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  • Composer need for Ballet commission

    I'm in need of a composer to create music for a new contemporary ballet of Alice in Wonderland around 30-35 minutes in length.

    I had in mind robust, whimsical, zany, beautiful orchestration (all the characteristics that embody wonderland) with lots of cool effects (rite of spring meets modern day film score)).

    Here's a brief synopsis of the plot that I've put together for you:

    Chapter 1 – Down the Rabbit Hole: Alice is bored sitting on the riverbank with her sister, when she sees a talking, clothed White Rabbit with a watch run past. She follows it down a rabbit hole when suddenly she falls a long way to a curious hall with many locked doors of all sizes. She finds a small key to a door too small for her to fit, but through which she sees an attractive garden. She then discovers a bottle labeled "DRINK ME", the contents of which cause her to shrink too small to reach the key. A cake with "EAT ME" on it causes her to grow to such a tremendous size her head hits the ceiling.

    Chapter 2 – The Pool of Tears: Alice is unhappy and cries and her tears flood the hallway. After shrinking down again due to a fan she had picked up, Alice swims through her own tears and meets a Mouse, who is swimming as well. She tries to make small talk with him but all she can think of talking about is her cat, which offends the mouse.

    Chapter 3 – The Caucus Race and a Long Tale: The sea of tears becomes crowded with other animals and birds that have been swept away. Alice and the other animals convene on the bank and the question among them is how to get dry again. The mouse gives them a very dry lecture on William the Conqueror. A Dodo decides that the best thing to dry them off would be a Caucus-Race, which consists of everyone running in a circle with no clear winner. Alice eventually frightens all the animals away, unwittingly, by talking about her cat.

    Chapter 4 – The Rabbit Sends a Little Bill: The White Rabbit appears again in search of the Duchess's gloves and fan. He orders Alice to go into the house and retrieve them, but once she gets inside she starts growing. The horrified Rabbit orders his gardener, Bill the Lizard, to climb on the roof and go down the chimney. Outside, Alice hears the voices of animals that have gathered to gawk at her giant arm. The crowd hurls pebbles at her, which turn into little cakes, which, when Alice eats them, reduce her again in size.

    Chapter 5 – Advice from a Caterpillar: Alice comes upon a mushroom and sitting on it is a blue Caterpillar smoking a hookah. The Caterpillar questions Alice and she admits to her current identity crisis, compounded by her inability to remember a poem. Before crawling away, the caterpillar tells Alice that one side of the mushroom will make her taller and the other side will make her shorter. She breaks off two pieces from the mushroom. One side makes her shrink smaller than ever, while another causes her neck to grow high into the trees, where a pigeon mistakes her for a serpent. With some effort, Alice brings herself back to her usual height. She stumbles upon a small estate and uses the mushroom to reach a more appropriate height.

    Chapter 6 – Pig and Pepper: A Fish-Footman has an invitation for the Duchess of the house, which he delivers to a Frog-Footman. Alice observes this transaction and, after a perplexing conversation with the frog, lets herself into the house. The Duchess's Cook is throwing dishes and making a soup that has too much pepper, which causes Alice, the Duchess and her baby (but not the cook or her grinning Cheshire Cat) to sneeze violently. Alice is given the baby by the Duchess and to her surprise, the baby turns into a pig.

    Chapter 7 – Mad Tea Party: The Cheshire Cat appears in a tree, directing her to the March Hare's house. He disappears but his grin remains behind to float on its own in the air prompting Alice to remark that she has often seen a cat without a grin but never a grin without a cat. Alice becomes a guest at a "mad" tea party along with the Hatter (now more commonly known as the Mad Hatter), the March Hare, and a sleeping Dormouse who remains asleep for most of the chapter. The other characters give Alice many riddles and stories. The Mad Hatter reveals that they have tea all day because time has punished him by eternally standing still at 6 pm (tea time). Alice becomes insulted and tired of being bombarded with riddles and she leaves claiming that it was the stupidest tea party that she had ever been to.

    Chapter 8 – The Queen's Croquet Ground: Alice leaves the tea party and enters the garden where she comes upon three living playing cards painting the white roses on a rose tree red because the Queen of Hearts hates white roses. A procession of more cards, kings and queens and even the White Rabbit enters the garden. Alice then meets the King and Queen. The Queen, a figure difficult to please, introduces her trademark phrase "Off with his head!" which she utters at the slightest dissatisfaction with a subject.

    Alice is invited (or some might say ordered) to play a game of croquet with the Queen and the rest of her subjects but the game quickly descends into chaos. Live flamingos are used as mallets and hedgehogs as balls and Alice once again meets the Cheshire Cat. The Queen of Hearts then orders the Cat to be beheaded, only to have her executioner complain that this is impossible since the head is all that can be seen of him. Because the cat belongs to the Duchess, the Queen is prompted to release the Duchess from prison to resolve the matter.

    Chapter 9 – The Mock Turtle's Story: The Duchess is brought to the croquet ground at Alice 's request. She ruminates on finding morals in everything around her. The Queen of Hearts dismisses her on the threat of execution and she introduces Alice to the Gryphon, who takes her to the Mock Turtle. The Mock Turtle is very sad, even though he has no sorrow. He tries to tell his story about how he used to be a real turtle in school, which The Gryphon interrupts so they can play a game.

