Byron Petty

The following article is the fifth of seven installments of Independent Composer Profiles. All articles printed in the Newsletter are the property of SCI with the exception of the IC Profiles. Barton McLean retains ownership of these articles.

Byron Petty provides penetrating insights into how an independent composer literally creates not only his works but also his audience, performers, publisher, and income-generating strategies, and all this in an area not known for its passionate support of "difficult" new music. He has given new significance to the term "inventing the wheel" and as such serves as an inspiration to all of us who are searching for ways to meaningfully and financially integrate our music with the community we live in. Of particular interest to me is the unusual way he finds and cultivates local patrons who commission his work.

--Barton McLean, Independent Composer Representative

BM: Give us an idea of the range of your creative activities.

BP: The practice of a variety of art forms has produced, for me, a re-generative effect in creative terms - as a flutist, pianist, piano tuner/tech., painter, poet, and potter. In 1987, at the age of 32, I began to compose, and most recently I have become co-founder and conductor of a 40-member Community Orchestra. I have derived some sort of income in all these endeavors, but more importantly I find the diversification of creative focus to be mentally refreshing. Whenever I return to music, I discover a greater ability to concentrate and to achieve goals. And, developing a widely varied background in the arts (and sciences) is a great aid to cultivating patronage. Primarily, I compose for one to five instruments with or without piano, piano solo, and art songs. This has better enabled me to present and receive performances. I find that developing a variety of styles at various levels of technical difficulty in which to compose presents more opportunities and, with the correct artistic approach, does not necessarily compromise oneÕs more personal style. My targeted audience is anyone with the patience to listen. My preferred audience is one that is intellectually and emotionally responsive. About 1/3 of my income is derived from composition.

BM: What other kinds of employment make up the rest of your income?

BP: Formerly, I taught in the Roanoke College Preparatory Division of Music (defunct). Now, I rely on private teaching, the usual assortment of "gigs," for example: weddings, receptions, club or restaurant jobs at which I play a mix of classics and jazz standards. A small, but important, source of income are stipends offered by music clubs and schools for judging music competitions. These opportunities have increased my profile and reputation in the community. Also, ICs usually acquire their own high quality recording equipment and computer software for music writing along with other equipment such as xerox machines and binders, and so on. These possessions may be used to generate income by recording student audition tapes, recitals, and special occasions; with music publishing abilities one can print music for area teachers and amateur composers, or the occasional transposition for a singer. By now I have acquired everything relating to publishing and recording music; itÕs an expensive but necessary process. I derive additional income from the ComposerÕs Assistance Circle, a group I founded to support my compositions.

BM: How important is it in your career to seek strategic alliances with other composers, performers, artists?

BP: So far, my alliances with other composers have presented me with many opportunities. I have been able to respond in kind through connections with certain colleges and a concert series, Con Spirito, that my wife and I manage. Connecting with performers is extremely important! Composers should consult performers frequently and respectfully. This benefits the composer through increased knowledge, wins over the performer and improves technical performability, thereby increasing opportunities for repeat performances. Music may be easy or difficult, but should never be thoughtlessly so. Remember that performers wish to demonstrate their abilities. In chamber works I always make sure each instrumental part has its shining moment.

BP: The area in which I reside, referred to as the Roanoke Valley, consists of three cities with respective counties and outlying areas totaling approximately 250,000. Developing a musical reputation in a small town is more difficult than one might assume. It takes patience and time. The opportunities are few and appear as jealously guarded territories. However, when one does become well-established, the smaller community becomes devoted. The biggest downside is the lack of professional musicians in the numbers required to provide size and variety of instrumentation as well as an interest in contemporary music. Fortunately, I have developed some long distance cultural connections in Washington D.C.

BM: There seem to me to be two basic strategies the IC can employ to secure performances or commissions: the first involves grant proposals or calls for scores as advertised in the various journals. The second involves more of a grass-roots inventing the wheel, creating your own situations. Which area do you find more rewarding aesthetically and financially?

