Score Relief 2022 Contest

I would like to share the music that I composed for Score Relief 2022 contest. It was a challenge because the video is a trimmed montage of a short movie so the action is really fast and the music should fit every detail of the story that goes from fantasy to action with a lot of humour.

In this case, the prize of the contest is to record the music with an orchestra of 69 musicians. For this reason, I decided to compose for this size. No extra musician, overdub techniques or electronics instruments were considered.

The orchestra of the prize is the following:

3 Flute (third changes to piccolo)
3 Oboe
3 Clarinets in Bb
3 Bassoon(third changes to Contrabassoon)

3 Trumpers in Bb
4 Horns in F
3 Trombones
1 Tuba

1 Timpani
3 Percussion (cymbals, suspended cymbal, Bass Drum, chimes, Toms and others)
1 Piano
1 Harp

12 Violins 1
10 Violins 2
8 Violas
8 Chelli
4 Double Bass

I hope you like it!

Chosen for the composition residence with Harry Gregson-Williams (NGC Lab)

Last year I participated in the competition organized by the NGC Lab (“Next Generation Composers Laboratory”) whose objective was to select the best candidates to participate in a composition residency in Moscow in March 2022 with the famous Hollywood composer, Harry Gregson-Williams (IMDb).

Despite the fact that it coincided with a complicated time situation for me due to the fact that I was studying for a master’s degree in composition, working and carrying out other projects, I decided to participate since Harry is one of my favorite composers and there are many of his works that I usually often heard as the soundtrack to Metal Gear Solid 3, his animated movies Sinbad: The Legend of the Seven Seas and Shrek or his Chronicles of Narnia movies.

The contest consisted of choosing one of 5 fragments from the steampunk fantasy film Abigail and the Lost City (2019) and composing a soundtrack (both music and score) for the following orchestra size:

1 Piccolo
2 Flutes
2 Oboes
1 English Horn
2 Clarinets in Bb
1 Bass Clarinet Bb
2 Bassoon
1 Contrabassoon

3 Trumpets in Bb
6 Horns in F
2 Tenor Trombone
1 Bass Trombone
1 Tuba

4 Percussion
1 Piano
1 Harp

12 Violins I
10 Violins II
8 Violas
6 Chelli
4 Basses

The fragment I chose was that of a confrontation between the villain and one of the heroes of the adventure with a victory of the villains. I chose this fragment because it seemed to me the most complicated, largely due to the enormous amount of pre-existing sound design that the music must respect.

Finally I was selected as one of the 16 winning composers among the many entries received from composers from all over the world. Only two Spaniards were selected. The other was a classmate of my composition master’s class, Ioné de la Cruz, a good friend and a great composer.

Here is the music I made. I hope you like it! (You can consult the orchestral score in the download section)

Playstation Talents Awards 2021

The game where I am working as a composer and sound programmer, Shadow of Babel, had a success in the Playstation Talents awards. Almost 100 videogames has applied and Shadow of Babel has been one of the 4 videogames nominated for the best game of the year price. The game has also been nominated for the best original soundtrack and won the best Art price.

It is still quite developed ahead until its publication but I assure you that you will love it. I’ll be giving more news and sharing fragments of the soundtrack soon.

Shadow of Babel reach the final stage at Playstation Talents

I would like to share that the video game that I am currently working on as a composer has reached the final of the Playstation Talents Awards. Playstation Talents is an investment and promotional initiative carried out by Sony Entertainment to support national video game developments for the Playstation platform. Of the numerous proposals received, presented as playable prototypes, only 13 video games have reached the final, the result of which will be known at the gala that will take place on December 21 and which will be broadcast live on the different Playstation Spain channels.

In my case, I am working as a team with Aléx Pastor and Alejandro Matesanz, two great musicians and good friends who were classmates of mine when I studied the Master in Composition for Audiovisual Media at the Katarina Gurska center. Together, we are making all the sound and musical material as well as its implementation in the video game Shadow of Babel of Pemperor Games.


Shadow of Babel is a roguelite video game based on a future apocalyptic world in which the protagonist, Zayra, a cybernetically enhanced human, prepares to reach the top of the legendary Tower of Babel that hides an unimaginable power, a power with the one to change the fate of the world. But the path will not be easy since the tower houses creatures and beings never seen before, which is why everyone who enters the tower does not come out again.

