Releasing music as a composer isn’t just about finishing a track, but involves many forms of creativity in design, marketing, and more.

In this episode of The Composer’s Life, I talk about the process of releasing music today: from where to start writing your music, to understanding distribution platforms, and getting your music onto streaming services like Spotify and Apple Music.

Whether you’re releasing concert music, film cues, or independent work, this episode breaks down the practical and creative sides of getting your music heard.

To listen to my EP as mentioned in the episode, click your preference to listen below:

Spotify: click here

Amazon Music: click here

Apple Music: click here

And you can watch my music video of Ho'omau: click here

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Video game music sits at the intersection of composition, sound design, and interactive storytelling, and in this episode, I sit down with composer and sound designer Michael Sweet to explore how those worlds come together in practice.

We talk about his work in video games, how sound and music are built for interactivity rather than linear storytelling, and what it means to compose in an environment where the player shapes the experience.

The conversation also looks at the creative and technical side of game audio — from designing sound worlds to building adaptive music systems — and how that changes the way you think about composing altogether.

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Claudio Ragazzi is an Emmy and Grammy award-winning composer, guitarist, and professor at Berklee College of Music — and in this episode, I sit down with him to talk about his work in the film and TV industry as a composer.

We explore how his career has developed across composing, performing, and teaching, and what it means to build a long-term creative life in music. From scoring films and documentaries to working with some of the world’s leading musicians, learn from Claudio's rich experience - and find our why his dream job is to compose for The Teletubbies.

Learn more about Claudio:

Website: https://www.claudioragazzi.com/film-tv

IMDb: https://www.imdb.com/name/nm0706420/?ref_=fn_al_nm_1

Spotify: https://open.spotify.com/artist/7x9gv5rJtLNiMQ0JmeMCuk

Berklee Interviews is a series of interviews with professors, heads of departments, and professionals from Berklee College of Music.

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In part two of my conversation with film and TV composer Blair Mowat, we move further into the realities of working as a composer — from the day to day creative process to navigating the film and media industry.

We talk about how projects develop in practice, how ideas are shaped under real deadlines, and what changes once composing becomes your profession rather than something you’re working towards.

About Blair:

Blair Mowat has composed over 200 scores for films, theater, and television, with clients ranging from The English National Ballet and The Royal Shakespeare Company to the likes of BBC, SKY, and ITV. He is a BAFTA-nominated, award winning composer with over 15 years’ experience and is considered a fast-rising star in the industry. His work includes Class, an acclaimed 8-part Doctor Who spin-off series on BBC One, ITV’s international hit show McDonalds & Dodds, and SKY’s The Amazing Mr. Blunden, written and directed by Mark Gatiss. He was recently nominated for a BAFTA for his score for ITV's Nolly.

Website: https://www.blairmowat.co.uk/

Instagram: click here

Spotify: click here

Watch Nolly: click here

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Blair Mowat is a film and TV composer whose work spans drama, documentary, and large-scale productions — and in this first part of our conversation, we talk about how his career developed and what led him into composing for screen.

We get into the early stages of becoming a composer, how opportunities begin to take shape, and what it actually looks like to move from learning into professional work.

About Blair:

Blair Mowat has composed over 200 scores for films, theater, and television, with clients ranging from The English National Ballet and The Royal Shakespeare Company to the likes of BBC, SKY, and ITV. He is a BAFTA-nominated, award winning composer with over 15 years’ experience and is considered a fast-rising star in the industry. His work includes Class, an acclaimed 8-part Doctor Who spin-off series on BBC One, ITV’s international hit show McDonalds & Dodds, and SKY’s The Amazing Mr. Blunden, written and directed by Mark Gatiss. He was recently nominated for a BAFTA for his score for ITV's Nolly.

Website: https://www.blairmowat.co.uk/

Instagram: click here

Spotify: click here

Watch Nolly: click here

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Kevin Lax and Robert Lydecker are film composers whose work spans film, television, and media — and in this episode, I sit down with them to talk about their approach to composing and working in the film industry.

We get into how they collaborate and how projects develop from idea to final score.

Robert Lydecker:

Robert Lydecker is an Emmy-winning, classically-trained composer who grew up playing drums in punk bands.  

