As an earlier post described my exploration of places to sell my commercial music, I've now been exploring my options to sell my instrumental and choral music, easily getting them in the hands of teachers and musicians. And this discussion brings me to the excitement of the post..
Recently, I Googled "sell PDFs online," just curious if there were platforms that existed. Fortunately for me, there are a TON of places to sell digital goods online. Now, these services are more for selling ebooks and such, but it totally works for selling music as well. I had contemplated using Paypal and just sending people music individually, but this takes the work off my shoulders. These third-party companies host my pieces and take care of the payment as well. After some research, I decided to go with Selz.com because there is no annual price, they just take a small cut of the profit (commission based). This will help in the times where I don't actually sell music..
So the great thing is that I can take care of everything on my laptop, from the comfort of my favorite coffee shop.. and it's summer and I have more time to write. I remember back in college wondering how I might brave the world of trying to get signed on with a publisher, and now I don't really need to. I obviously won't have the backing of a big company, but I own all of my own music and my copyrights. Years ago, I remember Eric Whitacre commenting on the benefits of owning your own copyrights, I now truly understand why that is a benefit.
So soon I'll have a bustling marketplace of sheet music to add to my commercial tunes! Time to write!
Tis' the season for band directors across the country to put together a marching band show for the upcoming fall. This also means it is the season I am glued to my computer for many hours putting together arrangements. This post is actually a bit of procrastination as I need a break from Sibelius at the moment.
I figured I would give some tips for band directors in order to get the best out of your show/arrangements.
1) First, you have to decide where you want to go for music. Obviously, you can go the stock arrangement route, but with that direction, you get what you get and you just have to make it work (stock arrangements help when $$ is an issue). For my purposes today however, let's say you chose to hire an arranger.
2) Pick a show concept. These days, most directors are going to want to pick something simple, yet effective. For a competitive show example, think something like "Darkness to Light." This concept works for many shows because you have the structure and concept built in and the audience/judges always know what's going on. If you're not worried about competing, maybe you want to tie together some popular tunes from the radio and come up with a clever title.
Also, know your audience. I think it's best to find a show that directors/staff, parents/students, audiences (at home and at competitions/festivals), and judges will find enjoyable. You may want to pop in the DVD from last year's Grand Nationals to get ideas... you also may want to Youtube some entertaining college bands. When picking a concept, you definitely want to weigh in all possibilities.
3) Once you've got a concept, think about how you want the show to progress. You always want to think about creating effective moments.. essentially how all music works. It's always going somewhere. In marching band, those moments tend to be the fff moments. I suggest making a timeline (like film directors will make a storyboard) of what you want to have happen. Include music and visual things you want to be happening at all the moments. Then, start picking pieces or parts of pieces that fit into the timeline.
**Note: When choosing music, remember that anything published after around 1920, you'll most likely need to obtain the rights to. Check out Tresona Music for more info. It's also a great place to take care of all your licensing needs.***
Finding Public Domain pieces can help with the $$ situation if you can work them into the show. Also, this is a great way to expose your students to some of the classics!!!!!
4) Know your strengths and weaknesses. Give specific information to the arranger so that they arrange for YOUR group (this is why it's helpful to foot the bill for an arranger as opposed to stock music.. you can get the music tailored to your ensemble!). Also, in terms of show design, think about where you might like to feature certain sections. Choose music that allows you to do this.
5) Once your get your arrangements, don't be afraid to play around with it. A huge difference between Concert Band Festivals and Marching Band Festivals is that you don't have to submit scores to the judges in marching band (...maybe we should have to?). So, make your group sound good. If your first trumpets frack that high A every time.. take it out. If you'd like to know how to tweak a show, just watch a drum corps rehearse. Watch how much changes from the beginning of the summer to the end.. it's a lot.
Also, if the vision didn't come across the way you intended. Make some changes to fix it. Hopefully, you've got an arranger that can rewrite a couple bars if necessary ..I know I've done this a good bit :)
For most band directors, this post is probably stuff you already know. Hopefully, it helps somebody out there! Good luck with the next season!!!
Lately I've been pondering how much I wished I had tagged along with my friends that used to build computers in my middle/high school years (back in the late 90's, early 2000's). I say this because those skills and the importance of knowing the nuts and bolts of technology and computing came to me WAY too late in life. If I knew then what I know now...
