# If you could give 1 piece of advice to any new composer, what would it be?



## Unknown (Jul 18, 2020)

For those of you experienced composers/arrangers what one important piece of advice would you give to a newbie who wants to join the industry that you wished someone else told you when you first started?


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## Paul Grymaud (Jul 18, 2020)

Be Yourself !
I explain: We're all different. So if you want to be different, be yourself!


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## Noeticus (Jul 18, 2020)

Play around on the piano a lot.


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## cuttime (Jul 18, 2020)

Don't take any shortcuts. Do the hard work.


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## Tice (Jul 18, 2020)

Don't forget to have fun. If you don't have any fun, you're going to burn out faster than you can say "AAAAAAAAHRGH!!!".


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## [email protected] (Jul 18, 2020)

If you want to become a "traditional" (orchestral, 'cinematic') composer, listen to a lot of music from the last 400 years and read the scores along. If you want to become a movie composer, listen _also_ to film music from the last 110 years, try to get scores and of course: watch the films without checking your damn smartphone!


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## Michael Antrum (Jul 18, 2020)

unplug your computer from the internet.....


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## NoamL (Jul 18, 2020)

Study scores.


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## D Halgren (Jul 18, 2020)

Don't take the 'brown' acid


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## Sunny Schramm (Jul 18, 2020)

learn to play a real instrument first - like guitar or piano.


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## Keith Theodosiou (Jul 18, 2020)

Don't ever give up.


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## nolotrippen (Jul 18, 2020)

Punch above your weight


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## Rodney Money (Jul 18, 2020)

Unknown said:


> For those of you experienced composers/arrangers what one important piece of advice would you tell to a newbie who wants to join the industry that you wished someone else told you when you first started?


The concert world or media world?


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## JohnG (Jul 18, 2020)

Be good to yourself. Get some exercise, maintain friendships, have some laughs. Honour your commitments to spouse, children, your religion if you have one, or your community in some way. Volunteer.

Yes, you do have to work on skills, learn orchestration or instruments (depending on what you want to do musically) -- you have to have "the knowledge."

But as someone mentioned above you can't burn out and you can't turn into a monomaniacal, white-knuckle-grip-on-technique person. Nobody want to work with that type.


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## Unknown (Jul 18, 2020)

Rodney Money said:


> The concert world or media world?



yes


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## Nick Batzdorf (Jul 18, 2020)

Plastics. The future is plastics.


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## Rory (Jul 18, 2020)

Nick Batzdorf said:


> Plastics. The future is plastics.


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## paularthur (Jul 18, 2020)

Spend less, read more.


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## CT (Jul 18, 2020)

NoamL said:


> Study scores.



Since Gnome has already given this great advice to the hypothetical beginner, I'll add something less practical.

Commit yourself to the idea of composing, with the understanding that "commitment" could mean different things at different times. It might mean taking risks towards major goals. Just as easily, it could mean tempering larger ambitions in relation to the realities of your situation, in order to preserve the overall stability of your life and your ability to have the luxury of composing at all.

I guess that's a long winded way of saying that you shouldn't look at it as an "all or nothing" pursuit. Many want to compose for the big screen, or for major video games, myself included, but that isn't the only end to which we can make music, or even make some kind of splash. You don't need a production brief or a clip from Westworld to be allowed to write something. 

I guess yet another way of putting it might be: forge some kind of identity for yourself as a composer which can exist independent of any external circumstances.


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## Rodney Money (Jul 18, 2020)

Unknown said:


> yes


In the concert world, that no one ever talks about, the real reason of going to college is to build relationships with future professionals and friends that can last a lifetime.


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## chillbot (Jul 18, 2020)

My advice: ergonomics. Learn it and live it.

Dang this is kind of a fun thread but now there are way too many things how do we get it down to the one thing again.


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## jonathanparham (Jul 18, 2020)

never stop learning


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## Dirtgrain (Jul 18, 2020)

A jazz teacher once taught me to softly sing the notes I played as I improvised. Over time, this helped me to play the notes that were in my head without having to search for them on the instrument--automaticity. I do it with piano too. 

He also told me to play solos in my head when I was doing other things in my life. When I listen to music, I often do this as well, with classical music, too. I create new melodies or counter melodies in my head as I listen. You can mindfully focus this kind of practice; for example, work on syncopation while listening to music.

I bring these ideas up here because they have helped me when I make melodies and rhythms for a composition.