Credits include Orion and the Dark, Kung Fu Panda: The Dragon Knight, xXx: Return of Xander Cage, Iron Fist season two,  Lethal Weapon seasons two and three, ABC’s Designated Survivor (co-scored with Sean Callery), and the Fox series Sleepy Hollow (co-scored with Brian Tyler).

Outside of film music, he’s been involved with work in food justice, guerilla gardening, and habitat restoration.

Website: lydeckermusic.com
Instagram: click here
YouTube: click here
Spotify: click here

Kevin Lax:

Kevin Lax is also an Emmy award winning composer, rapidly emerging for his compelling, versatile, and skillfully written music. He started his music journey studying piano, voice and music composition, and attended USC's Thornton School of Music for undergraduate and graduate studies in composing.

Having scored 2018's summer blockbuster The First Purge, he recently wrapped up work on Dreamworks' feature film Orion and the Dark (written by Charlie Kaufman) and TV series Kung Fu Panda: The Dragon Knight. Other notable credits include work on Apple TV's See and Foundation, Netflix's The Witcher: Blood Origin,  ABC's Agents of Shield, as well as AMC's Walking Dead.

Outside of music, Kevin enjoys exploring the great outdoors, teaching, soccer, and environmentalism.

Website: https://kevinlax.com/
Instagram: click here
Spotify: click here

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Locrian is the mode that doesn’t quite settle anywhere. It feels unstable from the very first note — not because something is wrong, but because of the way it refuses to resolve in a traditional western sense.

In this final episode of The Composer’s Life modes series, I look at Locrian and what happens when you try to compose with a sound that doesn’t naturally want to feel like “home.”

Rather than treating it as a limitation, this episode leans into what makes it unique: its tension, its ambiguity, and the way it exists outside of the usual sense of stability that most music is built on.

It’s a reminder that not every musical idea needs to resolve cleanly to still be meaningful.

This is the last of a seven part series where I break down each musical mode so you can use in your own composing.

To get more help with the concept, here's an article that contains music examples, video explanations, and a pdf with all the Locrian scales:

Click Here

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Aeolian is the sound most people associate with sadness in music — but it’s more subtle than that. It doesn’t push forward like some other modes. It sits a little lower, feels more internal, and tends to settle rather than resolve.

Today, I continue the modes series by looking at Aeolian and how its natural minor sound shapes the emotional direction of a piece when you start composing with it. What makes it interesting isn’t just that it’s “minor”, but the way it removes urgency — leaving space for something quieter, more reflective, and less driven.

This is the sixth of a seven part series where I break down each musical mode so you can use in your own composing.

To get more help with the concept, here's an article that contains music examples, video explanations, and a pdf with all the Aeolian scales:

Click Here

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There’s something immediately relaxed about Mixolydian, but not in a neutral way — it has attitude. A kind of laid-back tension that comes from that one note that shifts everything slightly out of “standard” major territory.

In this episode of The Composer’s Life, I continue the modes series by looking at Mixolydian and how that subtle change in the scale creates a completely different energy when you start composing with it.

This is the fifth of a seven part series where I break down each musical mode so you can use in your own composing.

To get more help with the concept, here's an article that contains music examples, video explanations, and a pdf with all the Mixolydian scales:

Click Here

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Lydian has a very immediate “lift” to it — like the sound is constantly moving upward. There’s something unusually bright and open about it, almost weightless.

Today we continue the modes series by exploring how Lydian behaves when you actually start composing with it, and why that raised fourth changes the entire color of a musical idea. Instead of treating it like a variation of a major scale, this is about hearing it as its own sound world — one that naturally leans toward lightness, space, and cinematic movement.

This is the fourth of a seven part series where I break down each musical mode so you can use in your own composing.

To get more help with the concept, here's an article that contains music examples, video explanations, and a pdf with all the Lydian scales:

Click Here

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Phrygian has a very immediate sound — it doesn’t take long to recognize it once you hear that first half-step. There’s a tension built into it that feels unstable in a very specific way, which can produce incredibly unique sounding music.

In this episode of The Composer’s Life, I continue the modes series by looking at Phrygian and how that distinctive flattened second changes the direction of musical ideas when you start composing with it.

