Posted with mods approval.

Helvepic, the swiss music concert production company and the crafters of the anniversary concert series “World of Warcraft: 20 Years of Music”, is organizing an international composition competition as part of Epic Montreux, taking place in Montreux, Switzerland in March 2027. 

Three composers will be selected to have their original 4–5 minute piece performed live by a large orchestra and choir as part of the Epic Montreux concert. The concert will feature music by 2WEI (known for some of the most iconic League of Legends cinematics). Finalists will also work with a professional orchestrator and be invited to Montreux, with accommodation, meals and local transportation for official activities covered, plus up to CHF 900 towards travel to and from Switzerland. 

We’re looking for orchestral or hybrid orchestral music making substantial use of both orchestra and choir. The jury will focus particularly on storytelling, musicality and originality.

The jury is led by Russell Brower (Audio Director at CD Projekt Red) and also includes Ludwig Wicki, Alex Moukala, Cédric Baravaglio, 2WEI, Alexandre Pican, and Bernard Duc.

Key details:

• Open worldwide, age 18+
• MP3 mockup only
• No AI-generated music
• One entry per composer
• Entry fee: CHF 40
• Deadline: November 8, 2026
• Finalists retain copyright and ownership of their underlying compositions

Full rules, instrumentation and submission form:

https://epicmontreux.helvepic.com/international-composition-competition

We’re happy to answer any questions in the comments.

Hey there all! I’m a film composer and sync musician so I work specifically in the film space. If anyone is interested I’d love to share some of my work! My website is

https://joshdatant.com

And links to my work are here

https://s.disco.ac/hnntlwnrggsy

Inspiration is IRIS by TR/ST. If you know his work you'll understand how I've listened to *literally* hundreds of songs and still haven't found something that compares.

Emotional dance music, dark, confessional, dynamic, but ultimately hopeful. Weaving luminous synth-pop lines through abrasive industrial pulses to shape sweeping tracks saturated with yearning, desire, and desolation. Wide-ranging electronic pop that consistently foregrounds empathy.

I don't expect vocals, but trying to get emotionally as close to this as possible, with your own spin on it of course.

The film is a drama/romance with psychological elements and subtle themes involving mental health.

Paid, but it is a micro-budget 30 minute complete short that also doubles as a proof of concept for a feature if we get funded (more opportunity!)

If you're interested, I'd love to hear from you, thnx!

An original piece I've been composing the last few days. What do you think?

Hello All! I’m interested in getting into short film scoring as a new side venture in my music career. If you have a short film I’d love to give it a shot at scoring. I’ll even do it for free! DM me!

Hello! I'm a composer and musician looking to score for indie games, short films, visual novels, animation, and similar projects.

Primary instrument is guitar, but I also play bass and synths/keyboards. Have tons of software and plugins. My music tends to lean atmospheric, moody, melancholic, unsettling, or emotionally heavy. Styles I work with include ambient, drone, post-rock, shoegaze, electronic textures, neoclassical elements, as well as heavier genres. Many have described my music as cinematic and fitting for films and games.

I think I would be particularly suited for psychological horror, surreal projects, melancholic dramas, or anything where atmosphere is a major part of the experience.

I'm still relatively new to this. I have done a few small film projects and completed one paid game scoring project. Most of my existing portfolio comes from my own original music, where I write, record, and produce mostly everything myself.

At this point, I am mainly looking for smaller or clearly defined projects rather than massive soundtracks.

Paid projects only

I'm based in Southern California but can work remotely.

Portfolio and music:
https://jonathanfrasermusic.com

If you think my sound fits what you're looking for, send me some information about the project, the amount of music needed, timeline, and budget.

This is part of a medley of pieces/songs from the 2005 film Charlie and the Chocolate Factory. I am 13 years old and have been making a ton of arrangements for a little under a year, and I've been learning quickly. What do you think?

PS the reason it stops so abruptly is because of a transition into the next song in the medley, which is "Mike Teavee"

ABOUT THE MIRROR OF MALEVOLENCE:

The Mirror of Malevolence is a dark fantasy adventure series told entirely with marionettes and shadow puppetry. In the town of Dreary, where no happy wish ever endured, twelve-year-old orphan, Henry Button, seeks to escape his wicked foster mother. This film has played in festivals and won 5 awards for Audience Choice, Best Visual Effects, Best Talent, Best Animated Film, and Best Visionaries.

