Please check first whether your question is already answered in the FAQs below. If it is not, you are welcome to send an email to firstname.lastname@example.org; we’ll get back to you as soon as possible.
We hope you’ll understand that we cannot provide support for music notation programs and sequencer software…
Composers of any age, nationality and place of residence are eligible to enter, provided that they have a maximum of three IMDb records (key date: 31 May 2019) as (main) composer or (main) orchestrator in films with a duration of more than 60 minutes. Entries as “composer (additional music)” will not be taken into account.
All film genres (fiction, documentary, animation, TV series…) will be taken into account. In serials, every episode is considered as one separate film.
People who don’t have any IMDb record are, of course, eligible to enter.
The reason behind this restriction is that the competition wants to promote film composers who are at the beginning of their career.
In case of doubt don’t hesitate to contact email@example.com before you start composing!
Only one member of the team should register and act as a contact person. The other team members must be entered in the online registration form. Please keep in mind that all the team members must be eligible to enter.
In case of a nomination, Zurich Film Festival will pay for the journey and accommodation of one person only. But, of course, all the team members are welcome to Zurich and will be asked to come on stage on 28 September 2019.
3 flutes (one player can also play piccolo)
3 oboes (one player can also play english horn)
3 clarinets (one player can also play bass clarinet)
3 bassoons (one player can also play contrabassoon)
The players can switch instruments during the piece, but you must provide enough time for it in your score.
4 french horns
3 trumpets (in B flat or in C)
3 trombones (2 tenor trombones and 1 bass trombone)
timp, 4 perc
1 player for 4 timpani
4 players for orchestral percussion – full list in the next FAQ
pno or cel / keybd / harp
2 keyboard players who can play either piano (non-prepared) or celesta or electronic keyboard
(the players can switch instruments during the piece, but you must provide enough time for it in your score.)
14 first violins
12 second violins
6 double basses (5 strings)
If you want to use other percussion instruments, please contact firstname.lastname@example.org
(Taikos are not available.)
No. However, your composition is expected to remain in an orchestral context.
A conductor stave is an additional stave at the top of the score that contains information about timecodes, the click track, and the position of important hitpoints.
A typical conductor stave could for instance look like this:
In a notation program one normally uses a percussion stave with one line.
This is not absolutely necessary. It is OK when there is a timecode at the important hitpoints and at the beginning of sections.
MusicXML is not a music notation program, but a standard file format for exchanging digital sheet music. These days almost every notation program and DAW software can export data in the MusicXML format.
If you submit your score as a PDF file and as a Finale/Sibelius/Dorico/MusicXML file, you don’t have to submit parts. Parts will only be requested from those who are nominated.
If you can’t submit a Finale/Sibelius/Dorico/MusicXML file (e.g. if your score is hand-written), you have to submit parts right away.
The quality of the performing material is of paramount importance for a successful performance by an orchestra of this size. Therefore we can’t take the responsibility for nominating a composition where we are not absolutely sure that professional-quality performing material will be available until the end of July. If we get the score in Finale, Sibelius, Dorico or MusicXML format, we can, if absolutely necessary, prepare or edit the performing material ourselves. (However, the nominee will be required to pay for the costs.) Since we can’t do so if we get the score in another format as Finale, Sibelius, Dorico or MusicXML, we must make sure right away that the participant is able to deliver professional-quality performing material.
That’s up to you, but please indicate clearly whether the score is notated in sounding or in transposing pitch.
Since the submitted scores will be examined on screen, the paper format is not very important. However, A3 (portrait) is recommended, because the scores of the nominees will eventually be printed out in A3.
The beginning of ALL the audio files (mockup, click track and optional “electronic” track) must coincide with the beginning of the QuickTime file you downloaded (timecode 00:59:54:00). So there can’t be any music during the first 6 seconds of the MP3 file with the mockup. (You don’t have to notate this silence in your score, though.)
You are welcome to include the 2-pop at timecode 00:59:58:00 in your audio files – although this is not absolutely necessary...
You are welcome to include the 2-pop at timecode 00:59:58:00 in your audio files – although this is not absolutely necessary...
A mockup is a computer-produced audio file that gives an auditory impression of your score.
The members of the jury are not only musicians, but also film directors. The musicians can read scores and imagine how your music will sound even if your mockup isn’t very realistic, and, of course, they will judge the quality of your music and not the quality of your mockup. The film directors, however, can’t read music; if your mockup doesn’t sound realistic, they might have difficulties imagining how your music will sound with a real orchestra. So make your mockup as good as possible, as if you submitted your work to a film director.
You have to upload your mockup as an MP3 file. If you are concerned about audio quality, make sure to set the bit rate to at least 256 kbit/s.
You have to upload your mockup as an MP3 file. Your audio file will be recombined with the film before it is forwarded to the jury. (In order to make sure that your audio will be in sync with the film, please read the FAQ below.)
A click track is an audio file with a click on every beat. The conductor is hearing this clicktrack in an in-ear headphone, in order to ensure that the music is properly synchronised with the film.
Before the beginning of the music, the click starts with a count-in for the conductor (normally one or more bars).