This is the third of a seven part series where I break down each musical mode so you can use in your own composing.

To get more help with the concept, here's an article that contains music examples, video explanations, and a pdf with all the Phrygian scales:

Click Here

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Dorian is one of those modes that sits in a really interesting place — it’s minor, but without the dark qualities you might expect. It has a sense of movement in it, something slightly open, slightly lifted, and the one note change is enough to completely shift the mood.

In this episode of The Composer’s Life, I explore how the Dorian mode behaves when you start writing with it, and why it often feels both melancholic and strangely hopeful at the same time.

This is the second of a seven part series where I break down each musical mode so you can use in your own composing.

To get more help with the concept, here's an article that contains music examples, video explanations, and a pdf with all the Dorian scales:

Click Here

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Erich Stem began composing for orchestras at just twelve years old — and has continued building a career around writing music ever since.

In this episode of The Composer’s Life, I sit down with Erich to talk about his journey as a composer, how his approach to writing music has developed over time, and what it means to build a long-term creative life in orchestral composition.

We also explore the balance between composing, teaching, and everyday life, along with the decisions and focus required to sustain a career in music over many years.

About Erich:

Erich Stem is a composer of stunning music for orchestras and ensembles, as well as a professor of music composition at Indiana University. 

Erich's Website: https://www.erichstem.net/

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Ionian is the mode most people already know — even if they don’t realize it yet. It’s the sound behind a huge amount of familiar music, and in this episode I start a mini-series looking at each mode and how it can be used when composing.

Instead of treating it as theory on paper, I look at Ionian as something you can actually write with — how it behaves, how it feels under your fingers, and what happens when you start treating it as a creative tool rather than just a scale.

This is the first of a seven part series where I break down each musical mode so you can use in your own composing.

To get more help with the concept, here's an article that contains visuals, music examples, video explanations, and a pdf of all the Ionian scales:

Click Here

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Composing for a client changes the way you think about music. Instead of writing purely for yourself, you’re responding to a brief, a story, or someone else’s creative vision — and learning how to balance your own instincts with external expectations.

In this episode of The Composer’s Life, I talk about what shifts when you start writing music for other people, and how the process of composing becomes more collaborative and responsive.

It’s not just about delivering music, but understanding communication, feedback, and how to shape ideas in a way that serves the project.

For anyone interested in media composing, film music, or working professionally as a composer, this is where creative practice starts to meet real-world expectations.

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All composers have it- an endless supply of ideas and projects in their heads, starting everything but finishing very little of it. However, when working, more does not always mean more success. 

How do you decide what's most important to work on, and what helps you see a project through? Join me in talking about how to figure out for yourself what you should say "no" and "yes" to, and how to work on what's essential!

The book in reference is Essentialism by Greg McKeown.

It's a great one, and I'd definitely suggest reading it to help you navigate your creative ideas!

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By the time you’ve written a musical idea and started developing it, the real challenge becomes knowing when to stop changing things — and when to let the music speak for itself.

In this final part of the series, I continue working with the material from previous episodes and focus on how musical ideas settle into their final shape through repetition, contrast, and small adjustments.

Sometimes composing isn’t about adding more, but about recognising what already works and refining it until it feels complete.

This episode is about stepping back from the material you’ve built and learning to hear when a piece has found its direction.

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Once you’ve written a musical idea, the next question is always: what now?

This episode continues from Part 1 and explores what happens after the first phrase is down on the page. We look at how small changes can create variation, how motifs begin to take shape, and how phrases naturally evolve.

This is less about starting from scratch, and more about learning what to do once something already exists — and how composing often begins to feel like responding to your own material.

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Music theory often gets treated like something separate from composing — as if you learn it first, and then apply it later. But in reality, most composers use theory in a much more fluid way, often without even thinking about it consciously.

In this episode of The Composer’s Life, I talk about how music theory actually shows up in the composing process, and how it can support ideas rather than restrict them.

Instead of thinking of theory as rules to follow, this is about using it as a way to understand what you’re hearing and guide your creative decisions when you write music. It’s less about knowing everything, and more about recognizing what’s already happening in your music as you compose.