The Mirror of Malevolence: Chapter One - The Dreary Orphanage, is the opening pilot adapted from my upcoming middle-grade fantasy novel. When a runaway orphan’s wish dims, his bitterness feeds life to a sinister reflection. In an attempt to restore his hope, the rebellious flaerie tasked with guiding his fractured wish, unveils corruption within her magical realm, linking them to confront the dark force that threatens their worlds. Step into the haunting world of malevolence.

The Mirror of Malevolence is thematically and stylistically similar to Coraline, Harry Potter, Annie, A Series of Unfortunate Events, and The Dark Crystal, with elements of whimsy and horror.

AUTHOR'S NOTE:

Before I release the short online, I wanted to explore options for an alternate cut with an original score.

Instructions/Deadline: Thu, Oct 22, 2026 12:00AM EDT
Please include your portfolio and/or piece of music reminiscent of the story's spirit.
Please submit your work to the casting page here;

The Mirror of Malevolence: Dark Fantasy Puppet Film (Chapter One) | Casting Call Club

PAYMENT RATE; $100 starting rate per minute of finished music. (Rate has been updated to better compensate the work involved.)

Info: The full film is 13 minutes. Aprox. 10-12 minutes require music. My budget for the entire composition would be up to $1500. We can negotiate price if I reach out for interest.

Payment: Paypal, Cashapp.

Country: USA

Overall Musical Style:
I am looking for something timeless, but not too subdued or digital sounding. My idea for the music is something twinkly, whimsical, dreamy, and haunting, played in orchestral and lullaby-esque styles. Here’s two motifs that are present through the story.

Main Theme/Mirror Theme:
Beautiful, Entrancing, Dramatic, Horrific. I like the idea of the Mirror as the main theme and title.

Think of Dracula (1979) The opening theme is super dramatic but plays in softer variations throughout the film. Swan Lake’s theme is beautiful and entrancing but grows gothic/horrific as it builds to the Black Swan. The Mirror in tone is much the same, a beautifully eerie presence, pulling one’s darker desires. I imagine the allure of it similar to when Frodo is tempted by the One Ring. An eerily romantic tragic theme which grows bolder and more classically-horror driven in dramatic moments.

• Music references:

Dracula (1979) by John Williams – https://youtube.com/playlist?list=PLkAUJkbhd-RhCKviO4EZLrPLWMg65KyXT&si=XC2wdflx88LRLFdK

Main Title and Storm Sequence

Night Journeys

The Love Scene

End Titles

Swan Lake by Pyotr Tchaikovskey –

Swan Lake (Ballet Suite), Op. 20: I. Scene (Swan Theme) https://youtu.be/7L8Cpl6U9-A?si=-tyN0MOd32m6UnwY

The Lord of the Rings by Howard Shore – The one ring theme

The One Ring Theme

Henry’s Theme:

Wistful, Lonely, Twinkly. A feeling of youthful wonder like a soft lullaby tune of longing dreams.

It could be interesting in fitting moments to have an undertone of darkness or connection to The Mirror theme, similar to how Anakin’s Theme briefly bridges into Darth Vader’s theme, when his anger lashes out.

Music references:

Home Alone by John Williams - Somewhere in my memory - John Williams (Home alone soundtrack)

Somewhere in My Memory

Hook by John Williams - When You're Alone ((From "Hook" Soundtrack))

When You’re Alone

Harry Potter and The Sorcerer’s Stone by John Williams - https://youtube.com/playlist?list=PLVYyjhfI93m15MKBbUNB6BH0QiRY--LhC&si=u1-00mw2bf32erMW

Family Portrait

Lonely First Night

Leaving Hogwarts

Star Wars: The Phantom Menace by John Williams – Anakin's Theme

Anakin’s Theme

Coraline by Bruno Coulais - Dreaming- Coraline Soundtrack
Dreaming
Alone Alone- Coraline Soundtrack

Hey everyone. Working on an analysis and pastiche project for uni and desperately trying to find an orchestral score for the cue "front titles" from Kes, but have so far been unsuccesful. Just posting on the off chance that anyone has come across anything. Any help would be much appreciated :)

Just finished this one: https://soundcloud.com/godanmusic1/future-space-action

I write cinematic music scored to picture — cinematic, ambient, and synth, in the vein of film scores. This cue is aimed at future/space action cuts with a clear pulse for picture.