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## Dave Connor (Jul 18, 2020)

You must be able to pull apart an orchestral piece of music by someone like Haydn. Look at the score to study and understand the workings of every part and where this relentless wave of vital music is coming from. A full rich sound from an orchestra that could fit in a large living room. Everything from that time period on is an expansion of this minimal writing/orchestration. You will not likely be able to divine the workings of Elgar’s Nimrod if you don’t have a firm grip on Haydn. If you consider that he was Mozart‘s and Beethoven‘s model you get the idea.

There are numerous professional requirements if you want to have the communicative skills (with any member of a music _team) _as well as command of the tools such as Notation, DAW, Samples, Synths et.al. As Hans Zimmer says, _Learn your tools!_

Something you don’t hear a lot about is the value of rhythm reading and understanding. It’s something you deal with relentlessly whether doing a takedown or writing a score or chart. Learn that side of things. People will thank you for it.

Don’t become obsessed and insane about all this somewhere down the road. That’s your starting point.


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## Troels Folmann (Jul 18, 2020)

The only thing that matters is how much you *REALLY* want it. I attribute luck and resilience to this notion too.


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## Alex Niedt (Jul 18, 2020)

Paul Grymaud said:


> Be Yourself !
> I explain: We're all different. So if you want to be different, be yourself!


This. All the training and technical ability in the world is for nothing if you're just copying other people.


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## bill5 (Jul 18, 2020)

Unknown said:


> For those of you experienced composers/arrangers what one important piece of advice would you tell to a newbie who wants to join the industry that you wished someone else told you when you first started?


Don't join "the industry." Find a normal  steady reliable job to pay the bills and do this as a hobby. That way you can care about doing what you like on your terms, not what you hope will make you money and be at the mercy of a wide assortment of emotional buttheads.


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## John Judd (Jul 18, 2020)

That piece you wrote that you love dearly and know intimately....develop REALLY thick skin about receiving criticism on it.


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## bill5 (Jul 18, 2020)

Dave Connor said:


> You must be able to pull apart an orchestral piece of music by someone like Haydn.


This is great if you can, but far (far) from a "must," even for someone composing classical music (which the OP didn't stipulate).


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## mikeh-375 (Jul 18, 2020)

Alex Niedt said:


> This. All the training and technical ability in the world is for nothing if you're just copying other people.


............so following on, make sure you apply any learning to yourself. Use it, that's actually why you learn it, in order to support your own work and not to ape others.


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## Dave Connor (Jul 18, 2020)

bill5 said:


> This is great if you can, but far (far) from a "must," even for someone composing classical music (which the OP didn't stipulate).





Unknown said:


> For those of you experienced composers/arrangers what one important piece of advice would you tell to a newbie who wants to join the industry that you wished someone else told you when you first started?



I know a lot of _experienced composers/arrangers. _I can’t name one that couldn’t do what I described: _Understand the working parts of the orchestra on it’s most basic level._ Notice I said study, _someone like Haydn. _

How is someone supposed to write for the orchestra _professionally _who doesn’t understand the basic small orchestra?


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## Michael Antrum (Jul 19, 2020)

Dave Connor said:


> I know a lot of _experienced composers/arrangers. _I can’t name one that couldn’t do what I described: _Understand the working parts of the orchestra on it’s most basic level._ Notice I said study, _someone like Haydn. _
> 
> How is someone supposed to write for the orchestra _professionally _who doesn’t understand the basic small orchestra?



Buy a rhythmic texture library, smear whipped cream on your keyboard and borrow next door's cat.


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## Patryk Scelina (Jul 19, 2020)

You can be the best composer of all time and no one hires you, unless you make friends with people, be polite and fun to work with.


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## MartinH. (Jul 19, 2020)

Troels Folmann said:


> The only thing that matters is how much you *REALLY* want it. I attribute luck and resilience to this notion too.



Sounds about right to me. But do you think one has any control about how much one _really _wants it, and can that desire grow over time or only diminish?


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## Andreas Moisa (Jul 19, 2020)

Learn all about Zebra, Omnisphere and Fabfilter Q3 you can.


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## Gerbil (Jul 19, 2020)

Never be too proud to learn from others.


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## PaulieDC (Jul 19, 2020)

Never fry bacon without a shirt on.


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## Keith Theodosiou (Jul 19, 2020)

Never stub your little toe on your desk.


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## PaulieDC (Jul 19, 2020)

Keith Theodosiou said:


> Never stub your little toe on your desk.