The approach to music has been to create something new, something that has never been done and it is to mix a subgenre of metal called djent (which has always suggested to me music from the future, cyborgs, gods, space travel, aliens, ancient mysteries on lost planets, etc.) with epic orchestral music and with instruments from all over the world. Of course, a game set in the tower of babel would not be complete without the choral and vocal elements. In this case, they are mixed with the rest of the music from Bulgarian women’s choirs, traditional Western choirs to Gregorian singing ensembles.

The game is still in development but here is the first official teaser with original music composed by us and narrated by my good friend and excellent voice actor Sebastián García as well as a small gameplay teaser of the video game in the pre-early alpha phase that includes part of the music composed for the game. I hope you like it.

Official teaser

Gameplay teaser

Score Relief 2021 Contest

I would like to share the music that I composed for Score Relief 2021 contest. I decided to participate because I love animation films and it is difficult to get the opportunity to work with this genre of films.

In this case, the prize of the contest is to record the music with an ensemble of 27 musicians. For this reason, I decided to compose for this ensemble. No extra musician, overdub techniques or electronics instruments were considered.

The ensemble of the prize is the following:

1 Flute
1 Oboe
1 Bb Clarinet
1 Bassoon

1 Trumpet
2 F Horns
1 Tenor Trombone

1 Percusion (the musician change between Timpani, suspended cymbal, mark tree)
1 Piano
1 Harp

4 1st Violins
4 2nd Violins
4 Violas
3 Chellos
1 Double Bass

To compose for this ensemble, it is neccesary to be careful with the string section to balance and work with it due to the 4-4-4-3-1 configuration is a bit unbalance regarding the common orchestral rule of number two. In some moments, I divide the 2nd violins and violas to balance the open textures (doing a configuration (4+2)+(2+1)+3)

It is also neccesary to be careful with percusion and let the enough time to the musician to change of instrument. In some moments, I use the sound design of the video as an element of the soundtrack. For example, during the chase moment I use the sound of the trees to contribute to the music accents so the musician can play the cymbal instead to use the timpani for the accent (the sound design work as a Gran Cassa in this point).

And, that’s all. I hope you like it!

Global Game Jam – Pathlighter OST

During the last weekend of January, the Global Game Jam 2021 was performed. I entered without a team in the site coordinated by UCM and Voxel School. This year the event was completely online due to COVID situation but it wasn’t a problem to meet a talented development team at the beginning of the event and join with them.

To provide more details, a game jam is an event with a duration of some days where small teams of developers (6-7 person max) design and develop a videogame within a topic fixed by the organization. This year the topic was “Lost & Found” so, we decided to design a game where a lighthouse guides lost ships during the night to arrive safe to the port. The team worked so hard in every aspect (art, design, playability…) and finally we won the “most innovative game” award. It made me really happy because the work was rewarded.

I would like to share the main theme of the game that I composed. It was composed and produced during a night due to the inner limitations of a game jam.

I hope you like it


Westworld Scoring Competition 2020

During the last weeks of May I was composing for this competition that is hosted by Spitfire Audio company and HBO Westworld TV serie. The competition was about composing the soundtrack for a car chase scene of the third season. In the real episode, the producers chosed the orchestral piece The Ride of the Valkyries of Richard Wagner as music for this and I would like to say that, although this piece has been used in many films in a great way, in my opinion, it doesn’t work well for this scene because it doesn’t enchance the story and doesn’t create tension for the action. For this reason, my proposal is completely different.

My proposal for the music is darker, with a orchestration similar to films as Inception, the trilogy of Batman of Nolan and this kind of films with a dark atmosphere. In this work, I don’t use woodwinds but I use an expanded brass section with more power in the middle-low range: 9 horns, 3 trombones, 3 bass trombones, 3 tubas, 3 cimbassos and 3 trumpets that I only use in some specific moments. I also use electronic, hybrid sounds, synths and a big percussion ensemble in order to create a modern sound.

In my opinion, the biggest difficult with the video is that the electric cars are too slow so the music must provide tension to create an epic persecution and create the illusion of the cars are faster than they really are. From the point of view of the composition, there are three parts, the first one is the persecution with no melodic music that has the function of create the effect that I already mentioned, the second one is the counter attack part that has a melodic heroic music and the third one recover the tension because the counter attack was useless and I use here some leitmotivs of the main theme of Westworld  because it is what I would do if I’ll be hired to compose music for the TV series.

I hope you like it.

PS: I have included an easter egg of one of my favourite rock bands. Try to find it.

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!

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!