BP: I have tried the grants and score announcements and will continue to value these sources and opportunities. Some see this as an expanding opportunity. IÕm not sure I agree. I have had more success in the grass roots approach. I do think that developing and reinforcing small enclaves of cultural appreciation is of vital importance to the preservation of culture in these inhospitable times. In 1991, I founded the ComposerÕs Assistance Circle of Roanoke simply by stating my needs and proposing a service that I could provide to a number of friends and acquaintances. In return for yearly dues, I select one of my best pieces for that year, dedicate it to the group and make sure it receives performances. I also offer a number of lectures on various aspects of music and composers. The group has most often consisted of Professors of Art, English, Physics, and so on, medical doctors, and occasionally college students. Incidentally, this is a great way for a recent college graduate to gain experience in delivering a coherent account of his knowledge as preparation for a college or university position. It gives purpose to oneÕs goals, encourages self-confidence, and lessens the discouragement that can set in while in search of full-time employment. In 1992, my wife and I established a concert series through the Unitarian Universalist Church at which she is employed; reciprocal situations followed. In 1995 we established a community orchestra Eurydice which will give me the chance to compose larger works, gain wider recognition in the area, and increase reciprocal opportunities. In addition to these strategies, I advertise in local publications the availability of commissioned commemorative compositions and I have been fortunate in acquiring several patrons in the D.C. area as well as in Roanoke.

BM: Where do you see yourself in five years in terms of your career? In ten years?

BP: Actually, I am pretty sure my situation will improve. I go to great lengths to increase my knowledge and abilities every year. Education should not be considered as terminal. As for recognition, the only way to be heard in a crowd is to raise your voice; by this I mean persistence of character and insistence on integrity, a firm belief, which must be conveyed to everyone, that what you do is honorable, respectable, and must be valued!

BM: Has the general climate relating to the acceptance of your work gotten better or worse during the past few years? How do you see the general conditions developing in the future?

BP: Better, I think, through efforts to educate audiences. The appreciation of art music requires certain basic levels of knowledge. If this is lacking, then only a small percentage of the composerÕs intention becomes intelligible to the listener. I do not mean by this to underrate the importance of emotional responses, however, these can change in complex and significant ways through the intellectual comprehension of a work.

BM: How do you cope with health insurance, other matters as a self-employed artist?

BP: I donÕt have any health insurance and we donÕt have any children. Our two dogs do require boarding in order for us to travel to SCI, etc. and this can become quite expensive. Our parents are currently in good health.

BM: What is the most rewarding thing you have ever done in terms of your IC career?

BP: The creation of a work of art, especially those moments which have marked my growth as an artist, are without a doubt the most exciting and rewarding moments in my life. Another aspect of composition I have found particularly rewarding is the commemorative composition, whether commissioned or free of charge. The pieces I have composed to celebrate births and weddings - even the pieces I have written in remembrance have touched others and myself. This is a less abstract function of music that I value.

BM: What is the smartest thing you have ever done relating to IC career advancement?

BP: Joining the various societies available to musicians and composers. At this point I would take umbrage with the recent bickering over expenses involved in attending SCI events. The money needed for conference trips is money well invested, and for the money conscious it is a tax write-off. What the student members and ICs must realize is the importance of networking and developing the skills it takes to network. Also, I wish to mention, and not just in passing, how important the encouragement from more experienced composers has been for me. I would like to acknowledge a few by name: Jackson Hill, Bruce Mahin, Bruce Thompson, Bart McLean, Gil Trythal, and Robert Stewart (recently deceased).

BM: What is the dumbest thing you have ever done regarding your career?

BP: Wasting time worrying over certain nonresponsive musicians or audiences only to discover itÕs their problem and not mine. All artists should apply a form of healthy self-criticism. Strive for perfection, but do not be a perfectionist. If oneÕs work is not appreciated it is important to quickly and honestly determine which is to blame, the work or the recipient of the work.

BM: What advice would you give to young ICs just initiating a career?

BP: Initiate is the key word. Innovate - look for the angles and complete every situation that arises. Be straightforward without being arrogant. Treat every opportunity, large or small, with a professional demeanor. Join professional organizations. Build a reputation that does credit not only to yourself, but to all others in our profession. It is a good idea to present solo (one man) composition recitals, even if there is some initial cost. This can lead to commissions or even patronage. There can be no room for shyness. TodayÕs ICs need to promote themselves any way possible. Search out performers and solicit their participation. Present your attributes and donÕt consider this as unbecoming or brash. Have several hundred flyers printed of musical examples from your works. Include your name, address, phone number, and a short artists statement. Distribute these at every opportunity. Place a few compositions in local music stores on commission. Some music clubs and similar organizations have newsletters in which you can place inexpensive advertisements. Exchange talents such as accompanying skills, page turning, etc. for read-throughs or performances. Never lose your passion for the art. This is the way to impress upon society the tremendous importance of the arts.

© Barton McLean