TOO LATE


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## mikeh-375 (Jul 19, 2020)

...never leave the wife alone for longer than 15 hours


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## John Judd (Jul 19, 2020)

Troels Folmann said:


> The only thing that matters is how much you *REALLY* want it. I attribute luck and resilience to this notion too.



Hearing the unique + beautiful composing that writers like Troels ^^^^^ *consistently* do..... despite knowing that you may never reach that level, continuing to compose music anyway just to discover who *you* will become.


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## JEPA (Jul 19, 2020)

Enjoy making music, composing. If you do others will feel it in your music.


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## Living Fossil (Jul 19, 2020)

First, i think there are two different areas, where advices apply:

One is concerned with the question, how to become a better composer, the other
with the question, how to become a successful composer. 

As for being a composer:
The most important tool for a composer is the inner hearing. Permanently training it (since it has countless aspects) is a life long task. Except when you're Richard Strauss or JSB. Then you can skip this advice because you already followed it in younger years.
(On the second place i would place the necessity of playing one or more instruments. Composers like Strawinsky, Bartok wouldn't have written the music they wrote without their pianistic skills.

As for being successful:
The dominant substance in the world of art and showbusiness and film industry is vanity.
99% of the people you will work for and with are obsessed with themselves.
Artists (or directors, producers etc) who communicate their decency ("I wish i'd be a much better composer" etc. etc) usually are specially vain.
And mostly, people are specially proud of their achievements in areas where they really had (or have) to struggle (which of course is normal, since it was something they had to work for).
So, if you want to be succesful in this business (goes for both, concert music and industry) you have to refine the art of giving the people around you the feeling that you admire and respect them.
You have to know the areas where they are most receptive for praise and you have to do it in a convincing manner.
If your boss isn't very bright, find ways to convincingly praise his intelligence, he will love you for it.

One could argue that this advice implies that being succesful has lots to do with being dishonest in the right places. 
And while this of course is true in most cases, i've also observed that sometimes you meet people – collaborators etc – where there is no necessity of being dishonest, since there is a "direct" contact; a direct communication.
If you meet such people, keep them in your life. These are the artistic relationships that will have the really great results.


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## Ned Bouhalassa (Jul 19, 2020)

Fully enjoy the ride, as it’s more fun than getting to the eventual destination. Also, compose at least a little bit every day.


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## Yellow Studio (Jul 19, 2020)

Left are those who didn't give up


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## Keith Theodosiou (Jul 19, 2020)

Learn as many different genres as you can and learn as many instruments as you can, you don't have to master them, just know them.


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## Nils Neumann (Jul 19, 2020)

You don't need this next library, it won’t improve your work.


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## Jaap (Jul 19, 2020)

Find the right partner in your life. Makes all the difference if you have somebody at your side who supports you, understand your schedule and passion but also can keep a mirror in front of you to keep you on the ground.


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## Geoff Grace (Jul 19, 2020)

Nils Neumann said:


> You don't need this next library, it won’t improve your work.


...And to add to that, invest in yourself more than you invest in gear. You will depreciate much less quickly than it will.

Best,

Geoff


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## Geoff Grace (Jul 19, 2020)

Geoff Grace said:


> ...And to add to that, invest in yourself more than you invest in gear. You will depreciate much less quickly than it will.


But the following is the answer I intended to post when I opened this thread: _the only constant thing in life is change._

Don't rely on today's opportunities continuing into the future. Industries fail (remember the once thriving record industry?); and everyone dies at some point, sometimes much earlier than expected. Your source of income could be gone overnight. Similarly, new opportunities will arise which may benefit you if you're prepared. 

People who can adapt to unexpected change are the ones who will thrive, or at least survive.

Speaking of survival, remember to set some money aside for a rainy day (not to mention retirement).

Best,

Geoff


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## Dave Connor (Jul 19, 2020)

Michael Antrum said:


> Buy a rhythmic texture library, smear whipped cream on your keyboard and borrow next door's cat.


Don’t dismiss the advice of every 10 year old child. Unless they say something like the above.


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## dgburns (Jul 19, 2020)

I wrote a book, then deleted.

Enjoy your life. Maybe music is a part of it, maybe not. 

There’s always ice cream. Ice cream is always good.


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## bill5 (Jul 19, 2020)

Dave Connor said:


> I know a lot of _experienced composers/arrangers. _I can’t name one that couldn’t do what I described: _Understand the working parts of the orchestra on it’s most basic level._ Notice I said study, _someone like Haydn. _
> 
> How is someone supposed to write for the orchestra _professionally _who doesn’t understand the basic small orchestra?


