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  1. #1


    The eagerly awaited results are in! Congrats to our winner, and to all who were brave enough to submit an entry! Thanks also to all those who voted.

    Results can be reviewed here: www.jinglecues.com/challenge30.html

    We encourage all who submitted an entry to post to this thread any information you'd like to share on how you came up with your entry. We'd love to learn from your thought process!

    Now it falls to the winner to set a challenge for #31, perhaps after we've had time to explore the entries for this challenge.

    Congrats again to everyone!
    __________________________________________________ _________________
    My website: www.tunespace.net

  2. #2


    It seems my vote was for the actual winner!
    And it is from dear friend Frank D'Erasmo!
    Arrigo Beyle / Milanese / Lived, wrote, loved -- Stendhal
    Being Italian is a full-time job -- B. Severgnini

  3. #3


    Great! I loved that entry, the Jazz band. Didn't vote for it. I had to choose between 1 and 8 and voted for 1. But the winner deserved it and luckily for me the second best is no. 1

    Congratulations Fran,k.

    Raymond Robijns
    Youtube channel: "Raymond Robijns"

  4. #4


    The two I voted for are the top two winners!

    I admire everyone's work on this Challenge, and not only for the arrangements/compositions, but for the fact that everyone on that list set aside some time to be involved. Thank you, one and all.

    Those two entries with the most votes had the lion's share of votes, and I think others voted in the same way I did because both of those pieces (go take a look at the results page everyone!) had a playful, light approach to Rich's challenging Challenge theme that made them especially attractive. The breezy feel both of those have, in two very different ways, makes both pieces appealing, in a great, crowd-pleasing way.

    The other entries, in a general way, took a more sedate, serious approach, and that almost makes it seem like the list of entries are from more than one contest. It was something of an apples and oranges comparison we had to do when listening - see what I mean? Up-beat and cheerful is going to usually be the mood of choice for most people - But I don't want the people who submitted these more restrained, semi-classical pieces to think their work wasn't appreciated. It just ended up being a case where listeners had the option to choose Happy over Serious, and Happy is always going to win - that was an unpredictable element in the contest.

    This is great though, that we're doing this again. Now I'm looking forward to reading some posts about the creative process everyone involved went through.


  5. #5
    Senior Member Frank D's Avatar
    Join Date
    Apr 2006
    Suburban NYC


    Hey Gang ! ...

    A quick and heartfelt thanks to my dear friends and fellow musicians Fabio, Raymond, and Randy for your kind comments, and all the others who participated in Rich's fun challenge ... I really loved listenening to the other seven, and Raymond and Randy, I'm with you, I thought Paula's ("Drumroll") arrangement was superb ... my favorite ... the whole Bolero feel, the counter-lines, the development, the colorful orchestration ... wow! What a creative piece of music! Just LOVED it!

    I have a front porch FULL of plants and flowers that have to go in the ground now, but will be back to share my approach on "No. 8".

    Once again, thank you to all that listened, voted, and of course, special kudo to Rich and Owen for making No. 30 happen.

    Best regards,

    Frank D'Erasmo
    FABD Music - Arrangements-Orchestrations
    All Styles ... Specializing in Jazz, Theater, Latin & Pop

    Garritan JaBB, GPO, CoMB, World, GAS, Stradivari Violin & GigaStudio. Sonar X2 Producer, Pro Tools, Performer & Finale.

  6. #6


    First, a special congratulations to Frank! Awesome entry!

    Wow! I am very humbled by the voting. This is quite an honor. I was out yesterday and didn't know until this morning about the results. I am very surprised. I had a great dilemma in voting too. All the pieces are very well written.

    On a side note, I think Oscar should also have a prize because he is the only one that wrote a harp piece in answer to Rich's riddle! I figured out the ggarritan too late. If I had figured it out, I also would have written a harp piece. Well done Oscar!

    And Frank definitely deserved the win with the complex writing and style. I never would have thought big band. Genius! Super congrats!

    I voted for Kevin's. Vince Guaraldi and Charlie Brown wins me over every time. Very cool entry.

    Daniel, Tom, Ted and Bill's have brilliant counterpoint! I love the Vivaldi beginning to Bill's. Nice choir writing in Tom's. Ted's etherial piece is beautiful and also utilized some harp so I think he also got Rich's puzzle. Daniel, your movement through major and minor is stellar. I think the ending got cut off of yours in your bounce to audio?