The book Fundamentals of Musical Composition by Arnold Schoenberg is referenced along with the following pieces:
Symphony No. 5, 3rd Movement by Beethoven
Skylark by Glinka
Marriage of Figaro (Ouverture) K. 492 by Mozart

Drum loop samples were used from Dale, YouTube channel dalesnale https://www.youtube.com/watch?v=Lm0hN3Z5Jxc 

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Networking is one of those things nobody really teaches you as a composer — but it often ends up being the thing that leads to actual work.

Today I talk about what networking looks like in practice and how composers tend to find opportunities in the real world. It’s less about “selling yourself” and more about being part of a community where work naturally comes through people you know and trust.

I also explore how finding work in music composition often happens indirectly — through collaborations, recommendations, and long-term relationships rather than direct applications or cold outreach.

If you’re trying to build a career as a media composer, this episode is about understanding how the industry actually works behind the scenes, and what tends to make a difference over time.

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This episode is a conversation with video game composer and sound designer Virginia Leo, whose work also includes adaptive & interactive media, VR, and film.

We talk about how she approaches writing music for games and what it’s like working as a media composer in a fast-moving industry.

She's a graduate from dBs Sound & Music Institute in Bristol with a Bachelor's Honours Degree in Sound for Games and Apps. She's been widely recognized for her achievements in composing at the yearly Global Game Jam, scoring the nature documentary Peregrine Coast  by Andrew Salter, and for her score of the game The Baby in Yellow.

To find out more about Virginia, you can go to: https://www.virginia-leo.com/ 

And you can check out her YouTube channel: click here

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Starting to compose music can feel like you need to “know what you’re doing” before you actually begin.

But in reality, most composers don’t start with a perfect plan — they start with a sound, a feeling, or even just messing around until something sticks.

In this episode, I talk about what it actually looks like to begin composing from scratch, and why the hardest part is often just getting started at all.

Rather than thinking in big, finished ideas, this is about learning how to build small musical thoughts and let them grow over time. That shift — from waiting for inspiration to actively making music — is where composition really begins.

If you’re new to composing or feel stuck staring at a blank page, this episode is about removing that pressure and just getting something down.

Here's a free resource you can use for composition ideas: click here

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Transcribing music by ear is one of those skills that feels impossible until it suddenly isn’t.

In this episode of The Composer’s Life, I talk through how I approach ear transcription — not as a perfect process, but as something you get better at through repetition, patience, and breaking things down into smaller parts.

When you start listening more closely, you begin to hear patterns instead of just sounds. Melodies become shapes, harmony becomes movement, and rhythm starts to make more sense without needing to look at it on paper.

This episode is about that shift — from hearing music passively to actively working it out by ear, and why that process is so valuable for anyone learning composition or working as a composer.

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A career in composition doesn’t always follow a single path. Today I sit down with composer Richard Carrick to talk about his work across composition, performance, and academia, and how those different roles interact over time.

We explore what it means to build a life in music that moves between creative practice and teaching, and how a composing career can evolve in unexpected directions depending on the opportunities and interests that emerge along the way.

About Richard:

Richard Carrick is the chair of the Composition Department at Berklee College of Music. He has a versatile background both in the countries he's lived in and the career he's had as a composer. 

Check out his website and music: https://www.richardcarrick.com/

Berklee Interviews is a series of interviews with professors, chairs, and professionals from Berklee College of Music.

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Composition in our time isn't just sitting down to write notes on a piece of staff paper. We live in an age where technology can be used to enhance sound, hear what our music will sound like without live players, or use it to put our music to different forms of media.

Here's a list of resources I mention in the episode:

ProTools, Cubase, Logic Pro, Ableton Live, Digital Performer, Cakewalk, Spitfire Audio, Native Instruments, Kontakt, Finale, Sibelius, & MuseScore.

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Some days composing feels exciting and full of ideas. Other days it can feel like nothing is working and you’re getting nowhere.

In this episode of The Composer’s Life, I talk about that part of the creative process that every composer goes through at some point — the moments where you feel like giving up.

This is a short reflection on persistence in music composition, especially when you’re still developing your voice or trying to improve your skills. I share thoughts on why those difficult periods are often part of the process, and how continuing (even in small steps) can make a big difference over time.

If you’re learning composition or working as a media composer, this episode is really just a reminder that progress isn’t always obvious while you’re in it.