    Chapter 10 – Lobster Quadrille: The Mock Turtle and the Gryphon dance to the Lobster Quadrille, while Alice recites (rather incorrectly) "'Tis the Voice of the Lobster". The Mock Turtle sings them "Beautiful Soup" during which the Gryphon drags Alice away for an impending trial.

    Chapter 11 – Who Stole the Tarts?: Alice attends a trial whereby the Knave of Hearts is accused of stealing the Queen's tarts. The jury is composed of various animals, including Bill the Lizard, the White Rabbit is the court's trumpeter, and the judge is the King of Hearts. During the proceedings, Alice finds that she is steadily growing larger. The dormouse scolds Alice and tells her she has no right to grow at such a rapid pace and take up all the air. Alice scoffs and calls the dormouse's accusation ridiculous because everyone grows and she can't help it. Meanwhile witnesses at the trial include the Mad Hatter, who displeases and frustrates the King through his indirect answers to the questioning, and the Duchess's cook.

    Chapter 12 – Alice 's Evidence: Alice is then called up as a witness. She accidentally knocks over the jury box with the animals inside them and the King orders the animals be placed back into their seats before the trial continues. The King and Queen order Alice to be gone, citing Rule 42 ("All persons more than a mile high to leave the court"), but Alice disputes their judgment and refuses to leave. She argues with the King and Queen of Hearts over the ridiculous proceedings, eventually refusing to hold her tongue. The Queen shouts her familiar "Off with her head!" but Alice is unafraid, calling them out as just a pack of cards. Alice 's sister wakes her up for tea, brushing what turns out to be some leaves and not a shower of playing cards from Alice 's face. Alice leaves her sister on the bank to imagine all the curious happenings for herself.

    The chapters are picaresque and some editing is to be expected. More dramatic time and material must be dedicated to the key characters.

    I will need a working score within a couple of weeks and can discuss payment with any who may be up for the project.

    Kind regards,

    Kyle Jones


  • You are looking for someone to write 30'-35' of original music for your ballet in two weeks??!! Have you tried this before? Yes, the fastest of movie soundtracks are written at such speeds, usually while a team of orchestrators are furiously expanding the composer's furiously written 4-5 staves sketches. However, that is film music, completed by a team, and - most importantly - music that for the greatest part is subsidiary to the narrative, dialogues, action, and constantly sharing audio space with the dramatic sound effects (cars, doors slamming, toilets flashing, animals whelping, etc.), i.e. a lot of the music can be very basic and unobtrusive. In a ballet, it shares the stage on an equal basis, thus the sophistication (especially the one you are after) is incomparable in length, let alone breadth, design, continuity - no 20 cues of 5 seconds each, etc. I cannot remember a 30'-35' ballet offhand that has the instrumentation you require and how long it took to compose (the 'Rite' took months on end), but 'Peter and the Wolf' (music of similar length that accompanies narrative - easily could be turned into a ballet), took the arch-master Sergei Prokofiev whose wife used to brag that he could complete 8 pages of score a day, those two weeks to compose and orchestrate (and it's nowhere near as complicated as the 'Rite').

    How much are you prepared to spend for someone not sleeping for two weeks attempting to comply to your requirements? Can you afford a complementary team of orchestrators? Are you flexible about the deadline? Would you want the music simulated by orchestral samples or is there access to an actual orchestra? It is my opinion that the score you will be getting will be very much pre-composed material (even if claimed otherwise).

    In any case I would in all honesty love to hear the results - if you manage to get someone to really compose new music for you to your requirements. I wish you the best because I really am curious as to the outcome.


  • I can be flexible with the time frame (6-8 weeks if it's doable in that time);I could even help out with the orchestration. I would ultimately love for an orchestra to play the work, but for now orchestral samples will suffice. Are you a composer?

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    @Composer wanted for Commission said:

    I can be flexible with the time frame (6-8 weeks if it's doable in that time);I could even help out with the orchestration. I would ultimately love for an orchestra to play the work, but for now orchestral samples will suffice. Are you a composer?

    Yes I am. Would you agree to continue this discussion in private? You can either PM me (private message), or submit your e-mail and/or telephone number here and I can contact you.


  • Dear Kyle Jones,

    I might or might not be the right composer for you.  Here are links to my site and mp3s:

    http://www.jerrygerber.com/

    http://www.jerrygerber.com/timeshadows.htm

    http://www.jerrygerber.com/rebelplanet.htm

    http://www.jerrygerber.com/waves.htm

    I've scored for dance, film, TV, animation, concerts, computer games and have produced 10 CDs, many short works, three concertos and seven symphonies.  I am eager t return to collaborative projects such as the one you're creating.

    My credits are here:

    http://www.jerrygerber.com/credits.htm

    Best Regards,

    Jerry Gerber


  • If you are still looking here are a couple of pieces of mine I did with the VSL library.

    http://vsl.co.at/en/67/3848/4732.vsl

    Best,

    Dave 

    dconnor70@gmail.com


  • Dear Kyle, My name is Andrey.I found your announcement very interesting and want to take part in your project as a composer,if it still available. You may listen my demo works here: Melodrama (www.youtube.com/watch?v=FUrh-BWC0DA), Mystic_horror (www.youtube.com/watch?v=BdiWdsKIVEQ). Hope to hear from you, Andrey

  • PaulP Paul moved this topic from Orchestration & Composition on