Employment Opportunities For Composers

What are the employment opportunities that would be available for composers, especially amateur composers? Have any of you had experience with employment as a composer? What are the chances of an amateur and unknown composer like me - and maybe like you - being employed and making a living (or at least some money) out of composing? Are there freelance assignments? And if so, where should one look?

well, I know for sure that you have a much higher chance making money composing for band than symphony orchestra, since band doesn't really have Beethoven's 9th, or anything like that, other than that, I can't really give any advice that would be fair of me to give (you know, being 16 and all)

What are the employment opportunities that would be available for composers, especially amateur composers?

There's lots. The problem is there's also lots of competent composers out there.

Have any of you had experience with employment as a composer?

Yes, I've been commissioned and I've worked in video game/film freelance.

What are the chances of an amateur and unknown composer like me - and maybe like you - being employed and making a living (or at least some money) out of composing?

Next to none. An unknown in most music fields means nothing. You have to make music that is absolutely top-notch in order to survive. You won't making a living until people know your music and what to play it on a regular basis. Until then you have to find a way to feed yourself without relying on your composition alone.

Are there freelance assignments? And if so, where should one look?

Yes, lots of them. Just make connections with people you know. If your music is good then people will take notice. A premiere with an influential group or director can do wonders for your networking base. Also, go to concerts in your area and similar to your field. You never know who you might run into!

The problem is there's also lots of competent composers out there.

And I haven't really been discovered yet :P ...

Not much to add to Tokke's comments, other than to reiterate the importance of doing things for free to improve your craft and make connections. Also as important, as far as I can see, is being known as a performer. There are a lot more opportunities to be asked to play than to write, but if you make friends through your playing it gives you a base. All the arrangements and compositions I have been asked to write have come from people who knew me as a performer before they learned I was also a composer. If you're good at one there is a degree of expectation that you will be good at the other.

Competitions are another way in, again as they give you a base and something to back up your abilities if you win or are commended. Some even have a recording and/or publishing prize which will be a massive boost to your career chances. I can't say it often enough though: connections are the key to doing anything in music. You need to make as many people as possible know who you are, what you do and how good you are at it.

Well said Tokke!

If I remember correctly Michael Giacchino started as an intern at Universal Studios. It was a 6 month internship and didn't pay, but that internship led to his encounter with Spielberg and JJ Abrams and the rest is history. So moral of the story: do stuff for free to get yourself known, as stated above.

FYI: Less than 10% of music composers are able to make a living out of composing music without additional income. A lot of composers have other revenue streams in place too.

Ah Phil, come on...Most of the composers being played are college profs! The ones I can think of that are not are Elliott Carter, Maslanka, Gabriella Frank, and Whitacre.

Ah Phil, come on...Most of the composers being played are college profs! The ones I can think of that are not are Elliott Carter, Maslanka, Gabriella Frank, and Whitacre.

Steve Reich, Philip Glass, Michael Gordon, Sofia Gubaidulina (as far as I know), John Mackey, Jennifer Higdon, Libby Larsen, maybe Arvo Part... Though these people often work closely with colleges giving lectures or writing music for college ensembles. And there are far more outside of the "concert music" world in jazz, film/game music, and pop.

Anyway, are you a "classical" composer, luderart? If so, there frankly are not many opportunities for you to make money on your compositions as a budding composer. Such composers typically perform, teach, work in music publishing, or do something unrelated to pay the bills. I'd wager that most classical composers that make significant money on their works have at least a master's degree in something music-related (if they live in the U.S.).

Source?

- The Incorporated Society Of Musicians (ISM). They stated this around 10 years ago. Now there are a zillion more composers because everyone has home studios these days. So it's likely the percentage has dropped since then too.

Interesting...I wonder what criteria was used to determine the number of 'composers' for the study.

I can't remember what criteria was used. The ISM are a credible organisation though so I guess they wouldn't have been too far off.

Have a great day!

Jennifer Higdon is teaching now but thanks for adding those composers. I knew that there were more!

I, for example, work as a high school teacher. In my country, you cannot survive just by being a composer (especially outside commercial or pop music).

I'm trying to decide whether or not I should go into teaching as a college professor, or teaching in public schools along with composing. I feel like being a band director would be more enjoyable, and more inspiring since people tend to lose hope, inspiration, and dreams once they get to college, but a college professor may have more benefits, plus I wouldn't have to double major. Any thoughts?

In my country, you cannot survive just by being a composer (especially outside commercial or pop music).

Can't change a single word to describe my country.