Some notation programs or sequencers can directly produce clicktracks. If not, you can produce it with a percussion sound. Hint: If you bounce the click track without any reverb, you can dramatically reduce its file size by using ZIP compression.
It is very important that the submitted score is performable and conductable, i. e. that it doesn’t contain a lot of abrupt tempo changes. (Ritardandi and accelerandi are unproblematic, though.) The audio file with a click track has to be submitted because it makes it a lot easier for the jury to assess whether a score is conductable or not.
This beep is a so-called 2-pop, and it has only one purpose: to make absolutely sure that the audio file is properly synchronised with the film. It has no musical purpose whatsoever.
You are welcome to include this 2-pop in the audio files you submit, although this is not absolutely necessary.
No. As long as your piece can be performed with the provided instrumentation (regulations, paragraph 3.1), you can compose in any style.
It is not recommended to use the “electronic” track for simulating acoustic instruments that are not available in the instrumentation. It could indeed sound strange if an additional acoustic instrument comes from the loudspeakers, whereas the rest of the orchestra will be purely acoustic, “unplugged”. But if that’s precisely the effect you want to achieve, you are welcome to do so.
Apart from that, there are no restrictions. If in doubt, don’t hesitate to contact email@example.com.
It’s entirely up to you which parts of the film will be scored and which parts will be left without music. You are welcome to score the opening and ending credits, too. Most participants grab the opportunity to make big musical statements during the credits.
The music must not start before the beginning of the film (timecode 1:00:00:00). It may start on or after the beginning of the film (timecode 1:00:00:00).
Before the beginning of the music, the click starts with a count-in for the conductor (normally one or more bars). So the click may start before timecode 1:00:00:00.
The music may extend A FEW seconds after the end of the film.
The online application form cannot be downloaded; it is the form that you complete in your browser during registration. Registration will be possible starting 25 March 2019.
No. As soon as you have registered and paid the competition fee, you will be assigned an upload account. Then you can log in at any time, even shortly before the deadline, and upload your documents.
Direct money transfers would cause too high administrative costs for the competition organisers. Therefore we accept other payment options only for countries where PayPal is not supported (i.e. countries that are not on this list). If you live in one of these countries, please contact firstname.lastname@example.org.
Opening a PayPal account is free of charge, and you can use PayPal even if you don’t have any credit card. It’s also possible to pay via a PayPal account of another person.
Especially if you don’t have a credit card, you are strongly advised to arrange for the payment well in advance and not to wait until shortly before the deadline.
Please make sure that you are using THIS website filmmusiccompetition.ch (hit “LOGIN” at the upper right-hand corner of this window). Logging in at zff.com, the website of Zurich Film Festival that looks very similar, doesn’t work. The website zff.com is intended for visitors and guests of the Zurich Film Festival, and its user database is completely different from the user database of filmmusiccompetition.ch.
If you forgot your password, there is a possibility to reset it. If you don’t get the email message for resetting the password (it is often caught by spam filters), please contact email@example.com
It doesn’t matter, since the filenames are automatically renamed during the anonymisation process.
DON’T PANIC! Please bear in mind that many internet service providers have very slow upload speeds.
Please make sure that none of your files is larger than 15 MB. Don’t upload uncompressed audio files (.wav, .aiff etc.)!
Experience has shown that almost all upload problems can be resolved by uploading the files one at a time.
If the problems still persist, firstname.lastname@example.org will help you out.
The deadline is on the same moment of time in the whole world. But the local time is different according to your time zone.
Pacific Daylight Saving Time: Friday 31 May 2019, 11:59 p.m.
Eastern Daylight Saving Time: Saturday 1 June 2019, 02:59 a.m.
Central European Summer Time: Saturday 1 June 2019, 08:59 a.m.
Korea & Japan Standard Time: Saturday 1 June 2019, 03:59 p.m.
If your time zone is not on this list, please have a look at this website.
No. This wouldn’t be fair towards the other participants.
(subject to change)
As in almost all composition competitions, the jury cannot give a feedback for your work because of the great number of participants. If you want a feedback for your work, you are advised to attend film music courses or masterclasses.
YES! The director has granted the permission to all participants to use the film DANNY AND THE WILD BUNCH together with their scores for their portfolio or homepage. The film must be duly credited as Robert Rugan’s work.
But you have to wait until you know whether you are nominated or not. If you are nominated, you may only publish your work after the world premiere on 28 September 2019.
Yes. If you get nominated, you only grant the exclusive performance rights to Zurich Film Festival, and this only for a limited time. After this time period, or if turns out that you are not nominated, there are no restrictions for publishing it without the film. Publishing your music together with the film is possible under certain restrictions, see the FAQ above.
Your music will be archived by Forum Filmmusik. If you are not nominated, it will only be accessible to the committee members of Forum Filmmusik and will neither be published nor forwarded to third parties.
The Tonhalle premises must be refurbished for three years, starting summer 2017. For this reason, the concert hall “MAAG EventHall” has been converted into a classical concert hall and will serve as the provisional concert venue for the Tonhalle Orchestra Zurich during three concert seasons. Details here (in German).