SCORELIVE London Film Scoring Competition 2020 (Runner Up)

During the last weekend of February I was composing and producing an orchestral track for the ScoreLive London Film Scoring Competition 2020. The contest consisted in the composition of a track for a 65-piece orchestra (see below) of aprox. 2 minutes. I choose to compose a powerful track with orchestral tuttis but with section to share the main role to the different sections. You can listen the track below.

According the comments of the coordinators, it was an extremely close run competition with entries from composers of all the world so the judges needed more time to deliberate. I would like to mention that one of the judges was the videogames composer Garry Schyman (Bioshock, Middle-Earth Shadows of War) and another was the famous orchestrator Pete Anthony that is the name behing a hundreds of films as I Robot, Spiderman, Dumbo or  Fantastic Beast and Where to Find them.

Finally, I won a Runner-up price and was selected as one THE 12 CONTEMPORARY MALE COMPOSERS. Being honest,  to be listened and valorated by these great artist is a prize more than enough but to be selected as top 12 is for me an incredible honor.

I hope you like the track.

65-piece orchestra
2 flautas (one player can also play piccolo)
2 oboe (one player can also play english horn)
2 clarinets (one player can also play bass clarinet)
2 bassoon (one player can also play contrabassoon)
8 french horns
2 trumpets (in B flat or in C)
4 trombones (1 bass trombone)
1 Tuba

1 Harp
12 first violins
10 second violins
8 violas
6 celli
2 double basses (4 strings)

1 player for 4 timpani (32”, 29", 26", 23")
2 players for orchestral percussion maximum 2 instruments for each player

Bass drum, snare drum, congas, bongos, drum set (BD, Snare, Hi-hat, 1 12” high tom, 1 16” floor tom, 1 Ride Cymbal, 2 Crash Cymbals). Cymbals a 2,1 tam tam 
Xylophone, vibraphone, glockenspiel, marimba, tubular bells, Triangle, wind chimes, sleigh bells, finger cymbals, 2 cowbells, tambourine, guiro, castanets,
3 temple blocks, ratchet, claves, cabasa, maracas, whip, vibra slap Various whistles

Berlin International Film Scoring Competition 2020

During the first two weeks of January, I worked in this project for the Berlin International Film Scoring Competition 2020. The competition consists in the composition and production of a original soundtrack for an animated short film chosen. After, the works are evaluated by a international jury formed by composers. In this case, the short movie selected was Escape, an animated sci-fi movie very visual atractive and a great storytelling.

For the contest, it is possible to use the sound design and foley material of one of the three finalist of the Berlin International Sound Design Competition. In my case, I used the foley work of Peter Baumann as a base to compose the music on it. My style of composition for this work was totally orchestral, without electronic elements and without sound design. The idea was to create an tribute to the adventures films that I enjoyed when I was a teen (I am keeping enjoying it).

I hope you like it!

OST Пигмалионы

Today, I would like to tell you about a short movie where I am working on creating the original soundtrack. Its title is Пигмалионы  and its director is Elena Zavodnova. It is a short movie of aproximately 30 minutes and the story is related with the Pygmalion effect within a love story. Slowly, the main characters are evolving until surprising themselves with a new personality to face the life. All of this, told with a emotive and funny script.

You can listen some fragment of the original soundtrack. I hope you like it.



OST Maldito Doctor Alemán

During this year I’ve composed and produced the soundtrack of the short movie titled ‘Maldito Doctor Alemán’ directed by Laura Pozo. The short movie is about the hard theme of Alzheimer and the friendship. This work was closely with the director, Laura. She had a clear vision of the music that she was looking for and the feelings that it should be transmit. On the other hand, she gave my freedom to put on the table my own ideas about technical and musical details so this work joins the best of both. I really like work in this way, side by side, starting from the idea from director and making it real in music in the best way. Creating the music to be part of the story and as a tool to create a conection with the viewer. I’m glad very much to have worked in this project due to his theme, the experience that it gave to me, the music and to have the opportunity of worked with Laura.


Ricardo is a patient with Alzheimer that isn’t able to remember anyone except his nurse Alicia that he confuses with his wife. Alicia is a nurse that includes a certain favoritism to Ricardo and she is hiding a secret. They both beguin a relation of friendship and confidences. All of this with a human and All this with a much more human and reflective background behind that will take them both to make decisions and grow as people as long as their paths together.

More info: IMDb

OST La historia que nunca se contó

During January of 2019 I was working on a short movie called “La historia que nunca se contó” directed by Ekaterina Kuzmina and produced by the independent company Tercera Ola Films. The story is about a family drama due to a tragedy and the relationship between brothers through the years. The idea of the music that the director and the rest of the team was seeking for this movie was very subtle so the music should remain at the background but amplifying the feelings that the images and the words can’t tell. For that I composed the entire music for a little string ensemble and a piano.


Arturo decides to go to his psychologist to recover the relationship with his brother Eduardo that has been weakened through the years. With a regression, Arturo will relive some chapters of his live to find the solution of the problem that he is carrying since he was a child.


