composertorépétiteur
A composer already meets 20% of what the répétiteur role asks for. The move turns on 22 required skills not yet in the profile.
20%
83.1/ 100
1 Share of the répétiteur role’s weighted skill requirement already met by the composer profile. Required skills count in full, supplementary skills at 0.35. Directional: the figure for the reverse move differs. 2 Combines what is missing with how specialised it is, so a gap of general skills scores easier than the same number of narrow ones.
Why this move works
A répétiteur role treats 6 of its required skills as things a composer already does. These are the ones it depends on most.
- music literature
- play musical instruments
- read musical score
- study music
- transpose music
- write musical scores
What stands in the way is 22 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 7 skills that carry over, these are the ones fewest other occupations ask for. A répétiteur role needs them, and most people applying for one will not have them already. This is the part of a composer background worth leading with.
- already held write musical scores communication, collaboration and creativity
- already held study music information skills
- already held transpose music communication, collaboration and creativity
- already held record music communication, collaboration and creativity
- already held music literature arts and humanities
- already held read musical score communication, collaboration and creativity
All 7 carried skills, including the 6 the répétiteur role treats as required.
Table 3 · What you would need to learn
The 34 missing skills fall into 7 areas of the ESCO skill hierarchy, numbered below in the order worth working in: the areas carrying the most required skills come first, and inside each one the required skills sit above the supplementary ones.
- required, not held select music for training required
- required, not held self-promote required
- required, not held identify performers' needs required
- required, not held manage artistic career required
- required, not held participate in music studio recordings required
- required, not held prepare rehearsals required
- required, not held work with an artistic team required
- required, not held develop a coaching style required
- required, not held manage feedback required
- required, not held work with broad variety of personalities required
- optional, not held analyse a script optional
- optional, not held create choreographic material optional
- optional, not held develop codified movements optional
- optional, not held develop drama production process optional
- optional, not held identify requirements of the work in the artistic performance optional
- optional, not held manage prompt book optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held prompt performers optional
- optional, not held work in an international environment optional
- optional, not held show intercultural awareness optional
- required, not held create a work environment where performers can develop their potential required
- required, not held guide performers' training sessions required
- required, not held stimulate performers' imagination required
- required, not held analyse own performance required
- required, not held manage personal professional development required
- optional, not held manage artistic project optional
- required, not held intellectual property law required
- required, not held labour legislation required
- required, not held analyse music score required
- required, not held maintain safe working conditions in performing arts required
- required, not held musical theory required
- required, not held perform musical improvisations in therapy required
1 further area in the appendix
Table 4 · Where to start
The 3 entries a répétiteur role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 select music for training skill · occupation specific
- 02 self-promote skill · occupation specific
- 03 analyse music score skill · sector specific
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 7 skills that carry over
- already held music literature knowledge
- already held play musical instruments skill
- already held read musical score skill
- already held study music skill
- already held transpose music skill
- already held write musical scores skill
- already held record music skill
The 1 learning area not shown above
- required, not held subject of music coaching required
12 supplementary skills, helpful but not required
- optional, not held analyse a script optional
- optional, not held create choreographic material optional
- optional, not held develop codified movements optional
- optional, not held develop drama production process optional
- optional, not held identify requirements of the work in the artistic performance optional
- optional, not held manage artistic project optional
- optional, not held manage prompt book optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held prompt performers optional
- optional, not held work in an international environment optional
- optional, not held show intercultural awareness optional
17 held skills the répétiteur role does not ask for
- not needed by the target role complete final musical scores skill
- not needed by the target role create musical forms skill
- not needed by the target role create musical structures skill
- not needed by the target role define creative components skill
- not needed by the target role describe artistic experience skill
- not needed by the target role develop an artistic framework skill
- not needed by the target role develop musical ideas skill
- not needed by the target role edit recorded sound skill
- not needed by the target role evaluate musical ideas skill
- not needed by the target role film music techniques knowledge
- not needed by the target role organise compositions skill
- not needed by the target role rewrite musical scores skill
- not needed by the target role select elements for a composition skill
- not needed by the target role supervise music groups skill
- not needed by the target role transcribe ideas into musical notation skill
- not needed by the target role use digital instruments skill
- not needed by the target role work out orchestral sketches skill
4 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- required, not held musical theory required
- required, not held subject of music coaching required
- required, not held intellectual property law required
- required, not held labour legislation required
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.