You're moving the goal posts a bit. You said "like Haydn" but then went on to specify him vs just someone like him, so my impression was you really meant him. You also didn't stipulate "at its most basic level" the first time, which is a different matter from "pull apart an orchestral piece of music," which to me sounds notably more comprehensive. Don't mean to nit pick and I guess I misunderstood your original post. My point is just that sure you need to know the basics, but you don't have to be an orchestral whiz kid and understand everything backwards and forwards from the inside out, esp with more complex works.


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## Michael Antrum (Jul 19, 2020)

Dave Connor said:


> Don’t dismiss the advice of every 10 year old child. Unless they say something like the above.



I’m crushed.....


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## fakemaxwell (Jul 19, 2020)

Dave Connor said:


> You must be able to pull apart an orchestral piece of music by someone like Haydn.



Do you have any specific pieces in mind to start with? Part of the issue with self-guided learning here is not knowing where to start and where to progress to. Looking over the ABRSM etc grades can give a bit of an overview of progression for performance but in terms of what you're describing it's hard to find a path.


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## Dirtgrain (Jul 19, 2020)

There must be quality analyses (on Youtube?) of orchestral pieces, suited for beginning composers, no?


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## purple (Jul 19, 2020)

Get really good at the piano...
If you want to work in media, make friends with assholes...


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## Dave Connor (Jul 19, 2020)

fakemaxwell said:


> Do you have any specific pieces in mind to start with? Part of the issue with self-guided learning here is not knowing where to start and where to progress to. Looking over the ABRSM etc grades can give a bit of an overview of progression for performance but in terms of what you're describing it's hard to find a path.


This is perfect. Very strait forward writing where you can see what instrumental groups have what chores: Melody, Accompaniment etc. You can see simple chords distributed in the three upper strings in a fluid manner. Same with either bass or other duties for cello and bass. Take note when it is only the cellos and not both playing (bass will be identical with cellos down an octave when they’re both playing.) Simple Wind and Brass writing which may double a melody or answer a melody or give a spine to the texture as well as increase volume.


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## Dave Connor (Jul 19, 2020)

Michael Antrum said:


> I’m crushed.....


Then go cry on your mother’s lap. She couldn’t be more than a few feet away.


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## bill5 (Jul 19, 2020)

I have an idea; let's all act like adults and stick to the thread topic. 

PS the OP asked about being a composer, not necessarily a classical composer. I could analyze Haydn to death and write a paper any college prof would give an "A" to and it wouldn't help me write a good blues song.


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## Dave Connor (Jul 19, 2020)

bill5 said:


> I have an idea; let's all act like adults and stick to the thread topic.
> 
> PS the OP asked about being a composer, not necessarily a classical composer. I could analyze Haydn to death and write a paper any college prof would give an "A" to and it wouldn't help me write a good blues song.


He asked about working in the industry. I talked about the workings of an orchestra which has nothing to do with _style - _which is what _Classical_ refers to. It has to do with Strings, Percussion, Brass, Winds right? So why study something with forty staves when you can look at 10? How many film scores are on YouTube with the score? When you consider that over 90% of composer/arrangers who have worked in Hollywood have studied Haydn and countless other Classicists than you realize you would be advising someone NOT to do what Williams, Goldsmith, Morricone, any Newman and even Hans Zimmer have done: immerse yourself in the Literature.

Ask a screenwriter if they‘ve ever studied Shakespeare.


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## Jeremy Gillam (Jul 19, 2020)

My advice to new composers is to study Shakespeare.


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## Dave Connor (Jul 19, 2020)

bill5 said:


> My point is just that sure you need to know the basics, but you don't have to be an orchestral whiz kid and understand everything backwards and forwards from the inside out, esp with more complex works.


 What professional can get by on the _basics? _The whole idea of being a pro is that you’re well beyond the basics. But even if the basics are enough, recommending someone who was able to make great music with a basic orchestra is exactly what I did. What profession recommends to someone who wants to join them to study average unknown people that didn’t accomplish much?


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## Rctec (Jul 19, 2020)

Write Every. Single. Day.... you’ll get better.


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## Jeremy Gillam (Jul 19, 2020)

Dave Connor said:


> There’s no shame in displaying your intelligence on a public forum. You go right ahead and make all the suggestions you want.


What is more relevant to writing music than understanding how to tell a story and say something timeless about the human condition?


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## Dave Connor (Jul 19, 2020)

Jeremy Gillam said:


> What is more relevant to writing music than understanding how to tell a story and say something timeless about the human condition?


