What if your dream piece is the thing holding you back?
In a recent call with my composition fellows, we touched on something I believe could be incredibly valuable for your current projects: finding the sweet spot between creative ambition and practical execution.
One of our fellows (let's call him Nick... ) shared a choral piece he'd written specifically for his church choir.
What struck me was how he tailored it to their unique abilities (creating parts for two sopranos who excel at descant lines while keeping the main melody accessible for everyone else).
Rather than writing his "dream piece" that might overwhelm the performers, he created something they could actually sing well.
This approach isn't settling for less. It's strategic composing.
As I mentioned in the call, "I think it's important that we do projects like this that are feasible. You're part of the community. It keeps you going. Because if you just keep working on dream projects all the time and they never get done, that's very deflating."
Even after years of composing professionally, I face this reality.
Despite having numerous orchestral works commissioned and performed, I've never written a symphony or opera. Rather than force these larger forms without the right opportunity, I focus on projects with a clear path to performance.
My recommendation is to maintain a balanced portfolio of compositions:
1. Projects you KNOW will be performed (like Nick's choir piece) 2. Pieces that stretch your abilities slightly but still have realistic performance opportunities 3. Only occasionally, more ambitious works when you have specific performers in mind
Remember that your time is a precious resource.
Being strategic about where you invest it isn't compromising your artistic vision (it's ensuring your music actually reaches audiences and keeps your creative momentum going).
As I told Nick, "I would encourage you to do a mix of stuff that's realistic and stuff that's a bit of a slight reach." This approach prevents the bitterness that can develop when we pour months into pieces that never leave our desk.
And if you want to learn exactly how to balance ambition with practicality so that you can complete projects that actually get commissioned and performed... you can find out how down below:
Saad Haddad
What if your dream piece is the thing holding you back?
In a recent call with my composition fellows, we touched on something I believe could be incredibly valuable for your current projects: finding the sweet spot between creative ambition and practical execution.
One of our fellows (let's call him Nick... ) shared a choral piece he'd written specifically for his church choir.
What struck me was how he tailored it to their unique abilities (creating parts for two sopranos who excel at descant lines while keeping the main melody accessible for everyone else).
Rather than writing his "dream piece" that might overwhelm the performers, he created something they could actually sing well.
This approach isn't settling for less. It's strategic composing.
As I mentioned in the call, "I think it's important that we do projects like this that are feasible. You're part of the community. It keeps you going. Because if you just keep working on dream projects all the time and they never get done, that's very deflating."
Even after years of composing professionally, I face this reality.
Despite having numerous orchestral works commissioned and performed, I've never written a symphony or opera. Rather than force these larger forms without the right opportunity, I focus on projects with a clear path to performance.
My recommendation is to maintain a balanced portfolio of compositions:
1. Projects you KNOW will be performed (like Nick's choir piece)
2. Pieces that stretch your abilities slightly but still have realistic performance opportunities
3. Only occasionally, more ambitious works when you have specific performers in mind
Remember that your time is a precious resource.
Being strategic about where you invest it isn't compromising your artistic vision (it's ensuring your music actually reaches audiences and keeps your creative momentum going).
As I told Nick, "I would encourage you to do a mix of stuff that's realistic and stuff that's a bit of a slight reach." This approach prevents the bitterness that can develop when we pour months into pieces that never leave our desk.
And if you want to learn exactly how to balance ambition with practicality so that you can complete projects that actually get commissioned and performed... you can find out how down below:
composersbrain.com/about?community=09.12.25%20Comm…
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