    Randy might be spot on for this. People's moods in their voting in this round must have just been for the lighter side because all of the entries had special qualities.

    Again, thank you for your votes! I'm very honored! I will write a little later on my approach to Rich's theme. It's a simple approach 'cause I'm a simple girl.

    Remember to Play www.thepunkduck.com

  7. #7


    A hearty echo to Drumroll's comments. (saves me alot of typing.)

    I think Frank has more going to his piece than just the fact that it's upbeat. It is smooth, varied, well blended, with a great sound stage, and is infectiously catchy! I've found myself humming it while grilling the other day.

    I had to give a vote for Oscar Tango's piece as well. For one, I think he captured both the spirit and the riddle of the motif by starting with the harp and developing it into a fuller arrangement. I started this direction myself and just hit dead ends, so my hat's off to him! There are also some really lovely interactions between the flute and violin lines that I had to go back and listen over a number of times.

    The Kevin/Vince Guaraldi bit was just plain cool. Wish I had the skill to pound that on the keyboard. One of these days.

    Much enjoyed all the "serious" versions as well. I liked Ted Vanya's horn opening (who doesn't like a horn opening.) However, the rhythm seemed oddly disjointed from the rest of the piece (which is quite lovely) in a way I find puzzling.

    My only disappointment with this set is that the piece I submitted got cutoff somehow. Not sure how I manged to do that. I checked the copy in my "sent" folder of my email service and it is also cut short so I suppose either i choose an incomplete copy or the upload got botched by the email server. Well such is life and the nature of the game.

    Still, my apologies for subjecting everyone to that. Nothing is quite as torturous has having to endure such a sharp cutoff before a resolution. This right after all the earlier ruckus I caused by mentioning the name of He-Of-Which-We-Do-Not-Speak. I seem to be on a roll with these things.

    Anyhow as to my approach, I really wanted to do something with the Harp given Gary G's love of the instrument but just didn't get anywhere. To change things up I loaded the motif into each instrument track of my orchestral template and auditioned each instrument one at a time. I really liked the way the theme worked with the cellos so I settled with that as an opening. Over long ninth note of the motif I tried adding in the violins in a "round" sort of fashion which added some nice automatic counterpoint. When the violins hit the ninth note I sandwiched the motif onto the violas between the violins and cellos and violà! the three lines hold together for a whole measure until the violas crash into the same note on the violin's line a minor third above the cellos. After this point the lines bounce apart into separate lines of thought.

    At some point in the process I started singing the phrase "I will trust in the name of the Lord" to the opening nine notes of the motif. As tends to be the way with prayer, meditation, and counterpoint, the rest of the piece flowed out by itself as one trying to remind themselves of different aspects of a single truth while competing against a fury of other thoughts and emotions. When the musical lines of thought seemed to drift too far out I re-injected parts of the motif into one of the lines that seemed to be dropping out. (Note: please understand it is not my intention to start a religious firestorm here, I'm just trying to explain my fuzzy mental process. I've done more than enough damage for one month.) The result was not exactly proper four part writing but I've was fairly pleased with it nonetheless.

    The drawback though is I couldn't really figure out how to orchestrate it further with additional instruments as the strings parts felt too tightly wound together. Since I used Cinematic Strings 2 for the strings (I'm a sucker for a sale price) I was left without actually using any of the superb Garritan Instruments. Such painful irony. Sorry Mr. G!

    I've linked the version I had intended to upload below.


    Thanks again to RichR and Mr. English Gent for running this one!

  8. #8


    Hello again. So here's a brief summary of my approach to Rich's melody.

    Basically, I tried to follow the instructions by stating the theme fully at least once and in the key and time signature stated. I always pull out the Garritan arsenal of solo instruments and I really liked how the melody fit the clarinet range best.

    The plucking background of the basses actually came next. I always have an instrument doing some perpetual motion which, I have actually been scolded for in past, but it is my crutch. (I guess I am sort of like Phil Glass that way only he uses it much more purposefully.) This is where the Spanish theme started filling in and I added the clave and later the castanets.

    Then I wrote counter melody around the clarinet with the bassoon first and then later with the flute and added the super simple string part in the middle. I almost deleted it because it is so basic but it worked. Then I added the tambourine and the bass drum for a little more background support.