Look I agree actually. But I thought you were mocking my suggestion. I deleted it though before I saw this.


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## jsg (Jul 19, 2020)

1. Study scores from the Renaissance, Baroque, Classical, Romantic and Modern periods of classical music. Study them over and over and think about what you hear.

2. Get really proficient on an instrument, most composers prefer keyboard, as I do. Practice your scales and other exercises daily if not regularly. Learn to improvise fluently, some of the best ideas come from just playing.

3. Write, write write. There is no teacher like composing music. Be your fiercest critic--but also be your most ardent supporter, you have to be both, neither one by itself will work.

4. If you only write music when you're getting paid to write music, consider another field, you'll never produce your best work if music is just a job or even just a career. It must be your soul's calling.

5. No matter what you put out into the world, there will be those who love it, those who hate it and those who are utterly indifferent. Get used to it and learn detachment: Be in the world, not of the world...

6. Here's a quote from Mozart, take it to heart: _Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius_.


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## SupremeFist (Jul 19, 2020)

Study four-part harmony.


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## Gene Pool (Jul 19, 2020)

bill5 said:


> ...the OP asked about being a composer, not necessarily a classical composer. I could analyze Haydn to death and write a paper any college prof would give an "A" to and it wouldn't help me write a good blues song.



The big takeaway of this thread is that you should avoid learning solid orchestral technique because that's only a Classical concept and anyway it won't teach you how to write a good blues song which is the bread and butter of every composer.


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## bill5 (Jul 19, 2020)

Yeah that's what I said. 

Of course anyone with a functioning brain knows otherwise, but thanks for another childish, snarky post; we don't have enough of those on this thread.


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## Manaberry (Jul 19, 2020)

I'm gonna quote Alan Meyerson.

"You have an idea? Go on. Try it. Experiment."

Oh, and beware of the dwarves!


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## GtrString (Jul 19, 2020)

Consider a dual career, dont take any advice from artists.


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## bill5 (Jul 19, 2020)

Dave Connor said:


> He asked about working in the industry. I talked about the workings of an orchestra which has nothing to do with _style - _which is what Classical refers to. It has to do with Strings, Percussion, Brass, Winds right? So why study something with forty staves when you can look at 10? How many film scores are on YouTube with the score? When you consider that over 90% of composer/arrangers who have worked in Hollywood have studied Haydn and countless other Classicists than you realize you would be advising someone NOT to do what Williams, Goldsmith, Morricone, any Newman and even Hans Zimmer have done: immerse yourself in the Literature.
> 
> Ask a screenwriter if they‘ve ever studied Shakespeare.


Wow. Do you even read what you write before you hit "post reply?" According to your post:

- The workings of an orchestra have nothing to do with style.
- Classical refers to style.

Therefore, by your definitions, the workings of an orchestra have nothing to do with classical.

OK.........

I also love "It has to do with Strings, Percussion, Brass, Winds" - classical guitarists will be so disappointed to hear that.

Finally, there's another goal post move with "who have worked in Hollywood"....I see, so after the OP just said "composers" you've translated that into "who have worked in Hollywood." And apparently all composers are screenwriters. smh

I think it's safe to say we disagree on what "composers" means in general. IMO it isn't all about Hollywood (thank God) or classical.


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## Michael Antrum (Jul 19, 2020)

I did (and still do) the very important things that have been suggested in this thread. Transcription, score study and I practice working out four part harmony regulary so I get (and remain) famillar with 'see-hearing' the harmony on the score. (I find I have to practice it to keep fresh and fast).

But I was trained classically on the piano from a young age, and the one thing that gave me the keys to the cupboard was when I started studying Jazz Harmony. It was like the missing link. I'm not particualrly a fan of Jazz per se, though I am warming to it, but the things I have and continue to learn through studying it have been quite transformative.

That's the great thing about music. however, there's always something new....


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## CT (Jul 19, 2020)

I'd like to change my answer to "don't visit VI-Control."


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## Dave Connor (Jul 20, 2020)

bill5 said:


> Wow. Do you even read what you write before you hit "post reply?" According to your post:
> 
> - The workings of an orchestra have nothing to do with style.
> - Classical refers to style.
> ...


Hang on Einstein and I’ll walk you through this. Someone who wants to be a professional car mechanic - should they start out looking at 12 cylinder Ferraris or 6 cylinder Chevys? Should he pull an engine apart or just sort of admire it without any investigation at all? Is a Chevy a professional race car? No. Does it have the same basic components? Yes. Do cars come in different styles? Yes. Is the style what’s most important in understanding how it works? No.


bill5 said:


> I also love "It has to do with Strings, Percussion, Brass, Winds" - classical guitarists will be so disappointed to hear that.