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From developing creative workflow habits to honing your music theory and composition techniques, explore what actually matters in real composing careers — not just musical talent.

You’ll hear practical advice on strengthening your craft, managing creative challenges, and building confidence as a music creator. Whether you're just beginning, aspiring to work as a media composer, or seeking real music composition tips, this episode offers insights you can apply right away.

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Whether you’re a beginner or an emerging composer, this episode offers real composers insights into how the creative process works in practice—not just theory.

Learn how composers approach the creative workflow, from generating initial ideas through to structure, development, and refinement. This episode shares practical music composition tips and music composition advice for anyone interested in learning how to compose music more effectively.

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And finally, if you'd like to read more on this topic, click here.

Get an overview of what to expect from the show, including conversations about music composition, music theory, creative workflow, and real-life insights into working as a professional composer.

Whether you’re interested in film music, learning how to compose, or understanding what composers actually do, this episode sets the foundation for everything that follows.

If you'd like to learn more or stay updated, you can check out the links below:

Website: https://www.nadiamair.com/the-composers-life

Newsletter: Sign up here!

Personal website: Get to know me better here

Some of the most famous composers in history had surprisingly strange routines when it came to creativity — from strict daily habits to unusual rituals and superstitions.

In this episode of The Composer’s Life, we look at some of these quirks and creative behaviours and ask a simple question: did they actually make a difference to the music they wrote?

More broadly, this episode explores the relationship between routine, mindset, and creativity — and whether structure helps composers, or whether it’s just something we attach meaning to after the fact.

Here are some references from the episode:

Watch the YouTube Video of me trying out these weird rituals for a week: click here

Watch the music video from my EP, The Storm: click here

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A quick update from The Composer’s Life — I’ve just launched a new newsletter.

In this short episode, I share what it is, why I’ve started it, and what you can expect if you decide to join.

If you’ve been enjoying the podcast and want something more ongoing, this is where I’ll be sharing it.

Thanks for supporting the show, and if you'd like to sign up to the newsletter, you can do it here: 

Click Here to Sign UP!

Thanks for your support, and can't wait for you to join our community.

In part two of my conversation with Sheldon Mirowitz, we move into the day-to-day reality of composing — how ideas are shaped, refined, and carried through to finished work.

We talk about the balance between exploration and editing, how composers develop their instincts over time, and what it actually means to make creative choices when you’re working on real projects, and how remembering your purpose as a composer will help you keep focused on what matters.

Berklee Interviews is a series of interviews with professors, chairs, and professionals from Berklee College of Music. 

If you liked this episode, you can check out an article I wrote inspired by Sheldon's thoughts on our purpose as composers by clicking here.

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Some composers talk about what they do. Others talk about how they think.

In this episode of The Composer’s Life, I sit down with film and television composer Sheldon Mirowitz to explore his perspective on creativity, composing, and the way ideas take shape over time.

Our conversation moves beyond process into something more reflective — looking at how composers develop their thinking, how creativity can be approached deliberately, and what it means to build a long-term relationship with your own work.

This is Part 1 of a conversation that focuses less on steps and more on perspective — the kind that comes from years of composing, teaching, and working across film and media.

Berklee Interviews is a series of interviews with professors, chairs, and professionals from Berklee College of Music. 

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Timothy Huling is a composer, conductor, and orchestrator whose work spans film, television, video games, and the concert hall. In this episode, I sit down with him to talk about what it means to work across all of those worlds.

We explore how composing changes depending on the medium, from writing for screen to working with live orchestras, and how those different approaches connect.

To hear some of Tim's works, click here 

Berklee Interviews is a series of interviews with professors, chairs, and professionals from Berklee College of Music.

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Claes Nystrom is an Emmy-winning composer and sound designer, recognized for his work on what has been described as the first deepfake-related cybersecurity threat to a democracy. 

In this episode of The Composer’s Life, I sit down with Claes to talk about his career across film, television, and sound design, and how his work has evolved within an industry that’s constantly changing.

We explore both the creative and technical sides of composing — from writing music for screen to working at the intersection of sound, technology, and storytelling.