    The one thing that I felt that turned out well is my sound blending in my larger orchestral rise at about 1:12 into the piece. I have been working hard to get a realistic fuller sound for awhile now and I think it is getting pretty close and I owe it to my husband who said, "Turn up the brass." It made all the difference. I also gave the trumpets the first part of the melody to tie that section into the piece better.

    So, summing up. When I heard Rich's creation, I rather thought I would bow out. The Spanish theme I wound up with did not come straight away. I noodled and got frustrated and literally said forget it. But, Rich's melody was ingrained in my brain at that point so eventually I couldn't help but write something. Then I realized I was trying to be too complex with it. I just started writing in the style I usually write and voila. I realize that my piece is very simple but it's me.

    Thanks to all who sent a vote my way!

    Remember to Play www.thepunkduck.com

  9. #9
    Senior Member Frank D's Avatar
    Join Date
    Apr 2006
    Suburban NYC


    Garritan Challenge 30 – No. 8: “Rich-ly Deserving”

    I think most of us agree that any art must stand on its own, without explanation, with the hopes that a work evokes a feeling or emotion in those that experience it. I'm honored and humbled that fellow forum members blindly gave my entry a listen, enjoyed it, and were compelled to cast a vote. Thank you ... it was very much appreciated!

    Once the contest part is over, however, I love hearing the explanations and intellectualizing of how the various artists created their works. This is how I learn music and grow. I know Daniel and Paula have offered their write-ups earlier, mine follows, and hopefully everyone else shares a little of their journey too ... they were all so different and yet so wonderful!

    I welcome any comments or questions, and thanks again Rich for coming up with such a malleable and inspiring melody!

    Best regards,


    Edit: Arrangement is 100% Garritan ... JaBB and GAS.

    FORM …

    I decided to create a standard 32-bar song, in the jazz idiom, entitled "Rich-ly Deserving". The form is A-A-B-A, with a four-bar intro and a coda. But the form is really A1-A2-B-A3, since the harmony changes under each successive verse, even though the melody remains Rich's exact line in the original, implied key. The third verse and coda also incorporates some new material that stretches the original melody. The bridge is entirely new material.


    As soon as I played Rich’s melody, I thought my way inside it would be to have some fun with the way the melody sat on and inside the harmony. Although I kept the implied tonal center of G Major/E minor towards the ends of verses 1 and 2, I wanted the melody to start out in other tonalities where the notes would be more active, and then work the harmony backwards to the "calmer" G Major. For example, the opening melody notes G-G-A in G Major would be root-root-2nd. However, I started Verses 1 and 2 in Bb Major, where the G-G-A would be the 6th-6th-Major 7th of the harmony, a much more active role for the notes. In other places, the melody becomes the 9th, 11th, 13th, etc. of the underlying harmony rather than basic chord tones (triads) in G Major.


    My arrangement uses the original melody, virtually unaltered, from beginning to end. Only the harmonization of the melody changes. I say virtually only in that to "jazz-ize" and swing any melody, the notes have to conform to a 12/8 (or 1/8 note triplets in 4/4 if you prefer) subdivision, with liberal use of anticipations.

    Also, with all the leaps, Rich's melody is not what you would call "brass-friendly". Since I had two brass in the ensemble, I was able to keep Verse 1 as-written by having the various instruments state the melody, as solos, in sequence, each concentrating on just a few notes of the melody. To allow for the concerted voicings thereafter, I kept the melody notes the same, but compressed the leaps into a more reasonable compass. IOW, same notes, but some are in different octaves than the original.

    The piano intro is a sequence built on the last eight notes of the theme (from the B natural in measure 4);

    Verse 1 is the source melody, un-altered, plus a new two-measure tag to Rich's six measure melody.

    Verse 2 is the source melody, with some octave shifts, plus a different, new two-measure tag;

    Verse 3 is the source melody, with some octave shifts, with added rhythmic sub-divisions and ornamentation, and with new material added between measures 4 and 5;

    The Coda uses the second half of Verse 3, with some re-harmonization and added material;

    The last three notes of the arrangement are ... G-G-A ... the first three notes of Rich's melody;

    The tinkle-ly piano run over the final Bb Ma9 chord is the first three measures of the melody, played in a 32nd-note run, ending on A.


