{"id":7672,"date":"2017-04-30T10:39:04","date_gmt":"2017-04-30T09:39:04","guid":{"rendered":"http:\/\/freelancecomposer.com\/?page_id=7672"},"modified":"2017-04-30T12:08:56","modified_gmt":"2017-04-30T11:08:56","slug":"home-portfolio-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2-2","status":"publish","type":"page","link":"http:\/\/freelancecomposer.com\/","title":{"rendered":"Freelance Composer Final 20170430"},"content":{"rendered":"

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BECOMING A PROFESSIONAL FREELANCE COMPOSER<\/h2><\/div>
Making the transition from music graduate to pro<\/div><\/div>[vc_row_inner gap=”35″ css=”.vc_custom_1489609360184{padding-top: 50px !important;padding-bottom: 50px !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1488773788046{padding-top: 25px !important;}”][vc_icon type=”entypo” icon_entypo=”entypo-icon entypo-icon-graduation-cap” color=”custom” size=”xl” align=”center” custom_color=”#b7b7b7″][vc_column_text]<\/p>\n

Gaining a degree in music or being self-taught to an advanced level is a great starting-point for a career in composing, but those taking their first steps into the professional world often find that significant gaps in their knowledge and understanding – in business, but\u00a0particularly\u00a0in how to make\u00a0their existing writing strengths work in their favour.<\/p>\n

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So how do you convert your musical ability into a career? I currently provide a one-to-one mentoring service for those starting out, providing them with personalised\u00a0career development advice vital to\u00a0making the\u00a0transition to professional freelance composer. Read how it works below and use the form to take your first steps into the pro world.<\/p>\n

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ABOUT ME<\/h2><\/div><\/div>[vc_row_inner css=”.vc_custom_1488751344811{padding-top: 25px !important;padding-bottom: 25px !important;}”][vc_column_inner width=”2\/3″][vc_column_text]<\/p>\n

My name is Joe Glasman<\/h3>\n

I\u2019m a composer who\u2019s won over thirty international awards for writing and arranging music to picture, including Clio Awards, Mobius, D&AD, Promax, British Television advertising awards, the New York Festival and more.<\/p>\n

I am the owner and MD of Hum, a music production company based in London, as well as our globally distributed label \u2018Hum Tracks\u2019, renowned for quirky,\u00a0distinctive artist-driven\u00a0music – where\u00a0I take particular pleasure in producing and guiding our younger writers’ work.<\/p>\n

I have for many years offered\u00a0internships for music graduates at Hum, and in association with the University of Leeds and the University of Huddersfield I have provided\u00a0placements for music students on their ‘year in industry’ programmes.<\/p>\n

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I am a senior member of D&AD, BASCA, PRS and PCAM and have participated on expert panels on a range of subjects, including Audio Branding, Production (Library) Music and Commercials.\u00a0I have represented composers and their interests to politicians at the Houses of Parliament and\u00a0elsewhere.<\/p>\n

At this point of my career, I feel as fulfilled passing on my knowledge and mentoring younger composers as I do in writing new music myself. The music industry is \u2013 if anything – more complex and challenging than it was when I started out, and I\u2019m always gratified when I can work to help aspiring composers to enjoy the kind of career I\u2019ve had.<\/p>\n

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MENTORING<\/h2><\/div><\/div>[vc_row_inner content_placement=”top” gap=”35″ css=”.vc_custom_1488246835608{padding-top: 10px !important;}”][vc_column_inner width=”1\/2″][vc_column_text]<\/p>\n

Composers I mentor are generally post-graduates, or have achieved a professional or near-professional level of expertise within at least one musical genre as a composer or producer. I mentor at my studio in central London, in the UK, but Skype sessions are available.<\/p>\n

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All my mentoring is one-to-one. It\u2019s about filling in the vital practical gaps in your knowledge that degree courses often\u00a0leave vacant, and in analysing your work on an expert one-to-one basis for its viability in the world of commissioned music.<\/p>\n

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Areas in which I mentor are:<\/h2><\/div><\/div>[\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”top” css=”.vc_custom_1488404119257{padding-top: 25px !important;padding-bottom: 50px !important;}”][vc_column width=”1\/6″][\/vc_column][vc_column width=”4\/6″][vc_row_inner equal_height=”yes” content_placement=”top”][vc_column_inner width=”1\/6″][\/vc_column_inner][vc_column_inner width=”1\/6″][vc_icon type=”entypo” icon_entypo=”entypo-icon entypo-icon-users” color=”custom” size=”xl” custom_color=”#b7b7b7″][\/vc_column_inner][vc_column_inner width=”4\/6″][vc_column_text]<\/p>\n