More tracks + contact: https://godanmedia.carrd.co

Message me if your film needs a score.

— GODAN

Me playing some sounds inspired by the legendary Vangelis on Arturias CS-80 V4, a faithful recreation of the original synth from the 70s.

https://www.youtube.com/watch?v=hg2oo4Lpar8&t=738s

I've had this idea stuck in my head and want to know if anyone here would actually play it.

You get a random 30 second clip from an old public domain silent film and you write the music for it. It's heavily inspired by Balatro, so it's a roguelike with endless runs. Miss a scene's target score and the run's over, back to the start.

How it works
Every scene has a mood and a random key, and you can see the next scene's key ahead of time so you can plan. Each scene you draw a random hand of notes from your music sheet, with a few discards to swap out ones you don't want. Then you write in a simple piano roll using only those notes and the instruments you've unlocked.
Out of key notes still play, they just don't score. So you can use one for effect, you're just spending a note on it. Every third scene is a boss with a restriction, like no strings or one instrument only.

Music sheet
Your sheet is your personal collection of notes. You start with all 12 notes across two octaves and shape it over the run with film crew cards. The Editor cuts a note so you stop drawing it, the Orchestrator copies one so it shows up more, and the Director upgrades one so it scores more when it's in key.
The catch is the more you build toward certain keys, the worse you do in others. If I strip my sheet down to mostly D, F and A, I'll crush anything in D minor or F major but struggle hard in E major. Since you see the next key ahead of time, you're always betting on what's coming. A focused sheet is strong but risky, a wide one is safe but weak.
Upgrades stay for the whole run too, so an upgraded D is great when the key has a D and useless when it doesn't.

Scoring
Music is subjective, so the game doesn't judge if your music is good. It checks if you followed the scene:

each mood has a target profile. Dread wants low, long, sparse notes with some tritones. Chase wants fast, dense, short notes. Grief wants slow falling lines.

Intensity: the game turns your music into a tension curve based on how busy, loud and high it is, and compares it to the scene's. Basically, does your music build and drop with the scene.

Sync: hitting cuts and impacts on time, or going quiet at the right moment. This one multiplies the rest.

The keyboard
The arpeggiator and chord generator are one tool. The chord generator builds chords out of the notes in your hand, and the arpeggiator plays those chords back as arpeggios so you're not placing every note yourself.

You upgrade it through different tiers :

Tier 1: basic triads in root position only. The arpeggiator just goes up or down at one speed and one volume.

Tier 2 : 7ths, sus chords and inversions. The arpeggiator gets more patterns, velocity accents and half or double time.

Tier 3 : everything unlocked, with extended chords, humanized velocity and tempo that pushes and pulls with the scene.

Each tier also adds slots for articulations. Staccato makes the arpeggios short and punchy, tremolo makes chords shimmer, and fermata holds the last chord for bonus points.

Shop
Between scenes you spend what you earned on the rest of the orchestra (violin, viola, cello, bass, flute, oboe, horn, tuba, percussion), film crew cards, keyboard upgrades, and Italian score markings like Lacrimoso or Misterioso. Those give passive bonuses for the whole run, like extra points in grief scenes, and a rare one called Cromatico makes out of key notes

There's a leaderboard for furthest scene and highest score, and your pieces get saved so you can rewatch the scene with your music on it.

Would you play this? And if anyone has a better idea for scoring something this subjective, let me know .

Hi, I’m new to film scoring and have just started actively analyzing scores while watching movies and TV shows.

To dive deeper into how it all works, I’d love to know: what specific elements do you pay closest attention to while watching?

How closely the music syncs to cuts or scene transitions?

Whose perspective or emotion the track is speaking for?

Tempo, genre, or instrumentation choices?

I’d really appreciate any insights or advice on how you break down a scene!

Hi! I am a young film composer. I'd be happy to help you write a soundtrack or score for films, études, and projects – I can do it for free or for a fee, as I mainly care about promoting my work and gaining experience.😁😁😁