Marvin Hamlisch Film Scoring Contest 2018

I decided to take part for the first time in this international film scoring competition that is well-known. This competition consists in scoring a short film chosen for the edition. The entries are judging by some international award-winning composers (with Emmy-winning names).

In this year, a documentary short film called The Time Machine was chosen. In this documentary a watchmaker that has a small workshop within Grand Central Station (New York) tells his story, his way of life and his philosophy. Firstly, you can watch the short film with the soundtrack that I composed and produced and in the next paragrahps I will describe some details of the music and show the comments of the judges with the puntuation gotten.

In this project I tried to make music that works well under dialogue with some climax to provide movement to the story. I aimed to a modern sound, in the style of actual documentaries and TV series. The instrumentation is mainly string section, piano (including extended techniques), synth, the sound of clock engines, 2 flutes and piccolo. And, during the climax I added brass section, timpani and cymbals. The harmony is sometimes tonal and sometimes modal depending of the piece. I was looking to make it attractive to the general public keeping the leading role of the narrative. All the project (composition and production) took me 25-30 hours during 9 days.

At the end I was very happy because the judges gave me a calification of 79.5 over 100 so I entered to the Top 40 (over hundreds of participants). The commentaries of the judges were:

1º Judge: Pros: Excellent production, the music flows in a coherent way with the image and catch the viewer in the story. The dramatic connection is excellent. Great work!
Cons:  Your high musical skills could benefit with a more unique point of view

2º Judge: Pros: Great mix work, this is a work above average. Great taste the use of watch tick. I love the ‘beautiful tone’ around the minute 4.
Cons:  While the most sync points that you choose fit perfectly (for example, I really like 1:04 and 8:45 with the constellation mural), I dare you to consider the film narrative in your proposal.  For example, when Wil says ‘people still look up to the sky to tell time’ it should increase the intensity with the movement of the camera to the ceiling to prepare the change of the camera angle. In a similar way, it happens in 9:20 when he says ‘sometimes I try to forget about it’ because Wil continues with the same concept. He forget the time and does not use a watch like the people that look to the sky to know the time. With the pause here, you contradict  in someway the narrative and the idea that the director is trying to tell. In these moments, don’t take literally the dialogue or follow the image, try to understand the underlaid story and emphasize it.

I’m glad to have participated. The experience has been very educative and the commentaries of the judges a great lesson. I think that after all of this I am a better composer. If I won’t have time constraints I would like to participate the next year.

This is the soundtrack music:

I hope you like it!

Hyperion String Scoring Contest

The last week Soundiron launched an express contest to rescore the trailer of the new string library Hyperion Strings that seems to be an excellent library. The deadline of the contest was only two days so I had to work fastly to compose and produce my entry. It took me 4 hours more or less and I hope you like it.

OST Sin vuelta atrás

During February and March of 2018 I was scoring the soundtrack of the short movie “Sin vuelta atrás” directed by Juan Manuel Martinez. It was a very interesting job because the director was looking for an incidental music as a strong complement to the image and the history and transmits tension to the viewer when it was necessary because the theme of the short movie is close to thriller with some paranormal points. At the end, the director was very pleased with the job and the public that sold out the tickets of the first public projections was give a very positive comments related the soundtrack.


Luis, the best friend of Ramon is hit by a car while he was biking. When Ramon finds out, he gets shocked and, with a without a rational reason, he start to seek the driver. During this seek, he will descend to hell that test his feelings and his violent impulses.

More info (only in spanish):, IMDb

OST Sempiterno

During the first week of the year, I scored the short movie “Sempiterno” produced by the sevillian company Clandestino Producciones. The genre of my soundtrack for this short movie was minimalism with the piano as main instrument. I composed a central leitmotiv with ambiguous tonality with I wanted to express the duality of the decisions that is the concept of this story.


Erika and Oscar are a young couple base that remains in their place of origin. He proposes her to follow his dream in a big city but, she have insecurities. The decision is in hands of Erika, but what happening with the other choice?

“Hollywood Demo Choir” contest

During March, the compay EastWest Quantum Leap organised a contest to compose a choral piece using their new library Hollywood Choir and other libreries of the company. For this, they send Hollywood Choir licenses for 1 month of use . The most insteresting feature of the libreary is the Wordbuilder tool that allows us to create personalized phrases for the choir using sampled phonemes. You can listen the short piece that I composed below. In order to create something different from the epic choir tracks (choir singing in staccato or marcato, or a choir behind singing syllables “ah” or “oh” as many cinematic tracks) I wanted to compose a piece where the choir was more relevant so I composed a little hymn with a text written by me in Italian.

Although I couldn’t test and compose with this library enough time due my tasks in other projects, I think that this library is not fit for me. In my opinion, the wordbuilder produces not enough realistic results due to the unions of phonemes. Also some phonemes have different volume so it is hard to play with it. It requires to make hand corrections to get a result that sounds better and more realistic.  For me, the use of traditional choir libraries based on syllabes produces better results fastly although we sacrifice the possibility of write the text.