Writing and Publishing Sheet Music by Storee Powell

Though publishing sheet music can be difficult, it’s not impossible, and the reward of simply writing good music is “to bring to life the music that already is deep inside you.”
Dean Madsen, a recently retired USU music professor, and now serving an LDS mission in Israel, said this about the writing and publishing process of sheet music.
Students hoping to someday have their music published can learn a thing or two from Madsen as well as Professor Mike Christiansen and his son, Professor Corey Christiansen.
Professor Mike Christiansen, MM-Utah State University, is director of USU’s Guitar Program. His experience in writing and publishing includes 42 music books, 30 DVDs and 30 CDs, including instructional media for guitar.
A realist, Christiansen explained that he doesn’t teach his students how to publish sheet music “because the chances of it happening are null,” he said.
However, there are things a student can do to better their chances. Christiansen said that just sending sheet music to a big publisher, such as Hal Leonard, is not the best method. He recommends sending it to an artist to see if they will record it. This puts a recognized name behind the music, and if a big publisher hears it, it has a much better probability of being published.
M. Christiansen explained that the profit-driven music industry wants to publish music that is by someone who is well known, or music method books that are new and unique. Solos are unlikely to be published.
“Be prepared to be disappointed,” M. Christiansen said.
Playing in the “real world” or the “school of hard knocks” is another thing M. Christiansen recommends doing to increase experience and name-familiarity.
Madsen suggests a three-step process to students looking to publish. “First,” he said, “develop a thorough understanding of all the musical tools. Second, let your motivation be not fame, not money, but the desire to give a meaningful, positive gift to others. Third, humbly apply your whole heart, mind and soul to the task of preparing a potentially powerful gift.”
What musical tools are there for a student to understand? M. Christiansen said to become familiar with computer programs as well as the copyrighting process. Copyright forms are available online, and it is cheap to do, according to Christiansen.
“You should always copyright your work even if you don’ publish it,” said M. Christiansen.
Professor Corey Christiansen; Visiting Assistant Professor, MM-University of South Florida; is a guitarist like his father. He has over 70 projects published. He said, “I use a program called Finale for all of my music engraving.”
Madsen and C. Christiansen both said students should take advantage of studying with their music professors as well as writing tutors. Doing this can save students time in the writing and publishing process.
Madsen also suggests studying the composer they most want to “emulate.” This will allow the student to learn the “purpose and message of a work,” said Madsen.
Style is another important factor in whether music is published or not. M. Christiansen explained that jazz as well as pop is not likely styles to be published. Country fares a little better. Classical is very difficult, according to Christiansen.
So what’s a student to do? M. Christiansen said to look for a “corner on the market,” or in other words, to fill a void, as he did with a book on how to harmonize chords for guitar.
C. Christiansen he got his ideas for writing music from the needs of his students. “Many of my projects were written with my students needs in mind. A couple of my projects were the result of my own musical progress and practice needs,” C. Christiansen said.
Both Christiansen’s agreed that the time each piece requires would vary from piece to piece. In addition, M. Christiansen said the writing process would vary.
“Mad, thrilled, disappointed, joy. I have felt all of the different emotions when writing music at one time or another,” said M. Christiansen.
What comes after the writing process? Editing.
M. Christiansen said to have someone else play the music before submitting it. This allows the writer to listen, and see if it is played how the writer meant it to be, said M. Christiansen.
For Madsen, editing and composing are the same methodical process.
“The making sure that every pitch, every rhythm, every dynamic marking, every tempo, every style and articulation marking, every indication of phrasing, perfectly contributes to the musical message of the musical moment and the entire piece, is the essence of musical creation,” said Madsen, “In proofing the publishers draft prior to publication, editing involves the same detailed checking of your intent, and its realization, as does the composing of the piece itself.”
Madsen noted that anyone could become published. What really matters is the quality of the music, even if a person is well trained and popular, or “an average soul with little training,” said Madsen.
M. Christiansen’s idea of who can write and publish agrees with Madsen.
“Natural talent doesn’t hurt, but people who work hard can become successful because of motivation,” said M. Christiansen.
“It is the power and love that is embodied in a piece of music which makes it important, not whether or not it gets published,” said Madsen.