After the Hard Work of Composing — More Work

Composers like to think that writing is a solo act.

We sit alone at the piano facing a blank score page searching for melodic motifs, colorful harmonies, and captivating rhythms. Then we nurture those musical seeds into a cohesive form. All the while, our muse prods us relentlessly, until finally, it sets our hearts and minds free.

At that point — whether it’s short piece for a duo or an extended work requiring a full-blown orchestra — we let out a deep sigh of relief, pat ourselves on the back, and think, “another job well done.”

But putting down our pencil doesn't mean the work is complete. In fact, it’s often the beginning of a whole next phase — one that’s, in some ways, just as demanding.

Of course, one could allow themselves to be finished at this point. It’s perfectly okay to write a piece, walk away, and move on to the next project. But most composers have a strong desire to bring their music to the public. And that requires a whole other level of effort.

To start, you must create individual parts for each instrument. This is known as “music copying.” Most composers know how to do this themselves and often do. If you are on a deadline though (and have the budget!) you might hire a professional copyist.

The next step is hearing your piece played. Because as much as we rely on tools like Sibelius for instant playback, there’s no substitute for real musicians. That means setting up a rehearsal. In a high-velocity musical environment like New York, that’s not as easy as it sounds. Good musicians are often over-scheduled, so getting on the phone and juggling everyone’s calendars can become time consuming and not a little frustrating. Again, you can hire someone (known as a contractor) to do this for you.

But let’s say you got everyone scheduled and together, and the rehearsal went well. You’re itching to get your creation in front of an audience, and that requires some kind of venue. It could be a club or a small concert hall.  Perhaps a park bandshell or a large arena. Or maybe you’re going straight to a recording studio to lay it down for posterity (in which case, a good sound engineer is worth his/her weight in gold).

But think of all the great, deserving music that never reached a wider audience. To avoid that fate, you need to publicize your work. Once again, you can attempt it on your own or hire professional publicist (I prefer the latter).

After all, for most of us it’s not enough to just perform and/or record our music and watch it float off sadly into the ether. We long for an audience to feel the emotions and care that went into our creations (hence the publicist). Because the audience is an essential part of our composition — just as much as the copyists, musicians, contractors, publicists, and engineers.

But along the way, the music can change. Musicians bring their own interpretations to a piece, even if they are excellent sight readers. And there are plenty of variables in the recording process.

Then there’s the audience. As with most art, music starts out as a germ of an idea in the creators’ head. But it’s interpreted by an audience in any way, shape or form they desire — any of which might have little to do with the original ideas or emotions.

That can feel like the bane of the composer. But it’s also beautiful — and the natural order of things. Because of its abstract nature, an audience may hear our music in a completely different way. But as with all art, creators must realize that no matter how tightly they hold on to their creation, the “beholders” might see it and feel it in a wholly different way.

And in some cases, the work isn’t tightly held. But the audience has its own ideas.

Ravel, after all, wrote Bolero as an academic exercise. But was dumfounded when audiences made it his best-known piece. And many pop songwriters will admit that their biggest hits were the throwaways they knocked together in 30 minutes.

In my previous writing, I used the example of a stone thrown into a pool to represent a creative idea being born. The stone emanates tight, well-defined ripples at first, which then slowly abate and lose definition. A composition starts in a similar fashion. But as it moves out into the world, it transforms in subtle — or sometimes profound — ways that may take it far from the composer’s first intentions.

The people with whom we choose to work have a big role in shaping the music. It can be unnerving to see your piece change, even in subtle ways. But the synergy between great musicians, each bringing their own creativity to a piece, can also be exciting. It’s the essence of live music.

So, composers can work alone or with a team of chosen professionals. Either way, there may be challenges as they bring their music to the public. As for me, I started out as a solo act. But I’m deeply grateful for the amazing people who continue to assist me in my creative process.

Rich Shemaria

June 16, 2026