le Woltaire with his Missa.  Please feel free to start a new contest!

Calin, I really liked your song!  It's a shame you didn't enter.

Sorry, I didn't have time to make trophies for this contest.

@Phemar:

Hmmm, good point.  Actually, I intended to end the contest at the end of Sunday, the 14th.  I guess I should have checked my calendar more closely!

To clear up the confusion, I'll make the deadline be the end of Sunday the 14th, so that all entries must be posted here by 12am Alaska Time (GMT-0900), Monday March 15th.  I've edited the original post accordingly.

Just a reminder that there are only two days left in this competition!  Don't be shy, go ahead and enter!

Yes, that's quite similar to plainchant, although it seems somewhat Celtic-influenced.  For example, there's ornamentation before some of the notes, and the notes are not mostly the same length (although you can see examples of both ornamentation and non-uniform durations in later plainchant and organum).

For a good example of what I mean by plainchant, play the audio on the Wikipedia chant page.

This month, I'd like you to write a song that uses plainchant.  For those who do not know what plainchant is, please see Wikipedia (although the audio example they give is not stellar).

Here are some characteristics of plainchant:

• Plainchant is (usually sacred) text sung to music, usually in Latin.
• Plainchant is usually sung in unison, but sometimes in fifths or octaves.
• Most of the notes are of the same duration, with some longer ones, particularly at the ends of phrases.  However, words often span multiple notes and are often of very different durations.
• Adjacent notes within a plainchant are usually closely spaced -- one or two tones apart, although occasional skips of more than that are not uncommon.
• Plainchant usually uses free meter -- i.e. no time signature.

Some examples are:

• The Christmas carol, O Come, O Come, Emmanuel, is based on a plainchant (hence the irregular time signature), although it is sometimes regularized nowadays.
• Benjamin Britten's Ceremony of Carols uses plainchant for its processional and recessional (Hodie Christus Natus Est).
• Loreena McKennitt's The Mystic's Dream uses wordless metered plainchant in fifths.
• Various selections from Enigma use plainchant extensively.
• Quite a few movie soundtracks use plainchant.  I believe the Lord of the Rings soundtrack is one of them, but I'm not quite sure.

So, without further ado, here are the rules:

• You may write a song of any genre.
• The song must include at least one plainchant of at least sixteen notes.  Longer is fine.
• For ease of integration with popular music styles, you may use metered plainchant if you wish.
• You may use a previously composed plainchant (e.g. a Roman Catholic plainchant) or make up your own, so long as it is generally recognizable as a plainchant.
• The plainchant must use a synthesized wordless choir or voice sample, or must be a recording of an actual choir or voice singing actual words.  Post-processing is fine -- but the general idea is that the plainchant must actually sound like a plainchant.
• The plainchant may be accompanied by other instrumentation, drums, etc.
• The song must be at least one minute long.
• All entries must be posted here by 12am Alaska Time (GMT-0900), Monday March 15th.

Have fun!

[edited to clarify the deadline as the end of Sunday, March 14th instead of the end of Saturday, March 13th]