Are you saying that classical guitar is traditionally part of the basic orchestra? It isn’t. As I said, start with the basics. Which is what I’ve been saying all along and you’re parsing and criticizing and having fits. I’m giving the most basic sound advice imaginable and you can’t relate?


bill5 said:


> Finally, there's another goal post move with "who have worked in Hollywood"....I see, so after the OP just said "composers" you've translated that into "who have worked in Hollywood." And apparently all composers are screenwriters. smh


 The majority of compose/arrangers are in fact on the coasts and many on this forum work in film. If I’m mentioning Classical composers, obviously I am not restricting things to film am I? But you’re bothered on both counts right? There is no good advice as far as you’re concerned because you’re just having a go right? In a goofy kinda way. Not making a lot of sense jumping around from writing Blues Songs to Classical Guitars and somehow an arranger who works in one geographical area couldn’t possible have good advice for another area. Oh, and style is most important so if you want to learn how to change the oil in a car, study the history of the style of automobiles.

You’re right. We don’t agree on anything.


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## dasindevin (Jul 20, 2020)

Spend way less time on forums. Spend way more time working on building collaborative relationships, networking, and sales.


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## bryla (Jul 20, 2020)

You are more important than the work. Take care of yourself first and don’t let the work command your health and well-being.


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## Rob Elliott (Jul 20, 2020)

Do the same thing you do when you throw a ball, ride a bike, golf - stay balanced and enjoy.


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## jsg (Jul 20, 2020)

Here's a set of questions I pose to young composers that's been on the teaching section of my website for a long time:

*Read*


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## Uiroo (Jul 20, 2020)

Don't listen to me.


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## jsg (Jul 20, 2020)

And here's my last piece of advice to young composers:

Take care of your health. Eat plant-based foods and don't eat too much. Try to moderate your use of drugs and alcohol, even better don't use them. Exercise, get enough sleep and maintain good relationships with others. Seek harmony within yourself and in your music. 

Finally, this may not apply to everyone, but I began a daily meditation practice over 48 years ago and have never stopped. Meditation brings us to the deep silence (with practice) within our minds. That silence is powerful. To my thinking, music arises out of silence, and the subtleties of music--the punctuation, phrasing and expression, are all in relation to silence. Get familiar with your own whether it be a walk in the woods or meditation or some other way.


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## GNP (Jul 20, 2020)

Innovation is a very tricky thing.

Treat it practically and out of necessity, and it'll treat you well.

Treat it like some unsustainable gameshow, and it'll treat you back the same way.

Learn to pace yourself. Being the "most innovative" is not a gameshow competition - it's a means of survival.


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## bill5 (Jul 23, 2020)

bill5 said:


> I have an idea; let's all act like adults and stick to the thread topic.





Dave Connor said:


> Hang on Einstein and I’ll walk you through this.


Yeah that's pretty much the response I expected. Done wasting keystrokes on you.

Whoever said "spend less time on online forums" you win the prize for best response.


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## Dave Connor (Jul 23, 2020)

bill5 said:


> Yeah that's pretty much the response I expected. Done wasting keystrokes on you.
> 
> Whoever said "spend less time on online forums" you win the prize for best response.


You were having fits over the most basic advice anyone can give someone - in _any _field of knowledge: _study what has gone before. _Adding to that I said, _study the simple rather than the complex to start with. _Again, you were parsing and reacting to these very simple suggestions. You were also unable to distinguish between studying the style of something as opposed to it’s fundamental working parts. Each time you were a little more outraged. You also admonished everyone not to act childish after _liking _one of the more childish responses. You finally insulted me (being overtaken in your outrage) by asking if I read my own posts. I returned the favor. Even so, I explained the difference between style and what’s literally under the hood - of a car - and how it has zero to do with style.

In your last post you have left the argument - offering nothing in support of your earlier position(s). Not surprised.


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## Keith Theodosiou (Jul 23, 2020)

Unknown said:


> For those of you experienced composers/arrangers what one important piece of advice would you give to a newbie who wants to join the industry that you wished someone else told you when you first started?


Listen to EVERY bit of advice that anyone gives you then decide for yourself what ones are going to help you achieve what YOU want to do in life.


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## ed buller (Jul 24, 2020)

write something everyday


best

e


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