    I love writing for larger jazz, Latin, and musical theater ensembles, but time constraints limited me from writing my arrangement for a standard big-band. I had wanted to write an arrangement for a classic “5-Horn” ensemble, which in the jazz world translates to alto-tenor-baritone saxes, trumpet, trombone, plus rhythm section (piano, bass, drums), and thought this project would be a good fit. I could time-manage 5 horns rather than 13 (or more), and this ensemble is bigger than most combos, yet not really large enough to be called a big band … right in between, but with its own special character, and perfect for that Mancini-esqe vibe I was shooting for. Within the ensemble, I used two standard doubles throughout, putting Reed 1 (normally alto sax) on flute, and the trumpeter on flugelhorn.


    Intro: F Major / F pedal

    Verse1: Bb Ma7 – 4th Chords –Ab Maj7 - G6 - Em9 - F

    Verse2: Bb Ma7 – 4th Chords –Ab Maj7 - G6 - G Ma13 - G6 - G7

    Bridge: Am7 - A dim - G Ma7 - G6 - Am7 - A dim- G Ma7 - C7

    Verse3: F Ma9 – 4th Chords – D11- Gm9 - Bb dim (Ma7) - G Ma13 - Db7 - C7

    Coda: Gm9 - Bb dim (Ma7) - G Ma13 - G6 - Gb6- F6 - F7

    Fine: Bb Ma9


    Although Verses 1 and 2 are harmonically similar, Verse 1 has more of a minor, ambiguous feel since the melody is only played by solo instruments until the last four notes of the original melody where it is harmonized, but with an incomplete, three part voicing. Verse 2 is in four-part harmony throughout, creating a more defined /less ambiguous major feel. The end of Verse 2 ends squarely in G Major, where it remains for the entire bridge.

    The keys of G Major, F Major, and Bb Major are similar enough, yet provides for a subtle re-harmonization of the verses. I liked the way the F Major Verse 3 changed the feel of the melody, so I decided to also develop the original melody with a few added twists and turns and carried that through the coda.


    Intro is thin, the piano playing layered single-note lines over a bass pedal.

    Verse 1 is also thin, using all solo voices to state the theme (in order: trombone, tenor sax, flugelhorn, flute), with just the last four notes harmonized in an incomplete three-part voicing (tenor and baritone sax and trombone). The last two measures are octave-unisons with the flute, bari sax, piano, and bass.

    Verses 2 and 3, and the coda are all in four-part, close position harmony, with a little drop-2 in places. Both of these voicings are ideal for this medium-swing, relaxed tempo type of number. The orchestration for these voicings, from the top, lead voice down is flugelhorn, tenor sax, trombone, baritone sax. The flute doubles the lead flugelhorn 8va throughout, giving the voicing a nice, clean, light (and happy!) edge.

    The second measure of Rich's melody is always voiced in 4th's (very open), and the final cadence into the Bb Ma9 chord is a spread voicing with the flugelhorn landing on the Major 7th (A), and the bari sax on low roots (C-B-Bb).

    For contrast, the Bridge is just solo tenor sax and trombone. Also for contrast, the bridge harmony is a straightforward ii-V-I harmonization, in a very diatonic, legato manner.
    Frank D'Erasmo
    FABD Music - Arrangements-Orchestrations
    All Styles ... Specializing in Jazz, Theater, Latin & Pop

    Garritan JaBB, GPO, CoMB, World, GAS, Stradivari Violin & GigaStudio. Sonar X2 Producer, Pro Tools, Performer & Finale.

  10. #10


    Hi all, I too liked Rich's concept and couldn't resist the challenge. Alas, only 1 vote, but I wasn't doing it to win. I just like these challenges because it gives me the chance to exercise my musical brain. I composed mine with the Pachelbel Canon in mind and let it run with a string quartet.

    Frank, I love your jazz style of orchestration, congratulations!
    Drumroll, very entertaining and cute!

    These challenges are why I joined Garritan forum. As many members here already know, my expertise is not in DAW work. I am a composer an educator. I did my example strictly in Finale.

    Thanks again to Rich and the Englishgent!

    Best regards,


    P.S. I finished planting my flowers yesterday Frank.
    We dream to write and we write to dream.

    Challenge #10 Winner

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