From College to Professional Composer - Making the Transition

[Anthony Joseph Lanman]

Hey all,

I wanted to get some of our more seasoned members to comment on the subject of making the transition from college composer, to professional composer.

I recently graduated, and am now out in the world. I have to say the transition has been a tough one. I went from an environment where I could literally get anything and everything played, and played extremely well, to a life totally disconnected from performers (well, close to anyway).

How have some of you coped with making that transition? I know many of you teach in Universities, but I also know that many of you don't. I'm searching for life as a professional and I'm stumbling along without a map. Anyone got directions?

[Jeff Harrington]

Here's a couple of things that I've done and a couple of things I wish I'd done.

1. Every musician you know, that you've talked to on the phone, had a coffee with, that is good, put their info in some type of database or file. Add them to your Christmas card list. Whatever... stay in touch. Let them know about your music, discretely, very.

Anybody that has every played your music. Same thing. Don't lose that information! After leaving the MFA program at Juilliard I was so bitter that I didn't even keep names and numbers and now 1/2 those guys are sooo big they won't even return my emails! When I write their agents they don't even pass them through.

2. Get into music type-setting. Get good at it. Get the definitive texts and learn about good opera score production. Dennis knows a bit about this.

3. Do the whole blah blah web promotion stuff. Duh... You're doing that already pretty good, from what I've seen.

4. If you're unable to get into teaching - learn computer programming. Go to night school, whatever. It's very lucrative and it pays well. ;-) And every composer I've ever know was good at it. Weird.

[Anthony Joseph Lanman]

Jeff,

Great suggestions - thank you for making them. I think the whole keeping in touch with people and letting them know what you've been doing has become so much easier these days with sites like Facebook, My Space, etc - but, point well taken man. I could always do a better job of keeping in touch with people that have played my music in the past.

[Steve Moshier]

What Do You Want To Do With Composition?

1. Make A Living?

2. Express Your Ideas?

3. Change The World?

4. Be Political?

5. Create for 'Pleasure'?

6. Create for 'Recreation'?

7. Take a 'Stand'?

8. Gain 'Respect'?

9. Become Popular?

10. Be Esoteric?

11. Experiment?

12. Uphold the 'Status Quo'?

13. Create a 'new' direction?

Just some of the questions you have to ask in order to 'map' a direction.

[Shane W. Cadman]

I haven't had a chance to post until now, but am seconding Steve. Answer those questions and we can be more help. I had one person get mad at me for taking that approach, but until you have a clear direction in mind, there's not much we can do. Except for the computer programming suggestion. Do that for sure, as you will need to earn money.

For what it's worth, I've had a day job and taught community college since graduating. That whole "earning a living" thing really gets in the way of writing music. ;-)

[Jeff Harrington]

I worked for 3 years right next door to Ives' New York Life building. (The house that Ives built).

Great Wallace Stevens story, A couple of his insurance exec friends were riding in a cab when the news came out that he'd won the National Book Award. One guy said to the other, "Well I'll be damned, Wally's a poet?"

Talking about Wallace Stevens was what finally broke the ice between me and my teacher Elliott Carter. That and Elizabeth Bishop, and Lowell, etc... before the poetry talk, we were just staring at my scores with a few, "hmmmms..." And a comment or two. One of my favorite poets, and his collected works was one of the few books I didn't give away when we moved.

kraig grady said:

Wallace Stevens and Charles Ives sold insurance. Two voices who kept theirs

Shane W. Cadman said:

I haven't had a chance to post until now, but am seconding Steve. Answer those questions and we can be more help. I had one person get mad at me for taking that approach, but until you have a clear direction in mind, there's not much we can do. Except for the computer programming suggestion. Do that for sure, as you will need to earn money.

For what it's worth, I've had a day job and taught community college since graduating. That whole "earning a living" thing really gets in the way of writing music. ;-)

[Anthony Joseph Lanman]

Steve Moshier said:

What Do You Want To Do With Composition?

1. Make A Living?

2. Express Your Ideas?

3. Change The World?

4. Be Political?

5. Create for 'Pleasure'?

6. Create for 'Recreation'?

7. Take a 'Stand'?

8. Gain 'Respect'?

9. Become Popular?

10. Be Esoteric?

11. Experiment?

12. Uphold the 'Status Quo'?

13. Create a 'new' direction?

Just some of the questions you have to ask in order to 'map' a direction.

Well Steve, I have to answer 'yes' to every question - does that help?

[Shane W. Cadman]

It doesn't help, because some negate others. For example, if your goal is #1, you probably won't be doing #2, #3, #4, #5, #6, #7, #10, #11, & #13. If you are doing #2, then #5 & #6 are vaild, and possibly a few others. If you're going for #3, good luck. #4 - I'm not touching that one. #9 - well, you wouldn't be here if that was your goal. Get the idea?

A lot of this will come down to how important making money is as a composer. While every composer would like to make money doing what they want to do , the fact is that making money as an "art music" composer does not happen often. A clear, focused and realistic vision of your life as a composer is important. Make a five-year plan, with yearly goals, and then go from there.

[Anthony Joseph Lanman]

Hehe - well, I guess I'm more interested in hearing your stories of how you all dealt with this transition. I'm not looking to be told what to do (the "anybody got directions" was more of a joke than anything). I realize that everyone's path to success (and I also realize that we all define our own success in our own way) is going to be radically different than the next. Suggestions are always great, and appreciated, but I know there's no "well, if you do this and then you do that, then you'll be successful" in this business. I'm just interested in your stories more than anything else.

[J.C. Combs]

Hey Anthony. That's a tough question to answer since there are multiple types of professions within composing. If you were to ask me about setting up your CD, I could give tips on how to transition.

There have been similar discussions on this other site I visit sometimes and it was agreed upon that the best avenue for a "pro" was to stay in the collegiate setting. However, the notion that composing within that setting makes you a greater composer is nonsense, but you will have more opportunities to make a living -so I've heard.

My advice is to hang out here more.

[Brian Vlasak]

Brilliant. I'm not a social animal by nature, but this is wonderful advice. Thank you!

Jeff Harrington said:

Here's a couple of things that I've done and a couple of things I wish I'd done.

1. Every musician you know, that you've talked to on the phone, had a coffee with, that is good, put their info in some type of database or file. Add them to your Christmas card list. Whatever... stay in touch. Let them know about your music, discretely, very.

Anybody that has every played your music. Same thing. Don't lose that information! After leaving the MFA program at Juilliard I was so bitter that I didn't even keep names and numbers and now 1/2 those guys are sooo big they won't even return my emails! When I write their agents they don't even pass them through.

2. Get into music type-setting. Get good at it. Get the definitive texts and learn about good opera score production. Dennis knows a bit about this.

3. Do the whole blah blah web promotion stuff. Duh... You're doing that already pretty good, from what I've seen.

4. If you're unable to get into teaching - learn computer programming. Go to night school, whatever. It's very lucrative and it pays well. ;-) And every composer I've ever know was good at it. Weird.