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Many people think that all composers are dead men with puffy white hair. It’s not true. There are plenty of us that are showing signs of life, we’re just sequestered at home trying to find time to apply for grants, answer e-mail, chase down payments, send out scores, and maybe even write music.
Back in October I was interviewed by Cornelius Dufallo, a fine violinist who recently performed a piece of mine. He sent me a list of questions, the last being, “Any advice for young composers?”
Since the mid/late 1990s, music libraries have exploded and the vast majority of scores for television are done with “electronic” samplers, sometimes with some live players added.
We offer a few tips for those looking to break into the industry.
I’m currently reading the very interesting 48 Laws of Power, which is sort of an updated version of Machiavelli’s controversial work but with a modern perspective. I started thinking, becoming a world-renowned composer is a process not unlike overthrowing a medieval princedom, so what would Machiavelli’s advice be to young 21st-century composers?
There is no single place called “Hollywood.” There is, alas, no one place you can send music for it to be considered for a film—it is not like writing a letter to Santa Claus and addressing it to the North Pole, although that might bring you better luck.