For example, designing my first website was an absolute nightmare. The only reason I have this website up and running as nicely as I do is thanks to www.weebly.com (if you're looking for an extremely easy to make a website, check it out!) Without this, I don't know that my website would be worth much of anything. The would of coding and HTML and CSS is just scary and looks quite foreign to me..
I would benefit SO much from being a bit more savvy with building a website, creating online tools, and just coding in general. One of the hardest things these days is to get my music out there. The would is literally a click away, but there has to be something compelling enough to click (i.e. a cool video). I truly never knew that computing would be so important...I can't say this enough.
Because I can't exclaim the importance enough, I go off on this in band class all the time. Kids should be learning coding. I can only imagine what the electronic world will look like in 10 years (just read Ready Player One, great but somewhat scary read). I tell my students that whatever profession they choose, mine clearly being educating and composing, having an intense knowledge of the language of computers is sure to give a significant advantage.
Enter Code Academy. I've already started learning. My recommendation is for everybody to start learning. Where the "coders" are always going to make many user-friendly ways to interact with the web, I think it'd be better to go ahead and learn how to code for yourself. I remember having to edit some HTML once, it was awful. Based of that experience, everyone should go learn how to code.
So, where coding has absolutely nothing to do with composing music...it actually has everything to do with being a successful composer. Kinda weird how that works.
This post is going to be be a bit different than the rest of the posts on this blog. It is geared much more towards being a composer in this contemporary age of music production/composition. This will also be by far my longest post as of yet.
In June, I finally found my way into a profitable medium and outlet for all of my Logic Pro X composing. I've spent a lot of time over the past 5 years adapting and developing my craft using Logic. I was originally classically trained as a composer, but have ALWAYS enjoyed listening to film music and also really enjoy music production. For I while I thought that it was just a fun little hobby, and most of the tunes I wrote in Logic didn't go anywhere and I didn't use them for anything. That has all COMPLETELY CHANGED.
I discovered a couple of Stock Media Sites (I use them for sync-licensing music) called Pond5 and Audiojungle (these are the two that I focus on the most because I've found them to be most easy to use and most profitable).
Below are some tunes from my Audiojungle page.
These sites have been just what I've been looking for!! I'm able to cook up a variety of different tunes and upload them for media makers to buy. It's actually a very easy process and writing music in a DAW like Logic Pro, Pro Tools, Cubase, etc streamlines the writing (differences from Sibelius/Finale will be another post). I'm a total fan of these websites because I've been able to get my music out to people who would have no access to my stuff.
Here's my process: I get surf these websites and find what seems to be the most in-demand style (at least of the styles I can/am willing to write). If you checked out my Pond5 page, you noticed that it's full of "suspense" and "epic action" and "epic drumming" music. Well, aside from the fact these are fun to write, its what people are purchasing. I really can't believe that as of now (2014), one of my "Rising Suspense" clips has sold about 40 times. It literally took me 30 minutes to write (granted its only 15 seconds long).
My next step is how to get my tunes to the top of the lists, where people are regularly purchasing my music. This is the hard part because I can't really find a whole lot of consistency. For example, I wrote at tune called "Film Noir," and it sold 10 times in two weeks! Awesome! So I wrote another one. It has sold a grand total of zero times. I decided not to write a 3rd tune in that style.
I also find myself reading how to optimize key word searches, getting friends to get me some views, and honestly just churning out more tunes. I figure the more tunes up there, the more likely they are to be found. The best part about sync-licensing music is that once I upload it, I'm done with that tune.
Needless to say, this is a very exciting development in my composition career...the first step from changing it from a hobby to an actual job. If nothing else, I now have funding for my music projects and samples. It can be hard finding my way into this world of professional composing. I do love it and I'm interested to see where I can take this lifelong passion. Happy Composing!
I clearly am a fan of John Williams' music. I love how he's brought so many people who wouldn't be orchestral/classical music lovers to the concert hall (even if it started in a movie theater). Now, I would like to rave about the music for the new Star Wars trailer. For most people, its all about the story, or characters, or special effects, or action, etc... For me, it's all about the music. The first cluster of tones (in the strings) takes us back to those early Stravinsky-esque scenes of which R2 D2 and C3PO wandered the deserts of Tatooine.