Specialising: the sorting hat<\/h3>\n

All composers have strengths and weaknesses that make them more suited to some areas than others: so which is right\u00a0for you? Commercials? Audio Branding & idents? Film? Production (Library) Music? Or as an Artist in your own right? They each also have their own culture, economy & ways of operating. One person can’t have the knowledge, breadth and contacts to succeed in all of them: I will help you understand what each offers and how it works, then assess which is best for you to focus on.<\/p>\n

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Composition<\/h3>\n

In order to succeed in such a crowded market-place you must stand out in some significant way: by having a distinctive voice, sound or approach that gives you an individual musical personality. One of the key jobs I will do as a mentor is to help you analyse and understand where that originality and strength might lie and then help you bring\u00a0it out.<\/p>\n

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Publishing<\/h3>\n

No composer should venture into the profession without a solid understanding of the fundamentals of publishing. The large companies that commission composers have expert publishing lawyers drawing up their contracts who lay traps for the unwary. Fees you may earn on commissions need to be balanced against how much you may earn in royalties, and assessing this is essential. This area covers membership of a collective rights society such as PRS and the nature of your relationship with it.<\/p>\n

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Composer vs Producer\/Engineer<\/h3>\n

To what extent are you one and not the other? Trained classical composers often lack the ability to present projects to a pitch-winning standard, but the reverse is often true of Producers, whose arranging and composition skills may be lacking. I will give you an honest assessment of where the balance of your skills lie in this respect as well and show you how to write and present at the pitching stage, where budgets for musicians and studio time may be non-existent.<\/p>\n

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Self-Promotion & Networking<\/h3>\n

What\u2019s the best way to present and promote yourself? How much time and money do you need to invest in it? Which industry organisations and unions should you be a member of? I will explain the options and help you create an effective and sustainable plan.<\/p>\n

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Contracts<\/h3>\n

I have extensive experience in the kinds of contracts you will likely come up against and can provide you with a grounding in how they work\u00a0differently for composers in differing\u00a0professional environments.<\/p>\n

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Working with clients<\/h3>\n

When you do get work, managing your clients\u2019 expectations and handling their queries and feedback can be challenging, especially when \u2013 as is likely the case – you\u2019re the kind of person who is more comfortable working alone in a room for long periods! There are certain various standard types of client feedback which, once you understand them, make them easier to handle. Saying ‘No’ can sometimes be difficult, but can be essential. I will help you understand how to negotiate this key hurdle to professional success.<\/p>\n

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Assessment for work at Hum \/ Humtracks<\/h3>\n

Any approaches are also reviewed for suitability for contribution to Hum\u2019s production music library or ongoing commissioned productions. It\u2019s always a pleasure when we get to commission someone who starts off as an intern or mentoree.<\/p>\n

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The Master-Classroom: my own studio at Hum where I write and mentor.<\/span><\/p>\n

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Hum’s discussion area – chilling, listening and talking<\/span><\/p>\n

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MY FEES<\/h2><\/div>
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Mentoring is on a fee-basis, based on an hourly rate. * \u00a0I offer a variety of packages, including:<\/p>\n

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Master-Class Review<\/h3>\n

A full overview, consisting of: a\u00a0review\u00a0by me of\u00a0your existing portfolio in advance of a meeting;\u00a0a one-to-one meeting\u00a0at my studio (or over Skype) to review\u00a0and advise on all the major areas above my mentoring focuses on. This would take around 2-3 hours; \u00a0I would afterwards send you a written report summarising my recommendations. Evenings are available.<\/p>\n

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Hourly Consultancy<\/h3>\n

Guidance and coaching in any of the areas listed above where you feel you need it most. Evenings are available.\u00a0(minimum 2 hours).<\/p>\n

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Master-Class Release Project<\/h3>\n

For writers of proven ability, we may offer\u00a0the option to create an EP project for the Hum Tracks label\u00a0for release.<\/p>\n

+ Read more<\/a>

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Over the course of 1-2 months you will learn to write and structure a project\u00a0for release on\u00a0our label from start to finish, using it as a focus to improve all aspects of your understanding of the industry, metadata as well as composition and production. It goes without saying that in order for me to take someone on in this capacity, their music writing will already need to show particular promise.<\/div>\n

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GET IN TOUCH<\/h2><\/div><\/div>[\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1488246720853{padding-top: 25px !important;padding-bottom: 25px !important;}”][vc_column_inner el_class=”contact-text” width=”1\/2″][vc_column_text]<\/p>\n

We’d love to hear from you<\/h3>\n

Fees available on request.<\/p>\n

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