The Pitch - Trying to communicate clearly in a world of shouting nonsense

I have known for years that clarity is king when it comes to communication. Communication is key in personal relationships which I can not begin to cover here as I have not received your release forms for my psychotherapy services. And many agree the main factor in successful business relationships is communication.

Being able to quickly and accurately describe myself as a composer in an interesting way can make all the difference for a first impression. I can either blow an opportunity and be the guy that say, "Hello, you should check out this demo," or I can have invested time in developing a 'Pitch'.

I'm not a used car sales man. I'm not selling snake oil. I am a composer who believes in the music he is making. I want to take the time to prepare so that I can articulate to a stranger what why my music has value.

I was at the Billboard TV and Film Music Conference yesterday and had to get into that 'Pitch' state of mind. I met numerous composers/songwriters. After having a pleasant exchange with several of them I sit here now entering business cards into my data base and realize only one composers I met had a Pitch. And I can tell you exactly what kind of music he specializes in (though I have never heard it) and what kind of commercial spots he works on. Ironically, the composer, Geoff Aymar, works in house at the ad agency The Designory.

I am still getting all my materials together for press/publicity for my new album The Radioactive Werewolf and other Tales from the Southwest. And I realize I should have been preparing my pitch for this album months ago. It is complicated - spanning genres - and has some performances by talented musicians including: Alain Whyte (Morrisey) , Chris Schleyer (Kidney Theives, Zero Mancer) and opratic saprono Elif Savas.

So I talk with my brother (T-bob, a screenwriter who HAS to know how to pitch) and he develops a couple Pitch idea for me in no time. Now this outside perspective was priceless. And coming from someone I trust makes it even easier to openly except his point of view on how to communicate what the album is.

His first attempt sounded like a film:
"Take a dash of classic horror film soundtracks, a generous helping of Aaron Copeland, a batch of roughly chopped Southern rock, and add Angelo Baldamenti sparingly. Process in the blender of Bodin's unique mind. Serve immediately for an inspiring mental road trip."

Funny, interesting but WAY to complicated. So we pass back a few more ideas and come up with:
"Comprised of instrumentals with a western slant and southern style rock songs, The Radioactive Werewolf is strung together like a David Lynch soundtrack."

Now we got somewhere. Now I believe this IS what it sounds like and I can happily convey this with confidence to anyone.

As I have grown as a composer I have also developed my ability to Pitch. As I look at my past 2 years of releases I see a trend. Do you agree?

Greed, Lust And Cloning
"Score for a film that never was. A thrilling tale of espionage and adventure painted through a dynamic score"

Like Rabbits
"Intimate orchestral and acoustic modern minimalist arrangements that tip my hat to Debussy and Satie, with viola solos performed by Leah Nelson."

The Ballad of Big Shot Volume 1
"Sports anthems thats will get them stompin' in the bleachers."

Silentium Est Alurum
"Sounds like Dr. Dre produced the Star Wars cantina band."

The Radioactive Werewolf and othe Tales from the Southwest
"Instrumentals with a western slant and alternative southern rock songs strung together like a David Lynch soundtrack."