Then we get some action music like only a John Williams score can deliver: melodically and harmonically compelling, but I love the orchestration. I love the interplay between the brass, strings, woodwinds (I ESPECIALLY LOVE TO HEAR WOODWINDS SINCE SO MANY FILM COMPOSERS SEEM TO ONLY WRITE FOR CELLOS AND BRASS.........), and percussion. Top to bottom, it is an exciting orchestral epic, just as epic as the trailer itself. The music is compelling in an era of generic trailer music (which I love, but generic nonetheless).
When the Millennium Falcon flies out, we are obviously slammed with the Force Theme, the quintessential melody of the franchise. I'm sure many, many people probably cheered at that moment..I did. I'm so very excited to hear the score for Episode VII...in fact, I may see it a second time and just close my eyes and listen.
Today I showed my students a fantastic TED Talk featuring Evelyn Glennie. I found this video to be a goldmine for musicians (young and old). Aside from the fact that she's an incredible percussionist, she really goes into some interesting topics about musicianship. I love how she showed the difference between being a strictly "technically accurate" player as opposed to being a musician and doing a lot more with the notes (and even the instrument itself).
The reason I decided to write about this video, however, is because I was fascinated at how the different AGE of my students affected how they perceived the video. For any middle school teacher out there, you surely know how drastically different 11, 12, 13, and 14 year olds can be. Where Evelyn Glennie was talking about how different people in a space perceive "sound" differently, I couldn't help but think how differently the developing middle school mind viewed and experienced her message. My young, excitable 6th graders practically participated like they were in the clinic themselves, where the 8th graders we as stoic as statues. I do feel that the overwhelming majority understood what she was talking about, but experienced it in their own way.
I really love how she talks about and performs music. I spend so much time trying to teach students that there can be so much more than notes on a page (YES, I do teach that in middle school). It's all about the experience...and that's why I teach, compose, and perform music. And always will.
I feel like Tchaikovsky's music for the Nutcracker defined the mechanics of what much of Christmas music is these days. From the harmonies to the orchestration, a hundred years of composers, musicians, and listeners have grown up on that music, and it has clearly infused much of other Christmas music that has been written since. Every time I watch Home Alone (I was a kid in the 90s and have to watch it every year), I feel like John Williams was paying homage to Tchaik. I think what I like most about The Nutcracker, and really just Tchaikovsky, is his immaculate ability to orchestrate. The colors he achieves are glorious.
I will definitely be listening to plenty of the Nutcracker Suite this holiday season...music I very much believe is the "Christmas" sound. What a great piece of music from a great composer!
At this point in my career as a composer/arranger, teaching is definitely what pays the bills. I do, however, love to teach. My experiences in the classroom profoundly impact me as a composer and I certainly enjoy giving students the "nuts and bolts" in order to perform and experience music on their own. This is where being a teacher/composer comes in handy. I often find myself writing countless exercises to teach students how to READ music. Its amazing how much reinforcement is needed...and sometimes it is very frustrating. Very frustrating. But when the lightbulb finally does go off, it is totally worth it. So to any educators (specifically band directors) that would like to check out my "Free Stuff" section, please use any and all of these resources I create. I write them when my students need it, every one has been used and works in the classroom (the ones that don't work haven't made it onto the website).
For whatever reason today, I googled "Robert Frost public domain." To my excitement, I found that "The Road Not Taken" is actually in the public domain!! This poem has always been one of my favorites and despite the fact that it has probably been set to music many times, I plan on setting it myself. I can remember years ago reading about how Eric Whitacre had originally set Sleep to a Robert Frost poem and the words had to be changed due to copyright laws. Apparently, anything Frost published before 1923 is in the public domain. Great news. It has been quite a while since I wrote a choral piece, so this will be a great adventure for me. Maybe I'll go sit in the woods and read the poem a few times.
"The Road Not Taken" (1916)
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I--
I took the one less traveled by,
And that has made all the difference.
Summer is always a good time for me to sit down and get some editing done. Usually I am finishing up arrangements for various marching band, so I'm in overdrive when it comes to editing music. Because I edit all of my own music, I've developed a process that helps get clean, readable scores into director's hands. In my opinion, having a neatly edited score is as important as having a good composition/arrangement. Nobody will want to play your music if it's too difficult to read and put together musically.
Below is a guide I've typed up for all who are interested. By no means do I feel like this is a perfect guide that includes everything, but it is a few thoughts that are going through my head during this summer season of editing.