Learn more about Claes:

Website: http://nystrommusic.com/NM/I.html

North Tuned Piano Series: click here

SoundCloud: https://soundcloud.com/nystrom-music

IMDb: https://www.imdb.com/name/nm1263906/

Berklee Interviews is a series of interviews with professors, chairs, and professionals from Berklee College of Music.

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In this second part of my conversation with composer Daniel Asia, we move deeper into the practical and philosophical side of a composing career: how composers navigate opportunities, develop their voice, and sustain creative work across decades.

Through sharing stories of real experiences and answering questions about how composers can best start, this episode is about the internal and external realities of a composing life, and how to stay focused while taking care of yourself in a realistic way. 

It’s a conversation about longevity in music, and what it really takes to stay active, relevant, and creatively engaged as a composer.

About Daniel:

Daniel Asia was captivated by music from an early age, leading him to study and pursue a lifelong career in composing. His orchestral works have been commissioned & performed by multiple symphony orchestras, including American Composers Orchestra in NYC and Pilsen Philharmonic in Czech Republic, with conductors such as Zdenek Macal, Jesus Lopez-Cobos, and Eiji Oue conducting his works. Daniel has received multiple prestigious grants and fellowships, including the Guggenheim Fellowship and recently had his opera The Tin Angel performed in New York last November (2025). 

If you'd like to get in touch or look at more of Daniel's work, you can do so through his website:

https://www.danielasia.net/

Please like and follow this podcast, as well as leave a review if you like the content. Every listen, button pressed, and comment left keeps it all going, so thank you!

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In this first part of my conversation with composer Daniel Asia — a Yale graduate with a long-standing career in concert and contemporary composition — we explore his path into music and the foundations that shaped his approach to writing.

Rather than focusing only on career milestones, this conversation looks at how a composer’s identity is formed over time: through education, influences, and the gradual development of a personal musical language.

We also touch on the broader world of contemporary composition and what it means to build a sustained creative practice in today’s musical landscape.

About Daniel:

Daniel Asia was captivated by music from an early age, leading him to study and pursue a lifelong career in composing. His orchestral works have been commissioned & performed by multiple symphony orchestras, including American Composers Orchestra in NYC and Pilsen Philharmonic in Czech Republic, with conductors such as Zdenek Macal, Jesus Lopez-Cobos, and Eiji Oue conducting his works. Daniel has received multiple prestigious grants and fellowships, including the Guggenheim Fellowship and recently had his opera The Tin Angel performed in New York last November (2025). 

If you'd like to get in touch or look at more of Daniel's work, you can do so through his website:

https://www.danielasia.net/

Please like and follow this podcast, as well as leave a review if you like the content. Every listen, button pressed, and comment left keeps it all going, so thank you!

To learn more about the podcast, click here.

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If you're looking to learn more about how to take yourself seriously as a musician, create a brand and business around what you do, and want the steps to get to there, you will find your answers in this episode.

Amani Roberts is a coach for musicians, professor of music business, keynote speaker, global performer, renowned DJ, entrepreneur, and USA Today's best-selling author of "The Quiet Storm" and "DJs Mean Business". His experience in the hospitality and music industry have given him vast experience in how to make music writing a career, and he's passionate about helping others do the same.

Join us as we discuss what composers (including songwriters and other musicians) can do to grow as a business, make music their income, and unlock their true potential.

To find out more about Amani and what he does, click the link below:

https://www.amaniexperience.com/

Please like and follow this podcast, as well as leave a review if you like the content. Every listen, button pressed, and comment left keeps it all going, so thank you!

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Join me in interviewing Odaline de la Martinez — an award-winning composer, conductor, record producer, and event curator — as we speak about Afro-Cuban's influence in western music, her background, and why she chose to pursue music composition.

Odaline moved from Cuba to the states at a very young age, growing up in the influential city of New Orleans, then moving to study music throughout Europe. She is now based in the UK, where she has acquired an illustrious reputation for her versatile and eclectic vision, with a longstanding special commitment to contemporary music, women composers, and Latin American composers in particular. 

Amongst her many achievements, Martínez was the first woman to conduct a BBC Prom at the Royal Albert Hall in 1984. 

If you'd like to get in touch or look at more of Odaline's work, you can do so through her website:

https://www.odalinedelamartinez.com/

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