When Curating Educational Catalogs, Music Publishers Must Be Pragmatic and Flexible

By Cliff Hall | From the July/August 2025 issue of Strings

Like salmon returning to clear rivers every spring, new orchestral music catalogs begin to flow in with the season, each one cast by publishers hoping to hook the attention of music directors. Distracted by the rush of spring performances, these directors often let these mini-books from Alfred Music, Hal Leonard, and the like accumulate on desks, their glossy pages quietly waiting to be noticed. Eventually, however, the pressure of programming the next concert compels conductors to sift through the offerings.

With so many new pieces and unknown composers scattered across the pages, how do music publishers bait their hooks, positioning their music to be the offering that lands the proverbial fish?

“I think titles hook people. At least to pique their initial interest,” says Chris Bernotas, director of instrumental school methods and repertoire for Alfred Music, in a phone interview. “They’re also, for me anyway, sometimes the hardest thing to come up with. I kind of wish that we could have the title of Allegro and Vivace and let somebody else come up with a title. Titles can be very specific to a piece, in the case of a celebration or honor of life, but many times a piece could mean whatever the listener or performer wants it to mean, inspired by however they connect with the music personally.”

After this first nibble, the publisher still needs to set the hook. Bernotas sees two more aspects as essential to the closing process.

“I think recordings are extremely strong in that engagement and getting a teacher to go to that next step. And for sure, there’s composer recognition. ‘I really like this person’s music, and whenever I hand it out, it always works with my ensemble,’” says Bernotas. “And then sometimes the allure of trying something new, but that initial hook, I think it’s a combination of all those factors.”

Curating an educational music catalog requires a careful blend of artistic vision and commercial awareness. Publishers must balance the need for new, diverse voices with the realities of what schools and directors are looking for. While trusted composers bring reliability, leaving room for fresh perspectives is essential for the catalog to evolve. At the same time, every decision is shaped by practical constraints. Editors must consider difficulty levels, stylistic variety, and market demand, all while working within a limited number of catalog slots. A best-selling composer might secure a place based on past success, but that doesn’t mean new composers can’t break through—it just makes the competition even steeper.

“Balancing that can be a challenge, but it actually starts with opportunity—making sure that there’s space in the catalog for new voices,” says Bernotas. “If there’s no room, then you’re really not promoting growth and inspiring the next generation of composers.”

Achieving harmony between innovation and familiarity is particularly important when selecting new works. Editors rely on a mix of open submissions and direct outreach to composers who have a track record of delivering exactly what’s needed. While publishers want composers to write from a place of inspiration, there are times when they must actively fill gaps in the catalog. If a particular style or difficulty level is missing, they may turn to trusted names to ensure the right piece makes it into circulation.

“I don’t usually publicize what we’re looking for because I want composers to write where they’re inspired, and depending on where we are in the editorial year, I may not have specific needs,” explains Bernotas. “But there are times there is a need and, for example, I know that Robert Sheldon is amazing at writing X, Y, or Z. I may say, ‘Hey, Bob, do you have something cooking for something specific?’ That’s one of the things that is nice with those relationships and having a history with great composers.”

Even when a piece is strong, competition for a spot can be fierce. Publishers must juggle factors like variety, accessibility, and commercial viability, knowing they may have to pass on great music simply because there’s no room for it. “When you add in those bestselling composers, and then you’re making sure there’s a variety of styles, when somebody submits a piece of music—let’s say I get 15 great submissions for one open slot—of that 15, we have to choose one. And that’s the challenge,” says Bernotas.

Daniel DiMarino is one composer who has been working to find his place in the competitive world of published music since he was young. “I have been a composer since I was eight years old. As I studied piano and violin as a child, I was always interested in creating my own music just like Beethoven and Mozart did. When my late father brought home a copy of Sibelius software and I discovered I could hear a computer-generated rendition of my ideas for an entire orchestra full of instruments, the possibilities seemed endless, and I couldn’t keep my hands off of the composing process,” writes DiMarino in an email. “I have had many opportunities to compose for educational purposes that have acted as landmarks in my career path so far. Being able to hear my music live at nine years old was an important initial experience in my musical development.”

Having his first educational piece for string orchestra published was the next important step for DiMarino. “Since then, the many occasions where I have composed for youth ensembles have each given me their own unique challenges that have aided in my growth as a composer. Most recently, working on the Duolingo music course has been an entirely new way for me to compose music for educational purposes,” says DiMarino.

Beyond selecting the right compositions, editors must also consider how a piece will fit into a school’s curriculum. Every orchestra program has unique challenges, and a successful piece must be flexible enough to work for a range of ensembles. DiMarino approaches the compositional process from his experience as a young ensemble musician.

“I remember in orchestra growing up, the pieces that were the least engaging for the students to play were the ones that ‘felt boring.’ Knowing how a piece feels is extremely valuable. For the young musician, this may be even more important than how it sounds when it comes to maintaining interest. Students simply want to have fun when they play,” he says.

Artistic rewards may be especially fulfilling, but aspiring composers should be realistic about the financial realities of publishing. “You can’t guarantee a writer what they’re going to make. I know one thing I can guarantee—you’re not going to get rich off of it,” says Bernotas. “Some pieces don’t resonate, others sell well, but you never know which way it is going to go. If a piece sells every year for the next ten years, then the lifetime revenue on that piece is going to be pretty good.”

Arranging pop music for educational orchestras presents another set of challenges. “Those are done all in-house by selected writers because arranging those for the appropriate level and getting the essence of the piece is really highly skilled,” says Bernotas.

Despite the uncertainty, publishers do their best to predict what will resonate with students and teachers. “It’s basically like we are trying to have a crystal ball,” Bernotas says. “You don’t 100 percent know what’s going to sell well, and you don’t know what’s not going to sell well. You’re placing your best bets, and you’re going with your gut, experience, and research, and you’re relying on your instincts and seeing how pieces perform on the market. Very often there are some surprises, in a good way, where a piece you think will do well does even better than expected!”

Another priority for Alfred Music is ensuring that recordings of its works feature live musicians rather than synthetic sounds. “It’s really come a long way,” Bernotas says. “There are some great synthetic sounds, but nothing—at least in my lifetime so far—really replaces human music performance. And I feel very fortunate that our company values that.”

Recording music is a major expenditure but one that Alfred Music continues to invest in for both commercial and artistic purposes. “It’s a pretty costly endeavor, but it’s worth it. Recordings are no longer simply for demonstration purposes. These recordings serve that function, but they also serve as role models for developing musicians. They will be used for many, many years, so investing in artistic performances is truly important,” Bernotas says.

At the heart of educational music publishing lies a careful equilibrium: fostering fresh voices while ensuring a catalog meets the practical and artistic needs of educators. With evolving copyright laws, financial constraints, and the unpredictable nature of the market, the work of a music editor is as much about strategic planning as it is about musical vision. But with the right approach, the end result is a catalog that serves teachers, students, and composers alike.